The Questlove Show - Questlove Supreme: Huey Lewis

Episode Date: February 12, 2020

The 80’s icon talks about the years leading up to superstardom, his current battle with the inner ear disorder Ménière's disease, and everything in between. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

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Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok Podcast Network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends.

Trust me, babe, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Questlove Supreme is a production of IHeart Radio. Suprema, Surma Roll Call. Suprema, Subma, Submina Roll Call. Suprema, Submina, Submina Roll Call. Suprema, sub, sub, supremer roll call. This is the brother, yeah. Known ass Quest lover.

Yeah. And I may s, s, s, s, d, d, d, d, d, d'ht, dis, suh. Supremar roll call. Suprema, sub, sub, sub, supremar roll call. My name is sugar. Yeah. I want a new drug. Yeah.

I want old drugs, too. Yeah. Just give me all your drugs. Supremia. Submina. Subm. Supreme a roll call, Supremia, sub, sub, subprima roll call. I'm unpaid bill, yeah.

And I can't complain. Yeah. Don't need no credit card. Yeah. To ride this fucking trade. Procara. Suprema, sub, sub, sub, subprima roll call. Suprema, sub, sub, sub, subprima roll call.

Bill's my name. Yeah. Here's my roll call rhyme. Yeah. Oh man, I'm off beat. Yeah. Gotta get back in time. Oh car.

Supraima Roll Call. Supremia, SUC-Suppremma roll call. It's like I, where Huey Lewis. Yeah. If this is it, yeah. I'm cool with it. Say what? Suprema, SUHSA, SUPRIMA roll call.

Suprema roll call. My name is Huey. Yeah. I'm six feet tall. Yeah. I'm president accounted for At the Suprema Roll Call. Suprema, Subrama, Role Call.

Suprema, Subma, Subma, Subma, Subt, Subprema, Role Call. Suprema, Subrema, Submina Roll Call. Yeah, that's cool. Oh, man. I've been looking at this one. Me too. Yes, absolutely. Ladies and gentlemen, welcome.

Oh, yeah, welcome. That's what I'm supposed to say. Welcome to another episode of Questlove Supreme. I'm your host, Questlove, and we thank you for joining us. Joining us is Team Supreme. We got a boss Bill in the House. Hello. And unpaid bill in the house.

Yeah. And we have Sugar Steve. That's correct. Yeah. And we have Laia. Magra. Thank God you got it right. Yeah.

Well, I'll never get your name wrong. That's true. Okay. I don't know why he's better it. Yeah. Well, D, D, D, D, D, D. Anyway. I will say that our guest today is one of my personal favorites.

He's a fine singer. It's steeped in the tradition of what I'll say is blue-eyed blues with a tinge of raspy soul on the side. A hell of a blues harp man. Definitely a hell of a bit. He's front at one of the, in my opinion, one of the sharpest units. minutes in music. Over 20 top 10 singles.

So plenty, 30 million, a count of 30 million albums in the past 30 plus years. I don't want to, it's still 40 years. It sounds like a lot. You're embarrassing me now. We've just begun. Not to mention, I'd like to say that, you know, what can't be ignored is they're a foray into really effective music. videos and using humor and personality during the age of the dawning of MTV's rise really captured our hearts of millions.

I'm trying my hardest to not sound like Patrick Bateman of American Psycho. He is front at one of my favorite, favorite units. I'll say that their live performance kicks ass. Their harmonies are bar none. the music, everything's in there. Ladies and gentlemen, please welcome to Questlef Supreme. Sir Hugh Anthony Craig

the third, known as Hugh Lewis, the Questleft Supreme. Thank you, thank you, thank you, thank you. Great to be here. How goes it? Good, good. Good. I had a little trouble getting here. You know, I live in Montana. Oh, really? Yeah.

More cheese, less rats. So you're You're just a lifetime nomad. Kind of. Really? Well, I've been on the road forever. I have a driver who reminded me that since I lost my hearing here a year and nine months ago and haven't been able to work because I can't hear music well enough.

So I've been in one place sometimes more than my driver reminded me that after 40 years of driving me, he can't ever remember me being in one place for more than three weeks. I was going to say, like, I know of your history of traveling since your youth. Where do you, I won't say where do you consider home, but what's your sentimental that's home? San Francisco. Okay. More importantly, when all is said and done, where would you like to rest? Probably Montana.

Really? Probably Montana. It's beautiful. air is clean You got animals We got tons of animals All kinds of wildlife We got horses

So you live on a ranch I assume I do with little ranches Yeah So you and Kanye know something That none of us See Sentence never uttered before

So this is the thing I never start the show On at the end But Tell me on Montana Like tell me why Because you know something Kanye knows something

I'm hearing a few other celebrities sort of unspoiled not too many people more critters you know it's just out if you like the outdoors and i love the outdoors it's uh it's it's a great place just conya love the outdoors well he loves montana okay i mean we've mentioned conya way too much on this episode can we can we move on please yes and he's wyoming anyway yeah oh yeah yeah Wyoming not montana oh damn i thought it was montana either way they don't want no more celebrities out in these places in Wyoming. I take that back.

Okay, Kanye does not move in Montana. That's a whole different deal. I could have sworn it was in Montana. I don't know. Just think of like a home on the ranch. Oh, the deer are different down there. It's way different. Really?

Not really. So where were you born? New York City, Manhattan. You were born? What part? Right here. French Hospital. What part of Manhattan?

Were you? I don't know. Where was the French Hospital? We weren't allowed. Midtown, maybe. I don't know. How long did you stay in Manhattan? About a year.

Oh, it was a baby. I got tired of the house and bus. No more than three weeks. When did music enter your life? Real early on. My dad was a drummer. My dad was a radiologist by trade, but a jazz drummer by hobby. And he loved.

and he played piano as well, and he played with a jazz band, and there was a, I mean, with a jazz band, and there was always a set of drums set up in our, in our living room. And he taught me play drums initially. Okay. He would play jazz music that with no singers. He hated singers. Okay. You know, he thought singers just kind of got in the way.

Yeah. And so naturally I gravitated toward the vocals the side of things, you know. Oh, okay. Okay. So what did your mom do? My mom was an artist and she was born in Poland and escaped during the war, lived in Brazil for about four or five years, moved to New York City, was a commercial artist here in New York City. Her parents finally got out of Poland and arrived in, he was a diechemist and knew about, and they were pretty wealthy and so on and moved to Lawrence Mass. And then tragically, my grandparents, my mother's parents, committed suicide.

side together, which was a real tough deal on my mom. And she switched and kind of dropped out at that point. She was an artist. And so my dad realized he had to get her out of here and moved to California. Moved to San Francisco when I was five.

And my mom fell in with the hippies and became like the very first hippie, my mom. So she was part of that Timothy Leary generation of that tune in? So what does that entail? Like I always, you know, I hear of like tune in drop out and is it just like

stop trying to conform to what society wants us to do and just live by the moment and I think so I think that's initially what it was yeah so did you grow up in a commune out there and there was some LSD involved okay okay so that made everything a little easier tell me about it was it sort of oh Steve was it drugs and drugs and drugs and drugs and drugs So in San Francisco

There's just a fist bump between Huey and Steve For those that missed that a little bit So in San Francisco Were you kind of in a commune? No, no, because my mom My dad had sort of resisted all that And they just divorced when I was 11 And when I was 12

I skipped second grade So I went away to school in New Jersey In a prep school in New Jersey Wait a minute. Logically. You're on tour even... Yeah. So how did that make you feel insight, like just this consistent going back and forward?

It was a little crazy, to be honest. Did you make friends easily? I didn't because I was moving so much, you know. So I had to kind of rely on myself. I grew up pretty fast that way. I actually went to prep school in New Jersey with coat and tie, all boys, and neither one of my parents has ever been there. So they just kind of set me off. I was I was 13 were you the only child no I had a brother a younger brother five years younger

okay and he stayed with my mom my mother had custody but my father petitioned the court to allow me to go to this prep school saying this was a smart kid or something you know whatever whatever he told them but uh how long were you away I was well I'd go back in summertime you know in Christmas Christmas and summer but I was away for four years for the most part sounds like it And then I read. Then I grew. It depends. He was independent, though, because what was that like as a boy in prep school?

You have freedom in a different way than most kids do in a way. Because you're like, it's like college, but for kids. Yeah, I mean, I was horribly homesick when I first left, obviously. But, you know, you can get used to pretty much anything. And after a while, I was fine. And I'm sure it was a girl school down the street. You went to a girl? I said, I'm sure it was a girl school down the street?

Not down. It's not like dead poetry down the street. Not everything is dead poet society. I think it's just so clear. That's a movie. So what was your describe, well, wait, before you do that, do you remember the first record you purchased? Yep.

What was it? Quarter to three, Gary U.S. Bonds. Okay. I don't you know that I dance, I dance to the four of the three. And then, or might have been wild one, Bobby Riddell. Oh, wild one Came you down up Okay

A little bitty pretty one Those are the first three I remember So you're post-du-wops Early British rock and Start but immediately became a R&B snob And I started to play harmonica And became a blues R&B snob

hated contemporary stuff Just all of that Until I joined my first band Which was after prep school well I took a year off and bummed around Europe I took my harmonica and my old man made me do that he I graduated from from prep school a year young because I'd skip second grade right and he said to me I was 16 he said look you're 16 years old as far as I'm concerned all the decisions are yours you do whatever you want only one more

thing I want to make you do he said what's that he said don't go to college yet I said really well I want to go to school I'm going you know I was accepted at Cornell I said I really want to go to, he says, no, no, take a year off and bum around Europe. I said, but dad, I'm going to play ball and all this. It's the last thing. I'm like, so I did. So it's like a tester. What happened to that kind of parent?

What happened to that kind of? The wolves, that doesn't happen to black folks. White kids get sent away to Europe. Yeah, I'm like, and he just threw me away to Europe. I wish my father said, our challenge was just escaping bullets. Sorry, or finding college tuition. I'm going to soften that a little bit, you know. Oh, that.

No, I couldn't afford it, so I just got a record deal. But to, wait, 16 in Europe, how is that work? Did you mean permission? It was 1966, 67. There was no TSA. So it wasn't that one big deal. Damn, no TSA, no. No LSD, no TSA.

I mean him to walk us through this, like, was it a hostel situation? No, you didn't stay at a hostel. No, no, no. Huey Lewis didn't stay at a hostel. Well, I stayed at a buddy. I had a pal from prep school English exchange student I stayed at his house in London

for a few days and then I met a guy from South Africa called Michael Jefferson together we hitchacked all the way through Europe and all that stuff and I would go every night we'd go to the youth hostel and I'd just play harp

in the square Not all the white people are rich Not every single one of them Okay just the ones in this room Some play harp in the square for money say at the hostel Okay, so, all right, as a fellow busker, I got to ask you, what were the going rates for it?

I'm assuming this is 68, 67. Yeah. What was a, all right, for me in 1992, $60 to $80 was like date night. That was awesome. You know, like, I mean, there's four of us, so we, you know, 30, you know. Well, you were killing that. Yeah, no, that's a sandwich at Wawa and, you know, the afternoon movie. That's a date.

Was it, was it at a, not do or die? Survival, what? Yeah, like, for you, what was like, okay, I made it through the day? Or was it day-to-day, like, what am I going to do? I remember in Africa in America. Wait, time, that's not Europe? No, yeah. Europe, but I got to North Africa.

We went down to North Africa. What, via Italy? I went to Marrakesh in Marra. for just to see it and then I got so stoned I couldn't leave for three months. Wait a minute. We were going to leave every day, but then we'd wake up and, oh, shit. The life that Steve wished he lived. Is it 17, Huey?

How old are you? Yeah, I was 17. That's right. Oh, my God. What a blessing you're still here. What's the decision to go to Morocco? Like, hey, you want to go just? Was it a boat from Italy that just right across the water?

What do you mean, how did I get there? No, why did you choose Morocco? No, I flew to London. Right. And that's another long story. But then I hitchaiked all the way from London, all the way through France, down through Spain, took the little ferry to. That's what you could do that. See, he hitched.

He didn't have a limousine. I got it. He hitchhiked. But there was a stowaway story, too. Yeah, I wanted to get back to that. I heard that you stowed away on a pooleroy. plane to Europe? Okay, well, that's an interesting story, actually. As I was... Wait, how does one do that? That's what I want to know. Well, I didn't really

stow away. Okay. I thought I could stole away, but this was a member, 1967 or 68, right in there. And I hitched across the country first and to go to Europe. And then I stay with my buddies at Harvard who were at school there for a minute. Didn't see that coming. Then I went back down. And then I went back down. to New York here and I went to and while I was hitching across the country a guy picked me up and told me I said I'm trying to get to Europe he says well you know but I you know I don't have that much money I had I think I started off with three hundred dollars and then plane tickets were like 250 in those days okay and so I said I don't

have that much money I can't spend it all on a ticket and he said well you know you can still away and he showed me he told me about this idea where you get this you know the jacket the ticket goes in and the old days, used to take a special silver pen and write on the jacket. And all they looked at was the jacket. They never actually took the ticket. Yeah, yeah, remember that. This is before, you know, computers and all this stuff.

So he says, or he says you can stow away on this freight airline, too. So I hitched back down to the Muppet. Then was Idaweil Airport, which is now Kennedy Airport. and Outcast was there. And I went to the freight place and I couldn't get across. They couldn't figure that out. So I went back to the terminal, the TWA place. And I just laid there for, you know, I just kind of stayed there until midnight.

And I befriended this agent, a TWA ticket agent. So, you know, buddy Ips hit you know, tells me there's a way you can kind of sneak in. And he said, I'll tell you what, if you wait until I get off, I'll show you. And I wait until you get off. The collective jaw drop in this room right now. So he explained to me that you get the jacket, he got a jacket out of the, you know, those envelopes out of the drawer, and he had a special silver pen.

He says, you need this. And then he says, you're right on the outside London, LHR, Flight 702. And then he says, and then go into the gate real early and just kind of make yourself invisible, and it'll fill up. And then when you get on the airplane, all they're going to do is look at your jacket and then go take the seat, middle seat over the wing. And then he said, but not your, write the middle seat over the wing and take another terrible seat in case they say, oh, you're not in it.

Someone else takes your seat. You say, oh, my seat's up there. And then you go, but none of these fights were fallen these days. So the middle seat over the wing was like the last one to go. So he says, I said, wow, what happens if I get caught? He says, the only way you're going to get caught is at the end of the deal, she's going to count all the people on the airplane, and it's not going to jive with all the people they had that checked in at the podium.

He said, but you're only going to be one off, and she's going to, they're not going to hold the flight up. They're just going to go. I said, great. He says, if you want to be really safe, he says, you can buy a ticket, and then just put it in the jacket, but don't give them the ticket. And keep the ticket, and if it works, you get over, when you get to London, refund the ticket. And if they find you out, you give them the ticket. And that's what I did.

Oh, that's the smart way. Yeah, your hustle game fucking wins. Silver pens and refund tickets. Wow. Shit, Huey Lewis. Wait, wait, I'm just curious. When does this finesse game, like, what year do you think it was stopped?

Like, you couldn't use... Two thousand... Computers. Computers, yeah. Damn. Computers stopped everything. Ruined everything. You can't even get to TSA without a ticket now. It's fucked up. No TSA, no...

No TSA? Hey, not only were there no security, you just walked right on the airplane, but they gave you a little packet of cigarettes that you could smoke on the airplane. Steve, you do it. Free cigarettes. These little tiny four-packed cigarettes.

I want to go smoking on time. You know, like... You make it sound so cool. Oh, man. Smoking on airplanes. Can you imagine? Every armrest had a little ashtray in it. I remember.

And in the bathroom, it had it on the wall. What's scary to me is when you get on an airplane now and you still see the ashtray. Yeah. It's like, this fucking plane is old as fuck. Like, get me the hell off this thing. It's really. I'm remember one. I embarrassed the living crap out.

One of my very first plane trips went to the bathroom and there were, you know, they would have napkins there and whatnot and like feminine napkins as well. And so I thought, oh, pads. So I took like about 10 pads. And I was in the front row there in the back. I said, Mom, do I. Like, hold on. I got you. Oh, my God.

Oh, my. Don't worry, Ma. I got you. That's awesome. You know. That should be like an advertising campaign. Like, hey, mom, I got you. Tampax by Questlust.

Don't worry, Ma. I got you. Oh, God. Oh, fuck. That's awesome. So do you remember the first concert you went to? Good segue. Oh, that's a good question.

That's a really good question. Or a memorable concert for a youth. It might be Paul Butterfield here in New York at the... Filmware East? No, it went away before filmware. We're talking 1964, 65. Town Hall. Oh, the Town Hall.

And it was so crowded I got a seat as I remember it I mean I know I got the seat and I don't know how I get on the stage They put seats on the stage And I sat on the stage You saw Paul Benefield

With Mike Bloomfield Elvin Bishop Right Jerome Arnold on bass Sam Lay on drums Yeah They were awesome They took

That was it And this is pre Well 64 was like kind of pre Probably six. They're psychedelic. Maybe it's 65. Okay. Like that.

Pre-secondile, yeah. So was that a moment for you where you're like, maybe I could do this? Yeah, absolutely. I want to do this. I don't know if I can't or not, but that's happening. So how did that? I was already playing harmonica a little bit, you know. How did that lead you to Clover?

Go into how Clover came into it? Well, then, well, I took a year off, bummed around Europe after high school. Like Dad said. Played harmonica all the time. Went back, went to Cornell. I was an engineering student in Cornell. As you do. Well, I had it all before in prep school.

So I got, I didn't even hardly have to go to class my freshman year and I got a 4.0. It was no problem. Because I literally had it all before prep school. You were a math whiz, right? Kind of, you know. Perfect score on the SAT, kind of. Okay. Why, Dwayne Wayne?

Yes. Dwayne Wade have 800? No, Dwayne Wayne. A fucking different world? A fictional character that always scored a perfect on his Memphis Cs. With the Konishiwa. Yeah. Yeah, but I, and so after that year off, I went back to Cornell,

and I went to engineering school, and I went in, and that was not near as much fun as bumming around Europe with a harmonica. Right. And so I joined bands, and I didn't really have to go to class much. So I played in fraternity bands until my sophomore year it started catching up with me, you know? Right. So halfway through the sophomore year. And that was the year at Cornell

where the African American Student Society took over the Wood Street Hall. There was all that stuff in the SDS and all that. So you could take pass-fail was the good news. So we took pass-fail. That was another semester I got under my belt. What in the luck of God? And then I was dead.

And it was caught up with me. So I called my own man. I said, pops, I'm dropping out. I'm going to be a, I'm going to try and be a musician. He went, whatever. Who is your father? He's fabulous. He said, go for you.

You know, you did your bum around Europe. I told you I wasn't going to tell you what to do. Your life is your own. Good luck. Good parenting. Fuck. Well, it looked like pretty bad parenting for the first 10 years or 15 years. Let me tell you.

As a parent, good for your father for just being like, do what you want. During the formative years before you formed Clover, Did you have any interaction with any notable future singers, song, like anyone that... That's a good question. Let me think. Not really. I mean, I... I'm trying out of it.

Why did that take me so long? There was a brain to pause. No running into Springsteen during his days of bar banding. No, I didn't see that. I'd see. No, I mean, Butterfield. was a thing for me. And then when I dropped out, I went back to San Francisco,

and then I started going to the film war and seeing that stuff and seeing, you know, Aretha with King Curtis at the Film Auditorium. Yo, you were there for those recordings? Like, well, once, one night. Well, they eventually, since then, released all eight nights. Yeah. It was unbelievable.

Wow. You know this video of that online, too, right? I did not know that. Yeah. Okay. Yeah, that was unbelievable. You know, the Fillmore holds about 800 people. People don't know, that original Fillmore Auditorium, it's like 800 to 1,000 people.

Oh, so the one that I play at has been expanded and... Where this one over here or the one... No, no, the one in San Francisco. That was a huge, Winterland, right? Yes. Oh, you're talking about Fillmore East. No, the original Fillmore Auditorium in San Francisco. It's still a gig.

Still there. But it only holds 800,000 people. I didn't know that. In my mind, I thought it was like a 3000-er. It seems like that. Okay. Go there again. We just worked there.

It's a tiny little place. It's tiny. And you don't realize that. Had Henrik's in this place like here. You had cream in this place right here. It was unbelievable. Okay. When did you consider yourself a harp player or vocalist

or both at the same time? Or when did you switch to from one to the other? Because you talk a lot about being a harpist right now. Yeah, I was mostly playing her mind until I did my busking thing and then I sang and then I, then I just, joined a band. When I joined Clover, I sang like a song or two, you know, but my voice, rough as it is, was not a 70s hair band, you know, Journey, Boston. It wasn't happening. So I was an R&B guy, and so I just played harmonica in the Clover thing. So vocal-wise, who did you...

Ray Charles. I didn't have to get the question. There was no hesitation. Do you want to take the Mayan's two questions? And Johnny Taylor. I mean, yeah, I'm a Costello freak. So everybody knows your connection to, well, Clover's connection to my name is true. They were the backing band on that album for those that don't know. Thank you, Bill.

Right, right. Sorry. So, yes, Clover was, well, Clover was first discovered by Nick L.A. Right? Actually, it's kind of a funny story because Clover had made a record before I joined them. There was a kind of vintage country rock. In fact, Clover had a record in the 60s

where on the cover there was John McPhee had hair down to, he had overalls on with hair down to his waist and they're all standing, they all had long hair and they're standing in front of six-foot-high marijuana plants. This was like six. This Willie Nelson had a coat and tie on at this point. Seriously. And the Dolly Porden Porter-Wagner show was on, and Willie was on it.

And there was no, and this was Clover. They were really ahead of their time. And so when I joined that band, we labored for a while. And then Jake Revere, who managed Elvis, and at the time was helping out with a group called Dr. Feelgood. And Feel Good was a, and he was good, they asked Jake to road manage their trip to set to L.A. They were going to play at the CBS Convention in L.A. And so, and they brought Nick L.O. along as a guitar roadie, just for a free trip to. Just for a sitting gills.

For a free trip to America. So it was the Dr. Field Goods, Jake and Nick Lowe. So we're playing the Palomino Club in L.A. Clover is. It's a country club, you know, country Western Club. We're playing the Palomino. and in walked these six guys in like gray suits and short hair, you know. Who are these guys? And it was Nick and Jake, because they'd seen that we were there,

and they knew about Clover's first record. And they were big... Because they love country rock. That's it. They thought country rock, pub rock, was going to be the next big thing. So they signed us to phonogram records, and we came to... And brought us over to England. We're going to do it from the British side, from London.

Well, the day we landed, Johnny Rotten spit in the face of the first NME reporter, and the game was on, man. And we were in the wrong place at the wrong time. But we did a lot of sessions, and the band, the core band, back the belt. Sorry, what he means is punk rock has just started for people listening.

Yeah, right. And country rock was not necessarily... Going to happen in London. Right, at that moment. So then... So they were starting stiff records. They started stiff records. Jake and Dave together.

They managed Delvis Costello, Nick Lowe, Graham Parker, Rats, Gaby's, The Damned, and then they created stiff records. And then, unfortunately, they'd already signed us. So they stuck us, they realized that we were kind of an American band. So they got Mud Langer to produce our records in Wales. The Muttling. The Muttlinger. All right. This is before he ever had a hit.

Oh, before his magic period. He was a staff producer at Phonogram, and he did, I think, like some amazing amount of records a year, some like six or seven records a year. And, you know, City Boy and all these acts that never happened. And until, you know, until he kind of moved over here. What was his, what were his work habits like? Brilliant. Still the same?

I mean, it was consistent on it? Just an unbelievable work ethic. And, you know, he's brilliant. I mean, he's just, that's all he does. He's just, he's of one mind. He just lays in the studio, man. Loves, loves it. Oh, okay.

So, just to continue where you left off, so Clover wasn't on stiff, they were on... Clover's on Phonogram records. Did they move to Stiff? They didn't, because if Stiff, there was no stiff when we first signed a phonogram. Right. And then simultaneously, when Punk hit,

they started Stiff records, they signed all these bands, and we were still on Phonogram. And then they, yeah. So then, I guess. Then they signed Elvis. Right. They found Elvis.

Jake gave him his name, I think. Declan McManus gave him Elvis Costello. And they... What was his name previously? Declan McManus. We've known him forever. How come... Yeah, you did a record with the man

and you didn't know what his real name was? I didn't know. Wow. What a don't name, though? Declan McSterloan. That's a real name. Let me just get through this. Oh, my God.

Go ahead. I need to know things. Okay, go ahead. No, it's just this notorious thing with Clover, and my name is true. So my question really comes down to, so how did Clover get that gig and then have a follow-up question? Jake signs Elvis Costel, and then he got Nick Lowe to produce it, and Nick used us, not me, not me and not my singer, not our singer, I was called, but the other four guys as a rhythm section for that record, and they cut that record at Pathway. My industry was cutting, really cutting, and the studio was literally the studio and control room were as big as this room right here.

And we're in a small room. The control room was like a four by four thing with a board. 12 by 12. Like eight tracky or maybe it was 16. I don't even know. But it was, and they cut that record. In fact, here's a great story for it because the first thing they did was rehearse, obviously. before they went into cut.

And we were living in a place called Nigel Grange in Surrey. They rented a house. It's the same house that Led Zeppelin cut all them big records in. Yeah, yeah. Where they mic the drums downstairs. Yeah, in the hallway. Right. So that was our house called Headley Grange.

So they, when Elvis rehearsed, we set up, we are set up in the living room. And Elvis came down, took the train down, and rehearsed with the band for the first time. Well, I went to London because, you know, in Harmonia. He was just going to rehearse with them. And when I came back that night, we had dinner there. And we all had dinner, and Elvis was gone. I said, so how was it today? And everybody was kind of, oh, it was good.

It was good, good. And my keyboard player, Sean Hopper went, I'm telling you what, this guy's lyrics are unbelievable. He's really a genius. And Sean Hopper was the first guy to know how great Elvis Costello was, I think. Even before Jake and Dave and all these, even before the management was in, Sean was a fanatic.

Okay, so as you just said, you were a singer and a harmonica player and I guess weren't needed. There's no harmonica on the record. When they got ready to do it, Elvis said to me, I got a couple songs that you could play on if you want to. I said, great. Yeah, it seems like there's a couple that could have had a harmonica. But they were cutting this week, and it was we, they had worked us like crazy, the management because, you know, they had to make money. So we were working all the time. And so I took the week off.

I said, it's okay, but I went to Amsterdam. It was okay. My girlfriend flew over, and we saw it as a vacation week for the other two of us, so I didn't plan the record. And you weren't at the sessions? I was at one session briefly, but no. I guess maybe it was a mixed session. I don't think I can't remember.

I recorded at that studio a lot and with the band, so I know what it was like. Okay. Ultimately, the question was, I knew you weren't on it. I just wanted to know if you were at the session. I had nothing to do with Elvis Costello's. You might have been at one mixed session you're saying. Oh, yeah.

That's the piece of information I'm trying to mind right now. As long as you got yours, Steve. He bleeds Castello. I'm sure I was there. And then, of course, we had the same management, you know. So we would bump, they were happening, and we went to a lot of Elvis's early shows when he played the Nashville pub and all that stuff. And I watched him ascend, you know.

And he's a wonderful guy and smart as you can. as you imagine. And so is Jake, by the way, and so is Nick Lowe. And those three guys were so smart. It was... I have one more question about this. You, Sean.

Was Clover upset that they didn't get the permanent gig with him and that he got the attractions starting with the next album, the next year? No. No, we, you know, there's that band thing. We thought we were going to make it any minute. And just, you always think you're going to make it any minute. you know failure never breaks up bands

it's success that breaks up bands right that down damn that's 17 now Steve wow shit oh my all right so when

when we've been with Elvis Costello Steve we can come back to him it's almost like Steve doesn't know Elvis you know they're very close I'm a huge I'm also a huge

Huey Lewis fan just Oh you're wonderful A win is a win A win I don't care where you're saying Yep, that's me, Cliver Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media.

Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment. And the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people

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You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hip-hift. by a truck. I thought, how could this happen to me?

The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest, the director of the NFL East West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects.

From hidden traits teams look for to the biggest mistakes franchises make, to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast

on the IHeart Radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast. network on TikTok. The band imploded in 78, correct? Well, imploded. You guys broke up.

We broke up. It was amicable or just? Well, kind of. We lost a record deal and we came back and then McPhee and join the Doobie brothers. Sort of. That's kind of what happened. But yeah, it was pretty amicable. So what leads to the development of Huey Lewis in the news?

Well, let's see. I was, so now we had always played. Monday night was a fun night for us in Marin because it was, I don't know, it was just a night that we always used to have jam sessions and stuff. And one of the local studios asked me, I want a local club said, do you want to? Residency or so. I said, look, give me Monday night. And so I did a thing called Monday Night Live that I invited all these different musicians

and we had a Monday Night Live band and that we had a theme song. and all that and comedians and it was kind of fun and with the band we would slowly I was singing I got to sing all the songs for the first time Were you the reluctant leader by this point?

Exactly. I wasn't that reluctant I was adding my eye on the ball but I wasn't sure it was going to work you know what I mean? It was trying it out a little bit but that's a that and that's what we developed that at Monday Night Live and this studio owner saw us and said hey would you like

some demo time. Was it original stuff? And I said, covers. Well, we didn't have, mostly covers. We'd written three songs. And then I said,

do you want some free studio time? I said, sure, huh? And they gave us like a day. So I thought, and we were doing funny stuff in our Monday Night Live. We did a disco version of Exodus. Exodisco, we called it.

Exit was pretty funny. It's actually not bad. I've heard it. Yeah. And the horn player on it, we got Peewee Ellis to play horns on it. Oh, wow. Yeah.

Really? Yeah, pee. Maybe he will do anything. Like, after his James Brownston, he... Yeah, he can play, though, man. We can flat play. I know. Oh, wow.

And so we cut this disco version of X's for a laugh, and it was very funny, and we had a nice day. Well, now I get a call from Nick Lowe and saying, look, I've just written this song, and I think I swiped it from you. I said, what do you mean? He says, it's called, what looks the best on you is me? And I told him that joke, you know.

So I said, nah, I'm nuts. Don't worry about it. No, sir, see, I feel like I owe you something. I said, no. I said, tell you what, give me a ticket to London and back, and I'll visit. He says, okay, I'll do that sometime. Week later, he calls me and says, I got an idea. Come to London and play on my record.

And Edmonds wants to cut Bad is Bad, one of my songs. And we'll do both of those things and we'll do them in London. I said, great. So he flew me to London. We went straight to the studio those days. and cut Bad is Bad with Dave Edmonds and Rock Pile and then cut Born Fighter with Nick Lowe

played harmonic on that and we were done and it was like two or three in the afternoon now come to the record company to hear the tracks and they come down, they come to the thing and they listen to this couple songs they go oh man that sounds great and there was a lull in the moment I said

you guys want to hear something funny? They said yeah and I put on Ex-Disco well they loved it and they said man that could be a hit I said, whatever. They said, come see us tomorrow. We'll make a deal. And they left.

So I said to Jake, they leave the room and I go, Jake, what do I do? He says, you go in there. You ask for 13 points. You want 3,000 pounds advance. And there you go. And if they want anything to be like a remix or in that stuff, as long as they pay for it, that's good. But make sure you get the 3,000 pounds. Don't leave without the check.

And I said, so I went there and made a singles deal. And I come home to San Francisco. I said, boys, we got a singles deal. And then I cut with the 3,000 pounds. I got studio time. Actually, it's a fun. It's a funnier story because they wanted more vocal on Ex-a-Disco. It's all I'd sing is, come on baby, come on down, that kind of thing, you know.

So they wanted me to a little more vocal on it. I said, no problem. Just give me the $3,000. They gave me the check. You were your own manager and negotiator. I'm going to own everything. So now I get back and I go to the studio. I said, man, we got a deal for it.

I got to put some vocal, some more vocal on it. We go to the multi-track tape, and it also had tones on that reel. And while they aligned the machine, they erased 30 seconds of the master tape that we had recorded Exodisco on. This is, you know, so I went, oh, my God. What? What? I'm sorry. Shout out to great engineers.

So now I told them. I said, look, I'm going to have to replicate this record. You've got to give me a week. They said, we'll give it whatever you want. I said, well, give me five days. Okay, fine. You're good. So I took the Ex-a-Disco.

I took the two-track that we had, and I put it on two of the 24 track, and I sang on another track, and I mixed it down to a two-track, and that took like four hours, and we were done, and then cut these three other songs with the fucking rest of the time. You know, make me? Hustle games. Hustle. This is the best hustler in this.

Graduated at 16 and perfect at those three tunes got us our manager and eventually our record. Do you Louis, I know there's a guy documenting your every life, but do you have like a book deal where you tell everybody how to make it in the music business? Because I'm in the music business and I would totally buy that shit in a second.

Yeah, dude. First you got to go to Mexico. Then you got to go to Cornell. I mean, shit. So I kind of want to skip over, not skip I want to get to the 80s. Well, wait, no, no, no, no. No, dude, like, this is education.

I know. First of all, can I assume that the bad as bad that you cover, Nicola, is also the bad as bad as bad was Dave Edmonds. Born fighter with Nicklo. It's a blue shuffle the way he did it. But then it's kind of, but then we repressed it as the acopella thing. Right. On sports.

Okay, so still the same song. That same song, but I wanted to know. But completely different version, yeah. Okay, okay. So what I do want to know is how was Bill Snee, being a Steely Dan head that I am, how was Bill Snee, how did he get involved with the very first Huey Lewis record? His engineering. You know your stuff. Well, see, this is the thing.

You know your stuff, West Love. I'm telling that. I want to, because the thing is, is that. Well, Schnee's done a lot of stuff, right? Yeah, but most of them, like, he was the engineer of the classic steely stuff. And really, I feel like his sound was the proprietor of, I don't know if you consider that the four-letter word of the perfection of yacht rock sounds. That clean scene. Yeah, yeah, I see that.

So what was it? Did you have reservations? Like, what was your view? Because the thing is, you express a lot of opinions, especially on sports, with bad as bad and also the heart of rock and roll about what I assume your criticism of, you know, know, what is raw and true to the music versus, you know, the scene of whatever's commercial today. So I'm assuming that you're coming from a purist standpoint to work with it. Now you sound like American Psycho.

No, no. It only took 45 minutes. I know where you're going, I think. But was it the fact that, I mean, what made you, was he chosen for you? Yeah. Yeah, he was chosen for you? for us because they even though we'd had you know

we were more experienced than most new bands I was 20 but I was 29 years old at that point which is and so he was you know he'd worked with he did boss silk degrees and he produced yeah and he was

low down and he's a great he's a famous engineer he's a great engineer and so yeah we worked with we work together and we have this joke because we worked together couple times over the year and we don't work together well I mean that's why I wanted to know

it's weird how was the conflict in what you're talking about yes what was there conflict in like musically it never worked I love Bill Schnee he's a good friend of mine right but it just we just never I guess our taste maybe didn't match or I don't know

why and he's a brilliant engineer it just we just never could hit it you know we never got anything we ever did together just didn't happen. So second record, now we get a second record. And I said, and I told the manager, my manager, I said,

look, we can do this ourselves, you know. By this point, we had, we'd auditioned producers and, you know, gone through a zillion of them. Why weren't you using Nick Lowe as a producer? Well, let's see, we were now here,

but, well, Nick, yeah, I don't know. I guess he hadn't done Elvis you were on Chryslus at this point or? We're on Chryslerus. Okay. So maybe just a different label. But at this point, we felt like we could do it ourselves and our manager went to fight, went to bat for us. And so then we started making our own records.

I also want you to discuss Phil from Thin Lizzie. Phil. Oh, man. Phil in it. Yeah. And you played on a couple of Thin Lizzie records as well. Like, what was the relationship there? And how was it?

When I was in Clover, we toured with Thin Lizzie. Okay. And Philip was an unbelievable guy, an unbelievable performer, first of all. Right. Hard rock band with soul. You know, I mean, they were just great. And Brian Downey, he's back up now, but he can play. Really?

And he can shuffle, you know, which didn't used to happen in London, in England. You know, there were guys, there's certain beats that just, the British just... So British weren't too cool and blue, you know what I mean? Uh-da-da-da-da-da-da. It couldn't swing somehow. But Brian Downing was great and thin as he were unbelievable. And Philip just kind of took me under his wing, man, and said, I played on a few of his things and I lived with him for a minute and he would dress me out of his closet, you know. And he was just a, he taught me more than anybody how to run a band and how to, you know, just all kinds of stuff.

I learned everything, everything, not necessarily musically, but everything other than music. Okay, so on your second album, based on where the placement of Do You Believe in Love is on that album, which is like kind of the middle side to, can I assume that was the last song recorded for the record? Yeah. Damn, I'm good. You are good. And not according to. Yeah, because they, you know, we needed a hit kind of thing and they thought this was a single. That said, okay, the thing is, what makes that song stand out so much to me.

So how did you guys Well first of all As a unit How long were you guys together In the jelling process And the practice process And to get that good Because you guys play like you like each other

Yeah Well we were This is a self-inspection moment Right now What are you saying? It took up. It's a real quest It's a 15 years for the roots To like each other

Damn. Wow. We love each other now because we're old-ass men. We all we got. Wow. But shit just got real. It's like therapy. I like it.

I will say that, yes, the chemistry and the gelling of course comes together on that record. But based on the tightness of the harmonies, that's where I feel like you guys really shine where most groups don't. Like, you know, occasionally Eagles will hit that level to. Oh, yeah. It's a lot of parts. How? We have, the secret is good singers, and Johnny Cola, our saxophone guitar, is a great singer. Okay.

And also, and a great arranger. And Bill, our drummer, sings, and Sean sings bass. And we have a kind of an okay blend. We're just lucky that way. Okay. You never know, you never know, but. You guys are a little bit better than okay. It's like a blend is a blend.

You know, it either works or a dozen, or it is what it is. but that's what that is. And Johnny Cola gets most of the credit for that for the vocals arrangements and stuff. Okay. He's great. So how did you wrestle that song from Mutt? Without him producing it?

Well, how do we get the song? Or did he demo it perfectly and you guys just followed it verbatim? I rewrote it a little bit. It was, he had it, we both believe in love, we both believe it's ours, you really give enough. Yeah, you really make me see the stars. I went

I can work with this Mr. Louis Tito. Wait, did you just ask him for a throwaway? Like, do you have anything that you're not using? I asked him for a song. I said, But you got a song? We got a record. We need a song. And this is post-ACDC mutt because now, oh, so now he's on fire and that sort of thing.

Yeah, I think it's post, yeah, it has to be. Yeah, 80 to 82. Okay. You're right. Yeah. So how did you wrestle it first? him. How'd I wrestle it from him? No, he was happy to, he was great. He's just saying it right away.

Okay. He's a good friend at Mutt, and he's a brilliant, you know, I mean, he's ACDC and foreigner and all the Shania stuff. Shania Twain. So can you tell me, I mean, of course, I mean, be remiss to not say that we have to acknowledge that, of course, the rise of MTV was very instrumental in the millions of records he sold. that you know for the the sports album your third album but could you tell me what was the touring

environment like before sports as opposed to afterwards as far as right what was what was what was what was rock what was what was touring like for pre-mTV kind of like what was were you guys chitlin circuit you know you had one top ten hit like what was the environment like well we had one tour we called working for living tour where we had all of us on one bus right the crew and the thing and we went out for 10 weeks we held our record back because

we were just finished with sports record and we basically just finished it and then the record label we hadn't mixed it yet and the record label went belly up Chrysles and sold out to CBS. Chryslus sold out to C. Chrysler shut down? Chryslus shut down their whole distribution

and all their stuff and went with CBS distribution. They fired about most of their employees and a lot of their independent stuff. They got rid of all the, and just became a label. And CBS was going to distribute. Well, we weren't sure how that was going to work out. So manager decided we just hit the road and try and pay for ourselves.

So we did a 10-week working for a living tour. We did all the clubs and all that sort of stuff. You guys alone are with other acts or. Yeah. But as soon as the record hit, we got a tour. We toured with 38 special, toured with Toto a little bit. And you could feel the record happening, you know.

You could just feel people showing up for the record. Now, I mean, there are different types of audiences for pop music. And, you know, I mean, have you ever encountered or toured with an act whose fan base was different than what you desired? I mean... All the time.

Clover, we opened for Alice Cooper at the Nassau Coliseum. Oh. Okay. And got bombed. Long Island. Got represents. M80s. Lending here and here.

And boom. What the fuck? The guy's throwing... Damn, Seth Gordon. protect you guys. They wasn't his client. You should have was in Hawaii, man. Still there.

Shep's been on the show. Oh, man. Not known for its security. I mean, even out of the Clovers, I mean, the thing is, is that, you know, what audience do you feel is specifically your audience as opposed to

like, was there any worried, any worries about pairing with another act in... Yeah, yeah, I mean, our first... Huey Lewis in the News' first tour was with the Doobie brothers because they were pals of ours. That makes sense.

And McPhee, our Clover's old guitar player, was now playing with the Dubies. So we got that tour. We had the same agency and all that. So we went out with the dubies for a national tour. And we got basically booed off. What? That's the perfect show.

Not quite booted up because we knew enough to go, from song to song before they could boo. But if you would, if you would just wait, just be quiet. It would go, why? I remember. So where's your, all right, what's the worst? Let's say in North America.

In your mind, what's your favorite territory where they're open-minded? Like I have my spots. Like, I know where they're open-minded and where I can stretch with the stuff. And then I know where it's going to be a cell, even 20 years in the game, where I got to hit them with the hits and get out.

For you, what are you rolling your eyes at? Like, oh, God, we got to go back to, like, what territories were not to... No, L.A.'s stuff. L.A. has always been tough for us, a San Francisco band. L.A. And we've always, you know, we'll... I mean, we'd go down there, and, you know, there was X, and then there was the...

Who were the other bands? There's zillion bands down there. A rock accent. Who all did great. But we never, they never reckoned us down there. We could never, never get over, never get it until, and then once, once I remember, we finally, years later, we played, we played three forums, three LA forums. And, you know, and now we're back in L.A. again. And we had three forums.

First night, everybody's there, you know, all the music, all the Toto guys, all the, all the musicians are there, Schnais there, you know, all the, all, and I'm nervous, you know. In front of your peers and... Yeah, all that stuff. And it's sold out and all that. So I remember thinking, B, just don't press, relax. Just don't press, relax, you know. It was like, I'm kind of a veteran now. So I go out the first night and I play what I think is a great show.

We have a great show. Finally, I wasn't nervous, I feel great. Any time I get, before that, when I would get a bad review, We actually got great reviews starting up, but whenever I get a bad review, it was always from a bad show. And I could always think to myself, you know what, he's right.

I could have been better. That's right. It's no problem. So this time, LA Forum, first night, I think is a great show. Right. We go back to the hotel. We go to bed.

I wake up in the morning. We want to see the paper. Oh, I go. Everybody in this room knows where this is going. And my manager's having breakfast, and he goes, hey, Hughie, he says, everybody who got a great review in the LA Times, come on down and eat breakfast. He says, oh, not so fast, too. Really? And Robert Hilber had just tore me up, you know.

That's not going to ask you. Like, what did they say? I thought, damn it, what's that about? Well, here's, you guys will appreciate this, I think, I hope. Yes. But so I struggled with that because I know we were good that night. And I wasn't nervous, and I knew we were good. And it just bothered me for years.

Now I'm recording another record at Lucas's studio, Skywalker Ranch. And George Lucas, they just opened it. This is an amazing studio. And George has given me a personal tour. And we go around. and he shows me everything, it's really great. And he says, now at first the house, and they have this unbelievable where they give you lunch and all the stuff.

The ranch. Now, the ranch and all that says, now, let's go look. Let me show you the studio. I said, great. He says, Linda's in there now. Linda Ronset. That's when he was dating. Right.

She was dating George. I said, oh, great, great. I didn't know that. So I go in the studio and there's Linda. And there she goes, oh, man, hi, Huey guy. I love your stuff. She says, funny should be here because Brian Wilson's showing up in a minute to do some vocals. I said, you're kidding.

kidding me. I said, wow. Do you mind if I just hang out? No, no problem. Great. So I finish. I'm hanging around, but it's like lunch or taking a break.

Boom, here's Brian. I said, well, I introduced myself to my, Brian, this is Huey Lewis. She goes, oh man, you know, in his funny ways, I know who you are. I know who you are. He says, I saw your show. I've seen a show.

He says, top ten, might have been top three. Top three shows I've ever seen. Ever, ever. Top three shows. I said, whoa. Thank you. Really great. Do you mind if I share that with my guys?

Yeah, no, no problem. I said, wow, that's going to make our whole day. I said, where was it? He said, L.A. Forum. I said, which night? Which night? He says, first night. I said, thank you.

See, hallitation, Brian Eno. Thank you, Brian. Brian Wilson. Brian Wilson. Excuse me. Wrong Brian. True story. Excuse me.

Wait a look of discuss. There's three quarters of bottle whiskey. Gone. It's Jameson, people. Jameson. No, well, it's funny mention Wilson because I didn't want to go Super Quest Love Hyperbo

When I... Hyperbole. Is it a hyperbole? Yes, I am. Hyperbole, that's my favorite sport. Hyperbole. No, I didn't want to go full Quest Love hyperbole when I wanted to compare their harmony game

close to that of Beach Boys left. You're right. But that's how tight. You gave it an Eagles. And they were a big influence on us. Yes, and you can clearly hear that shit. You can hear it. I agree.

That's why, you know, I agree. Okay, I won't embarrass myself. But, sorry about Robert, man. But, I mean, now that you say it, yeah, L.A. has not been kind to a lot of greats. There's the infamous Prince. Oh, yeah, Rolling Stones. Rolling Stone show where he got mercilessly booed. I mean, there's plenty of others.

So that's weird that you say that L.A. is, I can imagine that for you, it's probably, easy to do a spot outside of LA where there's not the pressure of your peers watching you. Detroit. Tulsa, Oklahoma. These are good towns for us. Soleful town. Montana. It's like, it's like sports.

I was just holding my stand. It can't stop. Huey Lewis can't stop getting with Hughie Lewis. Since LSD, you can't stop pouting with Hugh Lewis. Like what the fuck is happening? Like mine meld. We're getting the contact house. Yeah, I mean, it's magic.

No, I mean, it's it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, It's like a sports towns. The great sports towns. They're also great rock and roll towns. It makes a lot of sense. And the towns were, you know, I mean, LA's the worst baseball town in the world. To this day.

We had heard for years that Cleveland was the best rock and roll town in America. And I thought, really? Yeah. How can Cleveland be? I had no clue. So we played the Agora there and had this amazing gig. And afterwards, we're driving out of

town in the bus and it's a gray kind of a dismal day and the the skyline of Cleveland is tough. It's not every day in the sepia. Pretty rough looking and I said to the guys we'd had this great gig, I went, wow, guys, you know what? The harder rock and roll really is in Cleveland. I said, oh my God, that's a song. The harder rock and roll is in Cleveland.

That's the genesis of it. Is that what you say at the end of that lyric? Cole and goes, the harder rock and roll is in Cleveland? Oh, my God. All right, all right, I'll work on it. I'll work on it. And so, but that was the inspiration. I'm so sorry, Philly. I've been fucking that lyric. No, no, okay, good.

Me too, because I've been saying the harder rock and roll is the beat. It's for real. It's still beating. No, no. He's saying that initially that it was the beat. No, still beating. Still beating. Still beating. The heart is still beating.

The old boy might be barely breathing. Okay. Oh, hell no. The harder rock and roll is still beating. Oh, no. Thank you. And really what it's about. is about, you know, the rock and roll business is in L.A. and New York.

But you find good bands everywhere, and good music is everywhere, and that's what, that was so. So how vindicated, how vindicated did you feel when they announced in 87 that the rock and roll of fame was going to be? Well, still beating. Because we were all like, what? And then once they gave their reasons, I was like, okay. Okay. So were you at all shocked at the reception of, sports at all? Well, yeah. I mean, you know, the thing is when I listen to sports, right, as I realized then, we were making our records, and this is 80, we made the record in 82,

released in 83. Sorry, what studio? We cut mostly at the record plant and at fantasy records, and a place called Studio D in Sausalito, did some overdubs there. And, and then, Bob Clear Mountain mixed it here at the power station right here in New York. But if you think about it, 83, radio was king. MTV had just started. There was a big beef about how MTV wasn't playing any diverse artists and all that stuff. But what they were doing is they were following radio and records as playlist. Exactly.

That's why some of the tunes which are hits had those horrible videos that they kept showing over and over again. And we have those. But it was a radio world. And there was no internet. There was no, you know, no, no, no. Pop radio world. No, no computers, no, none of that stuff. So, you, we had, and by then,

CHR radio was the only format. You know, radio, top 40 started with a guy in Fresno, with the advent of push-button radio. A programmer in Fresno figured out that if, with push-button radios, if people heard something they didn't like, they'd switch the channel. So the idea was narrow your playlist, top 40, play the hits over and over again so they never leave.

And then FM came as an alternative to that with all the album cuts. But within eight years, it was programmed. And CHR was the format, contemporary hit radio on FM radio. And so we all competed for that format, which was a hit single. And if you did not have a hit single, you didn't exist. So our job making our record was to have a hit. But we named six. Well, that's it.

We aimed every... I'm looking at the line. But we aimed every song at radio and different. One was kind of a rocker. Sure, sure. One was kind of not a rocker. One was kind of a little more R&B. But we knew we needed a hit.

We didn't know we were going to have six of them. Yeah. But we knew we needed one. At the beginning, what did you aim for? Like, let's just have three top ten hits and... A single. A hit. I tried to make everything a hit. And now that I listened back to sports,

it is an album of its time. It's a collection of singles. It's a greatest hit album. It is. But one song doesn't have anything to do with the other song. I mean, finally found a home and bad is bad. These are like different genres of music entirely in a way.

Our subsequent albums hold together much better as albums. And you didn't, clearly you didn't think about that as you were making this. It was just like, it was just a hit. It was just make a hit. It wasn't like make a cohesive album. It doesn't matter. And it does matter. Hey, I'll go one above MTV and ask you,

did you ever fathom in your life that one day your song, specifically the harder rock and roll, would ever be utilized in a soul-trained dance line? That's a deep cut, man. Are you even aware of the fact that you guys have rotation on Soul Train for one year? Did we really?

So here's the deal. So Don Cornelius had taste. That confirmed it. The deal was in 84. Okay, so black people's relationship with MTV is rather strange because, of course, you know, Rick James had legitimate beefs like, well, I've sold

out stadiums, no, no, I'm not on TV. So the thing is to watch Michael Jackson videos, especially that most cable networks weren't in the actual inner city they were more of a suburbia thing so we would have to plan weekends so I would spend like a weekend am I telling the truth Bill I just remembered like going to my aunt's house in Kentucky and she had MTV yeah and that's the thing most of my weekends in 1983 84 yo can I can I spend the night aunt I'm here in the uncle Junie's house so I would go

to the suburbs of the out of my out of my out of Yaden back when Yaden was a suburb and I would sit in front of MTV 17 hours. Now, yes, to wait for those five rotations of Beat It to come on and Billy Jean however,

all that other stuff's coming to me too. You guys are coming to you? Remember the Pat Benatar one where the Nazis are doing the Yeah. Yes. Which Pat Benetar song was? Good. Hells for children. Damn. Yeah, so literally like all this Thomas Dolby and

Nina 99 left alone So everything that defines MTV I'm absorbing just so I can wait for the Michael Jackson videos but After nine Noting rotations of this Now I'm fans of them too And the thing was

You just gave us all aha moments in mirror I just want to think the whole audience just went That's why I know all this shit Yeah, too We were waiting for beat it to come on every hour and a half Yes, aha So the thing is is that

in 84 I think Don Cornelius saw the paradigm shift so the first sign of it was during the during the Tina Marie episode of 84 he showed

Get it in here Get it! Everyone remembers where they were during the Tina Maria episode of 84 It was like that time that No no no

I'm saying they showed the wrapped around your finger thing And that was weird to say And now from the video world one of the rock greats the pleaser wrapped around your finger we're like

we look at each other like huh white people on Soul Train like this so during the Run DMC episode of Soul Train White people were never on Sal Train well no they were I mean

David Bowie Tina Marie David Bowie John Black people take it fucking breather Breathe breathe

and relax Black people I get it so the point is that during the Run DMC Dasband episode they showed the harder rock roll video

That must have been awkward. No, it was, I mean, then it was like, you know, I realized that Don realized he had to play the game of the day, and the thing was you had to amalgamate modern pop inside your format. I mean, some things were weird. Like, I think once he tried to make Genesis' illegal alien work, but the song's like 150 DPMs. It's too song to dance.

It's too fast to dance, too. You can't do the whole line thing with that shit. So, too fast. No, but I'm saying Hard of Rock and Roll got three. For you guys to be placed on the Soul Dream dance line, which is like,

non-remixed. That's prime real estate spot. That is some major shit. You know about the dance line, Huey? Did you watch Showtrain? What's that? I said, do you know about the dance line? Yeah.

So you know, that's like a whole honor. Soul Train was a cultural phenomenon. I know about it. Huey Lewis. I know, I never saw Hard of Rock and Roll on Soul Train. No. It is. But I love that.

It's a, it's a, it's a, It's a thing. Trust me. It's a major thing. Good. It's crazy. A win is a win. A win is a win.

I don't care what you're saying. Yep, that's me. Clifford Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined.

And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations,

stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me, or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok.

There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield. And in this new season of the girlfriends,

Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed I will be his last target.

He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects.

From hidden traits teams look for to the biggest mistakes franchises make, to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slice of Life 12 and TikTok podcast network on TikTok. Can you describe the night of USA for Africa?

Jesus. Was it just a routine stop for you? No, it was unbelievable. I mean, you mean, we are the world, right? Yes, yeah. Bob Dylan. It was unbelievable. I mean, you know, you can imagine just you don't get to meet all those people in.

in a lifetime or a career. And, I mean, and Ray Charles was there. I couldn't even introduce myself to Ray Charles. No. Really? I just hung back and watched him. A lot of cool stuff. I totally understand that.

Yeah. I was just, I'm just totally in awe of Ray Charles. And then, did you bond with anyone there? Like, yeah. Paul Simon was great. Okay. Paul. I probably should be.

Like, was there anybody you were nervous to be around? size Ray Charles. Everybody else? Bruce, we hung out with Bruce, told jokes for a long time. It was, they let nobody in there but the artist for a long time and it was really amazing. So all your people had to stay in a green room?

In the green room there with the thing. And then we're just, it was just us. And man, it was an amazing evening. How long did general background vocals take to do for that session? Well, because I know you that you're one of the leads, but... All the background, not long.

How long did it take to record in general? Well, we started after of the American Music Awards. So that was probably 11, well, early in L.A., so six to nine. So we're there at 10 o'clock, I bet. And we went all night. And then the Dylan's thing that he sang was in the morning. It was like six, seven in the morning.

We can tell. It looks. He looks six a.m. Oh, my goodness. So Bob Dylan. He said six. He looks like six a.m. So, okay, here's the day.

thing. I mean, background votes are probably done. I bet they were done by midnight or 1230. We all sang the same part. He did all the parts and then we all sang the same part, unison. And then they put them together. So I would almost say that your A game has to be on point

because I would assume that it could be very intimidating to sing in front of all this people. So was there ever a situation? where like look okay you got me singing right after Michael Jackson can I just punch in like come in tomorrow and punch it in or like

I'll tell you it was funny because I you know I'm nervous my legs my leg was shaking like this I couldn't stop my leg from shaking I was so nervous right and of course we start and Humberto Gattaca was the was the engineer and so

they start boom and they wanted to go one full pass all the way around because they had to bleed the microphones, one down, one up, and like that, and with the ambience and everything. So they didn't want to punch and all that. They wanted to get one full performance. So they started with Lionel

and then Stevie Wonder, and Stevie's messed his thing up kind of almost on purpose. They're just being cute and funny. So they stop the tape. And then they go back and they start it again. And they get about halfway and Al Jerole messes up. They stop and they

go back. And now he comes out to adjust the mic. I said, Hey, Amberta, can you run the whole piece so we can have a shot at my line? You know, I just, Quincy just sang me the line. Right. No, he had Michael sing me the line. Quincy says, sing it for me. I sang it.

He says, great, go ahead again. So I want to try it, right? And he keeps stopping, and he keeps stopping. But finally, we went all the way through. And then we finish, and now Quincy says, that's good, but I'll tell you, let's do one more. and Huey, why don't you sing a harmony with Cindy? Oh, yeah. When she comes in.

I go, stand together as well? Okay, okay. Well, that's a creative choice. Yeah. Sing a harmony with, what am I going to? And I got, look, I'm looking at Stevie Wonder. Right, right. And, you know, forget about it.

I'm going to make up this thing. And, you know, so, you know, it worked out. I don't even know what I did. So that vocal was a concurrent, no punch in. All the way through. And cut it, you know, Michael was right next to me. Right. And he was, he didn't miss a trick, man.

I mean, he, in his kind of little spacey way, did not miss a trick. He knew exactly what was going on. And so when I asked Humberto, I said, can you let it run it through so we can run our lines? You went, good idea. That's good, you know. So now we're running our lives. And finally we do this one pass that's really good. And now he goes, and Humberto, and Quincy goes, all right, good, let's do one more.

and we go back to one more and he goes and Michael urgently grabs the instructions they're going to save that aren't they? I said, yeah, they're going to save that

when he goes, that was one I said, I know it. Was that the one? It was one. Okay. Yeah.

I got anxiety just listening to this story. I need Xanax. Yeah. Michael did not miss a trick man. He was on it. How did you get,

how were you picked as one of the solo people? I got, I sold 10 million units? No, no. No. No, yes, other than that. I got Prince's line.

Oh, you're welcome. Oh, welcome. Oh, what? Wait, for asking a good question. I need a siren. Thank you, Bill. I need a siren. Wait, now I've got to imagine Prince singing right before I was saying.

Oh, that little dirty. Vending Lopper and Prince. Michael try to set Prince up. Like, I'm going to go first and then you, you. You follow me up, son. Wow. Yeah, remember Prince didn't show on the whole deal. I think he was just too nervous to be around all those people.

And plus, he's the type of person that has to have complete control over everything when he records. Yeah, he's in so. Yeah. So he wasn't about to give up control. And Michael had way too much control. So last minute, I didn't know. I thought it was done. And I'm over there.

Well, we finished the vocal. Great. Some guy gives me says, Quincy wants to see it. And I come walking back into the studio, he goes, Smelly, sing him the line, he called Michael Smelly. He says, sing him the line. Michael sings the line. I sing it, he goes, good, you got it.

And it was Prince's line that I got. You auditioned. Also, that line is fairly high in your range, if I'm not mistaken. Were you afraid of that line, or were you just, you felt it? What's that now? Were you afraid of the line? Because it's higher in your range, I think. I just went for it.

He sang it, I sang it back. I love it. That's awesome. You know, I was so, I mean, that is kind of like a fog for me. I was so nervous. You can imagine. Yeah, yeah. I mean, there's your, look at me, it was Bruce Springsteen, Bob Dylan, Steve Wonder, Ray Charles,

Dan Aykroyd. Forget about it. Is that, yeah, yeah, yeah. Wait, wasn't Stephen Bishop there, too? No. No. It was someone, like, really odd was just like. It was Dan Aykroyd, he was the odd one out.

Oh, okay. Because it was USA for Africa and he's Canadian. Waylon Jennings. Waylon was there. Waylon Jennings was there? He did not have a good time. Really? He was upset.

He was upset. And he walked in the middle of the deal. He split. Oh, wow. You serious? Stevie, at some point, wanted the background vocals to be in Swahili. Say what now? Yeah, yeah, yeah.

I remember hearing about that. So we sent out for two African gals who knew who could speak Swahili, who could translate the background photos. And when they came into the studio and they were all standing around, they stand there, okay. Now, what does this, say this in Swahili? And he went, something like that. And at this point, at this point, Ray, Ray Charles goes,

Ray's over here, Ray goes, ring the bell, Quincy. Ring the bell. Is that any good? Is that any good? You know, there was a break. That's fucking awesome. There was a break in the action.

Right. And now we're taking a break. And I'm just, shadowing Ray Charles is what I did the whole night. I just staying three feet away from just checking him out. They call that stalking now. Shadowing.

But he now sits down the piano and starts playing this kind of blues thing and he goes, hey cute, remember this one? And he's playing like that. And Quincy looks at me and he goes, you know, Lana Richie wasn't even born when we cut that song.

Really? Yeah. Oh, man. You know, they did in Seattle. Right. It's pretty cool. Dang, you. And now I'm talking to Willie Nelson over there, and he's going, hey, I hear you play golf.

I said, yeah, I just started. It's fun to do on the road. He goes, yeah, that's what we do. I said, I just, you put your clubs on the bus? I said, yeah, we put our clubs on the bus. And we play, yeah, that's what we're doing, too. And we're talking with, and Bob Dylan comes over, walks over, and he goes, are you guys talking about golf? I said, yeah, he goes, wow, that's outrageous.

I said, no, Bob. Nashville Skyline was outrageous. This is just golf. Is this officially the first time that you're meeting your peers? So was there any bonding in your career to that point with notable celebs? Like, you weren't BFFs with the guys from Toto? Nick Lowe, I mean, you know. One, Nick Lowe, yeah.

But Dylan wrote me a really nice note, man, at the end of the deal. Wrote me, and he sent me a song. Really? He sent me a song that I didn't cut. Whoa. Which is a complete mistake. Note to self. When Bob Dylan sends you a cut, cut it.

Did somebody else end up cutting it? No, I never heard it. I never heard it. But he also sent me a Junior Parker song. he was great he want me a really nice note he's smart you know Bob

Bob Dylan is smart so okay I have a question now having joined Columbia House always always say that

also my education comes from the fact that I never sent the records back when I got them at Columbia House so it's like do you know what Columbia you're not I'm supposed to send them back

I'm about to say you're not supposed to sit You don't want something. You get charged. You have 30 days. You have 30 days to send it back. You just never pay for them. That's what the... Oh, that.

Oh, the scam. No. I didn't have hustle in me. So that said, and having all of your records, I'm now noticing that with the massive amount of units sold for sports,

usually people figure out, okay, I'm going to do the departure record, like the opposite of it, which I'm going to say for small world. But you guys actually decided to keep up the stamina with four. So how hard was it to live up to that pressure? Like, okay, now we're in the machine. Like I feel like breaking in is hard, but staying there is even harder. Very, very perceptive, man.

You're very perceptive, really. I actually told him to ask you that. Steve. That might be true. No, it isn't. No, it is. No, I mean. Yes, it is.

Stop. Stop. Stop. His name's on the show. No, because it's rare. It's, I can name few instances. I mean, Lionel Richie tried to follow. We can't slow down and dancing on the ceiling.

With thriller and bad sports for anyone else does the departure record next. So what was. your mind state of, okay, we got to come back the same. Well, this is because this is economics here. Because back in those days, you know, it wasn't

it wasn't internet and all that stuff. So if you sold a big, if you had a big record, your next record was going to ship a million units right out of the box. So the idea was hit them while they're hot. Make your next record as soon as you can.

And no matter what, and that's, And that's how you make it. You know, so we sold, you know, 10 million copies of sports. Well, four was already going to go four million no matter what it was like. Right. So that was a problem, you know, because we had to, and they were honest for deadline. And, you know, you got to write the songs. It's hard to write.

And so that was a tough record to make for us. We were struggling. And we wound up over here in the power station, finishing off under deadlines with two studios going. and singing in one and playing guitar in the other and mixing in a third. And it wasn't a fun record to make because you're right. We did it really to just capitalize on our success, you know. But I think there's an art to not overthinking it. And that's why.

Now the thing is, do you, with the words that Brett Ellis wrote for American Psycho, right. did you feel as though they were being sarcastic or do you feel I feel as though he wrote that in truth as far as for being your most accomplished records in the in the I thought he did it was amazing I read the I heard about it I read the book right and he had these little dissertations not only on us but Phil Collins and Tina and he nailed it I thought I mean he was clearly a fan and he was he understood you know I mean I thought he did a pretty critical job and then they had a asked us for the film, would he could we use the tune? And I knew the story and all that. I said, sure. Well, it's

William Defoe, right? Yeah, I love William Defoe. And it's an art thing. So I said, no problem. You got it? And they paid us and they got the song. Then what happened was maybe a month before the song, before the movie was released, they said,

the king of my manager said they want to do a soundtrack. And he said, well, great, what that's what's that going to look like and it was it was hip to be square i think there was a phil collins tune and the rest was like source music it was like a kind of a crappy record you know wasn't going to be a great album the album and so my manager's best is just to buy your record to huh it's probably best to just buy your album so my manager said to me he says what do you think about this they want to do a soundtrack album i said well that's not going to be fair to our i mean fans are going to buy that for what for one song i mean that's just do we have to do they says no no it's not a

part of the deal they just they just mentioned it i said yeah let's politely decline which he did so now on the eve of the release of the movie that literally they send out a press release press release that says that huey lewis has pulled his tune from the soundtrack because the movie is too violent trying to gin up attention for the movie really And I thought, ah, come on, fellas, please. Not cool. You know? Not cool.

Show this. I should have got a check for that. Well, let's go back to back to the future. Which, by the way, can I say that I did not realize that you had a cameo in that movie until like a week ago? You didn't know he was the audition guy? I did not realize that was you. Yeah. That was the idea, really, to just kind of disguise me.

It was the mechism. Well, it worked. It took 30 years for me to realize. Me too. Apparently, this guy was pretty good. So, well, I just wasn't expecting it to be you, you know. Yeah. With how you treated music videos and your Hollywood looks, you could have been the cluny of videos.

Ah. Why did you not explore acting further in, or were you loyal to the guys and I don't want to leave them out there? Yeah, we were doing what we wanted to do. We were writing our songs and selling out venues. everywhere. Everything was great, you know. And the video thing is funny, because we actually did our own, we did a, there was an outfit called

Video West in San Francisco. The first video camera ever, videotape. This is brand new. This was 78, brand new. And so, she said, we'll video a couple of your songs or a song if we can show it on our Video West program, that, and on cable.

Cable was new. All this stuff was new. I said, sure. So we, And you can have the video. So we shut the video. They showed it. And the video helped us get a record deal. And when we got the record deal, and we had, Do You Believe in Love?

Was our second single. And now the record label decided, I was the first single off that record, a second album. And by this point, we were making our own, we were producing our own records. We produced our second record picture of this ourselves. And so,

but they decided that we needed a professional video. And so they hired a, an ad agency guy to do the do you believe in love video and the set was all in pastels and Matt we had kind of pastel shirts that they were kind of matching with makeup you know and a little rouge on her cheeks and stuff this is the video where the five of us are in bed with a girl and all this stuff and so they shot this video all day and night and now we go home and now two weeks later we go back for the playback and we go back in the and at Christmas records and a bunch of people from the record company, a bunch of people from the video company, my band, a bunch of our guys,

are probably 30 people in the room. And so they say, okay, here's the new video and they shut off the lights and they play the video. And I just sank, my heart just said, I was so terrible. It was just horrible. It was just, there's no direction. The guy wasn't singing to the camera. Was he singing too? What's going on here? The whole thing was a mess, I thought. And we looked silly with a rouge on her cheeks and all that. I said, this is horrible. Almost the Billy Squire route. And I remember thinking,

this is terrible, this is horrible. And the video ends, and everybody stands up and applauds, kind of standing in this. So I thought to myself, anybody can do this. We're doing our own records. We need to do our own videos.

So from then on, we did our own videos. And the idea was, don't ape the song. Don't have anything to do with the song. If the song zigs, make the video zag. Don't tell Don't retell the story And just goof

And we did them in San Francisco On different sides of Petroro Hill Almost Just to let the Seagulls and the ocean Let that be the Be the production stuff Let chew the scenery

And that was the theory And we did a bunch of them That way we did one new drug If this is it Stuck with you Bad is bad All these were done In the same manner

And same place I gotta interrupt you because I was talking about something. I can't count the amount of times I filled the kitchen sink with water. And did that. I said it. It tucked my head.

I'm sorry. That's right because he had the big. One of the opening scenes about one of the new drug is, you know, filling up the sink with water in the ice. Water. And you know where I swipe that, right? I stole it. Where?

Paul Newman Harper. Ah. The opening scene. Harper and Paul Newman, he wakes up hungover, puts ice in the sink, puts his head in the ice. I never, oh wow. Was it cold? Was it cold? Steve, shut up.

He was unbelievably cold. This is what people want to fucking know. No, trust me. It was unbelievably cold. Okay. It really was. It was coldingly cold. Huey, I really wish I knew you back early in my career because this is the second thing that I never thought about until right now.

that sometimes you should just make a video for a song that has nothing to do. I never thought of that whatsoever. Because we're overthinkers. We want to stay out of the way of the song. I always thought, you know, why do we have to retell this story? Songs tell a story.

I always say, much in the way a good book is better than the movie, a good song is always better than the video. For the same reason. Damn. I've never thought of that, and it's now way too late. Why Arrowsmithed our videos? We just never appear in our videos now. Can I follow up?

Yes. Nick Lowe. With that... No, no. Back to the future. So with that theory of yours with the videos, and now you're supplying songs to a movie, did you use that same theory?

Like, Power of Love is not necessarily telling the same story. Exactly, yeah, real, Steve. What happened was Steve... Steve Spielberg, Bob Zemeckis, and Bob Gale asked to take a meeting with us at Amblin in L.A. We went there and we took a meeting and Zemeca said, look, we've just written this film called Back to the Future. And our hero, our lead character is a guy called Marty McFly. And his favorite band would be Huey Lewis in the news. So we thought, how would you like to write a song for the film?

And I said, wow, I'm flattered. I don't know what writing for film means. I said, you know, I've never written for film. Don't have any idea. I said, and besides, I'm not too keen on writing a song called Back to the Future. And they said, oh, we don't care what you call it. We just want one of your songs. So I said, okay, I'll send you the next thing we write.

Wow. Which was power of love. It was literally the next thing he wrote after that phone call. That was the next thing we wrote. Wow. Really? But then back in time was written specifically. And then they said they wanted another song for the credits.

And by then I'd seen the film. I hadn't seen it. And so I wrote that as, you know, specifically for that. All right. So my, my overriding question with regards to those songs. Miami's true. Was Elvis Costello there? No, I mean, so we, we understand that they, they,

you got the cameo in the movie based on probably your video acting. And your Hollywood good looks, as Questlove, point. it down. He is an attractive dude, man. He sure is. And you can correct me if I'm wrong, but you probably got the gig for the songs because you were like the biggest band

happening at that moment. And yes, I guess Marty McFly would be a fan. But there's something else going on. There's something that makes you like super perfect. And those songs, like it seems like it's meshing in a way that's more than just a regular mesh. Like, it seems like... Interesting.

It's very interesting. Like you wrote the songs for the film, but you did it. No, just like the combination of you and Michael J. Fox and whatever they did in that movie, it just seems like... It's perfect. You know, I have a theory about that, and I'm not... It's interesting in that, you know, and Zemeckis always said that. He always credited, you know, Power Love, the song was released before the film. And they released a song, and it went to number one.

It takes like nine weeks or something to get to number one. And so they released the movie when Power Love was number one. And Zemeckis already, to this day, we have a reunion sort of every five years. And he says it was the best marketing come out ever. You got a number one song. And the interesting part about it is, for me, is that the fact that it had, when I wrote the song, when we wrote the song and I sent it to Zemeckis, I didn't think it was going to work for them because there was no love object in the film.

By that point I'd read the script at least. I hadn't seen it, but I read the script. And there was no, I didn't think it was going to work. But they used it in the chase scene. And I think, and I've thought about this subsequently, when a song is not, when you don't retell the story, it's its own story, and it only is relevant tangentially. to the thing.

Yet it becomes another leg for that whole thing to stand on. In other words, it's better to have a song that stands on its own that's not exactly about the film. It's better for the film. Because it gives us, you get a good, strong

song out of it. So many times we write songs just for the film, and it's all they do. The knowledge he's dropping right now. It makes no sense, but all the sense. It makes perfect sense to me. I've learned three, I've learned more from this episode of Questlop Supreme. Like, what do you have in the other 100 plus episodes?

What he just said, it almost just seems so obvious that you just kind of like want to ignore it because it just seems obvious that it can't be right. Right. But you've proven that it's... Yeah, because it's another... It's contrast. It's another leg of that, if you know what I mean.

It makes perfect sense. So if someone asked you to write a song for a film now, what would you do? If I had to write a song for a film now? Yeah. Well, I'd probably do the same thing. Just write them a song. Just write a song.

I mean, we have a musical that we're trying to get to Broadway. We just put it up in San Diego, and I wrote a new song for that. And it was really kind of fun because it's really fun to write for other situations than your own, right? Another voice. It's really creative and easy, as opposed to writing for something that you want to say. But speaking of musicals, how do you feel watching people? taking your songs, they're more or less the same songs, but in a totally different genre.

And watching, like, this, how does it make you feel as a songwriter? Very interesting. Good question. That's why I engaged in this musical. A friend of mine, long story, they wrote the script, and we got it all up. And I was worried about how the songs were going to be handled. And so, you know, I was very careful about that because, but our musical director is a guy called Brian Yusifer who worked on Kiki Boots and a bunch of other stuff.

And he's absolutely brilliant. He, again, went against type with a song. Where the song was like, you know, well, hit me like a hammer, which is a male. He had a girls, girls sing it and all this. So how they're handled is super important. You're right. And you've got to be careful with that because it can be a little silly sometimes.

Sure. So do you worry about that? I'm coming from, I just got back from London two days ago working on a jukebox musical of similar ilk. And you worry about songs that were totally masculine-based or totally male-based, switching them over or a song that was a fast. I think that's a good idea, to be honest.

Right, is to totally introvert them or whatever. Zig, when the original. Zagged. Seriously, I think that's that I learned from Hugh Lewis. Zigg, fuck it, go, zag. Yeah, that's lesson number two. Okay, keep going, sorry. That's less than number two. Your name's on the show, you talk.

Infiltrate, then double cross. There's a number. That's a mic dropping moment. Okay, so I know how attached you were to, based on your press, the small world album. Right.

Did you feel By the way, Rolling Stones Worst Album of the Year, Small World Worst Album of the Year I read that movie Fuck Rolling Stone How does that sound? I don't know for their fucking shit over the years

Did you Did you feel as though It was like is there a fear Of riding too high And you wonder Okay, is this overkill? Is this overkill? Is this overkill? Is this overkill?

No, no, you know, honestly, four, you called me, you got me on four. You know, four was an economic thing. We just rushed it out and tried to get it capitalized on our momentum. Yeah, but there's a win as a win. But there's still hits there. There's some good songs on. There's four hits there, at least. But because we had a couple of we had left over, but after that, we honestly, and even that, even four to a certain extent, since that time, I have never done anything for commercial reasons.

period. That's a deal I made with myself. I said, look, you know, you got to stay pure to your, just do stuff that matters to you, and then you can't go wrong, just, you know, integrity. And so that's what small world was. We were trying to do, expand and do some other stuff. And, you know, the best part of that one is Stan gets his solo. I mean, he just killed that thing. And that's kind of a fun story because my dad was a jazzer, you know. And so Zoot Sims died. And so they had a tribute to him at Kimbles, I think, or somewhere in San Francisco.

Right. And wasn't Kimball's. It was the old Jazz Cup. I can't remember it. But now... Bimbo's 365? Yeah, maybe. Maybe.

Anyway, my old man loved all that stuff. So I secretly, I got tickets for him. And I said, Pops, I got two tickets for the Zoot Sims benefit. and Stan Gads and they had all these guys. So now, Jimmy Jones, so now we go and they show me to, and I go and they go, oh my God, Huey Lewis. And my dad, you know, he didn't know anything from me.

He's just his little boy. He's a hard-knit. Dad's are the best. Hardcore jazzery. You know, he thought what I do is comic book stuff. He loved that house, though, didn't he? And the car. But at first he paid no attention.

So now we go and we get the two seats and they put us down there right on the aisle. And who's sitting right next to where I'm sitting is Phil Elwood, the critic from the San Francisco Examiner, who's a jazz critic. And my old man knows all kinds of it. I mean, he knows, he can tell you Jimmy Lunsford's band. He knows every musician in Chick Webb's band. I mean, my old man knows jazz, you know, and he loves it. And so he sees Phil Elwood. And Phil Elwood goes, oh, my God, Huey Lewis, man, Great Meno.

And my old man goes, oh, my God, that's Phil Elwood. And he's recognizing who he knows who my kid is. So now he and Phil Elwood are talking, and they're going about this and Jimmy Lunsford and this, that, and above. And then I feel a tap on my shoulder. And I turn around and it's Gets. Oh, shit. And Gets is wearing his horn.

And he's tap, the house is kind of early. He's wearing his horn. And he taps me on the shoulder. And I go, I look at him, he goes, hey, Yui Lewis. Yeah. Stan Gets. He says, my girlfriend wants to eat your shorts. What did your dad?

What are you saying to that, right? So I just, whoa. He says, hey, why don't you let me play on some of your shit? What? He says, you know what? I can play that shit, too. No, we can't, though. Oh, my gosh, sure.

Of course. Do you have a... Let me give you my card. He wrote, he wrote Stan Gets, wrote his phone number and put, have sacks, we'll travel. And gave me the card. On the ride home, my old man says to me, you know, he's got cancer.

And he's not going to be around very long. And if you don't take him up on that, I will never, ever forgive you. And so I had to figure out a way to get kids on the record. Oh, man. That is a great story. Hugh Lewis, what kind of dad are you at this point with your dad giving so much shit happening? Like your dad has been like, go to Europe and fuck off for you.

Don't forget to give Stan Gets on your record because that's a real statement that people say, what kind of father are you, Hugh Lewis? You got us my kids. Can we get them on the next question of screen, please? Girls, boys. Girl and a boy. Oh, okay. That's awesome.

My son watched. With Stan gets in my head, Stan gets in my head. is the most laid-back cat ever because all his playing is like that. Like if Stan gets was on a Huey Lewis record, you'd be like rocking, you'd get to the sax solo and it'd be like, wah, wah, wah, wah, that's his vibe. But you also had Tower Powerhorns on this record as well, right? Which is not Stan Getz. We had to find out, we had to find a song.

And Chris Hayes, our guitar player, wrote this little jam, and I thought this would be great. And first, so we did a demo of it, and I talked it. at first. I went all around the world. There are people like you and me. For the poorest beggar in the street, the richest king and queen. While the thing's wailing. And I was just kind of talking against it,

which is kind of cool, I thought. And then that's all we had. And I sent it to Gets. And he said, great, I'll do it. So we made an appointment to do it. And then meanwhile, we put Tower Power on it. We had all the Tower Power horns on it. And I sang it.

I, you know, sang it instead of spoken. So he comes up to do it at the session. Comes to Studio D that he just drives him. He comes out, he puts on it, gets his horn out. He goes out and thinks playing. He goes, oh, my God, it's in C sharp. I mean, it's out of his range. You know, C sharp for a tenor.

Right. Was B for you? Yeah. No. Yeah. Is it? It's a B concert. Okay.

So B concert. Really? Was it a B concert? It's a whole step. It's tenor. I was a tenor player growing up. I wonder if we were a B concert. Oh, whatever.

right now. He said in the Questless like, whoa. He says to me, it's in a funny key or something like that. And he can't C-sharp's not a tenor key at all. It sucks. And I said, wow, where I didn't think of that. I guess we could try and VSO it or something. He says, really, what does that mean? I said, well, we can slow

the tape down, you play. So he says, okay, let's try it. So we tried to do that, and it sounded like a kazoo. And so he was not that I can't worry about it. He says, don't worry about it. I'll just do it. He says, what? I said, you sure? He says, yeah. it's just a challenge for Super Jew.

And then he goes out. We say that all the time. And that all the time. Now Gets goes out and he starts the thing. And oh my God. Clearly he had shedded it. He was just fooling. He had to shed it because he played it.

And what was amazing is he starts his solo and he's playing along real nice and all. And here comes Tower of Power. Bum, bop-b-b-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-o. And the big one, they go, Bup-Bu-da-da-da-da-da-da-da-o. And so in his headphones, he's playing along. Bhabido, do-dib-dib-dub-dub-dab. And then he hears, and then he goes, Bada-da-da-da-da-da-da-oh. I mean, it was such a musical lesson. watching him react to. When stuff got busy,

he went. He went low. When stuff was low, he got busy. He's axed. It was unbelievable watching him play. One of the great experiences of my life. I mean, those are the most polar opposite things I've ever heard of Tower Power and Stan Getz.

It's still, and it was a seven-minute track, and I got the idea of splitting it up and making it first cut and last cut, which was a complete mistake. Should have kept the whole. thing together. Yeah, because his solo on there, which is part two, is the best musical moment on that record by a long shot.

I mean, it's just really cool. He's just such a great player. I just thought about something. I know we got to wrap it up soon. Wait, I have one more question. You're the boss. No, no, because I'm about to go to movies. I forgot.

You're in a Robert Altman film. Sir. I love Robert Altman. You're going to what? No, no, no. I was like, I'm acting in a Robert Altman film. No, no. That's what I'm saying.

Like, you're... Before that bullshit. Mr. Lewis, sir, did you ever fuck with the chromatic harp? Because you're such a diatonic harp player. You're known for that. Like, you always carry on like eight different harps and different keys and shit.

Sorry, sorry. No, that's important. Good question. Did you ever fuck with the chromatic harp? Yeah. But I, what I do is play C chromatic in D minor. In your third position? Why is that funny, Bill?

Can you explain that to the dummies? Because I don't know what you're laughing at. Oh, okay. That was a classic. No one would do that. That's why it's interesting. No, all the old blues guys sometimes do that. So, okay, so here's what you know.

So like the average, I'll explain this in front of Huey Lewis, and I'll feel real fucked up about it, but I'll try. So harmonica has blah, blah, blah, holes. It's in a specific key, and it's diatonic means it's in a scale. So it's like C or D or E or F. So let's take for a bad example, like John Popper of Blues Travelers, carrying around 800 different harmonicas and different keys. keys, so they can play in different keys.

A chromatic harmonica is like something that Stevie Wonder plays, which has a little button on the side, so you can go blah, blah, blah, but you can always, you can play all 12 different notes, whereas the other ones are just eight notes. Although, unless you're Howard Levy. Right, unless you're how, wow, that was a deep cut, unless you're Howard Levy, a great, great, or Toots are like one of these guys. All right, so anyway. Only know Toots and Leo Asker.

Tuts was on the original Sesame theme. We'll go real deep. Right. Anyway. This is such a great music class. So, so, so, so, so, so, so, so, so, so Huey is known as not a chromatic player, but a guy who would, would, did you carry around a bunch of different harps? Is that, yeah. Yeah. Okay. So, so, so, so, so, uh, so, uh, uh, hewy Lewis's tunes are written in an A, and E and C minor, like, there's some weird shit. So you'd have to adjust the harmonica you're playing for the song you're playing in. So he would carry around, tell me if I'm wrong, uh, I'm going to tell Hughie Lewis's business while he's sitting right here that, like, you would play, he's had a bunch of different harmonicas and different keys. And so if you have a chromatic harmonica, the idea is that you only would have one. And so, Exactly. Now you should talk.

But you have to be a much better player than I am. I mean, but did it matter at that point? I mean, like... You know, all you need is the chops to say what you need to say. And what is it that you want to say? Fuck, I wish I said. There's hamburgers and there's foie gras. You know?

So what, really, whatever. I mean, you know, it's all creative. Yeah. Dude, man. You use my spirit animal, man. Can we have you? we all the time. Every time.

This might be, I love you, Louis. I love you, he might be the new Fonte. Wait, did I just say that? Yeah, you did.

It's okay. Fonte would be good with it. Oh, God. All right, wait, I just want to get to movies while we have a couple of minutes left.

Don't forget that he's a miracle too, because we have to get to that. Yes, we'll get to that. Okay. So with you, how did you get the role in short? I'm such a Robert Altman fan. I forgot. You were in shortcuts. How did you get that role?

His amazing good looks, Guestlove. What's that? He's amazing good looks. His Hollywood good looks. We, um, they, I, you know, I don't know how I got the, I think it was, I think it was my, Bill Robinson was, is an agent. And I think he was, he was, he was, he was, he was, he was a fan of mine. And he said, look, I'll be your agent. I said, well, I don't need an agent. I don't do anything. He said, well, let me just be your agent just in case. So then he got me the gig, or the audition or whatever it was. So what I did is I went out to Santa Monica and just talked to Robert Allman. And he invited me and he sat me down and he said, you're fishermen,

right? Do you fly fish? I said, yeah. He says, cool. He said, look, let me give you a scenario. He says, two guys, three guys are going to go on a fishing trip. He says, and they're going to go on a fishing trip and they've been worried about it for like a year they've been planning for this trip it's a big deal and they got to pack in all the way and they pack in all the way and they get in there in the evening and they set up camp and one of the guy goes to take a leak I was going to say he goes to take a leak in the river and sees a dead body right he says and so what what are you going to do he says and meanwhile the fish are rising like crazy and it's night time what are you going to do I said probably fish

You got the game Wait It's been a minute since I've seen shortcut Wasn't that full frontal? Who? I remember one of you taking a piss Me Was it full frontal?

Full frontal Oh, good for you! Yeah, I was going to say There was something usual You too. Only for Altman. I was going to say, wait, now that I remember

there was something very unusual Oh, that's right, you definitely had to face the camera as you were taking a piss. Actually, porn hub. Wait, are you serious? She's really getting on porn hub right now. Probably, yeah, yeah.

No, she's getting on porn hub right now. You know I am. You know I love that spot. Anyway, but with duets. Yeah. And Lai's favorite? Well, you, no. I was telling them earlier that you were the only reason

that I saw duets. I was, I was a big Huey fan. Wow. That's sweet. Yeah, because I was like, Hugh is going to be the star of a whole movie. me fuck yeah because that was your first like biggest girl I'm gonna support my man how did you how did you how did the same thing I read for the part with with Bruce Paltrow you know when his dad directed it

right and then they they had apparently tried to make it earlier with but they couldn't find the right Ricky Dean so with not not Huey Lewis and so they they've they boom and the game he uh you know you cast me oh and we and then they said, we want you to sing a song. I said, great. He says, the song in the script was song for you, Leon Russell.

And they changed, she's, but Gwyneth's going to change the song. I said, no problem. So now I get the part. We're going to film it in Vancouver in like five months. But I get a call that Gwyneth has chosen the song

Cruising. She has chosen a song. It's a Smokey Robinson tune. I went, great. Which Smoggy Robbins is doing? Cruising. I didn't know the song, right? So I said, well, send it to me, and we'll check it out. They sent it to me.

I said, okay, I got it. Let's, I called them back. I said, it sounds great. Let's, we need to get together around a piano and pick a key and all. Oh, no, we already cut it. I said, really? Another we are the world situation. What key did you cut it in?

They said, original key. I said, okay. So I listened to it, and it's super high, you know. So I fashioned this other part together And then we went down there And now we got into the studio Gwyneth and me and 45 other people Of course no

Like with makeup people and camera people And then record companies and blah blah And Larry Klein produced it And he did a great job And she just sang her butt off man She could really sing that girl That was the first time we heard it Yeah

Were you surprised it went number one Yeah You know what they did is they messed up on the film What they should have done is the power love release it Let it go go, then release the movie They released the movie in the song at the same time And the movie went And then two months later

The song was number one Right So his cruising did better than DeAngelo's cruising That's actually a question There's no shade Okay That's very okay It is there

I'm just saying you know It's De Angeles was great The Angela got that Simpsons placement, so he's cool. He did? Yeah. Yeah. When?

There's a, I think, like, Margin' Homer are riding around a car and cruising is on the radio. Really? Yeah. No kidding. How do you know that? It's the Simpsons. Yeah. It's the boss bill.

It makes sense. So, okay, I do have to ask you, um, with having trouble with your hearing right now, when was the beginning? of you, this is weird because I just got my ears cleaned out today. How does that happen? Was it just years of abuse on your eardrums or?

The answer is they don't know. This is recent, right? This is like the last year and change. It's not like a year and nine months. Year of nine months. I've been diagnosed with something called Meniere's disease. First, for me, it started 35 years ago.

I got vertigo so bad. I couldn't do a gig one time, had it to go to the hospital, and then they gave me a Thorazine suppository, and then I was fine. And then five years later, I had another vertigo bout. Then suddenly I lost my hearing in my right ear, like maybe 25 years ago, 20 years ago. Went to see my E&T guy, he says, get used to it.

I said, what? It happens. That's not cool. You only need one ear. I said, what do you mean? I'm a musician. He said, Jimmy Hendricks had one ear. Wait, what?

Brian Wilson had one ear. He says, I have one ear and I'm in a barbershop quartet. I said, really? So yeah, he says, you only need one. I said, all right. So I went home, told my wife that I, he said, get used to it. She says, you can't do that. You got to go to UCSF, get second opinion.

I went and got tested up and down. Nobody knows anything about this. So now a year and nine months ago, I lost my other year. Before a gig just went deaf. And I have a particularly acute case. of Meniere's disease. Meneer's disease is a syndrome based on symptoms, which means they really don't know what it is.

It's, you know, if you have vertigo, hearing loss, fullness in your ears, and tinnitus, they call it Meneers disease, but they don't know what it is. I've been everywhere from Stanford Air Institute, House Heer Institute, Mayo Clinic, UCSF, UCSF, Mass General Ioneer, no help. I've been chiropractic, I've had acupuncture, I've had low salt, all organic diet,

no caffeine, no chocolate, essential oils. You know, I've tried everything. I've been to all the holistic ling. Nobody knows anything. And yet my hearing fluctuates still, but it's episodic. It's weird. It'll be okay for like, for eight days.

It'll okay still crappy, but it's, but, and then I'll, then I'll go a week almost completely deaf, almost entirely deaf. What is that like? It's horrible. It's horrible. It's your... Forget music.

I don't even think about music. It's worse than that. I think about being able to exist. Because when I can't hear speech, when I'm bad, right now I'm 1 to 10, I'm a 4. I've only been as good as 6 ever. And I'm a 4, which is good, but I can be 1 or 1.5. When I'm one and a half or two, I can't hear anything. And so I exist in a cocoon.

And it's okay, but you're better off by yourself. So there's nobody not to hear. And I read and I write. You know, I'm writing some stuff. And that's what I do. I haven't watched television in a year and nine months. Probably a good thing. I haven't listened to music in almost two years.

Can I ask one? The performance thing must be clearly an issue then But like when you're at like a six I was I was we were watching your teaser for your documentary Is singing versus harp playing Different? Because of the vibrations of the harp Can you feel it in your head versus singing is different

No Or it's all the same? No it's all the same and in fact Instrument playing an instrument in many ways like harmonica is almost worse because, you know, when you bend a note, you need pitch, and you can't find pitch. When I have a bass part, which would sound

bow, bow, bow, bow, bow, go to me. That's what you're hearing. Through a blown speaker. Oh, interesting. And you have to fight for pitch. You can't find pitch. Forget fun. You know, like, what a song is fun,

and you're in the middle of it? It's just playing itself. You know what I mean? You're singing or playing, and it's, play in itself, that never happens. Once, if I'm a six and somebody plays quiet cocktail piano kind of thing, I can

almost sing. But the point's moot because I can't book a gig. A month ahead because I don't know what I'm going to be like. Got it. Shit. Wow. Boy, that's your cast to Paul. So you got a brand new record. So you

got that done. That wasn't felt good to make that happen, right? I said you got a brand new record and you got that done. So that must have to feel good. Well, I had, we had, this, these were seven tunes on our new record that we had cut before this happened. Okay. And what I, we were just taking our own sweet time. We're doing 75, 80 shows a year and trying to stay out of the limelight while we make another record, just keeping everybody alive, fingering, the longer we stay away, the better if we're good when we come back.

And my band, we were as good as we've ever been two years ago. We were still improving. and but now that this happened, you know, we figured what, and we were recording songs along the way. I mean, some of these songs we've been playing for 10 years, you know, but we record them a little bit as we went, because we have lives as well, you know, and doing 75 shows, you don't have a lot of time to get in the studio.

Right. But we had these seven songs done. So now when this happened, we said, what the hell, let's release the song. So, well, I was going to say, are you big on vacations, but I guess living in Montana, that's sort of like your quiet place, You're, I mean, now, how does it feel to slow down and just?

Well, you know, I miss, I don't miss doing five shows a week, you know. Right. But I miss doing one. And I miss my guys, you know, the camaraderie of all that we did together. I miss that. And I feel bad for my 25 guys who, you know, are gone. And the fans have been great. I mean, the letters and stuff, the support I get, you know, it's funny because you do this stuff, you know, just day to day, and you don't think about your impact or any of that crap.

You don't think about it at all. And now that I'm not doing it day to day and I get these letters and stuff, wow, you know, it's really moving to say, I mean, people who have cancer, people who have, you know, lost people and all that stuff, how your music consoles them and so on. So it's really a wonderful thing. So I try to remind myself that I have, in spite of this, lots to be thankful for, you know. There's always somebody got worse off. The church, amen. Amen. You didn't know you was a joybringer, Huey Lewis.

You heard what I said? What did you say? I said, you didn't know you were a joybringer. It's funny because I'm sitting here listening to you for the last two hours, and I was like, Huey really doesn't understand the impact of his music and how certain. None. It's a select amount of bands or artists who can even. folks such joy that whatever you're doing at that moment when their song comes on,

happiness. Everything just stops. And that's y'all. And prepping for this interview, you know, you go through the catalog, you know, and I'm listening to the songs and I'm like, damn, I haven't heard this song in a long time. And then, like, you know, like, heart and soul came on. And happy moments of my life. Yeah, I'm like, I, like, I, the song came on and I vividly remembered, like, I used to

sleep with the radio on when I was a kid. And I remember that song coming on. it was two o'clock in the morning when the song came on. And the first lyric in the song, yeah, it's two o'clock. And then, like, all that shit just came rushing back. And then, like, Jacob's ladder comes on. And I'm like, fuck, I remember driving down this,

riding down this street, you know? It's just like, you're the soundtrack of my fucking life. Yes, a R, like, oh. You're very sweet to say that. You're very, very sweet. And that means a lot. It really does. We mean it.

Thank you very much, Hue. Not at all. Thanks. Well, on behalf of the Supreme Team, by you, unpaid bill. That's boss, but that's okay. Boss Bill. I'll take it. The audience can see it.

Mr. and Steve, we would like to thank you so much for coming on the show. This has been a major education. Oh, it's been wonderful. It seemed like, went by like that.

It seems like five minutes. No, it was amazing. Lewis, if you're ever bored in Montana, you want to come hang out with us, you just come hang out with us. Yes, yeah. What's that, sorry?

Anytime you're in Montana, you're bored because there's lots of wildlife, you can come hang out with us. Anytime you want. Or if you're lonely and you just want us to come over. Yeah. He's coming to my 10, too. We like it.

I got it. All right, here we go, y'all. Well, thank you very much, and we appreciate it. Thanks, Gary. Before we log off, I just want to ask you, as the boss of all of us, can we have a couple shows off? That was a Huey Lewis reference. It failed horribly, and I will edit that out. No, you won't.

We keep it net. No. We will see you on the next go-round, y'all. This is West Love Supreme. That one wasn't as big a hit as it should. I will say that is one of my favorite Huey Lewis in the new songs. Cool.

I thought it was a good one, too. All I want is a couple days off. You know we're going to have to pay for that. I know we don't. Anyway, we'll see if our next round, y'all. Thank you very much. For more podcasts from Iheart Radio, visit the Iheart radio app,

Apple Podcasts, or wherever you listen to your favorite shows. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clifford Taylor, the first. You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Clifford Show.

This is a place for raw unfilled conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Clifford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects.

From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this.

He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends. Trust me, babe, on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. This is an IHeart podcast. Guaranteed human.