Tony Mantor's : Almost Live..... Nashville - Billy J Kramer: Behind the Scenes with the Beatles

Episode Date: November 20, 2024

Ever wondered what it was like to work side-by-side with legends like John Lennon and Paul McCartney? Join us as we sit down with the iconic Billy J Kramer, who shares the riveting story behind his stage name, a suggestion from Lennon himself. Discover the fascinating behind-the-scenes tales of recording songs written by the Beatles exclusively for him, including his hit single "Little Children," which marked a pivotal moment in his career. Kramer also opens up about the thrill of touring across Europe and the United States, reminiscing about his electrifying performance on the Ed Sullivan Show. Take a trip back to the 70s and 80s, an era of revival and reinvention in the music industry. Billy reflects on the nostalgic joy of touring with fellow British Invasion bands and the dynamic changes that came with the reformation of the Dakotas. We explore his unique ventures during the 80s, from creating a children's album to narrating books, and discuss the challenges he faced balancing international tours with recording commitments. Hear firsthand how these experiences have shaped his illustrious career and solidified his place in music history. In a heartfelt conversation, Billy opens up about his lifelong connection with the Beatles and his journey to maintain musical integrity over the decades. Learn about his personal battles with alcohol and his triumphant path to sobriety, as detailed in his autobiography "You Want to Know a Secret?". We also discuss his recent projects, including a new album recorded at Abbey Road and his active role in music festivals and historic interviews. This is a must-listen for anyone eager to hear the untold stories of a true music industry legend. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

My career in the entertainment industry has enabled me to work with a diverse range of talent. Through my years of experience, I've recognized two essential aspects. Industry professionals, whether famous stars or behind-the-scenes staff, have fascinating stories to tell. Secondly, audiences are eager to listen to these stories, which offer a glimpse into their lives and the evolution of their life stories. This podcast aims to share these narratives, providing a series. information on how they evolve into their chosen career. We will delve into their journey to stardom, discuss their struggles and successes, and hear from people who help them achieve their

goals. Get ready for intriguing behind-the-scenes stories and insights into the fascinating world of entertainment. Hi, I'm Tony Mantor, and welcome to Almost Live Nashville. Today, we are joined by Billy J. Kramer, who boasts an impressive background in the music industry, having worked closely with the Beatles and their manager. His extensive history includes possessing never-before-recorded songs written by Lennon and McCartney, specifically for him. We are eager to hear about his experiences and share this with you, our audience.

So thanks for joining us today. Thank you very much. Yeah, I really appreciate you taking the time to come on to my show. So I'm kind of interested. Back when you first started, you was with a band called The Dakotis. And back then, I know they, wanted you to have a stage name. So I was kind of interested, how did Billy J. Kramer come about?

There's rumors that it came from a phone book, so many different things. So how did you become Billy J. Kramer? What it was is that the guys I started off with, you know, my first band said, you got to have a stage name. And they wrote down 12 different names. They called the telephone operations and said, wished you liked the best. I insisted that it had to be Billy something.

And she picked up Billy Kramer. And then about a month before, I was going to release, do you want to know a secret? I went into Brian Epstein's office. John Leonard was down. He said, John has a suggestion. I said, what is it? He said, he wants to add the JET, wants you to have the JTA.

Make it more work and roll in and catch you for the public. So that's how that came about it. Oh, that's great. That's truly very interesting. interesting. So I understand that you are probably the only person that has recorded a song written by Lennon and McCartney that the Beatles didn't actually record themselves. Well, they wrote that to me, you know. They wrote, I'll keep the Saras from a window, you know, another song called I'm in Love. So, yeah, I guess it was just because I was doing a lot,

I was working with the wall, I was touring with them all, you know. Yeah, that's just awesome. So it never hurts to have a super band like the Beatles to be part of what you're doing, because it gives you tremendous exposure, of course. I heard that because you was traveling with them so much and recording their songs, that you wanted to kind of come out of the shadows of the Beatles and become your own entity and create something special of your own, and of course, that really happened for you. Well, little children were something to do with Van McCartney. the little children came with

and I just felt that you know I had a lot of people sending in material I was mixing with music publishers and I was in a place called Ryan, Social and England and I got at one day and I put on a necessitate

and there was little children and you know it's funny because like he records one of the two or no secret I never thought it was going to be a hit you know right but I just thought Little Children was a hit song, right from the demo. Yeah, and that actually worked out very well for you.

So now I understand that when you came up with your name, Billy J. Kramer, it was also so that the Dakotas could keep their name and you could be two separate entities, and that appeared to work well for you too. Yes, you know, part of, you know, they were a pretty established band, you know. They used to go do all the back-end jobs for people who were in the charts that came to the north of England.

So Brian Epstein thought it would be a good thing to put us together. And the deal that he struck with them was that they would have a recording contract and I would have a recording contract. Yeah, that was great because it worked out well for both of you. I guess so, yeah. You know, they had a hit with a thing called Cruel-Surf. They had another thing called a millionaire, it was instrumental. Okay.

Oh, yeah, you know, so they play singles. Yeah, that worked out well. So once you started hitting your stride, your name got out there, your songs got out there, you travel, of course, around the UK. Did you travel into Europe first and then ultimately make that transition to travel over to the U.S.? I mostly, I said Europe, you know, all of Scandinavia, originally. And then I came over to Americans in a promo tour before. all the Beatles. And then when the Beatles

did at Sullivan show, I came back to America and I did at Sullivan show myself, you know. Oh, that was great. So how did you find the audiences between the U.S. and the U.K.

because you was having hit records in both countries and you were starting to really blow up there. Did you notice any difference at all? I'll be honest with it at the time, I think that people in the U.S. fell in love with anything from England. Right. You know, after the Beatles did I saw them around, you know.

And it was more the same thing. You know, I mean, a lot of screaming young kids. Yeah, that certainly was a time, just a lot of screaming young fans that was just excited to see you. So what stands out over the years of things that happened to you that you can look back upon and say, you know, I'm really glad that I was able to do that. I think like doing the Tammy show

with James Brown, Marvin Gay, Chuck Berry, the Beach Boys, Janet and Dean, Leslie Gore, was monumental to me. You know, if the Rolling Stones were in it, you know, that was a fantastic show. Also, a monumental was appearing at the well, was fair for a week in New York. Yeah. Yeah, yes.

It was a wonderful time. Yeah, that's a great time. I mean, that's what a lot of people just really wish for in their lives. So you did well there. So did you have any songs that you recorded that when you recorded them, you liked them, but then for some reason you didn't think they was going to do well, but all of a sudden they did? Well, I'll be honest with her.

Do you want to know a secret? I've been singing, Do You Want to Know a Secret, on live on stage, I've been you doing it when I was at the Star Club in Hamburg for months. I was very surprised when I did a recording test for George Martin and he wanted to really still want to

know a sweeper. I wanted to find a song. I didn't think it was good enough. It really took me my surprise when it was a big hit. Yeah, that's always a great feeling when something that you didn't think was going to work out all of a sudden turns into something very, very good for you. Now, in your travels, you travel, you travel the world, you did big concerts, lots of people,

you just brought up one with tremendous stars that just created a tremendously good show. Can you name one or two other things that you've done that just stands so tall that when you look back at your body of work, you just kind of surprised yourself, but you're really proud of what you've done and what you've accomplished with it? I think doing bad to me, you know,

is to me my memory of being at Happy Road Studios and John Lennon's sitting at the piano playing with the song. Yeah. And I'm rehearsing it and recording it all in the same day. Yeah, that's amazing memory. It's having Lennon there, I'm sure, because, I mean, nothing gets better than that. So with all the friends that I've got in the business that's travel the world, there's always that one or two stories that just stays in your mind and they'll always, always remember. Do you have a story that where you sit back and remember that it just kind of

brings a smile to your face? You know, I think being so kind of snowstorm in the Middle East of England was, it was funny, you know, we're all in this van and we got snowed in, over the ice, you know, we're looking we had a case of being able to us. Yeah, that's a good story for sure. So did you get into writing at all? I mean, you had the Beatles, McCartney, Lenin around you. So many talented people. Did you get into writing or was you just staying a performer? I was one of the singers.

I used to, with the Decoasters, I would, you know, put some emphasis into some of the songs they were writing, you know? Yeah, that makes sense. I mean, everybody does their own little thing. So now you've gone through the 60s and all the change of music and how it happened. Now you're into the 70s and 80s. Things slowed down a little bit,

turned around a little bit because it did for everybody from that era. There was a revival of the British invasion here in the States. So how did it feel going back and kind of recapturing what you had done in the past over those years?

It was good, you know, because I've been honest with it. I think, you know, when I did the tours in the 60s, You know, I was like, it was a co-bill with Jerry and the Pacemakers, and Sonny and Cher were on one show. But to come back and, you know, to do, that's all with people like the searches,

piece of noon, the trogues, that thing. It was interesting to work with all these people, you know, travel around and hang out with him. Yeah, it's always good to go back in time that way and just relive things, but still have that vibe that just really works because you certainly had it. So at some point, the Dakota's changed a few members.

Did that affect you at all? I actually finished with the Decorces in about 1968. Okay. And I've been honest with it, I never named the band. Okay. And then the drummer from the DeColters approached me some years later and said, you know, would you come back? we've reformed the band

there was him and Mike Maxwell who was the original guitar player and they had another bass player and a keyboard player and I went to England and I rehearsed with them and we did a tour together you know it was just a one-off thing

okay that makes sense so then let's move into the 80s you still were recording you were still performing all around the world did you focus more on the UK with the Dakotas, or did you still focus on the U.S. or both? I am to both places, you know, that's more of the, yeah. Yeah, it's always nice to be able to go in various places where you've been

and focus on that. So after that, I heard that you did a song on an album that was for a children's album. What led you up to doing that? That was more, I was approached. I got a surprise of this. Sandra Boydney, who was one of the biggest child authors in the world. I made one one there. It was this letter from her. I'd never heard of her. Okay.

And she sent me this song and said, you know, at the time, she was writing books and making CDs with it, you know, and she had different artists to the different tracks. And she sent me this song called Kow Planet. I just thought, I got to do this. It's going to be a lot of fun. Oh, that's nice. And I went to Cines Studios in New York and recorded the song with her.

And then afterwards, she asked me, was I narrated some of her child books for her young. Yeah, that's great. That was great. Yeah, it's always great to be able to do things because you want to do them and not because you have to do it. Because in the first part of your career, you're being pushed to record more records, perform more. get out there more. Did you find yourself like so many other singers that have been in that situation? I know a few that have been so busy and in such demand that they couldn't remember where they

were 10 days ago, let alone yesterday or six months ago. How did that affect you back then when you was working so hard? It was very old, you know, I mean, let's face it, you know, I was sort of like working on the railroad, swinging on a heavy hammer. And then inside a year, I was like jetting all over the world. You know, it was flying to America, flying to Australia. You know, it was crazy. Oh, I can just imagine, especially back at that point in time.

So how long did it take you before you got used to the pace and got used to the demands and it just settled down for you? Yeah, it took quite a long time. I'll be honest with it. In my case, I started to drink a lot that became a bad habit, you know. Right. I got drank a lot to try and cope with it. And I think it was only when I got sober and stopped drinking. Well, that's great that you got past that because now in the last 40 years,

you've been able to focus on your music, the integrity of what you want to do and just keep it pure. Yes. And, you know, back in the 60s, albums were just like... like your A side, your B side and fillers. Oh, yeah. You know, I started this thing about doing an album of all songs that I thought would be good for an album, you know. Yeah, yeah, absolutely. I remember back in the 70s and the 80s, we had stations that were designated AOR, which just played basically the album cuts that was off the album without playing the singles that were actually the hits.

and they were really great songs. Most of them, some of them were not, but overall they were good, but like you said, they were recorded as fillers, so they weren't pushed to radio because they just considered them as fillers. I used to go on the studio that were just lyric sheets

and a lot of stuff I recorded. I never ever did them again. Yeah. I did them on the session. I never did them live, you know. 90% of my early albums made like that, you know. Yeah, I remember that a lot.

A lot of people told me those stories. So I understand that you're still recording, have recorded something in the last, what, year or two? I have this new album. I said, it's a album called Are You With Me? Oh, that's great. You know, which I went back to Abbey Road. I did my 6th anniversary and show business party there.

I did a party there. And then I recorded a whole new album. Wow, that's great. And a lot of great memories at Abbey Road, for sure, I bet. So how is that album doing for you with your fans and people that around you? Has it picked up for you? It's brand new, you know. There's a couple of songs on it, which are written by a good friend of mine who lives in Nashville now who produced a bloody guy, Tom Hambridge.

He wrote, Tom Hambridge wrote the song, Are You With Me? And I know the song called Go on Girl. That's just awesome. I just love it that you're still seeing active and still recording because it's a love, it's a passion, and it's something that you don't ever want to give up. Now, I've heard something about writing a book or something about a book. What's that all about?

Oh, I wrote my autobiography. Oh, that's great. I mean, the stories you've got to tell, I'm sure, outstanding. I got together with a writer who wrote the Harry Nielsen's an autobiography, Alan Shepton, who would turn a lot of jazz people and did it like that. He came to America. We spent time together, and then when I was on tour, he spent time with me, me to my autobiography. It's called you won't know a secret.

So I'm sure that it's available on Amazon. Are there any other places that people can pick it up? Yes, it's on that. Also, I can send the people to get in touch with me at Billy J. Kramer Music.com. Oh, that's great. I'm sure it's a great read too. So now didn't you write an introduction about a novel that was written about the Beatles, the fifth beetle? Yes, Vivek Tuari, who does the Brian Epstein book, I wrote the notes for that. Oh, that's great. So now, where you was performing and traveling with the Beatles because you was recording, you was writing songs with them,

that must have been a special thing like brothers in a pack. I'm sure that that's never gone away, has it? It was, you know, I'll be honest with it, it was no big deal. They were really nice. We'd go to theaters. They'd walk in my dressing room. I'd walk in their dressing room. That's the way it was.

Yeah, that's just so good because it's always great when performers can go out and create that bond and then there's no real competition there because they're just supporting each other and hoping each other does well. You know, we'll be honest with it.

And they invited me so when they had new albums released and stuff like that, I got an invite, you know. Yeah, that's great. So do you still stay in contact with Paul or Ringo or both of them at all?

Occasionally, but that's all an everyday thing once in a while. Yeah, sure. It's always great that you can just pick up the phone and stay in contact with friends that's been that long. Sure. So you're promoting an album that you just recorded, you've written a book. What else are you doing this upcoming that we should know about?

I'm going back to where you wrote to do a historic interview there. From there, I'm doing the Brian Hapstian documentary. I'm going to be involved in. I'm going back to Liverpool to do a thing at the Beatles Museum there on August 26th. So, you know, I have to do the festival of Beatles fans in Chicago. Yeah, that's great. And in August. So now you're in a place where you can kind of come and go and really do what you want to do, pick and choose, have fun with it.

Are you traveling a lot, or are you finding yourself with a good mix of travel and downtime? I like to try. To me, I like to try to try and be as active as possible. Sure. It's good for you. It keeps you young. You've mentioned that you're going to do some interviews. Have you gotten into anything or any talks about a documentary about your life and all the times with the Beatles and the different stars that you've been involved with? Because with what you said, I think that just makes sense that you would do something like that. And it would do really well because of the history. You know, I think that's been sort of something that's been going on behind the scenes for quite some time. Okay. And I sat, they did, is it a bosque, a head and shoulder thing?

They're going to put one of them in a little bit of me. Wow, that's just really awesome. Yeah. I mean, that just goes to the respect that they're giving to you. I think that's great. So what are some of the hotspots that you find yourself still being drawn to to perform in? England, the world of England. That's the next big hot spot. That's great. Now, you were born and raised in England, correct?

I was born and raised in Liverpool. Liverpool. Okay, that's great. Yeah. So how old was you when you finally made that move and decided, you know, I think I want to do music and I'm going to give it my shot and see where it goes? It was when I was 19. I'll be honest with it. I came second to the Beatles and the popularity of all. Wow.

And Brian Eftsian approached me about managing me. So that was it. Well, that's great because where Brian was involved with the Beatles, that was definitely a great thing for you. Did you feel once you had signed with him and things started working that you was really kind of like part of the family? Brian, you know, the call of the Brian Epstein stable. Right.

He had Jerry and the Pacemakers, the Beatles, a girl called Silla Black, a band called The Big Three. And it was like a family. It was like a family. I mean, that's great. And what a great family it was. I mean, you could walk in one day and probably see Paul McCarney. And the next day you see John Lennon.

And then, of course, with all the other people that were within the Epstein family, what a great time you must have had. I mean, I can really appreciate that. It was like that. I'll be honest with you. I remember like when I had hit record, I got like a telegram from the Beatles congratulating week.

Nice. You know, I would send them a telegram when they had a hit, you know, it was that kind of situation. Yeah, that's just so great. I mean, you can't ask for a better situation than what you had there. So how did you transform into a singer?

Because before you started to become a singer full time, you was working, what, for the railroad or something like that? I worked for British Wales in the UK. I was an engineer, you know, a maintenance center. I took locomotives to pieces and put them back together again. Wow, that's impressive. And in the evening, I used to do gigs all around Liverpool. Wow, that's great.

Now, when you started performing, I think I heard that you was pretty much a guitar player, not just a singer. I played guitar. I started playing guitar, and the guys in their band said, you're not progressing very much, and they pushed me to do the singing. That's great. I mean, sometimes things just happen. for a reason and that was probably just a great transition for you.

I guess so. Yeah, I mean, it certainly did. I mean, you've had such an awesome life. You've got great stories being around the Beatles and all those great names that came out of England. What's next for you? What do you see that you'd like to still do? You know, I've read, I'll be honest with you. I came to Nashville just before the COVID.

Okay. And I recorded five songs with some. Bridge. Okay. I'd like to go back and do another five and put out an album. Yeah. That would be really nice. Yeah.

I mean, there's nothing better than recording. I've been in the studio with various singers that I've recorded, and it just gives you such a feeling when you're in there, and the musicians are just creating. To me, it's a wonderful experience. You know, but as I say, I'd like to go back to Nashville and finish off what I saw it. Yeah, that'd be great. And if you do come back to Nashville, definitely let me know so that I can come down and check it out.

Sure. Absolutely. Yeah, I think that'd be great. So each of the next two things that I'm going to bring up has a different set of emotions. Recording and performing. When you're recording, you're creating that great music. And then, of course, when you're performing, you're in front of crowds and just feeling their energy. Which is your preference? recording or performing?

Frankly, I enjoy going into a studio with a song that's just bare bones, maybe on acoustic guitar, and I like to take it to where I feel it's great, you know, starting it from nothing and creating and making it great, you know. Yeah, there's nothing better than that creating music from just a bare bones and building it, feeling your dreams come true, plus your vision come true,

and at the end, having just a great song that you've recorded. It's a wonderful experience. Yeah, it really is. It's awesome. Yeah, I think that would be really great if you came back to Nashville to finish your CD. Yeah. So the project you have out now, is it an EP or a CD, five, or is it 10 songs? It's 10. Okay, 10 songs.

So you did a complete album then? Yes, 10 songs. So your goal then is to come back and do. do another five and create another EP. Oh, yes, definitely. Yeah, that'd be great. I mean, you're in Chicago, Nashville's here, it's only about a six to eight hour drive.

Yeah, and I really enjoyed the songs I did in Nashville. Yeah, Nashville's a great place. I've been here for over 30 years now, producing and managing singers, so you can't get a better vibe than what Nashville can give you, and that's any place in the world, actually. It's just really great. Right.

The musicians are here, the songwriters are here. Everything is here that's need to develop a career. So it's just a great place to be. It's a great fight. Yeah, it is for sure. Well, I tell you, this has been great. I think so. I mean, the stories that you can tell and the things that you've done,

just really tremendous. So it's been a pleasure having you here. Thank you very much. It's been a pleasure talking to you. The pleasure's all mine. Thanks for joining us today. We hope you enjoyed the show. This has been a...

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