Tony Mantor's : Almost Live..... Nashville - Felix Cavalieri: From Classical Keys to rock stages with the Rascals

Episode Date: February 19, 2025

Ever wondered how a classically trained pianist ends up playing alongside rock legends? We had the pleasure of sitting down with the inimitable Felix Cavalieri, a cornerstone of the 1960s music scene and the soulful force behind the Rascals. In our latest episode, Felix takes us through an extraordinary journey that began in Pelham, New York, under the influence of Beethoven and Bach, and unexpectedly swerved into the limelight of rock and roll, spurred by an unforgettable Beatles performance. From family expectations to global stages, Felix recounts how each moment, including a fateful encounter with Joey D and the Starlighters, propelled him toward a life dedicated to music. Through his eyes, you'll experience the transformative power of music and gain a front-row seat to the vibrant and revolutionary '60s music scene. Beyond the melodies and the fame, Felix shares intimate reflections on the challenges he faced, both personally and professionally. Internal band dynamics and the backdrop of the Vietnam War era presented obstacles along his path, but Felix illuminates how collaboration and inspiration from artists like Billy Joel, Elton John, and even Swami Satchidananda, shaped his musical narrative and personal well-being. Hear about his impactful project with Dolly Parton to aid Lahaina fire victims, a testament to the enduring spirit of collaboration. Wrapping up our conversation, we celebrate the joy of a shared musical passion and the potential for future collaborations. Join us for insights that promise to leave you inspired and filled with a renewed appreciation for the complexities of life and music. 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... information on how they evolved 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. Welcome to Almost Live Nashville. Today's guest has an impressive musical history. Like many emerging artists, he aspired to share his music with the world through Turing. This dream became a reality when he formed the young rascals, which later became the Rascals. His journey has been truly remarkable. Felix Cavalieri joins us today, and I am truly grateful that he is here to share his experience with us. Thanks for coming on. Hey, man, looking forward to it, yeah. Yeah, me too. You've had quite a journey. What led to your ultimate success? How did it all start for you? It's a long story. That's why I've written a book called memoir of a rascal, but it started off in a town called Pelham, New York. And it's an interesting

story because I try to tell people that you really never know what's going to happen to you until it happens. I was at the age of five, my mom recognized some musical ability and enrolled me in a school, which was a very serious music school for eight years of my life. I took three lessons a week, two at the home and one at the school in classical music. My entire family was, they were all in medical field. They were all medical, some way, shape, or form. So I went off to college at Syracuse University. I was in the pre-med class. Started a band up there, and it started to become a little popular. What happened from there? We took a job for the summer in the Catskill Mountains. Every weekend, there would be a headliner come in. One weekend came in, a headliner came in,

was Joey D. and the Starlighters. They had that hit, peppermint twist. Yeah, he's a great guy. I got to meet. But anyway, long story short, they left to go on the road. They were going to Europe, and their organ player quit. And just as the summer was over and the next semester was starting in college, I get a call to join them in Frankfurt, Germany. I asked my parents, I asked my father, said, sounds good, give it a try, which I was thankful for,

because tuition had already been paid. We had to get a refund, et cetera, et cetera, all that kind of stuff. I flew over to Germany, and the opening act for Joey D. and the Starlighters, I walked into the club. Everybody's screaming, hollering at that top of their lungs is a group called The Beatles. So no one had heard of them in the United States yet. So I saw these guys on stage, and I said, wow, look at this, man, check this out. This looks like, A, a lot of fun, a lot of fun. B, I think I could do this. little did we know did I know that they were three of the best songwriters that ever was we were listening to them play American music and they were okay but when they did their music a really good band so long story short it started there and I decided yeah I think I could do this yeah that's a great story

so ultimately when you made that decision and you said I'm going to try this you started your own band ultimately performing with the rascals originally known as the young rascals How did that all transition for you? It's a long story, but basically, when I came back from that tour, I was now out of school. I had to make some decisions. A, what am I going to do? B, what about Uncle Sam? We had Uncle Sam to cope with in those days as far as that war, the Vietnamese vet more that's going on. And it's funny because now I'm eating at Vietnam restaurants.

It's really funny. So until that was resolved, I really could not start anything. Joey had a club in New York, and they had a house band, and I joined that house band. As soon as the government of the United States decided that I was not exactly what they were looking for, which was pretty interesting. I didn't know what was going to happen, but fortunately it didn't happen that I went in. I asked the guys that I was with who happened to be pretty talented guys, why don't we start a band? The drummer at that time did not want to come with us, and through the good fortunes and the grace of God, I met this drummer through a girlfriend I had. by the name of Dino Donnelli.

So I met a great drummer. He decided to join us. We got a job in the Hamptons, discovered in the Hamptons. Sid Bernstein, the person who brought the Beatles to US, signed us. We had a deal in six months. I had three people, pretty much who had been leaders of their own bands. Eddie was a little young, but he still was extremely talented. So I had basically three alpha males in one band, four exactly.

We made it really quickly in terms of a deal. Yeah, that's a great story. So as you travel around the U.S. and around the world with your new band, you're getting new fans. And of course, the whole scene is completely different back then to what it is today. Oh, yeah. How did that affect you? I mean, it's a completely different atmosphere going from a local pub and a local area

to the big stage with thousands of fans. It was like a magical mystery tour, as they say. We started off with the premise. that I wanted to produce the band. I did not want an outsider to come in and produce. We actually turned down a couple of labels, and one of them was Phil Specter, who I totally idolized as far as his work was concerned.

I wanted to produce the band ourselves. I did not want an outside producer. Atlantic was the only label that allowed that to happen. So at that time, clubs demanded top 40 songs. They did not want original material, taboo. So our set included songs, that became hits, not only for us, but for other people. An Atlantic pick right up on that.

For example, Mustang Sally, way before Wilson did it. We also included Land of a Thousand Dances in our show. We also had a song called Good Loving in the show. So our first record was supplied by them. The song was two Motown writers, Pam Sawyer and Lori Burton. It was called I Ain't Going to Eat Up My Heart anymore. We made the charts. The second record was a cover called Good Loving.

It was number one. So we didn't really have much time to wander around in the clubs. Bam, we hit. So now we have a number one record and everything changed, everything. And we began to write. Started the writing process, primarily to emulate all the people who were writing around us, such as John and Paul, such as The Loving Spoonful, the Byrds, Bob Dylan, of course, huge. Everybody was writing there.

Let's give it a try and got lucky. And we started having hits. So the only word I can say is it was fun. It was fantastically fun because you're young, you're with a bunch of guys, you're trying to make it, and you're making it. Yeah, that's for sure. There's nothing like putting together a band, getting that tightness down, going on stage, and just truly enjoying that music, the rhythm section you have,

just everything totally to put together right. It's just a tremendous feeling when you finish the night, everything has gone right, the crowd, the crowd's getting into it. It's just a great night of music. Well, that's why so many of us are still on the road. Like I try to explain to people, how come Ringo's still playing?

And because of just what you said, you can't replace that with too many things. There's not too many things that you could say brings you that type of satisfaction, feeling, joy. Yeah, I totally get it. I came off the road to get into production development even though I enjoy the creative process, the development,

helping them with their journey of having a music career. Oh, yeah. There's still nothing like being on stage in front of 10, 15, 20, 25,000 screaming fans. It's fun. It's still fun. Like I say, it's very satisfying to all of the things that you don't have when you're off the stage. It's really something.

And everybody that I know, pretty much everybody, although there are exceptions. My singing partner there, Eddie, He really didn't want to stay on the road. He didn't want to do it. He quit very early in our career. You don't want to do it, don't do it. But for the most part, most people that I know, they feel exactly that way. Yeah, absolutely.

I know a lot of the same types. What were some of the influences that you listened to that helped form what you became? The interesting thing is that I grew up near New York City about 15 minutes north. And that's where Alan Freed brought rock and roll. I was able to hear the very beginnings of we know now as pop music, rock and roll. Being a keyboard player, I heard Fats Domino, early Lewis, Ray Charles. I heard these people playing the same instrument, Little Richard, but they certainly weren't playing it like I was playing it. I'm class trained, that's all I'm listening to.

All of a sudden, I hear this stuff, and I'm saying like, whoa, that sounds pretty interesting. Now, I could tell musically what they were doing, but the feel of it and the power of it. I saw recently that Elvis Presley movie. Same thing happened to him. He heard this stuff. He said, like, oh, my God, this is so cool. That's what happened to me. So in the beginning of this new phenomenon, I heard the best.

I still think they are and were the best. There's people that come along like Billy Joel, of course, Elton John. But for those days, there's nothing. like it. Oh yeah. That's the people I listen to as well. I kind of followed the same way that you thought. I started out as a classically trained pianist, then moved on to listening to new things, listening to what they're doing, kind of combining all of them to become what I become, which was me. Yeah, that's exactly how you do it. Today, it's very different. On the other hand, a lot of the players today are really excellent. Oh, yeah, they are. Really good. Absolutely.

Now, with all the hits you had, all the accolades that you received, there's always bumps in the road. Oh, yeah. There's always something that creates an issue that you have to overcome. What do you remember, good or bad, that came along, that challenged you, and then you just found your way through it and just kept on going? I mean, there's so many good. You know, as a matter of fact, one of the things like the, I recently put out a song with, Dolly Parton, it's Hawaiian movement. Being famous in Hawaii was a major, major good.

Major good. We were very, very fortunate. I think that's really good. If you would, expand on how you became popular and got to be so well known in Hawaii. I think that's very important for everyone to know. Very interesting story. That's the good. If you want to get to the band, I'll do that later.

Well, let's focus on the good for right now. There was a disc jockey and a promoter in Hawaii who took a liking to the fact that here are these guys who primarily are white guys who play R&B. And I won't go into the politics of that, but there was a real reason for that on the islands. Took a liking to us and brought us to Hawaii. Oh, I think it was around 1966. The Hawaiians loved the music. Actually, they took to us more than they took to the Beatles. So we were huge there immediately.

And as a result, we used to go there at least twice a year. And the Hawaiians have a word called Ohana, which means family. Every time we worked, everybody in the band got at least two tickets for their families. So we brought everybody over those years to Hawaii, who probably some of them would never afford it in their lifetime. So we had a feeling of, as I say, Ohana from day one in Hawaii. That feeling has lasted till now. During that period of time, he wrote a song called My Hawaii,

which became like an anthem out there. It was just like this tribute, a little bit emotional, to thank the people of the islands, because it's a very special place, obviously. A year ago, in August, they had that horrendous fire in Lahaina. To make a long story short, my manager said, why don't you re-record My Hawaii? My guitar player, Mike Severs, used to work with Dolly, contacted her people.

Would you do a duet with us? Totally for charity, totally to raise money for these people out there. So anyway, that happened. So if you haven't heard it or people haven't heard it, look up by Hawaii. It's really nice. And everybody in Nashville, they all contributed their services to make it happen. That's the good. That part stands out.

Yeah, that's just great. That's truly, truly awesome, especially where you got Dolly to step in. and help out as well. Over the years, you have people that will either try and build you up or they'll try and tear you down. Does anyone stand out in your mind that gave you positive impact in your life,

changed your attitude, did everything they could to build you up that you remember even till today? Well, that's easy. That's a simple question. I studied with a guru for many years. In New York City, I met him's name was Swami Satchadana.

That was the major, kind of positivity in my life. That has to this day still kept me mentally, spiritually, and physically fit. So that's good. As far as the other side of the coin, which I don't really like to talk about that much, because I didn't even put it in my book. But we had similar problems to a lot of the bands, internal disarray. The eternal disarray, really to this day, I will say It bothers me, but it bothers me. Sure, sure. Because it was so unnecessary, and I'm sure you being

in the music business all your life, all these stories, the Three Dog Night stories, every group you could name, that Crosby Stoll's a Nash book, which is horrible, you know what I mean? And you read this, you say, Capasa, what is this, man? You know, that's what happened. And it really

ruined the upward movement of the band, of course. It moved the cohesiveness of the band, and it really was, in my opinion, totally on this. Absolutely. A lot of times, if people can just step back, take a deep breath, relax a bit, think it over, and not let the music business get the control like it does. And unfortunately, things get blown up way more than they should. It's just ridiculous. Like I say, especially if you're winning. Oh, yeah. We were really doing well. It's like one of your

tires and your car just decides, I'm going to take off. I'm just going to go. Where you going? Nowhere. We only got three. Wait a second. So, I mean, that I wish I could have avoided, but what are you going to do? Yeah, I get it. Starting off, you hit it off really well. You've been fortunate enough to be able to continue it into your later years. What are some of the things that you look forward to now in your music that you might have overlooked in your younger years

because you've got a different perspective than you did back then? I could think of, for example, as you well know, you start off classical, then all of a sudden you get an opportunity to work with the Nashville Symphony. Now, wow, it was strange the way it happened. It happened at a convention, but that really was something I was really looking forward to, and I still am. So we're doing some of the symphonies now. We did Utah Symphony.

I really like that. Frankie Valley told me, man, once you do symphonies, you're not going to want to go on stage anymore with anything else. It's a little difficult to crock into, but that's really something that I've really taken to in my later career. Yeah, symphonies are awesome, no doubt. Over the last several years, you've received a lot of good recognition for the music that you've done.

I saw that you was inducted in the Syracuse Music Hall of Fame, the Songwriters Hall of Fame, the Musicians Hall of Fame. Is there any Hall of Fame that you haven't been in? Yeah. That's pretty nice. Yeah, it's nice, especially. the one you mentioned, the songwriter's Hall of Fame, because I don't know if people are familiar with that. It's a pretty select group, and they don't have a museum or they don't have a television

show. They just got a great award. And that was one of them, they're all good. Like I got the Hammond Oregon Hall of Fame, which is a real treat because unfortunately, during those years, my guitar player was getting guitars, my drummer was getting drums, and I wasn't getting anything. But now I am, so I'm pleased. I know that feeling. It only took me 30 years to get my first keyboard given to me. Now things have changed so much. I remember when I had a Hammond, a Leslie,

and about four or five other keyboards to haul around. And it took a U-Haul to get them all there. Now you can get all those sounds out of one keyboard that only weighs 30 pounds. Exactly. You know, I always say chiropractors loved me because of that Hammond organ. Oh, yeah.

I certainly remember those days. Yeah. Unfortunately, they stopped making the oldie, the B3 in 72. So once you get a bad one, so they've got these new ones that are out now, the XK5s, etc., which a lot of people I know are using them. I mean, I know Rod Argentin, Tilly, it's really interesting how far they've come. Yes, it's definitely amazing what they've done. What's up next? What's on the plate for you? We do a lot of cruises. Oh, nice, yeah. We go out on these things. For example, there's one called the Flower Power.

Eight days of complete mayhem by the people who think it's still 1960s or 70s. And that's on the agenda. We're trying to keep on the road. My guitar player, Gene, is he's staying alive by doing these shows. So let me tell you, a lot of us in the 60s, as they say, we were trying to promote world peace. Yeah, yeah. The concept, gee, I don't know. So really haven't given up on the thought of, maybe.

Maybe we can make a little bit of a dent in some of the way people think. Now the Rascals was inducted into the Rock and Roll Hall of Fame in, what, 1997? Yeah. I've talked with several people that have been inducted into the Rock and Roll Hall of Fame. They've told me how it was for them. So how was your night when you was inducted into the Hall of Fame? There's two different Hall of Fame eras. All right.

There's pre-TV. Okay. And after TV. Yeah, that makes sense. The ones that we did before HBO took over were like a big family. Like we were in, I think it was 97 with, and it's also interesting enough, the last time I saw a lot of these guys and gales. For example, it's the last time I saw Michael Jackson.

It's the last time I saw his brother Tito. It's the last time I saw Bee Gees, two of them. We were all backstage together in one room. Yeah. That doesn't happen anymore. that, but true. It is a huge television production. Most fun besides, of course, getting the award and the accolades, was to mingle and see the people. David Crosby's no longer around. They got in the same time. Those are the things that stand out to me because you don't get to see these people,

but now you can't, of course, but you don't get to see them unless you go to an event. So that's the difference between then and now, which, by the way, is the name of my last album. Yeah, that's nice. Nice. What you said about the awards is so true. I was talking with Steve Hackett of Genesis. He brought up the point of the people that he'd seen, that he'd grown up with, all the music that was happening. And that was just a situation that was so special. Exactly. Then he went on to add that with the music, they started getting into it, and then ultimately it became more about the music rather than the awards that everybody was receiving. It really is. Of course, the award is at accolade that you promote.

it was, and I'm sure like it's a different kind of event today, but I'm sure the people who get in really enjoy it. It's just that you've got barriers now with television cameras and security and all this kind of stuff. That was never there. Yeah, it's just the world has changed. The world has changed. Okay. You've done all these things, all these accolades now. Do you take any time off? And when you do, what do you do just to relax? I work out very heavily to try to keep my body in shape and everything else going. Actually, I go back to my classical music, listen to some of the masters there and say,

wow, pretty good, man. You know, listen, you just try to take a little bit of a picture of what they were doing and what they were thinking. Oh, God. Absolutely. The best thing is that was pre-everything electronic. It was about the instrumentation, the performance, the attacks on every single little note,

just so many things that encompassed that song in the way that it was written and performed. Not only that, but the years that it was written and how everything has evolved, but yet it still stays as strong as it was in this original time. How about the guy who couldn't hear? Yeah, exactly.

You just look back and you say, you talk about Mozart, you talk about Beethoven, you talk about a shoot, is like, are you kidding me? Wow. You talk about talent, you talk about creative. It's just the more deeper you dig into those things, the more you appreciate it. My God. Now the years have passed, do you ever look at your body of work that you've created?

Just say to yourself, wow, I can't believe I did that. You never want to say, I can't believe I did that because when you start out, you believe that you could do that. But now, you've actually done it. What emotions do you feel that you look back upon now, the people you've been around, the hits you've had, just all the fans. What goes through your mind with all that? Just the gratefulness, thankfulness. I wrote this book a while back, and I said, let me write a, I don't think I put it in the book.

I write a couple of pages of all the people that I've shared a stage with or been on a show with. My God, I go back to Bing Crosby, for God's sake. That's just great. You got Bing Crosby, Andy Williams, Perry Como, and then you go like to Billy Joel. met so many people. Some, as you well know, you'd rather not meet again. But for the most part, really cool, like George Harrison, I got to know George. It's really an interesting look back to see where you've been. The only thing I can say is thank you. Being blessed like this, coming from a little town, what can I say? I love it. Thank you. Absolutely. Now, how do people find you and follow

you for what you're doing? We have a Fulish Cavalry. Music.com, I think it's the easiest place. But I'm sure there's a Facebook that my people have out there and all that. It's not easy to keep up with people because there's so many people out there. That's where it is. Yeah, that's great. Well, I really appreciate you taking the time. This has been fantastic. I enjoy speaking to you as well. We've got to get together one of these days since you are in Nashville, correct? Yeah, I'm just a little bit north of Nashville. Oh, you're in a different town, yeah? Yeah, I'm on I-65 north, just about 20. 20 minutes north of Nashville.

Really easy to get in and get out of. So once again, it's been great to have you here. Really enjoyed it. Thank you, man. Enjoy speaking with you as well. And thank you for your time. I look forward to seeing you, man. Yeah, sounds great.

Thanks again. Thanks for joining us today. We hope you enjoyed the show. This has been a Tony Mantor production. For more information, contact media at plateaumusic.com.