Tony Mantor's : Almost Live..... Nashville
Tony Mantor's : Almost Live..... Nashville
Marty Wilde: The Rock & Roll Pioneer Who Helped Shape Music History
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Show Notes
Rock & roll pioneer Marty Wilde joins Tony Mantor for a remarkable conversation about being at the birth of modern rock music and building a career that has lasted more than six decades.
Inspired by the arrival of Bill Haley & His Comets and "Rock Around the Clock," Marty shares how one song changed the course of his life and launched him into the emerging world of rock & roll. From those early days to writing timeless hits and producing music for future generations, his passion for creating has never faded.
The conversation explores songwriting, studio creativity, the evolution of recording technology, and why the emotional connection behind a song will always matter more than chart positions.
Marty also reflects on writing iconic songs for his daughter Kim Wilde, including the international hit Kids in America, his love of rockabilly music, and his decision to return to his musical roots with a brand-new album.
In This Episode
- Discovering rock & roll through "Rock Around the Clock"
- The early days of rock music in Great Britain
- Learning from American rock and blues artists
- The importance of finding your own musical identity
- Producing music with authenticity instead of perfection
- Writing timeless songs that connect emotionally
- Creating hits like "Kids in America" and "Cambodia"
- Why demos sometimes capture the best performances
- Returning to classic rockabilly with a fresh modern sound
- The creative process behind songwriting and studio production
- Why music remains his greatest inspiration after more than 60 years
Throughout the conversation, Marty offers thoughtful insights into creativity, longevity, and the pursuit of making music that stands the test of time. His love for songwriting and recording remains as strong today as when he first stepped into the studio.
Whether you're a lifelong fan of classic rock & roll or a songwriter looking for inspiration, this episode is filled with stories, wisdom, and a deep appreciation for the power of music.
Be sure to follow Almost Live Nashville for more exclusive conversations with the artists, songwriters, and creators who have shaped the soundtrack of our lives.
INTRO/OUTRO Music: T. Wild
Mantor Music BMI
Show Mission And Welcome
SPEAKER_01My 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 with a famous stars behind the scenes tab of 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. If you haven't already, take a quick second to tap the follow button. It really helps the show reach more people who love music and entertainment. Thanks for being here. Joining
Marty Wilde And New Rock Album
SPEAKER_01us today is Marty Wilde. He isn't just a part of music history, he helped create it. When rock and roll was still finding his footing, he was right there in the middle of it, helping shape what it would become. What makes this conversation meaningful isn't just his success, it's his perspective in living through it. The highs, the changes, and the evolution of music. Thanks for joining us today. My pleasure. Let's start this conversation by telling our listeners what you're currently up to.
SPEAKER_00Well, uh most of the time uh I spend I'm either writing songs or I do shows or I've got a new album to plug, which is obviously a new album, which is a rock and roll album. I've gone back to what I started to do many, many years ago. And that's it really. It's an album which I'm very happy with. So I normally I'm not very happy with my product. I'm fairly happy with this one.
SPEAKER_01When you think back to your early days in rock and roll, what did it feel like being part of something so new and so misunderstood at the time?
SPEAKER_00Uh well, I think it was great. I mean, for me, it was uh probably the biggest musical journey I'll ever take. I mean, it to come from what had gone before in Great Britain. It was all big band stuff or very old-fashioned orchestras to make that jump, a ginormous leap. And in actual fact, you analyze it, it wasn't something that was technically incredible. It was just a rhythm. It was just a simple, basic rhythm. Right. And the offbeat, which uh I loved when I the very first time I heard it was which was in the shape of uh rock around the clock with Bill Haley.
Discovering Rock And Roll In Britain
SPEAKER_00Yeah, right. That kind of um that was the thing that fused me with me to rock and roll. I just love the rhythm. And I had a I had an amateur group at the time that were playing guitar music, but not rock and roll, and uh it's called Skiffle, which was like folk music. So I I said to the boys that the boys of the band, I said, I've I've heard this, so I heard his track. I said, Rock around the clock. I said, that's it. No more, no more folk music. I said, We're we're in for rock and roll all the way. That's how it started.
SPEAKER_01So when you made that shift, it was a pretty big change from what you were doing. What did the people around you think at that time?
SPEAKER_00Uh I don't know really. I suppose they would have worried. I I remember the people around one of the people around me was the guy that employed me. And he was in London, in Rude Lane, uh Covent Garden. And uh he said, Well, I asked him for for two weeks' uh money, severance pay, and I wanted um he said, What are you gonna do then? So I said, I've got two weeks' work in uh cabaret. What he said, what are you gonna sing? I said, Well, I'm gonna sing rock and roll. And he said, Well, if you thought about it, you know, you think you're leaving a good job and all that, all the usual things, and uh anyway, it worked out okay for me.
SPEAKER_01So that's how I started. Was that the moment you felt this could really be something? Or did you still feel like it was a phase until you could navigate yourself through it and see a little more success?
SPEAKER_00No, I never had any second doubts. I I once I heard rock and roll and I started to sing it, there were no second doubts. I knew exactly what I wanted to do and exactly where I was gonna go. But uh, like all things, you know, you need good luck. And I had good luck. My manager was Tommy Steele's manager, who was the first rock and roll star in Great Britain. You know, I had the manager on once, he signed me up, I knew for a fact I stood a damn good chance. To be honest with you, I didn't even think too much about it. Yeah. Just breezed ahead and did it. I was just fortunate that it worked out.
SPEAKER_01You were
Learning The Roots From American Records
SPEAKER_01influenced by rock around the clock and early American rock and roll sound. How did you turn that into your own style while still staying true to the roots of what you wanted to do?
SPEAKER_00Well, I don't know, really. I mean, you know, we had to imitate and we had to learn fast because, you know, I said earlier to someone today, people like uh in America, like people like Elvis, for example, and a lot of the black artists, they were living it. They were in it. They were, you know, Beale Street was just around the corner of some of those guys and um, you know, the black influence, the church music and all that. We in Great Britain, all we had was just big bands like the Ted Heath Orchestra was was a big orchestra, Billy Cotton Band show that came on us. But they were all big bands, and so you know, that kind of influence. Well, it took a it took us time. It took a long time.
SPEAKER_04Sure.
SPEAKER_00I mean, people like the Beatles, that was different. They came later, they had much more time to, you know, integrate with this kind of thing, but I didn't. Right. You know, I had to learn really fast. The thing that that that helped me immeasurably was the man that used to sell the records, he had a record shop, and I used to go there to order my latest release. You know, I'd move from Frankie Lane and Guy Mitchell to suddenly move to Elvis was a big change. He said to me one day, I bought Elvis Presley's RCA version of uh Hound Dog and Don't Be Cruel. He said, Um, have you heard you heard the original of this song, Hound Dog? So I said, No, is there original? He said, Yeah, of course there is. Yeah, he said there is. I said, Oh, he said there's a black version. That was the original version, he said. So he said, It's Mama Mae Thornton. I said, I've never heard of her. He said, Well, I haven't listened to this. So I listened, and of course it was rock and roll, but it was a sort of much more bluesy, and um, you know, that was it. And from then on in, when I used to go in and buy my records, he'd say, Well, you know, he said, Um, we've got some wonderful new records have just come in. So I would be listening to quite a lot of black music. So for a white guy in Great Britain in 1950s, you know, like 57, quite a lucky step for me to have that influence.
SPEAKER_01You mentioned earlier that you didn't like some of your earlier recordings in the studio. What was it exactly that you didn't like?
SPEAKER_00I didn't like the fact that we couldn't I wanted to use my own group, my own band, my own musicians, guys that I was playing with. And the record company at that point felt that they wouldn't have been good enough to play on records. And I suppose maybe it would have taken time, you know, extra time, maybe, because time was always a factor in those days. You know, maybe they thought, you know, uh, it wouldn't work. But eventually, of course, I got my own way, but it was, you know, way into my career before I could get my own sound.
Studio Control And Staying Relevant
SPEAKER_01You've had a lot of longevity that many artists just don't get. What do you think allowed you to stay relevant where others just simply faded away?
SPEAKER_00I think just love of music. Even to this day, I will move on to listen to the latest top 20 in America. Well, for a guy of 86 who's nearly 87 to do that, it's most unusual. That is most unusual. Yeah. But I love music. I just I love sounds, I love synthesizers, guitars, I love all everything to do with music, and anything that makes a noise. So that's what keeps me on my toes. I just adore music. And I love classical music too, so it's not just confined to you know, to pop music.
SPEAKER_01As you grew as an artist, did those other influences, like classical and some of the other styles you just mentioned, find their way into your music? Did you see that it changed your style a bit, but yet you were still keeping your identity?
SPEAKER_00With me, yeah, to a certain extent, but much more so I couldn't do that so much with my own career. I used to do my own arrangements. I used to make the arrangements, although I have no musical knowledge great enough, but uh I have feel and I have ideas. So I used to, you know, take control or try to take control of an awful lot of work that I did. But later on, when my daughter's career uh began, Kids in America, for example, the very end of the of the kids in America, there was it just the synthesizers banging away. And I wanted to get a French horn sound. I said to the guy on the synths, I said, get me up a French horn sound. So they got up a French horn sound, and we put that into the very end of the records. Still things like that played a part. Those influences did play a part, but eventually, much more with my daughter's career.
SPEAKER_01Now you just brought up your daughter. You've had such a career that has influenced so many people, the next generation, as they say, and your own family. When you reflect on your legacy, artists you've influenced, people your music has touched. What does that mean to you personally?
SPEAKER_00I don't know really. I don't I don't you know, you don't know, you don't know. It's probably like you, you know, maybe someone else you the same. You just don't know. I mean, you're just happy or you just love what you're doing and you do it, you know. Sometimes it it doesn't work out, sometimes it does, you know. Yeah, you just go ahead and do it. I mean, as simple as that.
SPEAKER_01Did
Returning To Rockabilly Live Feel
SPEAKER_01you ever find yourself drifting toward what was shifting with the trends? You had to step back and say, you know, I need to get back to my original sound and my roots.
SPEAKER_00Yeah, I did that just recently. Uh I've been making uh for the last, oh my God, uh certainly the last couple of years. I've been using just using click track, click tracks, and adding the bass on or get someone in to play bass, bring in the string section, bring in the computer string section later on. I was getting tired of it because it was so computerized. There was nothing, something so unnatural about it in a way. Although I've got used to that. Prevalent everywhere these days. But I said that, you know, to my wife that I'm getting a bit tired of all this. She said, Why don't you sing some rock and roll and do what you were doing originally? So I thought, right, okay. And um, it stayed with me. And I thought, well, if I do it, I couldn't go back singing blue suede shoes and all the old rock and roll tracks all over again. You know, I want to try and get some different kind of writing and fuse that together with the rockabilly and and the bass and do the whole thing. And so that's what I did with this latest album of mine. I used a rockabilly, a great rockabilly guitarist called Daryl Hyam, and he's played with Amelder May and Jeff Beck and people like that in this country.
SPEAKER_03Yeah.
SPEAKER_00And um, we worked together almost as a team to do the backings, and it was terrific. Got such a lovely life feel about it.
SPEAKER_01Yeah, there's nothing better than someone who really feels the music versus someone just trying to overthink it and make everything so structured.
SPEAKER_00Yes, that's right. I mean, you would have seen that with Glenn Campbell. I mean, he's a phenomenal guitarist, you know. So yeah. I love his work, by the way. I loved always, always love Glenn Campbell's work.
SPEAKER_01Yeah, he was a great singer, a great guitar player, and overall great musician.
SPEAKER_00Oh yeah, oh yeah. Wasn't he on the Beach Boys? Yeah. Absolutely. Oh my god, yeah. Well, you had to be good at play with those those guys.
SPEAKER_01Yeah, he played with so many people. He had such a great career.
SPEAKER_00Yeah, absolutely. Absolutely.
SPEAKER_01Now, speaking
Success Mindset And Songwriting Craft
SPEAKER_01of success and careers, how do you look at success now in your career compared to when you first started? How have you seen that dynamic change?
SPEAKER_00Well, I look at things. I think I probably look at things the same way as I did many years ago. Nothing was ever good enough. I always wanted more, I always wanted you to be better. You know, the the next thing would be better. And that's always what you are. I guess that's what we all aim for. Yeah. And I've always felt that way. You know, you you obviously you want to do the best. And also you want you want people to like it and to hear it, you know, and to be part of it. Well, you know, we're making records, it's an extension of you in the end, and you put your heart and soul into it, and you just hope it touches someone's emotions out there in that great big public, you know. If it does, that's that's the way I view it, and I still want that. I want that with people, and I want that to happen if possible.
SPEAKER_01How have the highs of being in the spotlight and the quieter in-between moments work together to shape your journey as an artist? To the quieter times, you mean in my career? Um not meaning that things slow down for you, but in your first part of your career when you're in the twenties, things are going a hundred miles an hour. You've got to be here, you've got to be there, everybody's tugging at you. Then as you get used to it, it seems like it's quieting down a little bit. You get a better sense of what you need to do. How did all those things interact with each other so that you could take and continue to move forward?
SPEAKER_00Well, I don't know, it's a hard question in a way. I think I mean I've always I've I've always really it been things of obviously you you learn more as time goes on. You're learning about music and you're learning about so many things, just shortcuts, and in actual fact, a lot of these are shortcuts. Yeah. So maybe I've learned shortcuts. And what not to do. What not to do is one of the important things to learn is what not to do. Yes. I mean most so many of them do it. You know, they they just do it. I mean, I try to, I mean, like song-wise, you know, I tried titles to me are very important, and I learned that from uh just trying to think what I did learn it from, but titles are the most important thing, and then and then subject matter, and you know, people like Paul Simon, you know, I learned from Paul from years back when he first started. I used to listen to Paul and that he shaped my career. And also, I think um, yeah, I think I I still have that kind of I want to get things done. I don't want things hanging around. I don't want to spend months and months, you know, like like some AR people can do doing I like to get things done, get things done, and move on from that. Right. Uh I know that some people go in and remix, remix, you've got to watch out for that. You know, you you really have. You can make some terrible mistakes by remix and remix. And sometimes I very often um when I've been doing demos and things, the demo was really probably better than the record in a way. The energy on the feel of it.
SPEAKER_01Yeah, I've seen that. When you look at your music, what's one of the songs that you're most proud of?
SPEAKER_00Oh, two, two songs. Jesamine was a ballad I wrote. Uh, another track for Kim's career, which was Cambodia. And Cambodia was a massive European uh it wouldn't have hit in America because you know, Vietnam and that whole bit wasn't too much of a I think uh left a nasty taste in their mouth. So it wasn't gonna be a hit there. But it was in obviously in France, France had connections with Cambodia, but the lyric content was it was a pop song, it was very poppy, instantly commercial. It's been a hit several times with different people and you know, still still earning us a load of money now, and it's still one of the most popular European songs. But the song itself, the lyric I had in my head was about a guy that was flying uh clandestine operations in an aircraft. You know, he was flying, I presume it was for the American government, or I imagine someone at the CIA going across to Cambodia and uh eventually getting killed. So it's really weird to mix those two. So that song I am particularly and Jasamine, I like because it uh Cambodia to me meant something. And so did Jasamine, because Jasamine was just an emotional song. A lot of simple song, but a lot of truth in it.
SPEAKER_01Over the years, there are always going to be those people that will give you their opinions.
Proud Songs Advice And Patience
SPEAKER_01They will tell you what they think. Out of all that, you have to sift through what's good for you, what's not good for you. What's some of the best advice you probably ever received, whether you used it or not?
SPEAKER_00Wow. Uh in a in a human sense, in a personal sense, my wife says, Don't tolerate fools. Because I used to, you know, people would come up to you and they say, I would just like to say, and they would be rabbiting on and rabbiting on. And I, because I didn't want to be rude, I used to stand there and listen. And my wife observed my trend to do this in my life. Yeah. And she said, Don't tolerate fools. And also, I don't know, uh, I think I've also learned with songs the most important thing, it's not always how big it's sold or sells, it's what's in it, what's the fundamental thing in it.
SPEAKER_04Yeah.
SPEAKER_00Well, you know, you know, you make sometimes you might have made a record that that didn't sell as big, but it was just as good and probably better than some of the other things. That often happens, you know. It does. So I've learned to have I'm trying, I'm still trying to learn to have patience with that thing. It's like this album, this album that I've I've made, it may not be the biggest seller. I don't know yet, because they're not released yet. But and with a single, I'm not sure about the single, how big a hit it'll be, but I know it's one of the best things I could have done. I've learned that over the years. Have patience.
SPEAKER_01With this album you're doing, what are some of the things that you're really liking about what you're creating? And when did it all come together for you so you could sit back and say, you know, I like this?
SPEAKER_00Well, I had this idea about a sound with rock and roll, and I wanted to go back, I wanted to do rock Dave Edmonds uh did it with Girls Talk, the Elvis Costello track.
SPEAKER_04Yeah.
SPEAKER_00And I like the way suddenly an Elvis Costello song, which was very different in some ways, the way the original version by Elvis Costello, Dave Edmonds made it into rock and roll. And I thought, well, wow, you know, if you can do that, if you can have that kind of rock and roll feel about it of something in the future that you're doing, then do it. And I've tried on this album to do it. We tried it, one of the tracks, we Can't Stand Losing You by Sting. Yeah. We took that song, and some of the people that are Sting fans will I know one particular Sting fan who said he can't take it at all. Because I changed the chord sequence slightly. Well, a lot actually. And we changed we took it away from being that reggae to with this with this beat, but it works. Right. It absolutely works. Whether Sting thinks that, I don't know. So that was of making the album. We did a few of the old-fashioned rock and roll tracks, but that was just really just to you know to bring everybody into you know, all the old timers as well together. A new kind of approach to some of the tracks. I was on this track, Let's Rock This Place Has Got It. It has, yeah, it's got rock and roll feel about it, but it also just got a sort of a not a modern, but it's got a different edge to it. And that's what I wanted to bring to rock and roll.
SPEAKER_01Now, how has it felt being back in the studio again working on this latest project of yours? The studio, of course, is a lot different than doing live performances. So, how's it felt to be back in the studio creating this project that is turning out so well in your mind?
SPEAKER_00I love the studio work. I adore studio work. Yeah. I can't do it all the time because I don't know if you're you're the same as me. I only sometimes a break in between numbers. You know, in other words, you know, I'll go in the studio like uh Monday, then listen on Wednesday, then go back on Friday.
SPEAKER_03Yeah.
SPEAKER_00I just love being in the studio. I love creating things, and I the sounds fascinate me. And I think you've got to be very open with sounds. I look around here and I've got a banjo, I've got a four-string bass, threatless bass, which I love. I love the threatless sound.
SPEAKER_03Yeah.
SPEAKER_00It took me a long time, being an ignoramus, to realize that it was being used. I remember the first time I ever heard it was in a Paul Simon track. Mrs. Robinson, I think they use it on Mrs. Robinson.
SPEAKER_02Yeah.
SPEAKER_00And um, that was the first time. Do do do that's a great sound. Anyway, I've got one of those, and I've got a banjo, I've got uh you can't mandolin. I love the mandolin sound. Yeah. Now if you can use those different instruments sometimes, well, they're not different, but you know, if you use a mixture sometimes, get that banjo notation-wise, yeah, suddenly you've got a whole new sound. You know, you've got something that no one else is using or thought of using.
SPEAKER_01Absolutely.
SPEAKER_00Well, you know.
SPEAKER_01Yeah.
Studio Details Fresh Ears And Sound
SPEAKER_01Now you just brought something up that I think is absolutely spot on. Taking a little time in between so that you can come back to the studio with fresh ears.
SPEAKER_00Yeah.
SPEAKER_01Have you had this happen? And I'm sure you have, maybe even on this latest project. You listen to something, you work all day on it, you walk away from the studio going, Yeah, this sounds really good. Then all of a sudden, you come back a couple of days later and you go, Oh, I gotta change this.
SPEAKER_00Yeah.
SPEAKER_01When you do that, do you follow through with the changes, or do you just say, you know, maybe I'm overanalyzing this?
SPEAKER_00No, I know I never think of overanalyzing, I just do it.
SPEAKER_01Yeah, me too. Oh, good man.
SPEAKER_00Yeah, well, I mean, it's probably a natural thing we all do, but uh, you know, sometimes I'll listen and think, hold on a minute, that that bass is just not quite, it isn't quite right. The tone isn't right.
SPEAKER_03Yeah.
SPEAKER_00Or the string sound, you know, the synth strings. Because I work with a guy who's he's a classical writer, he's a brilliant, brilliant pianist. He makes a load of computer work, but he works in writing classical music for some of the big companies that can't afford the big orchestras. And of course, I use him, and of course, you know, some of the things he shows me, you know, I just hope my mouth opens and you work with geniuses like that. Right. You know, I imagine it was a bit like working with Brian Wilson or or even Glenn Campbell, you know, Glenn Campbell, you know, that kind of talent.
SPEAKER_03Yeah.
SPEAKER_00I've used him throughout the last 20, 30 years, 40 years, and he's just brilliant. He's the technical knowledge, he's got so much on. I haven't got, you know, I say to him, analyze, you know, think of this. What do you think? And then we work together for the arrangement, normally for the final arrangement. And I think sometimes, sometimes I think we can overreach ourselves. We just try too damn hard to get a mix when it was there all, as we said earlier on. It was there all the time. It was there all the time.
SPEAKER_01Yeah, exactly.
Legacy Art And Music As Faith
SPEAKER_01What would you like to tell the fans and some of those that are just connecting with you on what they can expect from your new CD? Then I'd like a follow-up of if someone finds your music 10, 15 years from now, what do you hope that they get from it?
SPEAKER_00Well, I hope with this this new um album that a lot of the rockabilly boys, and there's many, many, many of them around the world that they listen to some of these tracks and say, yeah, maybe I'd like to work with contemporary writers. I want to keep my rockabilly sound. Sure. And I want to keep that energy, but I want to work with maybe contests. I would like that. And I'd like I don't know. I I think I just want people to remember some of my songs, like uh Jesamine and like Kids in America, you know, and because that was just a sort of a sign, you know, it was something that happened in the 80s and it was a style of the 80s. That so I just hope that they hear it. Like I listen to I listen to classical music, and some people don't listen very much to classical music. I listen to quite a lot, and I keep discovering new classical composers.
SPEAKER_02Yeah.
SPEAKER_00And I get such a thrill. There was a there was a series which was on our television in Great Britain called Victoria.
SPEAKER_01Okay.
SPEAKER_00And it was about Queen Victoria. It was a wonderful series. The music for that, it was just called Victoria. I discovered it quite obviously while I was watching the program. But when I got in to listen to the music that was written, I was just gobsmacked. I love it so much. I hope somebody one day might hear one of my tracks and say, I can see where his head was, and I really you know what I'm saying. Yeah.
SPEAKER_01So oh yeah, absolutely. Like you said earlier, there is nothing better than having that song that you just love how it turned out, no matter what it does on sales, charts, or anything.
SPEAKER_00Um yeah, it is. I mean, it's creating art, isn't it, in a in a way. Yeah. I'm not meaning to sound arrogant, but it is creating an art, and you know, it's an art form, and uh it is. You know, it's a bit like the cover of the of the EP that you're making or the album. That's as important as well. That's an art form, and so is the music. Yeah. So is the design that you put into it, you know.
SPEAKER_01Yeah, and what you brought up was an integral part of what that artwork was when it was on that album and it was vinyl. That was the album cover, and now that we're streaming, we've lost a lot of that.
SPEAKER_00Yeah, I agree, I agree. Ay, I think that's changing things as well. It is. People are using that now. I'll tell you what I did to my one of my friends who's just come back from Paris and he went to the Louvre to see the Mona Lisa, and he's got a picture of it there. He took with his phone, and it's very, very good lens. And I marveled at it, you know. I just absolutely marveled at it.
SPEAKER_02Yeah.
SPEAKER_00The look, and I could see now what, you know, although I wasn't there in Paris, he said it was amazing. You know, people just stood there transfixed, you know, looking at this wonderful piece of art, you know. Yeah. Yeah. It was lovely.
SPEAKER_01Yeah, there are definitely a lot of things that were behind the scenes that are totally lost now. The one good thing though, you go in the studio, you put your heart and soul into it, and then when you're mixing it, you mix it so that you fall in love with it and you're still putting out the same music and the integrity that you always have.
SPEAKER_00Absolutely. The thing is, when the same for you, you sound exactly the same as me, you do your best, you do your level best to make it great. And also, you know, there's that great inspiration you get from people like I know I'll say it again, from people like Glenn, from the Beach Boys, all those, whoever you're working with, that kind of talent, yeah. They inspire you, you know. You know you've got to do the very best for them, you know. They do. So much of Glenn Campbell's work, I I love, and I love some of the Jimmy Webb orchestrations.
SPEAKER_01Yeah.
SPEAKER_00Quite amazing, quite stunning, and still sound great to this very day.
SPEAKER_01Yeah, music is the world language, and it can take you back five minutes, five days, or fifty years ago. Music is just a great thing.
SPEAKER_00Yeah, well, I mean, I say to everyone, you know, I have no religion. I'm not an atheist, but I don't have a religion at all. I just want music. Music is my sole inspiration my whole life. Right. Or obviously family and things like that, but it's on a personal level. Yeah. I don't have a religion, but I have music. I'm happier with that, thank you.
SPEAKER_01You've had a great career, done a lot of great things. You should be really proud of everything you have accomplished and what you are still doing today.
SPEAKER_00Well, I mean, I I I don't I don't give it a great deal of thought. Um the only thing I was but there was one song. We have a chart here called the Heritage Charts.
SPEAKER_01I'm familiar with that.
SPEAKER_00Yeah, and I had um I had it was about three years ago now, and I wrote a song called Two Eyes Streaming, and it went to number one, much to my great surprise. Yeah. It went to number one. I was so proud of that. The fact that I could have written a hit way, way back, which I did. My first hit was back in 1950, I think it was just around about early 59. And then to be able to do that when I was 82 years of age, I was proud of that.
SPEAKER_01As you should be.
SPEAKER_00That's the only time I ever got conceited.
SPEAKER_01Yeah, and there's nothing wrong with that. You have to take pride in everything that you've done. You deserve that little pat on the back for what you're doing, what you're continuing to do. You're putting a lot of hard work into it and a lot of effort, and it takes that in order to make great music.
SPEAKER_00Yeah, there is, Tony.
SPEAKER_01Absolutely right. You're right.
Farewell And Credits
SPEAKER_01Well, this has been a pleasure. I really appreciate you taking the time to join us today.
SPEAKER_00Oh, it's been my pleasure, Tony, and uh it's lovely to be talking to someone who's doing and working exactly the same as I work by the sound of it, which is you know, when we work on sounds and all the things, you you you've been all through the the highs and lows that I have. It's like, yeah, it's just like we're working together. So we were working together on a track. Lovely to talk to you. We both speak the same language, I think, in many, many ways. Thank you, Tony.
SPEAKER_01It's been my pleasure. 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 plateau music.com.