DAVE DAVIES, HOST:
That is FRESH AIR. I am Dave Davies. Barry Manilow is without doubt one of the most profitable pop performers of the ’70s and early ’80s. He had 25 High 40 hits between 1974 and ’83, together with “Mandy,” “I Write The Songs,” “Attempting To Get The Feeling Once more,” “Seems Like We Made It,” “Cannot Smile With out You,” “Copacabana” and “I Made It By way of The Rain.” Now, on the age of 80, he is received a musical on Broadway titled “Concord.” Manilow wrote the music and his longtime collaborator Bruce Sussman, the lyrics. It is primarily based on the true story of the Comic Harmonists, an all-male group who have been worldwide stars in Germany earlier than World Struggle II, however the group was banned by the Nazis. This is a little bit of the title music from the musical.
(SOUNDBITE OF SONG, “HARMONY”)
UNIDENTIFIED PERSON: (Singing) Concord. Did we’ve concord? However that is nearly all we had. Instantly just a little concord and the poverty’s not so unhealthy. Skinny, we have been, poor as sin in Berlin, we have been. Patches on our pants. Mercifully, whenever you’re in concord, you are in a trance. Others went marching. Not us, we would dance. Oi.
DAVIES: Earlier than Manilow began writing and singing pop songs he wrote business jingles, and he was Bette Midler’s first music director. He stopped recording his personal songs within the ’80s, however he continued performing, and in September, he broke Elvis’ document of performances in Las Vegas. When Terry spoke with Barry Manilow in 2002, he had a brand new album of authentic songs titled “Right here At The Mayflower,” and he had launched “Final Manilow,” the best-of compilation. Let’s start with one in every of his hits.
(SOUNDBITE OF SONG, “CAN’T SMILE WITHOUT YOU”)
BARRY MANILOW: (Singing) You understand I am unable to smile with out you. I am unable to smile with out you. I am unable to giggle, and I am unable to sing. I am discovering it exhausting to do something. You see, I really feel unhappy whenever you’re unhappy. I really feel…
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
TERRY GROSS: Once I picked up your “Final Manilow” document, the best hits document, I appeared on the songs on the again, and I assumed, effectively, I do know that. I do know that one. Do not know this one. Do not know this one. However after I performed it, I spotted that I knew those that I did not assume I knew. I simply did not bear in mind them by title.
MANILOW: Oh, I’ve insinuated my little self into your brains over the past 20 years.
GROSS: Properly, however that is the factor. I imply, , that your songs have been all over the place. I imply…
MANILOW: They have been all over the place.
GROSS: …They have been on the radio, they have been on TV, they have been in…
MANILOW: They have been.
GROSS: …Shops and doubtless in elevators. I imply, they have been simply…
MANILOW: Oh, I am positive…
GROSS: …Throughout.
MANILOW: …They have been in elevators.
(LAUGHTER)
MANILOW: I am positive they have been in elevators, sure.
GROSS: Properly…
MANILOW: No, it is true. And, , I hadn’t even listened to those information. You understand, I sing them nightly, however they don’t seem to be, , they do not sound precisely just like the outdated information did. And I really was – any person was enjoying it, and I really listened to it, and so they all sound fairly good. I imply, , “Weekend In New England” sounds fairly good even, , all these years later.
GROSS: What are a few of the most uncommon locations you have heard your songs?
MANILOW: A number of the – that is a terrific query. A number of the most uncommon locations. Properly, , effectively, I need to say that, , I’ve heard it in eating places and – uncommon locations? I do not know, , in large stadiums – generally they do it in large stadiums and naturally in, , boutiques and the, , karaoke bars. That was fairly terrible, I need to say that…
GROSS: Properly, inform me a karaoke story.
MANILOW: …Was – it was some very unhealthy singer making an attempt to do “I Write The Songs.” It was actually – I needed to go away.
GROSS: Properly, what have been you doing there within the first place? Why have been you in a…
MANILOW: I did not comprehend it…
GROSS: …Karaoke bar?
MANILOW: …Was a karaoke bar. It was a Mexican restaurant after which abruptly…
GROSS: (Laughter).
MANILOW: …Anyone received up and sang. I hope they did not know that I used to be there.
GROSS: That is actually humorous. So any person was singing – what? – “I Write The Songs,” did you say?
MANILOW: “I Write The Songs.” Sure. It was pretty.
GROSS: Oh.
MANILOW: Really, the karaoke half wasn’t unhealthy, although. The monitor that they sing to wasn’t unhealthy.
GROSS: The humorous factor about “I Write The Songs,” , that individuals affiliate that music with you ‘trigger you recorded it, however you did not write “I Write The Music.”
MANILOW: I didn’t. And I knew it was going to get me in bother as quickly as Clive – , my hit document experiences all – I give the credit score to Clive Davis, who was the president of Arista whereas I used to be there, and I – after I went on to Arista Data, I actually knew nothing about pop music in any respect. My first single was “Might It Be Magic,” a – , a music that I primarily based on a Chopin prelude, and it got here in at eight minutes lengthy. So what did I learn about pop music? So, , you are purported to have a three-minute document. However when Clive began to work with me, he really taught me the ins and outs of learn how to have successful document, and he would submit songs to me in order that I might prepare and produce and sing these exterior items of fabric, regardless that I thought-about myself a songwriter. And “I Write The Songs,” was one of many ones he gave me, and I knew I used to be going to get in bother if I accepted this, as a result of to begin with, I figured all people was going to assume that I used to be screaming about how I write all of the songs on the planet. What does he assume he’s, Burt Bacharach?
GROSS: (Laughter).
MANILOW: You understand, after which, , I did not write, “I Write The Songs,” however Bruce Johnston of the Seaside Boys wrote it, and after I sang it, I knew what he was making an attempt to get to. He was saying the spirit of music is de facto the creator of all the things, , of all composers’ work. And I imagine that, too. I imagine that after I’m writing, I’ve nothing to do with it. I am simply taking dictation. I cherished that concept, however I did not assume anyone listening to “I Write The Songs” would actually perceive that. And I used to be proper. Most individuals really thought that I used to be singing about myself, and it did not appear to trouble anyone, both. But it surely’s true. I did not write, “I Write The Songs.”
GROSS: Are you sorry you recorded it or…
MANILOW: Oh, no, no, no. I feel – over time, I feel folks actually get a giant pleasure out of it.
GROSS: Why do not we hear just a little little bit of “I Write The Songs?”
(SOUNDBITE OF SONG, “I WRITE THE SONGS”)
MANILOW: (Singing) I write the songs that make the entire world sing. I write the songs of affection and particular issues. I write the songs that make the younger women cry. I write the songs. I write the songs.
GROSS: That is Barry Manilow, and it is one in every of his hits that is included on the brand new CD, “Final Manilow.”
You probably did a variety of the arranging in your songs. I imply, earlier than you have been even a singer, you have been an arranger and music director. Discuss just a little bit concerning the form of manufacturing you favored in your information, in your pop information.
MANILOW: I like emotional productions. I prefer to take a listener on a visit. I do not like, , a variety of the information that I hear are, like, one feeling. They begin with a groove, and three minutes later, nothing has occurred besides a groove. I’ve by no means been in a position to try this. A few of them, I like that form of factor, and lots of people do it very effectively at present. However that is not my factor. I actually like to your coronary heart to begin to beat just a little sooner, and also you’re – I prefer to make you may have goosebumps from time to time. I prefer to convey the eagerness that I’ve for my music to you, the listener. And that is what I’ve at all times cherished. And that is what I’ve at all times achieved with my arranging. I’ve at all times began it in – on one degree and tried to take it someplace in order that by the top of the music, you have gone someplace with me.
GROSS: Now let’s discuss your early musical life. Your first instrument was, I feel, accordion?
MANILOW: I am sorry.
GROSS: What occurred?
MANILOW: Yeah. I am sorry that it was the accordion.
GROSS: Oh, you are sorry that it was the accordion? Oh.
MANILOW: Yeah.
(LAUGHTER)
GROSS: Why do you may have…
MANILOW: Sure…
GROSS: …To apologize?
MANILOW: …I am responsible. Sure. I am responsible. It was the accordion.
GROSS: Properly, the accordion is, like, the hippest instrument now. I haven’t got to let you know that, ?
MANILOW: Not after I performed it.
GROSS: Not whenever you performed it. The entire “Girl Of Spain” bit?
MANILOW: Yeah. I feel each Jewish and Italian boy can not get out of Brooklyn, N.Y., until he learns learn how to play the accordion. There is a guard on the Brooklyn Bridge.
GROSS: (Laughter).
MANILOW: And it’s a must to play “Girl Of Spain” earlier than you possibly can go over the bridge. All people I knew performed the accordion – badly. I occurred to – , as a result of I used to be extra musical than the remainder of my pals, I form of received via “Hava Nagila” and “Girl Of Spain.” And I used to be…
(LAUGHTER)
MANILOW: I really entertained my kin, , they only thought it was the best factor. It actually wasn’t the factor that turned my musical motor on, I can let you know. However you are proper, there are individuals who play the accordion and truly make it sound good. I used to be not a type of folks.
GROSS: Did you sing whenever you performed?
MANILOW: No, I by no means sang. I did not sing till I began making information. I by no means actually considered myself as a singer. Singing was for different folks to do.
GROSS: Proper.
MANILOW: Performing was for different folks to do. I used to be – if I used to be going to have a profession in music in any respect, it was going to be as a musician and that was it. No, I by no means sang.
DAVIES: Barry Manilow talking with Terry Gross in 2002. Extra after a break. That is FRESH AIR.
(SOUNDBITE OF BARRY MANILOW SONG, “DO YOU KNOW WHO’S LIVIN’ NEXT DOOR?”)
DAVIES: That is FRESH AIR. Let’s get again to Terry’s 2002 interview with Barry Manilow. He has a brand new musical on Broadway titled “Concord.”
GROSS: Now, you have mentioned that your stepfather launched you to jazz, to music that you just actually cherished.
MANILOW: Yeah.
GROSS: Inform us about how he launched you to the music you fell in love with.
MANILOW: Properly, when my mom remarried, we, the three of us, moved into just a little condominium nonetheless in Williamsburg, Brooklyn. And he introduced with him a stack of information that I had by no means heard of earlier than, information that have been – included folks, like June Christy, Chris Connor, Stan Kenton, a number of Broadway musical soundtracks – a variety of jazz, Chet Baker, Gerry Mulligan, some classical music.
And I might by no means – , I had by no means been uncovered to that form of factor. I used to be raised for the primary a part of my life with my mom and my grandparents, who have been all very musical however not within the musical world, however Willie was. And I devoured this stack of music. I memorized each be aware from each overture, each lick that anyone sang or performed. And it was actually the start of my musical ardour for what wound as much as be a profession. However had he not – had I not been uncovered to that on the tender age of, like, 12 or 13, I actually do not assume I might have gone into the music enterprise. I would not have recognized what to do.
GROSS: How did you ditch the accordion and begin enjoying piano?
MANILOW: Really, he did it. He satisfied my mom to purchase a spinet piano. And so we received a spinet piano in my little – our little condominium. And so they pooled their cash collectively and gave me piano classes. And it started to – I started to like making music extra so than I ever did earlier than.
GROSS: Now was jazz enjoying one thing that you just picked up by ear or one thing that your instructor was really in a position that can assist you with?
MANILOW: No, it was by ear. I feel jazz – you possibly can’t be taught jazz. You take heed to it and then you definitely do your personal model of it. However, – effectively, for me no less than, I wanted to know the foundations of music. I wanted to know the language of music. And that is what the teachings have been so useful for.
GROSS: How do you assume listening to jazz throughout your childhood affected your songwriting fashion?
MANILOW: Properly, , it at all times pops up. Regardless of the place – what document I make or the music I sing, the affect of jazz and swing is at all times lurking someplace beneath each music I write or carry out. And on the “Right here At The Mayflower” album, it is very apparent on this bebop music that I wrote known as “Freddie Stated.” It might have come proper out of the ’40s, the Cab Calloway factor within the ’40s. And it is an lovable music for – on “Right here At The Mayflower.”
GROSS: Why do not we hear it? And that is Barry Manilow from his newest CD, “Right here At The Mayflower.”
(SOUNDBITE OF SONG, “FREDDIE SAID”)
MANILOW: Going up.
(Singing) Freddie’s received the filth on all people on the road. Do not understand how he does it, however he is not too discreet. All people says it at all times winds up being true. He is received one thing on everybody, possibly even you. Freddie is aware of. Oh, yeah. Freddie goes, oh, yeah, I received the 411 in my head. That is what Freddie mentioned. One night time, Freddie’s going residence…
GROSS: That is Barry Manilow, one in every of his new songs from his newest CD, “Right here At The Mayflower.” Now, you have mentioned that whenever you have been in school, you anticipated to have a fairly standard life – get married, get an excellent job, stay within the suburbs. What modified your thoughts and made you pursue music?
MANILOW: It was popping out of my ears.
GROSS: (Laughter).
MANILOW: And it simply would not go away me alone. I attempted all the things to not observe this muse that might not go away me alone, , as a result of coming from the place I come from – , a four-floor, six-flight stroll up the place folks have been simply struggling, , to make the lease each Friday. You understand, that paycheck each Friday was crucial factor. That is what I realized, ? There was actually no method that anyone would take the danger and go into the biz, present biz, the music biz, . You simply – crucial factor was safety. So regardless of how a lot I cherished it – and I performed in jazz bands, and I received the Finest Musician award in highschool and all – it by no means dawned on me that that was going to – I used to be going to make a profession out of it as a result of it simply was too dangerous. However I simply stored getting these gives to do issues musically. I received a job at CBS as a log clerk. First I used to be a mail boy. Then I used to be a log clerk, after I was jotting down the instances of tv commercials. And I had this – , this common 9-to-5 life plotted out for me. However at any time when I might play or prepare for any person, , I might maintain getting these gives to go additional than simply my 9-to-5 job. And I lastly took one. And I took an opportunity, and I left CBS, and I by no means appeared again.
GROSS: Whenever you first began working professionally, I feel it was in additional of a supporting function, working – like, you had an act with a girl singer. I feel Jeannie was her identify.
MANILOW: Sure.
GROSS: And so you probably did some arranging for her. You have been the pianist. You sang some duets together with her. But it surely was form of – it sounds out of your e-book prefer it was a form of supporting function. Did you see your self as being, like, a supporting function sort of character in music?
MANILOW: Properly, if I noticed myself in any respect in music – and, like I mentioned, it was so dangerous. I by no means even dreamed about even that. But when I have been to think about myself within the music enterprise at the moment, it might have been as in a supporting function, as an arranger, as a pianist, as a producer, as a songwriter. These have been my targets. These have been my goals. These have been my fantasies – that at some point, if I ever took the danger, that is the place I might wind up. And so my first skilled engagement was as an accompanist for a lot of, many singers. And Jeannie was one in every of them.
GROSS: Properly, your most well-known place in a supporting function was as Bette Midler’s accompanist and music arranger. And this was within the period when she was enjoying on the Continental Baths, the homosexual steam bathtub in Manhattan. How did you meet Bette Midler?
MANILOW: Properly, she was one of many dozens of woman and boy singers that I used to be accompanying. I had left CBS, and I had begun accompanying singers. And I used to be making a extremely wholesome residing as a result of I am actually an excellent accompanist. I am not that nice a pianist, however I am a extremely good accompanist. And they’re at all times in demand in New York for auditions and individuals who want arranging and training and stuff. So earlier than I knew it, I used to be teaching nearly each singer that wanted a pianist. I used to be booked, like, 12 hours a day.
And Bette should have heard of me and known as me and requested if I might play a few weekends for her at this place known as the Continental Baths. So I labored for a few weekends for her. I subbed for her – the piano piano participant that she had. And he or she exploded and requested me if I might keep alongside together with her. And I frankly did not need to simply work for one particular person, and she or he could not afford to, , actually simply, , pay me for, , 24 hours a day. However Bette Midler was so extremely proficient that I simply couldn’t say no. And I started to work for her solely.
GROSS: What was your function in her act? I imply, did you – have been you simply quiet on the piano, or did you take part in any of the banter or sing duets?
MANILOW: No, no, no, no. That – once more, , I used to be lower than singing then. That was nonetheless – this was nonetheless earlier than I started to sing. At first, I used to be – I simply organized her music, put her act collectively, tightened it up, led her band, employed the background singers, taught them what to sing. You understand, I put her complete musical – the musical a part of her present collectively.
GROSS: Might you discuss just a little bit about what it was prefer to play to an viewers in a homosexual steam bathtub?
MANILOW: Properly, I solely labored there for 2 weekends. You understand, folks received, , this unbelievable fame that each Bette and I had, , about working in, , all of the homosexual bathhouses of all – around the globe, , in Iran and Paris. But it surely actually was – I do not understand how lengthy she labored there, however I do know for me it was solely two weekends. And it was a nightclub scenario there, though they have been in towels, nevertheless it was a nightclub scenario. And there was a stage and lights and a sound system, and Bette would come out and do her good hour and a half, and they’d freak out. And after the 2 weekends, she received booked at a spot known as the Upstairs at Downstairs, which was in Manhattan. And that was it. That was the top of my expertise on the Continental Baths. However a variety of different folks labored on the baths as a result of it was – like I mentioned, it was a extremely fascinating nightclub scenario, and the audiences have been incredible to the performers.
DAVIES: Barry Manilow talking with Terry Gross in 2002. He and his longtime collaborator Bruce Sussman have a brand new musical on Broadway titled “Concord.” We’ll hear extra after a break. Later, Justin Chang critiques the brand new movie “Poor Issues.” I am Dave Davies, and that is FRESH AIR.
(SOUNDBITE OF SONG, “CHAPEL OF LOVE”)
BETTE MIDLER: (Singing) Whoa. Spring is right here, and the sky is so very blue. Whoa. Birds all sing as in the event that they knew at present’s the day we’ll say I do. And we’ll by no means be lonely anymore as a result of we will the chapel and we will get married, going to the chapel and we will get married. Gee, I actually love you, and we will get married, going to the chapel of affection. Bells will ring, and the solar goes to shine. Yeah, yeah, yeah. I’ll be his. He’ll be mine. We will love till the top of time. And we’ll by no means be lonely anymore as a result of we will the chapel and we will get married, going to the chapel and we will get married. Gee, I actually love you, and we will get married, going to the chapel of affection.
DAVIES: That is FRESH AIR. I am Dave Davies. Let’s get again to Terry’s 2002 interview with Barry Manilow. He was one of many greatest pop hitmakers of the ’70s and early ’80s. He now has a musical on Broadway titled “Concord,” primarily based on the true story of the male singing group the Comic Harmonists, who have been banned by the Nazis. Manilow wrote the music, and his longtime collaborator Bruce Sussman, the lyrics. Earlier than we get again to the interview, let’s take heed to Manilow’s first large hit, “Mandy.”
(SOUNDBITE OF SONG, “MANDY”)
MANILOW: (Singing) I bear in mind all my life, raining down as chilly as ice – shadows of a person, a face via a window, crying within the night time. The night time goes into morning, simply one other day. Pleased folks move my method. Trying of their eyes, I see a reminiscence. I by no means realized how joyful you made me. Oh, Mandy. Properly, you got here and also you gave with out taking.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
GROSS: At what level did you assume, effectively, I’ll be the one by the microphone; I’ll be the one singing; I’ll have my very own act? What led you to that time?
MANILOW: You understand, I used to be – it felt to me – it nonetheless appears to me that I used to be not in control of that till method, method into my profession. It felt like I used to be simply catching up. I used to be simply maintaining barely as a result of when this chance to sing for myself got here up, I used to be very reluctant to pursue this. I – so, to begin with – did not imagine that I had any proper to be a singer. I did not assume that I had a voice. I did not assume that I had a mode. I did not assume that – and albeit, it wasn’t something that I might ever aspired to in any method.
However I received this document supply, a contract supply, as a result of any person had heard my demos that I had sung. I had sung my very own songs, and I used to be making an attempt to get different folks to document them. So – however I could not afford different singers, so I sang them myself. And I received a proposal to make a document as a result of Bell Data thought that I – I do not know what they thought. They favored what they heard. And I used to be – , I used to be so thinking about selling my very own songs that if that was the one method to do it, I took it. However they mentioned that I couldn’t – they would not give me this deal until I promised to exit and put a present collectively and advertise.
Properly, that – I simply did not understand how to try this. However I used to be nonetheless conducting for Bette, and I requested her if I might sing a number of songs to open her second act, and in that method, I might tour to advertise my album, and I might additionally keep a music director for her present. And he or she let me do it. So I might conduct her first act. Then I might open her second act with three of my songs from this new album that I had made. After which I might proceed to conduct it. In order that form of labored out nice.
GROSS: Wait. Whenever you have been doing demos, who – what sort of particular person have been you hoping would document your music? Like, who have been you ?
MANILOW: Who have been the singers? Andy Williams. Who have been the singers that wanted – Nancy Wilson, , Shirley Bassey, Tom Jones. These – this was the top of the ’60s, and people have been the sorts of singers that have been recording different folks’s materials. However on the similar time, there was the brand new crop of younger singer-songwriters, which, little did I do know, I used to be one in every of.
GROSS: Proper.
MANILOW: However I did not know that. I used to be nonetheless making an attempt to return from that outdated Tin Pan Alley faculty the place you wrote songs for different folks to document. So I – , I used to be simply writing songs that appeared like they could possibly be recorded by different folks. Little did I do know that I used to be going to be the one which did it.
GROSS: Had been you the primary particular person to document one in every of your personal songs?
MANILOW: Yeah. I used to be. I suppose I used to be. I used to be the primary particular person to document one in every of my very own songs, when you do not need to rely, State Farm is there.
(LAUGHTER)
GROSS: Is that one in every of your commercials?
MANILOW: Yeah.
GROSS: Yeah, ‘trigger you wrote a variety of jingles earlier than you made it as a performer.
MANILOW: Yeah, I did.
GROSS: Oh, so how does the entire thing go? What is the first line in that, within the State Farm is there?
MANILOW: (Singing) However like an excellent neighbor…
GROSS: Yeah.
MANILOW: (Singing) …State Farm is there. Yeah.
GROSS: Oh, wow.
MANILOW: A really proficient woman named Lesley Miller recorded that one after I wrote it. After which there was one other one known as “I Am Caught On Band-Aids, And A Band-Help’s Caught On Me (ph).” And it was a complete batch of little children that recorded that. However, I imply, , I would not contemplate that that was, , my first hit, ?
GROSS: Properly, let me again as much as that. How did you begin writing commercials? You understand, we have you going from Bette Midler’s music director to recording demos and recording your self. The place do the commercials slot in?
MANILOW: Properly, after I was sending my demos out, a business agent heard a few of these demos, and so they thought that I used to be writing commercially. And so they known as me and mentioned, do you need to go up for a Dodge business? And I mentioned, positive. So I wrote a Dodge business, the melody to it, to the lyric that they gave me and since my business – not realizing something – got here in, like, , at 4 minutes or one thing.
GROSS: (Laughter).
MANILOW: You are supposed to put in writing for 30 seconds, ? And – however they favored the melody. And in the end, as we pared the entire thing right down to 30 seconds, I received it. I received the primary one I went up for. After which they stored calling me to put in writing numerous jingles, and State Farm and Band-Aids are those that individuals nonetheless bear in mind.
GROSS: What about…
MANILOW: And I feel they’re nonetheless enjoying them.
GROSS: What concerning the McDonald’s have it your method? Is not that one yours?
MANILOW: No. That – it was, “You Deserve A Break At the moment.”
GROSS: Oh, yeah. “You Deserve A Break At the moment.” Proper. That was yours, wasn’t it?
MANILOW: Proper. I solely sang on that one. I used to be a part of the vocal group. I received into the business world whereas I used to be conducting for Bette. You see, after I began, I ended accompanying all people besides Bette. However like I mentioned, she could not afford to maintain me on wage, so I used to be actually making a good-looking residing doing these commercials. And so between the 2 of them, I used to be capable of assist myself.
GROSS: Now, what did you study concerning the craft of songwriting from writing business jingles?
MANILOW: Properly, , I attended the New York School of Music, and a short time I went to Juilliard. And regardless that that was fairly good coaching for my brains, the business world, my three years within the business world was actually the faculty that I went to as a result of I started working with the highest musicians. You understand, they pay so effectively. You’re employed with the highest studio musicians, who taught me actually learn how to prepare music.
You understand, the oboe participant would say, psst, come on over right here. You see this factor? It is – you are writing it too excessive. I might say, actually? I am writing it too excessive? Yeah. The oboe cannot go up that top. So take it down an octave. This may go on and on.
I labored with nice studio singers who taught me learn how to harmonize and learn how to change the timbre of my voice. I labored with these nice engineers who, , I might stand behind, and I might see how they made it – how they made these jingles sound so sizzling that they’d leap out of the radio. And so far as the songwriting goes, effectively, you are up towards so many incredible songwriters that you have to write the catchiest melody in 30 seconds. For those who do not write it – when you do not write the very best one, then the opposite guys get it. And so for 3 years, I used to be in class. And I am going to by no means, always remember that.
GROSS: Now, did you ever give you a hook for a jingle and assume, wait a minute, that is actually a music? It isn’t a jingle. I am holding that one for myself?
MANILOW: Numerous them. However, , when you begin to write 30-second jingles, they actually do not need to be far more than 30-second jingles.
GROSS: So, like, there have been concepts coming to you that you just knew have been simply, like, 30-second concepts.
MANILOW: Yeah. They have been nice hooks, however each time I attempted to develop them, they did not work.
GROSS: Proper. So there is no bridge to “You Deserve A Break At the moment” (laughter).
MANILOW: No, there is no bridge to “You Deserve” – and there is no bridge to “State Farm Is There.” You understand, I imply, “State Farm Is There” is such a fairly little melody, , that it could possibly be a melody, however frankly, it is in all probability higher as a business.
DAVIES: Barry Manilow talking with Terry Gross in 2002. We’ll hear extra after a break. That is FRESH AIR.
(SOUNDBITE OF JON-ERIK KELLSO’S “LITTLE WHITE LIES”)
DAVIES: That is FRESH AIR. Let’s get again to Terry’s 2002 interview with Barry Manilow. He has a brand new musical on Broadway titled “Concord.”
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
GROSS: Let’s get again to whenever you began performing after being extra behind the scenes as a music director and writing business jingles. Had been you self-conscious these first few instances whenever you received up on stage and also you have been on the entrance of the stage?
MANILOW: I might say I used to be the geek of all time on the stage. I actually did not know what I used to be doing up there. I am unable to specific how uncomfortable I used to be strolling out on a stage, having the highlight hit me and me having to steer the night.
GROSS: And…
MANILOW: I…
GROSS: …What about that have made you so uncomfortable?
MANILOW: Properly, like I say, I had by no means practiced for it, and I had by no means imagined it. I had by no means thought of it. All I actually ever thought of was making music, not performing music. And so it was a really uncomfortable, scary expertise for me. However the superb half about that was that the viewers by no means had bother with it, ever. From the very first second I hit the stage and sang my very own songs, the audiences by no means had the form of bother that I used to be having accepting this new function.
GROSS: What did you assume it took to be an excellent performer or entertainer that you just have been afraid you may not have?
MANILOW: Fashion, confidence, expertise, not being self-conscious. These have been all of the issues that I, , that I did not have. I used to be very self-conscious. I did not know my method round a stage. I did not know the foundations of performing, , I did not know what to do with my legs. I used to be simply…
GROSS: What about your arms?
MANILOW: Or my arms. Overlook about my legs. What am I going to – I imply, I might stand there, , and I do know that I might really feel like, , bare and weak, and the audiences cherished that.
GROSS: Possibly they recognized along with your self-consciousness.
MANILOW: Possibly they did. However no matter it was, I used to be very comfy sitting on the piano singing “Might Have Been Magic,” however then, , having to speak with them and get up and, , lead a complete hour-long set, that was – it was torture. It was simply torture for me. I simply – I used to be simply very uncomfortable for a lot of, a few years.
GROSS: Whenever you have been having all these High 10 hits – this was the ’70s and the ’80s – now, all of us who have been – who bear in mind then know that – effectively, most of us have been vogue victims of 1 type or one other throughout that period, notably within the ’70s…
MANILOW: Had been we?
GROSS: …There have been some fairly horrifying issues that all of us wore that all of us participated in. As a performer – I feel it is even worse for performers, ‘trigger performers need to put on extra excessive variations of no matter…
MANILOW: And also you’re tortured with them for the remainder of your life.
GROSS: Yeah. Properly, right here I’m, bringing it up once more for you. So what are a few of your worst vogue recollections?
MANILOW: Properly, , I used to be – I – , I appeared identical to Rod Stewart and Elton John did. You understand, we have been all carrying – all of us appeared like idiots again then. You understand, I received the…
GROSS: White fits. Yeah.
MANILOW: Yeah. The glitter and the, , bellbottoms and the platform sneakers and the puka beads and I – frankly, I appeared like Britney Spears again then.
GROSS: (Laughter).
MANILOW: With my lengthy, blonde hair, actually. Earlier than the boob job.
GROSS: Oh, precisely.
MANILOW: That was me.
GROSS: I used to be going to…
MANILOW: Proper.
GROSS: …Point out that.
MANILOW: That was me.
GROSS: David Rakoff did an interview with you within the Sunday New York Occasions Journal…
MANILOW: Yeah.
GROSS: …And also you had talked about that the Smithsonian had requested to your…
MANILOW: (Laughter).
GROSS: …”Copacabana” jacket, which you described…
MANILOW: Actually. Is not that humorous?
GROSS: Yeah. You described it as being an enormous, ruffled, Desi Arnaz “Babalu” form of factor.
MANILOW: It’s. It is – I did it as a joke in 1978, and, , I – they – and any person took a photograph of me and, , from that second on, I used to be sunk. I used to be simply sunk. You understand, I did it as a joke, however I feel folks, , thought that I used to be severe.
GROSS: Properly, you mentioned that the Smithsonian requested you for the jacket, you despatched it to them, after which they despatched it again to you.
MANILOW: Properly, this is the – the true story is that this. I simply put my foot in my mouth. They requested me for the jacket. And, , it is such a humorous jacket. It is a joke. And so after I received it, I used to be interviewed, and the interviewer mentioned, it’ll the Smithsonian. I mentioned, yeah, I at all times knew it was going to wind up in an establishment. And the Smithsonian received so insulted they despatched it again.
GROSS: Oh. Oh.
MANILOW: (Laughter).
GROSS: So the place is the jacket now?
MANILOW: Oh, it lives in my places of work in Los Angeles. And it is nonetheless as foolish because it ever was, however now it has just a little bit extra which means for me.
GROSS: Now, I’ve a query for you, and I do know you are requested this quite a bit, however has it bothered you that though you have had this large success over time, there’s additionally been folks, , listeners and a few critics who, like, to make use of the phrase syrupy to explain your music? And, , you have been the butt of jokes in some articles and different locations. Is that troublesome to deal with? Does it bug you?
MANILOW: On occasion, it does. I am, , human, so yeah, it does. I – , I am going into self-pity for some time, and I pull the covers over my head like every human being would do, nevertheless it does not – it by no means actually stopped me, principally as a result of I imagine in what I do. I pay attention to those songs, , making an attempt to get the sensation. And this one for you and when October goes. And I say, effectively, I like them. (Laughter) I feel they sound nice. And, , my band likes them and my – the audiences like them. And so I simply maintain going. I simply maintain doing what I like doing and hope that there is an viewers on the market for it. And I used to be at all times stunned on the critics once they felt they wanted to be so mean-spirited of their opinions to any person that they by no means even met. So – however I forgave them, (laughter) the little creeps…
GROSS: (Laughter).
MANILOW: …For making my life depressing all these years (laughter). However, , the very best revenge is, like I say earlier than – like I mentioned earlier than, , I proceed to get the chance to make music, to make the music that I like to make. And in order that’s actually the very best revenge.
GROSS: You are on an extended efficiency tour now. Are you continue to self-conscious whenever you’re performing?
MANILOW: No, not anymore, not anymore. I’m a intercourse god now. And I…
GROSS: (Laughter).
MANILOW: I settle for it. I’ve accepted the truth that I’m a intercourse God. And…
GROSS: Have girls ever thrown panties at you and achieved that complete bit?
MANILOW: Solely as soon as, solely as soon as. And I assumed possibly she was asking me to take it out to the laundry, ?
(LAUGHTER)
GROSS: The place was this?
MANILOW: It was in Vegas. The place else would they try this?
GROSS: Precisely. Proper.
MANILOW: So – however no, they normally throw – they do not throw very a lot issues at me, , little mushy teddy bears and roses and stuff. It is at all times very good. No, I am very comfy on the stage today, far more comfy than I ever thought I might ever be. And it hit round, I might say, 10, 11, 12 years in the past, after I lastly accepted that this was not going to cease, this was not going to go away. It gave the impression to be getting larger. And I had higher learn to make myself comfy on that stage or else I used to be going to be a really depressing outdated man.
GROSS: Proper (laughter).
MANILOW: And I took appearing courses.
GROSS: Oh.
MANILOW: Took appearing courses from a superb appearing instructor and actress named Nina Foch. And after I began taking appearing classes, it was the primary time I spotted that what I used to be doing – there have been guidelines for what I used to be doing. For these first, I might say, 10 years, I used to be meandering across the stage, making an attempt to crawl right into a lyric as truthfully as I might. However as a result of I might by no means thought of actions and motivations, and causes for singing or causes for transferring on a stage, it at all times felt so unsafe to me, as a result of I did not know the place I used to be. I did not know why I used to be doing it. As quickly as I started to take appearing classes, not that I am a terrific actor, however I used to be capable of study the foundations of appearing. You break down a script. You do not stroll until you may have a purpose to stroll. You do not converse until who you are talking to.
These have been the foundations that – I imply, I suppose different performers understand how to try this. I did not. I used to be simply going by – flying by the seat of my pants, and fortuitously the audiences favored it. And once more, as a result of I had the music to depend on, and I used to be fairly good at that, I used to be capable of get via it. However emotionally, I used to be a wreck each night time as a result of I had no guidelines. I used to be uncontrolled. As quickly as I completed taking appearing courses, or in the course of it, I started to study the foundations of what you do whenever you’re on a stage. And it was the factor that saved my life as a performer.
DAVIES: Barry Manilow recorded in 2002. His new Broadway musical, “Concord,” is predicated on the true story of the Comic Harmonists, an internationally well-known male singing group in Germany who have been banned by the Nazis. Arising, Justin Chang critiques the brand new movie “Poor Issues” starring Emma Stone and Mark Ruffalo. That is FRESH AIR.
(SOUNDBITE OF BOOKER T. AND THE M.G.’S “WE WISH YOU A MERRY CHRISTMAS”)
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