Country Music Hall of Fame and Museum 2015 feat. KIM CARNES

thank you so much I don’t even unto the Country Music Hall of Fame and museums Ford theater I am Peter Cooper I’m a museum editor here at the Country Music Hall of Fame and Museum that means if you were walking around here and see something in need of a comma or see a subject and verb that don’t agree I’m probably the guy to talk to but before that I’m compelled to tell you that what happens here in the Ford theater for the next hour and change is more interesting than anything somebody’s going to text you in the next hour and change if it’s not we’ve screwed up it’s cowboy Jack so often keval Jack Clemons so often reminded us we are in the fun business if we’re not having fun we are not doing our jobs we’re here to have fun and we will so long as your cell phone does not bleep so long as your bloopers don’t bloop that stuff ruins fun let’s have fun please silence anything on your person or adjacent to your person or near your person that silence your person an emergency exit is located right there so designated by the red exit deal you won’t likely need it okay if you hear a big boom and feel something earthquake ish do not fret they are destroying earth across the street on purpose so they can build something tall we need more tall things so what this is is a conversation with our neighbor kim carnes she may even sing for us later too we like that when she sings for us this event is presented in support of our exhibit Kenny Rogers through the years which is presented with the support of our generous friends at SunTrust if you have not seen the through the years exhibit you need to do so and time is of the essence the thing is closing on June 15th as we make room and there are East gallery for a magnificent exhibit on Sam Phillips the man who invented rock and roll so what is kim carnes kenny rogers connection there are there are many she spends several days several hours a day surfing the website men who look like Kenny Rogers calm that’s one lots of us do that Kenny Kenny in the first edition recorded a kim carnes song back in 1971 which was like 14 or 15 years ago Kim and her husband Dave Ellingson wrote Kenny Rogers concept album Gideon in 1980 and we’re gonna be talking about that they wrote the entirety of that thing on that album Kim co-wrote and sang a duet with Kenny called don’t fall in love with a dreamer a top five country and pop hit in 1984 Kim Kenny and James Ingram sang the number-one adult contemporary single what about me in 1985 Kim and Kenny were featured together on the all-star collaboration we are the world and yes we have video documentation of this this afternoon we’re here to examine explain underscore and illuminate a remarkable life and music many of you have heard her grammy-winning Betty Davis eyes which was the biggest hit of 1981 and one of the biggest hits of the 80s Betty Davis eyes informs any discussion of Kim Carnes career but it does not define any discussion of kim carnes she is first and foremost a singer-songwriter she’s the only person alive or dead to have written songs recorded by Big Mama Thornton Barbra Streisand and Tim McGraw she is written hits for Reba McEntire and Vince Gill and for the duo of Ronnie Milsap and Kenny Rogers she has written songs recorded by Matt race’ Berg Suzy Boggis Pam Tillis Conway Twitty Tanya Tucker and many more she is also a gracious and giving person and she is creative and concerned and she is patient and smiling and she’s one of the reasons I love living here in Nashville Tennessee she will be in the museum store following the show happy to chat and smile and sign seat copies of her CDs so that it’s up in that way and over that way and she’s here with us right now ladies and gentlemen Kim Carnes so we’ve gotten the trip out of the way yeah hey Peter hey Kim thank you for being here putting this together and inviting me and let me say before you talk I’m so honored thank you all for coming but

thank you for this being your idea because I adore you you are so talented and so wonderful and we’ve been pals for so long and this is such an honor thank you well thank you thank you for being here that’s for an hour yeah is good no we’re not gonna just thank each other for the next hour we’re gonna delve deep and we’re gonna get get into the the good stuff and we’re gonna start at the start you grew up was it Pasadena right outside LA which was not hippie dippie California land no it wasn’t at all I was a fish out of water and I knew it from early on except when I was four years old my next door neighbor was David Lindley who for those of you who don’t know Jeff and Matt Risa you know who he is but he became later one of the most incredible guitar players yeah and you actually you know in in Nashville music there’s a long tradition of people getting married young Loretta Lynn famously got married young you actually got married younger than any of those four I think we win four we were four years old I had that car was that was our honeymoon car and I wore jeans and my veil was a dish towel so and we took off around the block for a big honeymoon Wow and and you should have formed a band I mean that’s David Lindley you’re talking about I know well who knew you know but it I think it’s so interesting that way back at such an early age were drawn to the people that need to that end up being in our tribe you know that have the same interests and out of the blue after a thousand years he called me like two weeks ago I forgot to tell you this and the timing because of this was was perfect and he he told me a story of when we were four that he thought had been a big misunderstanding between the two of us and he just wanted to clear it up I don’t know why so you know after we were married I didn’t see David Lindley again until I was taking a tour of Anam studios and I walked into a studio and David was playing guitar on a Leonard Cohen album so it doesn’t get any better than that and David went to introduce us and we both went we were we were we’ve been married a long time anyway so it’s just I think again it shows from a really early age how we’re drawn to the people that we have similar similar likes you mean creative people that yes creative people you told me you wanted to get out of there and he was the only person until really until I graduated from high school and when I was in high school even before I could drive I knew I wanted to get over the freeway to Hollywood where the studios were and I had a duo I sang with my best friend Jane I played the piano wrote the songs and she played bongos and it was quite a combo and we would get somebody who was 60 and and had their license to take us over to Hollywood and for real we would knock on doors of record companies and say we’re here we want to make a record you know and eventually we send you over to the bongo Department yes yes we found a place and he said well if you bring back I think it was I think the some was 200 dollars if you come back and bring $200 we can make a record well of course we didn’t know you’re not supposed to pay them and we were thrilled so we went back to our parents and promised to wash cars for the next hundred years whatever and went back and cut three songs when we brought the record the color of the record was green plastic we brought it home the first time we played it it sounded great the second time little less the third time we knew this was not gonna last and and when we left the studio the man who’d recorded us said well I’m going to Australia for six months but when I get back you guys will be the first thing I work on so we got kind of impatient and after three or

four months went back to see maybe if he’d come home early the place had closed down and moved on so lesson number one you know now you you had started writing songs way early right nearly about the time you got married yeah yes exactly I had I would sing them I pound on the piano and sing him into my parents tape recorder and I always knew I mean I always have felt so fortunate that from such an early age there was no doubt in my mind what I wanted to do I knew I was gonna write songs and I was gonna sing them no no doubt what did that seem like a usual wonderful thing in your house and in your neighborhood my neighborhood yeah oh no not at all and my parents definitely not I mean I don’t think they ever got used to well I know they never got used to me wanting to do what I’ve ended up doing and so that was that was a hard thing forever and definitely nobody I’m different friends that I’d gone to school with would say when are you gonna stop this pipe dream of you know being a singer and a songwriter it’s just not you you know yeah it is so but that’s okay because in my mind I knew exactly what I was gonna do and and what I loved I could not not do it you know that’s what you do you were aided fairly early on you met another creative soul this guy Dave Ellingson who you wound up writing a lot yes what how did that occur we met on the road I pulled up on the back of someone else’s motorcycle and walked in the hotel and we started talking and I think in Chicago we went out to Rush Street and listen to some jazz for a not a date just to go out as pals and we ended up getting married writing songs together he runs our publishing companies and it all worked out pretty good really good you had two marriages both two babes yes and you know what Dave Ellingson is a banjo player so two banjo players named David there’s a lot of places where that sort of thing is frowned on well I guess yes you um signed a publishing deal out in LA before you were somebody who’s who was on album covers and all that you were writing songs for others and I believe what Jimmy Bowen Dave and I both signed with Bowens publishing company and at the time it was you know it was wonderfully small Dave myself pre Eagles Glenn Frey JD JD souther Don Henley Ken Vasi and I think that was about it so and it was it was in the heart of Hollywood and it was in the seventies in the most wonderful time to be a songwriter in LA because it all happened in just a couple block area and we’d all sing on each other’s demos and then and every day going to this little wonderful Italian restaurant hole in the wall Chianti bottles with dust on them called martoni’s and they were such great days because we would all talk about how excited we were about our new songs and it was we all wanted success for each other and it was just a wonderful wonderful time it was fun really fun and did you think that was the reason you were doing that writing songs because you wanted to make albums or yes both I want I knew I was gonna make albums and I ended up actually making my first album with Bowen for his label Amos records but I also always wanted to write songs for other people to cut so both and the first person that recorded one of your songs was and I did not know this until recently was a big mouth yeah

it’s so cool it’s a song called sing out strong for Jesus it’s for the movie vanishing vanishing yes right and can we hear a little snippet of that Wow about that yeah no the my best memory of that was being in the studio with Bowen and Big Mama came in with her two boys and she was a presence right I mean this is the same person who knocked lightning Hopkins off of a stage in the first one times she was such a presence I mean you when she walked in you knew that she was somebody special and we played the track and it just wasn’t happening it wasn’t working and I’m thinking this is my first cut wait a minute this is how it works and so one of her pals that was with her came up and kind of whispered to Bowen and he said they’re gonna go out for a minute hopefully they’ll come back so they all left and we really aren’t knowing for sure are they coming back or not they walked back in with a big brown paper bag Big Mama puts the bottle down and we play the track and it’s perfect that’s the take and she back phrases so far that I’m sitting kind of going like this thinking she’s never gonna make it to the end of the line and she does it perfectly she’s she’s so soulful and so amazing yeah that’s how lucky am I to have that as a first cut I’m yeah it was wonderful to have the cut and the story that’s great that’s true yes yes you also around this time in the early seventies you and in Kenny Rogers paths are intersecting and you got a cut for Kenny Rogers in the first edition yeah it was a song I wrote called where does Rosie go and they cut it that was I think my second cut yeah let’s hear it’s a bit of that where’d you pick this stuff I steal it off the internet like everybody else Aaron son does she go to me Wow that a long time you’re digging him up I well you know what I should say and should give a lot of credit somebody who puts a lot of what happens here together as a be Tapia and she’s been stealing stuff off the internet yeah Thank You Abby thank you so much what was um and actually she pays for it she’s got a budget and everything what what was Kenny Rogers like back then was he was he I mean I see him as a very driven business minded kind of person was he that way 40 years ago yikes I don’t know if I would use those words exactly but he always knew he had a path and it was very clear to him what he wanted to do where he wanted to go and you know any time I ever played a song for him he would know immediately whether it was right or wasn’t right I never had to you know any of you in the

audience were songwriters and you know we write songs and they can be unhold forever and ever not with Kenny he knew immediately whether he liked it or not so you didn’t have to wait to see at martoni’s you guys at the end of these long days and early evenings would gather at this Italian restaurant and talk about what you wanted to do with your life and Jimmy Bowen told you at one point that yeah well it may take three or four albums but when I put out my first album that he had produced and I just thought automatically it would work because that was my plan and it didn’t and we did we sat up martoni’s and he said you know Kim could take two three he could take more albums than you’re thinking before it really happens and I was horrified what do you mean and I came to learn that what I was really loving was the journey I mean in those years all the writing that I did all the years of singing backgrounds for other artists with Maxine and Julia the waters who those are just some of my favorite memories I loved them so much and I came to recognize treasure the journey and you’ll get there just not as fast as you thought but this right now is really cool because you’re doing what you love to do and that’s what it’s all about for sure it was on your second album that you got into the top 40 for the first time I believe what was that you’re a part of me oh and did that feel like okay this is you know I got this well I did start hearing it in elevators and markets so that’s like you know people always said you’ll know you’ve made it when you hear it on music the way the billboard on the Sunset Strip oh the Billboard oh my gosh that was yes in back in the day all of us who were this little community recording there were kind of two huge goals that now seem really ridiculous but one was having a billboard on sunset boulevard that was an advertisement for your album everybody wanted that it was it really meant something so my first EMI album st. Vincent’s court I got a billboard and they put it up Dave and I drove down to look at it oh my gosh I looked like a monster it was horrible so nobody probably noticed that oh yeah I got a call from Bonnie Raitt saying listen I’m really happy for you that you billboard but you need to do something about it because it looks really horrible I like I know I saw it it looks awful so they they took it down and we went it was so bizarre we went to the huge warehouse where they paint the billboards it’s hard to get perspective on what it looks like when it’s this giant big drawing on the floor and you’re looking at it but they worked on it it was never great but they they improved it they improved it good good I noticed we don’t have a picture of that to show oh my gosh it was bad one of your favorite experiences was going down and recording in Muscle Shoals not too far from here although sonically at the time it seemed quite quite a distance that was the sale and album what was that about why I mean you’re in la-la land I can’t imagine you’re walking down the street one day going well this is getting a little boring I think I’ll go to the middle of nowhere in Alabama yes but it was all about Jerry Wexler I idolized him and as a producer what he produced he just was as good as it gets he was the ultimate and I wanted so much to work with him so my second AM album kept calling the head of NR for and him said well who do you want to work with on this album I said it’s probably impossible but Jerry Wexler and like two days later he called me and said done Scott he he’d love to do it when do you want to go to Muscle Shoals and the whole experience turned out to be cooler than I ever ever even

imagined he he’s one of the great people in life that I’ve ever met musically his spirit his soul it was just an incredible experience and the Muscle Shoals rhythm section you know it was it was wonderful all the classic players yeah I mean that that was truly a dream come true and I I loved working on that album because it was it was perfection and and Wexler was so he’s the first person I’d worked with that really had the philosophy of my job as a producer is to find out what you’re all about and get that on to in those days tape you know and so he would have me play songs that I’d written on the piano as many as I could just to get a sense of everything that I did and then he’d say okay let’s talk about doing this song and let’s talk about this one and and as I talked about earlier max singing backgrounds with Maxine and Julia we were we were like sisters we were we still are such close friends and he flew Maxine and Julia in and the three of us did background so it was amazing yeah you liked the background process in that hole I loved it I loved to sing back you know I mean you’ve been so wonderful to ask me to come sing backgrounds on some of your so on it is very giving of me to ask you to sing love it and I do I love it I like the other day I was gonna choose oops and I called Michael Jordan just to throw him a bone it’s like you want to play a little ball bud but let’s let’s hear a snippet from sailin and then keep on talking about oh yeah this was waxing when we go the sure yeah face I see brings it home to me that all I ever love me there you go thank you you also had some famous harmony vocals right you were you were on a rita coolidge cut that wound up doing quite well and harmonizing with with Bonnie Bramlett and Rita and Barney was I mean when Bonnie and Delaney first started seeing when they released a first album and I heard her sing I just went oh my gosh girl can sing like that I want to be her I want to sing like that she it just blew my mind I was so amazing so to get to work to get to know both Rita and Bonnie and Rita and I were both on AM records at the same time and to get to sing and of course the high point being singing on higher and higher that was a big hit for Rita I was singing with my idols so it was pretty cool right there I got you in surround scene here know that you know as artists we all have those moments like today with you where you go it’s just really happening what and that that day singing on higher and higher with them was definitely one of those pinch me moments you know how lucky am i moments I think it’s really it’s interesting to me that while you were you were driven as a recording artist and you wanted to make

albums for yourself you were also in the studio with others and you were writing songs that were being recorded by others then that was this was not a tunnel vision kind of career you had love comes from unexpected places that Barbra Streisand recorded and won the big songwriter award and in Tokyo and were do you feel like people were looking to you at that time as a songwriter as somebody of important consequence I guess yes because I was getting some wonderful cuts as a songwriter and at that time I had a publisher who was incredible and he was which helps getting the songs out there big time the I wonder if we have the other photo of you with Barbara from later on when you sang a duet that you wrote wrote and co-produced with them right bill Como and that one well there it is and it’s it’s it’s it may be tough to see but there’s something that’s been photoshopped a little bit here a pre Photoshop Photoshop there’s something yes okay Kim has these beguiling blue eyes and in this picture there’s there’s the blue Barbara Streisand and Barbara has these beguiling blue eyes and Kim your eyes aren’t blue at all they’re they’re they’re pretty brown don’t Barbara make your blue eyes brown what what what what the hell happened there well my manager called after he saw that was the single cover and he called and said I’ve just seen it and I’m gonna call up CBS our department I’m gonna demand that they change your eyes right away and we’ll fix it don’t worry about it I have no idea what he was talking about and I’m staring at that picture going huh it’s okay what he said don’t you see it look at the color of your eyes and I went oh they’re brown okay and he said I’m gonna change it and I looked at it and went no you know not only do I like the way it looks but it’s such a good story forever you know so if I change them we wouldn’t be showing this picture I’m I’m sure to let Barbara have her way because I thought it was kind of cool you started touring I guess late 70s you were out a good with James Taylor yes his all-star band yes played all the wonderful outdoor venues in the summer time and another magical magical experience I mean I would do my show and then every single night and I had one son then Collin he and I he was on tour with us he and I would sit behind the sound board and watch James show every single night because it was so so amazing and what inspiration and what fun I mean we doesn’t get more fun than that we had a blast it was it was great James appears to be enjoying himself there I’ve never seen that I said we had fun and while you’re doing all this you also get the ask to write a concept album for Kenny Rogers yes you and Dave Ellingson got together and what is what was your process in writing the gideon album well at a party one night after the Grammys Kenny came up to to Dave and myself and said how would you guys feel about writing a concept album for me the only thing I know I want to be a modern-day cowboy so we went home and thought well we need to wish you need to try this and we realized we needed to first create a character give him give him a name Gideon Tanner was his name and write a whole story of Gideon’s life I mean he became real to us and he had a girlfriend he was Gideon was not a bit of a rogue he was a rascal and he was sent to jail he had quite colorful life and we really had to get

the whole story written out and in stone before we could then backtrack and you’re talking about before you rhymed this thing you wrote we wrote his story yes we had to because how would we come up with the songs that were about his life if he didn’t have a life you know so once we got the story written and he definitely was real we then started writing the songs and the process of writing the songs came much faster than the story the album starts the gideon album starts with his funeral I saw him called going home to the rock and it goes through him losing a best friend it goes through there’s a couple songs that he’s saying to the person he loves and who loves him desperately first of all don’t fall in love with me because I’m a dreamer and I’ll leave you and another song the lyric is you need a man whose heart is only one place in the night and that ain’t me so it was so much fun it was such a great challenge and I think Dave and I are so proud of that album in the whole process part of the process was also you told me it was demoing you album but it doesn’t sound like demos well we really put a lot of love and thought into it and bill Como who was my longtime keyboard player was so instrumental in helping us make a demo album and a good friend of ours Ken Vasi wonderful writer he was the most incredible singer had been in the first edition yes yes that’s right and Kim sang all the vocals Maxine and joy and I did the backgrounds and this album truly to life so when it was finished we went to Kenny’s house and played it for him and he stopped I think dreamers third third cut maybe somewhere up there when we got to that he said well if I do this will you sing this is a duet with me so he ended up doing the album and recording it we came back here to Nashville Larry Butler was his producer and there you go you kept those demos you and Dave had them on cassette little poor cassette which you were playing in your kitchen on a little a little tiny cassette player we have a Grammy winning fellow here Alan Stoker who took that cassette tape and digitized it so so we can live in the hour Bob Henson collection and so that you can have a CD a version of it now but let’s hear what the what the actual demo sounded like it doesn’t hurt quite bad tonight is love the best friend I ever had you were running all the way from new stories round the campfire late at night it was down to just you and me that voice that’s cool not many people

heard that I know I know that’s something you guys had a vision for for that for sure we did it’s when I am Peter was over at the house and I found the cassette and played him that cut and he said don’t play this cassette one more time even because it’s so fragile so I’m so glad it’s on CD now Thank You Alan Stoker’s work so one of the songs you mentioned don’t fall in love with a dreamer that was a big hit for you and for Kinney this is still in the I found out that Kim told me you know I had this whole life before beady eyes and this whole life after beady eyes and people just want to talk to me a second figured she was talking about the song Betty Davis eyes it was huge we haven’t even talked about that at all yet so this is another wonderful hit occurrence before before that all took off but um do you remember writing don’t fall in love with a dreamer and what the intent was yeah I mean I remember writing it on the piano and it basically was again two things we were writing everything from this character we’d created from Gideon’s point of view and this is him singing to the only girl he ever loved you really don’t want to fall in love with me because I’ll break your heart so and also when we wrote every single song knowing Kenny’s voice and his phrasing and how he’s saying so well we could hear his voice in our head I mean that that really drove every song well let’s let’s sing it in the in the part that I’m singing they can just imagine Kenny’s voice no I like your voice and since you did write it on the piano I have hope I can follow the changes here but let’s let’s do folks would you like to hear don’t fall over the dreamer just look at you sitting there never look better than tonight it’d be so easy to tell you I’d stay like I’ve done so many times I was so sure that this would be the night you closed the door and wanna stay with me it’d be so easy to tell you I’d wait like I’ve done so many times don’t fall in love with a dreamer cuz it’ll always take you in just when you think you’ve really changed him you leave you again don’t fall in love with a dreamer cuz he’ll break you every time put out the light maybe just hold on before we say now it’s morning on the phone rings you say you’ve got to get your things together you just gotta live before you change your mind and if you knew what I was thinking I turn around if you just ask me one more time don’t fall in love with a dreamer person loves take you in just when you play you’ve really changed him you leave you don’t fall in love with a dreamer break you every time throughout the night and just hold on before we say goodbye before we say

thank you thank you you are following all this success you your first solo top ten comes along in 1980 which was a cover of smokey Robinson’s more love it’s also interesting to me that you were writing songs for other people and yet open to other people’s material when you were singing which would prove important and smokey dug that one right he did I mean a great high point for me a couple years later smokey got his own television show so we got to sing more love together on the show and another like pinch myself a moment it was spectacular and he was so great he just was gracious and wonderful and I had wanted to do that song for a long long time and he and his producer liked it so much that the producer actually insisted he’s singing yeah so he had his own version he did but smokey wrote the song was being with you and he actually wrote it for me and he went to my exit that time producer and told him I wrote this for Kim because I love more love so much and that producer said well you know he he neglected to tell smokey that I wasn’t working with him anymore I think really you should do that fun this really suits you better and I need to produce it on you so smokey had no idea what had gone down and you know we’ve laughed many times about that since and said what a cool duet that would have been you know but it happened like it happened and and he had no we had no idea but the great thing was it was a big hit for smokey and he’s the best now you were open to other material and this this song comes along called Betty Davis eyes tell us about finding that and what it was and then transforming it in the studio well it was first played for me from that same producer and while the feel of the song felt kind of wrong for the lyric just the title alone I loved the lyric it was like that’s that’s too cool I love that let’s figure out a way to cut it and a couple of months went by we kept cutting on that album and it kind of just went away and every time I’d ask that producer about it he would make some vague excuse that made no sense so the next album that I did with Val gray Dona Weiss who wrote the lyrics reminded me that I’d liked the demo of Betty Davis eyes she said is that okay if I bring that over to you again I’m like yes I love that and she did still love the lyric and I always I still love to record live with a band vocal at the same time that the band is getting their best take so we always would book a rehearsal room and go in and rehearse before we’d go and record so we rehearsed Betty Davis eyes for three days trying it ten zillion different ways knowing all those ways were not right and the end of the third day bel como over in the corner on the incredible analog synthesizer the profit which to this day the heart and soul you know just the most wonderful sounding instrument he came up with the signature lick and we all went heads turned that’s that’s it and we then took all the major chords and turned the minor and put this really dark feel that the record ended up having and I think it went like I said you know there’s a really cool rep out right now and I was thinking of a Gary Numan record called in cars that

had a synth lick that when did it did it he did it so I said what about in cars what if we incorporated a look like that Craig cramp my drummer thought I meant the group the cars ran in the back room came out and said I’ve got it and you know cramps enthusiasm it ended up being the trash drum he thought I meant the cars and they had a trash drum and so it was a really happy accident and goldy my other keyboard player did end up coming up with his own version of the gary numan look and it we all knew this was so right for this lyric and this is the only way that we could do this song so the next day we went in the studio and it was the second take alive and that was it and what ended up being the record was actually a rough mix we took a break over Christmas and of course I had to take everything we recorded home so we did quick rough mixes and we could never beat the rough that was it so you know and I loved I believed in that stuff I believe in the spontaneity of you know back then before automation everybody had their hands on faders and it was every time you would do a mix it was a performance so every mix was completely different and there was only one that had the magic and it turned out that was it and seat of your pants I mean really your it was great only inventiveness of the musicians and people working together as a band that’s such a cool yes a total band I mean that record and every record and still to this day even to the last album I did the most recent album these and ad trains yeah chasin wild dreams I ian was about my band whoo oh my gosh we’ve been together 20 years now here and also about my pals that I’m so in awe of that I wrote the songs for chasin wild trains with and they would come in and play guitar sing backgrounds a total collaborative effort labor of love and to me that’s my favorite part about what I do about music it’s not doing it by myself it’s about who I get to do it with sharing sharing the whole process so it’s always been like that it was cool because when you wind up winning a Grammy for for record of the year it seems like that was a band victory we celebrate I mean we that’s my producer Bob Rae yes you guys didn’t let the band in that shot but no but we partied afterwards hard we had fun let’s hear it let’s hear just a little bit of that song most of you’re well familiar with but there might be somebody who’s not in and focus in on immediately you have this signature scent lick feels lick yeah yeah listen for Bill’s lick lips sweet Spratt she’s got better day besides she tired of music you won’t have to think twice she’s PR as New York’s no she got better day Cosette I love that photo of you with with Betty Davis who you came to know in the wake

of all that and she loved it and would come backstage and swig your wine right she was so remarkable the first time I met her was to take this photo and the really famous wonderful gorge her L took that photo which was a whole nother wonderful moment and when I walked into her apartment the first thing I saw was a crocheted pillow that said no guts no glory which hello that was that was so her and she was the most amazing woman and we did become I mean I never dreamed out of this record that we would end up having such a wonderful friendship I mean Betty Davis yeah it was crazy I wouldn’t take I would go over to her apartment say to take up a little Christmas present or something and she would end up chain-smoking walking up and down her hallway telling me stories of how hard it was to fight for good roles and the studio you know fought her heart and and she got the reputation of being difficult to work with and she was just fighting to do good art doing good work and I heard a lot of stories she was remarkable now speaking of roles I mean this you were on a roll with Betty Davis eyes I believe it was the second biggest single of the 1980s and there were a few other popular artists in the 80s Springsteen prints Michael Jackson did you worry that you would be kind of typecast after the success of that song at that time no I’ve never gave it a thought I was so in the moment and I’ll say we were because you know it was constant touring with the band my family and we were so elated that we could get we could go out and have so much fun playing shows the other thing that it did was open up the rest of the world and still to this day I get to go play Europe every every year because this record opened up the whole world South America I mean it just was crazy so no at that time we just reveled in the wonderfulness of it all it was just big fun so the world opens up to you and then you go in to the studio on another Grammy occasion and sing we are the world yeah a lot of this was one of the most amazing conglomerations of talents and egos ever assembled in in one room what in the world happened there well no egos showed that night I can say when we first walked in it was at A&M studios and Quincy Jones who was producing it put a note above the entrance leave your ego at the door and truly everybody did it was people were so thrilled to be part of of this cause of this occasion and everybody was just amazing and I remember walking out of there 7:00 in the morning the Sun was up and it had gone by like that it was quite amazing let’s see if some of you if you haven’t seen this video in a while there are some it’s worth it just for the haircuts you know let’s see a little bit of we are the world with Kim there comes a time when we heed a certain call when the world must come together as one there it’s time to lend a hand to my Oh change big family and the truth you

know love is all we need three and so we all must lend we day it’s been so long since I’ve seen that really oh yeah I would every night my house I would invite everyone over and do it check it out you’re gonna Huey Lewis is gonna come in and of course you would do that I know you you know I’m looking down at all the signatures and that was so cool at the end of the session we all had our sheet music and everybody took it around everybody else and signed we have every single signature on the sheet music which is beyond incredible what do you do after that you just like go to a diner or something or you got a pink hot dog crazy chili dog and you also and we mentioned earlier that make no mistake he’s mine that you had a duet with Barbra Streisand wrote and then she changed your your color of your eyes and and all that so you know still writing for others is a big part of that towards other folks and then that winds up becoming another Kenny Rogers connection because he and Ronnie Milsap changed the gender to it and had their own country hit with number-one country record and they also want to grammy for best duo for make no mistake she’s mine you know when i after should I tell the story when I got the call from John Peters about writing it no nobody wants to hear that story yes please well out of the blue I got a call from at the time barbers manager I think boyfriend or manager they John Peters and he asked me if I would write a song that the two of us could sing together and as I told you I thought that is so bizarre I mean we we couldn’t be more different we sing so differently our styles are different and I’m so flattered but that’s never happen and truly within an hour I went

to the piano sat down and the song the song that would end up working just wrote itself and to the point where I didn’t have a pencil or trust a yellow pad and I had to yellow somebody you know please bring me the yellow pad in a pencil because if I I knew that if I got up from the piano it would go away I would lose it and then the next day we went in demo debt just bill playing the piano me singing it send it over to Barbara and again got a quick okay we’ll do it and Bill and I ended up producing her record and bill Como bill Como yes and I think I’m not sure of the timing you probably know a couple years later Kenny called and said I’m doing a record with Ronnie Milsap do you have a song or could you write one that two guys could sing and I said well you’re gonna really have to use your imagination but just change it to make no mistake she is mine and it could work and it did and number one country records that was your first number one country yeah yes I think so now there’s a Nashville connection and you soon we’re coming here to record in around 87 you decided I’m gonna yes we’re gonna check this place that you reunite with Jimmy Bowen yes right and come here to make an album and thus begins the Nashville phase of your of your life and that that album had you had John Prine songs on it right Lyle Lovett and Vince Gill singing harmonies yes Warner that’s not bad and what were your thoughts on this town then Nashville was kind of popping in with a lot of intelligent singer-songwriter types well Katie Lange Lyle Lovett were right about to explode and it was a wonderful time here and I the first thing that hit me it felt for a songwriter it felt like those Martone early days in the 70s in Hollywood that energy and I after recording that album went home and never I couldn’t get that out of my brain like I love I love that feeling because I’m a songwriter you know I didn’t move here till 94 but still continued to come and write with other writers my publisher Pat Higden was here so my two boys were at home I did not like leaving all the time and I also figured well it’ll only it can’t hurt only move there for two three years at the most and then I can go back to LA anyway still here I what I didn’t take into consideration is that I would make so many dear dear friends and that I would work with but not just write with but we all love each other you know it’s it’s such an incredible again tribe that I I didn’t I didn’t count on that happening wonderful were you surprised that so many nashville and specifically country artists were gravitating towards your work we had the heart won’t lie that was a number one yeah Vince Gill and Reba McEntire so you were helping out Gerald harmony singer there right because he really needed my help but did you think all that that won’t fit they are well I’ve gotten enough country covers by that time then I realized I just can keep writing like I write I’m not writing a specific country song and if a country singer sings that and the instrumentation is different it can work so that’s what happened there you go it’s worked out pretty good in 2004 you had been here for a while and you recorded what it may be my favorite of your albums the most my favorite self actuated album chasing wild trains which coincidentally is in the museum store available and and you might even sign once just like that we are the world signature things over there but tell me about recording that where it seems like that was a bit of a change for you well it was really the way I’d always wanted to record an album and once I got here and started doing so

many writer in the round shows I would try out new songs with my pals and if we’d written together we’d figure out how to do that song live I had from almost day one moving here Billy Panda my guitar player Tim Lauer keyboards and Greg Barnhill incredible singer-songwriter as the nucleus and the first song we recorded was called one beat at a time and after I finished that I went okay that’s that’s the bar for this album that’s that’s what I wanted to sound like and whoever I wrote the song with my dear dear pal Matassa Berg and I wrote I think my favorite song on that album called if I was an angel and she came in and sang harmony and her husband Jeff Hannah the one and only played the coolest slide guitar so of all it was such a labor of love I mean truly and the other side story was right when I began that album my mom lived out in California and she had a massive massive stroke one that you know she’s not coming back from and I would make trips out to visit her and then I’d come back here and go right into the studio and it’s a amazing what depth of feeling that that puts into music I mean I have always always believed music is the greatest healer and this album to me really proved it I I couldn’t wait to I didn’t know where to put all that sadness and you put it into your music how wonderful so that was the other ingredient in this album right and then on the cover there’s four year old you and you’re in your western garb and you’re in your wedding car my wedding my honeymoon car yes that’s right so it kind of brings it back home in that way yeah it is it’s just full circle yeah yeah so what do you do now you’re just kind of hang out and look at your yeah yeah yeah you know what she does she sits at this piano with this beautiful view out the window and genuine MTV Music Award with the spaceman sittin on the piano it’s right next to the Grammys and the MTV Award looks just as cool I think it’s pretty cool the spaceman with the flag and everything Kim thank you so much for doing this and did y’all learn anything from this about this multifaceted character thank you so much I mean what would it bum anybody out if if Kim sang a song or two and maybe Billy Pam’s really Panda here come on up yeah Billy panda everybody yeah and while Billy’s oh he’s not taking one thank you again so much this is the nicest thing anybody’s ever done for me the most meaningful and I there’s no word to thank you enough thank you great for us we love this and you guys thank you for showing up and I’ve got some really good pals here and I’m really glad that you’re here I’m gonna stand up and render this is a song that I mentioned earlier that I wrote with my Tracy Berg my dear dear pal and Gary Harrison and I you know there’s so many different ways to write us along and I had part of a song written and I took it to Matt races house and played it on the piano and sang and she said you know there’s a song that Gary and I wrote started and we haven’t finished let me go get it and we just kind of married the two together and wrote a little more and we ended up with one of my all-time favorite songs I never do a show that I don’t sing it and it was on an album of mattresses and it was on my chaise on wall trains album if I was an angel thank you

here to me she said why cry I always be because if our agent I would fly over joy to say maybe that’s good cuz if I was an angel I’d have a long way to go got a job as a waiter in some godforsaken place there’s no choose where you laugh weren’t you father grace I’m not sure shame of my flu try and neither one and giveaway for me I would fly to see my son and maybe that’s I’ll be hard before an agent wait – nah of the cracks in the sidewalk face through it’s back to place I’ve been as an angel yeah to say my soon and maybe that’s but me I’ll be home before I know Rajon gonna have a long way to go and maybe that’s a good thing I’ll be home before an angel I’d have a long way to go betrays a bird so you guys there’s just us up here so when we get to the trash drum part I’m gonna need you to her hair is hollow go ellipse sweet surprise her hand to never come she got better day beside to turn a music you won’t have she’s POS new Yahoo snow she got very day and she teased you you better just she’s just text

a profession Greta Garbo stand up buried inside to let you take Dave inside to take a jungle like you were dice until you come up she snows you a few feet with a crime she throws you she’s ferocious takes too much beside and she teased you she easy she’s precocious and she knows just what it takes to bacon rokosz all the boys think she’s a spy she’s day justplease yeah Dana side she’ll expose you yeah thank you guys thank you thank you thank you beyond thank you are you gonna say something am I gonna say something I think you just did oh okay this will go water what a treat to have this piano to play this is a song off the chase of mild trans album that I wrote with a wonderful Greg Barnhill so Billy you’re gonna help me on this okay how the sun’s coming through little cracks in the sheen take a long look at you I’m still amazed you’re the king of my heart the spark in my I was straight out of love you saved my life close your heaven you shall cover and fill I have broken let your love linger until still warm by the thrill

there’s a do on the grass miss Tommy oh yeah baby I will Oh nothing new I turned around found a ninja like so ain’t no heaven you shall cover until every I have been broken let your lovely until still warm by the thread let your lovely – still one by let your love linger until I’m still warm by yeah still warm yeah kim carnes the only panda Peter Cooper