2006POP MUSIC
TAPE DATED JAN 12 2006
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| 01:00:00 0 |
PETE FORNATALE INTERVIEWS DION ON MIXED BAG RADIO. Dion DiMucci
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| 01:00:04 4.4 |
DION TUNES HIS ACOUSTIC GUITAR BEFORE INTERVIEW BEGINS. FORNATALE DOES A SOUND CHECK.
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| 01:10:37 637.44 |
FORNATALE INTRODUCES DION WHO IMMEDIATLY GOES INTO A LIVE PERFORMANCE OF "YOU'RE THE ONE."
Pete Fornatale 10:38 Hello again everyone and welcome to another edition of mixed bag radio This is Pete Fornatale at the Gibson Baldwin showroom in New York City with my special guest today and truly one of the most influential people in my life Dion |
| 01:13:50 830.07 |
INTERVIEW BEGINS:
Pete Fornatale 13:50 my god you are the real deal let's Dion and a live version of you're the one from his brand new projects. Bronx in blue. He talks about a labor of love. This album is dripping with it dripping with it. Dion 14:06 Oh, thank you. Pete Fornatale 14:07 How did it come into being? Dion Dion 14:10 Well, like I say I wrote a little letter. And the letter in the album says some people think I grew up to rock and roll but I didn't. There was no rock and roll when I was a kid. So I tune into those high powered sedans southern stations you know late at night some sometimes it's WWE VA and wheeling West Virginia for country music and maybe down in Nashville for some blues or I don't know what what I picked up but I grew up to Hank Williams I grew up to Jimmy Reed, Howlin Wolf, John Lee Hooker is walking buggy and I'd be going... I'd be stomping on the floor and when I did you know....you know, I just got it from there, you know, and I grew up with that. And it kind of was the cause for me wanting to communicate. You know, I heard Hank Williams I heard Jimmy Reed, you know, with those words, you know, like, like the song I just did. You're the one who really gives me a buzz. I didn't think I'd last much longer, but it shows you just how wrong I was. Who goes around rhyming was and buzz. And that was 1954. It is Jimmy Rogers tune. So I grew up to blues and rock and roll. And for us first generation rockers when you put those together, you had rock and roll. Pete Fornatale 15:51 Those are the ingredients right now like a recipe, right? You know, a dash of this and a teaspoon of that and what came out, of course, was uniquely your own. But I want to stay with this point for a minute. The earliest picture I remember seeing of you, you're sitting on a barrel with a straw hat, and an acoustic guitar in your hands. And that picture relates directly to a piece of this album, doesn't it? Dion 16:19 I think it does, because, well, first of all, I never dress like that my father put the hat on my head. You know, the picture. And then Krigsman told me to take my shoes off, and they sat me on a barrel and I was 13 years old. But I first song I heard was like Honky Tonk blues. That's, and it's on the sound. And it just changed my life. I had no idea what Honky Tonk meant. But it sounded good. Coming out of Hank Williams mouth, you know, it just sounded good. And then when I started, my mom bought me the Gibson that's right in that picture for $8 at a hawk shop and we should have had it today I could retire. But, you know, I'd have learned songs like well you know that I've come back we tried it on but each time I knew them before. Long My heart is sad is sick and it's so never again rely on knock on your door. I was doing that like 13 You know, I thought I was like an old wise man. Pete Fornatale 17:38 Of the many things we have in common one is a record store on Fordham Road where I bought this album in 1958 if you please. The the one on Laurie records called presenting Dion and the Belmonts. You had your own experiences with cousins records. Dion 17:56 Yeah, Lou, Lou Cecchetti on cousins records and he took a liking to me. And he'd call me he knew my number cypress 80286. And he'd call me and he'd say, we got a new Hank Williams in our new loop the drifter? You don't know You don't notice stuff. I used to sing when I was a kid. It was crazy. So like, like, Luke The Drifter was Hank Williams. way where he used to do recitations, you know, like, in the world's mighty gallery of pictures, hang the scenes that are painted from life. The hang scenes of love and a passion to hang pictures of peace and strike the hang pictures have you been a beauty of old age and the blushing young bride, they all hang on the wall, but the saddest of all of the pictures from life. So the side Oh, and then he would go on. And I wish I would be singing that like at 11. Like, an 11 year old philosopher on the streets of the Bronx, and the guys used to go, Hey, that's good. Do that again. And and, you know, as a kid to take these guys on a trip and they didn't feel threatened or, you know, I could I could say anything. I could say, you know, you don't know how I cry. I'm so lonely. And you know, like, no one knows what I go through. And the tears I cry for you, you know, and they go do that again, you know, but if you ever said that in my neighborhood, they kick you ahead and sure, you know, they wouldn't express that that so I learned that a very early age that, you know, you could take people on a trip with songs, they weren't intimidated. They didn't get threatened. And you could say anything in a song Pete Fornatale 19:49 To bring another Italian American into it. That was what Sinatra was all about. Dion 19:53 Absolutely. The guys in the bar they were sitting there listening to you know, I'm all along on only the lonely whatever he would be doing. And they'd go wow what a great but they were identifying with the emotions that you can't tell the guy next to you. I'm so lonely do you get Yeah, no way shot right upside your head. But Sinatra said it for him. Pete Fornatale 20:19 I told him before. I told you before we started that people have said amazing things about you. One of them is Bruce Springsteen who said that you are the link between Sinatra and rock'n'roll that you could have been either in the Rat Pack, or the E Street Band, and either one would have been lucky to have you Dion 20:40 What does he know? Bruce is that we're always cutting up. Pete Fornatale 20:52 That's funny, funny stuff. What do you while you were doing Dion 20:55 It's true because I know what he's talking about. It was like a, you know, we were breaking to get serious and we were breaking the show business tradition. The show business tradition. Everybody walked on, say, you know, Sheki Sheki and Nipsey Nipsey or whatever they you know, Hey, how's everybody having a good time? You know, rock and roll is we didn't care who like we don't care what yeah, you know, check this out. I'm gonna take you on a trip. I don't care how you feel. You know? Bounce on it. You know, we wouldn't we wouldn't like you're having a good time clap Yoo hoo, kid, you know, you come in with me whether you like it or not. So we were breaking the show business tradition in a way we would uh, you know, they had songs like the leader of the pack and the rebel and we were those guys. Pete Fornatale 21:48 Or ah, my boyfriend's back and there's gonna be trouble. That's an inside joke, except for people who really know their music and we'll make the connection that the producer of Bronx in blue is the man who wrote that hit for the angels and sitting right here and it's sitting with us in the room today. She got her when you were doing a Hank Williams I'm now hearing Woody Guthrie did was Was he part of your musical consciousness? Dion 22:20 I didn't hear Woody Guthrie. I you know, I tell you him but my father was into Burl Ives so I got a lot of that. You know I got a little bit of that Mississippi John Hurt thing from Burl Ives, you know, so Pete Fornatale 22:40 talk. Talk in blues is what I was thinking of. Dion 22:43 I didn't hear Woddy Guthrie. Yeah, I heard Howlin Wolf I heard Jimmy Reed you know like.....I got the guitar tuned now so I can't do it. Okay. But as you know what I'm talking about Pete Fornatale 23:29 I do indeed. You'll appreciate this we had Hubert Sumlin in here last year who was Wolf's guitar player. Yeah, still out there doing still out there getting the job done. Dion 23:42 Yeah, those guys. Something else lifers. Pete Fornatale 23:46 Absolutely at the at the very least Dion 23:48 The real deal. They don't even they don't know how to do anything wrong. I just do it. You know, it's incredible. Guys. Pete Fornatale 23:57 When did you realize you had such a beautiful instrument? I'm talking about your voice Dion 24:03 you know, I don't know i My mother tells me I was auditioning guys from the pool and I kept bringing guys home you know, because I learned a few chords and I was I remember I brought this kid to my house name was Sammy savage. was a great fighter. But he's the he used to be up in the pool and going there stands in the corner with bow straight. I look got win and over the gate, the big game rabbit dump and in the grand winter, he's shocked I'm shocked on boogie boogie movies a muppet? numpad got a big boy, but he bought beat on you. I said why would you learn how to do that you got to come to my house and he sang on a tape recorder and you know, and I thought I was looking for somebody to like, you know, invent songs with and then I think my grandmother said you sing better than me. Why don't you like so I started trying it you know, and I guess I didn't know. And then I thought Well, I could do this. I started little by little, you know, got into Hank Williams. I knew a lot of Hank Williams songs when I was by the age of 13. By the time he died, I probably had all his records. And knew I probably knew a good 50 Hank Williams songs. Pete Fornatale 25:21 I love the thing you said to David Hinckley, when he asked you if doing this pure blues record was a stretch. You said? Dion 25:31 I said he wasn't I said doing Teenager in Love was a stretch. That was a stretch. Because, you know, when you think about it, no teenager would write a song called teenager and love. No, you know, Doc palmists wrote that he was like an old guy. I mean, he was a great guy and like, like a dad to me, you know, I kind of adopted him in a way but he adopted me, and great mentor in my life, but, but he wrote teenager in love. And that was a stretch. Because I, you know, wasn't a song that I'd be singing, you know, you know, I was, that was the stretch. Pete Fornatale 26:08 I have to ask you, I'd be run out of town if I didn't ask you about the Rock and Roll stuff, but I'm gonna save that for later on. And for right now, stick with the people who probably had the greatest impact on you embracing this music that you're doing today. Tell me about John Hammond. Dion 26:29 Well, John, I was the first rock and roll singer signed to Columbia Records right before Dylan. Dylan was he was folk artist when he was put there but, and Springsteen later on, but Sly Stone was like the next artists, they, they signed, but I was there and they didn't know exactly what to do with me. But you know, I did. I had songs like I was I had my, like, the one there was a white version of the Hoochie Coochie Man, and I'm a man, you know, it was a, like, I always say it's black music filtered through an Italian neighborhood, it comes out with an attitude. And the wonder was the Bronx kind of, you know, version of what they would what they would do. And so I'd be singing that. And John Hammond called, he was right across the hall. And he would all these blues albums on the wall. And you know, he had 1000s, it seemed like and he said, you have a flair for the blues dia. And you and I didn't know the guy and we spent like two hours together. And so he and his office, he played me flurry lowest that day, he played me, Fred McDowell. He played me, Robert Johnson, who I I was familiar with, I heard a few records on. You know, they had some singles out, drifting around, I think preaching blues and stuff. But that record, that record album, King of the Delta Blues had just come out, I think, in 61, and I'm talking about 62. And he was in the office with me and played me the Robert Johnson album, King of the Delta Blues and he said Dion, he had this angelic smile on his face. He said, Dion, this album sold 25,000 albums, by word of mouth. And it looks so he was saying, I knew saying something very important, but I was selling millions of records. I had Rubi baby out, it's sold a million records, you know? And I was thinking, but when he played it for I know what he was talking about, I knew it. It wasn't a now record. I knew it had something to do with the past and definitely something to do with roots. I didn't know how to explain it then. But the way I explained it today is I heard the naked cry of the human heart apart from God, it was like somebody wailing wanting to be in union with God or wanting to be home spiritually mentally, physically as so everything you know, just like was like something vacant in his heart you know, like in this way it's just you know what you knew you were listening to something incredible you know like..... |
| 01:29:24 1764.69 |
DION PLAYS A PORTION OF A "CROSSROADS"
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| 01:32:08 1928 |
INTERVIEW RESUMES:
Pete Fornatale 32:08 Dion. Live version of crosswords excuse me Crossroads which appears on the Bronx in blue CD, you have addressed some of this material on other albums earlier in your career, I feel that they are better served by you at this time in your life better served by you with your voice today, rather than back then when you might have originally recorded them. Do you agree with that assessment? Dion 32:36 Well, what I did was, I think doing them just with the guitar, it's kind of you're right, right out front, there's no place to hide. So you hear hearing it in like a pure kind of form. But but you know, I'm like maybe right. I don't know, you know, I but I always enjoy doing it. Pete Fornatale 32:57 You've grown into the material. Dion 32:59 Yeah, probably Pete Fornatale 33:00 in a way that a kid. And also in your depth Dion 33:04 Yeah I think so because I was listening to some stuff I did at Columbia. When I used to get all the guys from the Apollo to come up. I did spoonful and I could hear it in my voice. I was a little more affected. I was like trying to trying to imitate like more than just That's why I call the the Bronx in blue. I don't sing black and I don't sing white. I sing Bronx Pete Fornatale 33:29 a style unto itself. For sure. I want to ask you about one of the I think one of the forgotten people in rock'n'roll who I would like to know more about because of the things that he did. And I know you had an association with him. And that was a staff producer at Columbia Records by the name of Tom Wilson. Yeah, no longer with us. But he's the guy who put bass and drums on Sounds of Silence and launched Simon and Garfunkel. He's the guy who produced bringing it all back home for Bob Dylan. Dion 34:04 Listen, I remember the day he he came to me. So Dion, he said, I got some tapes, because I was at early Dylan sessions. You know, I was, I would, Hank because I was. I was there. It was very close to St from 1650. And, you know, I'd be listening to him and I love you know, I love some of the stuff he was doing. And then, so Tom got me to go in the studio with him with Maggie spawn. A Dylan, you know, the tape, just him and the guitar. And we put we recorded Al Cooper from across the street. It was raining and Charlie smalls on piano. We got a few guys and just kind of did a demo. You know, I thought this guy this guy, Bob Dylan. He's gonna freak out when he hears this. Well, you know who Who asked you to do this? He said no, no, I'm just I'm just approaching him with an idea. I want to show him this. You know? So we played behind this Maggie's Farm. And Dylan I guess bought it and I mean, I didn't hear you know, didn't follow it through but I knew he made the you know the started. That's when he went electric the leap. Connection. Yeah, change. Yeah. Pete Fornatale 35:14 You were an early champion of his and have recorded of great number of his songs, which is your favorite Dion 35:22 of Dylan's Pete Fornatale 35:23 that you've done? Dion 35:25 Of his? That's it. Oh, there's there's one that I don't think he's ever recorded it. I think it's on an album called The Bronx blues. It's. it's the last song on Bronx blues. You know, I forget the name of it. It escapes me. Now. I don't think you had I don't think it's an album form. It was a CD. Let me see Bronx goes. No, it's not on that. It's on a CD called Bronx blues. It's you don't mind if I Pete Fornatale 36:11 Not at all let's, let's find it in play. And I'm trying to take the title. Could you Google that Linda, Google Brock's Blues by Dion and find the Dylan song Pete Fornatale 36:28 Well, a lot of that stuff that you did went unreleased for, you know, until like Columbia cashed in on Abraham, Martin and John by putting Dion 36:37 that's a funny thing, because Dylan used to sing this song, but I don't think he ever recorded it. So I asked him, I said, Could I do it? You know, and I? And I did it. But it's a blue CD. It's Columbia Pete Fornatale 36:51 It might be. Do You have it with you in here? It's not in the car, or did you leave it in the car? Ah, this this would be this would be faster than Google. That's a that's impressive. Dion 37:06 That's it? That's it? Is it? Yeah, what's the last song on it? It's interesting. Pete Fornatale 37:20 All our eyes are going. Dion 37:22 Baby. I'm in the mood for you. Pete Fornatale 37:25 Do you remember it? Or should we play? Dion 37:27 No I don't. I can't remember the title. Maybe some, maybe somebody on Google knows. Pete Fornatale 37:42 We'll play for the CD and the title is. Dion 37:47 Baby, I'm in the mood for you Pete Fornatale 37:50 That's baby I'm in the mood for you written but not recorded by Bob Dylan, however, recorded by My guest today, Dion. More with the man after these words. Pete Fornatale 38:03 I really like I'll play it for you. Cool. Do you know what I mean about Tom Wilson. I mean, he did those amazing things. There's no you can't find he Dion 38:15 was able to do those amazing things is He? He? He came from a different background. He didn't have the notion that when he entered there, it wasn't like virzi who was an arranger and other people who came from another he was thinking Dion 38:32 he was think he was thinking see by mercy. I did. I did. Be careful the stones that you throw in he put trumpets and strings on it. So he was an arranger he overdid everything but but Tom Wilson was going How can I capture that you know he was thinking how to how to get inside the song and bring it out. Pete Fornatale 38:56 I'm just going to put up an intro to the second segment and we'll just keep going this this is too good to miss but okay Dion 39:04 let me do this for you. You get into guitar Pete Fornatale 39:15 Oh yeah, I'm sorry. I'm sorry. |
| 01:39:46 2386 |
INTERVIEW CONTINUES:
Pete Fornatale 39:20 Pete Fornatale back with you on mixbag radio with my special guests today Dion. We were talking about a man named Tom Wilson, who played a role in so many careers Bob Dylan and Simon and Garfunkel buzz Can I bring Dion 39:34 in these people? Do you mind Sure. You give me a buzz. Dion 39:41 Is it gone? Pete Fornatale 39:47 Pete Fornatale back with you on mixed bag radio with my guest today. Dion. We were talking about a man named Tom Wilson who really had an impact on a lot of careers including Simon and Garfunkel, Bob Dylan, and Dion and you express The reason why when we were getting ready for, for this part of the show Dion, what was his contribution? Dion 40:08 Well, Tom Wilson was maybe a thinking man's producer, you know, he, he. He wants to know how to capture the song and try to get inside the song and bring it out. Pete Fornatale 40:23 Remember what you said earlier about how standing up there doing rock and roll, you were breaking the old rules. Some of the people involved on the record company and in those days wanted to shoehorn you back into more conventional show business. Dion 40:38 They well they come from Yeah, they came from that era. They were very conservative at the Columbia. They had no idea of what we were doing. I was sitting on a on a piano stool with Aretha Franklin, they had her doing Rockabye, my baby Al Jolson, and they had me doing mammy. Oh my God, no, they were trying to you know, we were popular. We had some hit records and they, they were trying to do stuff with sy. That's when John Hammond called me and he said, you have a flair for the blues, you know, but they didn't know what to do with us. You know, Pete Fornatale 41:09 it's finding the right person because Aretha was dropped and went to Atlanta I Dion 41:14 was I wasn't dropped, I left because I was bringing all the guys from the Apollo Theater and you know, like buddy Lucas who played sax and harmonica and a lot of things. And, you know, Sam, the man Taylor and great drummers like Panama Francis and sticks, Evans, who played on you know, the wander and run around Sue and, but they we would do, I did a thing called spoonful might be on Bronx blues. And that's a Howlin Wolf tune. And I did it with all these guys. But they were they were in the studio, horrified Bob Mercy who was produced. He was horrified. He was like, What are you doing? He didn't know what we were doing. It sounded like, like, music. Martians, you know, he did not know. So Tom Wilson came in. I think Tom Wilson produced a few things but then they didn't know where, you know, I had a love for. I just kept getting deeper into it. Because of John Hammond and I got I got I was following my heart. So I had to leave because there was no match anymore. I wasn't making a pop hit records. You know, Pete Fornatale 42:22 you know what, what Dylan's nickname was in the hallways of Columbia. No. Hammonds Foley Hammonds Dion 42:33 shows you what they know Pete Fornatale 42:35 it right until Peter Paul and Mary took blowing in the wind to number one in the country. They Dion 42:40 couldn't hear it some people can hear it you know, and it's even harder to hear Robert Johnson if you play Robert Johnson people they go they think it's Chinese music they don't they really don't know you know it's but his cannot do it my favorite Dylan tune absolutely this is an I came upon this because I was at a treatment center with this this girl who was really destroying herself and I it was it was like no way to reach in fact I wrote a song called I gotta get to you I used everything I gotta get but this song kind of |
| 01:43:18 2598.2 |
DION PERFORMS A BOB DYLAN SONG
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| 01:46:13 2773.95 |
INTERVIEW CONTINUES:
Pete Fornatale 46:14 just beautiful. You know, the arguments about whether Dylan can sing or not saying he's a stylist, but when someone with a voice Dion 46:24 I think Dylan has a beautiful voice maybe listen to slow train come if he wanted to sing it sing, you know, he could. You know, he's, he's a funny if he ever came out and did a concert and just, I mean, actually sang the melody to something like, you know, come gather around you wherever you are. If he ever did to melody, they'd have to rebuild Madison Square Garden. Pete Fornatale 46:54 I know what you're saying. And, you know, I mean, you can have that conversation about Leonard Cohen, you could have that conversation about Tom Waits. These guys are giants. And when they do their own material, you're privileged to be witnessing it. But when someone with an instrument like yours, when Judy Collins does, just like Tom thumb's blues, it's, it's transcended what you just did with one too many mornings is transcendent. Dion 47:20 Well, I you know, I never considered myself having a voice. I consider myself I love to sing. And I don't mean that as a put down to myself, I think I'm a rhythm singer. So I try to sing like in I can't hold notes. So I get off on quick. You know what I mean? I you know, to me people with a voice, they hold notes, and sometimes even have tremolo that's why I liked Hank Williams. When I first heard Hank Williams, you know, see, I used to go to Italian weddings coming from the Bronx. And well, here I am growing up in the Bronx, and this little Italian section, I go to weddings, you know, my uncle Frank would get on stage and he'd sing his throat with a girl. That's the ugliest thing I ever saw in my life. So when I heard Hank Williams, you know, hone down on round. Tom, you know, he was like, had no tremolo at all. And he would bite the last word of every sentence and rip it off. And I'd go wow, that is cool. I just, you know, and the words would teach you how to live. This was something Yeah, this is something to listen to. Yes, they Well, that's what roped me in. Pete Fornatale 48:40 I want to get this out of the way because it's something someone mentioned to me. Is there any way with this record? Bronx in blue, that you're distancing yourself from rock and roll? Dion 48:51 Absolutely not. This is just, you know, you know, a lot of people see I've been reading, I did a few shows in New York. And I was reading some of the, the reviews or people interpreting what I was doing. And a lot of people get it. They just, they just, they tie in into everything I've done, you know, in ways. And if I sat in a room and sang songs that I that Phil Spector produced, I mean, songs that, you know, my songs that Phil Spector produced or sang songs that I did with a group, you know, from the Bronx vocal group, or I did. What, whoever was better if I sit in a room and sang all those songs with my guitar, it all sounds like Dion music. It's just like, you know, this album just is cut back. It doesn't have it's not produced. It's just done. Pete Fornatale 49:49 That is the way it should be. You you, you have a palette of many colors. Did you ever sing opera? That's the only thing I told you. Dion 49:57 I can't hold notes. So I would I would conduct Pete Fornatale 50:02 that's the only form I made a list of things that you've done songs and or albums about. And here's the list, blues, country, folk, rock and roll, folk rock, gospel, jazz standards, you know your way around a standard, where or when, in the steal of the night, those were as legitimate Dion 50:26 as they were when was a real stretch, a real stretch because, well, it's a song I would have never seen never. But the guy who own glory records at the time, Alan Sussel, it was his favorite song. And I really loved the man. And I said, we got to do an arrangement. And so I just stretched, you know, in fact, in fact, Joe Zito a jazz pianist, I set the Belmonts and I down and gave us notes, because there were a few notes, a few chords that we never heard of. So he just gave us some, you know, some harmonies on some of the changes. But that was a stretch Pete Fornatale 51:12 in retrospect that you're glad you did it? Dion 51:16 Well, I'm glad I did it for the reason I did it. You know, but as far as like having to do is it's hard to do that song because it's a stretch. And as I move on, it's more of a stretch Pete Fornatale 51:28 your solo version of in the Still of the night. It's called Porter, right. Not the five set, you're probably the only one who did both the five satins in the Scylla. Reporters. Absolutely. But you're side by side with Sinatra. It works. Dion 51:45 Yeah, well, there's some great songs back there, you know, no doubt about it. You know, I just you could, you know, in fact, back then, when I when I was coming up, just to show you like the crazy things you would not crazy, but you would want to ingest or, you know, everything that was in prep, there wasn't much. You know, there was a lot of showbusiness around you with the crooners. You know, like if I watched the victim mon on on Ed Sullivan, it looked like he just took a voice lesson. I'd rather watch Jimmy Duranty singing fairy tales can come true. It could happen to you. If you're young at heart, you know, I'd rather watch him sing communicate a song. But for me, I was walking in Pelham Bay one day, just show you how wild it was for me now that I look back on what I was doing. I'm walking in Pelham Bay, and I hear this ethereal music coming out of the synagogue. And I walk in I'm like, what is that? You know? Because it's like Dion 53:02 what? Hold on, you know, and I'm walking in. I'm looking around and the sky. Henry Rosenblatt comes out and he says you like that and brings me in the back and he starts playing me. His dad's music ersel Useless. I don't know how to say it and Yiddish but it Rosenblatt who was in the original Jazz singer with Al Jolson. And he was he was a canta a famous Jewish canta. Rosenblatt senior and he started playing me the records. I was in trouble with this stuff. So when I went back home, I wrote born a cry, you know, I wrote Dion 53:47 you know, who, who recently did this the hives? I bet you they don't know. It's like, fusion Jewish and rock and roll. It's kind of a fusion that's Jewish rock and roll. They don't know it. But, you know, the hives just, they end this show with it. They did it on two videos. I was like, knocked I wrote it when I was 16 You know, but it has that cantering in it my crew Dion 54:19 and my so I was like, you know, digesting all these different that's what we that's whatever I was exposed to, right. Pete Fornatale 54:30 But that's, you know, mix that all up. And, and you come out that's that's what I think is is unique about everything that you've chosen to put your stamp on. Want to talk about a dark time. The Beatles happen. The string of hits ends for you, plus you having terrible personal problems. Mid 60s, right. Did you think it was the end? Did you think it was all over? How How did you reconcile all of that? Dion 55:03 Well, I wasn't too conscious of that, that business change because I had found all these albums that John Hammond gave me. So I was kind of woodshedding. But I was using a lot of drugs drinking a lot in the mid 60s, you know, I was, I was one of those guys, you know, put me right in the mix. You know, they say, if you remember the 60s, you really weren't there. And you know, I don't remember the 60s, but the mid 60s, I would say what most bleakest, darkest emotional period of my life because, you know, I was, I was using these drugs, and it got worse and worse. And it's a funny thing about drugs, if you use them like I did, there's like three stages. The first stage is you have a lot of fun. The second stage is fun, and some problems. And then the third stage is like, problems, period, and it could kill you, and it did kill people. So I started seeing, you know, it's a funny thing, that rock'n'roll is we pride ourselves on being free, and, and knowing the truth, you know, truth and freedom, big thing to us, you know. And, you know, we'd like to express that and turn up the amps and let everybody know it right in your face. But I started seeing a lot of the guys I knew die very broken, not ever coming to the full knowledge of the truth, or never appropriating what they were singing about in their lives, they never really got their own message. So you know, it started to I started to wonder about that. I said, you know, how do you how do you actually be, you know, how does this become intrinsic? Yeah, it was saying these things, but how does it become part of you? And for me, I said a prayer one day, back in 68, and I haven't had a drug of a drink and 38 years, so my life really, totally changed around you know, Pete Fornatale 57:00 do you still perform in your own backyard? Dion 57:04 Who I don't remember that? Pete Fornatale 57:06 It is. You don't even have to try. It is just simply one of the best. coming out the other end of the experience that you just described, Dion 57:17 like an anti drug song that isn't an anti drug song. Pete Fornatale 57:20 It's a pro life song. It's yeah, it's good. Let's listen to it. I'm mixed bag ready. Gotta put that in. Its killer still, to this day, in your own backyard. That's Deon. He, it kind of helped put him back on the road to recovery and the road to the amazing career that he's had for himself. When did you become aware of the Beatles? And what did you think of them? Dion 57:44 You want to know? To be honest with you, I was never into the Beatles. I just wasn't, there was some great songs they did. But personally, I was like, I was hanging out in the village in the mid 60s with lightning Hopkins and the spoonful will come in around so I enjoy their music. And, you know, I was with Richie Havens, Tim Hardin, I was hanging out with and, and Mike Bloomfield, you know, they started the whole Butterfield. And so I was like, involved with all these guys in the village at the time I was had an apartment down then, when the village was the village, in the 60s. And the Beatles thing, like I was talking a little Richard and he was he wasn't a Beatle fan at all, because he thought that, you know, Ringo was you know, if you ever had like, like, Ringo was the farthest thing away from a black drummer, you could find it was almost like, you know, too rigid form or too confusing for like, you know, to really get something going so but, you know, the stones were a little different story. You know, I had a little go with them, you know, but they did it for me. And, you know Pete Fornatale 58:53 How did you find out that you were on the cover of Sergeant Pepper and what did that mean to you? Dion 58:59 You mean what did it mean for them? That's why I think so, so much. You gotta humble guys. John Lennon. John Lennon. It's a you know, when you're from the Bronx, you gotta go for these things. Dion 59:19 John Lennon loved Ruby baby, you know, he just and he took he actually took the photo off the cuff I met. I met John and George on 57th Street when they came in to do the madness. Carnegie Hall, one of the shows they did here for Sid Bernstein. And, and he liked, you know, where do you get that Ruby baby? He was like, he liked that song, you know? So I guess the, you know, somewhere they threw it on there. I never asked them. Pete Fornatale 59:53 It's, you're in a very select, very select group. And yet just another one of those Those honors that have come your way just by doing what you do and being who you are. And end of story. We're at the point now where you've come out the other side of your personal problems, and reclaiming your rightful place in the music business. So the question here is, who is Dick holler? And why was he important in your life? Dion 1:00:24 Well, he he brought me this little song, you know, when it was like... his email friend, Abraham candidum, and when he's gone, a lot of people but the good night, you know, it's like, and I thought, yeah, thanks. But it's I, you know, it sounded like a little, kind of an opportunist thing. And my wife said Dion, she said that, you know, that's a, that's a that's a gospel tune. It's talking about a state of love that does exist, and you have to work to make it real. You know, you know, and then I had somebody else, go ahead, you know, you could kill the dream of, but you can't kill the dream. And that's what that song I said, Whoa, ye. So I put, I got my guitar. And I put that arrangement to it. I'm gonna do the whole thing, because I don't have the whole thing but it's like.... Dion 1:01:30 So I did it like in because I was I was 1968. And I was hanging out with Tim Hardin. And Tim Horton was, he didn't sing louder than this says, You look to me, like Misty roses. So I was, you know, we were sitting, we would sit around the houses, you know, with the fireplace on down in the village, and we, and we get these acoustical guitars. And we, and I put the arrangement together like that. And I did it, you know, and never thought it would be, you know, it's sold millions of records. And I got was before email, and I must have got 5000 postcards from college students all over the country thanking me for making a very, very confusing time because Bob Kennedy was assassinated. I mean, Martin Luther King was assassinated. And Bobby Kennedy was at his funeral. And he said, Who's the next senseless victim that's going to get struck down by some assassins, you know, and a couple of months later, he was gone. It was out of frustration. We put the song together and the cards that I that I received, said, you know, thanks for making sense of something so horrible and horrendous. Thanks for bringing something good out of it, you know, that we're making it you know, giving us a solution. Pete Fornatale 1:02:54 It has retained all of its power these days, you are dedicating it to the troops. When you perform it, Dion 1:03:01 I dedicated to all those men and women of virtue, whether they are the people at 911, who were running up those steps, the firemen, the police officers, the health workers, you know, when push comes to shove those people that have that virtue, whether they're in the armed forces, fighting for our freedom, the you know, look at police officers, they they're out there guarding our kids, while we're here having fun with the hillbilly music or whatever we're doing Pete Fornatale 1:03:31 my youngest son is one of them. And why it's royalty. You know, Dion 1:03:35 we're around royalty around these guys. You've also fold Pete Fornatale 1:03:39 it in will the circle be unbroken into your arrangement of it and Dion 1:03:43 you it's on the original record? It's on the original record, it's just that I don't have the organ planet so I sang it the other night, but play the original record, you'll hear it in the middle of the organ playing with a circle being bound by and as a sitar in there and Pete Fornatale 1:04:04 see I thought I knew more about you than you did, but you can still teach. Dion 1:04:08 When it comes you probably do when it comes to the musical end of it Pete Fornatale 1:04:14 I yield I yield the floor to the gentleman from the Bronx. I listen, you did that you did that version of it at our 10th anniversary mixed bag party and I'd like to play it for our listeners today on mixed bag radio. That's Dion and a live version of Abraham Martin and John from what was the mixed bag 10th anniversary party. We're a little further along now than we were then then I'll have more with Dion after these messages Dion 1:04:42 I wish you would play the there's an arrangement and acoustical arrangement of it on new masters. That's really you'd really liked I think you'd I really want to play the next big thing but Pete Fornatale 1:04:59 no, no I just want you to get the song in the show. So if you want to do a setup I'm telling you for new masters Dion 1:05:04 there's an arranger, there's an acoustical arrangement of it on new masters. That's really different that people probably haven't heard. It's on an album called new masters and Pete Fornatale 1:05:21 Gret, We'll put it in post production, I'm going to say, let's listen on mixbag radio. That's Dion and an acoustic version of Abraham, Martin and John from the new masters collection. I'll have more with Dion right after this. |
| 02:06:28 3988.96 |
INTERVIEW CONTINUES:
Pete Fornatale 1:06:29 Pete Fornatale back with you on mixed bag radio with my special guest today. Dion, there was a period there Dion during which you were not performing your secular music. Any regrets about that in retrospect, and what reconciled you with that part of your musical history? Dion 1:06:48 Well, I was I got I got involved in gospel music. I had this fabulous spiritual awakening that just kind of threw me up on a pink cloud, you know. And I think it's a funny thing. I fell in love with John Paul, the great, you know, John Paul to he just, to me, he was like my spiritual dad, you know, and the way I explained it is I had a physical father, a heavenly father, but he was kind of a spiritual father, keep me on track. So I made a choice to embrace Him, and teaching and his words, because he was a poet. He was an artist. He was a, he was a scholar, great theologian. He just had such insight to everything I wanted to know. And I didn't get it in certain places who was going to listen to the president, who was going to listen to David Brinkley. I mean, you know, who was you know, people make choices to listen to all kinds of people. So I made a choice to listen to him. And I started doing gospel music. It was very inspirational. I just got into it. I, I made five gospel albums. Pete Fornatale 1:08:03 I got them right here. And Dion 1:08:06 I just enjoyed writing, it was uplifting. For me, it was just medicine for the bones, and definitely health for the heart, you know, and I just, I just got got, it's great music. So Pete Fornatale 1:08:23 did you ever meet John Paul? Dion 1:08:25 No, I never met him. I went to Israel, and that when I went to meet I was he decided to go to Israel. I was like, in 2000. So I just missed them. But I was friends. I'm friends with Cardinal Ratzinger who became Benedict the 16th. So, yeah, but anyway, I'm like a real church person. I love the church. And I that's, but you know, and I wanted something, you know, because I had three daughters in the house. My wife and I wanted something to tie us all together. You know, I was thinking, what's the thread that could hold us together and, and the church was was a great decision on my part, because it just my my, my daughters did very well on the principles and teachings and they just married great guys. And they're all teachers, they love kids. And it's all about the if you if you have kids, they're the teachers you want they're just great. Anyway, it worked well for me, but I'm doing all this gospel music and it was just an you know, it's like I I just took off I like to develop it. It was it was Dion music, you know, it's, I guess, you know, Picasso said, if you look at my paintings, it's kind of like a, like a diary, you know, and that's kind of what music is for me. You could you could look at it. In fact, there's a song if you'd be so bold to play the song. You could you could hear it's called behind Susan's eyes. It's on new masters that album I was telling you about but it's like when I think one of the best songs I wrote and well you'd have to hear it I don't want to explain it but we will what brought me out let me just I said all that to say this I'm gonna like I said all that to say this WD CBS in the 80s call me up to do a show at Radio City musical and I don't want to be nice time to get back to New York and the people who was so loyal and precious to me and really gave me so much you know, maybe there's a chance to you know, give back so I put the all the songs together and I came up here and that concert that very concert while I was on stage, I remember right in the middle of one of the songs thinking I think the past the present and the future make sense right now it just fused everything together for me you know, I just saw everything clearly. And there was no reason to for me to distance myself from the early hits or get into any you know, I just embraced it all was just all a part of me. Pete Fornatale 1:11:22 Would you do one of your spirit filled songs for us? Dion 1:11:28 Oh boy, what can I do Pete Fornatale 1:11:31 You did one the other night I'm Dion 1:11:43 trying to think of what I can do you want to show through that one Pete Fornatale 1:11:50 I have a version of sweet surrender that he fooled me into I don't remember exactly how you did it Dion 1:11:58 should have this is picking up the guitar okay Dion 1:12:13 I'm getting tired so I don't know if like I don't know if I get through this |
| 02:12:18 4338.01 |
DION PERFORMS A PORTION OF A SONG AND STOPS AFTER A FEW LINES BECAUSE HIS VOICES IS STRAINED FROM TALKING TOO MUCH.
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| 02:14:07 4447.67 |
INTERVIEW CONTINUES:
Pete Fornatale 1:14:08 Behind Susan's eyes from new Masters by my special guests today. Dion. Deanna, want to ask you about two specific nights in your life. Dion 1:14:21 Okay, sure. Sorry. Pete Fornatale 1:14:23 Dion, I want to ask you specifically about two nights in your life. One of great tragedy, one of great triumph. The tragedy of course, is February 3 1959. You're on tour in the Midwest, with the Belmonts. Buddy Holly. The Big Bopper, Richie Valens and the unthinkable happens Dion 1:14:51 that's a good way to say an accurate way to say the unthinkable you know, I was young I was 19 years old. I had had some hit records. And I get with a few guys with different brands of rock and roll. You have Buddy Holly from Lubbock, Texas, who had like, a country rock thing going and I did too. But here I am from Little Italy in the Bronx. And you got Richie Valens from the barrio, Chicano out in the San Fernando Valley in California. And he put us on a bus like it was a like a little yellow school bus, you know, from the Baptist Church, we didn't have these luxury coach lines that they have today, you know, and we're on that bus and we were rocking in the back of the bus and two weeks just having a ball now, you know, 19 years old, you were on a field trip with guys. This was like, you have to come in out of the neighborhood with the gangs and the fights and you know, in all this confusion, and I was, you know, I was out there in the Midwest, this was like, I was in heaven. as cold as it was and it was cold. I never experienced cold like that. I mean, it was below zeros, you know, and below zero with wind chills. You know, it was called that some of the older Pete and there was a few older people on the bus that knew when the bus broke down, that it was a scary thing because you could die in the middle of towns if the if you didn't get help. But to me, you know, I had a fresh head you know, Buddy Holly and I would get under the covers and we'd be you know, we'd put a blanket on and tell each other stories. He tells me of Mary Lou and Bobby Bo and I tell him Frankie young count and Joe beady eyes in the Bronx or Ralphie Moche and I used to say to him, buddy, we got this guy, you know, we have nicknames and he's telling me the guy's his nicknames. And I'd say we had a guy named Shakespeare in my neighborhood he'd say to be on not to be which is my apartment. And my Buddy Holly, Buddy Holly never got the joke because like they had screen doors in Texas, you know? I don't know he was going like what what are you talking about? So but you know that one night we were in Clear Lake Iowa we were on the at the finale, we were rocking out you know, I think we were doing like.....we were like, and we all had new Fender Guitars Ritchie, buddy and I we had Stratocaster guitars. And we were we were in like a competition to see who would make it ring the longest. And you know, after the show, Buddy was working on this thing, you know, we will call headlining that thing, but he was working on a deal with chartering a plane because the bus kept breaking down. I was frustrating, you know, and cold and we were and, you know, he went around, you know, like, the more people we get on the plane, we could, you know, we'll bring the price down. You know, if we could get four guys on up, it's $36. Well, with me hit the magic number because my parents argued every day over the rent, which was $36. And Bronx, New York, and my head hadn't stretched out far enough to just spend a whole month's rent on an 45 minute flight to Fargo, North Dakota. So I did guys I'll say on the bus. And I did. And the next morning when we pulled into Fargo we were walked into the hotel and the TV was blasting in the lobby and a couple of people in said three rock and roll out of Stein, including the pilot on his chartered plane. mentioned that it was it was like Unreal. And I was totally baffled. It was like someone I just couldn't grab onto so I walked outside and went I'm sitting in the bus. All their outfits are hanging in the bus, their guitars are laying on the seat. Um, I'm sitting there alone thinking. Now, this is unreal. This, you know, I was baffled. I was I was in shock for about two weeks after that, I don't know. And then Waylon Jennings who was playing bass with Buddy Holly at the time he came and we became we became lifetime friends forever Friends, you know, on a tour, but we went on. We went on that night and we managed you know, we I was I was singing down I was singing Buddy Holly songs we, we finished the tour. And I can't tell you what that really changed my life that too because I think at that age at the age of 19, and something something like that happening to you. You're wondering, who am I? Where am I? What's life about? What am I doing here? What should i What's going on, you know, all these questions that I didn't have answers to. And because it's such a shock, you know, these guys, this was the best thing that ever happened to me being on that bus with these guys. You know, guys that liked what I liked, you know, had this had vision had passion, played great rhythm guitar, we were like, well in there for two weeks I was in heaven, I didn't. So and and then it was just the rug was ripped out from underneath me. And I don't think I've resolved those feelings until I wrote that song on deja nuchal every day that I'm with you. Pete Fornatale 1:21:02 Really? Oh, you know, I hadn't planned on asking you this. But here you're telling me about what you thought about death as a 19 year old? How do you think what do you think about it? Today? Dion 1:21:14 There's a rock and roll show you this. Pete Fornatale 1:21:17 What do I call this a life show? Dion 1:21:20 This is a heavy question. What do I think about it? Pete Fornatale 1:21:24 You know, from that 19 year old who was baffled? Yeah. You know, I mean, you can distract yourself from the inevitable Dion 1:21:31 Well, I tell you, here's the way I think about it. I think. I think eternity is a long time. And I want to be I want it to be the day I meet the Lord. I want it to be a joyous occasion. I want it. I don't want to be like, Oh, I'm sorry. I didn't do this. I should have did I just I want to be I want to say it's good to see. Pete Fornatale 1:21:53 So you're when you get on the Yeah, I'm sorry. That show with Lipton, James Lipton. Oh, get on Inside the Actor's Studio and you I got my answer I've been I'm not I'll never be on the show. But I've got my answer which he says if there's if there's a heaven, what do you want to hear God say when you go through the gates and I want to hear him say, contrary to popular belief, I'm not that judgmental. Dion 1:22:22 because you mercy endures forever. You know, God is a life giving lover. A lot of people make it a whole complicated thing. But he that's that's all he is. Pete Fornatale 1:22:35 We're gonna move from that moment of tragedy to a moment of triumph. It happened right here in New York City at Madison Square Garden in the late 80s. Paul Simon was doing a benefit for his charity. The Children's Health Fund. You were one of the guests. And you needed some Belmonts. Tell us who the Belmonts were that night? Dion 1:22:56 Yeah, I couldn't pay to get a group like this. Well, I did a couple of old do wop songs that these guys grew up to and we had a ball. Well, let me say, there was Paul Simon, it was Lou Reed. Bruce Springsteen, Billy Joel, James Taylor, and Reuben Blaze, who's like a great friend of mine. You know, the salsa singer. It was an I think that was it. But I had all those guys doing backup from me. I was like, that's a good group. Pete Fornatale 1:23:27 I think we actually have a snippet of that which we might lay in here help. Then again, maybe not, we'll see. But you know what, something came out of that night that really floored me, which is you started covering Bruce's music and have done beautiful versions of a couple of things. But the one that astonished me was how you took a Bruce Springsteen song as contemporary as anything from the 90s called if I should fall behind and transformed it. You know what I'm talking about? Dion 1:24:05 Yeah, well talking about the hereafter. Now there's a song if you look at that song, you have a great relationship song. And it's it talks about the now the past the future, your imagination, but it's and it talks about the Hereafter. And it's a wonderful relationship song. It's an so had to do it. Pete Fornatale 1:24:27 The arrangement though is so startling ly original. Where did that idea come from? to do it as an acapella? Dion 1:24:35 Well, there was a few I even did a song called Book of dreams that Springsteen did. And I was telling Bruce, when I said you use synthesizers, we didn't have said synthesizers in the 50s. I to color and to create a mood in the back of the lyrics. I said, I use vocals I use the vocal groups to do Ooh, why a soft, loud You know I said I'll show you what I mean I did book of dreams and I and I recorded those things acapella well he started ending a show with if I should fall behind like with a kind of similar arrangement not so not as do up as I did it Pete Fornatale 1:25:14 I will say that it is the most original cover of a Bruce Springsteen something that I've ever heard if I should fall behind on mixbag radio oh my god we I promise you. |
| 02:25:28 5128.75 |
AUDIO CUTS OUT FOR A BIT
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| 02:25:52 5152.4 |
DION PERFORMS A SPRINGSTEEN COVER OF "IF I SHOULD FALL BEHIND"
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| 02:27:50 5270.73 |
INTERVIEW CONCLUDES:
Pete Fornatale 1:27:51 did you get all that that's the closer you don't have to do a closer that's it, Dion 1:27:54 I can't even Pete Fornatale 1:27:56 I'll lead you up to it. Or walk or walk into that as if that were the last thing so you don't have to sing another note. We're coming out of if I should fall behind. That's Dion in his cover of Bruce Springsteen's if I should fall behind what you could find on a couple of your albums. If someone is hearing you, as hard as this might be to believe. But if someone is hearing you for the first time on this show, and they wanted, they wanted to catch up and get a good primer of who Dion is and what he's about, Is it is it the boxset that you did for right stuff that you'd recommend? Or is it this album? What would you recommend? Dion 1:28:36 I like this album. I think it's, I think, um, it's one of the most fun albums I've, I've done. It's really, it's a labor of love. And straight from the heart to the heart. You know, it's, it's, it's really a bold album, because it's, um, right out there, you know, and it's just captures the, I don't know, me at the center. You know, I think Pete Fornatale 1:29:01 it's called Bronx in blue. It's on dimensional music recordings. Yeah. How should we do it? Dion 1:29:13 It's so complicated. I don't know. It used to be like, buy it. Pete Fornatale 1:29:23 iTunes, but to find out more about I mean, do you have a website? Do you write more about Dion 1:29:32 Oh, that's right. Oh, there is Pete Fornatale 1:29:33 okay. So I'm just giving the credits I'm saying it's dimensional music recordings, the orchard and you can find out more about it at Bronx in blue.com. Do I have that Pete Fornatale 1:29:47 Diondemeucci.com. That works. Do that works too. Pete Fornatale 1:29:50 I have to ask you, you paid tribute to another artist and I'm wondering when you became aware of her why you did the song how she felt about it. And that's Bonnie Raitt, Dion 1:30:03 Bonnie Raitt. And I go back in I know Bonnie Raitt. Probably pre 70s Dick Waterman, who's kind of a blues kind of sewer had an apartment in Philly. And I used to go down and play the main point, because I had Abraham Martin and John out and I would go down to Bill Scarborough's place. It's like a forecast. You know, I play and stay with Dick Waterman, who always had a blues guys living there. Like Lightnin Hopkins or remember Sun house was there when, but Bonnie Raitt was always there. I don't know if she was dating dick. What am I think he was a manager. And you know, we all had the blues in common. We all had the music in common, that we were record collectors, we would be listening. And she's one of those girls that every time I see them wanting to make that blue zone for me, you know, so, I find you know, I'm a little, I'm a little slow, but I finally got around to it Pete Fornatale 1:31:07 Has she heard guitar queen? Dion 1:31:09 Yeah. It's kind of embarrassing. I never I never asked her what she thought, Oh, she likes it. She likes to but I never would say I, we were on. We went. We were on the road. And we were off one night and Bonnie Raitt was doing a concert and we went over there and I got on the bus and you know, we were traveling between shows and I started writing it right on the bus, you know, just just as a fun song. You know? It's such instead of go Johnny go it's go Bonnie go. Pete Fornatale 1:31:41 But you paying tribute to another artist paying tribute to appear is always a meaningful thing. I feel and you did it. You did a nice job there don't run around. Sue didn't run around at all. She stuck with you for four decades or so. Dion 1:32:01 Yeah, she'd like to think that song is about her. Because it's good for the image. But know, she's Susan and I don't know, we weren't I've known Susan 50 years. I mean, that sounds strange. But we've been married 42 And it gets better every year. I love the girl. She's great. Pete Fornatale 1:32:23 Three grown daughters whom you mentioned earlier. Yeah. Anybody inherit the music chain. Dion 1:32:29 They all got music, but they you know, they they just they love teaching kids they gotta so they're they're all like, back my youngest daughter is an artist. She teaches art she paints she's she's. But you know, the grandkids the three grandkids they all sing they all danced they you know, Pete Fornatale 1:32:49 did they get you? Do they do they know? You know when? When something comes on the tube or Dion 1:32:55 I can't tell you. The compliments I get from my grandkids with unsolicited could keep me going for another 100 years. That I mean, it comes right from the heart. they I'm telling you. It's terrific. It's It's terrific. It's just great. Pete Fornatale 1:33:15 We worked your heart today, my friend. Thanks for putting up with it. I just want to say one last thing. This is this is the end of our time together today don't know when we'll be able to do it. Again, who knows any of those things? So let me just say that there have been bigger icons in music. There have been some who have sold more records or filled more concert halls but no one has influenced, touched or inspired me more than you God bless you. Dion 1:33:48 Thank you. God bless you. Thank you. Pete Fornatale 1:33:50 You got one more for us. Dion 1:33:52 I'll sing it down home. Howlin Wolf song for you. We're out of here |
| 02:34:03 5643.81 |
INTERVIEW ENDS. AUDIO CUTS OUT. DION SIGNS SOME RECORDS IN THE BACKGROUND. FORNATALE AND DION POSE FOR PICTURES. DION AUTOGRAPHS A GUITAR.
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| 02:49:24 6564 |
END REEL
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