{"id":5109,"date":"2024-05-11T02:13:23","date_gmt":"2024-05-11T02:13:23","guid":{"rendered":"https:\/\/travelgirlinc.com\/?p=5109"},"modified":"2024-05-11T02:13:24","modified_gmt":"2024-05-11T02:13:24","slug":"tg-coverguy-huey-lewis","status":"publish","type":"post","link":"https:\/\/travelgirlinc.com\/tg-coverguy-huey-lewis\/","title":{"rendered":"TG Coverguy: Huey Lewis"},"content":{"rendered":"\n

GET THE NEWS: HUEY LEWIS IS THE HEART OF ROCK AND ROLL<\/strong><\/p>\n\n\n\n

He\u2019s a songwriter, humanitarian, legendary musician and recently scored a big Broadway hit.<\/strong><\/p>\n\n\n\n

Travelgirl<\/em>: I\u2019m so happy to be with you and to get to know you. Everyone knows Huey Lewis the musician. You are also a humanitarian and very philanthropic. You have been quite involved with San Rafael\u2019s Lifehouse, whose mission is to improve the lives of those living with disabilities and help them live independent lives. You\u2019ve been an honorary chair and emcee for their fundraisers. Please let us know how you became involved in this most worthwhile endeavor.<\/strong><\/p>\n\n\n\n

Huey Lewis:<\/strong> I sang an anthem for a Special Olympics about 45 years ago and I was so touched by the group. It was such a nice thing, and my neighbor was also involved. The association was formerly called the Marin Association of Retarded Citizens. It is now called Lifehouse and its purpose is to help disabled folks live independent lives.<\/p>\n\n\n\n

I\u2019ve been chairman of the association\u2019s big fundraiser for 35 years now and it really is a wonderfully gratifying thing. If you are a developmentally disabled person in Marin or Sonoma counties in California, you are a lot better off than almost any other place in the world. We have independent living situations. I\u2019ve gotten to know some of the clients well over the years and it\u2019s just a fun thing. It\u2019s not a lot of heavy lifting.<\/p>\n\n\n\n

We have a wonderful chef\u2019s banquet called The Great Chefs & Wineries where we invite all the great restaurants and all the great wineries in Marin and Sonoma counties to come and make a one dish, one wine table. It\u2019s a black-tie event featuring an enormous, incredible buffet. We raise tons of money, and it all goes to a great cause. I am chairman so I say a few words; it\u2019s very gratifying. There\u2019s a lot to be learned from these very special people. They joyfully notice the little things that we don\u2019t pay any attention to, and they radiate happiness. It\u2019s a wonderful, important cause.<\/p>\n\n\n\n

TG: Let\u2019s start with your hearing loss. In 1987 you suddenly lost hearing in one of your ears. How did you cope and how difficult was it to keep performing?<\/strong><\/p>\n\n\n\n

HL:<\/strong> Let\u2019s go with that; how exciting. Hit me with the hits \u2014 hearing loss; let\u2019s do it. I exist on these hearing aids, which Bluetooth connects to my phone and my television. I am really very, very deaf and it\u2019s probably getting worse. I\u2019m possibly headed for a cochlear implant, which is not a fun thing. But if you really can\u2019t hear, it becomes a fun, necessary thing.<\/p>\n\n\n\n

TG: You were able to overcome losing the hearing in your right ear but you were still able to perform and hear with just one ear.<\/strong><\/p>\n\n\n\n

HL:<\/strong> I was diagnosed with Meniere\u2019s Disease 35 years ago. At first, I had a bout of intense vertigo; it was so bad they had to take me to the hospital but no one could figure out what it was. The doctors gave me some medicine of some sort and three hours later I was fine. About 30 years ago I lost the hearing in my right ear. I was able to exist on one ear for a long time. Then six years ago my left ear went and now I can\u2019t hear music at all and I can\u2019t perform. I can\u2019t hear pitch. With the aid of hearing aids I can hear you and I can hear a conversation with three or four people at a time, maybe, if I am in a quiet room. In a noisy room I can only hear one person and I need to be looking at that person to understand the conversation.<\/p>\n\n\n\n

TG: If music is playing, you can\u2019t hear it? Is that correct?<\/strong><\/p>\n\n\n\n

HL:<\/strong> Zero. I cannot hear music. You can play one of my songs and I can\u2019t identify the song; that\u2019s how bad I am. Speech exists in a much narrower frequency than music. Music, even one note, occurs in all frequencies with harmonics and overtones and undertones. Just listening to you is a struggle for me; it\u2019s changed me. My show on Broadway, The Heart of Rock and Roll, has been my salvation in a lot of ways. It\u2019s given me a creative outlet and kept me busy.<\/p>\n\n\n\n

Zen Buddhists say you need three things in life: something to love, something to hope for and something to do. The something to hope for and the something to do are my show on Broadway. I have other things going on as well. I\u2019m lucky; I remind myself that plenty of people are way worse off than I am. I\u2019m not dead; I\u2019m just deaf. I\u2019m actually a glass half full kind of guy. I\u2019m a major key, not a minor key guy.<\/p>\n\n\n\n

TG: I can\u2019t wait to see your musical, The Heart of Rock and Roll<\/em>. Everyone I know is excited about it. What\u2019s the genesis of the show? I know our Travelgirl<\/em> readers will want to head to New York to see it. I absolutely love Broadway and I\u2019m thrilled you are bringing your music to the Great White Way!<\/strong><\/p>\n\n\n\n

HL:<\/strong> I love Broadway too. It\u2019s the most challenging and therefore the most rewarding of artistic expression. It\u2019s totally collaborative and it\u2019s complicated. [We made a documentary about our song We Are the World<\/em> (in 1985, 46 legendary musicians came together for one night to raise money for African aid)]. The iconic Quincy Jones, who co-produced the song, addressed us before we performed the background vocals. This isn\u2019t in the documentary, but Quincy said, \u201cLook people, here\u2019s what we are doing, we are building a house. We are going to start with the foundation, order the tracks, put in the walls, the studs and put a roof on it. That\u2019s what we are doing now, putting up studs and we will finish the work later on.\u201d His description was really clever. The metaphor for making a record is building a house. Well, if that\u2019s true, then putting on a Broadway show is building a city with parks and pathways and all kinds of paraphernalia. I love it and it\u2019s been a really fun trip.<\/p>\n\n\n\n

TG: Does your hearing loss make creating a Broadway musical more difficult?<\/strong><\/p>\n\n\n\n

HL:<\/strong> It makes it impossible to hear the music, but I lost hearing in my left ear six years ago on January 17. Before that I could hear music. As it so happens, you only need one ear to hear. When I lost hearing in my first ear, I went to my EENT doctor. My father was a doctor and he sent me to the best EENT doctor in all of Northern California. I went to see this specialist and he told me to adapt to the hearing loss. I reiterated to him that I was a musician and a singer. The doctor told me I only needed one ear to hear. He told me Brian Wilson [The Beach Boys] only had hearing in one ear and Jimi Hendrix only had hearing in one ear.<\/p>\n\n\n\n

The doctor also told me that he only had hearing in one ear and that he performed in a barbershop quartet. I existed on one ear for a long time, and I had that ear and hearing seven years ago when we imagined this show. I had reimagined most of the songs by that time. Our musical director, Brian Usifer, is brilliant. He has done his homework so thoroughly. He knows our music so well that he has reimagined the songs and given them their own setting. There is very little to quibble with, even when I could hear. As a footnote, they had to make me a producer because of the songs and now they have to listen to everything I have to say.<\/p>\n\n\n\n

TG: It\u2019s your music they are performing.<\/strong><\/p>\n\n\n\n

HL:<\/strong> It\u2019s my music and my show now!<\/p>\n\n\n\n

TG: You were born in New York City but grew up in California. Did you have an interest in music when you were young? Your father was a doctor but he was also a musician; I believe he played the drums. Did he encourage your interest in music?<\/strong><\/p>\n\n\n\n

HL:<\/strong> My old man absolutely had an influence on me. There was a set of drums in my living room my whole life. Since my early years, I spent my life surrounded by musical equipment. My father didn\u2019t like singers; he liked big band jazz. He would play these big band jazz records, instrumental stuff and every once and a while there would be a singer. Naturally I wanted to rebel a little bit so I kind of dug the singers. My first influences were Mr. Five by Five, Count Basie and all the old blues singers and musicians.<\/p>\n\n\n\n

TG: You have two plays featuring your music on Broadway. Your own, The Heart of Rock and Roll<\/em>, and Back to the Future<\/em>. It\u2019s astounding; two plays running concurrently.<\/strong><\/p>\n\n\n\n

HL:<\/strong> It\u2019s amazing and I\u2019m not sure it\u2019s ever happened before. I don\u2019t know if it\u2019s true or not. Someone told me that but even if it is true, it doesn\u2019t mean that I\u2019m Richard Rodgers.<\/p>\n\n\n\n

TG: Let\u2019s talk about the genesis of Back to the Future<\/em>. It\u2019s a beloved film and your name is synonymous with that movie. You contributed to the soundtrack and had a small role in the movie. Please talk about your experiences with that film and your iconic songs that are central to the show. Did you have any idea it would become a landmark film?<\/strong><\/p>\n\n\n\n

HL:<\/strong> I had no idea it would be such a paramount hit. I was asked to take a meeting with [Steven] Spielberg, who was the executive producer, Robert Zemeckis and Bob Gale, whose story it is. Neil Canton was also a writer on the show. The meeting was organized through Amblin Entertainment, which had just started. We sat there and Zemeckis told me they had written this movie about a kid named Marty McFly, and his favorite band would be Huey Lewis and the News. So, they asked me to write some songs. I was flattered. I told Zemeckis I didn\u2019t necessarily know how to write for film and honestly I didn\u2019t fancy writing a song called Back to the Future<\/p>\n\n\n\n

Zemeckis said, \u201cOh, no, no, no, we don\u2019t care what the song is called. We just want one of your songs in the film.\u201d He told me that whatever I decided, that\u2019s the one it will be. Well, I thought the next thing we do is write and we wrote The Power of Love<\/em>. It\u2019s a little more complicated than that. I didn\u2019t think it was going to work because Power of Love<\/em> is a love song, right? There is no love object in the film. But they used it wonderfully and it was a great lesson.<\/p>\n\n\n\n

We\u2019ve tried to employ the same thing in our Broadway show, which is the idea that songs help a musical or a show when they are tangentially tied to the project; not when the songs are a literal translation of what\u2019s going on. If the song was just called Back to the Future, it wouldn\u2019t have been so universal, if you will. I tried to do that with The Heart of Rock and Roll<\/em>. It\u2019s important that the songs move the story forward. The songs in my show are laid out beautifully by Tyler Mitchell and Jonathan A. Abrams. Their initial layout is brilliant because they know the music so well. I didn\u2019t initially realize how well the songs fit the story. But they do and it\u2019s pretty cool.<\/p>\n\n\n\n

TG: I saw Back to the Future<\/em> on Broadway. When they sing The Power of Love<\/em> everyone goes crazy and they are referencing you.<\/strong><\/p>\n\n\n\n

HL:<\/strong> First of all, Uncle Huey is a character in the show. That\u2019s their little nod to my cameo in the film. When they play Power of Love<\/em> it has nothing to do with the story at all. It\u2019 s Marty McFly and the Pinheads and it\u2019s my logo. It\u2019s the triangle with Huey Lewis and the News. It\u2019s exactly my nine-piece band with the three-piece horn section. When I first saw it in London, I was sitting next to Bob Gale. I looked at Bob and told him I thought they owed me a set design credit. He told me they only pinch from the best.<\/p>\n\n\n\n

TG: Your song, The Power of Love<\/em>, is synonymous with the movie, Back to the Future.<\/strong><\/p>\n\n\n\n

HL:<\/strong> Thank goodness. The film just keeps growing. We did a 35-year reunion and every five years we go on television and reassemble the cast. Huey Lewis and the News was on top of the world back then and our song, The Power of Love<\/em>, was huge. It was the perfect time for us. We had just toured with our Sports album and now we had to come up with another album. You wanted to keep the momentum in those days. The Power of Love<\/em> was the perfect way to continue the momentum. We recorded it and we gave it to the movie and it went straight to number one.<\/p>\n\n\n\n

The Power of Love<\/em> went to number one in nine weeks, which is remarkably fast. From the close of principal photography for Back to the Future<\/em> to the release of the movie, it was the fastest ever completed in Hollywood history. The producers knew the song was on its way to number one and they wanted to get the movie out to gain the momentum from the song. The day the movie was released, our song, The Power of Love<\/em>, was the number one song in the country.<\/p>\n\n\n\n

Interestingly, we weren\u2019t allowed to put that song on one of our albums because MCA had purchased it and owned the rights. They wouldn\u2019t let us put it on one of our albums in America but they did in the rest of the world. Not in America but in the rest of the world we added The Power of Love<\/em> to our album Fore. In the rest of the world our album Fore is way bigger than our album, Sports.<\/p>\n\n\n\n

It\u2019s interesting. In America we have numerous big hits, This is It, Heart and Soul, I Want a New Drug, Heart of Rock and Roll, Bad is Bad<\/em>. In Europe they hardly know any of these songs. They know Jacob\u2019s Ladder, Stuck With You, Power of Love, Doing It All For My Baby<\/strong> because those were on the other record. It\u2019s amazing. A lot of this is business, right? One of the reasons Power of Love<\/em> is such a wonderful, amazing song is because it\u2019s in the movie and the movie was the biggest movie of all time. We have a lot of great songs, but this one was in the movie.<\/p>\n\n\n\n

TG: All of these incredible songs are yours; they are part of your history. Is there one song among all these memorable hits that is your favorite?<\/strong><\/p>\n\n\n\n

HL:<\/strong> No, I can\u2019t name a favorite. I honestly think these songs on our latest record, Her Love is Killing Me<\/em> and While We\u2019re Young<\/em>, and Remind Me Why I Love You Again<\/em>, are three of the best things we\u2019ve ever done. In my opinion, I think our last record is really our best work.<\/p>\n\n\n\n

TG: Please talk about making the album Weather<\/em>.<\/strong><\/p>\n\n\n\n

HL:<\/strong> We released Weather<\/em>. It only has seven songs because of the loss of my hearing. It\u2019s a record that we did piece by piece. It\u2019s what we do; we write songs and we record them. So what we were doing over the course of almost 15 years was to play shows everywhere. We would write a song and record it in our home studio. We had a very nice studio; we used to have a complex with a recording studio, offices, etc. We would record the song and learn to love it. We would take it on the road and work on it and then bring it back, record it and put it in the can. We would play it for months, then cut it and we kept doing it until we had about seven songs. It\u2019s hard to be prolific when you\u2019ve written over 80 songs. Because we wrote for such a long time, these are our best works, the most realized.<\/p>\n\n\n\n

“I fell in love with Broadway because of all the people \u2014 all the talent. Not only are the Broadway actors talented; they are smart, funny and self-effacing.\u201d<\/em><\/strong><\/p>\n\n\n\n

TG: Now I have a question from my daughter\u2019s son, Harry. He wants to know why you changed your name from Huey Lewis and the American Express to Huey Lewis and the News?<\/strong><\/p>\n\n\n\n

HL:<\/strong> That\u2019s a great question! The record label made us change our name. Tell Harry that\u2019s a super good question! The reason we were Huey Lewis and the American Express, which I think is a great name, is because it\u2019s what I thought we sounded like. I thought it was the best name ever. No one had ever done a corporate tie in, zero; it had never been done. The first person to do it was Michael Jackson with Pepsi. Prior to that, it was the kiss of death; it just wasn\u2019t done. They were afraid that American Express would sue us. They only figured that out 24 hours before the cover had to be finished so we really only had 24 hours to come up with a name.<\/p>\n\n\n\n

TG: Where did the News come from?<\/strong><\/p>\n\n\n\n

HL:<\/strong> It was me. I just thought of it. There were a bunch of other contenders, but we went with Huey Lewis and the News.<\/p>\n\n\n\n

TG: You have so many top hits that are so memorable. Your songs include I Want a New Drug<\/em> and Hip to be Square. How did you go from a song about drugs to one about being square?<\/strong><\/p>\n\n\n\n

HL:<\/strong> Hip to be Square<\/em> was supposed to be funny. It may be my only regret writing wise. I originally wrote in the third person. In the lyrics, he used to be a renegade; he used to fool around. It was meant to define a phenomenon that David Brooks articulates in his book Bobos in Paradise on how people were dropping in after being too far out; how they were cutting their hair. It was almost like a fashion thing. I thought it was kind of funny; it\u2019s hip to be square. I thought it would be funnier if I told it on myself but not everyone got the joke. Some might think it was an anthem for square people but it wasn\u2019t meant to be. I think I\u2019ve lived it down by now.<\/p>\n\n\n\n

TG: Please talk about your career in acting.<\/strong><\/p>\n\n\n\n

HL:<\/strong> Lovely. I worked with Bob Altman, which was amazing. We went on location and he invited me to ride with him. The location was three hours away and I got a three-hour tutorial on film acting from him that was fascinating. Robert Altman was a great experience. I did a bunch of Just Shoot Me\u2019s with Wendie Malick, Betty White, Valerie Bertinelli and Jane Leeves. The shows were written by Fraser writers and it was fantastic. I performed in one episode a year. For two weeks I shared a dressing room with Bob Newhart, who is fantastic and a TV legend. I have no desire to be more famous nor to appear as myself. If there\u2019s not some acting required, I\u2019m not interested.<\/p>\n\n\n\n

TG: You played Billy Flynn in the musical Chicago on Broadway.<\/strong><\/p>\n\n\n\n

HL:<\/strong> I love the Broadway community and I loved doing Billy Flynn. What a great play, great musical and great character. I did 222 performances and I learned something every single day. The material is that rich and dense; it was just fabulous. I fell in love with Broadway because of all the people \u2014 all the talent. Not only are the Broadway actors talented; they are smart, funny and self-effacing. They are just fun. It\u2019s great work. It\u2019s the most demanding and therefore the most rewarding of artistic expression.<\/p>\n\n\n\n

TG: Talk about the early days.<\/strong><\/p>\n\n\n\n

HL:<\/strong> Back in 1980, in the early days we had to have a hit record. There was no internet, no jam band, the only avenue to success was a hit record in a format called CHR, Contemporary Hit Radio. Top 40 started with the advent of push button radio. In the 50\u2019s when they had push button radio, when the programmers opined it, as long as you didn\u2019t hear something you didn\u2019t like, you would just stick right there. So, narrow your play list and just play the top hits over and over again. That was top 40!<\/p>\n\n\n\n

By late 70\u2019s, early 80\u2019s we had AM format, mono Top 40. FM Radio comes along with stereo but it\u2019s still not broadcasting with a lot of watts. But it is stereo and it\u2019s a free format.<\/p>\n\n\n\n

Radio was the only format we all competed on. So if you had a hit there it was a big, big hit. It was unique for its time and we had to have a hit record. We insisted on producing the records ourselves because I knew we were going to have to make commercial decisions that I was going to have to live with. We aimed every song right at radio. Sports<\/em> sounds like a record of its time; it\u2019s a collection of singles and different styles.<\/p>\n\n\n\n

“I’m not dead; I’m just deaf. I\u2019m actually a glass half full kind of guy. I\u2019m a major key, not a minor key guy.\u201d<\/em><\/strong><\/p>\n\n\n\n

Conventional wisdom says you can\u2019t do that, you have to stick with one genre, but we were all over the map. Bad is Bad<\/em> is like a little bluesy thing. Honky Tonk Blues<\/em> is a country song. Thin Line<\/em> is a big hard rocker and One New Drug<\/em> is kind of a dance tune. We consciously aimed each one of these songs as a single at radio. I knew we needed a hit and I didn\u2019t know which one was going to hit. Our records hit so hard we were touring coliseums and achieving our dreams and doing really well financially. After that happened, I made a decision with myself and the rest of the band that this was the last thing I would ever do for commerciality. If it didn\u2019t make artistic sense, we were not going to do it. I\u2019ve done exactly that ever since.<\/p>\n\n\n\n

TG: You are pretty amazing with a harmonica.<\/strong><\/p>\n\n\n\n

HL:<\/strong> My mom was a hippy. When she divorced my dad she moved to another house and rented out a room to a boarder. The boarder was a folk singer named Billy Roberts; he wrote Hey Joe<\/em>. He had lots of harmonicas and when they would go out of tune, he would give them to me. I was in high school so I started playing harmonica. I graduated high school a year early at 16 years old; my dad told me there was one thing I had to do. He told me to take a year off and bum around Europe. I told him I had been accepted to Cornell and he said no, take a year off and head to Europe. He actually made me do that. I took the harmonica with me; it fit the image.<\/p>\n\n\n\n

My mother told me that was the first good decision my old man had ever made. She gave me a Bob Dylan record and told me the poets love this guy and told me to check it out. I listened to the Dylan record, brought my harmonica and in my mind, I was a wandering minstrel throughout the world. I hitchhiked Europe, hitch-hiked North Africa; I went to Marrakech for a day and stayed three months.<\/p>\n\n\n\n

TG: Travelgirl<\/em> wants to know, do you have a favorite travel destination?<\/strong><\/p>\n\n\n\n

HL:<\/strong> I have several places I want to visit. I\u2019m a fanatic flyfisherman and I want to go the Seychelles and fish. That\u2019s a bucket list thing.<\/p>\n\n\n\n

TG: Huey, you\u2019ve paved quite a path. Do you have any sage advice for those young hopefuls who aspire to one day follow in your legendary footsteps?<\/strong><\/p>\n\n\n\n

HL:<\/strong> I\u2019ve always told people that unless a career in music is the only thing \u2014 the only thing \u2014 you want to do, I suggest you go back to school and study. If it is the only thing you want to do, then listen to everyone and pick and choose the advice that you want to take. Think through it all, keep dancing and in the final analysis, trust your instincts. Just keep at it; keep trying and working.<\/p>\n","protected":false},"excerpt":{"rendered":"

GET THE NEWS: HUEY LEWIS IS THE HEART OF ROCK AND ROLL He\u2019s a songwriter, humanitarian, legendary musician and recently scored a big Broadway hit. Travelgirl: I\u2019m so happy to be with you and to get to know you. Everyone knows Huey Lewis the musician. You are also a humanitarian and very philanthropic. 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