I'm Alec Baldwin and you're listening to Here's the Thing from iHeart Radio.
You ad suck.
You just bond n face down and memory feel it all right? So who does your past belong to today?
Baby?
You'll say nothing when you're.
Feeling this way.
That's singer songwriter Roseanne Cash singing seven Year eight off the nineteen eighty one album of the same name. Cash has certainly made her mark in the musical world eleven number one country songs, twenty one top forty country singles, two Gold records, and four Grammys, and she doesn't stop
at songwriting. She is also an essayist and author of several books, including her best selling memoir Composed Roseanne Cash began her career in music singing back up for one of the most important country music artists of all time, her father, Johnny Cash. Since then, Cash has enjoyed an illustrious career of her own that spans four decades. She released her first album, the self titled Roseanne Cash, in
nineteen seventy eight. I wanted to know what it was like for a young woman starting out in the music business at that time.
You know that album I made in seventy eight I made in Germany for a European label. I think I was dipping my toe in the water to see if this was actually how I wanted to live my life. Because I thought of myself as a songwriter, I thought I would write songs for other people. I was shy, I didn't have the need for attention to be a performer, and I didn't want to invite comparisons with my dad, and so I thought being a songwriter as a nobook profession, that's what I want to do. And I was already
doing it for early teens. But Ariela heard my songs and they said, you know, would you make a record for us. It took me a while to decide, but I did, and then I got signed to Columbia in the States, and then you know, here we are today. But to answer your question, the climate for women then, unfortunately has not changed that much. Really, it's still very much a boys club. Back then, the programmers radio programmers would say, oh, we can't put two women back to
back on the radio. They still say that. I think maybe what has changed is they don't overtly put their hand on your ass when you walk into the really you know the radio station, but it still happens.
One thing I would expect was that there was a time in the sixties and seventies when they were like, you know, hey, we want to fluff you up for this album cover. We need you to pop one more button and do this and do this, and they want just sex up everything to sell the record.
Oh god, yes, So there was a lot of that back then.
Okay, So I went into a marketing meeting, my first marketing meeting for my first US album, and it was all men in the meeting. I was, you know, twenty three years old, and I walked in and sat down and straight out the head of the label said, okay, so our main marketing goal is to make you fuckable in front of everybody. To me, twenty three year.
Old girl, you believe that?
And I was so flustered, you know, I didn't know how to push back. I was just like, but I'm not going to do that. And actually it had the reverse effect on me. I didn't show skin. I didn't like to show skin. I didn't like to play that game at all. I thought, well, I'm a good songwriter, I'm good enough without that. It was hubris then, because you know, I wasn't great then I've gotten better.
Now When you write songs, I want to see how this has changed over the arc of time, because you've written many albums for many years. If the self titled album is seventy eight she remembers everything is in twenty eighteen, so that's a forty year gap. And what I'm wondering is who do you show your songs too? Has that changed when you were younger, When you were a younger woman writing songs, who would you take it to and say, give me your feedback on my song?
And was it your family?
Sometimes my dad, Yeah, I trusted him. I was very very careful about who I played my songs to, and I didn't like playing songs to people before they were finished. I mean I was because I was really territorial, and like I said, I had some hubers about myself as a songwriter. I didn't want interference. I didn't want to get distracted by other people's opinions. But there were really good songwriters I trusted who I would play the songs
to to get feedback after I had finished. And that's still the case mostly now for my husband John, who I work with a lot who's produced my records. We co write a lot. He's a tremendous musician and I trust him.
Where did you and he meet?
My first husband introduced us and I said to myself, Oh my god, my life is getting it so complicated.
And Crowell your first husband, you did a lot of recordings with him as well.
He produced you as well. Correct?
I did you know? There's something about working with your spouse if you find a rhythm and a groove and you can stop bringing your personal life into every interaction and fighting. There's something capital or romantic about that. Excepting and create. Yeah, being created.
I always wanted to work with my wife and do some silly TV show just to work with my wife.
I didn't really care about what it was. To a degree, Oh do it?
Do it?
I thought about it. We tried.
But so Rodney Crowell your first husband, John Leventhal your current husband. How does that change over time in terms of what you rely on producers for? There was this I always wondered for me, who's a complete novice? Like does Quincy Jones walk into the studio and say to Michael Jackson sing it this way? Is there somebody who tells you what to do what they want you to. Try to do that pushes you.
That would be a little blunt and probably put me off, But I know what you mean. But yet they push. I mean I think that Rodney when I was young, you know, we were working together. I think he had more confidence in my voice than I did, and he kept pushing, you know, do it this way, try it this way, you can do this. You know, what would
you think about this? And even to the point of you know, method acting, like what's the spirit behind this, what's the memory behind this, what's the feeling behind this, what's the truth of this? Exactly? With John he pushes me even more and sometimes I just say, I'm not a session singer. Get someone who will obey you, because that's not me. But it's always in the service of doing something good together.
Right, you talk about method acting and the truth of something. There are sections of your biography and periods of your life. Will you go to Vanderbilt? How long were you at Vanderbilt?
A year? Was an incredibly lonely experienced.
Oh really, and you had gone there to study what.
I'm double majored in English and drama. I had a fabulous English professor Walter Sullivan, who was kind of a legendary. I learned a lot from him, but I was a little older because I had gone to a year of college elsewhere, moved to London for six months, came back. So I was twenty years old as a sophomore. And it made a difference at that age, and I didn't have any friends, and so you enjoy this. I went to the Lee Strasburg Institute and Lee was still teaching
there and I audited his classes. He was so frightening, did you know, Yes.
Yes, he would give a lecture when I went there. I went there seventy nine through eighty that one year through NYU. I went through NYU and he gave a lecture periodically and he was mentioning something about the manipulation of the lobes of the brain. And I walked up to him and he was grasping, and he was pretty old, and I walked up to him. And I don't know why I did this, but I walked up to him and I said, is the word you were looking for? Phrenology?
And I didn't even know what I was talking about. And he looked at him and he went, no, he like bomped me. Now he snapped, and I thought, well, that's my Lee Strasburg story I'm going to tell for the rest of my career.
I studied with a man named Dominic Defasio.
What year, Oh, that was the year before I.
Made the first record, so that was seventy seven, and I audited Lee's classes and sat at the back because he was so terrifying, and he would do these psychological games with the students. I'm sure you saw this, where he would one week spend the entire time tearing somebody's performance down and having her redo it, and then coming the next week when she came in and did it again, he would just go very nice and walk away like so that she was always off guard.
Right As a Strasburg technique, Yeah, was it?
Really?
When I went to Strasburg, there was one teacher who I've since become kind of friendly with.
But if somebody would do a scene and it'd.
Be a long pause, a very arid pause, you know, like tumbleweeds are blowing across the stage, and this guy would look at the kid and go, why'd you bother?
That's all he'd say.
Oh my god, I mean they really hurt people's feelings. But now, when you went to Vanderbilt for a year and it only lasted the year, you said you were lonely, you just so were you running away from something? Did you say yourself, I don't want a music career. I don't want to do this anymore. Now, writing music is one thing, Loving music and being an artist is one thing, as you know, but a career and something.
Is completely different.
Absolutely, And did.
You say you didn't want a career in that anymore?
The career part was troubling me, definitely. But I had been living in London and I'd got my heart broken. I moved to London and I started seeing myself as an expatriot and I didn't want to come back and I was only twenty and my dad, after six months there, he said you have to come back now.
And now why did he say that?
Because I think he saw that he would lose me to the family, and he was right. I was going to just disappear.
So your father was instrumental in getting you to come home, not only instrumental.
It was because of him that I came home. That's when I went to Vanderbilt.
But what was the impetus for you with acting.
Well, I loved drama. You know, I majored in drama and English in college. I loved plays. I loved the theater so much. And I thought, well, maybe, you know, this is a way I could work out this enormously powerful urge to create in myself. Was writing songs, but I thought, well, maybe this is a forum. And then I realized very quickly I did not want to be an actor.
Well acting, it's funny because when I look at your dad, I don't have a lot of I don't want to push too far into the whole well worn talk about your father, who I adored. I mean your father, I mean I was a little boy boy named Sue sixty nine.
I'm eleven years old.
I'm on Long Island and I'm there with my little transistor radio listening to build me up, Buttercup. I'm listening to Disraeli Gears from Cream and I'm listening to a boy named Sue from Johnny Cash, and I'm laughing my ass off. This guy is the funniest guy. And when you listen to him in that song, and of course I read that he did several films and a lot of TV. He said like a guy that was having a good time and laughing and having a ball. He was like a joyous guy, and I've seen depictions of
him where that seems to be missing. He was kind of a fun loving guy. He wasn't just a tough guy, you know what I mean? Was he somebody you think might have had more of a career as an actor if he wanted to.
You just said a lot here. That captured my attention and makes me think about my dad and how he truly was. He had a profound wound at his center. He grew up in really difficult circumstances with an abusive father, and he lost his brother who was his hero, when he was twelve years old, and that suffering created in him the most deepest empathy and compassion for those who suffer, and much of his work came out of that and from our celtic melancholy roots. At the same time, he
was joyish. He loved babies, he loved playing practical jokes, He loved hanging out with kids and being a kid himself. So you know, he was the yin and yang to the extreme of both of those things.
Well, you see him his looks, he's so striking. He's so powerful. I mean, I'm not talking about as a musician, which that's obvious what I'm seeing. I thought to myself, this guy could have been a great movie store if he really had just thrown himself in that direction, he could have been a great actor.
You know, do you agree?
Do you know what the first film we moved to California. I was born in Memphis. We moved to California because he when I was three years old, because he got offered a film and he thought, you know, as a manager, is like, this would be a great opportunity for you to go to this direction. The film was called Door to Door Maniac.
Oh great, and he played the title role. That's enough to cure you about debt.
No.
Then he did a gunfight with Kirk Douglas and he did several things and he really enjoyed it.
Yeah, when you get the call you're working with your dad? When does the moment come when you were invited to come and sing back up?
And then you're going to do it? So who brings that information to you? Who tells you?
Dad?
He does?
Yeah, he said, why don't you girls? I was out with my stepsister or June's daughter. Why don't you girls just come out on the last song and just sing back up on you know, willis Circle being broken or whatever? It was, Okay, we go out, we're terrified and shaking. And then I was writing songs, you know, and then he said, well, why don't you come out and do one of your songs, And that's how it started. I remember doing this in Prague when it was still behind
the Iron Curtain, played twenty thousand people. I remember going out and singing a couple of songs in that show. That was an experience.
Is it fair to say at all that because it's easy when you have a father who's your father to overlook the contributions of your mother in terms of your career as well.
Was your mother influential in the work you did.
That's a really good question, and not many people ask it. My mother was so private and it hated the glare of fame. Hated it was always afraid we kids were going to be kidnapped because dad was so famous, you know. She was a little tortured by it. And when I went started writing songs and performing, oh my god, she was terrified, you know, because her template was you get famous, and then you get divorced and you get on drugs and it's a horrible life. And also she taught me discipline.
You know, the discipline I have as a writer and as a mother in my house is because of her.
Now, when your father gets remarried and you talked about you and your stepsister getting into the biz, June's daughter was June someone who had any kind of influence on you, was she a kind and nurturing woman.
She had a tremendous influence on me. She was basically crazy, right, And she had been on stage virtually her entire life since early child. So being on stage there was no glamour to it. It was just a job. It was just part of life, like you know, anything like having breakfast. She could be having a conversation with you standing in the wings. Hear her cue walk on stage as she's
still talking over her shoulder. Do her gig come off, pick up the conversation right where she left it, you know, and her bag of her shoes and her bag of girdles and her bag of makeup in the dressing room and then just gossip, gossip, gossip with their sisters and then go out and do the show. It was. There was no separation between performance and life for her. But what I learned from her is just the assumption of a certain kind of power and authenticity when you were performing.
She told me the greatest story. She was on one of those package tours in the South back then in the fifties and sixties, they had package stores of a lot of country acts, and you would they would travel around together and do these shows, multi artist shows. Well, they're in one place in West Virginia or someplace, and the banjo player for the band that was supposed to go on before her, before the Carter family didn't show up. So the lead singer in the band is freaking out.
He's going does anybody play the banjo? Does anybody play the banjo? And June says, I play the banjo, and she walks out and she does the show with them, plays the banjo through it. And she told me the story, and she said, in Honey, I had never played the banjo in my life.
My god, the nerve.
Yeah, I said, how did you do that? She said, well, Honey, when I walked on stage, I knew how to play the banjo. That has stayed with me. My whole life's so fun. When you walk on stage, you'll.
Know Roseanne Cash. If you enjoy conversations with brilliant female singer songwriters, check on my episode with Carly Simon. A little over fifty years ago, a show at the Troubadour changed her life.
Three of us rehearsed in New York for three days, and then we went out to LA And by that time I had opened for Cats Team open for katste something in the sixth nineteen seventy one.
April sixth, Yes, and that changed things for you.
That was That was a convincing night. We played two shows every night and four shows on the weekend. I met all kinds of people. It was like the lights you were shining on me.
I'll you're it.
I couldn't say no at that point. And I and even though I was suffering tremendus stage fright, I had various things that tricked me out of being afraid.
To hear more of my conversation with Carly Simon go to Here's the Thing dot Org. After the break, Roseanne Cash tells us about the Broadway Bound musical that she spent years writing and what that work means.
To her I'm Alec Baldwin, and you're listening to Here's the Thing and lou.
And the Frame in all Songs and Louie And.
That is the newly remastered version of The Wheel, the title track from Roseanne Cash's nineteen ninety three album. I wanted to know what led Cash to re release the landmark.
Recording, so my album, The Wheel. It's the thirtieth anniversary. I just got my master's back from Sony after thirty years. There was a thirty year reversion claw us, and I didn't expect how that would feel to own my master to this album, and it was like a spiritual experience, like, Wow, this is mine. It's not part of a multinational corporation anymore.
And it had never been released on vinyl. In ninety three, nobody was pressing vinyl, and so John and I started a record label, Rumble Strip Records, and the first release is going to be this remastered thirtieth anniversary edition of The Wheel. I wrote new liner notes for it, double vinyl with a live performance from ninety three. And I don't generally like looking back at my old work. You know,
I'm still really excited about what's coming up. But I feel like this was a watershed moment in my life. It's the first album John and I made together. We fell in love making that record, ended up getting married. And the songs are intense. They're about transformation and I'm proud of it. And some of it sounds dated. Some might go, oh my god, I wish I had sung that better, and yet it captured a real moment and time, like you said, the truth, and I'm proud to be re releasing it for people.
Who don't know. One assumes that a lot of that is on a technical side. They're going to sweeten the sound and they're going to get computers in there to make it sound even better than ever. Is that what you do? Do you other than the liner notes and so forth? Do you really hand this over to somebody to enhance the sound technically and there's not much else for you to do.
No, I wouldn't say enhance as much as just in remastering. You know, they might modernize it in some way, like there might be too much highs on one track that they just bring down slightly. So it's not so much enhancement as just kind of bringing it to the future to the present rather right.
When you record and you sing.
I mean, I don't mean to sound weirdly technically here, but do you sit on a steward?
Do you feel you have to stand in order to sing?
I like weirdly technical questions. By the way, no I stand what I'm singing. I don't like disquish my diaphragm.
You don't. And who did you have any training as a singer? Do you have any train you?
I did. I studied with a few people. And do you know technical stuff? Breath control, vibrato, you know, preserving energy, opening your chest, placement in the either the palette or the back of the throat for different tones, you know, really technical.
Stuff in New York, La London? Where New York? In New York, m H. I took singing lessons.
Once I was at a party and Cameron McIntosh was there, and Cameron McIntosh said to me, mister Baldwin, I'm producing a Broadway musical based on the Witches of Eastwick, and I would like you to come in and meet with my producers and my designers and so forth, and my vocal people. And have you considered playing the role of the lead that Jack Nicholson assayed in the film. We're in front of all these people at this big event, and I said, I'm really sorry.
I don't sing.
He said, nonsense, mister Boldwin. He said, you can be trained to sing. He said, anyone can sing with the proper training. He said, I want you to come and meet my man, John Lyons. I want you to come and speak to John, and he's going to work with you. I said, you don't understand, man. I mean, I really can't sing. I'd love to have the soul of a singer, but my voice is just in shreds. It's like sandpaper. He said, Visa Bowen please. He was almost looking at
me like, I'm Cameron Macintosh, you idiot. I wouldn't waste my time or yours with this suggestion of I don't think it was possible. And he said, please go see John.
Thank you. So I go. We go somewhere near the Antsnia you.
Like a lot of dance classes and rehearsal studios, and I go to this guy's apartment. He's got the piano there and we sing. He goes, I want you to prepare two songs, something up tempo and something like a ballad, and ira I sing, Come fly with me the Frank sit outter, So come fly with me. And I said, come fly with me, but and I sing this song and he goes, let's talk now. I want you to do this and try to try to do this. And I, after like my fourth or fifth round of doing singing
the song, he stops. He goes, mister Bolwen, you're correct. You can't sing. Look my god, it said. That was like they shot me and wrapped me in plastic like in the Sopranos and threw me.
In the ocean. Like my career was over, was dead. It was dead dead.
I'm impressed you to try it. One one singing teacher I had or one voice. He was actually a voice vocal therapist because I had polyps a couple of times and lost my voice and had to go on vocal rest for months and steroids and blah blah blah, and at the end, you know, your voice has kind of fallen apart at the end of having polyps and has to be literally rebuilt. And so Bill Riley, who's a big guy in town. He he helped me rebuild my voice.
And Shirley Tennyson also helped me rebuild my voice. And he told me that he could tell if someone could sing by looking at their facial structure. Really, yeah, I think he meant something about where the cheekbones are sitting or anchored.
Like are the baffles and the chambers always? Are they there? Are they in there?
Maybe? But it's also about looking at the well of the larynx too. He told me that Pavarotti had a larynx like the well inside where his vocal cords are looked like no one else's that had ever been, you know, whatever they put down there to look at him.
Now, I'm told you're working on a musical.
A musical.
Yeah, whose idea was that?
It was John Widman who wrote Assassins. He wrote the book for Assassins.
Rather my God, I worship John Widman, so do I I think Assassins is. I mean, Assassins is something I can never stop listening to, just for the lyrics.
John is so special. Yeah. Well Sondheim's so special too, a bit.
Yeah, the two of them together are special.
Yeah, no kidding. So he wrote the book for the musical I'm doing, which is Norma Ray. So I'm the lyricist. John Lebenthal's the composer. John Wibman's the book writer, and we've been working on it about six years. We've had two workshops and some rewrites, and we have a theater interested. So I'm hoping fall twenty twenty four. I hope we'll get it staged.
Why did that material appeal to you? I mean, it was a hit movie, but why beyond that?
Well, several levels. It's set in North Carolina, So the idea of bringing this kind of genre bending Appellationian Sondheimish musical hybrid together was a fascinating idea. And I got to say John lebenthalt Man, he knocked it out of the park. It's the music is so great, and also for me as lyricist writing and the voice of other characters that was such a thrill, such a challenge. And
also the story. You know, it's like a union organizing, which is so timely, but also at the center of this this woman's transformation through helping her community, also so timely. So it kind of checked all the boxes. In the first two years I said, I'm never doing this again. I hate this, And in the last the last four years, I said, I absolutely love it.
What was daunting for you?
Well, writing in the voice of characters who I didn't have any experience with, who I didn't know. You know, an older man working in a textile mill in North Carolina in the seventies. How do I find his voice and his sense of poetry? It's not mine, you know? But who is he that? And that ended up being really I don't know. It touches your empathy going from there into their sense of poetry and their experience. It's been uplifting for me.
How familiar were we with the film? Did you have to go back and watch the film or did you not want to watch the film?
Norma Ray?
Yes, No, I was familiar with the film already, but yes, I went back and watched it again. Not only that, I did some research about textile mills in the South and what happened to them, and race relations in the South in the mills and union organizing, and it was fascinating.
I have a friend in Alabama who took over an abandoned textile mill to create her own bespoke factory of handmade items of handmade clothing and hired all of these women who had worked at the textile mills and lost their jobs after NAFTA, and so her mission was kind of in my mind thinking about all of this, and you know, and the sadness of the guy coming down from New York to help me organize the union and it happening, and then the textile mills all close later on.
Well when you see this is my opinion, but when you see dramas or musicals, whatever, let's stick to dramas that are on stage that are adapted to film, whether it's a cat or hut and roof or streetcar or things like that.
That seems less dicey.
You know, you're going to go open it up, and you're going to put the camera where you want to, when you're going to bring all the cinematics that you want to bring to it.
I mean, I think that in general, it's better when it goes with stage discreen than the reverse and on Broadway a lot now or you know, are these disneyfications of films and stuff, which is, you know, it's like a ride at an amusement park or something. And I get the appeal of that, but I like something that's taken seriously. I don't know why I was thinking about
the dresser when you were talking about that. God, oh my god, and they kept it as if it's a stage play, you know, with Anthony Hopkins and Ian mccollins. It was so wonderful.
I can't believe you mentioned that, because I just did a reading of that play the other day.
Did you really are you going to do it?
Well, A group of us were on Long Island, some friends of mine who live out there out east, and we decided we just wanted to read a play, and we had a couple of ideas and this was one of them. So we did a reading a bunch of us and it was really a thrill, you know. I mean, it's not much different from the movie, but there's another situation where, I mean, I'm somebody who's.
Not immune to being overwhelmed by other people's work.
Me too, And I must say that there are a few things in cinema that I find more powerful and more overwhelming than Finny in that movie. But when you do something it's like, I'm sure you're the same way with Norma Ray. You got to realize you're doing it for yourself.
Absolutely, But it's that way for everything every record I make. If I get out of myself and try to go what will please people, it's death. You know, it just destroyed and takes all the life out of it if you try to copy the marketplace or try to please too much. I think Dylan said that once that people pleasing was death to an artist, and I believe it.
Self consciousness is death to an artist death.
I believe yes, self consciousness. That's even a better way to see it.
Singer songwriter Roseanne Cash, if you're enjoying this episode, don't keep it to yourself. Tell a friend and be sure to follow us on the iHeartRadio app, Apple podcasts, or wherever you get your podcasts. When we return, Roseanne Cash shares how writing her memoir helped reclaim her family story and her own.
See yes stands.
True Even when.
I'm Alec Baldwin and this is here's the thing in.
The shadows, link and burn away the lasts.
They will fly me live and jel to a place where I can risk when this begins, I'll let you.
September.
This is Roseanne Cash duetting with her father, Johnny Cash on September when it comes off her two thousand and three album Rules of Travel.
Music.
Talent seems to be passed down among the Cashes. Roseanne Cash has five children, three with her first husband, one with her second, and a stepchild. Some have even followed her into the family business. I wanted to know how Cash managed going on the road when she was raising her children.
It was less important than raising the babies. I have to say, I toured less than everyone else around me, and it was a constant source of, you know, angst for my manager, because I just I have a really healthy alarm system about what's too much and what's not enough, you know, as far as kids, as far as my private life and being home. And I have no illusions about the glamor of the life I lead to know. I mean, I saw that first hand with my dad.
It's like, it's hard work, it's not glamorous. And I wanted to be there for the parent teacher meetings and the play.
So I made sure I was now two more things in the time we have left. So you've written a memoir correct, yes? And what was that process like for you As a creative person.
I love writing, or, as Lillian Hellman said, I love having written. My family story and my own story had been co opted by the public in such perverse and diverse ways over so many decades that I finally thought, if I don't tell my story, at least plant my flag and tell my story, then it will just keep getting co opted. And even if it is, at least I've said it. So that's why I wrote a memoir. I thought I was too young to write a memoir in twenty ten, but you know, I could write a
second volume. And I constructed it in a way like Bob Dylan's Chronicles in that it wasn't completely chronological. That it was about reappearing patterns of my life and how songs were attached to them and anchored those different eras and patterns in my life. And you know, it was a self organizing principle too. I realized many things about my life that I hadn't by writing about it.
Do you listen to much contemporary music right now? I do you do.
I got obsessed with this Billie Eilish song she wrote for Barbie. Oh my God, one of the most beautiful songs I've heard this year.
Oh wow, that's amazing.
And my son is a record producer. He's almost twenty five. He produces a lot of indie bands and indie artists. You know, he's in Brooklyn, and so I hear some of the people that he's producing, and I'm interested in them. And I love kids, I do. I love young people me too.
Yeah, you know my sense of your career, of your work. You're writing this Normal Ray thing, and you talk about possibly another volume of something by I mean, I'm saying this because I truly believe this, you know. I mean, I always find I was blown away when Springsteen went on Broadway.
Yeah.
I loved that show, loved.
It, and one was something you could do, that kind of show. And we'll keep our eyes peeled for Normal Ray. That sounds thrilling to me. Thank you, and how lucky they are to have you.
Thanks Alec. It's so good to speak to you finally, because I have admired you for so long that it was such a joy to get to speak with you.
Thank you you too.
My thanks to Roseanne Cash. Catcher at City Winery in New York City on November twenty eighth and twenty ninth, touring in support of the thirtieth anniversary of The Wheel. You can find additional tour dates at Roseannecash dot com. I'll leave you with Roseanne Cash's Blue Moon with Heartache from the nineteen eighty one album seven year ag I'm Alec Baldwin. Here's the thing is brought to you by my Heart Radio. What would I.
To be a time and in your eyes again? What would I to bring back those old child? What did I say.
Make your glass turn off this way? Maybe I'll school awaits today.
Baby, On to school away, baby,