This is Alec Baldwin and you're listening to Here's the Thing from iHeart Radio. Last week we lost one of the greats singer songwriter, folk rock legend, and hands down one of the kindest people I've ever met. In the making of this podcast, musician Gordon Lightfoot, I wanted to take a moment to remember Lightfoot and his influence on all who were lucky enough to hear his music. Lightfoot was on a short list of music legends I was
anxious to interview. The opportunity finally presented itself while I was attending the Toronto Film Festival. He was one of my favorite artists and he will be deeply missed. Here's my twenty sixteen conversation with the late Gordon Lightfoot.
At times, I just don't know.
How you could be anything but beautiful.
Over the course of a career that has lasted more than fifty years, Canadian singer songwriter Gordon Lightfoot has achieved global stardom and exceptional influence. Bob Dylan's a fan. About Lightfoot's songs, Dylan said, I can't think of any I don't like these songs, which include Beautiful, The Wreck of the Edmund Fitzgerald If you could Read My Mind, and many others have been treasured by generations of popular musicians
and listeners around the world. Many people know about the folk music revival that brought Bob Dylan to New York in the early nineteen sixties, but north of the border there was an equivalent explosion of talent at that time, and Lightfoot, who got his start singing in boys choirs, found himself heading to Canada's cultural capital to try his luck.
Beautiful Well, I was down in Toronto here looking for work, and I got a job as a cooral performer in a television series that was on every week. And at the same time I branched out and began working in the folk oriented places. Because the folk revival had occurred around about nineteen sixty and I would have been maybe twenty years old there about twenty one, and so I'd be working on the TV show in the daytime and going out and working at the coffeehouses at night.
No, you had a period where you wrote jingles for commercials. Correct. I tried to make a living.
They locked me in a room one time, a manager in a place on Madison Avenue and just left me there all afternoon.
How'd that go?
Well? I wrote the commercial, but they they didn't like it.
They didn't play your version of the commercial. But you didn't. You didn't. You went in New York for a long time?
Correct, Well, I would go back and forth in New York all the time because my management company was in New York. I was one of the fortunate ones who was able to acquire a management situation south of the border, so to speak, down in the States, and that was in New York. And he was a great manager. He recognized my songwriting ability immediately, and I got a couple of tunes recorded by Peter, Paul and Mary, and one of them went up to number five on the Board chart for loving me.
That's what you get, full loving me. That's what you get, full loving me.
Everything it was gone, as.
You can see, that's what you get for love.
And so I was introduced to the industry in the States really as a songwriter before they even knew that I sang, you know it was. It sort of happened on its own.
Do you think you would have been Do you think you would have been happy to just stay in that place and just produce records and write music and was performing the goal all along? Did you want? Were you itching to do that? Oh?
Yeah, yeah, I wanted to even as a child, you know, I didn't mind singing in my grandmother's house on the Sunday get togethers. You know, they would single me out and I would solo. I enjoyed the feel of the communication that and I could feel it then. That's what I feel now. I feel a communication when I have a wonderful band and we have a great repertoire and we just lay the stuff right out there.
For them, just pure joy.
Yeah, I enjoy doing that. But when you were take care if it pays the bills, that's.
A that's a desirable silver lining there. Yeah, all that hard work, well, but when you were writing, when you turn that corner and singing takes over. You know.
I was doing like like small time stuff, and all of a sudden I was asked to come to New York and open for Paul Butterfield concert nineteen sixty six thereabouts.
I suppose sixty So you won the radio then recording.
No, we didn't actually get on the radio until about nineteen seventy one.
What was the first song that I mean? I have a list here. But what was the if you could read my mind.
If you could read my mind, if you knew that ghost.
Is me and I won't be sad as long as time I'm a ghost. You can't see.
The record was that it was my first album on Warner Brothers, and it was out for eight months and there was no single, and all of a sudden other promotion. Guys said to his girlfriend, we listen to this and come back and give me an opinion. On Monday morning, his girlfriend she likes, if you could read my.
Mind, where the hard he is gone, the hero would be me.
Hero of.
You won't read that book because the endangers.
If you could read my mind hits the charts, so to speak, it becomes a big hit for you. What changes for you, Like did you have to sit there and say, oh, people are telling you to do things differently and now you're going to be a success and they want you to We.
Get so busy we got to hire an aircraft. Literally, that's what happened. We had to hire an aircraft. Everyone wants to book, say, get the same place two different places in one day.
So when you reached that point, that and then that turning point is the is the next imperative. You've got to start coming up with more songs and writing more songs. Oh yeah, yeah, you record. Yeah.
We made three more albums and nothing happened. But I kept doing one a year and something had to give eventually, And then one summer I wrote that song Sundown, and I knew that it was it was going to happen, that it was it was the right thing, and it did. When we're up to number one. That was our second one. Then it was almost seven two albums later that we had the record the Abne Fitzgerald, and that happened all by itself too. That became a responsibility. It did a very large responsibil.
The song became a responsible But tell me in your own words. Many people go on about that, about the tragedy and the history, and it's a very, you know, important song to people, you know history. People talk about it very reverentially. Why was it important to you?
Because it was only one verse contained any conjecture of any kind of the rest of it was taken from directly from newspaper articles and the aftermath, which only lasted for about three days. If I had not wrote that song, everybody would have forgotten about it. A week after it happened, I said, people are all around the Great Lakes area are going to wonder if the song is appropriate. And some did wonder about it, whether it was appropriate for
me to have written a song of that kind. But I had gone pretty much with the newspaper articles that I scraped up. We had no CPS in those days, and you went back that you went to the publisher and got the back copies of the newspapers. And it's accurate. It's accurate in the way the story on folds. I
remember the night I wrote it. I was working in a deserted house and there was a heck of a windstorm going on right in Toronto that night, and I remember myself wondering, Gee, I wonder what it's like up on the Great Lakes right now, because I sailed up there myself. I had a couple of two different sailboats up there, and wondered always, I wonder what the Great Lakes are like tonight, because you're always hearing about what
things happening up in the Great Lakes. And eleven o'clock in the evening there was a report of a ship sinking three hours earlier in the Lake Superior, and they're out looking for the people, and they never found any of them, and twenty nine people gone. And I had a melody, and I had some cords that I was knocking around in this deserted house with the wind howling outside. Really it was kind of kind of a classic setting
to write a song like that. So I began writing the song and finished writing it like two or three weeks later. We were right in the middle of a recording a series of recording sessions at the time, so we put it in and didn't work the first day. We put it in the second day and did you ever stomp and Tom Connors?
No, I will. Now I'm gonna run down and get all of stomp and Tom Connery he was recording.
He was one of our very famous Canadian folk artists. Stomping Tom Connors poke his hit and said that sounds like a hit. He just heard the melody going like he didn't heard the lyrics or anything. So the appeal of the song is definitely in the melody and the chord changes, and then the story of the actually made itself. I got as accurately as I could by pursuing old news articles.
The wind and the wires made the tattle tale sound, and the wave rope over the railing, and every man you as the captain did to twis the Witch and love and stealing.
The dawn came leading, and.
The breakfast had the week when the girls in Lovember and slashing what afternoon came into screeeze and rad in the base of a hurricane west wind.
We'll have more with Gordon Lightfoot after the break I'm ALC. Baldwin and this is here's the thing. I spoke with musician Gordon Lightfoot twenty sixteen. I was curious how his musicianship had changed over time and what it was like for him recording and performing in the early days.
The first time I started doing it, I felt under like, I'm not confident in what I was doing, what I was hearing, I didn't I didn't like what I.
Was hearing of your own stuff.
Yeah, I don't like the sound. The sound of my voice bothered me. And you know, I started working on that stuff and I've been working on it ever since. On my vocal and I've worked on my intonation, on my instruments.
Someone told me that when you land because you perform in so many different areas. You really dwell on tuning your instruments alot. Correct.
Yeah, sometimes I chase it around too, but I've learned through the years that there is a method that you can get me into into Scarborough fair Country, you know, like the like the sound that Simon and Garfuncle used to get on their acoustic orchestral arrangements that they put
together for their songs. And it actually came it became real for me maybe six or seven years ago after I was recovering from a mini stroke that I had and I had to practice a lot more all of a sudden, so it really got me zeroing in on it. And it all comes down to the fifths and the octaves, and I'll just leave it at that.
I'm just a handmaiden here for all you guitar people out there. That's Gordon Lightfoot's gift to you and his present to you. That's the fifths and the octaves. And I don't have one damn idea the fifths and the eye. I don't know what the hell he's talking about, but
there it is. There's his message to you today. McCartney told me when I spoke to him, once Paul told me that he said, in the beginning they would go into a recording studio of the Beatles, and he said, you know, it was really these weren't his words, but the message was kind of like time is money. He said. These guys were like, you know, we want two songs in the morning, and then you go have a lunch break and you go down to the pub and you have a cigarette, you have a fission chips where you
come back. They want two songs after they really moved along at a clip when they were doing the first albums for Parlophone or whoever it was, or em I, and then when they became, you know, the success they obviously became, then they would take a year. You know, all musicians are the same. Then they would take a year to do their next album. You know, they would do Sergeant Pepper's or what everyone really really luxuriate and getting every They gave them more time because it was
worth it was worth that investment for them. Was the same true with you. Do you find that the more successful you became, the more time you wanted to make music.
Perhaps later on, but I pretty much stuck to the to the schedule as much as I could. We made like eight or nine albums in ten years there, so.
You didn't feel rushed by them.
No, we were getting more time. But I was also improving because what I didn't like hearing I was I was changing all the time. I was always an improvement venture, like a guy building himself up and for to play on an important sports team. You know they got it. It's just not just the game, it's the preparation. Say you haven't played for for a month and all of a sudden you got to get back up on stage. You should be able to crank it out just like it was just you did the show last night, right.
But you like rehearsing, Yeah, well you believe rehearsing.
Yeah, you're learning new material or you're going back into the old catalog with which we do. Because I have a rotational situation going on, the biggest problem in my whole life's been too many tunes, too many women.
For my listeners. Right now, Gordon Lightfoot is turning sheepishly toward his wife with a sheepish grin on his face, and she just patted his shoulder to say it's okay.
Gordon, Well I can't step on your toes.
Yeah, you can't do that. But I remember reading I remember listening to an article. I remember reading an article that the Rolling Stones did years ago, and I was taken by how you know, in terms of musicianship, Jagger and Keith Ridgard were very, very married to rehearsal. And for you to say that that is a great meaning to me. For you, someone as great an artist as you are, that the preparation and the preparation beforehand so that when you when the audience is there, bloom, you
strum that guitar and you're you're ready. You're ready.
Yeah, And we we have the the artistra itself. I have four really talented guys.
And very loyal people. I read about that your band is very loyal to.
Well, I mean it's there's no reason why they should not be. You know, we're all the same path. I mean, we just want to do a great job and you got to like make almost make a science out of it. I don't know. My guys are all professionals. I mean there's they're serious musicians. Yeah yeah, and they do other things. I just got to let them know what's coming up.
You know, what were you listening to back then? In the sixties when you were coming up, Who did you listen to?
Well, I was listening to the country music, you know, Hank Snow and then folks. It was Pete Seeger, and it was Bob Gibson. It was Bob Dylan and Simon and Garfunkel, and you know Peter Paul and Mary and Ian and Sylvia. They were a duet and it was a beautiful act that they had.
Eventually you met these people, well I met, but you became one of them.
My management company because they were the first ever to do one of do any of my songs was Ian and Sophia, which one for Loving Me and Early Morning Rain. I found an opening with the Folk Revival, you know. So I was lucky to be a part of that, to write that one through and survive. Uh, there's there's nothing much out there these days. Uh, you know, they're
they're they're busking. We've got a look a whole bunch of people here in Toronto who who are hovering around all the time that the folk oriented artists who are songwriters and you know, trying to get somewhere, and some of some of them are succeeding in some or not. I get to hear a lot of the stuff because it comes across my desk and I get to hear it, and you wish, you know that something grand could happen for these people, but you don't know what to do. All you can do is respond.
Right, encourage.
Yeah.
Where do you think people learn to hone their craft as a musician in in in clubs and performing live?
Well, I was as well as I was working in bars too, you know, like bars and lounges as well as the coffeehouses. And so I had the kind of a repertoire that was acceptable to plant bars. So I
got him following in a couple of these bars. Then I've sort of moved uptown into the village area, you or Yorkville, which was just coming into bloom here in town, and get into places like the Purple Onion, and then the Riverboat, which was really the plumb of the whole lot, was the Riverboat because Bernie Feeder brought every person into that place. You could fosply image and play there, from James Taylor to Joni Mitchell to to Kneel Young right on down the line.
Is he is he a friend of yours? Yes?
He is?
Yeah, your songs and you're singing of your song, you're performing of your songs is so vulnerable and so emotional. What was the most difficult song for you to write or among the most difficult songs for you to write?
I'll tell you that a lot of times you don't know you're doing it. You're drawing the material from your subconscious you know, you don't actually know what you're doing. You're you know, you're drawing it from somewhere, and then later down the line, three or four weeks later, you can sign it back to the actual event that brought it on. I mean, that's like, if you could read my mind is about actually the crumbling.
Of a Really was that painful for you to write? No?
Because I didn't know what I was doing right I wrote it. It's just I didn't really.
Tell me that all these beautiful folks songs that people weep when they listen to, you're just like tossing it off, like I don't really know what this is. Let's take a song for example. Let me let me pick one song now, one of my favorite songs of yours. I mean, a song that I just kills me is beautiful, describe
to me recording the song beautiful. I mean, do you go out with your friends and your get ship faced drunk and you come in with a hangover and just lay this thing down and you play poker ro all night? Or do you enter a state?
First I get a card progression, Then I get a melody.
It's fifth syn octaves, people, it's fifth syn octaves.
Then I get the lyric. You got the melody, you got the chords, but you don't know, so you draw. You find an idea that that fits the fits the melody.
That's Gordon Light for the songwriter, Gordon Light for the singer, the performer. Do you enter a state? Do you take yourself to a place when you perform your recorded music or you don't?
Well, I can, I can use my imagination. I actually saw it as a sincere love turn to a guy for his wife or his girlfriend. It it reminds me of when I was I learned how to sing with emotion when I was about twelve, when I was doing handling material from Handles Messiah, the Voice of Him who Cries in the Wilderness and all that sort of thing, And I learned what emotion meant when when I were saying handles Messiah. At age twelve, I sang in a
competition so I could apply. It was easy for me to apply to summon up that emotional uh something or whatever it is when it came time to put that song down. But I didn't have to the point at the beginning that I wanted to have it. And that's why I've been working on all my life is getting controlling that emotional approach to it, making it work for me. You don't overdo it, and.
You don't know what I'm saying. That's what's beautiful about your music is you go right up to a point, but you don't do a lot of handholding. You let the audience do the crying for you. You know what I mean.
You're your We balance it off with a lot of toe chappers. You got lots of to.
For a prime example of the delivery Gordon Lightfoot does so well. You don't have to look beyond this song sundown.
I can see you land back seven.
Room where you do what you don't confess.
Some better dickas.
Around coming up. Lightfoot talks about some of his musical inspirations that explains why he and Bob Dylan didn't get along right away explore the Here's the Thing archives. I talk with a very different kind of songwriter, Tom York from the British rock band Radiohead. He tells me how his producer gave him the confidence to explore wild new electronic sounds.
I mean, I was like a kid being given a hammer. I was just hamm and reliance stuff. I didn't really know what I was doing, but he was kind of fascinated by that, you know, and he'd come and literally tidy up the mess on the computer.
Take a listen at Here's Thething, dot Org. I'm telling you.
That you beautiful.
This is Alec Baldwin and you were listening to Here's the Thing. Gordon Lightfoot has straddled the worlds of pop and folk music for decades, but his confessional songwriting appealed to country music performers like Johnny Cash, Hank Williams Junior, and Glenn Campbell as well. They all covered his songs. And there's good reason that's what Lightfoot was listening to when he started thinking about what kind of musician he wanted to be.
It was probably a country music I made the crossover into adult contemporary music, you know, fairly soon and there was a lot of good writing going on in the folk revival too, and I got I was influenced by that.
So you didn't come into the music business and say I want to be Sinatra, I want to be Elvis, I want to be Dylan. Well, I think you wanted to find your own voice.
Yeah, I didn't. I certainly did not take lightly the fact that I was really influenced by Bob Dylan because of the not only the quality of the work, but the output that they achieved. He was prolific. Yeah, that was the amazing Particut and said, well, it can be that easy for him, it must surely be be easier for me. I mean, if he can do this much work, surely I can do this much work. While appreciating the
music that he was producing at the time. When did you first meet him nineteen sixty five, What was that like for you in Woodstock? Well, it was a it was an interesting time. We actually didn't didn't get along when we first met. He criticized my my rules at playing Manhattan on his pool table in Woodstock, and I got a little he got a little sarcastic about it, and we were all He was very sarcastic, and I started seeing this coming on to me and I left.
I left their house wow, and went back down the hill to Albert's house. Alberts, Albert Grossman. He was the manager I had before, part of that stable, that fam that's stable yet, so natives say, since I knew him for so many years after that, because we're all working in the same place, I became sort of party party central for them when they when they came to Toronto, which was often, and with the band and everybody, and we had a great time. And I, you know, it was good to have known Bob.
Is it safe to say, because I've read this in different articles and so forth when I was reading up about you. Then when you say you got together and had a good time, was there a period of your life where you had too much of a good time?
Well, I mean there was lots of drinking went on there. There was a little bit of everything. It just depended upon how severely you were affected by it and what kind of a constitution that you possessed. Did. I drank heavily right up until nineteen eighty two, and then all of a sudden I stopped last I stopped it for twenty three years because it was good. I was going to ruin my career and I was making unrational, irrational decisions.
And one night I tried to climb from from one balcony to the next in an apartment building on the tenth floor.
Yeah, I get it.
Sure there was a party going on.
And you wanted to one party. I love that. What was a better party in that other wing over there? There was too to meet folks.
There was room for me to jump from the one balcony to the next.
Did you make it?
Yes, Well I've said it. I here talking.
You might have fallen and broken your leg or something.
Who knows, I was on the tenth floor. I wouldn't be here.
You wouldn't be here.
Things like that, you know. But other things that I did there were bad judgments, you know, and you know, with people, and I felt that I was offending people sometimes and I did the last thing I wanted to offend anyone, you know, And that's what I felt when I wrote to Fitzgerald, I said, I hope I'm not going to offend any of the relatives of these men. You know.
Was it never communicated to you that you had Did anybody suggest that.
No, No, it never appreciated what you've been honored. We just went to the fortieth anniversary ourselves, just this last novembery week. Where was it helped Lake Superior? I've been fifteen miles thirty miles of northwest of Sussaint Marie at the Whitefish Point.
Wow. You know you have had some very impactful health issues. You had a stroke and then you had Bell's palsy and you couldn't have what's it like to lose feeling in your fingers and you're a guitar player.
Well, ask me what it was like when I had the aordal aneurysm.
Okay, what was it like when you had the a ordal aneurysm.
Well it put me out of business for two years?
Did it really? Yeah?
Put me out of business for two What a year was that? Two thousand and two?
What were the symptoms of that?
If you pass out and you don't wake up.
Oh, I mean the aneurysm bursts for six weeks? Yeah, what were you feeling in the weeks prior?
I would have bouts of stomach ache and I'd have to lay out of my belly on the bed for a while.
Yeah.
Then I would subside. And that went on over a period of several years, and it started about ten years before the actually vent occurred. So there is a warning. There is this third warning signals it's a paint. You get a pretty bad stomach ache. And yeah, that was years ago. That was nineteen you were young, Yeah, seventy two, I think thereabouts.
Yeah.
I had to stop performing for three months and then I got enough of wou'd stop puffing enough? Then I was able to go back to work again. Really, so I just I just boulder through, so to speak, and then you had a stroke actually came back. That was a mini stroke. That the fact of my right hand, which was very disturbing. That in two thousand and six, that was when I really started practicing, and that's when I really improved learned how to really get my instruments
in tune at the same time. So I derived a benefit from from that.
How do American radio interview hosts differ from Canadian radio interview hosts.
No difference that I can see, no difference. People folks are folks. So the boys appreciated the cousins. We're all cousins here in North America. That's why you're not political now, that's probably I never moved down there. I've follow I'm I'm a I'm a political fan. I'm a fan of watching the political process observer.
Well, you you had the situation with the song in Detroit Black Day in July. Yeah, from the Detroit riots, that's right, and you wrote a song about that and then cause you a little bit of a.
Grief in the record we released a single.
Did you and did you feel that that was something that you resented or like, how did you feel when you got pulled.
That I kind of shouldn't have done that. It was almost like like the wreck well, well like like it was a well I should have I was working in the city a lot, in the trucky I circt there. There was something about it. I kept saying, maybe I shouldn't have written a song like this. You know, it was written as a folk song for an album. The record of the Fitzgerald was written as a folk song for an album.
And the political purposes assigned by other people. You didn't have a political purpose when you wrote the song. Interesting, just a story Black.
Dan and the soul of Motor City is there across the line.
That's the book of the.
Law and order is taken in the hands of the time, So the fathers who came into this lane.
Bug Dan, July Black Dan. And when the record company took the song off the air, so it didn't piss you off. The record companies never pissed you off. No, never, when they told you what songs to put on the album, what songs not to put on the album, never bothered you.
Well we started, We always worked that out together.
You did. Yeah.
Interesting with the exceptions necess very early in the career too, before I had at the level of authority that I that I needed to establish. I was in how was produced and I I used to be able to discuss and cust and discuss things with them there and very fortunately fortunately to be able to do that.
What song that when you sing it, you could sit there and go, man, I really really nailed that. That's a good song. Oh, there's a lot of them, But what's the one that just comes out of you?
East of midnight, East of midnight, East of Midnight. That's that's one of my my very best ones. But some wills the midnight West anywhere as I I don't do that. I used to do it. No do you know why I don't do it?
Though? These were such a funny cat East Midnight's my best song man. You got to hear that I don't do that anymore.
If I did it for years. This is my last four or five albums are probably the five best albums I made, But unfortunately my momentum had run out with the record company at that point. But I still kept producing.
Because but isn't that interesting You just said my last four or five albums were of the best albums I've ever Do believe that?
Sure you do.
Yeah, you begin one of those albums between what period of.
Time, nineteen nineteen eighty two and in two thousand and six.
So you recorded in an album in two thousand and six, right before you got sixty.
Five nineteen eighty five, nineteen years, I made five of the best albums. I finished an album while I was well, while I was down with the aneurysm. I finished an album there. I took my mind off my condition entirely. So it was very fortuitous that I had a whole bunch of stuff city in the in the can at the time, as they used to say. And the best one of the whole lot is Easter Midnight.
Do you write songs now?
I could? I always have four or five tunes on the back burner.
Your wife is practically groaning behind your nodding herd like.
Yes, of course, there's always tunes in the back burner.
What a beautiful songs?
What do you when you write songs?
Now?
What do you write about? I just write right about jumping from one balcony to the other way to kill you.
I just write write about women. I try to sound sound intelligent.
You know what's on your mind? Now?
Well, I was thinking about the but the one that has the turtle in it, I like that. I think she likes the fact that I introduced a turtle into this song. Is that the part that you like about it? Tartly, you know what I'm saying.
It's amazing, It's amazing. Your wife is this gorgeous young woman. And I realized the glue of this marriage is you write songs about turtles for your wife. That's amazing. I don't have that advantage.
That's just what one scene.
I've got a bullshit my wife every day and convinced her into staying with me, and you just sit there and go. I wrote this song for your baby turtle.
I know, I know. It's it's like, come if you will. Well, the earth is still fertile, Lady, I see society through the eyes of a turtle. Turtles are soft and they've got feelings too. Maybe they think too quickly for me or for you, and it really doesn't matter.
We got to end there, well maybe not, maybe.
Not, just to show you the kind of stuff and okay, into the microphone.
We well.
Back to the table, lady, I see Marilyn Monroe and there Stans Clark Gable. He'll melt the cow, she'll stop the show. There's many a good hand felt, a chili wind blow, and it doesn't really matter. Don't ask her. You don't why I write that.
Stuff, ask about for loving me?
Nothing? Oh yeah, well, we'll see. I sang for twenty five years. But it's really a vicious it's it's just a very vicious song of unrecinded. Quite a love song, and it was it was read during the time when I was I was, I was still married, and I wondered, my goodness, what does my It was like almost like a Will Chamberlain. I've had a hundred more like you.
I'll have a thousand and forum Through was one of the lines in it, and I was married to someone and I've you know, I hated singing the song, and finally I stopped singing it, the same way as I stopped drinking in nineteen eighty two. But even that only lasted for twenty three years.
Didn't you sing it again? No, you don't sing the song. You won't sing going to a lot of people do, but other people record it.
You won't sing it. Elvis, Elvis Presley for loving me. That's what you get for loving me.
I gotta say, I look at these album covers.
You are.
You're one of the best of guys I've ever seen in my life. I mean, was that tough for you? That's a tough part of your career.
Well, I think it helped you probably, I'm sure. I'm sure it did, But I'm sure sure.
Best have what's next when you're going on the road again.
Friday morning, I'll be a little blue. I can soon.
There's still a lot of things, and I should.
Know anyone can gain. I don't know how to friend my Saturday.
I'm Alec Baldwin. Here's the thing is brought to you by iHeart Radio.
I feel at saying to watch them leave, I'll be cool, become because I don't know, really the happy times.
Ago I can still put on
My Saturday