Randy Newman on why he sold his publishing and what he learned from his biography

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As a music enthusiast and someone who has been captivated by the timeless tunes of David Gilmour for decades, I find myself utterly enthralled by this engaging interview. The man’s journey through the world of rock ‘n’ roll is nothing short of extraordinary, his accomplishments as a musician and songwriter echoing across generations.

50 years ago, I found myself immersed in Randy Newman‘s album “Good Old Boys,” where the opening track, “Rednecks,” left an indelible mark. This song, a raw portrayal of American racism, still carries a searing intensity today. The use of the N-word by Newman, voicing his narrator, adds to its shock value. Accompanied by a bluesy country-rock rhythm and luscious backing vocals by the Eagles, “Rednecks” exposes not only the hatred within one individual but also the mechanisms that entrench prejudice into a nation’s very soul. It’s just one of many songs penned by Newman that delve deep into the flaws of the American spirit, as described by Robert Hilburn.

In a new book titled “A Few Words in Defense of Our Country: The Biography of Randy Newman,” Hilburn, who was The Times’ pop music critic from 1970 to 2005, delves into the life and career of Randy Newman. This biography is a collaborative effort with the artist himself, as Newman granted numerous interviews and introduced Hilburn to friends, relatives, and colleagues. The book chronicles Newman’s diverse journey, from his days as a teenage songwriter of pop tunes, through his rise to fame as a ’70s singer-songwriter, to his current status as an Oscar-winning composer of film music. Notably, composing music is a family tradition for the native Angeleno, as his uncles Alfred, Lionel, and Emil were prominent figures in Hollywood’s Golden Age.

Yet Hilburn, who’s also written books about Paul Simon and Johnny Cash, builds “A Few Words” around his belief in the sociopolitical importance of songs as sharp, as perceptive and often as darkly hilarious as “Sail Away,” “Baltimore,” “Louisiana 1927” and “It’s Money That I Love”; he also digs into the trap-door depths of Newman’s two famous quasi-novelty hits: “Short People,” which somehow reached No. 2 in 1978, and the deathless “I Love L.A.,” which still marks home-game wins by the Lakers and the Dodgers. (To judge by streams, Newman’s biggest actual hit is “You’ve Got a Friend In Me,” from the Pixar movie “Toy Story,” which has been played more than 327 million times on Spotify.)

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81-year-old Newman recently discussed Hilburn’s biography and his music from his Pacific Palisades home, where he’s been recuperating after undergoing several medical treatments, including three knee surgeries. “It feels like I have three legs,” he humorously commented. “However, things are improving, and I’m feeling more robust.

Have you picked up a thing or two from Hilburn’s book? Primarily, it’s the behind-the-scenes story of the record company that caught my attention. I wasn’t privy to much information beforehand. After inquiring about sales once, I didn’t ask again.

After hearing enough negative news, I was intrigued instead. You see, I have a knack for numbers – I adore baseball stats and the populations of various towns. So, my predicament was that I chose to compare myself with another artist who debuted around the same time as me [to assess sales numbers]. I went with James Taylor, someone I wasn’t familiar with, but within a short span, he started outselling me. The next time, I ended up examining Christopher Cross, who sold approximately 10 million records on his initial attempt.

Why did you decide to collaborate with Hilburn since we met? It seemed like he was quite pleasant, and his work with Paul and Johnny Cash made me feel flattered to be considered a peer of sorts. However, Paul can be quite particular, and I’m not as strict as him. So, if he approved, I thought, why not?

Occasionally, a photo circulates on social platforms that features you, Bob Dylan, Lou Reed, and Tom Petty standing outside a trailer backstage at Farm Aid in 1985. I’m familiar with this image; they all seem to be gazing away from the camera.

As a cinephile, when I gaze upon that snapshot, it feels as though they didn’t find me quite as captivating as their art. Petty, a fellow enthusiast, was genuinely kind. Dylan and I have shared years of camaraderie in the realm of music. And Lou Reed showed genuine kindness to my son during an encounter at a record store long ago.

Music

Ahead of a five-night performance at the Wiltern in LA, the ex-lead singer of The Police shares insights on his personal life and professional journey as a musician.

In a group full of dedicated writers, do you ever feel like you’re the one who doesn’t quite fit in?

In the photo, I stand out as the most lively figure, which adds a touch of humor to the scene.

Are you asking if I often combine sweet melodies with biting lyrics or vice versa? In truth, if it doesn’t harmonize, I won’t force it. I can’t say for certain whether the tunes make the content more approachable, but nothing feels out of place to me, unless I’ve made a mistake, which I’m all too human in doing.

In a song like “Old Man,” I couldn’t help but emphasize the strings [on sheet music], which might have more appropriately been flats. Nowadays, I wouldn’t use synthesizers on “Born Again,” but I don’t believe it was incorrect back then.

It seems as though the cover of “Born Again” would render any criticism moot. However, many found issue with it. To them, I appeared to be nothing more than a greedy imposter, donning the makeup of Kiss.

Technically, they could’ve known who you were and still thought that.
And they’d have been right.

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It seems reasonable to infer that you have a tendency towards self-sabotage given the title of your pop song, “Sigmund Freud’s Impersonation of Albert Einstein in America.” Such an unconventional title might suggest a degree of self-inflicted challenge or eccentricity.

Out of all the songs you’ve created, which one are you especially fond of or feel particularly accomplished with? In my opinion, the progress I made in the last three albums can be heard in songs like “Lost Without You” and “Brothers” (about the mother, father, and the Kennedys respectively). If I may boast a bit, I don’t believe I’ve lost much of my touch. While the second album received excellent reviews, I think the last three have surpassed it in quality.

Various vocalists have performed your compositions, including “I Think It’s Going to Rain Today”, which has been interpreted by Barbra Streisand, Dusty Springfield, Joe Cocker, and Françoise Hardy. Your unique voice adds a distinct flavor to the material. How does your acting ability, particularly on songs like “The Great Debate,” impact the performance? Also, it’s intriguing that you excel in gospel-style singing, and I understand you’ve recently taken singing lessons to maintain your vocal prowess.

How’s the progress with that? It seems to have enhanced my pitch and breath control, as well as various aspects. I’m unsure if it may impact my career positively or negatively.

Were you asking about whether I’d write another rap song like “Masterman and Baby J” for the “Land of Dreams” album today? If so, my answer is yes, because I appreciate a lot of the rap music that has come out since then, such as Eminem, The Notorious B.I.G., and others. They have a broad range to express themselves, which I admire. So, I’d definitely give it another shot.

In 1988, did you happen to seek guidance from any well-known rappers? If memory serves me right, I had the opportunity to consult with Ice-T about my style, but I can’t recall his response.

I find it quite acceptable. To be honest, I initially expected it might make me cringe in a week.

Music

At the Intuit Dome and Hollywood Bowl in Los Angeles, where concerts are held, a comprehensive interview is given by the 78-year-old Pink Floyd veteran.

Here’s a possible way of paraphrasing your sentence: “According to what I found online, it was back in 2016 when you last performed ‘Rednecks.'” The new sentence conveys the same information but uses different words and structures to create a more natural and easy-to-read tone.

It seems a bit incomplete now, doesn’t it? I might still go ahead with it, but only under the condition that I can clearly articulate my actions or if it’s among a familiar crowd. For example, I could do it in San Francisco, but perhaps not in St. Louis. It’s quite hard to determine for sure.

I don’t find that needing to clarify a song detracts from its intended impact, but it can certainly be an inconvenience when trying to maintain a certain flow or rhythm.

Back in 2017, I advised younger musicians to keep their publishing rights. However, this year, I sold mine to Litmus Music. So, the question is, what led to this change of heart?

Have you considered the possibility that the recent selling of song rights by artists such as Dylan, Simon, and Bruce Springsteen might have sparked some contemplation within you about your own approach to managing your musical catalog?

As a movie critic, I’ve had discussions about this matter. I can only cross my fingers and hope that these conversations make a difference. Frankly, I would hate to see “Think It’s Gonna Rain” exploited, as it holds significance for many fans. In the past, when they approached me for use of “You’ve Got a Friend” in commercials, I always advised against it, and fortunately, they usually listened. There were exceptions, though – on some occasions, they went ahead and used it themselves. The reason behind my reluctance was simple: children love to sing along with that song, and I didn’t want them to lose the joy of participating in a crowd setting like that.

Regrettably, a renowned pianist-composer hailing from Los Angeles, Warren Zevon, was up for induction into the Rock & Roll Hall of Fame last year. Unfortunately, he missed out on the honor.

In 2013, I was indeed taken aback, but I was also thrilled. After all, it’s quite a significant recognition, isn’t it? Yet, it holds more importance than one might think.

Occasionally, if my name is on the ballot, I’ll take part in elections such as the Rock Hall and Grammy Awards.

What kind of topics did the two of you discuss when Don Henley gave your induction speech? Well, it’s not that we share everything, but since he can make me laugh, and I find him amusing too, there must have been a lot of interesting conversations. Sometimes, in my book, people make better audiences than even family members like my wife or kids.

As a movie-goer reflecting on my thoughts, I find myself contemplating an intriguing dilemma: Which scenario would be more distressing – retaining mental clarity while dealing with physical deterioration, or vice versa?

It could very well be the case that this is the secret: As your mental sharpness diminishes, so does your self-awareness to the same extent. However, it might just be a hopeful assumption, as I believe that one would still recognize their own lack of memory.

Are you planning on releasing a new album soon? I sure hope so, as I’ve been attempting to compose new material, but it seems more challenging now compared to before.

Back in the day, I got to chat with Paul McCartney over the phone, about 40 years before we actually met. He asked me how my writing was going, and I admitted that it was tough going. Fast forward to now, and I’m still grappling with the same challenges. During our conversation, he said something that stuck with me: “You don’t exactly have anything to live up to.” At first, I thought it was a bit rude, but in hindsight, he was right. Being a Beatle comes with a unique kind of pressure that’s hard to compare. Now, I feel the pressure is even greater, and it’s not because I don’t care deeply about my work. In fact, I still care a lot.

“Is there anything where you could find it easier to just move on, knowing it won’t cause too much trouble?

Are you asking if I intend to go on tour once more? To be honest, if the opportunity arises, I would jump at the chance. I found it enjoyable and felt quite proficient at it. It’s been a while since I last performed, but I believe I’ve got the hang of it again. Plus, I feel like I could give Pavarotti a run for his money!

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2024-12-06 02:53