The David Pomeranz Interview is featured on The Paul Leslie Hour
Ya know, David Pomeranz is one of the most successful and prolific songwriters and performing artists on the scene today. His songs and recordings have sold over 40 million copies worldwide, earning him a total of 18 Gold and 22 Platinum records, and his live concerts have delighted and inspired millions all over the world.
The songs of David Pomeranz have been recorded and performed by Barry Manilow, who recorded “The Old Song” and “Tryin’ to Get the Feelin’ Again” but there’s also Freddie Mercury, Bette Midler, Harry Belafonte, The Carpenters, Cliff Richard and Donna Summers. All of them have recorded the work of David Pomeranz.
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And now, I think it’s time we play that tape. Paul Leslie and David Pomeranz, let’s get it going.
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The Official Transcript
Ladies and gentlemen, it is our pleasure to welcome our special guest, David Pomeranz. Thanks so much for joining us.
Oh, you’re very welcome Paul, nice to speak with you.
My first question. For all those that are listening from everywhere, who is David Pomeranz?AAAHHHH, (David laughs) Well, good night everybody. Ever since I was a little boy, in this lifetime, I have been very inspired by beautiful music and rhythmic music, and just music in general, you know Pop music, Broadway music, anything great, and I would feel things and go places emotionally that nothing in the world took me to, nothing, and so I kind of… patterned my artistic life anyway to be involved with this whole beautiful area of music, and work really hard at it and try to be as good at it as I can, so as to how people experience what I experienced when I was a kid, you know, and it’s a……and continue to obviously, you know, when you get the goose bumps or you get the emotional affect or you get the inspiration or whatever that is, that uplifts the person, that’s what I’m into, whether it’s up tempo music or ballads, doesn’t matter.
When you were growing up, would you say your house was a musical house?
Very, yeah, my Father is a terrific singer, my mom played the piano, my sister sang and we all would perform around…… you know….sing songs around the piano in the living room and such, and they always played music, you know, again, show tunes, classical tunes, my parents were into early rock too, you know, so, yeah, we were always playing music, always, always, and it was a big part of what we shared together as a family.
What was your favorite music growing up?
There are two answers really; my favorite piece of music probably was the score to West Side Story, that was the thing that made me go “Oh my God, somebody wrote that” (David laughs), you know, happened to be Leonard Bernstein and Steven Sondheim, but, I mean as an eight or nine year old boy, that really impacted me, compositionally, and then listening to, you know, the song… the older songs of, you know, Richard Rodgers and such, that… again…compositionally, these guys just moved me very deeply, but as far as performers and recording artists and such.. and obviously, the Beatles and you know everything I was raised with along those lines, performing wise, there was a guy, maybe you remember, John Sebastian who used to be with the ‘Lovin’ Spoonful’ (Paul cuts in ‘Oh yeah’) he was the lead singer, yeah, you know, ‘Do You Believe In Magic?’ and all that, ‘What A Day For A Daydream’, John Sebastian was someone, growing up in New York I used to see at the ‘The Bitter End’ Club in the Greenwich Village and he was by far the most incredible performer I had ever seen, cause he was so in communication with the audience and I said ‘I want to do that,’ so you know, so pop wise, he was my inspiration as a performer, and compositionally it was Bernstein and Rodgers and those guys, and then of course, I was in bands all the time, mostly because I loved playing music and mostly because I wanted to, you know, I wanted girls to look at me, which I think (David laughs)most male musicians , you know, would have to cop to, and so I was in bands, you know, and I played all the pop music of my childhood, you know and it was good fun, good fun.
I’m glad you said that about John B. Sebastian.
mmmm hmmmmm
He still remains an incredible performer…
Have you seen him, did you ever catch him live?
Yeah, (David and Paul talk over each other then Paul continues)… yeah, he is amazing.
Where did you see him? I’m sorry go ahead
I saw him….no, it’s all right, I don’t mind, I saw him in Roswell, at the Roswell Cultural Art Center, this was probably six months ago and I interviewed him before the show.
Ohh you’re kidding me, you just saw him, oh my lord.
I was on cloud nine (Paul laughs), I loved it.
That’s extraordinary, yeah, he’s got some very, very unusual…….. Anyway, go ahead, what were going to ask?
I was going to ask you, can you remember the first song you ever wrote?
Yeah, it was called ‘Queen Cleopatra’, and it really stunk, and…but.. but it was…but you know, I just went to play the guitar, I was maybe.. I don’t know, maybe, I don’t know, what was I? Thirteen, twelve and I had some new chords and I played it for my parents and it went… ohhhh… ‘Queen Cleopatra was irresistible, the owl and the cat were nonsensical, but you and I could be inseparable if you were in love with me’, and I thought that was pretty, frigging cool (David laughs), you know, and my parents went “very good David, that’s very good”, and I’m sure my dad turned to my mother and said “where did he learn those words?” you know, but, there you go, that was my first song.
You’ve done so many things in music; from singing, songwriting, performing, recording, could you pick a favorite part within music?
(sighs)… Oh boy, no, you know, I can’t, and the reason is that they scratch different itches, you know, performing and singing and recording, even, have their own special perk for me, personally, their own special fun, their own special requirements, you know, that I get into and try to best myself in, you know, and get really good at, and that’s one area and then writing music and lyrics is a whole other muscle, and then writing music and lyrics for the theatre, verses pop records is yet a different thing, but it all sort of boils down to singing and playing… I mean.. pardon me…singing and writing.. you know people ask me, like, ‘how do you do all these things in all these many areas and it’s like, it’s just I’m just singing what I write, and sometimes other people sing what I write and that’s the simplicity of it and it goes together.
What does it feel like when you’re writing a song and you think you have a keeper? Like when you look at it and you say ‘I think people are going to respond to this emotionally’.
Mmmm mmmmmm Oh it’s very exciting, because, if I’m moved by it, then it’s what you just said you know, I know kind of instinctively ‘ooooh this is a keeper’. This is really good and I get very, very tickled by it and it’s funny, you know, most of the time, those kind of songs do connect with others and every once in a while they don’t and when that happens, I’m always surprised, I mean, you know, like, I’ll go ‘listen to this,’ and I’ll just play it in concert or whatever and I’ll get maybe a polite applause and I’ll go, you know, ‘are you guys listening?’ (David laughs) ‘is there anybody out there?’ You know, it’s always a funny one, but generally, I think it’s… if I’m feeling really strong about it, then other people do too.
Is there a song of yours that you think people have connected to the most?
I mean, my most popular song, I think is ‘Trying To Get The Feeling Again,’ that Manilow popularized years ago, and I think many people know me for that, but the most…. if I say it’s the most popular or most successful song I should say. My most popular song is something called ‘It’s In Every One Of Us’, and that’s something I wrote on the Arista album that I did years ago, and it seems to be… and it’s sung all over the world and has been recorded countless times by, I mean recently Clay Aitkin, Kenny Loggins, John Denver, the Muppets, on and on and on over the years, it seems to resonate with people most perfectly and kind of goes on, it’s the most timeless thing I think I’ve ever written.
Tell us about the inspiration for that song.
Oh interesting, I was working…. I was living in San Francisco, I was living in San Francisco, and I had just read some books by a guy called L. Ron Hubbard, who.. I don’t know if you know him but he wrote a book called ‘Dianetics’ and he was the founder of Scientology, anyway, I was very inspired by what he had written and I was driving down the 80 turnpike near San Francisco and I wrote this song in the car, and I was just very, very moved and touched by the simplicity of what Mr. Hubbard had said, cause it was true for me, you know, and it’s in every one of us to be wise, true, (David laughs), you know, maybe not, and the truth of it is, perhaps, is what’s made it so liked and sought after.
And, tell us about the other song, ‘Trying To Get The Feeling Again,’ that’s a song that a lot of people have connected to.
Ohhh yeah, well, I wrote that in San Francisco also, interestingly, and it was an assignment for the Carpenters years ago, my Publisher said the Carpenters were looking for a song, and, so I went home and worked for months writing that song, honestly it was months, I couldn’t be satisfied with what I was doing, and I wrote version after version, finally did a demo of it, sent it to the Carpenters, they liked it I heard later, but I never heard back from them. and then the next thing I knew, the demo found its way to Bette Midler, and Barry Manilow at the time was Bette Midler’s producer you may remember,he produced some of her early albums, and he heard it at her house, the report goes, and said ‘gosh this is a great song and if you don’t cut it, can I?’ And she said ‘yeah,’ so that’s how it happened, but I was having a rocky time with my first wife back then and feelings weren’t always there, that’s what the song is about.
What did you think of Mr. Manilow’s version of your song?
Well, I liked it a lot and I never thought of it the way he did it. He also did one of my songs called ‘The Old Songs,’ which we can talk about later, but, it was a similar thing, I’d listen to it and I’d go ‘OH’ and I was surprised, you know, and I liked it, very much, but it was not what I heard in my head, it was what he heard and I was fascinated with it, and I do like it very much, both of those records he did.
Take us back to when you were nineteen and you got your record deal with MCA, what was going through your mind when that happened?
Oh when it happened you mean?
Yeah, what happened and what were you thinking at the time, what was going through your mind?
Ohhh I wanted to be a rock star and I was thrilled, I mean my God, you know, I was gonna… I was gonna, you know, be Paul McCartney, that was it, you know, I was, I don’t know, eighteen, or whatever, I remember my parents had to…. or nineteen maybe… they had to sign the guardian contract cause I wasn’t of age. That was great, and, you know, we recorded with a guy called Ray Ellis, who was the Producer, and Ray Ellis was the Producer of Billie Holiday and I went ‘WOWWWWWW, it’s like….WOWWWWW are you kidding’ (David laughs) and so I got to work with this legendary arranger, producer, you know, in the jazz world and it was a very interesting record we put together, it was pop music and it had some jazz spin on it because of Ray, you know, it was fun.
And from there you got to perform with a lot of people, touring.
Yeah.
Tell us about some of the ones that stand out in your mind the most.
(David sighs) Well, gosh, I got to tour extensively with the Carpenters in the seventies, interestingly, and that was my first sort of… big step and as you can imagine, with a full blown, pro, you know, rock circus tour, you know, with airplanes not buses and that level you know, so that was pretty great, I remember Karen Carpenter, I remember once, we were in a plane going from somewhere to somewhere, Karen wasn’t around because it was a small chartered plane, I couldn’t see her and then somebody said that Karen wanted to see me, and I looked up and she was flying the plane (David laughs) and I went ‘urrrrghhhh, urrrghhh, aaahhh urrrgghh urrrghhhh’… and we sat down and we were talking and she was very competent, she had the headset down and she was flying the plane, pretty amazing. That was pretty cool and then after that, oh my God, Air Supply, was the next level of tour, but that was buses and that was more Rock n Roll, that was more of a archetypical Rock n Roll tour, you know, with buses and, you know, guys drinking and doing all kinds of stuff, and that was fun, you know, it was just fun, and then, you know, I got to play on a lot of shows with a lot of artists, but then there came a time when I started more headlining myself and like that, but those were great days, those were really fun days, a lot with George Benson, and I did some very funny things back then too, because the agencies that I worked with didn’t always match us up, and I wasn’t the only one, but they didn’t always match us up with the perfect grade act, so there were a couple of occasions where, you know, I was coupled with Like, say a guy Rahsaan Roland Kirk, who’s like, I don’t know if you know… do you remember him?
Yeah, I do.. I listen to his music…
And he’s a genius, he’s absolute genius, but completely wrong (David laughs) on a show with me, because, you know, I mean, you know, his audience would come, you know, he’s very, sort of, you know, fundamental, kind of, R&B black, Kaftans, you know, at the time, you know, black power thing, you know, that vibe, and I showed up, this old white guy with an acoustic guitar and I come out and I go ‘Hiiiiiii Everybody’ and they go (David laughs) ‘what is going on?’ The fun is, you do it, (David laughs). And they started to heckle me and they were booing, ‘get off’ and all that and all that and I remember getting so mad during one of the shows, you know, I just stopped, because, you know, I liked what I was doing, you know, and I remember and I talked to them and I said ‘hey, you know, I said ‘look,’ I said ‘you may not….. you didn’t come here to see me, obviously, but, I think if you listen to what I’m about to do here, you will like it, so just please, just respect me enough to just listen’ and they went silent and I started to play and then I’d get, sort of like, you know, ‘GO DAVE!’ you know, ‘DAVID BOY’ (Dave laughs) they were like backing me, you know, cause, you know, they knew I was right, and they gave me the respect and that was a real, great moment for me personally, because I… I knew that they weren’t…. they were sitting there with a bias and if I could cut through that circuit, that mental circuit, you know, the bias, the prejudice or whatever the heck that was, then it would be fine, and I sort of, really adopted that to my whole career and I really….. Like Sebastian, like John Sebastian, that’s what I loved about him, that communication was the deal, that you stand there and you ‘be’ with those people, and you give it ‘to them,’ that they are not some amorphous crowd in the dark or something. You know, that they are people, individuals and you play your music for each one of them, so those kind of experiences really trained me and helped me and… there you go.
I wanted to talk about your album ‘Born For You’.
Sure.
This is.. was…either was, or is, an all time bestselling album in the Philippines?
Yeah, yeah, I think the category is the biggest selling international pop album in the history of that country, yeah, in the Philippines, that came out in 1999, so it’s about eleven years ago now.
Do you have a pretty big following in the Philippines?
Yeah, it’s quite remarkable, for some reason or other, that county has really embraced my records and it’s been a wonderful experience, I go there quite often and have many, many friends and play coliseums and huge, huge theatres there and it’s just been a real blessing for me, I just love those people and love going there.
I grew up in the Philippines.
Really?
Yeah, I sure did.
Wow.
Well, you know, while we’re on the subject of the Philippines, over there, we watched a television show, growing up, I was born in 81, we watched ‘Perfect Strangers,’ religiously, and that’s a really, it’s a terrific song.
Oh well thanks.
The theme song, you know, it works as more than just a theme song for a television show and a lot of people remember that show and so, I’m hoping you can tell us about that.
Sure, it was an interesting project, I didn’t write that song, but.. it’s called… what is it?…. ‘Standing Tall on the Wings of my Dream,’ right? I think… I forget the title exactly, but I was asked to sing it and the way that came about was, that I had done some songs for television shows produced by guys called Miller and Boyett back there, did some of their theme songs and then when ‘Perfect Strangers’ came in they asked me to sing that one as well, it was written by Jesse Frederick and Bennet Salvay and they did a lot of the …shows back then, they did ‘Full House’ and they did, you know, some of these other great ones, so yeah, but that was wonderful and I love the song myself and I do it in my conscious even now, you know, as a lark and people really like it.
You’ve had your songs, been covered by so many people, can you pick anybody who’s recorded your song that you would say ‘this is my favorite rendition of one of my songs.’
Wow, what a good question, these are good questions by the way, thank you. Well, you know, there have been, there have been a pot of songs that I can answer that more truthfully that way, and then I’ll look and see what.. if there’s a whole recording that I feel that way about, usually I’m a little critical of them and there are recordings that I’ve heard that are beautiful, but again I would maybe have done it differently or whatever, but do you know who Cliff Richard is or… do you know that name? Cliff Richard… a lot of Americans don’t know him as well as the UK guys, the guys in England, he’slike… he is like one of the gods of the UK, he’s like.. so well known and he recorded several of my songs, and on one of them called ‘I Still Believe In You,’ that I wrote with Dean Pitchford and he recorded it and there was a part in the song that they orchestrated it much more beautifully than I imagined and I fell apart listening to it, I thought ‘oh my God, that is so beautiful’ and I… and it was one of those moments like when I was a kid again, the thing with West Side Story, it was one of those moments and it was with my song, which made it all the more sweet, so.. that was one, the other interesting one, which you might not think would be, but there it is anyway, I had a song, two songs in a West End musical called ‘Time’, which was produced by Dave Clark, from the Dave Clark Five, those of you who may remember that, that band, and he was in ‘Bits And Pieces’ for God’s sake.. anyway, so, in the show, one of my songs happened to be ‘It’s In Every One Of Us’, that they used for the show, was performed and recited by Sir Laurence Olivier and as you can imagine, you know, it’s like, oh my God, so my parents came over to see the opening with me and my mom and dad are sitting on either side and on comes Laurence Olivier saying my song.
Wow..
Yeah… it was one of those wow moments, and my respective parents on either side, each dug their claws into my leg (David laughs) on either side at the same time, you know, that was quite a sweet moment, and you know, all sorts of interesting things like that, you know, when we did the ‘Little Tramp’ album, my Charlie Chaplin musical and Richard Harris sang the role of Elder Chaplin, I went down to his house in Nassau and we found a studio there, anyway, and he recorded one of the songs and he added some little Richard Harris-isms that I didn’t expect, again, you know, I fell apart, you know, these little things that these artists do, that are just… that make them as great as they are, I mean, very, very privileged to have those moments with these great, great artists.
I wanted to ask you specifically about the song that Harry Belafonte did of yours.
Mhmm.
Tell us about that.
Well, you know, that’s also ‘It’s Every One Of Us,’ and here’s what I know about it, I never actually heard him do it in concert, but he did and it was part of his show for some time, and the story goes that my Mother was in an eye glass store an optometrist place in New York City and Harry Belafonte walked in, and she said ‘Oh Mr Belafonte, I’m the Mother of David Pomeranz who wrote ‘It’s In Every One Of Us’ and (David Laughs) the story went that he came up to her face to face, nose to nose and sang the entire song for her in the store, (David laughs) you know, and that’s also one of those moments where my Mother said, “you know, Dave, I left my body”, (David laughs), it took me a few hours to, you know, to get it back in again, you know,” so, that’s that story, I never got to hear him do it, which I’m sorry to say.
Well, just a second ago, you mentioned the Chaplin, you have this project, ‘Chaplin, A Life In Concert.’.
Mhmm.
Very interesting, tell us about that.
Well, the musical I wrote about Chaplin, is called ‘Little Tramp,’ we did it in England and then we made a recording of it and it’s about the life of Chaplin, you know, this very interesting life and Richard Harris is on the album, along with Mel Brooks who played the part of Max Senate on the recording, we had Tim Curry, we had Petula Clark playing Charlie’s Mother, Lea Selonga, you know, from Les Mis and Miss Saigon sang the role of Charlie’s wife, you know, so all these songs of mine and then since then, when I came back to the States, I decided to make it a performance piece for myself, so aside from the fact that it’s a full scale musical with lots of people in it, I went and did it as a one man show, and that’s what I’m doing now, I’m actually… I sit there at the piano and I perform all 30 characters and I sing the entire two hour show, and so that’s ‘Chaplin, A Life In Concert’ and we’ve been doing it at the Performing Arts Centers around the States and it’s going really well and we have so much fun doing that.
You mentioned earlier about a project that you’re going to be launching soon with Kathie Lee Gifford.
Mhmmm yeah.
I think everybody would like to hear about that.
Well, sure. Kathie and I have written two musicals, one called ‘Under The Bridge,’ which ran off Broadway, in 2004, 2005, which is a lovely family musical and then, we wrote one called ‘Saving Aimee’ along with the wonderful composer David Friedman, David and I each wrote half the score, with Kathie’s lyrics, and what people don’t know about Kathie Lee, and hopefully… and certainly soon will, is what an incredibly talented writer she is, I mean, people know her as the charming host and they know her as the terrific singer and, like that, but they don’t know her writing ability, so, for both of these musicals, she wrote the book or the script and the lyric, and in the new one, actually she wrote one of the songs, she wrote one melodies as well, so she’s very very talented, so the three of us wrote this thing called ‘Saving Aimee’ and it’s about the evangelist Aimee Semple McPherson who was very, very famous in the twenties in America, thirties, and it’s a great story, and so we’re opening the show in Seattle at the Fifth Avenue Theatre, the end of September and we’ll run to the end of October, if all goes well, we’ll bring it to Broadway from there, so we’re very excited about it, so, something we’ve worked very hard on, and hope people will love it.
I wanted to ask you about this latest album of yours, ‘A Personal Touch.’
Yes.
It’s a very romantic album.
(David laughs) Yes, it is…
On that note, would you say writing romantic songs come easier for you?
Oh I don’t know, sometimes, there’s no rule for that, depends if I’m moved or it depends on what or who I’m writing about, I think even if I write on an assignment, I mean I… you know, I’m sure you feel the same way, you know, as somebody in the media, you know, you have to sort of find something honest and true otherwise it’s going to be bad, you know, and people will smell it a mile away, you know, that you’ve been false, so you have to sort of dig in and even if there’s nothing there, you’ve got to find something and so that’s true for me with my spiritual songs, and my rock songs, with my love ballads, it’s got to be something that moves me, and so I go and find it, I go and look in my own Universe or if I’m co writing, I’ll do it with my friends or whatever, and we’ll find something that gets us off, you know, that makes us excited, yeah, there you go.
When you take a song like ‘The Old Songs,’ I was looking at the latest… I think it was called Ultimate Manilow, the latest, it’s so hard for me to pick, cause I like a lot of the songs he’s recorded, but that might be the best song on the album.
Ohh, cool…
I wanted you to tell us about that, to me it’s a great song, because it… not only do you get the feeling of the song, but also, you almost… I anyways, I almost see a story taking place, I can see the old 45s, so, tell us about that song.
Sure, I’d be happy to and especially because I want you to know about who I wrote it with, it was a guy called Buddy Kaye, and Buddy Kaye was a songwriter, he passed away, I guess about five years ago or so, but through the forties, fifties, sixties, seventies and eighties he had hits, in the forties he wrote ‘Full Moon and Empty Arms,’ in the 50’s he wrote ‘’Speedy Gonzales for Pat Boone, which is like, something like, I heard when I was a little kid (David breaks into song) “and you’d better come home Speedy Gonzales do do um doo” that thing and so Buddy Kaye, was like ‘oh my god, it’s Buddy Kaye,’ and then he wrote.. and THEN he wrote ‘A You’re Adorable’, remember that tune?
I know that song, yes.
(Breaks into song) ’A’ your adorable, ‘B’ you’re so beautiful***, that thing, so this is like one of the real guys, you know, and so, he and I sat down and we wrote… we were writing a song for Jennifer Warnes at the time who was one of our favorite singers and….and it was ‘The Old Songs,’ we came up with the idea and I kind of, cobbled the melody together and we wrote a nice lyric together and he put a little special magic in there, and when we finished it I thought ‘my goodness, it’s such a simple song,’ I thought ‘God, is this any good’, (David laughs) you know, I said to him, I said, ‘God Buddy, I don’t know if this is really…. if anyone is going to like this because it’s so simple and he said ‘Noooo, it’s got a thing, wait, wait, wait’ and then I played it for my Publisher which was Warner Brothers at the time and… Ed Silvers and I played it for him and he cried and I went ‘Ooooo, I’m very glad I didn’t throw the song away’ (David laughs), so I recorded it on my Atlantic album, and Barry heard it from my record, I guess we had sent it to him or something, like that, and the rest they say is history.
What is it you like about music?
Music is a very inside experience and it’s just something that gives me just deep joy you know, I can’t really say much more about it, probably the same thing for you and for anybody else, it’s just a… it’s a.. it’s a vibration, it’s a frequency, for some reason, beings, people, you and me, we all like these frequencies and God knows why, but we do and I’m so glad, I don’t really have much more to say, it’s just there and it’s a great, great gift and I’m very… always very appreciative to be here on earth to experience music, and you know we’ve got spaghetti and meatballs, and there’s sex, and there’s good friends and there’s perhaps a glass of wine at, you know, at your favorite, you know, place where you speak…. where you talk about beautiful things and art and, you know, there’s certain experiences that I have that I count as like ‘yeah, this is why I am here, this is what I love most of all,’ or when I’m studying, you know, Mr. Hubbard’s work or whatever, whatever sends me and does it for me and music is that other thing.
What is the best thing about being David Pomeranz?
I guess the best thing is that I’ve had a chance to have a lot of friends, I like being their friend and I appreciate that they’re my friend, and I think that’s kind of the best thing, honestly, aside from the alone moments or the inside moments of hearing and making beautiful music, the other aspect is to work with great people who want to do great things, I love banding with like minded people who are into the human freedoms, you know, human rights, anti-drugs, and people who are feeding people, ending hunger and that sort of thing, I like banding with these kinds of people who are really doing something and really active about it and not just talking about it and complaining and so, that’s what gives me so much excitement in life you know, I actually play with other people and enjoy it so much and it’s a good thing to be here.
On that note, I have two final questions, one is kind of light hearted, but I think, nonetheless, it reveals a lot about a person, what is your all time favorite meal?
Oh! Well, it’s pizza and spaghetti and meatballs, if I could have them in the same sitting, I’m set, I mean, I’m Mr Simple I don’t eat coq au vin or anything like that. (David laughs)That’s what I like.
My last question, it’s open ended for all the people who are listening in, no matter where they are or listening in from, the Philippines, New York City, or wherever, what would you like to say for all the people who have listened in.
I’d like to say that, truly, I know as phoney, show biz this might come off, I really want to say that I love you and I appreciate that you’re there and that I have a chance to play music and that you listen to it, and it’s really truly a thank you and I feel it very strongly, and I want everybody to do well and to know happiness, to have an exciting life and an enriching life, that’s what I wish for everyone.
I like that. Well, Mr Pomeranz, I thank you so much for this interview.
Aaaah well, it’s my great pleasure, you’re really good at this by the way, I know you know this, you’ve been doing it a while.
Thank you for saying that.
No, you’re really good, I really enjoyed talking to you, these are great questions.
Thanks so much and I hope to see you perform in Atlanta at some point.
Good, is that where you are in Atlanta?
I’m in Atlanta, yup.
Good, absolutely, we will be in touch about that.
All right, well have a good one.
All right my friend, thank you and take care, bye everybody.
TRANSCRIBED BY ROSALIND WINTON