• Show Notes
• Transcript

Speaker 1:
Today, we interviewed Desmond child, the hit songwriter for Aerosmith, Bon Jovi kiss, Ricky Martin, Joan Jett, and countless top 40 music artists that, you know, his life has been just a little wild. And on today’s show we interview Hitmaker Desmond child about the importance of having a work ethic

Speaker 2:
Any occasion, but weekends off, nights off relaxation. You’re not going to make it, you know, you have to make your first million bucks first and then maybe you can take a weekend off. And that’s how it was for me. And that’s why I stayed a studio rat for as long as I did after my group broke up because it was like one job after the other. And I wanted to make sure I could take care of my mom and I, as soon as I had money, I moved her to a beautiful apartment in Miami beach.

Speaker 1:
During today’s interview we ask Desmond child about how music artists get paid today in the world of digital music.

Speaker 2:
I mean, last year I’m living on a prayer. Got 500 million streams,

Speaker 1:
500 million streams last year.

Speaker 2:
Yeah. So my take home pay on that was six grand.

Speaker 1:
We also ask Desmond child what his life is like and what his family is like outside of his world of music.

Speaker 2:
It’s a true story. My family before and after the Cuban revolution, and my mother has two very beautiful younger sisters and one became the mistress of the dictator Battista and the other one became Castro’s lover after the revolution.

Speaker 3:
Some shows don’t need a celebrity in a writer to introduce a show, but this show dies to may eight kids co-created by two different women. 13 Moke time, million dollar businesses. Ladies and gentlemen, welcome to the thrive time.

Speaker 1:
Oh boy.

Speaker 4:
Yes, yes, yes and yes. Ladies and gentlemen on today’s show, we are

Speaker 1:
For a laser show as we enter into the dojo of mojo. Mr Desmond child, welcome onto the thrive time show. How are you

Desmond Child:
Thriving?

Speaker 1:
Yep. Okay. Okay. You’ve already won up to me. I was having a very good day, but you’re thriving now. I’m going to, I have, so I’m just going to nerd out here for a second. You’ve worked with Aerosmith, Hitmakers, Aerosmith Joan Jett, Bon Jovi, Ricky Martin share let’s start with the very beginning of your career though. Where did you, you’ve had huge success, but where did your career start?

Desmond Child:
Well, actually my mother was a songwriter and a poet. So ever since I was born, a song was being written. So even when I was playing with blocks on the floor, I’d be sitting next to the piano. And then soon, soon enough, I was standing and, and speaking, and soon enough, I’d be telling her to use this word, not that word. So I didn’t know that people didn’t write songs. So if my mom was, was happy, she’d write a very, you know, beautiful, happy song. Like when she visited a city, kind of like a foreign country or something, she’d write them like an, an Anthem. But when she, when she was sad, which is really most of the time, I could feel that she was really writing what was happening in her life right into there, into her songs. And eventually I found out that there are people that were in the world that were actually non-writers. I didn’t know that because all of my mother’s friends were all songwriters and poets and there was always a party going on and they’d be, you know, drinking and smoking cigarettes, like those mad men days.

Speaker 1:
Oh man.

Desmond Child:
When smoking was actually good for you.

Speaker 1:
Oh yeah. That was a good branding there. That pro smoking branding that America needed. Now

Desmond Child:
It made you chill and then, you know, all of a sudden, you know, that was healthy.

Speaker 1:
Well, I’m going to ask you this because you you come across as a very happy guy, but you said your mom a lot of times wasn’t happy. Why was your mom not happy? What was going on?

Desmond Child:
Well, first of all, you know, she was a Cuban immigrant and that came to this, this country and you know, before the Cuban revolution, that’s why I was born in Gainesville, Florida, and you know, before in 1953. But, you know, she couldn’t speak English. It was a man’s world, especially in the music industry. And so she, she found it very difficult to, you know, she, she was a single mom, so she was working odd jobs. She worked at burger King and that’s where we would eat. Did you see a movie Moonlight?

Speaker 1:
Moonlight? I have not seen Moonlight. Educate me about it. It’s

Desmond Child:
A, it’s a, it’s a movie that said in projects of Miami and that’s where we live in the projects that they shot Moonlight in. And we lived there for 12 years and you know, it was, you know, that was really difficult. And so, you know, I remember times, you know, that her beat up car had no gas in it, so she had to walk blocks and blocks to catch a bus, maybe two or three buses to get there, some crap job that would last maybe three or four weeks. And then she’d get fired cause she was late, you know, it was like, and you know, I’d see her just, you know, crying and, you know, like poverty sucks, man. It’s like, it’s, first of all, it’s, you know, dangerous. It’s boring. It’s not good for you. Things are ugly. Our furniture all came off the street. So I made a vow to myself that I’d be successful. I’d find a way to take of my mom.

Speaker 6:
I did

Desmond Child:
Pretty early on. I had my first really big hit with kiss, a song called die was made for loving you.

Speaker 6:
Yes.

Speaker 1:
You are the guy behind that song.

Desmond Child:
Well no, it was me and Paul Stanley and our co-writer Vinnie Poncha and I had my group, Desmond child than Rouge in New York city and we were playing all these little clubs and Paul got intrigued by our posters and seeing our name stenciled on the sidewalk and he came to see CSN. We made friends and he said, Hey, you want to try writing a song with me? And so we did. And that was, I was made for loving you.

Speaker 1:
W let me ask you this. How, how did you get in the conversation for these things? Cause again, your mom, you know, had worked at burger King, you grew up in the projects. How did you even get into the conversation with the right people to put together a song for kiss called I was made for loving you?

Desmond Child:
Well, I had my group called Desmon Sean, the Roche and I was writing songs and I had a girlfriend at the time and her name is Maria V doll, but she had a job working in a diner and her like a waitress name was Gina velvet. So the story of Tommy and Gina in a song I co-wrote with John Bon Jovi and Richie Sambora living on a prayer that was, you know, that’s that that storyline was really the way that, that we lived in this little apart

Speaker 2:
Man in New York city on East 81st street. And I was, you know, I got a scholarship to go to NYU. So I was doing that. I was driving a cab, I was working in a sporting good store or doing a Xerox copies and another

Speaker 6:
Right. And she was working with diner all day, working for a man, bring him over, pay for love.

Speaker 1:
You started the group in 1975 a days, Desmond, Sheldon and the Rouge. How did you start the band? Did you, I’ve never started the band before. Did, did you, you know, run around meeting guys at NYU and then you guys teamed up where you, how did you start? Did you build the band? No,

Desmond Child:
We, I met Maria at Dade community college in, in Miami where I did my first two years of college and she was in the drama department. And so I was kind of like a stage door. Johnny actually, my name was Johnny at the time. And I, you know, I changed it to Desmond for the Beatles song. Oh, blood Dio blood. Ah, Desmond’s got a barrel in the marketplace. And and so what happened was that she and I started, you know wanting to do music together. And so she moved up to New York as well. And then we had our two best friends, Miriam Vallian, Diana Gross, Sally singing, backups, you know, so the, the, they would Rouge the three, and I was writing all the songs and I was mainly singing. I was singing half the leads and then each one of them would sing one or two solos. And so eventually we had such a big following that people were, you know, lines around the block at the bottom line and tracks and fights would break out and we’d go on stage and they’d scream like we were the Beatles and we got signed by Capitol records. And we made two albums there. We were, even the artists featured artists on Saturday night live and the Christmas of 1979.

Speaker 1:
Oh, awesome.

Desmond Child:
So that’s on YouTube. And we were actually, you know, it’s very easy to be terrible on that show. So the pressure is so much, and the sound at that time was like, so, so not so good. But we got on the show and we put out our two albums. In fact, this spring, we’re going to be re-releasing the new, newly mastered. Ver versions of those two albums that it’s going to be on BMG, the first two albums. And we actually have new music after all these years. We decided to start doing some new songs together. So I’m all over the place. I just released an album and they’re on it actually have a little club, a date I did. It was three nights at Feinstein’s, 54 below in New York city underneath the original studio, 54,

Speaker 1:
But now it’s a very chic

Desmond Child:
Nightclub with very good sound in lights. And so we did those three nights and I compiled the best of, and we have an, I have an album out called Desmond child live on, on a BMG records. And so I’m like really thrilled. I’ve been, you know, playing little gigs and it’s like I, I started at square one back in the little clubs of New York.

Speaker 1:
Well, you know, back in the day when you were on the show, like Saturday night live, people would watch the show and the Christmas of 1979, they would talk about it, you know. But now people go on Instagram or, or Facebook, you know, and so obviously so much of your, well, so much of your massive to forget how bad you are. Well so much of your massive success has happened, you know, before this Instagram and Facebook craze. Are you messing with Instagram now? I mean, can people follow you on Instagram?

Desmond Child:
Absolutely. I’m at Desmond dot child and I’m obsessed with it.

Speaker 1:
You’re on it now. You do you respond to a fans that go up there and follow you on Instagram at Desmond dot. Child? Yeah, if

Desmond Child:
Somebody asks me a question, I usually answer it and sometimes I’m telling little stories cause some of it is all going to be in my autobiography called living on a prayer, big songs, big life with David Ritz, one of the foremost autobiographers. And he and I worked for three and a half years on it telling the whole story of my life. And you know, I, I take excerpts from, from that because those are the actually things that happen. I put them into my responses. The other day I was asked something about do looks like a lady cause we were using that as the, as one of the, that’s one of the songs in the shows featured by Justin, Ben Lolo and you know, somebody asked if I was singing if and know it’s just, and then, and then they asked me some, some question about it. And I told the story about this guy that worked on at, at our house while we were building it here in Nashville. And he came in and said you wrote that Aerosmith song

Speaker 1:
Irish music, naked lady and naked lady. That’s what he thought. Dude. Looks like. Can we, can we, can we, can we, I would like to go, I’d like to get your take on this cause I went to college with, and I’m sure you have met him or know of him. Ryan Tedder. He lived right across the hall from me at college and he filled in for a last minute DJ gig for me and then played at our wedding reception. And now he’s writing, you know, for Beyonce and you two and Kelly Clarkson,

Desmond Child:
The most incredible singer performer unto himself and is also one of the chief judges and producers, executive producers of sound song land.

Speaker 1:
Yes. I mean the show was incredible show. It’s an incredible show. And you know, last time I came I spent a lot of time with Orion and we were at his house and he was working on his album at the time. I want to ask you, how do you come up with the melodies? Because Ryan has talked about this at great length that there’s a lot of great artists, but you have to have an anthemic chorus if you want to have a hit. And as you mentioned here, a lot of times people know the melody, but they don’t even know the words. You know, soccer moms a lot of times are driving around going, what’d you say? Do, do your lady, what’d you say that the guy thought it was day? You know, people think that’s what it is. And they’re singing that around for years. Or, you know ah, well it’s made from nothing. You know, people don’t know the words. Does that bother you and how do you, how do you come up with these big choruses?

Desmond Child:
But you know, everything grows out of the lyric really out of the title, if, you know, that’s why, you know, when I did that, I met Jon Bon Jovi and Richie Sambora who had this little long haired bandwidth, like ripped jeans and stuff, you know, and black painted fingernails and all that from New Jersey. And the first song we wrote is a title I had in my back pocket, literally written on a little piece of paper in my back pocket that it was you give love

Speaker 6:
Bad day. [inaudible]

Desmond Child:
And you know, I, I said the title and that was my first, you know, site of the billion dollar smile like this. The, all those teeth you could, you could play a Bach concerto on those teeth, you know, like big bright smile. And he had a song on a previous album called shot through the heart. So he’s had shot through the heart cause he’s never want to let a good hook go by. So shot through the heart and you’re to blame. And then the three of us said you give love a bad name. And that was our first three way, you know, high five and a couple of weeks later we wrote live in our prayer. So you know with that one developed without a title, he just wanted to tell a story like a working class couple. And so I had my story of me and Maria who was called Gina and my original name was Johnny. So I said Johnny and Gina. And then he said, no, I can’t sing Johnny because I’m Johnny and that people think I’m singing about myself. That’s really dumb. So I think one of us said Tommy, cause there was a sound to like the Johnny and there’s there, that’s how Tommy and Gina were born.

Speaker 1:
[Inaudible] Now go, okay, let me, I have, I have so many questions here. And again, if you’re out there right now and you are not, if you have the ability to get on Instagram later, didn’t check it out. Go to at Desmond dot child on Instagram. I’m up there. And you’re, I mean it’s, it’s so fun to see. I mean, it, you got you up there with, with Bon Jovi, you with Barbara Streisand. He was so many big iconic figures. And I, I’m really curious about your, your craft. So let, let’s go back to let’s go. Let’s go here to you know, I was made for loving you. Talk to me about the craft of writing a song. Are you in a room going [inaudible]

Speaker 7:
[Inaudible]

Speaker 1:
And like someone else has the lyric or do you, or do you have that melody? Just walk, walk me through how it comes together.

Desmond Child:
You see, I, I work after doesn’t shine the Rouge, like the group broke up because Maria and I couldn’t stay together, you know, because, you know, I realized that I was more gay than BI. And so I started working with a producer named Bob crew who produced all of the, the songs with Bob Gaudio for the four seasons. And he also wrote lady marmalade, you know, he’s wrote one of top four songs of all time. Can’t take my eyes off of you. And I spent two years working with him and he wouldn’t even start a song unless there was a killer title. So we’d be writing title after title after title on notebooks until we finally,

Speaker 1:
So you start with a title

Desmond Child:
W with the title? Yeah.

Speaker 1:
Okay. So step four,

Desmond Child:
When I, when I co-wrote, I was made for loving you with Paul. It, it didn’t, we didn’t have a title yet. It grew out of the lyric, you know.

Speaker 6:
[Inaudible].

Desmond Child:
Anyway, it grew out of the title grew out of the lyric in the verse. And you, so then when he got in the studio with Vinnie Poncha the producer, they added stuff. And so I think that’s where the doodoo dues came out because they were, you know, I had kind of convinced them to do kiss guitars over a dance beat cause I had just gotten a little like one of the first drum machines, you know, tick, tap, tick, tap, you know. And so I put it on four on the floor and then you know, playing a kiss chords, you know, over that kind of changed the course of pop music because all of a sudden all these rockers realized that they could create danceable, you know, anthems. And then of course that opened the door for Prince and Madonna, George Michael, Michael Jackson. This is 1970, 78 when we were fooling around with these, the idea of mixing genres like that.

Speaker 2:
So you, you’re starting with a title or a lyric that’s kind of somewhere where you’re starting, right? You’re going there.

Desmond Child:
Well after I worked with Bob crew, then I started doing those sessions with Aerosmith. You know, the very first day we wrote, dude looks like a lady. Then the next day I wrote angel just with Steven. You know, and I was working with Bon Jovi and you know, we wrote bunch of like four songs together for slippery when wet, you know,

Speaker 2:
When does the melody, when does the,

Desmond Child:
So, so all of those came from. There were title driven.

Speaker 2:
When does the melody come in? Where do you, when who comes up with the melody, when do you get the melody? What does the lyrics,

Desmond Child:
The lyrics scream out the melody because language has melody. Like I just went thought that, that, that, that, that language has melody language has melody, you know that language up down has melody. See what I’m saying? So depending on the mood of what the lyric is saying, that’s when you score the mood that goes behind it. That’s where the music comes from. So, you know, some of this stuff happens simultaneously because you know, you get to the point where you can do that, but it’s always the safer bet to get the lyric. And then now figuring out is the mood a fast mood for that, for that lyric or is it a somber mood? I mean, I, I heard a song that I wrote with Jon Bon Jovi and Richie Sambora called happy now. I went to teach at a, at a school in New York city. I did some masterclasses and one of the students played ukulele this beautiful

Speaker 2:
Girl and she looks sorta like their program was called cover me. So everybody did a cover of what am I songs and she wanted, and it was just her and, and she sang that song happy enough that I hadn’t even heard like in years, she made it her own and she said she played it like, like really slow. And it sounded like [inaudible]

Desmond Child:
So, you know, I’m happy now. And it was like, wow, that could be a hit right now. She, she interpreted it and made it her own. And that’s the beauty of music, you know, because times change and sounds change and then all of a sudden you can still have the same song. Like I wrote a song with Joan Jett called I hate myself for loving

Speaker 6:
[Inaudible]

Speaker 2:
A few years ago. They [inaudible]

Desmond Child:
The NFL are asked if they could use that as the theme for Monday night football. It wasn’t then they moved it to Sunday and we rewrote the lyrics you know, can’t wait til, you know, Monday night. And then it became Saturday night or Sunday night, sorry. And originally it was faith Hill who sang it, then came pinks, sang it, and then they brought in Carrie Underwood who decided she didn’t want to sing it. She went to write her own country flavored song. And then she, they, it kinda went on for a few years and people kept saying, no, no, no. The original song had more spirit. So now, now Carrie Underwood, a singing with Joan Jett playing guitar, and it’s, it’s fantastic. I don’t know if you’ve seen that scene, that opening.

Speaker 1:
I wa I was just watched it this Sunday. I watch every Patriots game.

Speaker 6:
[Inaudible]

Speaker 1:
Patriots are a huge Bon Jovi fans and a Bon Jovi is a huge Patriots fan. There’s a little connection there, but I did watch it. And you’re, I mean, so how do you get paid? Because you’re into the art. Obviously you love it for the art. You love the craft. When your songs are getting played on the NFLs theme or Ricky Martin live in Lavita Locos playing on the radio or living on a prayer, how do you monetize that? I mean, do you get high fives? Do you get Instagram followers there? I mean, do people just go to Desmond. Dot child [inaudible]

Desmond Child:
You know, I had this agent who’s passed away, but she was the president of premier talent agency with Frank Barcelona. I being the chairman for many years, they, they would be eight the, you know, the top agency and she would like totally nickel and dime, like, you know, every single penny from the promoters. So, you know, they say, Hey, you know, back off, you’re nickel and diming me. And she would say this is a nickel and dime business. And it’s true. I, when a song’s first were sold in sheet music, the songwriters or the songwriter, cause usually one person wrote the song, they weren’t collaborating so much until Broadway and all that came about. And they’d get two sets. But then when streaming came in, you know, per stream we get like point, you know, I don’t know what it is. It’s like just a fraction. So how in a hundred years, 120 years, how could the value of music go down instead of up, you know. And so the, the thing is, is that, you know, we’ve had a very big fight to try to raise our rates on streaming because everything is moving towards streaming. I mean, it’s like a terrestrial radio still playing and we get paid, you know fairly there, but not so much on streaming.

Speaker 1:
So let’s say this

Desmond Child:
Things that happen at the beginning, you know, and so I mean for, for, you know, it’s like, it’s crazy because, you know, the streamers use music 24, seven.

Speaker 1:
Well, let’s go, let’s go back to this for a second. I, I have multiple brick and mortar businesses. And by the way, sometimes if you’re in Tulsa, Oklahoma, I’d love to give you a tour, but one of them is called elephant in the room. Josh, one of our show sponsors with living water. You’ve, have you been an elephant the room before Josh? Yes sir. All right, Josh beat Desmond by the way. Desmond meet Josh. Hey Desmond. Nice to meet you sir.

Desmond Child:
Hey man.

Speaker 1:
But in our stores, elephant in the room, you go into the stores, it’s like, it’s like a country club for men’s hair. You know, it’s got a high fashion, high quality men’s haircuts, and you go in there and we use a service called custom channels. Dot net. I pay right now, Desmond, about a thousand dollars a month to license the right to play songs in their entirety, you know for, for our, our customers.

Desmond Child:
Do you license it from

Speaker 1:
A custom channels.net?

Desmond Child:
Huh.

Speaker 1:
And then I, I, cause I’m a business, I have to do that, you know, so I pay for the rights to do that. How does that, I mean, do you, if I stream a song on Spotify, do you get like a one 100th of a penny?

Desmond Child:
Yeah. It’s something, I mean, last year I’m living on a prayer. Got 500 million streams,

Speaker 1:
500 million streams last year.

Desmond Child:
Yeah. So my take home pay on that was six grand

Speaker 8:
Last year. Living on a prayer gut, 500 million in dreams,

Speaker 1:
500 million streams last year.

Speaker 8:
Yeah. So my take home pay,

Desmond Child:
That was six grand

Speaker 9:
[Inaudible]

Speaker 1:
And for 500 million streams that right. That right

Desmond Child:
Third, my third percent was, was six grand.

Speaker 1:
500 million streams equals, let’s see, Josh, you’re, you’re just old enough to be schooled in fundamental math here. So if I run 500 million streams equals a total of $6,000, what does that come out to per stream? And that is 0.0, zero one two once encouraging one 10000th of a penny. That’s encouraged.

Desmond Child:
So anyway, last year the entire industry finally got together, the publishers, the riders everybody agreed to pass a law called the music modernization act. And it was and you know, it was one of the, you know, how crazy and, and partisan politics has become. It was one of the few legislations that went, sailed through unopposed in both houses of Congress. President Trump signed the mutant music modernization act. And over the course of the next seven years, according to this, our rates are going to start to slowly drift up words. But look at how much it has the drift upward for to, you know, to put my kids through school.

Speaker 1:
Wow. Now are you familiar with Ross Golan? One of the instrumental figures behind that?

Desmond Child:
Absolutely. I mean, he interviewed me a couple of years ago on and, and the writer is, and it became a popular a podcast of his, and I recently saw him in New York city where he has a Broadway show, but it was off Broadway, actually headed towards Broadway, called the wrong man. And the music director of the the arranger, whether it’s Alex lacquer Moore who did Hamilton and it’s all like bourbon music and it’s so it was masterpiece. So I saw him there and I, I like slipped in at the last minute on, on one of the very last nights, cause it was running there for a few months. Now it’s going to be Broadway bound, but I love Roscoe Island.

Speaker 1:
We interviewed Ross gold and I listen to his podcast quite a bit and he is just a, a sharp dude. So if I’m, you know, in the studio with you and assuming that I have a talent, we’re going to sit down with and covert like a title or lyric and then we’re gonna kind of figure out the mood. Is it fast? Is it slow and then there’s, you know, as you know there’s, there’s a lot of components we have cut each song on pop radio needs to be, what about three minutes or less? Three and a half minutes or less. Desmond. Is that correct?

Desmond Child:
You want to hear something funny? We are being asked by Japanese radio descend one minute edits. Really radio. Yeah. Cause you know, it’s like nobody wants to sit through a three minute song anymore.

Speaker 1:
Jeez. Okay.

Desmond Child:
What minutes enough, you know, so boom.

Speaker 1:
No, they’re more like one minute,

Desmond Child:
Three commercials I guess. And then if you like the song then you go and download the whole song. I guess

Speaker 1:
That is bizarre that now. Okay, so you with with the song, once you write a song though, you have a verse and you have a chorus and another verse and a chorus. Walk us through the pattern of the song in your mind, what a well-written pop song, how it should be arranged. Walk us through kind of that, that time on, we’ve lost a lot of our listeners, but a half a million listeners who love music and they didn’t, they’re not really, you know, they, they kind of know a little bit about what a chorus is and what a verse is. But walk us through the timeline of a song just so the average person kind of can understand how a song should be organized.

Desmond Child:
Okay, let’s look at living on a prayer. Okay. So it goes Tommy used to work on the docks. Union’s been on strike. He’s down on his luck. It’s tough. So tough. That’s verse one. Then comes verse two. Gina works at diner all day working for her man. She brings home her pay for love. But she brings home repay for love, for love, right?

Speaker 1:
[Inaudible]

Desmond Child:
That’s the burst one in verse the B section, right? She says, we got hold onto what we’ve got because it doesn’t make a difference if we make it or not. We’ve got each other and that’s a lot for love. We’ll give it a shot. And that was the original song. And then I said, you know what, let’s make that the B section instead of the chorus. So then we put it in high gear and then we started going, you know, kicked it up to, Oh, we’re halfway there. Oh. And I remember when Richie thing that note going up, Whoa. And then live in on a prayer. Take my hand and we’ll make it, I swear. Well, living on a prayer a, then it goes into the interlude again. That’s sort of like the intro, cause remember those long intro, very dramatic with these chords and the wa.

Desmond Child:
Then it goes Tommy’s got a six string and hoc. Now he’s hauled it in. What do you use to make a talk? So tough. It’s tough. Gina dreams of running away when she cries in the night. Tommy whispers, it’s okay. Someday. And so it’s funny because okay, so then it goes into, we got a hold on the B section again and then it goes into the course, then it goes into the, into the guitar solo, and then there’s only a little bit of a snippet. We got a hold on. Ready or not, we’ll live for the fight cause that’s all that we got. And then there’s bar of three because originally the move for big, long [inaudible] a drum drum riff. And then, and then I suggested, Hey, just go right into the chorus, the shot. And there’s a bar three that jumps the chorus forward. And that was an, because it was very corny cause we were doing a modulation there, kinda like Barry Manilow, you know. And and that was usually a different kind of genre of pop music would do modulations and we kicked it up and it was like, that’s what, that’s what made that song, that jump because now he was singing like, like three steps higher.

Speaker 1:
How many dudes are in a room when you’re doing this? Are there like 10 of you? Three of you?

Desmond Child:
No, no, no. It was just me, rich and John,

Speaker 1:
You, Richie and John, you’re in there. And do you, I know that you used to say,

Desmond Child:
I’m saying like when they bid a demo of it and then we analyze the demo. And in fact in those days, you know, we’d write 50, 60, 70 songs and then John would get a whole bunch of high school kids and play them all the songs and get feedback. Like, you know, test market a song.

Speaker 1:
Jon Bon Jovi would test market the songs. Yeah.

Desmond Child:
Well the, yeah. John and Richie would, they would test, test, market the song. They’d get all the kids from the local high school and play the songs just like the demos and the ones that got the best reaction. Those are the ones that went on the record.

Speaker 1:
You used to sing, you obviously you are, you, you used to sing with your group quite a bit and I releasing more of your music so you still sings. I want to know, could you, could you belt out the chorus for living on a prayer force? Could you do, I mean, I, I’m, I am just, I mean, the guy who wrote the song, could you do it?

Desmond Child:
I could do it. Well, may do it right now.

Speaker 1:
Yeah. I mean, I’m fired up. This is the business, the highlight of my year.

Desmond Child:
[Inaudible]

Speaker 10:
Oh, hello?

Speaker 4:
Yes. That was amazing. Yes, yes, yes, yes. It

Speaker 1:
Blew my mind. Okay, so you then are working with Aerosmith, Steven Tyler. I have one sort of connection to Steven Tyler. I once worked for a landscaper and Minnesota. Somehow the landscaper knows Johnny Lang and Steven Tyler and my boss says, Hey man, you want to hang out tonight? Steven’s coming over after the show and I’m 18 and I, there’s a whole bunch of landscapers. This is Minneapolis, it’s Minnetonka, Minnesota. And I said to my boss, whose name was Rob? I said no. I gotta head back, you know, I’ll be back tomorrow at six 30 he goes, okay man, you’re missing out. Johnny’s coming over. Steven’s coming over and I’m like, who are these people? Well, long story short, I show back up to the job the next day. There’s a lot of evidence that a party has occurred that night. Apparently my boss somehow knew Steven Tyler and Steven Tyler came over to his house after a concert and just had a blasty blast. Can you explain what it was like to work with Steven Tyler in his early career and then what it’s like to work with him now, angel

Desmond Child:
You guys did together is amazing.

Speaker 6:
Yeah.

Desmond Child:
Actually, it was mid career when I was pushed on Aerosmith by their ANR guide. John Kalodner one of the greatest, most brilliant musical minds of all time. And they didn’t, they never had a co-writer that came in from the outside. You know, maybe they might’ve co-written something with like a musician or no, but they were a band themselves. They didn’t even co-write with each other. Just, you know, mainly it was Steven and Joe. And so I was pushed on abandon. I was flown to Boston. I walked into this big warehouse where they had the whole you know, stage set up the mountains of, you know, Marshall amps on the floor, on the concrete floor. There must have been a hundred guitars on stance, every kind of sparkle, leopard tiger if a Gibson Les pause Jesus, you know, Fender’s a very kind of unique, one of a kind, you know, a handmade guitar is every single kind of guitar on the stage.

Desmond Child:
There was the microphone with the obligatory, you know, like 20 scarves hanging off of it. And and I walk in, there’s some, here’s some like noise and like playing it backwards loop, you know. I recognize it about sports looping. Steven just walked up to me and greeted me and he said, Hey, come over here and listen to what we’re doing over here. And so they were playing this loop. Nah, nah, nah, nah, nah, nah, nah. And then all of a sudden Steven starts singing cruise and fall, the late, is that at cruise and fuck the lade is

Speaker 6:
[Inaudible].

Desmond Child:
And I said, these are the first words that I’m, I know that’s really bad. Joe crossed his arm to like, look at me sideways, you know, with the most, you know, solid of stereo face. And I thought, because I was going to be dragged out of there by the roadies. And you know, Steven, who’s more like a people pleaser who said, well kind of sheepishly, he said well originally I was thinking, dude, looks like a lady. And I said, what? That’s a smash hit title and then Joseph, you’re out. But we don’t know what that means. And I said, I am gay. I know what that means, you know, and you know, everybody in the world, it put a smile on their face when they, when they heard it,

Desmond Child:
Joe was still a little bit, you know, I don’t know, I’ll find about me. He didn’t show up the next day. So Steven and I sat at a little piano together. The roadies weren’t there. It was just him meeting me. This ginormous warehouse little panel was on the floor facing the stage. He sat on my right and I said, tell me about your, he said, well, you know, I had a lot of problems with drugs and everything. I went, we went to rehab and you know, I met this incredible woman, Theresa, and you know, she’s, she’s an angel. And I went right when you said the word angel, I looked at his blubber lips sing angel. Remember when Mick Jagger sang,

Speaker 11:
Hey, Hey.

Desmond Child:
And like the video of that, like those lips were like, look like an octopus or something following a fish or something. And so I followed those blubber lips and I said, okay, let’s write a song called angel because I wanted to see his lips do the same thing as Mick Jagger’s did on the word angel. And so the song was written in 45 minutes. And you know, for a long time, I think Steven thought that the song was to pop, you know, because, you know, they started having hits and of course their core fans weren’t happy with that and also co-writing with an outside writer. But you know, they just kept going. And in fact, they did an outside song for a movie called, I don’t wanna miss a thing solely written by Diane Warren. And all of a sudden it didn’t matter who wrote the song because Al Smith ma makes it their own.

Desmond Child:
And you know, from the Beatles on, with bands riding for themselves before then, the Everly brothers and all that sang the songs written by Boudleaux and Felice Bryant, you know, and so then all of a sudden the bands rolling stones, they were all writing their own led Zepplin writing from material that made it such a high bar. So most bands couldn’t succeed if they didn’t have brilliant songwriters. So then this the critics would always be, you know, saying, Hey, this is a pool, you know, because they wrote with an outside rider. But then after awhile, you know, they were saying, Hey, why don’t they write with Desmond child cause their songs,

Speaker 1:
No, I’ve got to ask you this because you were in the studio with a Steven Tyler for a while and obviously you got a chance to see him having a blasty blast. Really getting into the music. Do you have an impersonation? Do you impersonate the Steven Tyler? Do you have an impersonation you do with him?

Desmond Child:
Well, the thing is that when the, the, the fallback position on lyrics for him is thinking yeah, but dad would do, yeah. My nickname for him is Yaba daba dude. Like, you know what Fred Flintstone would always say, you know, it’d be yelling, you know. Yeah. But that Avenue and so sometimes these Yaba and I’m daba

Speaker 1:
Did you, were you in the [inaudible]?

Desmond Child:
That’s a lot. Once I was in this huge crowd, like at the backstage door, and he came out and he was out the graphs that I couldn’t get to him. And I went, yeah, but that wouldn’t do. And he looked around, he said, but Desmond, where are you? And he like pulled me over the barricade.

Speaker 1:
Well, let’s talk about this. Let’s talk about the live in LA Vida. Loca. Did you, did you write that song by herself or did you team up with Ricky Martin

Desmond Child:
[Inaudible] with Draco Rosa, who was Ricky Martins while they were bandmates in menudo. And Draco was, you know, the, the cute little kid in the front. And then when Drucker got a little bit older they brought in Ricky to take his place. So Draco then became one of the other guys. Right. And so Draco the true artists, I mean, he, he’s, he’s not an entertainer like Rick. He is, right. So [inaudible] started co-writing songs with Casey Porter and they had a hit called [inaudible], which was a hit all over Europe in Spanish. And so some, somebody sent me video footage of what a helicopter view, and there were a million people on the street. They tied up the whole street for Ricky Martin con outdoor, like impromptu concert. It was like, I never saw anything like it. I said, I have to work with that guy. So my manager’s wife, Carlene my manager whizzes Samoan slap Carlene.

Desmond Child:
She had been seeing general hospital and she said, you know, you need to work with this kid on general hospital’s name is Ricky Martin. And it was like, what? Now that’s another person that’s saying Ricky Martin. And so they arranged for him to come and meet me and draw cocaine with him. And Draco has this amazing look, you guys have to go on Instagram to fall, hit and drop. Go Rosa. He looks like ShayGo Lara and like, you know, like really cool hats and you know, I mean, he’s like lives in a creative space that’s completely not like what normal people live in. He’s like a guru of music and you know, much younger than me and we, you know, I think that, you know, the discipline that I brought to the songwriting process with, you know, his creative ideas. And of course I was mainly writing the lyrics as well. You know, but he brought that flavor, you know, talk to me

Speaker 6:
[Inaudible] you blow me off,

Desmond Child:
You know, like that whole draw on the back, like kinda like, like, like kind of like that, you know, kind of jazzy style. We brought into that and because I’m half Cuban, my mother was Cuban. I grew up in Latin music, so I had it in me. So when after the earthquake

Speaker 2:
Moved from California to Miami, because it was like we were freaked out by that fourth Ridge earthquake

Desmond Child:
Before and we started going to take salsa lessons and going to clubs and all this kind of stuff. So I started getting it in my head. You know, how I am mixing genres to do the brain, the anthemic stadium, Anthem kind of a it’s kind of like a discipline to Latin music. And so it, there’s a lot of, you know, kiss Bon Jovi and Aerosmith in Ricky Martin. You know, we go, ah, that’s from the cup of life or upside inside out. [inaudible]

Speaker 2:
No,

Desmond Child:
You can have 100,000, a million people seeing all together and everybody knows the words and like pumping fists into the air. That’s the first time that ever happened in Latin music. In fact, next week on December 10th, I’m going to be speaking at the UN with Erica enter who co-wrote this Pasito and we’re going to be talking about the 20 year span of the Latin music explosion that was ignited by Ricky Martin with live in [inaudible] all the way to death. Pasito and it’s a cultural talk about, you know, how Latins have come into their own culturally, you know, how can you have a song like this by seat or on the charts for 37 weeks at number one, just park there. That’s, you know, a lot of it’s in Spanish. And you know, I, when I first submitted living lobby, the loca the head of the record company said, Hey man, can you write the song in English?

Desmond Child:
I said, it is an English. You said, well, what’s that loca stuff? I said, dude, polio, polio Loco, everybody knows that, right? Cause I spent three days making English words sound like like Spanish words. Like this is the color of mocha book. That’s not a Spanish word. So I think it’s derived from some Turkish something or other. But but when the first ad came out for it, say live in love you, they’ll look up. But then in bigger letters underneath that said, live in the crazy life, it’s like so unnecessary. But you know, that’s that, that’s how strange it was. Then we actually had a Spanish version of the song, you know, that we did separately, but that song was in English.

Speaker 1:
I have, I have a rapid fire. I have got a five minutes of fury here for you. Five, five, five minutes if you’re, I’ve got three hot questions. I want to know. Josh, I know you have a question as well, so I’m going to go with my three hot questions first. Ryan Tedder Mike Posner. These are great music artists. I love these two guys. I love studying their writing. I love studying all Ross Golan. I say study, listening to the songs they’ve written, looking for patterns in the songs, how the songs are written. Who’s your favorite songwriter out there today? I mean, do, do you like Mike Posner? Do you like Ryan Tedder? Who’s your favorite songwriter right now? That’s hot.

Desmond Child:
Well, I love Ryan Tedder. I mean, I love one Republic. I mean, it’s just like, you know, I apologize. Yeah, that was a, you know, kind of like change the direction of pop music. That one song, you know, it’s was so fantastic. And of course, you know, he did halo but you know, it’s like he, he just has got it. You know, I just absolutely adore him. And I mean, I, I love, you know, even you know, urban artists, you know, like Drake, Mike, my sons are 17 other twins and, you know, they’re just playing, you know, a loop of all urban music. It’s gotten into my bones. And recently I recorded a duet with Alice Cooper where the verses are urban singing and that he comes in with the big rock chorus.

Speaker 1:
Well, really, what’s that song called?

Desmond Child:
Alright, I’m going to start dropping these like duet singles, you know, just into the cyberspace, you know, and eventually, like in the old days, maybe it’ll all add up to an album. And you know, hope Brian comes and sings on one of them.

Speaker 1:
Yeah.

Desmond Child:
Scott Stapp said he’d do one or Yancey she wants to play. And you know, I’m getting my friends together, a little help from my friend

Desmond Child:
Kristen Chenowith. She’s one of my best friends. I call her D love all divas. And I just adore her. And I cowrote a song with her and Shane McAnally long ago called what would Dolly do? And this is the first time I ever met Shane McAnally very, very shy red hair. Looked a little bit like and shearing kind of guy and a very small quiet guy. And he was playing guitar and I thought he was like hillbilly or something. And you know, we’re writing a song what we Dolly too. And I came up with this lie, this said, I’m going to pull that wig right off the shelf, you know, and head by it out, find somebody else. And he said, I love that. That turned right around and we wrote the camp, your song, you got to hear it. What would Dolly do with Kristen shadow? And also I work with Zach Malloy from the Nixons and he’s a proud Oklahoman. And we were just there, you know, I just, I think I’m falling in love with up a home.

Speaker 1:
You got to come to Tulsa. You got to come visit. We’ll give you a tour of our office.

Desmond Child:
I’m telling it’d be they he I got invited to this songwriting Fest that they had there. Do you know about that?

Speaker 1:
I do not know about that. We’re, we’re in Tulsa, Oklahoma, which is the second largest city and we have about a 17 to 20,000 square foot office. There’s some upstairs space up there with a whole big team here.

Desmond Child:
Oh, Oklahoma songwriters festival 2020. That’s April 17th and 18th. And I’m going to be performing there and it’s going to be fantastic. It’s going to be I don’t, I don’t know exactly where it takes place, but look out for Oklahoma songwriters festival 20, 20.

Speaker 1:
Dr Z, you’re a huge music guy and dr Z is next to me here at Desmond child meet doctors. Eleanor doctors only meet Desmond child. Hey Desmond, how you doing buddy?

Desmond Child:
I’m doing good, doctor, will I live?

Speaker 1:
I gave you 50 50 dr Z. This guy, of course you’re going to well tell you die. You’re going to live until you die. That’s, that’s pretty much. There you go. Listen to this for a second. This guy has written living on a prayer for Bon Jovi. Ah, he’s, he’s, I was made for loving you kiss. We were talking about dude, looks like a lady. Aerosmith living LA Vida loca, Ricky Martin, angel Smith. I mean, are you kidding me? I got his picture pulled up here. He looks like he’s 12 Oh, how could he written a handsome man? Heaven Desmond. Dot. Child on Instagram right now. I just turned 55 wow. Hey, is he, he’s going to be in here in Tulsa for a festival for music festival. April. He got a hook. I’m trying to get him over so you guys can hang out. We got him. If we rope him in passively, aggressively enough, we’re going to make this happen. What question do you have for this hit songwriter here? This is a really a treat to have you on the show here and I appreciate you

Speaker 12:
Shifting around your schedule to make it vote. Dr Z, what question do you have for hit songwriter Desmond charter?

Speaker 1:
Hey, and this was probably asked earlier, but are you, you guys sent them the can right now? That’s hot sauce that you’re, that you’re working on right now. You got a little hotline.

Desmond Child:
My single, it’s going to come out without scooper. It’s going to be fantastic. And I can’t say the title yet, cause then somebody will write, you know, there’ll be like 50 songs with the same title. But we did a duet and then, then I’m just going to keep going with that.

Speaker 1:
Is it living LA Vida loca to Broadway snow

Desmond Child:
Today? It’s the true story of my family before and after the Cuban revolution. And my mother had two very beautiful younger sisters and one became the mistress of the dictator Battista and the other one became Castro’s lover after the revolution.

Speaker 1:
No way. Whoa, Whoa. Well, repeat this. Your, your mom has two sisters, one of which

Desmond Child:
It curls with Habana gorgeous like movies.

Speaker 1:
So one was the mistress for who and who now [inaudible]

Desmond Child:
Cater the one that caused the Cuban revolution full hence here. Battista he was a married man. His second wife was Marta Battista and so he started an affair with a much younger beautiful girl. My, my, my aunt Deva. Then the revolution got in the way cause she thought she was going to be mrs Cuba number three. And then the, the younger one younger than her became the mist. The lover of Castro.

Speaker 1:
Is this going to be, is this going to be a movie as well?

Desmond Child:
There’s two sisters. Good dictators. One Island. You do the math.

Speaker 1:
Wow. Wow. Is just your life. Does it make sense? It is wild. Wow. That’s up. Josh, you are show sponsor living water. Irrigation is the name of your game. What question do you have rained down a question for our incredible guests too. Everybody can learn more about right now at at Desmond dot. Child on Instagram. That’s at Desmond dot. Child on Instagram. Joshua question. Do you have there sir? Hey, it does. Well, thank you so much for taking our questions. It’s been fascinating listening to you. So two questions. One, not so serious than one really serious. So if you hear living on a prayer on the radio, driving down the street, do you turn it up as loud as you can and sing as loud as you can? I just need to know.

Desmond Child:
Mmm. Yeah. I mean, I’m usually walking into like a restaurant or an elevator or something and it’ll be playing it.

Speaker 1:
Yeah. And then the other

Desmond Child:
You’ve been there and that’s my song. So that’s why I’m guaranteed, you know, money til the end of time

Speaker 1:
Til the end of time that, that one 10000th of a penny, $6,000 per 500 million come on now. And on the other the other real question I would have, so I’d love the start of your story. So grew up at how departments and food stamps as well. My momma did a great job to get us out of there and I made the same decision that I would never be broke. I love what you started and what you said there and running into Paul Stanley and, and you know, him liking your stuff. So one of my favorite quotes is luck is where opportunity meets preparation. So obviously it’s an entrepreneurial show. So what would you say to business owners out there, guys wanting to be in the business, guys that are striving for success, what would you give them as a piece of advice to kind of push them over the hump?

Desmond Child:
Well, you know, it’s like this, it’s like if you want something, it’s going to happen. And so that means that you move where you have to move and you make friends with the people you have to make friends with and you have to do like zillion favors to cash in on one. And you, you know, have you ever read Regina Simmons books, motivational books? Like I really agree with everything he says. I mean, he’s a tough guy. He’s both, you know, billionaires, right? And he says vacation, but weekends off, what nights off relaxation. You’re not gonna make it, you know, you have to make your first million bucks first and then maybe you can take a weekend off. And that’s how it was for me. And that’s why I was stayed a studio rat for as long as I did after my group broke up because it was like one job after the other and I wanted to make sure I could take care of my mom and I, as soon as I had money, I moved her to a beautiful apartment in Miami. B, she wasn’t allowed to take anything, no furniture, no clothes, dishes, every brand new brand new car. She had her own little garage downstairs and you know, she lived like a queen till the day she died.

Speaker 1:
That’s awesome. I tell you what you have, you’ve been an absolute treat to have on the show. And again, thank you for moving your schedule around and in accommodating us. And I just, I appreciate it. And XE, I’ll give you the floor. Yep. Yeah, I think we have time for one more question with the, with the hit the prolific hit maker here. I mean this guy has had an Epic career. I mean we’ve, we’ve, we’ve caught the unicorn dizzy, take us down the end of the rainbow. I’m still trying to, so what age were you when you got out of Cuba? Were you, were you born in Cuba?

Desmond Child:
Born in Gainesville, Florida. My mom left Cuba, you know, she married an American geologist and then later had an affair with a Hungarian immigrant in the jungles of Venezuela. And that’s how I was conceived. And then I was born in Gainesville, but I didn’t find out who my real father was until I was 18. Then when, when her first husband left her, then, you know, we hit the skids.

Speaker 1:
Wow. What, what a what a story and I can hardly, when does your your musical come out about your two aunts stories. What do you, what do you think about that

Desmond Child:
Was my collaborator, David Sigerson for 14 years. It’s the slowest art form ever lower even than the Sistine chapel. 13 years.

Speaker 1:
Yeah. How many songs, how many songs did the average, I mean, what does that, does it,

Desmond Child:
Yeah, many of the rewritten two or three times. You know, it’s, it’s a very difficult bark art form, but we’re almost there and we are hoping that we can develop it down in Miami at this big you know, sure. Entertainment center. Because there’s so many resources that musicians and singers and actors in Miami that are Cuban cause we want it to feel really authentic. And I’m also producing a movie. Yes. It’s called trans con, the making of Lou Perlman and the boy band revolution. And it’s a story of O town and how Lou Perlman built this whole machine for boy bands like Backstreet poison and sink bankrolled that all in a $500 million Ponzi scheme. And you know, eventually he, you know, the feds caught up with him and he went to jail and supposedly died there, but you couldn’t, you don’t really know with somebody like him. He was so clever. You know, he’s probably living the life on some like tropical Island.

Speaker 1:
He’s living LA Vida loca somewhere.

Desmond Child:
Exactly. And so we’re working with Pressman film who did American psycho and and pawn partners, a branding company in New York. And you know, we’re pulling the money together. We, you know, happening. My collaborator on that is Andres Carlson who co-wrote big hits like buy, buy, buy, and I want it that way.

Speaker 1:
Wow. Oh, the Z, this, this show, I can’t handle it though.

Desmond Child:
This is what I got on the table. This is what I got on the table. I got my own album as child lies going to be dropping singles first one with Alice Cooper. In first quarter I had my autobiography called living on a prayer, big songs, big life that will be out in the fall. I’ve got my musical [inaudible] that it’s going to be out sometime. Hopefully in the next two or three years it’ll be hitting Broadway. And I’ve got my movie trashcan, the making of Lou Perlman and the boy band revolution. And I’ve got Desmond child that Rouge rereleasing our original records. So, and I’m also trying to be a good dad and be home for dinner every night.

Speaker 1:
Dude, you got it going on.

Desmond Child:
It’s a long day. A lot of you know, hustling and I still do my day job. Oh, this is what’s happening. I’m going to be on real Housewives of New York cause I met Countess Luann and I cowrote a song with Carol Bayer Sager and Jay Landers. And it’s going to be a, she’s going to sing it and debuting it on the show. So I’m going to be on the show producing her. So that’s, that’s going to be in the next

Speaker 1:
And this laser show can all be watched right now by going to at Desmond dot child on Instagram. That’s at Desmond dot child on Instagram, Desmond child, thank you so much for your time. I hope you have a great rest of your day, my friend.

Desmond Child:
Thank you so much. And when, when I’m in Oklahoma, you know y’all come and see me at that at this fantastic Oklahoma songwriters festival 2020. That’s April 17th and 18th.

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Today is your day and now is your time. Lazy hands make for poverty but diligent hands bring wealth Proverbs tenfold. I’m here to tell you you can do it if you can just motivate yourself to up. The masses had to cut off up to you. So on the day I could run a misshapen tree. I had to, I had to make cuts to be here daily at new wave of knowledge, monsoon, I conveyed the no permits dosa doubt and UYU the next spot for the next Dr. King who was in your way, what you run by like a one back one. It’s up to you. I remember my days back into the dorm room like the template. Well with the jobs that tried to consume hook for the future that I could pursue what from the mountain top. Now I can do clue that you have what it takes to success.

Speaker 4:
This moment is profound. To show above the ground. Your role might’ve been rough with what you’ve got now is now even checked you out, but you gotta be stressed with the old plow started from the bottom of what? My way I was been prayed up. Present crime. You got to get it. Don’t quit it till you see today is your day and now today is your day and now all went to kid. But we cannot begin without self-discipline to fall with your face, to just sell a teacher’s up to Kohl’s dot with the friends when the is getting up in a scat with yourself, what you believe he believe in you, but not as much as God does. If you’re going through hell, he’s gotten nothing plugged off. Apply what you increase switchboard gun money to a bird. Increase what? You burn it in due.

Speaker 4:
You got money to increase what you burn in due time. Get got money to increase what you burn in due time. You got money to money. I looked to shout down the towers, silver beads that becoming your dream flowers empower you to devour all of the obstacles that make your sweet dream sour. As for me. I used to [inaudible] start up, but now up on the microphone. Smooth light. If I could do it, I know you can too, but you bust stick to it like posters too at while Morton’s on the coal wrists. What he’s saying, carbon shoot victories today. Today’s your day and now is it says you will. Today is your day day and no is yours. It’s your time today and now we do a time sing it Barton. Today is your day. [inaudible] I realized I can’t sing like that, but I can’t talk and

Speaker 13:
Play the woodblock. Okay. If you guys need me, I’ll just be over here.