Hi. Thanks for your company today. Brandy is one of those songs that have been on constant radio rotation since 1972, and today, some 50 years later, it’s really etched into everyone’s brains. The band was Looking Glass, and its lead singer and main songwriter, a guy called Elliot Lurie. The song Brandy set Elliot up for life. It was reprised in Cameron Crowe’s film say anything. Saul Goodman sang it on better call Saul. It was on the soundtrack to Charlie’s Angels, and it even featured on the Simpsons. It’s the band’s crowning glory. But as you’re about to hear, Elliot Lurie and Looking glass were definitely no one hit wonders.
Elliot Lurie, congratulations, because that hit of yours, BRandy, has turned 50.
EL 00:01:51
Yeah, she’s middle aged now for sure.
Sandy 00:01:54
Who would have ever thought?
EL 00:01:55
I never would have guessed that it would have sustained the way it did.
S 00:01:59
You’ve been living off it, haven’t you? You’ve made an entire career off one song.
EL00:02:04
Well, I don’t know if I’ve made an entire career off of one song. I had a second career after I stopped writing and performing, but it certainly has surprised me with its staying power. It’s been very pleasant.
S 00:02:18
You must be sick and tired of talking about it, but there’d be a lot of people listening to this who don’t know the story behind Brandy and don’t have really any idea who Elliot Lurie is. So I’m hoping you’re going to be able to enlighten us on both. Tell us how you started out.
EL 00:02:35
How I started out? I mean, I started out playing guitar in local bands through high school and kept doing that in college and in college met two other guys and we formed what became looking less. We had various fourth members, drummers. I think bands always change drummers more than any other member.
S 00:02:58
Why is that?
EL 00:02:59
I don’t know why that is. Maybe it’s because of, as they said in that Rob Reiner movie, maybe the drummers keep exploding. I don’t know. We were a bar band, and we would play local bars and fraternities five, six sets a night, a cover band. And then as we started writing, we would start sneaking our original songs into the sets and the people seemed to like them. We decided after leaving college that we would try to make something of it. And we rented a farmhouse way out in the northwestern part of the state of new Jersey, which is very rural and pine trees and streams was a very idyllic place to make music. And we made demos and would drive them up the new Jersey turnpike to New York City, and eventually we got a manager and a record deal out of it.
S 00:05:04
What were you studying at college?
EL 00:05:06
I was started off as an engineering major and quickly changed to a sociology major because I thought that would give me a lot more time to play music.
S 00:05:16
Right. Your parents must have been disappointed.
EL 00:05:18
Well, I know when I told them after I graduated, because I did graduate, I didn’t drop out. I graduated, and I told them we’re going to take a year and try to see if we can make something out of this music. I’ve got the degree in my back pocket, so I can always get a real job if I have to. And I remember my dad said to me, are you making a living at it? And I said, well, not yet. He says, well, until you do, it’s a hobby, not a career.
S 00:05:45
I got a pretty good hobby in this show, I got to tell you. Dad was right. But you obviously made a good living out of it very quickly. Tell us a little bit. Share the story behind writing the song Brandy.
EL 00:05:58
Well, I wrote it in that farmhouse that we rented. We did a lot of writing and rehearsing there and coming up with demos, and I was playing my guitar up in my bedroom, and I was writing the way I usually do, which is I just find a chord progression that I kind of like, and then I’ll make up nonsense lyrics over it. And I started singing the name of a girl I had gone out with in high school named Sandy. And then as the song began to take shape and the story began to flow, I said, Well, Sandy’s no good, because first of all, it can be a male or female name, and if she’s going to be a barmaid, her name should be BSandy. So I changed that, and then I completed the rest of the story. But one of the things was, in that house, we had a living room downstairs that had an upright piano in it, and I was just beginning to learn the piano, and I was stuck on the chorus for BSandy. I’d written the verse on the guitar, and I went down to the piano, and I found how to play the chorus on the piano. So I played the chorus, and then I would run back upstairs to get the guitar and play the verse, and then I would run back downstairs to play the chorus and the piano until I finally said, Idiot, just bring the guitar downstairs to the piano. You’ll save yourself a lot of extra work.
S 00:07:17
Took you a while to write it, though. Some songwriters talk about writing a song in a matter of minutes. That didn’t happen with this one, did it?
EL 00:07:25
No, it didn’t. It took a while to get the to try to tell a whole story in three minutes and to get it to make sense and to rhyme. And it’s a pretty literal story, I mean, in terms of what actually goes on in the lyric. I was almost writing, like, a really, really short story.
S 00:08:13
Where did you pluck the story? Was it just straight out of your imagination?
EL 00:08:17
Yeah, really straight out of my imagination. People always ask me, did you have any background in the Navy or sailing? And I hadn’t. I didn’t at all.
S 00:08:28
What about Randy? She obviously knew that it was written in her honour?
EL 00:08:34
She did. And I’m still in touch with her from time to time. I haven’t seen her in many, many years, but we’re in touch, and she, in her later years, took up art, and it’s pretty good. And I actually bought one of her paintings and it’s hanging in my music room.
S 00:08:51
Oh, isn’t that nice? Was she pretty chuffed at the time that you’d written this song?
EL 00:08:55
She didn’t find out about it until a couple of years after it was a hit. And when she found out about it, I think she was pretty happy about it.
S 00:09:03
Isn’t she a lucky girl to have a song like that written after her?
EL 00:09:07
I think she’s lucky in that not everyone knows it, and she only tells those people whom she wants to know. And now you’re telling everyone, well, they can’t find her. They don’t know where she is.
S 00:09:19
After you crafted the song, you actually put it down with three different producers before it reached its final version, didn’t you?
EL 00:09:26
Well, we had recorded things so many times because we did our first little demos in the house, the farmhouse, and then our manager took us up to a demo studio up near Woodstock, New York. We made another demo. That was the one that got us the record deal. And then Clive Davis, who was the head of the record label, asked us to go down to Memphis and record with Steve Cropper as a producer. And we were thrilled to do that because we all admired Steve Cropper. And we went down there, recorded the tracks, four tracks with him, including Brandy, and we brought them back to New York and sat in Clyde’s office and listed them. And I think we all agreed that it sounded like a really good recording of a quite good bar band, but it didn’t sound like a hit record. It was pretty straightforward. So then Clive put us with a staff producer from CBS Records and he helped us a lot. He helped craft the arrangement. And he originally had wanted to use studio musicians because he was an old school New York producer and he was used to working with studio musicians, not guys who played their own instruments. And of course, we insisted that we wanted to play on our own records, and we did. And he supervised a basic track, which still stands up today. But then we kind of had a parting of the ways because he wanted to make an extremely pop sounding record, almost to what we thought boarded on bubblegum in terms of how he wanted to approach finishing the record. He wanted to start the record with the sound effect of a ship’s bell and waves and things like that. Yeah, I can see you cringing on camera that’s the same way we felt about it. So we finished the recording on our own. We really produced it with the engineer who was at the studio, and that was the final version that became the record.
S 00:11:08
What happens to the song next?
EL 00:11:10
Well, it’s a great story and just really luck, fate, whatever you want to call it. We had put out a different song as the first single, and the reason we had done that was because when we played live, we were a much more hard rocking band than what Brandy sounds like because we’ve been a bar band for years.
S 00:11:31
So Brandy was atypical for looking glass.
EL 00:11:34
It certainly was atypical of what we sounded like live. Yes, because first of all, it’s sweet. It’s got a lot of overdubs. It’s sweetened with horns, and it was one of our poppier songs to begin with. So we thought, well, maybe that’s not the safest thing to do for our long term career. Maybe we should start with something that’s more like what we do as a live band. So we put out a rock song from the album called Don’t Make You Feel Good. And it did absolutely nothing. And we thought, okay, that’s it. Our careers are over, and let’s get those degrees out of the drawer and go get some real jobs.
EL 00:13:23
There was a promotion. Man who worked for the record company. I don’t know if they still do it, but back then, promotion men would take the new releases of the label, and they would go to the program director in their, you know, their territory and try to get them interested in playing something. And a promotion. Man in Washington, DC. Went to the biggest pop station there, and he had a test pressing of the album, and he said to the District, have you heard this band, Looking Glass, that we’ve got? And he said, yeah, we played that. Don’t make you feel good. But nothing happened. We got no reaction whatsoever. And the promotion man said, well, let me play a little bit of this one off the test pressing. And he played them. Brandy and the Disc Jockeys loved it, and he put it on the air right then off the test pressing, and they got tons of requests. The phones lit up. It was like overnight sensation in that particular market in Washington, DC. And when the record company found out about that, they quickly pressed up the singles and sent their promotion man out across the country to all the various other radio stations, and it became a big hit. But if that promotion man had not played that song for the District, harve Moore in Washington, DC. I doubt that it ever would have come to light.
S 00:14:37
Amazing. I don’t think record companies have promotion men anymore, certainly not in the same way that they did in those days, do they?
EL 00:14:43
No, not in the way that they did that.
S 00:14:45
No. Everything’s different about music today. I kind of like the way it was.
EL 00:14:51
Well, you could use the filter a little bit. I mean, I think it’s nice that anybody can put up things that they want to on spotify, but then you have to find it. And that’s, I guess, where the record company comes in. They help you find it.
S 00:15:05
Yeah, right. So Brandy raced up the charts to number one. You must have been on top of the world. How were you feeling?
EL 00:15:15
We were thrilled. After the record broke out in that one market in Washington, DC. We went up to the record company offices for something, and the head of the promotion staff for the whole nation said, well, you guys are going to have a number one record. It’ll likely sell a million copies. And it hadn’t even pressed up and released yet officially. And we said, well, how do you know that? He said, well, we’ve been doing this a long time, and when we see it explode in one major market like that, it’s going to be the same all over the country. And when we heard that, we were on top of the boom. When we heard that, we would watch it climb up the Billboard shots every week and go up a couple of matches. Go up a couple of matches until it finally hit number one. It was great. I mean, we were, you know, we were thrilled.
S 00:17:25
Number one on all the charts in 1972, only to be knocked off by Gilbert O’Sullivan’s. Alone again, naturally, later that year. Following the song’s release, the name BSandy increased in popularity for girls, at least in the United States. It had been the 353rd most popular name in 1971, 140th in 1972, and in 1973, the first full year after the song’s popularity, it ranked 82nd. Hang in there, there’s more to come.
S 00:18:07
Looking Glass. And Elliot Lurie were on a roll. The band appeared on countless television shows, including Dick Clark’s American Bandstand, and toured relentlessly to support the song Brandy, putting in performances all over the US. As the song clung to the top of the charts, Elliot Lurie was enjoying some very hard earned success. Did it make a difference to the way you lived your life?
EL 00:18:32
Well, I mean, it did, in that we made a little money for the first time. So it wasn’t a ton of money, really, but we made enough to like we finally moved out of that place. I got an apartment in Manhattan. One of the other guys took a loft down in Manhattan, one of the other guys moved out to the country. So we had a little spending money, but not a ton. But we had one very humbling experience. The weekend that the song reached number one was right before in the States, we have the Labor Day weekend holiday, which is sort of marks the official end of summer and going into the next season, it’s a three day weekend. We were booked to play at a place on the New Jersey shore, which was an old fashioned tourist destination, and it was called the Steel Pier. You’re probably not aware of it where you are, but if you Google it, you’ll see a Steel Pier was just a long pier that went out into the Atlantic Ocean and had all kinds of amusements on it and things like that. And there was sort of an entertainment area at the end of the pier and dating back to the turn of the century, the pier’s main attraction, its star attraction was and it’s terrible to even talk about it, but it was was a diving horse. A horse with a rider used to climb up on a like, a ladder and go out and jump into a large pool below it was a real horse. Yeah, with the horse. And this was an attraction held over from, like, the turn of the century. You know, it’s something that you would never think of doing now as an entertainment, and it was horrible. But who was the main attraction for the Steel period? Atlantic City, New Jersey, for many years, since the turn of the century. So we went out there and we asked, when do we when do we go on? And the guy who was running it in a really thick New Jersey Sopranos like accent said to us, he said, you see that pool out over there? Yeah. He said, well, four times a day a woman is going to get on a horse, and that horse is going to climb up to the top of that ladder up there, and then she and the horse are going to jump into the pool, and when you hear that splash, you hit it. And that was a very humbling weekend for us.
S 00:21:36
How odd. I’m trying to get a picture in my mind of a horse climbing up a ladder.
EL 00:21:41
You’ll google it. A lot of people here haven’t heard of it either because it’s really old timey. I remember it from my childhood as being something down the Jersey shore. Google the diving horse at the Steel Pier in Atlantic City and you will see images of the horse with the rider diving off into the house.
S 00:22:00
When did they finally stop doing that?
EL 00:22:02
Probably shortly after we played there. I would think that by the end of the was already something that didn’t pass muster anymore.
S 00:22:12
Brandy, as you said, sold over a million copies. What do you think it was about that song? It’s got an enduring quality. We’re talking about it 50 years later. But what was it at the time, do you think, that captured everybody’s?
EL 00:22:25
It doesn’t surprise me as much that it was a number one hit record at the time as it does how well it has endured. I mean, it’s endured better than a lot of records that were bigger hits at the time. The record sounded like a hit record because we really worked, I mean, recorded it so many times so we could get it to sound like a hit record. And Clive Davis, I thought it was a hit song to begin with, so that didn’t surprise me so much as how it’s endured over 50 years, like I say, more than other songs, records that were bigger hits at the time.
S 00:23:00
Well, how do you explain that, then?
EL 00:23:02
That’s an interesting one. I think part of it is because it’s a story song and the lyric and people still relate to that. I think also part of it has to do with the recording because since we recorded it so many times, I think the final production is what I like to call hunt and peck production, like it used to do when you didn’t really know how to type. You would hunt and peck for the keys. We kind of experimented. So the end record doesn’t sound quite as slick as some of the other pop records of the time but it does sound like a real band really playing their own song. And I think that kind of energy that it has gives it a little bit of a different flavor from some of the more pure pop records of the time.
S 00:23:47
It’s an interesting perspective, really. I’ve never thought about the sound quality as being something that really appeals.
EL 00:23:53
It’s not so much the sound quality, but it’s the musicianship and the production. Like, for instance, I’m thinking a couple of other bands. There was a band, I don’t know if they’re popular in Australia the band called The Grassroots.
S 00:24:07
Telling me that you’re here just pop down my bed we got me to leave it down in my midnight when I tell that I love you that I want to I love you wear your head make me understand I’m wasting my time.
EL 00:24:53
They made pop records around the same time and they’re good records. I mean, I like them, but they sound like studio musicians and the same producers and arrangers who worked on a lot of those New York records at that time. And ours sounds a little more like a fresh bar band playing, making a great record.
S 00:25:13
And you obviously continued playing live once you had, you were on the road playing it for all on Sunday, right?
EL 00:25:21
Yeah, we played we were on the road for about two years.
S 00:25:24
Often when people think of the band Looking Glass, they think of that song and believe that that was it for you. But you did have a couple of other hits, too.
EL 00:25:34
We’re not technically a one hit wonder band because we did have one other song that snuck into the Top 40 from our second album, a track called Jimmy Loves Marianne. And that one we did with a proper producer. A really proper producer, a guy named Darif Martin who unfortunately passed away a few years ago. But he worked with everybody from the Rascals to Aretha Franklin. He even produced Nora Jones later in his life. He was a fantastic producer, a wonderful gentleman, that record. Still, if you play a good piece of vinyl on a good system, it still sounds pretty good. Because he was an excellent producer and the band was starting to play well in the studio by that point, we had learned how to play well in the studio together.
S 00:26:13
Is that song one you wrote? So who’s Jimmy and who’s Mary Ann?
EL 00:27:30
That comes from my Brooklyn upbringing. That was I wrote that song while we were making our first album in Manhattan. It was too far drive to go back to our farmhouse in New Jersey. And my parents still lived in Brooklyn in an apartment. So me and the drummer would stay with my parents in their couches and then drive back into Manhattan the next day. And I remember I was out on the fire escape and it’s a very kind of Brooklyn fable about two street urchins who fall in love and it’s a Brooklyn memory.
S 00:28:54
Disappointed that you could never reach the same heights as Brandy?
EL 00:28:58
Yeah, I mean, I think we were disappointed and I think there were a lot of reasons for it. Yeah, I was disappointed and hard to do. And then I did a solo album which really didn’t succeed at all. So there were definitely a couple of years there in the mid to late 70s where I was kind of searching, figuring out what to do next. You never know how those things go, how all everything lines up to get that magic. I mean, there are a lot of great songs and records that never see the light of day.
S 00:29:27
Yeah. So on one hand, really grateful that one hit has done it for you. And on the other hand, I guess, in a quandary as to why we can’t match it again and what happens next. There was one other song called Rainbow Man, which came in at 104, also a really good song.
EL 00:29:44
That one was written by Peter, the other writer in the band, that he sang lead on it. And yeah, I liked that. And it was, again, a good record to reproduce that one. And good record, good song. But that was Peter.
S 00:31:53
Looking Glass’ rainbow man was originally sung by bass guitarist Peter Swavel, who passed away in 1990, having succumbed to AIDS. Jeff Layman was his replacement. Your solo album was a self titled album and the single called Disco Where You’re Going To Go. You had a lot of great musicians on that one.
EL 00:32:13
Yeah, I did most of it in Los Angeles and the band of session players was kind of half of Toto and half of the Jazz Crusaders. So it was great. And there were a couple of tracks on it that I still enjoy. Disco Where You Want To Go is not one of them, but there are a couple of tracks on it I still enjoy that you do? Like, there are two. One is called Blue Lady and one is called Rainbow Girl. Not Rainbow Man, but rainbow girl. Those two I like a lot. I’ve also snuck a couple of those tracks up on my own YouTube channel. So if you want to hear them and don’t tell Sony Music that I put them up there, but they’re up there.
S 00:34:02
It was a great solo album, but as you said, it didn’t chart. Another disappointment for you.
EL 00:34:07
That was a disappointment for me. There were big changes at the record company from the time I started to record it to the time it came out. So I don’t think it really got promoted in the way it should. But having said that, it wasn’t a great album because it was of the ten or eleven tracks on it, they were all attempts to have a hit single. And I think when you try to have a hit single and you narrowly miss the mark with the music, then you have an album of kind of near misses and nothing that really was coherent about it other than the fact that it sounded like a lot of pop singles that weren’t quite 100% there.
S 00:35:52
Elliot Lurie with Blue Lady. Stay tuned as Elliot tells us about what. Prompted a massive career shift. Having climbed to the top of the charts with Brandy, when the song eventually came off the boil, Elliot Lurie was at a bit of a loss as to where to turn next. His solo efforts weren’t selling very well and he found himself having to rethink his entire future.
S 00:36:25
Looking Glass had disbanded in 1974. Everybody went their separate ways. You did this solo album and cruised around for a little while until you decided to move to La full time.
EL 00:36:37
Yeah, I was kind of lost in New York, and I was in with some crowds of people that weren’t the greatest in the late 70s. There was a lot going on in New York that you wanted to avoid, and I wasn’t avoiding it. So I decided to move out to La. And I had a friend who had moved out here a few years before, guy I had known since 6th grade. And I didn’t know what I was going to do. I was ready to take a job as a salesman at the Radio Shack. And he said, Nana, he said, let me introduce you to this guy. He’s an agent for film music and maybe he can point in the right direction. And he did. He told me about this job called Music Supervision that I had never heard of before. And he explained what it was and he said, It’s just sort of catching on in Hollywood. It’s a new source, and there are two people who are doing it right now very successfully. And he mentioned one didn’t mean anything to me, and he mentioned the second name. And it happened to be a woman who was our Anr coordinator. When I did the solo album in Los Angeles, I had worked quite closely with her making the album. So I called her up and I said, do you need any help? And she said, Well, I do, because she had just done two big hit projects, Urban Cowboy and Footloose.
S 00:39:23
You certainly landed on your feet. What does it mean to be a music supervisor for a film and TV.
EL 00:39:29
It can vary with each project. Mainly you are there to help the filmmakers or the TV people achieve the best music they can in their production. And for some directors that means very creative and walking through every step with them and suggesting songs to them that should be in certain scenes and suggesting what composer they might want to work with very creative. And for other filmmakers who pretty much know what they want, it’s a lot of business and budgeting. So if someone says, well, I know that I want this song over the main titles, so then you have to secure the rights to that particular song for the main titles and that’s dealing on the business end and getting the budget right and making sure you can do all that. So it varies quite a bit from project to project, depending on the vision and the musical knowledge of the filmmaker.
S 00:40:22
Yeah, that’s interesting. A lot of artists have told me that that’s the only way they make money today in the music business and that they’re so grateful for music supervisors, for movies and television that they feature their songs. That’s the biggest payouts.
EL 00:40:36
Yeah, well, especially for an older song. If you get a good placement in something good, whether it’s a big movie or a commercial, you see your royalties sort of bumping along at a certain level and all of a sudden they get a big bump when that use comes along.
S 00:40:51
Yeah, right. You produced some pretty big ones. You helped out on movies like Alien Three in 92, a Night at the Roxbury in 98. Riding in cars with boys. Loved that movie in 2001. Was it a fun gig or did you miss playing music?
EL 00:41:51
I didn’t miss it at the time because it was a very intense job. And I also learned that film and TV people are crazier than music people. There are some strong personalities in that end of the business.
S 00:42:07
Lots of big egos.
EL 00:42:09
Yeah, there are some big egos and strong personalities and some were more fun to work on than others. Based on who you were working with, what the particular project was and what your role was. Sometimes, as I said, you were very hands on and asked for a lot of creative input and sometimes it was less so. But I learned a lot. I mean, I learned a ton about the music and film industry that I’d never known before.
S 00:42:35
When did you decide to return to your first love of writing, recording, playing, touring?
EL 00:42:41
I left Fox and then I did independent music supervision fairly successfully for about 15 years. Had a couple of big hit albums, soundtrack albums, worked on some big productions and then the business changed. The soundtrack business which was the bread and butter financially for music supervisors. It wasn’t the fees, it was if you could get a royalty participation on a hit soundtrack album, that was where the money was in that. And soundtrack albums dried up when itunes came along because a lot of those soundtrack albums, you recall, were really compilations of preexisting recordings. But when someone went to see the movie and they heard all those recordings together, they wanted the album that included all those recordings because you couldn’t go through the bins and record stores and look for each of them. But when itunes came along, you could find them all on itunes. You didn’t need the soundtrack album anymore, you could just download the individual tracks. So that changed the revenue of that business. And it also got a lot younger and I was getting older and it got very competitive and I decided, okay, enough of this, maybe I can go back and play some music. And that’s what I did.
S 00:45:27
Out there playing again, having a good time again?
EL 00:45:30
I have. I mean, I don’t do it that often because frankly, to travel is a little taxing on me these days and sometimes you have to get connecting flights and run all about the country, but I do them enough to keep my hand in and to enjoy it.
S 00:45:45
So 50 years of Brandy and of course that’s what audiences want to hear every time you step on stage, do you leave that for the final song?
EL 00:45:53
Always, yeah, always.
S 00:45:58
And it’s still getting as big, if not big of a reaction 50 years later.
EL 00:46:02
It does, and it’s amazing to be 50 years later to play. Sometimes I play in fairly big venues when I’m a guest artist with other bands and, you know, to see three, 4000 people singing along to every word 50 years later is pretty amazing.
S 00:46:18
Yeah. The other thing that I find quite amazing that I didn’t know about was that in 1974 Barry Manlow had a hit that was originally titled Brandy too. What’s the story with that one?
EL 00:46:30
Yeah, it’s a little convoluted, but I’ll try to make it simple. There was a song called BSandy that was a hit in England. It wasn’t my Brandy, it was a totally different song, but it was titled Brandy and Clyde Davis thought that it could be a hit song for Barry Manilow, but in the interim, we had had an R hit with Brandy, so he couldn’t right after that release, another song called Brandy. So they changed the name of that song to Mandy.
S 00:48:09
So Barry Manilow’s Mandy was just as successful as Brandy. Must be something about the andy. Maybe you could write one about Sandy?
EL 00:48:18
And there was the candy man. You know, it’s a good word to it’s a good vowel to sing.
S 00:48:23
You can rhyme it really well, right?
EL 00:48:25
Yeah.
S 00:48:26
And, of course, Barry Manilow’s Mandy gave him his first number one yes?
EL 00:48:31
As a solo artist. Yes.
S 00:48:32
So you’re loving life today?
EL 00:48:34
Yeah, I’m pretty happy. I prefer not to feel my age some days, and some days I don’t. But some days I do. Yeah. I would say I’m loving my life. Yeah.
S 00:48:45
Elliot Lurie, what’s the best thing about getting older?
EL 00:48:48
The best thing about getting older is getting wiser, except that nobody takes notice of your wisdom. If you try and impart it to younger people, they don’t want to know about it.
S 00:49:01
And what would your best advice be for artists just starting out?
EL 00:49:06
For artists just starting out? I would say to definitely lead with your heart and be true to your music, but don’t get lost. I think you got to be conscious of finding a way to get found, because if you don’t get found, no one will know whether they like you or not. But you can’t sacrifice your music for that.
S 00:49:30
Elliot Lurie, fabulous being with you. I thank you so much for your time, and congratulations on 50 years of BRandy.
EL 00:49:37
Thank you, Sandy. I love talking to you. It’s great. Bye. Bye.