Transcript: Transcript A conversation with Terri Nunn: The Woman Behind Berlin’s Evolving Sound

Welcome to this week’s episode of A Breath of Fresh Air.

00:00:41 Today is all about an American gal who really is a breath of fresh air. She’s singer, songwriter and actress Terry Nunn, who’s best known for being one of the creators and the front person for the 80s band Berlin. The band was heavily influenced by the punk rock that was all around them in the late 70s by bands like Ultravox and Craft Work. They’re all about that edgy, emotive take on synth pop. Although the song that they’re best known for was Anything But Take my brother.

00:01:35 Hi. Lovely to meet you. Thank you so much. What I find incredible how few the number of women are in music. How’s that felt for you?

00:01:45 Yeah, I understand it because it’s a lot of traveling and having this kind of lifestyle. A lot of women don’t want that. They want to be at home, they want to have kids. It’s not conducive to that. The balancing act of putting that together has been not so easy for me in this business.

00:02:05 But I love traveling and I love music and it’s still exciting to me. I think whatever you do as a woman, it’s constantly a juggling act. If you want to have any sort of career and your chosen profession, that does require all that traveling makes it particularly difficult, doesn’t it? Yeah. I think I honestly bless COVID because I got back a relationship with my daughter.

00:02:29 Now she just turned 18 and I just didn’t have a relationship with her to speak of because I was never home. And COVID forced me to be home, I’m embarrassed to say. But she sat down one day and said, I don’t see a future for myself, mom. And I realized oh, shit. She’s depressed.

00:02:49 And I didn’t know it. So we worked through that and she said she wanted help and she got it and she’s happier and she’s smiling again. And honestly, would that have happened without COVID? I hope so. But I can tell you it did happen because of COVID A reconnection with my family.

00:03:09 Yeah, I get that. Were you torn all those years? I haven’t been off the road that long. Since my 30s. Yeah.

00:03:17 I don’t sit on a bus anymore. I don’t want to do that. But I travel a lot and this was a breath of fresh air in my life. To just see friends and be home as much as we could see friends. Was it something that you always wrestled with?

00:03:34 You would have had to keep asking yourself the question, do I give up my career for my child? Which do I place first? How do I balance this? I had slowly balanced it more. I wasn’t doing as many shows in the year, but clearly not enough.

00:03:51 I’m so glad you got that time back. Yeah. Do you have kids? Yeah, I’ve got three girls. And girls are tough.

00:03:57 Aren’t they, though? They pull your insides out. There’s always somebody not talking to me and you kind of have to make your way. I’ve been lucky. I’ve got a great man in my life.

00:04:08 24 years with him. He came in with two boys, so our boys are 30 and 27 and they’re out of the house. But then we had Natalie, so she’s still here and he’s been great. As far as watching them and being a good dad to them. They need that.

00:04:25 Yeah, they totally do. I think you’ve done brilliantly. Terry Dunn, a woman who has not only survived this business, but succeeded as you have in it for all these years. I can imagine all the stories you have to tell. Back to Australia, your first time since 1985.

00:04:40 We’ve missed you. Well, actually, we also played there in 2018. We did a tour with Martika.

00:04:51 Everybody never wake us up.

00:05:21 I love your country. I love the people. I think you have the best accent in the world. And the lightness and the happiness in the people is unique, so it’s very kind of you. I brought my husband there just to go so he could see it, because he knew how much I loved it, so he got to see a bunch of it and he loved now he loves it too.

00:05:44 But yeah, we may see more of you here, then. That’s fabulous. Celebrating 45 years anniversary of Berlin this year. That’s incredible. I’m alone my old wall follow me through my past I was on the Paris train I did my dead rain and you are waiting now swimming through apologies I remember such a fall of it I was hoping you might change your mind I remember sleeping next to me riding on the Metro the Metro from Berlin.

00:06:43 The band couldn’t get many radio stations to play that song, but they did have better luck with MTV when it started up in 1982, which put the video in rotation. Thanks to the fact that lead singer Terry Nunn gave viewers a very attractive female to watch. MTV was still in its infancy, so record companies were stingy with budgets for the videos. Berlin shot the clips for both the Metro and Seximer back to back over two days. Terry wasn’t very happy about shooting the subway scene over and over.

00:07:18 She was exhausted, became frustrated and started to cry. Of course, it was this footage they used. Her anger and tears were exactly what the director had been looking for. You weren’t with them from the very start. But I love the story around how you did get to join the band.

00:07:35 Can you share that with us? I met John, I was 18. I wanted a band I didn’t want to be a solo artist. And actually, the singer who was in Berlin when I joined, she wanted to leave and be a solo artist. Tony Child, she was up for a Grammy for one of her albums.

00:07:53 She did very well, but she started out in Berlin.

00:08:08 With me I’m the way I’m the only jump back is all waiting for my man to call this no matter why stand here waiting for the octopus to just give up my passion rendering my love I walk away with me I look away with me I don’t think I know with me I know loud john Crawford started the band in 1977 and I joined in in 1979. I auditioned. In those days, there was no Internet, so he had an ad in a place. You had to go to this place and look through all these notebooks of ads for singers and bass players and guitarists and bands looking for this and singers looking for bands. So I saw his ad and it said, we do music that’s unique, and I love unique.

00:09:21 So I had to find out. So I contacted him and he sent me a tape and it was synthesizer music which I had never heard before. And it wasn’t happening in America yet. It was all overseas at that point, right? So I was like, this is good, and the songs were good.

00:09:40 I was really excited by it. And so I lied through my teeth and said that I had all this experience that I didn’t have. And so they auditioned me and I got the job. So we just started playing clubs for two, three years. And finally we got the attention of the record label of Geffen.

00:10:04 The rest is history, as they say. I shouldn’t say that. We actually had something played on the radio that got the attention of the record labels because we started selling records that we were printing ourselves and it really took off. We sold like 20,000 copies in a month. And so, of course, all the record labels who said that this synthesizer music is never going to go anywhere, all of a sudden they’re knocking on the door saying, hey, we’re we’re interested in you.

00:10:31 And so we got finally got a deal.

00:10:38 I’m a market I’m a bitch in your hands I’m a boy I wanna stand in my body we made love together, was John and me and David. And we were the three who put it together and created the first album and our sound and what we were going to be. And then they were gone, and now they’re back in the band again, so it’s full circle. So the music really was unique, wasn’t it? At the time there was, as you said, no other synthesizer sounds happening.

00:12:02 Not in America, no. And what had you been doing before you joined them? I was like, dabbling in music, playing in some local bands, trying it out in local places, but it was not serious. I wanted music so much, it scared me. I wanted to be a musician.

00:12:20 And if I didn’t make it as a musician, if I couldn’t make a living at it, then I wanted to be a DJ. And I was I did get that opportunity. For two years I was a DJ at An La. Radio station here. I had my own show and I got to play what I wanted.

00:12:36 And I was doing television at the time. But then when they were creating the series, dallas, the casting director, knew me and I guess pitched me to the producers and they brought me in and I didn’t even have to audition. They just said, okay. They said, it’s a seven year contract. And I was 17.

00:12:56 And I thought, okay, if this is a success, if it’s a hit, then I’m stuck. I’m doing this TV show for seven years, so this music thing is not going to happen for me. And I went home to my mom and I said, mom, I know this is a great opportunity, but I really want to try this music thing. And I said, mom, what do you think? Should I turn it down?

00:13:18 Should I try this music thing? And she said, you know, Terry, if you don’t try it, you’ll regret it, so you should try it. So I told my agent and he dropped me instantly. He said, are you out of your f in mind? This is a series.

00:13:33 It’s probably going to be a success. And how often does this come along? They’re handing this to you? Are you an idiot? And he stopped representing me.

00:13:41 So I had nothing I had nothing to lose. So I thought, okay, I’ll give it a year and see if I can get something going in the music world. And it was a year later that I met John. Terry also had a part in a movie, terrible movie called thank God It’s Friday. But the interesting thing about that one is that thank God it’s Friday was a movie, a disco movie made by a company who was showcasing two of its big artists, donna Summer and the Commodores.

00:14:12 Casablanca was making this movie and I was just an actor in it. But I just so happened to meet on the set Georgia Marauder, who wrote and produced Donna Summer.

00:14:28 Baby, baby, baby when you’re laying so close to me there’s no peace I love that you’re feeling with me yeah, baby, baby do it to me again and again such an awful spinning is close to me my face let me breathe I was in heaven. I mean, my God is Georgia Mortar. And he’s looking at me like, yeah, whatever. Yeah. Nice to meet you by and who would have sunk it?

00:16:08 But how many years later? It was probably four years later. Five years later, we have an Oscar together and a number one hit around the world together who would have? Suck it. Dreams really do come true, don’t they?

00:16:23 Especially in Los Angeles? They do. And music dreams do come true in Los Angeles because it’s one of the top four capitals of music in the world. Do you know what they are? No, tell me.

00:16:35 So it’s Los Angeles. Nashville, London and New York are the top music capitals of the world. Really? Melbourne holds the distinction as the live music capital of the world. Is it?

00:16:49 Yeah. Well, we’ll be in Melbourne. We are playing in Melbourne. You are indeed. Berlin actually grew out of the rock band called The Toys.

00:16:57 What do you know about why it changed its name to Berlin? It’s a strange name to have chosen at the time, don’t you think? John Crawford is German and he also started The Toys and he was fascinated with how Berlin was especially pre war. Germany was this bastion of culture and art and incredible progress, surrounded by communists. And for him, as a teenager, it felt like how he was with all of these restrictions that he had from his parents and from school, and everybody wants you to be this normal person and you want to create and you want to make music and art and do something great in the world.

00:17:40 So I think he found that to be an interesting idea as a name. The name stuck and proved to have more longevity than the band itself. As you’re about to hear, Terry played a huge part in reinvigorating Berlin. Stick around to hear her continue her story. This is a breath of fresh air with Sandy Kaye

00:18:04 It’s a beautiful day. Thanks so much for being here. I’m always fascinated by the stories that artists share. Today we’re talking with Berlin’s Terry Nunn, and she spent ages hopping from acting to singing and back to acting again until the group managed to get their biggest break. It definitely took off.

00:18:28 It took a while, but it did take off. They just kept pushing on the song and they kept trying, and then it just slowly caught fire and went insane. It is the gift that keeps on giving in my life, because I can’t believe that even now people are still affected by that song. Watching every motion in my food love again all the ocean finally love is no way running every time you stay inside watch it in your motion as you turn around take my breath out the way take my brother away so never hesitate to become afraid feel emotion as it me take my breath away there was a lot of dissension in the group, wasn’t there? Yeah, there was, but Take my breath away wasn’t the cause of it.

00:20:47 It was another reason to have dissension go on. Honestly. I mean, at that point, Sandy, we had been playing and touring and writing so long and we didn’t know how to get off the hamster wheel of that. And get a life. And nobody was really in our corner saying, yeah, you need a break.

00:21:11 I honestly feel if we had done that, we would have stayed together. But because we didn’t, we were just going and going and going. We turned on each other and then Take My Breath Away came along and it was a song outside of Berlin’s writing and another reason for us to disagree. I thought it was great to do a Georgia Marauder song. We wanted to work with him so much that we begged him to just do anything, really.

00:21:43 We just thought what he had done with Bowie putting out Fire with Gasoline and Donna Summer and Blondie and Cat People and Flash Dance, I mean, the guy was just electronically doing everything we wanted to do and it’s all timing. While he was producing no More Words, he got top guns. He got the job to do the soundtrack for that movie, which was coming out the following year. So we were there. John didn’t want to do the song.

00:22:16 Georgia Marauder could have farted and I would have sung it. I love that guy so much. And so when he came in and said he wrote a song and would you like to sing it, I didn’t even need to hear it. It was like, yeah, give it to me, I’ll sing it to you tomorrow. And John’s like, no, that’s not our music.

00:22:32 We’re not doing that. We need to be Berlin. It’s not Berlin. It’s Georgia murder. I said, I don’t care, I want to do it.

00:22:38 And the label is like, do it, do it, do it. It’s a big movie. And so they’re all over it. So they shut John down and we did it. We had not had a hit at all at that point.

00:22:49 We were under round hit people, but nothing that the world knew or no chart positions whatsoever at that point. So he tried out a bunch of other people for that because they were bigger and they had had hits and that’s what Paramount wanted. They wanted a big singer to sing their big love song for this movie. So they didn’t like anybody, they didn’t like any of the singers. So because we were there, I got the chance to audition and do the job.

00:23:20 At the absolute peak of your success, when that song was number one internationally, it received both the Golden Globe and the Academy Award for Best Original Song in 1986. It was both the blessing and the curse of the band, because it it was our first number one, it was our first international number one, and so we got to play everywhere for the first time. Success heightens everything. Everything in a personality will get more with success. So everything that was bad, way worse, because now we’re working even more than before, so we have even less of a life if we had any before.

00:23:56 Now the label is like, oh, you’re going to play everywhere. It’s like there’s no time for anything but this. The money was bigger, but so was the work. And we’re tired and we don’t know what to do about it and we don’t know how to talk to each other. And that got worse.

00:24:13 So by the end of that tour, we weren’t even speaking. John and I weren’t even talking anymore. We just couldn’t figure out anything that we agreed on. We should have just taken a year off and come back to it. That was the nails in the coffee.

00:24:32 Watch it, love again only by notice somewhere less in the sky on I understand John’s feeling now. He’s like, oh, my God, I’m busting my ass trying to write a hit for this band to keep it going. And here Waltzes in Georgia Mortar with one song he plops on the table. And it’s a number one success around the world, and it’s just one of a dozen that he’s written this year that is doing that. And I can’t seem to get anything going.

00:25:29 And it was just it’d have to piss you off, wouldn’t it? Right? Of course, I can understand that. And he felt, well, they’re taking this band away from me now because I’m not good enough. So he couldn’t say that to me because he’s scared and he’s 20, whatever.

00:25:48 So he was just angry and I didn’t know why. And I was angry at him for being angry because we’re getting all this.

00:25:57 Countries are saying, come over now and play for us. Now we know who you are. And arguing all the time and we couldn’t talk and we were tired, so it just imploded. It was like we had to just get away from all of it. It literally hit me on stage a month ago, oh, my God, we started this band and we’re 45 years in and I don’t know how much longer this is going to go for us.

00:26:24 I’m so fortunate that it is going this long, but who knows how much longer can we go and are we starting and finishing this band together? It’s quite amazing that you’ve all come back together again. And you I agree with you totally full circle and I didn’t expect that. So tell me a little bit about in the interim when in 1984, you had the album Love Life and the single no More Words that we saw that incredible video clip of you. Of course, that was just in the beginning of the MTV days.

00:26:57 And that clip of you doing that Bonnie and Clyde style car chase and Shootout, what was that like for you? It was so early days. MTV at that point hadn’t started yet. It started the year that we signed with Geffen, but we did our own little videos anyway because we just thought it was such a cool addition to music. Bowie had already started doing it, and some of the more progressive artists were doing it.

00:27:27 It changed everything for us because some of the labels were like, no, we’re not giving you a video budget, because they’re never going to take off. They’re like, yeah, they are. Everybody loves videos. And Gavin was like, yeah, we’ll give you a video budget. Which was great because MTV started they had 24 hours to fill and no videos because none of the people were doing them.

00:27:52 It got us in front of the country, if in the world. I don’t think they’d started in yet, but in America, we got all this exposure over and over just because Geffen had the foresight to believe in videos and to create them. I suggested it. I wasn’t running the band, so they said, well, what should we do as a video for the song? And I suggested Bonnie and Clyde because when I saw that actual movie, I don’t know if you remember it.

00:28:19 I do. Yeah, I do. But it was so hot and Warren Beatty and Faye Dunaway going at it. I got my first kiss watching that movie. Oh, my God.

00:28:32 Yeah, that was a big deal for me. And so I thought, okay, maybe we could play those parts. I don’t know. It didn’t really make sense for the song, but who cares? Let’s try it.

00:28:44 And that’s my favorite video that we ever did, was that Money Slides. Take off you promise your love how much you care until it makes it unsure actions are lacking get away no more now but no brother love me and go through I’ll looking for a long roman love me why you took it away no more well, it certainly worked. Fans everywhere loved it, didn’t they? Because no More Words just shot to the top of the chart. None of us knew that Berlin was imploding.

00:30:06 Yeah. And it was no one’s fault. I don’t even blame the record company, because this is a business and they’re like, all right, this gravy train is rolling and let’s just keep pushing it until it crashes. Yeah, well, that’s it. And that’s exactly the point, isn’t it?

00:30:21 That they do keep pushing until it crashes. It’s all business to the record companies, or it certainly was then. I don’t quite know how it operates today. Very differently, I think. And they’re responsible for killing a number of acts, really, by not nurturing and looking after the people within them.

00:30:38 Yes. And it’s not their job to do that. Whose was it? I can’t put a finger, I can’t point it at anybody because is that management’s role? It would have helped.

00:30:52 But again, management is business, too. It’s just this kind of confluence of problems. I didn’t have friends because I was never home. I had no love life because I was never home. So there weren’t those people saying, hey, Terry, just take a break.

00:31:12 Just say, hey, we need three months. Just give us three months. This is not going to derail in three months, but I didn’t have that. And that’s not anybody else’s fault but mine. So it just falls apart.

00:31:25 And I can see that with other bands too. It’s a lot. So how did you handle that talk? I got a light back, you know, it took time. It took me about six years.

00:31:37 I got friends again because, you know, all that I just had the idea that, oh, well, if I’m successful, everybody will love me and I’ll have great relationships and friends will be there and they’ll put up with anything and no, it doesn’t work like that. It’s a whole other ballgame to be a good friend, to be a good partner, and I had to learn how to do that. I didn’t know. So it took time.

00:32:13 Damway, you know, you chosen not to believe all the black and pain to the wild fear it doesn’t die what he did I freedom heart we can’t know if he can’t escape it I know I play um berlin officially broke up in 1987 and Terry set out to find herself a solo career. I can imagine stepping down from the limelight at that time would have been really difficult too. As needed as it was, it would have been a huge emotional adjustment for you. Yeah, but I crashed and burned. I wasn’t a good boss to myself.

00:33:42 I was just pushing it and pushing it and pushing it and I fell apart. So I had to deal with that too and learn how to be better to myself, to keep going.

00:34:10 You and if I walk away left you there would you know why?

00:34:22 You are the answer now you don’t know you tell me everything you don’t know you believe it now you don’t know you are the reason I know we walk into you reflection you look away cause the feet you fill in the breath you are the only one you don’t know you want to fire love you don’t know you never even know you don’t know anything you are the reason and the Berlins you didn’t know from the album count three and pay. Terry certainly didn’t know what lay in store for her. She’d been with the band since she was 18 and when they broke up, she was still only 27. We’ll be back in a SEC to tell you what happens next. This is a breath of fresh air with Sandy Kaye

00:36:04 It’s a beautiful day. Terry Dunn was the voice and the face of 80s band Berlin. But hard won’t success proved too much for each of the band members. After just a few short years, they began to unravel what they’d created. And after a fight with their manager, terry Dunn walked away.

00:36:26 That’s when everything fell apart. Then it was like, oh, shit, well, I got to have a life, I got to have a marriage and see what that was like and work on that. But then I had no job fighting my way back to making money again then that took a while.

00:36:50 A hot day I surrender let me show it’s we can back with a wind like a raven over your shoulder always forgotten the fire keep on don’t let anyone don’t know me don’t let the light something and you had a few legal wranglings with John Crawford over who was going to own the name. And you got the name Berlin, which, again, must have really pissed him off. So poor John. I feel sorry for him now. When he and I started trying to work together in the late 90s again, nothing was happening and it wasn’t the magic at that point.

00:38:24 And my manager at the time said, well, why don’t you just go out and start playing again? Is the name available? And so I checked and it was. And John had decided at that point that maybe he could just get another singer. And my manager said, by the name, then he can’t get another singer.

00:38:47 So I did. And when John found when he found out he was livid, he was so mad at me. So we didn’t speak for seven years. I didn’t know any of this before, but you recreated Berlin again. After some years of hiatus, I guess you put the band back together again.

00:39:05 In you bringing that up, Sandy? I think I just got something that I hadn’t really thought about before, that it was probably better that I took over the name because at that time he was married to somebody who was very religious and who was quite restrictive in what he could do musically at all. His wife said that he did it for his ego and he should not be writing anymore and he should be an upstanding guy. And he got a job doing Mad Science. It’s a franchise where they bring science projects into schools, like extracurricular school stuff.

00:39:45 So he was doing that. And so the Berlin name just lapsed. That’s why he stopped making music, because he wanted her and he wanted a family and he had to be a dad once he had the family. And so Berlin might have languished so long that it would not have come back. Yeah, but I was not in that situation.

00:40:08 So that’s actually a good thing. I was able to resurrect it and continue it and continue making albums. And then when he was ready, which was actually when he divorced that woman, he was free so he could make music again. And that’s when he got back in the man. Good job.

00:40:29 I know, seriously, he’s in a great place now. He’s back with his original buds and everybody’s making fabulous music together and back on the road again, which is awesome. You’ve all had your break you broke into my life and so without a single clue now you’re back again change what I used to do and Dallas monster dad never let you hurt me again berlin. Officially Reunited in 2004 as a result of being featured on a television show called Bands Reunited. During that performance, John Crawford, Terry Nunn and David Diamond agreed to play again as a band and as friends.

00:41:45 And then the process began again, culminating some years later with the release of their 8th album, Transcendence. That show resolidified our friendship and gave us a chance for me to hug him and thank him for what he had given me in my life. When we decided to start writing again together, the first songs weren’t it, so we kept going. And then finally, Transcendence album was created, and that is what sparked and got us a record deal.

00:42:30 Looking in my mother’s eyes I know she’s trying not to fall apart. Lips breathing a river from my heart holding her body close to what it’s like to let go. You look up half wheels below.

00:43:06 Maybe I love maybe I felt enough. Maybe I just want to believe again.

00:43:20 Maybe it’s love. Maybe when maybe it’s not. Just in my head, just you toured in 2011 with our very own in excess. What was that like? Bless them.

00:43:47 God, I love it so much. All of them. Well, I met In Excess, I met the guys when we were in England doing our third album. We were on the same label, and they were just coming to England for the first time, and our label guy called us and said, hey, what are you doing tonight? There’s this band, they’re coming over and playing the Marquee Club.

00:44:07 You want to see them? We just signed them and we were like, yeah, sure. So this was 1980. When did we make that out? 86?

00:44:17 No, it would have been before that, because 86 is when Take My Breath Away won the Oscar. So it was 84, 85. And so we went to this club and saw this van, and I’m looking at Michael Hutchins, and I turned into a blithering freaking idiot on the floor. I turned into a 14 year old Drooling. Like, I couldn’t believe and how hot he was and how amazing of a performer he is.

00:44:50 And then afterwards, we met the band, and of course, they’re great, too. And then we ended up in Michael’s hotel room, all of us, both bands, and we’re partying in there. And then he and I went out while he was in England, and they’re traveling around, and we were there making the album.

00:45:12 Wow.

00:45:15 He was a wow. Yeah, he sure was. Plenty of charisma around that one. Wow. Yeah.

00:45:22 And so, yeah, that went nowhere because he lives in Australia and I live in America, so it wasn’t going any further. But, yeah, I mean, what a tragedy to lose him and what a great band they are. And so when we had the chance to tour with them, it was huge for us.

00:45:47 Moment 21st yesterday. You can care all you want, everybody does. Okay, so slide and give me I’ve got I’ve got to let to know what I like how do you just to die?

00:46:30 Because I love me it’s something about you, girl that makes when they are live alive you fire and give got let you know I’ve got let you know what am I kind of? Michael Hutchinson’s Death in Excess hired Canadian singer J d. Fortune to be their frontman. I remember asking Andrew Ferris, why are you not writing more stuff with this guy? And he said, Terry, the magic just isn’t there with him.

00:47:33 He’s a great singer and we like having him, but the writing thing is just not and that’s so important, isn’t it? The chemistry between writers and musicians generally is all important. It’s either there or it’s not. You can’t manufacture. You never know if it’s going to be there or not.

00:47:50 It’s like good sex. You want it to be good, but you don’t know until you do it. No. And then it’s too late if it’s not. When you find that one, you marry them.

00:48:02 And we better change the topic. You and I could get in trouble together. I love talking to you. I just want to know, finally, Terry Dunn, you talk about chemistry between writers. How did it come about that you and the other guy started writing new material again in 2016?

00:48:19 I think it’s just because it’s what we do. When he was getting a divorce, John was divorcing this woman after all these years. He came to me because I’d been through one divorce and we helped each other. I helped him through that. And David Diamond was also going through a breakup and so we just kind of hugged each other through that and it just redeveloped it’s, our language, talking about music, playing things.

00:48:46 We like making music together and it took a while. And the latest stuff, how does that compare to the earliest stuff? It still sounds like Berlin, but it’s using a lot of the toolbox, the toy box that we have now, which we didn’t have then. The electronics are really fun to me. They’re really inspiring to me.

00:49:06 We did an album that also came out right when COVID hit, which was Berlin, playing our hits with an orchestra in my voice now. Yeah.

00:49:50 I only know shadow go some secret place to night watch it in the motion as you turn around take my way close why did I give way in the bread? Love Streams Attached was released in 2020. I have to let you go and I want to let you go terry done. Terrific chatting with you. Thank you for having me.

00:50:58 Take care, Sandy. Talk soon, Terry. Bye. All right, bye. She’s a pretty special lady, isn’t she?

00:51:04 And like so many of us, she’s had to undergo all the highs and lows that life throws at you in order to finally strike a balance. Thanks so much for keeping me company today. I hope you’ve enjoyed this episode. If you’d like to hear from your favorite sixty s, seventy s or 80s artist, just get in touch with me through the website A Au and I’ll do my best to get them onto the show for you. Have a good week, won’t you?

00:51:32 Till we meet again. I really look forward to being back in your company again very soon. Bye now. Till for full day. You’ve been listening to a breath of fresh Air with Sandy Kaye