Welcome to a breath of fresh air with Sandy Kaye. Hello friends, thanks so much for hanging out with me. I hope you’re enjoying our little weekly show and if you’re just discovering it, a very big welcome to you.
I always try to feature the artists you’ve requested and this week is no exception. YouTube’s Darren-Q5n reached out saying he’d like to hear more interviews with soul, funk and R&B artists from the 70s and 80s. So here’s one for you Darren.
It’s singer, dancer and actress Shelley Clark who’s been in a kit with Ike and Tina Turner, performed with Little Richard, but is perhaps best known as a founding member of the 70s R&B girls group Honeycomb. Shelley was born in Brooklyn to a concert pianist, Russian Jewish mother and a father from Barbados. She began her career at age six and at seven she and her brother who became known as the Clark kids were cast in a hit Broadway musical.
Today Shelley is married to Earth, Wind & Fire founding member Verdeen White and she’s just released her first single in almost 50 years. Her journey hasn’t always been easy but I’ll let her fill you in. My mother had one of the only pianos back in the 40s.
I would sit there on the floor battling and making up my own lyrics and melodies and she was like wait what and she called my father in and she said I listen to this he said she’s got perfect pitch I think we should do something with her so I started going into little kiddie pageants and just winning everything the things took off you know they put my brother with me and here we start dancing we’re getting every audition in New York when we walk in oh god the Clark kids are here let’s go you know we started playing places like no kids would ever play the Apollo Theater but we were the youngest act to ever perform there and then we did the Palace and then we got on Broadway and then we were signed to Columbia Records and we did an album. Was your dad also musical? Actually no he was just one of those very talented self-taught kind of guys he could sing he could whistle you know who’s a whistler is Cynthia Erivo she she can whistle a whole opera a whole song it’s just it’s just it’s just a talent not every everyone has. As we got more famous and got more work they put us in private school along with kids like the Heinz kids and you remember a movie called The Bad Seed with Patti McCormick they were all working kids you could go to school or not go to school they were not even checking.
That first musical you did on Broadway was with Diane Carroll and then your parents picked you up and moved you to Los Angeles in 1957. Why the move to LA? My father figured we were doing so well in New York that why don’t we go to Hollywood and I can get you kids breaking kids into the movies and you know forgetting still that you know we’re a black family it was a little harder it just became a whole different beast. First of all we had a little cutesy era in New York by the time we got out here we were getting into our younger adult type 13, 14 and as you know it’s sometimes hard for kids to transition look at these Mickey Mouse Club kids.
They used to call me the black Shirley Temple in New York but even Shirley Temple had a hard time transitioning to adult film and we just weren’t getting hired out here so my father threw his hands up and he said the doors are slamming left right and center do you kids want to do it and so we said yes we do but we’ll just sing and so that’s what we started doing. Shelley though when you say you were a black family having told me that your mother was a Russian Jew you were actually biracial weren’t you? Yes. And what was that like for you in the day? Well when I was young and we were I might be with her on a subway or going somewhere the stairs that we would get would be like people were either horrified or you know oh what cute kids it’s no dark secret when I toured with Cab Calloway at the age of nine did a seven month tour with him when we hit those southern states Cindy I wasn’t allowed near her and she could not stay with me in the black hotels so they had to put her across town in the white hotels because if we had been seen together we would have both been arrested because that’s how bad it was you know America has some very ugly parts of history it was Jim Crow it was terrible now they’d love to see us perform but I was not allowed to to be with her so the chorus girls became my bonus mothers during that period when we were down south and they snuck me to see her in the trunk of a car and that’s the only way I could go visit her.
She was the red-hot huge she could turn she was the roughest toughest trail but many had a heart as big as a whale oh it must have been so difficult for you those were the times where white and black audiences had to be segregated not only in the concert but as you say in hotels restaurants everywhere everywhere I think Sammy Davis helped break that up a little bit because he had his rat pack fighting for him but still he wasn’t allowed to come through the front door he wasn’t allowed to use the swimming pool and I believe that Frank Sinatra and that whole rat pack they helped the hotels they made them accept him so after a while he he was sort of like a trailblazer but that was in Las Vegas ah that wouldn’t have been easy for you at all and down south was somewhere where you had to tour and travel with Cab Calloway and do all the shows and also when I got with Tina Turner later we did a southern tour but Ike Turner was smart enough to hire a white female road manager that’s how innovative he was you know was he was he crazy and power hungry all of that but he was also a genius in that he knew we’re going to hit this Jim Crow south I need some help so uh Rhonda Graham was our road manager and she made it very smooth with the white promoters down there how did you make it uh it’s very funny you should mention that because a very beautiful woman who worked for Ike and Tina somehow found me and came to my house and auditioned me and she said oh I love you you’ll be fine I’m going to send you out on the road and I said okay when do I leave and she said tomorrow I said oh wait a minute what and her name was Ann Kane she was married to Otis Williams of The Temptations went out there and um it was crazy from the time I landed because I was approached by Ike you know his thing to make sure every Ike belonged to him as well as Tina as well as Rhonda Graham the road manager as well as any female that worked for him he had to have control of you so I almost turned around and I almost wasn’t an Ike because I unpacked my bags and then when I saw him and he was making demands I started packing my bags again so I was almost out of there but then he came to his senses and he left me alone we’re talking about sexual harassment we’re not talking about sexual abuse well it has a name now it didn’t back then did it no it didn’t and it wasn’t punishable it was their right no yeah right right but what do you mean when you said that she came to your house to audition you how did that come about Honeycomb was performing at a club here called Catalina Jazz Club and so not that night but another night when we actually went to that same club to see our friends the Supremes they told me that Ann Kane might be there and I said that can’t be she’s got to be 80 something by now well don’t you know that after the Supremes finished someone yelled my name and said Shelly is that you I turned around and it was Ann Kane and so I asked her what you just asked me and I said Ann how did you know about me back then and she said look Shelly it was my job to know every musician and every singer I made it my my job I had a Rolodex this big of names of musicians guitarists drummers singers dancers horn players keyboardists and she said your name came up and I found you that was 1965 66 you were just a teenager when she spotted you and sent you out the next day with the I can take the turn of review 19 I was so pissed when Ike was in my room looking for sexual favors I wanted to curse her out because I said she didn’t tell me about this part you know she was smart she knew not to well if she knew what happened out there but as it turned out like I said it worked out okay did you call your mother and tell her what was happening no no because back then I’d figure it’s just it’s one of those things that happen and if he had maybe gone further and raped me or something to that I probably would have called but it didn’t go anywhere so I just said hey I guess I’m gonna be an eye cat for a while and I was until the bus driver fell asleep and I got thrown out the bus and broke every bone and I was hospitalized down there in Wichita Kansas in the snow buried in the snow you were you were seriously injured weren’t you very very much I was on crutches the review had to go on without me they put their tour back together they probably call and and said hey we need an eye kit we got one down so I’m sure she got in a rolodex and found somebody and sent them out the next day you must have fallen into a severe depression at that time you would you’d have to think that your whole career has come to an end after having this wonderful opportunity just end so suddenly I’d like to be depressed back then but I couldn’t I had bills so I had to hurry up and heal and get well so I can get my ass back to work and as it turned out I was approached not too long after that maybe a month or two after when I was healing by little Richard and he was putting together his review and needed some dancers and so I said hey I’m gonna heal I’m fine I want this job so I didn’t have time to be depressed just before you move on to little Richard because that’s that’s a whole other story just tell me what it was like to be in our kit and apart from Ike’s sexual advances that you managed to stymie what was it like to be in the show with Tina I have to say uh she’s the most electrifying person on and off stage that I’ve ever met this woman was just so dynamic I mean she could take an audience and turn them upside down and she was so sexual without being sexual you know she could sing her ass off and she’d like had everything covered I felt so honored to learn from her although she saw that I was pretty fiery too so she had me dancing and singing next to her uh all the time in the city I was working for my man every night and day I never lost one minute of sleeping cause I was worried about the way that thing might have been you know that big wheel keep on turning Proud Mary keep on burning We’re rolling, rolling, rolling yeah, rolling, we’re rolling on the river Chained a lot of plates in Memphis And parked a lot of trains down in New Orleans But I never got to see no, no good side of the city Until I hitched a ride on the Riverboat Queen Know that the big wheel keep on turning Said it’s a proud Mary She keep on burning, y’all rolling Rolling, rolling, yeah, rolling She taught me uh dynamic stage presence because you know I and it was no dark secret that I would beat her up sometimes and sometimes backstage she’d be patching you know makeup all over her face and here and there and go on stage like nothing ever happened she was his position with him and do her thing and I said this is some alien off the chart stuff that I’ve never seen before Would have been very worrisome as a as a young girl to see all of that sort of stuff going on in front of you you were part of the touring show you didn’t actually record with them did you? Never, never I uh toured I rehearsed at their home because they lived here in LA also so I got a chance to see a little bit of their home life which was fairly normal until I decided to explode about something it didn’t have to be much because he was bipolar you never saw it coming.
This is a breath of fresh air with Sandy Kay. It’s a beautiful day. I had the best teacher.
I had Al McKay, who was the lead guitarist for Earth, Wind & Fire later on in years. But he was Ike’s lead guitarist, and he said, listen, you don’t hear anything, you don’t see anything, you don’t know anything. There’s going to be a lot of things that you want to ask questions about.
Don’t ask any questions. Just do your job. Go back to your room.
Don’t ask anything. Don’t make friends. And you will last a long time in this review.
He said, it’s very crazy. And you will see Ike all over the place. In other words, I guess what he meant was you’ll see him, you know, creeping the different rooms.
And and and, you know, because it wasn’t just Tina that he would, you know, get physical with. You know, he would beat up everybody who he was seeing. How many Ike Kitts were there? In total, about 70 or 80.
On stage, there were usually three and or four, because there was always one Ike Kitt that was Ike’s main girl that didn’t sing. She couldn’t sing, but she was gorgeous and she was beautiful. She was very young.
So they let her be an Ikett, but the harmony parts were missing. So they had to add three more real singers. So she would just sort of lip sync.
But she she was adorable. Deserves better. So there was a troupe of about 60 or 70, you said, but obviously they didn’t tour with that many at one time.
There was just a pool that he could pick and choose from. Always. It was a revolving door.
One Ikett out, another one in. When I was a little girl, I had a rag doll. Only dolls I’ve ever owned.
Now I love you just the way I love that rag doll. But only now my love has grown. And it gets stronger in every way.
And it gets deeper. Let me know. And it gets higher.
What was the lifespan of an Ikett? How long did they last? Oh, I have to say, if Tina liked you, if you could manage to skirt Ike and everything was fine, you could stay there for years and years. There was one Ikett named Edna. I want to say she was there for eight years, but that was later on.
I guess a year or two tops for a normal Ikett. And how long were you into it before the bus accident? Honestly, I didn’t make it more than six months before the bus turned over in Wichita, Kansas. You poor thing.
OK, so now we’re talking little Richard. What, he comes knocking on your door. He sends somebody to say, hey, I like you.
How did that come? He had a manager, very aggressive manager called Bumps Blackwell. And somehow or another was the same thing. They were looking for dancers.
And he said, but I need a male dancer with you. And it just so happened that I was very good friends with Byron Gilliam, who was on Laugh-In. Do you remember that show with Obi-Wan? Sure.
Yes. He was that tall, elegant male dancer that was dancing in all the segments. And he also danced for Hugh Hefner in Playboy After Dark.
And so I reached out to him. He was a gorgeous dancer, just gorgeous. So you started touring with Little Richard.
What was that like? He missed his calling as a stand-up comedian. Little Richard is so funny and just so entertaining and just really wonderful. Backstage, it’s just back-to-back jokes, but real jokes, you know, like cab you on the floor kind of stuff.
So I enjoyed my time with him. I think I toured with him less than six months. But you were safe.
There were no problems on the road with him. Right, right. That was fine.
Yeah. Except I was always afraid of the tour bus. I couldn’t sleep.
You were dancing with Little Richard. Were you also back up singing? I begged him. I said, Richard, please let me sing.
Let me sing this week. Please, please, Richard. Every day I wore his shoes off, just begging.
And he couldn’t say my name. OK, she was, you know, his boy from the South. OK, Shirley.
Let me think about it, Shirley. And we’d drag it out. Listen, Shirley, maybe next week.
And I would say, well, are you sure? Maybe next week? Maybe, Shirley. Let me think about it again. And so he never let me sing.
Long story short. But it was still fun. Yeah.
What was your favorite song of his to dance to? As I remember, it had to be one of the hits. Because the wilder he got, the wilder we liked it. You know, Lucille and Tutti Frutti and all of that stuff.
And we opened the show for him, kind of warmed the audience up. And then we’d come back sometimes and dance while he was singing. But he didn’t want to be upstaged.
So he didn’t have us come out too often while he was singing. But sometimes. So I liked all his songs.
Oh, he put the Beatles on the map. How did he do that? We went back there and helped them with their music. They idolized him.
Lucille, Lucille. I love you still. Back where you belong.
I’ll tell you who idolized Ike Turner. And see if you can put this in your head. Prince.
Prince idolized Ike Turner. And so you could almost see. Because Ike was a fly dresser.
He could play the hell out of guitar. You know, he sang somewhat. And when he would let it go, he was a good performer.
And he was always nervous that Tina would upstage him. But he really was a good performer. Because that’s how she found him.
He was performing. He did make her career. But I guess she was pretty sorry about that in the end.
Yes. After a while, she was like, you know what? I think I can do this without you. And she certainly did.
Shelley Clark White, it comes around to 1968. And you set up a band called Honeycomb. It’s an American R&B soul group that originally formed in conjunction with Edna Wright, who was Darlene Love’s sister, and another lady called Carolyn Willis.
It was actually formed by the lead singer Edna Wright, who was approached by Holland Dozier Holland. And she told them, I don’t want to be with you as a solo artist, but I’ll be in a group. It just so happened that Darlene tossed Edna some work.
Edna needed two more girls. It was the Andy Williams TV special. So I was already singing with Carolyn.
We were in a group called Willis, Matthews & Clark before we were Honeycomb. So Edna says, listen, Shelley, I have somebody watching us. And if he likes us, let’s go back to Detroit and sign and be a group.
So we do the show with Andy. Sure enough, Edward Holland calls Edna and he goes, I like the look. You guys come back to Detroit.
They were forming their own label. And I said, nope. So I started travelling and I moved to London.
They didn’t have a word for it, but now they call it stalking. So they stalked me until, damn it, I’ll take one meeting. And then it was my intention to make it so hard for them, for Holland Dozier, that they wouldn’t want to deal with me.
Well, do you know they did everything I asked for? If somebody listening hasn’t heard of Holland Dozier Holland, let’s just explain because they were a really big deal, weren’t they? They were Motown’s primary songwriters at the time and they left to start their own label. Yes. They had a dispute with Berry Gordy about the royalties and what they were getting paid.
They were legendary. They were doing Martha Reeves. They were doing Smokey.
They had The Temptations. They had The Four Tops, Sugar Pie, Honey Bun, all of that stuff. Sugar Pie, Honey Buns, or with your heart to beat.
They say that this was the longest running court battle, music industry battle in history. The longest running. But they were not allowed to use their own names.
If you look at some of the Honeycone albums, you’ll never see written by Holland Dozier Holland. They had three main songwriters and they were Greg Perry, General Johnson of Chairman of the Board, and we had Angelo Bond, great lyricist. So we had Holland Dozier Holland and we had a dream team of younger kids writing music for us and it was just magical.
Amazing. You were the first act that appeared on their new label that was called Hot Wax Records. Yes.
And you blew up. Tell me the story of how you got the name Honeycone. Ah, now therein lies a whole other story.
We’re sitting in front of Edward Holland and he’s signing us and he says, yeah, well, I’m going to call you all girls Honeycone. We looked at each other and said, ah, okay, so what’s a Honeycone? And he said, don’t worry about it. Sign the contract.
And so it wasn’t until years later that we found out that as children, he and Brian had a favorite dessert and it was an ice cream and it was a flavor called Honeycone, but he never would tell us. But speaking of first artists, we were the first artists signed to them and also the first artists to perform on Soul Train. What about that? We had on silver spacesuits at the Apollo.
That was a whole different look than what was going on in the day too, wasn’t it? Yeah. Because don’t forget, we’re coming out of the 60s and we’re going into the radical 70s. 71, one ad hits and knocks the Rolling Stones off the number one spot.
That sold over a million copies and really set you on the way, didn’t it? Right, right. You see the plan, need somebody. I think the women of the world were tired of stopping the name of love and before you break my heart.
We were known for coming into an era with lyrics of empowerment for women. And so once they heard one ad, I’m going to get rid of you and put it in the one ads and the next one was stick up highway robbery. Another one, you know, was the day I lost you was the day I found myself.
One monkey don’t stop no show. And that was another hit. You’re out on the road, you’ve got a successful string of hits.
Why are you still broke? Because we’re still in the 70s and in that time you made money and then they said, hi, remember that hotel bill you had over there? Remember all that? The studio time, you got your royalties and the list of stuff here and then you got the breakdown of your indebtedness. It’s such a common story for that era, isn’t it? So many people, so many artists were ripped off. When one ad hit, I was on a television show with Jim Neighbors, a weekly show, Goma Pile, and they gave him a variety show.
It was wonderful. I was like, you know, the only black on there. I was a star.
And so they said, Eddie Holland said, well, now you’ve got to get off the show. So I’m stuck in the middle of being sued by two different entities. You know, it was just sort of doomed.
So, you know, it fell apart. It fell apart in 1973 for Honeycomb. So what did you do then? So after, you know, Carolyn Willis, first of all, she went on to tour and write music for Seals and Croft.
She was actually a featured vocalist on their song Get Closer in 76, wasn’t she? Right. And then she toured with people like Neil Diamond, Boz Scaggs, Carly Simon. Wonderful.
And Melissa Manchester. She was all over the place.
This is a breath of fresh air with Sandy Kaye. It’s a beautiful day. What we’ve left out of this entire conversation so far, and I’m coming back to Honeycomb in present day, is the fact that you met Verdeen and you got married and you have been married unbelievably in this business for so, so many years.
So tell us about your marriage. Well, it so happened that one of the members of Earth, Wind & Fire approached me. I didn’t know any of them.
And he said, I’m a songwriter. I’m with Earth, Wind & Fire, but I tour a lot. But I do have these songs that I’d like to cut on a female singer.
Would you be up for singing them? And I said, sure. And so I went into the studio and I was wondering who the band would be. And it was Earth, Wind & Fire.
Do you remember chasing the clouds? It was Maurice White. It was Phillip Bailey. It was Larry Dunn.
It was the original nine. And way in the back, I see Verdeen White almost passed out because I said, he’s not on my session. He’s the best bass player in the world.
Anyway, nothing really happened with the music. We didn’t really bond-bond that night, but I saw him six months later in a car wash. And I said, hey, I know you.
You played on my session. And he said, whatever happened to that music was great. And I said, well, I have a cassette.
Sit in my car and I’ll play it for you. So I played him the music. He said, let me do some music on you.
That’s a shame that that stuff just is in limbo. So that’s how that happened. So he started working with me and we worked platonically for a year because he was coming out of another relationship and it was crazy.
So we stayed just, you know, friends, but musical friends. And then after a year that was resolved. And so we got together and we didn’t marry, I think until 1980, but we did that TV show, Hot City Disco.
He was the music producer. And I was the star called Fire. You’ve managed to stay married for 45 years.
What’s your secret? In such an industry, there must be a secret. It’s crazy, right? Verdeen always goes, you realize that that’s really 400 years in Hollywood, right? Yep. People ask us, you know, don’t you guys ever fight? And my line is we fight every day, usually over the mirror.
And who wins? We take turns. You’ve kowtowed to his career a little bit and let him be the superstar in the partnership. Exactly, exactly.
I have to say that it was founded on music and friendship and a love for each other, not sexual love, but just a love and an admiration for each other. I asked him, I said, what do you like about me? And he said, you make me laugh. And he said, and I like the sound of your shoes on the pavement when you walk.
It’s always the key of, and I think he said, see. And I said, oh, wow, that’s deep. You would never think that someone is that focused or that aware that, and that would mean something, right? And I’m like, damn, this boy’s got it bad.
I was so impressed with his manners and that he was like a real gentleman. And I said, boy, he’s got evidently great home training, always open the door, always let you walk in first. He was into classical music.
He didn’t want to listen to a bunch of R&B and rap all the time. Even to this day, he listens to classical music, goes to sleep by classical music. That works with me.
It helps settle us and keep us grounded. If you have a friendship with someone first, you are miles ahead. I love that.
So 2014, you decide to reunite Honeycomb. Carolyn doesn’t want to be a part of it, but you find yourself two other great ladies. And Edna was already touring with another bunch of Honeycombs.
I told Vadim, I said, I would love to put it back. And he said, well, you know, my drummer is married to a singer. She tours with the Sounds of the Supremes.
So I gave a dinner party for him and I invited John and Kathy. And I sat next to her. I said, hey, Kathy, what would you think about helping me resurrect and do a reimagined Honeycomb? And she said, oh, that sounds interesting.
I said, can you find a third girl? And she said, absolutely. And we all met. We had a chemistry.
So it just worked after that. And, you know, we have a mutual respect for each other. We talk about wardrobe.
Not one person goes, I’m going to do this, I’m going to do that. We always put it on the table. What do you think? Because, you know, a democracy is how you stay together.
Because girls groups can get bitchy and they fall apart. I think that’s how we’ve made it so far. Jimmy Ray was a preacher’s son When his daddy visited he’d come along Yes he did Gather round the parlor talking Cousin Jimmy took me walking To the backyard we’d go walking He’d look into my eyes The Lord knows to my surprise The only one who could ever reach me Was the son of a preacher man The only one who could ever teach me Was the son of a preacher man He was, he was, he was, he was Sometimes being good ain’t easy No matter how hard I try When he started sweet-talking to me He’d tell me everything is all right He’d kiss and tell me everything is all right Why can’t I sleep away again tonight The only one that could ever reach me Was the son of a preacher man The only one who could ever teach me Was the son of a preacher man He was, he was, he was, he was Yes he was These two, Kathy and Wendy, we have a great harmony We have a great sound, a great blend And are you surprised by the success that you’re making Or I guess you would have expected that You had all the ingredients You know what, I thought I could always make it go Even back then, we didn’t have control So I felt so stifled I couldn’t make it do that with Edna I couldn’t make it go forward So this now feels like finally All the ingredients are there Everything seems to click You know, I have Verdeen’s support Which is why we usually try to include An Earth, Wind & Fire song in our set Always Tina Turner I always introduce myself as having been an IKET And people just go wild You know, she’s the real deal, right? She was the real deal You’ve just recently released a new single Called Here Comes the Rain Again Which some people may remember as the original From the Eurythmics in 1984 Here comes the rain again The open wind I wanna talk like lovers do Want to dive into your ocean Is it raining with you? So baby, talk to me Like lovers do Want me Like lovers do Why did you choose that song? Well, we had a producer that kept hearing it Over and over in his head And when he called me, he said Shelly, I got a great song for you girls I wanna give you a song And I said, oh great What’s some cool R&B pop song? And he goes, well it’s called Here Comes the Rain Again And I said, wait, what? Annie Lennox? Are you sure? You’re not hearing anything else, Neil? He’s a seven-time, eight-time Grammy winner And so my husband said, look Don’t argue with Neil If you hear something You gotta go with it Because he’s got He proves the test of time here So I said, you know what? Let’s go with it So, you know, it turned out to be A nice record for us Well, Verdine was actually in there also, wasn’t he? With the Yes John, the drummer for Earth, Wind & Fire Yes, we had the husbands That, you know, that’s Kathy’s husband We had Earth, Wind & Fire Rhythm section Here comes the rain again Raining in my head like a tragedy Tearing me up, ocean Ooh I wanna breathe in the open wind I wanna kiss like lovers do Want to dive into your ocean Is it raining with you? So, baby Like lovers do Want to Like lovers do Like lovers do So, baby We also have another song out there called we did a remake of Smokey Robinson’s song, Tracks of My Tears.
Look that one up when you can. In this one we had all the husbands. We had Wendy’s husband, Verdeen, John.
We also had another guitar player. I love the way you and Verdeen work together. What a partnership and as you said cemented by the friendship and the commonality that you had before you actually got married.
But you also helped him on his first solo project, didn’t you? Oh yes. Motown’s first songwriter, Janie Bradford, came to me. She said I have a song.
I have these lyrics and I want your husband to do it. I said okay you wanted to play bass. She said no.
I want him to sing lead. I said he will never do it Janie. He’s not a singer.
He doesn’t feel comfortable. She said he’ll do it. I said he’ll never do it Janie.
He’s a bass player and I said honey Janie wants you to sing a song. He said I’ll do it. Shows how well you know him.
Make me look bad, right? And I said Janie, he said he’ll do it. So we went into the studio. It’s just a great song, a great tribute to his older brother Maurice who of course started Earth, Wind & Fire and passed away from Parkinson’s disease.
He made the impossible possible, more than anything to stand. My superman, my superman, my superman, my superman. Had an unbreakable body.
He made the unattainable, attainable. He was my best friend, loyal and true. All of my problems, more than anything.
Shelley, what an amazing life you’ve had and out on the road again with Honeycomb. New singles. You are blessed.
You are absolutely blessed. I know, I know. Thank you.
Thank you so much for chatting with us today. Your sparkle just rubs off on anybody that you talk to, I know. Thank you for having me.
This was like girlfriends talking on the couch. Yeah, that’s exactly what it’s supposed to be. I’m so pleased.
Great to chat with you. Thank you, Sandy. Thank you for having me.
See you soon. Bye-bye.