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Welcome to A Breath of Fresh Air with Sandy Kaye. Hi, thanks so much for joining me today. I’m really glad you could make it along.
I’ve got a fabulous interview coming up for you this hour and I know you’re just going to love it. My guest has had such an incredible career that he really is a household name the world over. He’s soft rock singer, songwriter, guitarist, pianist and producer Kenny Loggins.
He’s had a consistent string of hits through the 70s, 80s and 90s and he’s recently released his autobiography. Kenny Loggins played in several bands in the late 60s, honing his songwriting chops as a staff writer at a music company. He rose to prominence as part of the duo Loggins and Messina with fellow singer and songwriter Jim Messina.
Even though we ain’t got money, I’m so in love with your money and everything won’t bring a change. Kenny Loggins has had hit after hit after hit, both as a solo performer and writer since his time with Jim Messina. His gift for crafting deeply emotional music is unparalleled and it’s been part of his life for as long as he can remember.
In fact, if what I read is correct, he was no more than around seven years old when he wrote his first song. I don’t know about that, but that’ll be the urban legend. That I was interested in rock and roll and songwriting early on was probably because of my two big brothers.
I had watched them trying to write a song together and getting nowhere and I remember thinking it can’t be that difficult and I really didn’t start writing until I was probably a junior in high school. Then while I was taking guitar lessons, I just automatically started writing songs. And was it as easy as you thought it was? It kind of was because I found that there was some part of me that wrote the song automatically.
It was almost like, you know, the same thing with poetry. When I was in school and they’d say, we want you guys to take an hour and write a poem. This thing would just pour out and I don’t know where this is coming from, but it’s kind of fun and easy.
And so I pursued it partly as they say, part of it is the inspiration and part of it is how do you craft a song? How do you craft a lyric? And that took time. So where did you learn that from? Was that just being thrown in the deep end and working it out as you went? I think so. Yeah.
I was a student of Lennon and McCartney and of course, Bob Dylan. I came through the folk era, but I also was a big fan of rock and R&B because I had two big brothers. You know, as you get into it and as you start to work at it, you see what’s working and what isn’t working and you begin to get ideas about how to make what you’re doing sound more like a real song.
Yeah. Well, you scored a job working for a music company as a staff writer there, which must have given you a great boost. But the first big break, as I understand it, came along when Nitty Gritty Dirt Band actually recorded some of your work.
That’s right. I had a job as a songwriter, $65 a month for ABC Wingate. And for that, they got House of Poo Corner and a few other standards and some early Loggins and Messina stuff.
And the way I would get my songs heard was I would go to different parties around town. And just one particular party that I went to, there were a couple of guys there from the Nitty Gritty Dirt Band and we were all sort of sitting in a circle trading tunes. And one thing led to another and I showed them House of Poo Corner.
I showed them half a dozen of my songs. They wanted to record House of Poo Corner and then they turned me on to their manager, John McEwen. And John really loved what I was doing.
So they had about four or five of my songs on their Uncle Charlie album. And that was the beginning of getting my stuff heard. Amazing.
You must have thought you were eaten a bit working for that $65 at the time, did you? Yeah, well, I considered myself lucky because my rent was $65 a month. So I would say it wasn’t 1909. It was just a shitty place to live.
But it all worked out. And Jim tells the story about the two of you meeting actually through one of your brothers, is that right? Right. My brother Dan became an A&R man for Columbia Records years later.
And when he first was signed on by Clive Davis to go into training for A&R, he and his best friend Don Ellis, who would become the president of RCA Records, they grew up together and they met Jimmy Messina. So they connected me and Jimmy together. And you’d been a fan of Buffalo Springfield, hadn’t you? Oh, yeah, absolutely.
One of my big influences was Stephen Stowes and Buffalo Springfield. There’s a man with a gun over there telling me I’ve got to beware. I think it’s time we stop, children, what’s that sound? Everybody look what’s going down.
This battle line’s being drawn. Nobody’s right if everybody’s wrong. The young people speaking their minds are getting so much resistance from behind.
It’s time we stopped. Hey, what’s that sound? Everybody look what’s going down. So you and Jim, when you got together, what was the magic between the two of you? Was it the way you harmonized, the way you wrote? Can you explain what it was that clicked? You know, of course, you know that’s an impossible question to answer because explaining the magic of a combination, but we definitely, I heard the Everly Brothers in our voices early on.
There was an Everly’s quality that we wanted to exploit, just as the Beatles did. The Beatles rarely gave the appropriate nod to the Everly Brothers, but you can hear it in their early work, especially. But there was that kind of Everly’s blend in our voices that caught our attention right away.
And we were both very nasal singers, so it all kind of blended together. And I think there was magic in that. And also, Jimmy had some great songs that he had not been allowed to sing in poco.
And when he showed them to me, the first one I did, we initially thought we were making a Kenny Loggins record produced by Jimmy Messina. I’m sure he told you. And so he gave me his song Peace of Mind to work up for the Kenny Loggins record.
And that’s the only song you’ll ever hear. Only Jimmy Messina song you will ever hear Kenny Loggins singing. And that’s when we realized, oh, this is this is a band.
We thought of ourselves as a one time, one record duo. That’s why he came up with the idea of calling it Sitting In. So you didn’t think that you’d have a future together? We weren’t thinking of it that way.
We figured the first record would be Kenny Loggins with Jimmy Messina Sitting In, like a jazz record thing. And then the next record would be Kenny Loggins produced by Jimmy Messina. But Clive did not like the idea of promoting a band that was going to break up.
So he insisted that he would not release Sitting In unless we committed to a six year deal. Were you reluctant to do that? Well, it caught me by surprise, as you can imagine. But at the same time, I thought, you know, there’s there’s definitely chemistry here.
We’re really clicking and we’re having fun. So sure. Yeah.
Amy, big time. You won’t believe that I am not the same as you. I can’t conceive, oh Lord, of what it is that’s happened to you.
With those angry eyes. Well, I’ll bet you as you could hunt me down with those angry eyes. What a shot you could be if you could shoot at me with those angry eyes.
You were writing a whole lot of songs yourself at that time, and one of my favorites was Danny’s Song. That was a very personal song to you, wasn’t it? Because it was about your brother having his first child. Right, right.
And a lot of it was taken from a letter that he wrote to me after Colin, his son, was born and telling me that they were going to get married and move to Northern California. And so, you know, he will be like she and me as free as a dove was sort of a paraphrase of one of the lines from the letter. Pisces Virgo rising is a very good sign that was from the letter.
People smile and tell me I’m the lucky one. And we’ve just begun. I think I’m gonna have a son.
He will be like she and me as free as a dove. Come see, love. Sun is gonna shine above.
Even though we ain’t got money, I’m so in love with honey and everything will bring a change. Love. In the morning when I rise, bring a tear of joy to my eyes and tell me everything’s gonna be all right.
Seems as though a month ago I was baby guy. Never got high. Oh, was a sorry guy.
But now a smile, a face, a girl that shares my name. And now the truth again. This boy will never be the same.
Even though we ain’t got money, I’m so in love with you, honey, and everything will bring a change. Love. In the morning when I rise, bring a tear of joy to my eyes and tell me everything’s gonna be all right.
What got you right into children’s songwriting? I didn’t perceive House of the Corner as a children’s song when I wrote it. It was a song of farewell to my childhood from the point of view of being a senior in high school about to graduate. And some part of me knowing that my childhood was over, at least I thought it was.
It comes back when you have kids of your own. But to me, that was just, you know, I wrote myself into that story in that song. I didn’t realize that I was, you know, I was, what, 16, 17.
I didn’t realize that I’d have to get permission from whoever owned Winnie the Pooh. And that would be the Disney Corporation, not long after that. But you did manage to get that permission, obviously.
Well, I was dating the daughter of the CEO of the Disney Corporation. That always helps. Yeah, you gotta go to the top, right? But I didn’t really realize that until, you know, I met her and we got into this, it wasn’t really a relationship, very casual dating thing.
But she introduced me to her father and I sang the song to her dad. And then he called the lawyers. Better than calling the police.
Yeah, right. Could have gone that way, I suppose. Were you a bit of a celebrity at school? No, not really.
No, I was very shy and, you know, big ear, buck teeth for quite a while. And so the shyness and the music was my way of getting around that shy, introverted self. But that took time, you know, it took a while to develop that part of myself.
So you were kind of that geeky boy in the corner, writing songs and strumming a guitar. Yeah, there, but for fortune, I would have been Elvis Presley, Elvis, not Elvis Presley, Elvis Costello. Kind of sitting there with my glasses on.
And House of Blue Corner sold millions for Kenny Loggins, and unbeknown to him, he was just getting started. Don’t you go anywhere, as this story continues in just a sec.
This is A Breath of Fresh Air with Sandy Kaye. It’s a beautiful day. Thanks so much for hanging in.
I’m chatting with superstar Kenny Loggins, who’s just admitted that he was a shy, geeky kid who discovered very early on that he had a natural gift for songwriting. Being in the music business required me to get over being shy and put myself out there and just show up. And it’s the showing up that changes you.
How was that for you? That must have been really difficult in the beginning. Yeah, it was. It was.
And I wasn’t sure how to go about doing it. And that’s why I think Jimmy was very much a mentor for me in that way. And sometimes there’s good and bad with that mentorship.
One is that Jimmy was a mentor and a teacher. At the same time, he was a, quote, partner. But we’re both developing solo careers, so there’s a conflict within that partnership of one-upsmanship, which I think exists in a lot of bands.
I think that’s why bands break up so soon, because they’re trying to one-up each other, and they’re only 18, 19, 20 years old. So we barely knew who we were at all. And then all of a sudden we’re enmeshed in this duo, and we’re trying to find our individual personalities while presenting the idea of a solid duo to the world.
If you’ve been thinking you’re all that you’ve got Then don’t feel alone anymore When we’re together then you’ve got a lot Cause I am the river and you are the shore And it goes on and on Always watching the river run Further and further from things that we’ve done Leaving them one by one And we have just begun Watching the river run Listening and learning to me To run river run There was a lot to learn about how to show up for not only hiring and firing a band, but hiring agents, hiring managers, creating a tour, road managers, the whole infrastructure of putting a business together. Jimmy had been experienced in that area, so I learned a lot from him on that. The positive was I learned a lot.
The negative was I learned his way. And then I had to learn, oh, there are other ways to do things. And in pursuit of finding your way, was that what led to the breakup of the two of you in 1976? Not really.
I would say that what led to the breakup was the actual creation of the duo. We were really two solo artists who really just thought of ourselves as soloists who’d come together for one record. And then, okay, so we’re thrown together for six records and let’s make the most of that.
Let’s share our material as much as we can. But we were both really ready to break up right from the beginning. So when that six-year time period came, I was like, thanks, see ya.
But you’re still good friends today, aren’t you? Yeah, we’re good. We get along well. Your mama don’t dance And your daddy don’t rock and roll Your mama don’t dance And your daddy don’t rock and roll When evening rolls around And it’s time to go to town Where do you go to rock and roll? The old folks say That you gotta end your day by ten If you’re out on a date And you bring it on late It’s a sin Just hang all the shoes And you know you’re gonna lose And never win Say it again You went off then to find your solo career and boy, did you find it in a very big way.
The following year, in 77, you wrote that fabulous song for Barbra Streisand to sing in A Star Is Born. Were the hits just pouring out of you already then? Looking back at it, you could think that I was definitely writing a lot. I was very excited about finally going solo.
The metaphor is pulling the arrow back in the bow, right? It was back there for quite a while before we let it go. And I found that my writing in that last year of Loggins and Messina evolved dramatically. I was finding new chords and new ways of putting them together and I had melodic ideas that were just completely different from anything I’d done with Loggins and Messina.
I knew I was heading in a sort of an R&B direction. Years later, someone would dub it Yacht Rock. But it was really from Celebrate Me Home on that I started moving in a more R&B kind of or R&B inflected approach to my music using more R&B type chordal progressions and really found myself drawn to that style of music that Stevie Wonder was sort of the spearhead of.
There have been times in my life I’ve been wondering why Still somehow I believe We’ll always survive Now I’m not so sure You’re waiting here One more reason to try But what more can I say I was left to provide You can pay it back Maybe it’s over Only if you want it to Are you gonna wait for a sign Your miracle Stand up and fight This is it Make no mistake where you are This is it Your back’s to the corner This is it Don’t be a fool anymore This is it The waiting is over No room to run Was it taking up every waking moment? No. I still had time to get married and things like that. So there’s other waking moments to deal with.
But I was very driven. No one had told me that you can’t break out of a successful duo and become a successful solo. I didn’t know what the odds were against me so I kept doing it because I was naive enough to think well, this is gonna happen just like the first thing happened.
Now this is gonna happen. I’ll just keep going. And really that moment I think that made the biggest difference in my solo career was meeting Stevie Nicks when I opened for Fleetwood Mac during Rumors.
And becoming a friend of Stevie’s we would hang out in clubs after the shows and stuff and she had quite an entourage of people that would travel with her. So there was a lot of partying going on. And in the process we became friends as well as Mick.
And then she said well if you ever need a singer give me a call. So of course she was by that point the most popular female singer in the world. So of course I gave her a call.
And that duet with Whenever I Call You Friend really broke my solo career. Ever and ever I know my life has given me more than every day by day So when your career had that huge boost with Whenever I Call You Friend how did life change for you then? Well it changed primarily because I could suddenly play bigger venues. Right.
And then that led to bigger audiences which I could then continue to put in new material and I just kept working it. Did your head run away with you? Did you let all that fame and fortune get to you? Or did you manage to stay grounded? Well it depends on who you talk to. I’m talking to you.
That’s right, I know. I think I managed to stay grounded. But my kids tell me not so much.
My oldest son says Dad you have no idea what real life is like. Because you know remember I was a so-called rock star from the time I was 21 on. So you know I never even learned how to cook a burger for myself.
You know it’s like when you’ve got enough money to hire somebody to do that you do it. So you never had to put out the trash? You never had to walk the dog? All the kind of mundane things that we do? Well not entirely. My first wife when I would get home from the road Eva would say well you may be hot shit out here but here you take out the garbage.
It’s like oh okay. We’ll call that grounding. Right.
Good. I’m glad to hear that. I’m chatting with Kenny Loggins.
The hits just kept on coming for you Kenny. And there is a fabulous story about how you got together with Michael McDonald of course from the Doobie Brothers. Would you mind sharing that with us? Of course.
I heard Living on a Fault Line that Doobie Brothers album when we were beginning Loggins and Messina. And I thought this guy is amazing. I’ve got to write with him.
And so I put the word out through management and I found out through grapevine that he was looking for collaborators. So finally we connected. I got a writing date and headed over to his house.
And as I was unpacking my guitar out of the trunk of my car I could hear music coming from the front door of his home. His door was ajar and I could hear piano things going on. And as I’m walking up to the front door I hear da-da-da-da-da-da-da-da-da-da-da and he’s singing And I couldn’t understand the words because he wasn’t actually singing words.
But at one point he stops abruptly and says to his sister that’s all I’ve got. And I knock on the door and my imagination had kept going. And when he stopped playing my imagination heard what would become the B section of that song.
So I knock on the door and I say hey Mike I said play that thing you were just playing because I think I know how the next section goes. And so I like to say that we were writing together before we ever met. And of course that song won a Grammy for you both, didn’t it? Yep.
He came from somewhere back in her honor gold A salamander fool girl She tried hard to recreate What had yet to be created Once in her life She musters a smile For his nostalgic tear Never coming near What he wanted to say Only to realize It never really was She had a place in his life He never made her think twice As she rises to her apology Anybody else would surely know He’s watching her go He He He’s seeing The wise man as a father That was your first Grammy. And then the next year we wrote This Is It and that won a Grammy. You were just on fire.
It still doesn’t stop because in the 80s you ended up with a whole new career being called the king of the movie soundtrack. Yeah, go figure. What happened was disco.
I just happened to get a phone call. Sue, you mentioned when I wrote for Barbara on Star is Born, I Believe in Love. And in the process of doing that song Barbara Streisand’s boyfriend at the time was John Peters.
And John and I became friends. And then he and Barbara split up and he started his own production company. And their first project was Caddyshack.
So when he was almost done with that movie he called me and said would you come check out my movie? I’d love for you to write something for it. So I stopped by his studio and I watched a rough cut of Caddyshack. And I loved it.
Laughed all the way through it. And I said I want to write everything for it. What can I do? So we have other writers but I want you to write at least a couple of songs.
So I think I have four songs in that movie soundtrack. That was the beginning of me writing for movies. And then my friend Dean Pitchford wrote a screenplay.
So I read his screenplay. As a favor to Dean he and I wrote the title song for his screenplay which was called Footloose. And the next thing you know he’s got the biggest movie of the summer.
Footloose It’s the right place at the right time. So much luck comes into this business. It’s also about who you know and how talented you are, isn’t it? I think, yeah, well it’s all of the above, right? It’s, they say to be ready for the opportunities when they arise.
It’s the trick. So it’s just, you know, it’s one thing to have that door open but it’s another thing to have your chops together where you can write a footloose. And Danger Zone, very similar situation.
I was in the studio. I had chosen to write for the volleyball scene of Top Gun because I knew no one else would. So I wrote playing with the boys.
And while I was in the studio working on that I got a call from Giorgio Moroder’s office saying Giorgio needs you to sing this song that he’s got at the top of the movie because the act we had has fallen out thanks to the lawyers. So I was down the street. So I said, okay, I’ll be right there.
Next day we’re in the studio and I sing the vocal. Grabbing a bench, listening to a high road Metal under tension, begging you to touch and go Danger Zone Instant night, shoving in the overdrive Toto was the band that was supposed to record Danger Zone. REO Speedwagon were approached too.
And Bryan Adams also declined because he thought the movie was a glorification of war. Stay tuned for more from Lucky Kenny Loggins.
This is A Breath of Fresh Air with Sandy Kaye. It’s a beautiful day. Welcome back.
I’m really chuffed to be chatting with one of the most popular soft rock singers of the 70s, 80s and 90s. Kenny Loggins has enjoyed an amazing career, having sold more than 25 million records. Kenny, your friendship with the late Michael Jackson also proved to be really fruitful because he was the one who pulled you into We Are The World.
Right, right. I met him when he was showcasing Off The Wall and we became instant friends and he called me when the Jacksons were doing their reunion tour. And so when We Are The World came around, he called me, literally, and said, you know, I’ve got a project that I’d like you to be in on.
You want to do it? Of course, it’s like Michael Jackson. So I show up and it’s We Are The World. And then he really gifted me by putting me on that front line with the other lead singers.
What was it like doing that? It was great fun. It was a rush. Standing next to Springsteen and Steve Perry, who I would write with, and Daryl Hall and then all those people on the ensemble, you know, the Pointer Sisters and everything.
It was coming of age, kind of, like being a senior in school instead of a freshman. And of course, it was all for such a fabulous cause. And you’ve always been one for a good cause, haven’t you? Because you’re a deeply committed environmentalist.
In fact, I know that you wrote the song Conviction of the Heart. And you actually think this one, of all the songs that you’ve done, is your very best work. I think that the album is my best work because I hit a place where, you know, by the time we hit Back to Avalon, which was probably the album before that, I had hit records, but they were gradually all getting written by other people and produced by other people.
And I was getting further and further away from that connection to my own creativity and my own work. So I decided that the next record would be written by me and produced by me, and I would make a full commitment to making that the record of a lifetime. And at the same time, my marriage was coming apart.
I was going through those changes. Then during the making of the record, I would fall in love with a new person, and that relationship would start. So I had this whole cycle, life cycle of death and rebirth happening in my life.
And Leap of Faith got to chronicle that. And that’s the sort of thing that an artist can wait your whole career to have that moment where everything comes together. Your life and your art is one thing.
Where are the dreams that we once had? This is the time to bring them back. What would the promises be? Caught on the tips of our toes. Do we forget or forget? There’s a whole other life waiting to live.
One day we’ll brave enough to talk with conviction of the heart. It’s interesting you talk about that because it doesn’t matter how famous you are or how much money you have. Those are the sort of life events that you go through like the rest of us and in exactly the same way, don’t you? So you’re filled with the same emotions, the same problems and you have to deal with it in the same way.
Yeah, except that I get to write about it. My job is to chronicle those emotions, chronicle those changes and really be willing to look at it and dive deep into it so that I can artistically express what you’re going through. Because we’re all going through it.
That’s what life is. So we get to relate to your words and you use it as a therapy to get through your own situation. Yeah, it is.
And I didn’t really perceive it as a therapy. I just saw it as my duty as an artist to use this opportunity to do something with it and something in a way that it moves other people. Yeah, you moved a lot of people.
It even moved the likes of Al Gore and it became the unofficial anthem of the environmental movement. Is that something that you pursue relentlessly these days too? Not as actively, but yeah, I’m still involved in one way or another. I’ve got an organisation here in Santa Barbara called Unity which keeps a focus on the footprint.
I’ve been more involved in children’s things and Unity is very much focused on feeding and clothing those in need. So it’s a closer to home thing. I read something else very interesting about you was that when you’re in concert, fans tend to bring gifts all the time.
Kind of sounded like the way they threw the underwear at Tom Jones and the like. And on your website you write, please don’t bring gifts to me, donate instead because it can be much more meaningful. What do they bring? Oh, any number of things, but not underwear.
It’s not that kind of thing. I remember about 10 years ago I had an old friend of mine who’d come to the show and he was looking from behind backstage pulling the curtain aside and he looked down and he said, jeez man, you used to pull the prettiest girls. Meaning the audience was made up of the prettiest girls.
He said where are they? And I said, that’s them. That’s them today, but I’m sure you’re appealing to a whole lot of younger generations as well because you’ve endured. Your work spreads into so many different directions.
Why the desire to work with kids? I think when I work with young people I see myself in them and I want to give to them the things I wished someone would have given to me. Whether it’s learning how to craft a song or just giving someone a leg up in their recording career. It’s very gratifying.
The strength as a young person is to invent, to create, to reform what’s there in a new way. There’s a lot of elasticity in the brain. Then as we get older, that brain becomes more crystallized and we become a depository of information.
And so we do become masters at our craft and we can then share that awareness with those young people who have an awareness of the importance of that mastership. I don’t want to compete. I don’t want to always be running in place trying to keep up with the latest.
It’s absurd. I had my turn and now it’s your turn. Walking on my own, absolutely free.
Solitary life to the right is all I’ve ever known. I have no one to lose and nobody new. Rainbow in the magic of life.
Don’t you find though that young people are not interested in the wisdom of older adults? They think they know it all best or is your experience different? Well, of course both. The one you just described is my own kids. The other experience of teenagers is those who are really hungry for information and want to know what the craft was and may continually be.
You know, there are threads that run through every generation of music. How do you pass that information across to young people? Well, I found that there are songwriters clinics all around the country and if I go to teach at a clinic invariably I end up in a writing situation. I did a clinic recently for a publishing company and I ended up in a room with a female singer-songwriter who was a very cute girl and really great voice and when I started to explore with her what her influences were, she mentioned Sade.
And I said, oh well, if you’re into Sade then we want to build this on a bassline. So we came up with a bassline and as we’re creating the melody, it’s all just coming together. That’s the sort of thing that I like to do.
Did you spend the pandemic sitting on your couch writing too? No. We got e-bikes and my lady and I would go out in the morning and find the perfect donut. That’s the season I’m in.
It’s wonderful to hear how happy you are. You’ve got 12 platinum albums, a pair of Grammys, hits on almost all the Billboard charts over several decades. You’re still going.
You’ve just released a new book. It’s called Still Alright. It’s the memoir from one Kenny Loggins.
I was very reluctant to write a memoir because I thought of it as the last thing you do before you die. And finally I had a publisher talk me into it. In interviews I call it a cross between a deposition and therapy.
Because trying to remember all the shit that happened over the years is quite challenging. And that was one of the reasons I was reluctant to do it. I just didn’t remember all the stuff I wanted to.
Yeah, right. I don’t remember anything. How did that process work for you? It took about a year.
I have no relationship to time. When I look back on things they all seem to merge. Except for the birth of my children.
I’m really not sure what happened when. We did a lot of interviewing of old friends, road managers, musicians, calling them up and saying what do you remember about this thing or that thing? One classic example, when I was making Leap of Faith, we were about two thirds of the way through it. And I was moving my headquarters from Los Angeles up to Santa Barbara and we loaded a truck up with two 32 track Mitsubishi digital recorders, all our amps and guitars.
And on the way to Santa Barbara it got stolen. Oh dear. What happened to be in the truck, unbeknownst to me, were all my master tapes from Leap of Faith.
So we didn’t know if that was ever coming back. And I had to make a decision as to whether or not to keep recording overdubs or go back and try to recreate my masters. And so I literally took my own Leap of Faith and in my body I felt like the tapes are coming back.
Don’t waste your time re-recording the material that’s going to come back. So I keep going with my overdubs believing in my heart that masters would show up. And that three weeks later the police find the truck and the master tapes had been moved from the body of the truck to the cab and locked up in the cab.
Everything else was stolen and gone. How amazing. I ended up with five singles off that record.
But you didn’t put those master tapes in the cab of the truck, did you? Whoever had stolen the truck had moved them to the cab. Yes, correct. How insane.
I suspect that some engineer or engineers had something to do with it because whoever did it knew the value of those tapes. I think just some general thief wouldn’t have even recognized what they were. Wow, what an amazing story.
So the moral of that story is keep the faith. Yes, if you wish. That can be your moral.
Well what was yours? I mean you kept believing that they’d come back and they turned up. Yeah, it was more like I knew they’d come back. I just knew it.
It wasn’t like an exercise in keeping the faith. It just was faith. Is there a moral to that story? I don’t know.
Kenny Loggins, you’ve got the book, Still Alright. Why the title? Well it’s based on the song I’m Alright. We kicked around a lot of other titles but that was my favorite.
You’ve still got those e-bikes? You’re still riding them and searching for the world’s best donut? No, I had to stop doing that. It was like they were showing up too much in my gut. But yeah, we still have the e-bikes.
We took up pickleball and we play that a lot. We love the game and that’s great exercise. Yeah, that’s about it right now.
I have special projects when they come up. And still writing new material? Occasionally, yeah. There’s a lady out of New York named Dori Berenstain who’s making a documentary of my life and in the process she asked me if I would write a title song for it so I’m in the process of recording that.
Fabulous. We’ll look forward to watching that too. What an absolute pleasure to have the opportunity to chat with you, Kenny Loggins.
It’s just been terrific. Congratulations on a fabulous career. Thank you.
Bye bye. I hope you found the chat with Kenny Loggins as interesting as I did. What an incredible career he’s enjoyed.
Smash hits on Hollywood’s favorite soundtracks, rocking worldwide stages and finding his way into children’s hearts everywhere. His song Danger Zone was recently featured again in the 2022 movie Top Gun Maverick, earning over a million streams per day at its peak. Rest assured too that his memoir Still Alright is a fascinating read as it provides a candid and entertaining perspective on one hell of an interesting life.
Thank you for being here again with me today and don’t forget if you have a guest that you’d like to hear from just send me a message through the website abreathoffreshair.com.au and I’ll do my very best to get that person onto the show. I’ll take my leave of you now and hope you have lots of fun until we meet again same time next week. Bye now.
It’s a beautiful day.