Side 4: Track 16 – “Nights On Broadway” – Theresa Dean

The best.

That's-

That's why I wanted to start this with this, because it goes-

Ah

... directly into Joel.

[laughs]

I mean, it's the craziest story, but once we got there it was like, oh my God, what a great place.

And it was.

It really, really was, you know? Joe remembers the studio.

You remember what a dump it was.

Yep.

The whole office was a dump.

Yep.

Very small.

There were, people were on top of people, but everybody wanted to record there.

For some reason it had that vibe they all c- you know, said it had.

But everybody was great.

Everybody, you know, we just...

I guess maybe 'cause every- we, you know, we were young.

We were so young, and we weren't looking, you know, fighting or trying to get ahead.

The egos didn't get involved at that point.

Everybody just did what they did.

When your father hired Michael Cuscuna, oh, that doll.

Yeah.

He was such a doll.

The best.

That's-

That's why I wanted to start this with this, because it goes-

Ah

... directly into Joel.

[laughs]

I mean, it's the craziest story, but once we got there it was like, oh my God, what a great place.

And it was.

It really, really was, you know? Joe remembers the studio.

You remember what a dump it was.

Yep.

The whole office was a dump.

Yep.

Very small.

There were, people were on top of people, but everybody wanted to record there.

For some reason it had that vibe they all c- you know, said it had.

But everybody was great.

Everybody, you know, we just...

I guess maybe 'cause every- we, you know, we were young.

We were so young, and we weren't looking, you know, fighting or trying to get ahead.

The egos didn't get involved at that point.

Everybody just did what they did.

When your father hired Michael Cuscuna, oh, that doll.

Yeah.

He was such a doll.