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Misty Blue Intro - Live from Spotify NYC
Cyndi Lauper
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This is, uh, one of those songs
See, a lot of people said, "Okay, now you're going country"
You know, as opposed to the blues record I did and then the-
There was that Broadway thing I did that was a left turn
You know, it's a lot of left turns
But I figure you know life is a detour and you gotta take it
Right? 'Cause you come out on the other side, could be really awesome
So I always wanted to be on Sire Records, right?
I can't help it, everybody has their thing
You know?
Now I'm on Sire and I got to work with Seymour Stein, who I really wanted to work with
I don't know if any of you know him, look him up
Okay? He signed the Ramones, the Talking Heads, I don't know what, the Cramps
Every-, he had everything, right? And Madonna
But, the whole new wave thing that was happening in New York at that time was so unbelievable
It's kind of like now, you have Google, you have you guys, you have you know that walkway
That used to be an old train station
I see the tourists go up there, bundled up
It's windy out but they went up
"I don't know Harold, we gotta go up there, c'mon it's nice it's a beautiful"
"Myrtle it's freezing"
And then you go there, maybe go to SoHo, Haus, or you go to the Guggenheim Museum and you have yourself an art minute
Which is kind of like what is down here
But, when I was young
You know, in 1900, um
There was, there were, there was a whole scene happening
Not so much on this side, but in the East Side, in the East Village, and it was awesome
And we had our own music, and when it was new wave it wasn't just coming out of England
It was coming out of the Bowery, the Lower East Side and it was ours
And so, it was really exciting
And so, the reason I did this whole thing
Was to work with Seymour Stein who was right in the thick of all of that, you know
Because when they were playing over at CBGB's, unfortunately I was at Great Gildersleeves
Looking over going, "Why can't I play there?"
No, anyway
I don't think about that much anymore)
But, um
But anyway, I got to work with Seymour and he said, you know
He thought I could sing anything
So I said, "Ah, yeah, yeah hah, okay"
No, but his- He had this great idea that, he had listened to the blues album and he
He felt that there was a time in country music when country and blues were very linked
And blues songs, R&B songs, and when those times it wasn't really R&B, it was blues
And the blues and country mixed all the time
He said around the time of Elvis, right?
He said when Elvis kicked the doors down
I think Wanda Jackson was kicking the door down too
I think Big Mama Thornton kicked the door down pretty hard for me (yeah)
But that's me, um, and I thought she was a rocker, not really quite a blueser but whatever
And um, of course without her there would have been no Hound Dog, right?
Okay, that's just me, sorry
I digress
So anyway, this song in particular is not -
It's kind of of that time
It was a hit in 1962, and I know 'cause all you on the computer you could look it up
Wilma Burgess did this song first
It was actually written for Brenda Lee
But Brenda Lee must have just had "I'm Sorry" and wanted to do something a little different
So, she didn't do it and Wilma Burgess did it and she had a hit
And then ten years later, around, Dorothy Moore had this huge hit with it
And was- At that time, it was-
I don't know, was it R&B then?
Or was it soul? Soul
(Um, '70s) the '70s
And when, you know, that was like
'70s I was like, I was a teenager, and I was like, "Whoa, soul"
It was the end of the dial, it was awesome, you know
And uh, she had this hit
And I did this song because I thought that this song is really what that-
What Seymour's idea was
It's a song called "Misty Blue" and it kind of goes like this
Well, it goes like this but you know it's our version
One, and two, and three, and four