RENEE GEYER - Enough Rope with Andrew Denton (2005)
Renee Geyer - Enough Rope with Andrew Denton in 2005.
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00:30Thank you very much, thank you. Thank you. Thank you, good evening, welcome to Enough
00:51Broke. Recently, my first guest was inducted into the ARIA Hall of Fame, an honour she
00:56received with the usual raised eyebrow and full-throated cackle. Considered by many to
01:01be the finest female voice this country has ever produced, she has willfully trodden her
01:05own musical path, sometimes to her own cost. Please welcome Renee Garton.
01:10Thank you. Welcome, Renee. Thank you. Thank you. The European style. Not commercial television
01:23now, sorry about that. Now, congratulations on your induction into the ARIA Hall of Fame.
01:28You made one of the best acceptance speeches I've ever seen in the history of awards nights,
01:33this is true. You're a lie. No, no, I'm not lying. I don't lie. I'm on the ABC, we never lie. Okay.
01:37And here is, maybe laugh out loud, here's a bit of a clip of Renee's acceptance.
01:42My very first manager was a guy called Horst Leopold, and everywhere he went he would say,
01:49that Renee is grooving her arse off. And after saying that many times, he finally got me a record
01:57deal by saying that. But anyway, they signed me to a deal that was one of the, probably the most
02:01hair-raising record contracts in the history of record contracts, out of which Michael Gudinski
02:07and Ray Evans, my at that time manager, rescued me and did some things. What did you do? Some
02:16things. Shut up. Anyway. You look like you're really enjoying yourself. Oh, any time you can
02:24say shut up to Michael Gudinski on national TV, it's a good day. You actually asked him to tie
02:30your shoelaces at one point. I did, and I don't have shoelaces, but if I had them, I'd want him
02:35to be tying them all the time. You're trying to make a point it seemed to be about Michael. Look,
02:39Michael's a lovable, lovable rogue. Him and I have known each other for about 30, 30-ish years,
02:45and you know, a couple of Jewish people in the industry, of which there was hardly any Jews in
02:52the beginning days, so we sort of had a kinship in the early days, and he's sort of the naughty
02:57brother that you sort of have to have, but don't really want, but there he is, but you love anyway.
03:03What did it mean to you to be invited into the Hall of Fame from the veranda of ambition?
03:09I didn't think it was gonna happen in my lifetime. I've never sort of fitted in with the sort of
03:15aria type thing. I've never gotten an aria. No, I mean that surprised me that I'm, you know,
03:23that I'll be, I'd be in the sort of aria Hall of Fame when I hadn't received an aria, but it was
03:28lovely, and you know, how could you not, anyone that says that their whole hum about it is a liar,
03:33because it's fantastic to be given an honour like that, and amongst people like Smoky Dwarf,
03:38I mean, please somebody give this guy a Hall of Fame. He's 92 years old. Hurry up already,
03:44and you know, Normie Rowe and the Easybeats, who I used to love and throw gonks at when I was 10
03:51years old, so. Really? You went to their concerts? Absolutely. What's a gonk? Well, when I was a
03:55little girl, you used to make these, they were sort of like pillows with arms and legs, and you
04:00draw faces on them. Does anybody remember the gonks? Yeah. And you'd throw them at your favourite
04:04pop idol, and hopefully they caught it, and it'd have your name on it, and they would take it home,
04:07and they'd have your name on their gonk, and it'd be just something that you relished for the rest
04:12of your life. Yeah, and they'd come knocking, and you'd have sex with them when you were older. Well,
04:16I was hoping, Normie Rowe was with many, many young women, and I was hoping, me, me, maybe me,
04:21maybe me, but you know, in those days, for me then to think, my God, I'm actually gonna be
04:28inducted into Hall of Fame with this guy that I lusted after when I was 11 years old. Yeah. Lusted
04:34might be the wrong word. I don't know what that meant. Did he still have your gonk? I don't know
04:39if he ever caught my gonk, but I know Billy Thorpe caught my gonk. He won't admit that he caught my
04:43gonk, but he caught my gonk. How do you know he caught your gonk? He just doesn't want to, like,
04:46admit, because I was 11 when I went to see him, and he was, you know, already 53. Yeah. At your
04:52concerts, did you ever have guys throwing things to you? Not at long range. Um, no. Unfortunately
05:04for me, Andrew, I was at a really, um, kind of well-behaved, irreverent kind of audience,
05:12because they're music lovers, and it's the most boring audience you would ever want,
05:16and it's no offence to anybody who's a music lover, but what an audience to have. I mean,
05:20you don't get any action. There's no screaming heebies, and people coming back. Oh, come on. No.
05:24You had no one at the dressing room door? No. I mean, the fact that I looked like a pit bull go
05:28back to, like, grrrr, any time anyone came near me, it may have had something to do with it,
05:32but I just didn't have that screaming heebie sort of thing around me, and, um, I would have loved it.
05:37I want it now. We'll see what we can arrange. The interview's just long enough to heat somebody up
05:44for you. Had them washed and sent to your dressing room. So... Don't even have to have
05:48them washed. I like where this interview's going already. So, you said you were this,
05:55uh, kind of, grrrr, uh, scary woman. In what way? Well, I mean, I, I used to make it known
06:02that anyone backstage that wasn't part of the band, or had something to do with the show,
06:07wasn't really welcome. And how would you... Because they just took up space, you know,
06:11there's all these people standing there going, grrrr, I'm enjoying it, grrrr, that was a great
06:17set, grrrr. I mean, you know, just get out, go away, get out. Usually after the go away,
06:24they're gone. Mm-hmm. The get out doesn't exist. Get out, get out, get out. Have you ever followed
06:28through with the... No, no, no, no, no, no. Never needed to. I've got such a strong voice,
06:33and everybody, grrrr. Now, where did this voice come from? It is a remarkable, it's a wonderful,
06:37fabulous thing. I don't know. And my parents don't know, we don't, we don't understand,
06:42except that when I was young, um, I was loud, and, and, um, when I was in the school choir,
06:49it never fitted in, because everybody had pure, clean little voices, and I had this husky,
06:53grrrr, sort of a voice. But now I'm actually getting paid for, which is the hilarious part
06:59of it. But, um, my parents used to call me uber mutic, when I was a young girl, which is a German
07:05term for someone overacting, you know, always wanting attention. Actually, we've got a fabulous
07:10photo of you as a kid. This is brilliant, I love this. Your dad, Edward, thought of you as a bad
07:17seed. In what way? I was a bit, an unusual child, and I think that they, they were worried and
07:23concerned that maybe I was mentally, you know, there was something wrong with me, maybe. And I,
07:26I think, um, they sent me to a psychiatrist when I was a very young girl. I remember asking my dad,
07:31why am I going to this doctor, and him saying, we're going to see if you're nutty or not. We want
07:36to find out if you're nutty or not. And, okay, they found out I wasn't nutty. So then it wasn't
07:41that I was nutty anymore, I was just a bad seed. That could be the only reason I was, um, behaving
07:46like I was, because I wasn't abnormal, so I must have been just bad. I'm going to have to pressure
07:52here. In what way were you behaving that would lead them to think that they'd ought to might be
07:55Well, like, you know, at some point, you know, I, I was at a private school in Methodist Ladies
08:01College, and I used to steal money from rich girls' bags and buy cream buns and twisties for
08:06myself, you know, two shillingses and things, and got expelled for that. And, I mean, this was
08:11devastating to my parents, who were hard-working, you know, law-abiding immigrants in the fifties
08:16and sixties, and I was, uh, just very opinionated and very independent and stubborn, and wanted
08:24things sort of to be done my own way. So I used to get hit a lot, and that sort of caused a bit
08:29of friction when I was growing up. What was the feeling you were left with about yourself? Not,
08:34not very good. Um, my father's a very down-to-earth and very, very smart, intelligent man, but, but
08:42not into, you know, if I came home with a painting that I drew and it was horrible, he'd go, what is
08:49this? This is stupid. This is horrible. You know, he was a realist and didn't have time for all that
08:54false flattery sort of thing. Um, so I'm the only person that told myself I was really great. What
09:00about your mum? My mum was always trying to make peace between me and my dad, so I feel sorry for
09:06my mum, too. I mean, my parents are incredible. My mum went through the Holocaust, so my mum is an
09:12amazing woman. My dad is amazing, and they've come through an amazing, you know, raising three
09:20children and coming through the war like they did and all that, so I have nothing but respect for
09:24them. I don't have any bitter feelings. I hate it when I ever go to a psychiatrist or anything. I
09:29want, I always want to go back and work out why it is that all that stuff happens the way you are,
09:35and it always ends up that, that there's maybe a thing you, you maybe should resent your parents
09:42for how they raised you, and I just always don't even want to go there because it was then it
09:47happened, and it wasn't out of malice. It was just the way things were in those days, and it's, they
09:53did the best they could. Do you remember the first time you sang for someone other than your family
09:58or close friends? Yeah. What happened? Well, my very first audition was with a bunch of rich eastern
10:05suburbs boys in Sydney who had far too much pocket money from their parents, so they had incredible
10:12instruments, but none of them could actually play. I remember singing a BG song to love somebody. That
10:19was the very first audition I had to join a band, and from then on it was, that was it. That was the
10:24only thing I was ever gonna do. What was the reaction? They got a shock, and I got a shock at
10:30their shock because I knew I could sing. I always knew I could sing because I'd watch Bandstand or
10:34It's All Happening or, and I'd go, I'm better than that, I'm better than that, but I'll probably never get
10:39into showbiz because it's not my thing, but I'm better than that, and all of a sudden I hear I'm
10:43singing for people, and they just, and I kept dropping jaws every time I sang, and it's just,
10:49there it is, something magic that I'm just thankful that I have. You're very fortunate. We've got some
10:55footage of you from GTK. Remember Get To Know. This is from the early 70s. This is Renee with
11:01Band Mother Earth and Spirit In The Dark. Mother Earth grooving their arse off. That is right.
11:31Such charisma. Such great TV technique, camera technique. What about the moves? Did you feel you
11:41had to have moves? I never had any moves. I still don't have any moves. How can you have soul and not have
11:46moves? Well, you know, this is the great big, big question mark about me, about the fact that I sound,
11:53I have this black sort of voice, and I'm this R&B supposed person, and I'm as white as white
12:00can be. I can't, you know, I don't have moves. Your career started to take off in the early 70s
12:06with things like, you know, Heading In The Right Direction and Stairs and Whispers, and you're on
12:10Countdown. You did all this stuff. What did success feel like to you? I never felt success in those days
12:17because I felt like I was working for somebody. It wasn't until I managed myself that I got a sense
12:23of achievement. It was just like a job, and I kept being given these orders to go, go here, go there,
12:29do this, do that, and I resented it in my early life. I didn't feel the success like I should have.
12:35For such an independent person, it strikes me as amazing that you would allow yourself to be so
12:40pushed around. I wasn't necessarily pushed around. There was a lot of me pushing back during these
12:47years. Now I do interviews with people, and they say, oh, I heard you were really difficult and
12:52really horrible, and they're right. I was back then. I didn't care. Well, that not only is a
12:58reputation. That was the title of your autobiography, Confessions of a Difficult Woman,
13:02and that is your reputation. What did you do to earn it? I thought a lot of the people in the
13:09music business were morons, and I treated them like that, and the funniest thing is I'm in the
13:16music business. I'm the biggest moron of them all, so how funny is that, but... You didn't really
13:21think that, though. I didn't at that time, but I know it now. One of the quotes I read of yours
13:25was that you said there are too many people in rock and roll who are little blobs of nothing who
13:29have control over other blobs of nothing. Damn right. What were the sort of people you were
13:35meeting? Just all the ones that everyone admires. Most of them are blobs of nothing. I mean,
13:42they're nice blobs of nothing. I mean, if you're going to have a blob of nothing, they're the
13:47nicest blobs of nothing you're going to have, but pop music industry is not rocket science. It's
13:52just, you know, it's just a bunch of stuff, and it ain't that important. Makes people happy, and
13:59that's great, but that's about it, so I meant that in that sort of way, as in, you know, a lot of
14:05people make it seem that it's more important than it really is, and it isn't. If you couldn't sing,
14:11it may not be that important, but if you couldn't sing, what would you be? Mental home. Jail. Dead.
14:17So, on the other hand, it is that important. Probably. It's absolutely crucial. The singing
14:23part is, not the actual industry part. Is that why you went to see a psychiatrist? Oh, I'm always
14:29going to try, I'm trying, always trying to fix things up. Such as? Oh, lots of things. A mess,
14:35mentally, but always trying to fix things up. Aren't people generally trying to avoid the things
14:41about themselves that are bad? Paper them over? Well, my thing is that I already know there's
14:46things that are bad. Let's move on from there, and just make things from now on better. I find
14:53most psychiatrists or people like that that I meet, I reckon I know what they're going to ask
14:57before they ask it, and I feel like I know what they're on about, and I just don't believe what
15:03they do, and they always want to give me a pill. They do. They want to give me lithium or something.
15:09And why do they want to give you lithium? Because I'm, you know, ubermutic. A bit nutty.
15:14Ubermutic, a nutty, ubermutic, you know. I mean, I make a living off being this way now,
15:18and someone's trying to give me a pill and calm me down. I'm still curious as to why you're going
15:23to see them, if you know what they're going to ask, and you know they're going to give you a
15:25pill, and it's not the satisfactory experience you're after. Well, I won't go into the whole
15:30thing. I think you should. No, I know you think I should, but I won't. You know, being obsessive
15:36about certain things, or, you know, being a depressed person sometimes. Sometimes I get
15:41depressed, and a lot of people do, and sometimes you go to talk to someone to see if they can help
15:46you. Let's talk about something that will cheer you up, I have no doubt. You once slapped Molly
15:50Meldrum. What was that about? Oh, that was so great. If only it was really a slap out of because
15:55I hated him. Molly wanted that slap really bad. It was part of show biz. It was on a countdown,
16:01and you know, the idea was I was going to slap him, and I didn't even slap him. If anybody watches
16:06that, I just sort of go, you know, it's just the lamest slap. That was the show business slap,
16:10though. There was another time you slapped him. Oh, I did slap him privately in an office somewhere,
16:14yes. In Michael Gilinski's office, yes. What prompted that? Oh, just another one of his
16:19inane outbursts. But to slap someone's a big thing. Oh, look, that man can't be slapped enough. I swear
16:28to God. Does he acknowledge this? He needs to be slapped into, you know, consciousness. So,
16:33take me through this scene. You're in Michael Gilinski's office. Molly's there. What leads
16:36to a slap? I think Michael and I were having an argument, as we do. Every five seconds of
16:41our relationship is an argument, and Molly bought it in, and it was nothing to do with him,
16:47and I just slapped him, I think. I think that's what happened, and you know. What was his reaction?
16:52Well, the thing is, Molly then sort of gets this look of, I swear to God, he'd probably have an
16:57erection. He gets a look of, he gets a really, that's the horrible thing. You slap a guy,
17:05you think, okay, he's going to be really upset and walk out of the room. He's actually got twinkles
17:09in his eye. He wants a spanking, does he? I think he wants one, and he wants one often, and I'm happy
17:16to oblige every time I see him. So, on the other night, I tried to give him a slap, but he wasn't
17:21close enough. I can see a whole reality show in this, right here. Channel 10 are going to program
17:26this for an hour a week. He's a sweetheart, though. Yeah. After all that, he's a sweetheart, Molly.
17:31You've lived a very thorough life, is probably the way to put it, and in your autobiography,
17:36you say that you died three times with the big H, heroin. Was it worth it? Was it worth the
17:43experience? No. Nothing redeeming about that. Nothing at all. I'm very ashamed of that.
17:50Why were you into heroin? Why? I have no answer to that. I mean, it was around when I was a young
17:59girl. No one made me do it. I was always wanting to be in that bathroom where everybody goes to
18:06the special bathroom at a party, and you're always wanting to be in that bathroom. I want to get in
18:12that bathroom. What are they doing in there? They shut the door, and they don't come out for about
18:15an hour. What's going on in there? So, I finally got in the bathroom and never came out, and it
18:22just felt good, and that's how inane and stupid drugs are. It's just about feeling good for a
18:30short time. The repercussions are horrendous, and nothing redeeming, I have to say, about any of it.
18:39You know, it's a struggle. All my life, that is a struggle, that wanting to sort of feel kind of
18:45nice, and unfortunately, I'm paid for it. You once went to the Easter show on LSD. What was
18:51that like? That was fun, except anyone with a weak bladder that drops LSD and then goes to
19:00somewhere like the Easter show and then goes in the barrel, you know, the barrel that goes one
19:03way. One side goes this way, and the other goes that way, and I got stuck in the middle of the
19:08barrel, and I had a weak bladder, and I was, you know, LSD, and all of a sudden, I, you know,
19:17that thing happened, the wee-wee'd, and I thought in my LSD haze that it was this avalanche, this
19:23waterfall, and I'm warning everybody, don't come into the barrel. There's a flood, there's a flood,
19:29there's a flood, and it was this little, you know, thing, but anyway, everyone looked like they were
19:35from Deliverance. Everyone had, like, their eyes were really close together, and there was cows and
19:40pigs, and it was, it just looked, and the Easter show has never looked the same since. You can talk
19:48you with a woman sloshing around in her own urine, for God's sake. What can I say? I had a great time,
19:54though. It was great. Through all of this, the music was still pumping along, and ironically,
19:59your first number one hit was in 1980 with Say I Love You. We've got a clip of that here.
20:10My favourite song, Not. When you say the song I loved most, Not, is that the thing about being
20:29trapped in a number one song that's not really you? Yeah, I'm heading in the right direction,
20:34man's world were never that big, and it's funny. You record a song, and someone decides that's the
20:40single. All of a sudden, heaven help you if that becomes the big, huge hit, because for the rest of
20:45your life, people are screaming out for that song, but Say I Love You wasn't the kind of song I was
20:50sort of hoping would be my sort of legacy for the rest of my life, and at the end of the show,
20:55we'd love you to sing it if you would for us. I'll get the audience. That's right. In the 80s,
21:00after that number one hit in the 80s in Australia, in your own words, you couldn't get arrested,
21:04meaning what? The 80s was a horrible era, especially in Australia, and the only R&B
21:09that came out here was like Michael Jackson's Thriller and Lionel Richie's Dancing on the
21:13Ceiling, but any of the real sort of real rootsy R&B never made it here, and anyone that was doing
21:20sort of R&B in the 80s was considered an old blues artist, you know, so I remember going into Mushroom
21:26and asking if they'd let me go, and Michael just went, yep, okay. There was no, I thought there'd
21:33be a little argument or something. They let me go, and so I went to America, lived there for ten
21:38years. Which of course was the home of R&B and soul, all of that, the home of the music you
21:44dreamed about. Was America ready for a white woman with a black woman's voice? I had an incredible
21:49time and worked with some great people and learned a lot, but more behind the scenes on other people's
21:53records, so it was a great learning curve for me, but it reinforced the fact that I loved R&B music
21:59and I was right to love R&B music, and the fact that Australia didn't like it wasn't my fault. You
22:06know, it was still a great thing to be involved in. You worked for a long time in America backing
22:12other singers, including Neil Diamond. Now, I just can't see you singing backing for Neil Diamond
22:19and getting into it. Just on one record, the producer that produced him, David Foster, was
22:27doing his record and wanted a certain, the old Alabama black man wailing on the end of a record,
22:35so they hire the white Jewish girl from Australia to do it, which I got that session a lot in America
22:40where I just wail, do the old, the black wail at the end of people's records and the fade out. How
22:45does that go? You know, all that sort of stuff. And in fact, my cousin came to visit me once in
22:58America and I said, I'm doing a session today, you've got to come with me, because only, you've
23:02just got to see what I do. This is what I do for a living. I get in there, everybody that's done
23:08the normal words has finished their thing, everyone's gone home for the day, and now they
23:13put the earphones on me and okay, here's the track. And so, oh yeah, yeah, yeah, yeah. Thank
23:29you, I'll do. And my cousin, and then I'd fill out the form, and my cousin, she was like, this is what you do for a living. Yeah. Wow. It's great. I do a lot of sessions, that's what I did for Neil Diamond, for David
23:43Foster, who was the producer. Did you ever sing backing vocals on stage for other singers? Yeah, for Joe Cocker. Wow. How was that? That'd be all right, wouldn't it? It was fun. It was, it was, no, I hated it. I didn't like it at all. Why's that? Because once I knew the stuff and I got used to it, I was then ready to break out. You know, you can't be a solo singer for 25 years and all of a sudden then step back and be one of three people. Does it tell you to be up the back? Well, it was great while I was learning it and getting
24:12used to it. And bye with a little help from my friends. Bye with a little help from my friends.
24:24Oh, you know, after a while you just, you're ready to break out, you know. But he was fantastic. In fact,
24:33I'm going to be touring with him in November, so that'll be fun. But he was wonderful to work with.
24:38I just don't think I'm cut out to be a background singer. No, I don't think you are. You came back
24:43from the States in the mid-90s after about nine years there and started to work with Paul Kelly,
24:47a very fruitful collaboration. And about the year 2000, this photo appeared in, I think it was
24:51Women's Weekly, and I'm puzzled by it. It looks like you're auditioning for Rowena Wallace,
24:56the musical. What is this? Women's Weekly did a story on me because I lost about 35 kilos.
25:06I did the opening of the Paralympics and they made me, they wanted me to wear a big gold dress
25:12and I had to go to many special tailors and lots of trouble to have this gold dress not look like,
25:21which in the end, it did look like a cross between a dancing Russian bear and a nana.
25:25I just looked like a big, huge gold thing. I sang two songs on that show and after the first song,
25:34I got on the phone, rang my mother and said, how did it look? How did it look? Because I actually
25:38started thinking I look good. I sort of talked myself into, well, it looks good. I've got the
25:42cleavage and still looks good. My mother said, you sounded very good. You sounded good. No,
25:48no, no. How did I look? You sounded very good. Mummy, how did I look? Okay, gold is not your
25:55colour. And after that, I realised I saw the pictures and none of the new ideas or any of
26:02those people ever used any of the pictures. I was truly too fat to even be in the tabloids
26:08for being in that show and I thought, wow, that's fat when you know it can't even be put in the
26:13publicity because you're too fat. So, it kind of turned me around. I just, for the first time,
26:18saw myself. A lot of fat people don't realise they're that fat because you don't look in the
26:23mirror a lot when you're overweight. Does it matter being fat? You know what? I didn't think
26:27it did but it started getting really hard when I wanted to bend over and do my shoelaces or I
26:34would turn up somewhere and I would be sweating already five minutes into a thing. And I'm not
26:39going to lie, vanity-wise, it's not good to be fat. I challenge anyone that says being fat is
26:44great. It's not great. It doesn't look good and it feels bad. You said in your book, Confessions
26:49of a Difficult Woman, that you'd love many men but you'd never been in love. How do you know?
26:55I might be wrong but I don't think I have.
26:59But I have loved a lot of guys but I'm a very unusual person and I'm happy and I will settle
27:08with the fact that I'm a little hard to live with. It can be lonely not having that other one.
27:15Sure, but it's even lonelier having the wrong one. True. Because everyone wants me to have anyone,
27:22whether it's wrong or not. And I'm like, don't you want me to be happy? You'll be happy,
27:27don't worry. Get someone, you'll be happy. No, no, no. I mean, I think nothing more lonely than
27:31being with the wrong person. I think that's really lonely. Musically, your career has really had a
27:37fantastic renaissance. Your last album, Tenderland, sold 40,000 copies, which is huge in this country.
27:42Your new one tonight has had great reviews. Do you think you're at your peak? I'm just starting
27:47to get good. I'm only just starting to realise what music is about and creating things and getting
27:54ideas and I'm just getting excited now. So I'm a late starter in many ways. I've got a few good
28:02records left to me, I think. I read where you said you've learned how to taunt an audience
28:07better. How do you taunt an audience? Oh, it's so easy to taunt.
28:11Well, when you sing to an audience, it's all in the architecture of the way you sing a song and
28:16phrasing has a lot to do with it. I always laugh when people talk about going to a singing teacher
28:21and learning how to... all that stuff. Listen, if you ain't got that stuff, forget it. But apart
28:27from that stuff, it's how to phrase a song and build it, build it to its climax and then drop
28:34it down and just let it hang to taunt the audience. And they are tauntable because if you're on stage
28:40and they're sitting in front of you, they're there waiting to be cast a spell on. You're going to sing
28:46Heading in the Right Direction at the end of the show, will you taunt the audience for us?
28:50I hope so. Are you tauntable? I'm sure you will. What else are they going to say? No.
28:57They're on contract, they've got to say no.
28:59I'm sure you will. What else are they going to say? No.
29:03They're on contract, they've got to say yes. Renae Gay, just a pleasure. Thank you very much.
29:06And a country girl with Heading in the Right Direction, Leah.
29:36I'm someone that I could call my own
29:43People that I looked at, they were always dreams and dreams
29:51Always on the outside, no one more than me
29:59And I'm heading in the right direction
30:03For your loving and affection
30:07Gonna be a brand new start
30:11It's the way to your heart
30:23When you came along boy
30:27You were different from the rest
30:32You never tried to cheat me
30:36Like so many did before
30:40You made me feel important
30:44Special in your eyes
30:48Knowing that you care for me
30:52Makes me come alive and I know
30:56Heading in the right direction
31:00For your loving and affection
31:04Gonna be a brand new start
31:08It's the way to your heart
31:12Day to day
31:16I hope and pray
31:20This feeling is gonna grow
31:24I know
31:29Now that I'm a woman
31:33Now that you are here
31:37Change is all around me
31:41Wipe away my tears
31:45No more pain and heartache
31:49No more sleepless nights
31:53I know I'm not alone
31:58I know I'm gonna love
32:02For the rest of my life
32:06Heading in the right direction
32:10For your loving and affection
32:14Gonna be a brand new start
32:18It's the way to your heart
32:22Heading in the right direction
32:27For your loving and affection
32:31Gonna be a brand new start
32:35It's the way, it's the way, it's the way
32:39To your heart
32:43Thank you, Mark Bunch