To shake Ken Ehrlich’s hand is to know that you are no more than two degrees of separation from just about any living pop, rock, R&B, country, hip-hop or gospel musician of note — and more than…
’s hand is to know that you are no more than two degrees of separation from just about any living pop, rock, R&B, country, hip-hop or gospel musician of note — and more than a few who are no longer with us.
I love Miley Cyrus and what she did with Shawn Mendes [“In My Blood”]. The Camila [Cabello] opening with “Havana” was big. And I loved the Aretha tribute in the show. It’s not just about superstar artists — I was able to get Andra Day and Fantasia and Yolanda Adams on that, you know? With H.E.R., she had this song and she said, “It’s not done yet, but I really think it could be something good.” And she hadn’t done it anywhere, but she did it that night, called “Hard Place.
Let’s take it from another angle. I actually grew up in the ’50s. I don’t like to admit that, so I say the ’60s, but I was a teenager in the ’50s. I went from the early days of rock ’n’ roll — Elvis, Jerry Lee Lewis, the doo-woppers, all of that stuff I loved — to the ’60s and Bob Dylan, Joan Baez, Judy Collins and the whole singer-songwriter, protest movement, and I loved that. I was in Chicago for the ’68 [Democratic] convention, in Lincoln Park, where my wife and I got gassed.
I don’t want to start a war. It’s way too late for that. But I had a conversation with the head of a major label earlier today before I talked to you. This guy, who is a friend, basically said to me, “The problem we have sometimes with the Grammys is that with the other shows, the guy will just say, ‘Yeah, you’ve won three and we’re gonna do two on the air, and we’ll do this, we’ll do that.’ I can’t do that. And I’m very happy that we still have that integrity.
Well, they did. That’s where the Grammy moments were really born. When we started “Soundstage,” I wanted the show to always feature two artists, if it’s going to be two artists, I need something in the middle. We had no money and there were no hosts, so what do you do? What I started doing was trying to get the two artists to do something together. It’s that simple! It was no f—ing light went on and said [this is the future]. For example, Mose Alison and Tom Waits split a show.
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