![]() Something he bitterly regrets to this day. After an outstanding 2 decades of non stop hits.Īnd all because he failed to face up to and discover her manipulative gold digger managerial moves. She went on to graduate from a top American Bussiness School after that.īilly Joel was was almost sent bankrupt by Elizabeth Weber. She arrived with a contract to get him to sign over all his rights to her. She also tried to take advantage of him when was high on meds in hospital after a serious motorbike accident. As she does, his song, Always A Woman.īecause she conned Billy Joel into agreeing to it. She probably owns the publishing rights to Just the Way You Are. Cause she was a tough hard arse business woman.Īnd she came along when Billy Joel’s finances were in disarray. And you end up Mistaking strength for abuse.īilly Joel was in awe of Elizabeth Weber. Who fakes real love, doesn’t appear to need love as much money. This is what happens when people are hopelessly in love and impressed by a strong person. Without remorse.īilly Joel eventually discovered Elizabeth Weber and her brother stole a total of 60 million from him. And he’s completely baffled by her abusive behaviour. It tells the story of a total narcissist. It’s hardly surprising Always A Woman was also written about her. And caused Billy Joel to attempt suicide twice. Stole millions of his money with her brother. Or Wingsįor those who have been led to believe that the wife, Elizabeth Weber, Billy Joel wrote this for is wonderful. If you think about it it sounds like something Paul Macartney would have wrote either when in The Beatles. Melinda from AustraliaWhen Paul Macartney was asked which song He wished he wrote.Rick from PhiladelphiaThe title of this song and the main line of the song (I love you just the way you are), is the last line of the Four Seasons hit, "Rag Doll".Merrick from San FranciscoAccording to an interview with Lee Loughnane, the trumpetist of the band Chicago, on Sirius XM (August 2022), members of Chicago were asked by Phil Ramone to sing the 10cc-like backing vocals on this track."Since I had to play the part on the road, 'Just The Way You Are' forced me to learn to play alto sax," he explained. I knew that Richie would understand - and he did."Ĭannata said he wasn't hurt by the decision because he looked up to Woods and was honored to have him play on the track. I've found that if you can justify the merits of doing something that will help make a stronger musical statement, everyone usually understands. "In this instance, I believed that we needed a specific sound that only a specialist such as Phil could provide, and as the final arbiter, I followed my instinct. ![]() "My suggestion to use Phil Woods wasn't meant to offend Richie Cannata or his playing," Ramone wrote in his 2007 book, Making Records: The Scenes Behind The Music. He thought the solo needed "the throaty texture" of an alto sax. Phil Woods, who is a prominent jazz player, was brought in to play the alto saxophone for this song after Phil Ramone decided Richie Cannata's tenor sax wasn't providing enough dimension to the bridge. Using brushes on the snare gave it a very sexy sound." The slight rest, and a little extra pressure on each kick of the bass drum pedal gave it extra emphasis. We tried it again, and this time I began dropping the bass drum out in certain places, and playing the tom-tom on the 'and' of four. ![]() "Phil suggested trying a South American Byonne rhythm, and tapped out the pattern to show me what he meant. When Ramone agreed the cha-cha rhythm wasn't working and suggested a pattern with a more sensuous feel, DeVitto finally got on board. 'I'm no goddamned sissy drummer,' he said." Joel recalled in Ramone's book Making Records: "We originally played 'Just The Way You Are' as a cha-cha: 'Don't go changing (cha-cha-cha) - just to please me (cha-cha-cha).…' Well, Liberty DeVitto got so pissed that he threw his drum sticks at me. In his Songfacts interview, DeVitto said: "Me and Phil Ramone came up with that kind of crazy rhythm that started out as a samba beat, like a bossa nova with a brush and a stick."īut DeVitto was one of the most vocal opponents of the song in its original form. Joel's longtime drummer Liberty DeVitto considers his work on this track his greatest contribution to a Billy Joel song.
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