Richmond Fontaine bandleader Willy Vlautin writes songs akin to finely composed short stories set in the diners, bars, casinos, and old hotels of Reno and its environs.
For me personally, I just try to prove myself in my work. I'm just trying to get better at what I do, and hopefully that will impact women in music, and hopefully the girls in the crowd will see my up there as a bandleader and think, 'Wow, maybe I can do that one day.'
I was a huge fan of the bandleader Ray Noble when I was younger. He was one of the biggest musical names of his day and wrote such romantic songs as 'Goodnight Sweetheart' and 'The Touch Of Your Lips.' Wonderful stuff.
One of the things I'm adamant about as a bandleader is not micromanaging. I'm an advocate for the concept of allowing everyone to be fully vested in what they're doing, so everyone contributes whatever they're inspired to contribute.
When I first started, I worked with my father, Alex 'Little Bill' Wallace; he was a guitarist like B.B. King. I was around 13 when I started, and I learned a lot by looking and listening. I learned how to be a bandleader from watching that band work.
Kay Adams: Michael, you never told me you knew Johnny Fontane!
Michael: Sure, you want to meet him?
Kay Adams: Well, yeah! Sure.
Michael: My father helped him with his career.
Kay Adams: How did he do that?
Michael: ...Let's listen to the song.
Kay
Adams: [after listening to Johnny for a while] Tell me, Michael. Please.
Michael: Well, when Johnny was first starting out, he was signed to a personal services contract with this big-band leader. And as his career got better and better, he wanted to get out of it. But the band leader wouldn't let him. Now, Johnny is my father's godson. So my father went to see
this bandleader and offered him $10,000 to let Johnny go, but the bandleader said no. So the next day, my father went back, only this time with Luca Brasi. Within an hour, he had a signed release for a certified check of $1000.
Kay Adams: How did he do that?
Michael: My father made him an offer he couldn't refuse.
Kay Adams:
What was that?
Michael: Luca Brasi held a gun to his head, and my father assured him that either his brains or his signature would be on the contract.
Kay Adams: ...
Michael: ...That's a true story.
[cut to Johnny singing again for about 10 more seconds before going back to Michael]
Michael:
That's my family Kay, that's not me.
Eddie Mannix: Any more thought about who you might marry?
DeeAnna Moran: I ain't doin' that again! I had two marriages. It just cost the Studio a lot of money to bust them up.
Eddie Mannix: Well, we had to have those annulled. One was to a minor mob figure...
DeeAnna Moran: Vince was not minor!
Eddie Mannix: And Buddy Flynn was a bandleader with a long history of narcotics use.
DeeAnna Moran: Yeah. Yeah. That's what I'm sayin'! They were both louses! Marryin' a third louse ain't gonna do me no good.
Eddie Mannix: I've offered you some very suitable young men.
DeeAnna Moran: Pretty boys, saps and
swishes! What you think if there wasn't a good reliable man, I wouldn't have grabbed him?
Eddie Mannix: What about Arne Seslum? He is the father isn't he?
DeeAnna Moran: Yeah. Yeah.
Eddie Mannix: A marriage doesn't have to last forever; but, DeeAnna having a child without a father would present a public relations problem for
the Studio.