Franke Previte

Interview by Dennis Morgillo

​Franke Previte is a singer/songwriter born in New Brunswick, N.J. Franke’s first album was released in 1971 with a progressive band call ‘Bull Angus’ on Mercury Records. In the early ‘80s, Franke decided to combine his rock and R&B roots for some blue-eyed soul-style rock ‘n’ roll, and started Franke & the Knockouts. The band was signed to Millenium Records (RCA), and its first hit single, ‘SWEETHEART’, reached No. 1 on the Billboard Hot 100 in 1981. ‘YOU’RE MY GIRL’ and ‘WITHOUT YOU’ (NOT ANOTHER LONELY NIGHT) quickly followed, topping the charts at #14 and #16 respectively. In 1986, Previte wrote 2 songs for The Patrick Swayze blockbuster film ‘Dirty Dancing’. The song “(I've) Had The Time Of My Life” earned Previte an Academy Award, a Golden Globe Award, and a Grammy nomination. What a year, and what an amazing career!

Madhouse Magazine:    Tell us everything there is to know about Franke Previte. Let's start from the beginning. 

Franke Previte:    Music was a genetic thing. My dad was an opera singer. And my mother and father met taking voice lessons from the same vocal coach. So, I was kind of their duet so to speak. And then when I was four years old, I used to sit home and watch and listen to my father rehearse. And so one day my mom took me to see my father perform at Convention Hall in Asbury Park. And I remember that because I remember sitting on my mother's lap and hearing a lot of people coughing and watching my dad. And then he was singing Pagliacci, and he went to hit the high note, and I remember him rehearsing, so I knew that this high note was coming, so I stood up in the chair and I belted the high note, right before my father could hit it. And the whole place cracked up.

Madhouse Magazine:    Did you hit the high note though?

Franke Previte:    I must have, my father stopped the concert and he looks out and he goes, "My son." And everybody applauded, so that was my first gig. So from then, I was just always singing, charging my grandmother a nickel to sing a song, "Franke, come on, sing a song." So, what happened for me was that, when I turned about 11, 10, 12 years old, my dad would have me singing in these charity events for cerebral palsy. And I would sing all these Italian songs that I had no idea what I was singing. And Be My Love, and Mario Lanza songs, and things like that. Then when I was 13, I started my own singing group. And it was called, believe it or not, Franke Luv, L-U-V and the Intruders. We got signed to London Records when I was 15.

Madhouse Magazine:    That’s amazing to be signed so young. 

Franke Previte:    Yeah. The guitar player in that band became a really famous session player, Jeff Mironov. I don't know if you know that name or not, Jeff Mironov. Anyway, from that, the record did nothing, nothing really happened with that record, but I continued to want to be a singer. And my parents said as long as you go to college, come out of college, you can be anything you want. So the day of graduation, I didn't go to graduation, I went on the road with a Rock and Roll Band. And I was up in Boston. 

Madhouse Magazine:    What happened next?

Franke Previte:    It was a cover band, and I realized at that point that I wanted to write songs. And I wanted to do original stuff. So I left that band and I came home and I picked up the ‘Aquarian' and I opened it up, and there was this band looking for a lead singer that was signed to a label. And they were called ‘The Oxford Watchband’, and they were playing at a club called ‘The Cheetah’ in New York, which is I think S.I.R. is there now.
    So, I was in a band that did Otis Redding and Sam and Dave, and Wilson Pickett, and I was listening to a band that was doing Moby Grape and Buffalo Springfield. And I was like, "Man, I don't know one of these songs." So I'm looking at all these long-haired guys and me the Italian greaser. They said, "Tomorrow, come in, sing for us." And I said, "All right." So I went in and we started naming songs and I said, "Do you know Try A Little Tenderness by Otis Redding?" And they said, "Yeah, we know that song." I said, "Okay, well, I know that song too so let me sing that for you." So I sang Try A Little Tenderness and they gave me the gig.

Franke Previte:    The sax player helped me learn how to play sax, because they had two horns in their band. And so from that, I learned sax and flute, and recorder, and started playing that instrument, which really helped my breathing to sing. And from that band, the drummer and I started Bull Angus, which is signed to Mercury Records.

Madhouse Magazine:    How did you get signed to Mercury?

Franke Previte:    Okay, so the band Oxford Watchband was signed to Capitol Records, and we had recorded at Ultrasonic Sound Studios in Hempstead, Long Island, and the production team was Shadow Morton and John Linde and Vinny Testa, and those were the guys that produced the Vanilla Fudge. And so, being in that recording environment when I split from the Oxford Watchband, and we started putting together this Bull Angus band. We played at a place called the Sugar Shack in Columbus Ohio. And the owner of that club was affiliated with Jeff Franklin who owned ATI, which was a big, big agency.

Franke Previte:    He came in to see us, and he said, "I got this guy Vinny Testa." And I go, "Oh yeah, I know Vinny Testa." He says, "I'm going to send him out to check you guys out, and if he likes you, maybe we can get you a record deal." So Vinny Testa called me and we were five minutes into the conversation, I realized he didn't know who I was. And I said, "Vinny, it's Franke." And he goes "Oh my God, who else is in the band?" So I said, "It's me and Gino, and four guys from Poughkeepsie New York." So he came up and saw us and signed us, and brought us into Ultrasonic and we started recording.

Franke Previte:    I remember playing Redhook High School on a Friday night and then Vinny said, "Next Saturday, you're at The Garden with Stewart."

Madhouse Magazine:    All right, so we can't just glance over that. Stewart is Rod Stewart! The date was November 26, 1971. You played with another band, Cactus as well. 
​​Franke Previte:    Yes, Cactus was the reformation of the Vanilla Fudge. So you had Carmine Appice on drums, you had Timmy Bogert on bass, you had Rusty Day, who was from Mitch Ryder & The Detroit Wheels on guitar. No, Jimmy McCarty, excuse me, on guitar, and Rusty Day was the lead singer. And that was an ass-kicking band. That band was really, really good.

Madhouse Magazine:    That must have been some show.

Franke Previte:    They used to come into our dressing room and they used to call us The Boys, because we were the green horns. "We're going to teach you how to rock and roll." And they'd come in, they'd take a garbage can and they'd shove it through a window and kick our window in, "That's how you rock and roll."

Madhouse Magazine:    So we've got to hear about this, because it was a sold-out show, you're playing in front of 20,000 people. This is amazing. This is Madison Square Garden, arguably the most famous venue in the entire world, definitely if you're from the New York, New Jersey area, it's the most famous venue. Everyone dreams of playing there. So tell us what it was like ?

Franke Previte:    Well, you know, you dream of playing a place like this. So we were in a hotel, and they had a limousine pick us up to take us to The Garden. As a kid, when I was 18 years old, I used to play the Metropole Café on, I believe it's 7th Avenue, around 48th Street. And it was a strip joint. And so, we got caught in a traffic jam in front of the Metropole Café, so it was like a big flashback, here I am going to The Garden, and I used to play in there with the strippers.

Franke Previte:    So, we got there. The good thing is that my parents were able to experience these gigs with me, standing on the side of the stage. And playing with Rod Stewart, it was amazing.

Madhouse Magazine:    Right, this was The Faces, Ron Wood. At that time, they were the biggest band in the world pretty much.

Franke Previte:    Yeah. And so as a young entertainer, as a young songwriter-singer, that's the school of rock for me. That's where I went to school, watching somebody of that caliber entertain and ingratiate an audience. You learn from these experiences. Not that you copy them, but you emulate and you make it your own, and you see what works and doesn't work.

Franke Previte:    So I played probably two months, Madison Square Garden, of every town that we went to, with Rod Stewart, and then with Deep Purple, and then with Fleetwood Mac.

Madhouse Magazine:    So you must have been some great backstage stories? With Rod Stewart, they were notorious partiers and there must have been chicks running wild backstage?

Franke Previte:    I'll never tell. He used to crash our press conferences though, because he knew that all the press would be there. And if Rod Stewart walked in the room, you weren't getting press.

Madhouse Magazine:    Oh, that jerk.

Franke Previte:    It's his show, you know? I'm just a guest.

Madhouse Magazine:    There's another show, I actually, I saw this on YouTube. They just had the video of it. They didn't have any audio, it's like an old eight millimeter film. It was from August 1972, Schaefer Music Festival in Central Park. You remember this?

Franke Previte:    I do.

Madhouse Magazine:    You were playing with Quicksilver Messenger Service, huge band at the time. And a band I had never heard of, called Pure Food and Drug Act, and of course, you guys. You know, all the biggest stars in the world were playing there too. The next week, I saw The Doors were playing there, B.B. King, Edgar Winter, everybody was playing. So what was it like playing that venue in your home town?

Franke Previte:    It was awesome to play any type of gig that brought those kinds of crowd. We actually were lucky enough to play The Pocono Mountains Festival with 300,000 people. There was a line of traffic back 20 miles. People would just park their car and start walking.

Madhouse Magazine:    Do you remember what year this was?

Franke Previte:    It was in 1972. It was a three-day festival. I mean, just everybody who was anybody, even Humble Pie and Three Dog Night, and Emerson, Lake & Palmer were in there.

Franke Previte:    All of these bands. And I remember it vividly because as I stood on this stage, it was about 20 feet high in the air, and I looked out, and I couldn't see the end of the people. It was like, "Oh my God." And I looked down, and there's my mother and father in the front row. And I'm looking at them, and I'm seeing this bottle of wine with acid in it, and everyone is taking a drink and passing it on to the next person. And it's getting closer to my parents. Right when my mother went to grab it, I yelled out, "Don't drink the wine!"

Madhouse Magazine:    It'd be a whole different story if your mom actually did drink the wine.

Franke Previte:    Maybe she did and that answers a lot of questions.

Madhouse Magazine:    So I listened to Bull Angus last night. You had two albums, Bull Angus and Free For All in '72. And they were great albums, I really enjoyed them. And it's like this progressive kind of rock. It sounded a little like Humble Pie, Grand Funk, Deep Purple mixed in. And you had your own sound, you guys were amazing musicians, it was great stuff.

Franke Previte:    We had a name for our sound. We called it Riff Rock, because of all the riffs that we would play. There's a song, Miss Casey on the first record. And there are all these riffs, and we'd go from one riff to a power chord, to another riff. So we just said, you know, we're doing Riff Rock.

Madhouse Magazine:    It's good stuff. So now, we have to find out what happened here, because you guys, it sounds like you're riding the wave here. You guys are on top of the world, and that was it, you only did two albums. So what happened, behind the music here, what happened?

Franke Previte:    Well, our manager at the time, and I'll leave his name out so I don't embarrass him, got in a misunderstanding with the guy who signed us. And so, at that point, he said to our manager, "You know what, I'm done. Just take your little group and go away." And so, because of their misunderstanding, it ended up hurting the band.

Franke Previte:    We were in the studio actually recording a bunch of new songs for the next record, one of those songs was Sweet Marmalade. And I figured I would stick that on this new CD because that's a song that never really made light of day. And there's 11 other songs that are on the new CD that are songs that I wrote after I left Bull Angus. I was signed to Buddha Records as an R&B artist and Tony Camillo, who produced Midnight Train to Georgia, I recorded for him and Buddha Records, and he became my producer. And I wasn't really feeling the energy that I was used to from the music of this Riff Rock band, with my R&B thing that was going on. So from that, I took those two sounds and the guitar player from Bull Angus, Billy the Kid, Billy Elworthy, and I formulated a blue-eyed soul, rock and roll band called Franke and the Knockouts.
Madhouse Magazine:    Let’s talk about Franke and the Knockouts. Tell us a little about how the band got started. 

Franke Previte:    Well, I started leaving the R&B scene to try to formulate this harder blue-eyed soul sound. And I was selling cars out of my driveway.

Madhouse Magazine:    Were they your cars?

Franke Previte:    No. That's where the jail thing comes in. Just kidding. And I had Billy, Billy the Kid, Billy Elworthy, living with me, and he said, "I have this guy, Blake Levinson, keyboard player, who's playing with this girl, Rosetta Stone. He's a really good keyboard player, so let's write some songs together." So we started writing some songs, and I met this guy named Bert Padell. And Bert Padell was known as the accountant for the stars, Madonna, Luther Vandross, just everybody who was anybody knew Bert Padell.

Franke Previte:    So I got introduced to Bert Padell, and Bert Padell took my demos and he played them for Jimmy Lenner, who was the President of Millennium Records, and Jimmy called me in. And what Jimmy heard in my voice was that Doo-Wop thing, because Jimmy, back in the day, was in Doo-Wop bands. And then he became a producer of Three Dog Night, and the Raspberries and did a John Lennon record. He just became a really, really big-time producer. And he started his own label, distributed by RCA. And so Jimmy said, "You know what, if you can write a few more songs, I'll give you a record deal, because I really like your voice a lot." So I went back, and I wrote, She's a Runner, Annie Goes to Hollywood, and one other song, You're My Girl.

Franke Previte:    I came back and he says, "All right, I'm going to give you a deal." He goes, "You got a band, right?" I go, "Oh sure, I got a band. It's an ass-kicking band. It's really good man, it's good." I didn't have a band, I had these other two guys. And so, I put some guys together that I did my demos with, and we went and did a Franke and the Knockouts record. We had no endings, everything was faded, so it was like, "Okay, great, we'll see what happens."

Franke Previte:    So our manager at the time also managed the Jefferson Starship. And he said, "There's a show ‘Fridays’. It's on Friday night, it's like Saturday Night Live." And I said, "Yeah?" He goes, "Check that show out this week, because Starship's on." I said, "Okay." So I'm watching and Larry David comes out and he goes, and next week's guest, Franke and the Knockouts. And I'm like, "Oh, shit." I said, "There's no band." So our manager calls, and he’s all excited, "What do you think? What do you think? I got you this gig!" I said "listen, there's no band." He goes, "There better be a band by next Friday."

Franke Previte:    So we rehearsed two songs. And put endings to them. Sweetheart, and Come Back. And we went for the first time as a band, live, on Friday's. I hadn't gigged now in three years, because I was writing songs, trying to get a record deal. And so, we did these two gigs, and the next day was Saturday, and we did American Bandstand with Dick Clark. And the next day, it goes on. We played Solid Gold with Dionne Warwick. And then Michael said, "In two weeks, you better have more songs because you're on tour with The Beach Boys.” And that became Franke and the Knockouts.

Madhouse Magazine:    Now, this song ‘Sweetheart’ that you mentioned, that went to number 10 on the chart. That's a Top 10 hit, that's amazing.

Franke Previte:    It is amazing that an unknown band and a kid from New Brunswick, that dreamed one day to hear his song on the radio, was hearing himself sing on the radio, driving down Livingston Avenue.

Madhouse Magazine:    That's pretty awesome. You had two other Top 40 hits with that band?

Franke Previte:    Yep. ‘You're My Girl’ and ‘Without You’.

Franke Previte:    After our second album, Jimmy Lenner decided he was going to close his label, because RCA didn't want to give him the amount of money he needed to promote his band, so he sold us to MCA. And MCA said, "We're going to make you sound like Night Ranger." And I said, "And why would you do that? You already have Night Ranger."

Franke Previte:    So they brought in Night Ranger's producer, and they took a track called Outrageous, and they went and remixed it, and put it out as our first single, and radio was like, "Nah, this is not Franke and the Knockouts." And so, there were other songs on that record like, Come Rain or Shine, One Good Reason, Blame It On My Heart, that would have been right in the pocket of Franke and the Knockouts and what radio was used to. But, they didn't, and they dropped us, and the man upstairs had a different plan for me.

Franke Previte:    The next two years, I spent writing songs, trying to get another record deal. And one of the songs I wrote was, ‘Hungry Eyes’, which ended up being in a little movie called Dirty Dancing.  And there was another song that happened, Upon Me, during that time. And if you want to talk about that, we can.

Madhouse Magazine:    Sure. Well, let's talk about this CD first, and we'll work our way into Dirty Dancing.

Franke Previte:    You got it. So on the CD, it's all three records, Making the Point is on there, which, I consider my songs like my kids, you know? So this third record, Making the Point, it gets my kids a chance to get out there and be heard. And there's a lot of good music there, on that third record, that I think people would like and embrace as a Franke and the Knockouts fan.

Franke Previte:    I'm doing a lot of interviews in the UK, and finding out that there's a huge fan base in the UK, and Germany, and the Netherlands, for Franke and the Knockouts. It's great to know that there's a fan base for Franke and the Knockouts music, it still lives, so that's a good thing.

Madhouse Magazine:    Absolutely.

Franke Previte:    And then the label asked me to put some bonus tracks on, so like I was saying, I took 11 songs that haven't really seen the light of day, from Bull Angus, from me as an artist, an R&B artist, to seven songs that didn't make a knockout record, to songs I wrote with Kasim Sulton and Mark Rivera. Kasim Sulton, if you don't know who that is, He's the bass player for Utopia, and sax player Mark Rivera, who plays with Billy Joel and he's the musical director for Ringo Starr's All-Starr Band. We had a band for a minute, called Brave New World. And so, we went out and tried to do some gigs with that band.

Franke Previte:    So I took all of these songs and I put them on here, kind of like my journey to the Academy Awards. And so, also on here, which I really, really am proud of, are six tracks of Franke and the Knockouts live. And why I'm so proud of that is because when you first write a song, it's like the first two weeks, and you're still learning the feel and the lyrics and what the song is about, and then you play it out. And as soon as you start playing it out, and you see the reaction of the audience, you know what works and what doesn't work in that song. And you're tweaking and fixing, and that's when a band should record their song. So these songs are Franke and the Knockouts, after we learned our songs.

Madhouse Magazine:    That sounds like good stuff. Are the Dirty Dancing demos on there too?

Franke Previte:    I didn't put the Time of My Life and Hungry Eyes on here because they are on my website for Pancreatic Cancer. I have a website on Facebook called Dirty Dancing Demos, and I donate all the money from those demos that, they actually filmed the movie to me singing Time of My Life and Hungry Eyes, along with Rachelle Cappelli on Time of My Life.

Franke Previte:    When I met Patrick Swayze at the Academy Awards, he told me how important that song was to the movie. And I said, "What do you mean?" And he said, "We didn't have a song. We filmed out of sequence. We filmed that last scene first, and we hated this movie." I go, "You hated the movie?" "Yes, because we didn't have a song. We learned that last scene to a good song, a Lionel Ritchie track, but it wasn't an original song." So, he goes, "We listened to 149 songs, and yours was the 150th cassette that came in, in 1987, and we played it, and we went, we're making a movie to that song." He goes, "At the end of the day, the ending of the movie was so tremendous, that the camaraderie that we had was like a 180, let's go make a movie. And the next day we filmed to Hungry Eyes." So he goes, "Without that song," he goes, "We wouldn't have had this movie."

Franke Previte:    And really, without Patrick Swayze, without Jennifer, without Eleanor Bergsteins story, without the song, without those elements, the phenomenon of Dirty Dancing wouldn't have happened.

Madhouse Magazine:    Absolutely. You needed everything to strike at the same time.

Franke Previte:    It was a perfect storm.

Madhouse Magazine:    Exactly. I actually even heard that Patrick Swayze said he liked your version of the song better.

Franke Previte:    Well, you know what, you get demo-itis, I call it. You get so used to hearing somebody sing it, and you've recorded, you've filmed. And the same with Hungry Eyes, they kept on saying, "We love what Eric's doing, and we're just too used to Franke. And Franke did this." And Eric goes, "Kiss my ass. I'm singing it my way."

Madhouse Magazine:    Why did they let Eric Carmen sing Hungry Eyes? Why did they pick him? You should have been the one to sing it.

Franke Previte:    Well, they asked me to sing it. Jimmy said, "I want you to sing it." So I went and booked time at the Power Station and I got Larry Alexander to engineer for me. And then Emile Ardolino, who was the director, called me up and said, "I got another scene I want you to write a song for." So I went in there and he goes, "By the way, before we start, what's the BPMs for Hungry Eyes, because they're having a hard time linking it up to the demos." So BPMs, if you don't know what that means, it means beats per minute. And so, they were trying to link up, because they film the movie to my BPMs, then they needed his BPMs to sync to them dancing. And I said, "Why, we're recording it Monday." And he goes, "No you're not." He goes, "Eric Carmen is recording it in Cleveland." He goes, "He's in, you're out."

Franke Previte:    And I go, "When was somebody going to tell me that?" And so Jimmy Lenner says, "Just be happy you have a song in a movie." I said, "I'm happy. I'm happy."

Madhouse Magazine:    Well, you know, it kind of worked out pretty good. Like you said, it's a perfect storm. Everything comes together, amazing.

Franke Previte:    It was. It really was.

Madhouse Magazine:    So now, tell us about going to the Academy Awards. That must have been another exciting time.

Franke Previte:    Well you know, the Academy Awards, and I thought it was the right thing to do, I brought my parents.

Madhouse Magazine:    Oh man, your parents must love you. Do you have any siblings, by the way?

Franke Previte:    I have an older sister.

Madhouse Magazine:    She must hate you.

Franke Previte:    She's a doctor, she lives in Princeton. She's doing okay.

Madhouse Magazine:    That's good.

Franke Previte:    You know, I don't really ... I remember sitting there, my mother and father next to me. My father listening to all of the other songs that were chosen for the Academy Award, and he goes, "Psst, you're going to win." And I go, "Do not put the Malocchio on me. Do not do that."

Franke Previte:    And so, I told the guys, because I was in the middle of the row, and they were at the very end. If we win, do not run up there, because they'll start the clock, and we only got 30 seconds. I'm in the middle of the row, it's going to take me 30 seconds to get out. And so, they announced us as the winner. And do you know who announced us as the winner? Dudley Moore, Liza Minnelli. And what was also a very cool moment for me, was the Golden Globes, because Sammy Davis gave me the award.

Madhouse Magazine:    That'd be even cooler! I love Sammy.

Franke Previte:    Yeah. So those were really cool moments to meet those guys. So I don't remember walking up there, but you know, it changed my life. It absolutely changed my life. I went from being Franke the singer, to Franke the songwriter. My song became bigger than me. And hey, I'm okay with that. I'm good with that.

Madhouse Magazine:    Just think about this, it was a number one hit. You won an Academy Award, how many people can say that in this room? Nobody. How many people in the world can say that?

Franke Previte:    For music, about 72.

Madhouse Magazine:    Exactly. That's amazing. So, that's something, no matter what happens, they can never take that away from you.

Franke Previte:    Well, you know, the year was a really, really good year for me, because like we talked about the Golden Globes. And then I got a Grammy nomination and then the song won a Grammy for best duet. And then we won ASCAP Song of the Year, which means the most played song in the world, so it got played over a million times in a year. So, to have those things happen to me, are so far beyond my dreams of me hearing my song on the radio, that the person that really wrote that song, was the man upstairs, because I had no idea.

Franke Previte:    I had no idea what that movie was about and I wrote it on the Garden State Parkway, exit 140, going "Nin, nin, nin, time of my life." Going, "Nin, nin, nin, out of my life? What the hell am I saying?" And I scribbled "Time of my life," on an envelope. And that's where the seed of that song was born.

Madhouse Magazine:    I'm going to request the Governor of NJ put a plaque on the Garden State Parkway Exit 140.

Franke Previte:    You can have the Hungry Eyes bus stop or something.

Franke Previte:    I can't tell you how many people that ‘Time of My Life’ has touched. ASCAP, who monitors how many times songs get played. They have the top 20 songs that ever have been played, it's number 15. ‘Happy Birthday’ actually is number one.

Madhouse Magazine:    That's pretty good company.

Franke Previte:    Yep. And number two is one of my favorites, which is ‘My Girl’.

Madhouse Magazine:    What about TV commercials? I see this song is used in a lot of commercials. Do they have to ask your permission, or they just send you money?

Franke Previte:    Both.

Madhouse Magazine:    Have you ever turned anybody down?

Franke Previte:    Yes.

Madhouse Magazine:    A Depends ad or something?

Franke Previte:    Maybe Trojan rubbers or something.

Madhouse Magazine:    Yeah, that really would be the Time of Your Life.

Franke Previte:    Maybe I should rethink that one.

Madhouse Magazine:    Do you have any plans for a book, a tell-all book?

Franke Previte:    I don't really have a book. I thought this album could kind of be my musical book. Comes out on Friday Music, which is, if you want to pick up a copy, or Amazon, you can get it there as well. And it gives the history of me as a musician, as a songwriter.

Franke Previte:    What I'm doing now, is I put a show together with the production company from Jersey Boys. And the show is entitled, ‘Calling All Divas’, and it will be playing at the Keswick Theater in Pennsylvania in March.

Franke Previte:    So it's about four different girls, at different times of their career, and they are found by Franke the songwriter, who's looking for the next star to sing his hit song. And bring her to this guy's nightclub, and he brings all these four girls. He finds one in the subway, he finds one in Harlem playing in a blues club, he finds one in country bar, and one in a recording studio. And he brings them all in to audition for this Mr. D. And Mr. D can't make up his mind which girl he likes the best. And so, the second act opens up and he goes, "I guess you're wondering who I picked." And he goes, "There was only one winner, obvious winner. And that winner is." And he announces the winner. So you'll have to come to the show.

Madhouse Magazine:    I'm already intrigued. I hear it’s amazing.

Franke Previte:    Well, let me just say this. We had several photographers that came to that show that evening in New York, and Madhouse photographer Estelle Massry’s photos were absolutely killer. If anybody needs a great photographer, get a hold of Estelle. She has a great eye. 

Madhouse Magazine:    It's been an amazing career. Very, very good stuff. And everyone, go out and buy that CD.

Franke Previte:    Oh, one other word, just one other word. Please go to my Facebook page, and it's DirtyDancingDemos. All the money goes to the Pancreatic Cancer Action Network and a dollar from every one of these CDs goes to the Pancreatic Cancer Action Network in memory of Patrick Swayze.

Madhouse Magazine:    What about doing a Franke and the Knockouts reunion concert? Not a tour, but maybe one show?

Franke Previte:    You know, there could be a ... They've been asking me to do some Franke and the Knockouts, put a small band together and do some Knockouts stuff. So there's some thought about that.

Madhouse Magazine:    Well, I just got word, you're appearing on Saturday Night Live in three days. So you better get that band together.

Franke Previte:    I got the formula for that.

Franke Previte Links:
Franke & The Knockouts - Career Retrospective Compilation CD

Barnes and Nobles

The street date for the digital release on itunes, spotify,, etc  is February 8th.

Calling All Divas

Dirty Dancing Demos

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