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Speaker 1: As night Side with Dan Ray. I'm WBZ, Boston's new radio.

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Speaker 2: If you just joined us, I'm Bradley j in for

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Speaker 2: Dan Ray tonight on Bezy. If. By the way, if

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Speaker 2: you'd like to contact me or know a little bit

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Speaker 2: more about my background, you can at any time you

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Speaker 2: can go to BRADLEYJ dot org Bradley Jay dot org. Well,

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Speaker 2: I was in the before I was in the rock business.

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Speaker 2: I was in the rock business for some time since

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Speaker 2: the early eighties, and I think it was just about

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Speaker 2: that time that another person in Boston got in the

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Speaker 2: rock business, only in the journalistic side of the rock business,

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Speaker 2: and that would be Jim Sullivan, who spent a long

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Speaker 2: time being a uh, you know, a primary rock writer,

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Speaker 2: music writer, critic. Part of his job was being a

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Speaker 2: critic and and he did more though. But he met

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Speaker 2: many men, the many many people and had many and

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Speaker 2: just interesting conversation, any interesting interactions. It's like the dream job.

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Speaker 2: The only downside being is you have to write, which

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Speaker 2: I'm terrible at. I'm much better at talking. But somebody's

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Speaker 2: going to do the writing, and Jim did it. He's

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Speaker 2: put together a book called Backstage and Beyond Complete forty

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Speaker 2: five years of rock chats and rants by Jim Sullivan,

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Speaker 2: and so we have him here with us to share

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Speaker 2: some of the stories. And I want to actually dig

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Speaker 2: into Jim's background and see how he evolved to get

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Speaker 2: to where he got. I'm always interested in that kind

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Speaker 2: of thing. And this is a good opportunity for you,

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Speaker 2: my friends, because you don't you know, if you met

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Speaker 2: someone famous, you don't really get the opportunity to just

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Speaker 2: brag about it at a party. I know you want to,

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Speaker 2: but it's not cool. But you have that knowledge, and

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Speaker 2: this is the time when you can share that. So

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Speaker 2: all the time we're talking to Jim Sullivan. By the way,

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Speaker 2: handsome Jim Sullivan. Yeah, we'd love to hear from you

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Speaker 2: as well, because most everybody's this meant somebody in the

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Speaker 2: rock world. We're going to keep it narrow down to

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Speaker 2: the rock world, not the sports world, not the political world.

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Speaker 2: But if you're a person who like Darrold Smith, j Gials, whomever,

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Speaker 2: James Brown, somebody from back in the day, somebody in

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Speaker 2: modern we'd like to hear about that too. This is

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Speaker 2: your opportunity to share that. Were you one of the

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Speaker 2: few people who sell the Beatles in Boston. Actually that's

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Speaker 2: not you didn't really meet them. I guess that doesn't count,

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Speaker 2: so scratch that. But anyway, let's introduce Jim Sullivan. Hi Jim, Hello, Brodley,

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Speaker 2: Thanks for being with us. This is perfect, This is great. Now.

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Speaker 2: How long have you and I been sort of gliding

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Speaker 2: along in parallel rock lives in Boston? I started in

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Speaker 2: about nineteen eighty one. I got to Boston in nineteen

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Speaker 2: seventy nine, got on them with your radio in nineteen eighty,

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Speaker 2: and then hit the big time in like eighty two.

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Speaker 2: How about you? Is that a similar timeline?

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Speaker 3: Pretty close? I beat you by about a year. I

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Speaker 3: got here fall of nineteen seventy eight, and I was

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Speaker 3: writing for a magazine called Sweet Potato, which started in Portland, Maine,

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Speaker 3: and then opened to Boston branch. Kind of coincidentally went

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Speaker 3: my timing for them opening that up when I came

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Speaker 3: down here. I was also a rock columnist for The

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Speaker 3: Bangor Daily News, which I kept doing while I was

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Speaker 3: in Boston as well, and wrote for Sweet Potato for

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Speaker 3: a while here, and then started doing some freelancing for

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Speaker 3: the Globe in nineteen seventy nine early part of seventy

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Speaker 3: nine I was hired on staff in eighty eight and

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Speaker 3: onward from there.

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Speaker 2: It's interesting, we're going to get to some of the

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Speaker 2: unbelievably cool stories you have about interacting with the heavies

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Speaker 2: of the rock world. But I'm really curious, and before

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Speaker 2: we get started that, how did you go from a

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Speaker 2: kid and grammar school, blank slate, no no idea where

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Speaker 2: you're going to go? How did you, you know, bite

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Speaker 2: onto the rock thing and the rock journalism thing, And

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Speaker 2: a lot of people think about it but don't actually

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Speaker 2: do it. What was it? It was different about you

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Speaker 2: where you actually did it?

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Speaker 4: Well.

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Speaker 3: I was a big reader when I was a kid,

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Speaker 3: a teenager, Cream Magazine, Rolling Stone, Fusion, Circus, Circus, Raves,

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Speaker 3: Trouser Press, later I mean, and some of the English

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Speaker 3: papers too, not when I was a teen, but later,

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Speaker 3: and I mean Melody Maker. So my orientation was always

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Speaker 3: toward reading and finding out about things that maybe wouldn't

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Speaker 3: be played on the radio, and there was, of course

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Speaker 3: a lot of them, and by reading that sent me

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Speaker 3: to record stores, and the record stores drained my wallet,

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Speaker 3: of course, because that's where pretty much all my disposable

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Speaker 3: income went. And just in reading what I read and

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Speaker 3: in listening to what I was listening to, I just thought, well,

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Speaker 3: I think this is something I can do. I think

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Speaker 3: I have a pretty good take on what's good what

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Speaker 3: instance And I suppose in terms of the interviews, the

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Speaker 3: meeting people and doing that, I honestly didn't know for

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Speaker 3: sure how that would be, whether it would be nerve wracking,

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Speaker 3: something I could do or something I would feel comfortable with.

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Speaker 3: So that was actually the break in. There would have

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Speaker 3: been talking to the band Swayed in nineteen seventy five.

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Speaker 3: They were playing bang Or Maine. There was the opening

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Speaker 3: act on a triple bill, zz Top at the head

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Speaker 3: of the mill, and I was ushered backstage by Andrekavatsis

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Speaker 3: the promoter.

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Speaker 2: Do you think you do? You think you're a writer

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Speaker 2: first and a fan second or vice versada.

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Speaker 4: Oh?

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Speaker 3: Fan first, definitely, absolutely, And I mean, you know, the

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Speaker 3: fan writer things always split pretty much throughout my life.

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Speaker 3: I mean, as a fan, I think I look at

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Speaker 3: things critically and I it's just a critic. I'm also

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Speaker 3: a fan with Slade. It was a case of me

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Speaker 3: being a mega fan. And I mean they were in

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Speaker 3: America a very obscure band. People didn't know them. If

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Speaker 3: at all. It was before Quiet Riot had come on.

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Speaker 3: I mean, yeah, I come on Fill Llinois. They did

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Speaker 3: their cover of it years after that. But I knew them.

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Speaker 3: I knew their music quite well, and I'd read about

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Speaker 3: them along and so when I got backstage, I was

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Speaker 3: offered a beer. Fine, thank you would be good, and

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Speaker 3: you sat down with them and it was very comfortable.

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Speaker 3: And I mean, I give them credit both in the

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Speaker 3: introductions of the book and once again here tonight for

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Speaker 3: making me feel so at home. And I think part

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Speaker 3: of it for them was they were very happy that

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Speaker 3: there was an American journalist quote unquote radio guy. I

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Speaker 3: was doing radio at the time, college radio at WWB

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Speaker 3: and Maine, and just somebody who was interested wanted to

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Speaker 3: talk to them and tape it. And I ended up

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Speaker 3: later after they was almost on putting together an hour

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Speaker 3: long special on the radio on Slay, interspersed with their

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Speaker 3: music and the chat that we had, And yeah, do

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Speaker 3: I wish I had that tave now, I sure do.

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Speaker 3: I have no idea where it ever went to. But again,

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Speaker 3: the main point here is just being able to get

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Speaker 3: in the front door, or get in the back door,

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Speaker 3: whatever door. I got in by virtual of was active,

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Speaker 3: these four nice guys from England who kind of welcomed

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Speaker 3: me into the fold. And after doing that, it's like saying, well,

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Speaker 3: this is good. They're people. They may have some fame,

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Speaker 3: but they are people. And that's kind of the approach

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Speaker 3: I've always had to whoever I've talked to, is to

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Speaker 3: just kind of meet them on the level of one

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Speaker 3: person doing his job, me and them doing their job

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Speaker 3: playing music, and then with me, ay when talking about.

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Speaker 2: It, by the way, the first people that do come

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Speaker 2: on field and always they did also Mama, were all crazy.

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Speaker 2: Now would you call them glam?

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Speaker 3: Yeah? They were. Well, they were put into the glam

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Speaker 3: category along with Bowie and Roxy Music, Mud Sweet, bands

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Speaker 3: that were all maybe sort of different, but all had

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Speaker 3: the attire, which is to say they had, you know,

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Speaker 3: the sort of outrageous costuming and Slade Knotty hold of

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Speaker 3: the singer had mirrors on his hat that he wore,

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Speaker 3: and so I guess, you know, glam would be a

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Speaker 3: fair enough category to put them in, but they were

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Speaker 3: just you know, they were also just good kind of

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Speaker 3: meat and potatoes, put your foot down, stomp your foot

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Speaker 3: kind of music with an English sensibility more so than

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Speaker 3: I guess an American one, which is one of the

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Speaker 3: reasons they were huge over there. The megastars in England

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Speaker 3: and their attempts to crack America just never really took hold.

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Speaker 3: I mean, they had developed a small audience, I guess

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Speaker 3: over the years, but they were just one of those bands.

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Speaker 3: It was just too English for American.

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Speaker 2: So you said, hey boy, I can do this, and

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Speaker 2: I like doing this much more with Jim Sullivan after

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Speaker 2: this on BZ it's Night Side.

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Speaker 1: With Dan Ray on wbzas Boston's news radio read.

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Speaker 2: Jay in Dan with Jim Sullivan, Boston Globe long writer

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Speaker 2: for a long time. Jim, what do you do now?

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Speaker 2: You're not dead in the water? Are you very active?

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Speaker 2: What's going on?

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Speaker 3: Oh? Gosh?

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Speaker 4: Well?

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Speaker 3: I left the Globe in two thousand and five, and

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Speaker 3: I did the two books that you mentioned earlier, Backstage

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Speaker 3: and Beyond Volume one, Volume two. And in terms of

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Speaker 3: just regular sort of writing, I write for w b

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Speaker 3: r's r Ey website. I do some things for Rock

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Speaker 3: and Roll Globe. No affiliation with the Boston Globe. I

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Speaker 3: just did one of three interviews Pete Townsend did to

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Speaker 3: promote the Who tour, and I did that for the

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Speaker 3: AARP website. I've done a few things. And you know,

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Speaker 3: I mean whenever anybody says the ARP website, you go, oh,

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Speaker 3: well that's for older people, right, And I go, well, yeah,

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Speaker 3: I'm an older person, and.

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Speaker 2: So you start getting AARP like when you're twenty five

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Speaker 2: year old. So yeah, I know it doesn't count. There's

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Speaker 2: a good chance to get right into talking about your

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Speaker 2: experiences from some of the heavies. Pete townshend Man, that's

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Speaker 2: a big deal. And I'm sure you're spoking to him

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Speaker 2: more than once. Why don't you share some stories here

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Speaker 2: on de would be easy about that. And in the meantime,

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Speaker 2: anybody is had a closing kind of with a rockstar,

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Speaker 2: well let us know about that too. So Pete Townsend, gym,

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Speaker 2: let's do that, okay, Will.

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Speaker 3: This was I think it was the third interview i'd

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Speaker 3: done with him. There's a chapter on him and who

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Speaker 3: in the book based on the others that I've done previously.

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Speaker 3: This was new, It's not for about forty minutes or

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Speaker 3: so an interview. He was an England I was here

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Speaker 3: in Boston and basically we talked to He's a very

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Speaker 3: honest guy. I mean he does not hold that, and

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Speaker 3: he talked about the if you will, you know, some

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Speaker 3: of the issues with growing old and playing rock and

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Speaker 3: roll music and doing the show that they wanted to do,

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Speaker 3: the health problems he has that Roger Daltry, the singer has,

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Speaker 3: you know, the issues they had with their drummer, Zach,

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Speaker 3: who they ended up sacking after many years, and how

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Speaker 3: they went about selecting material for this vital run up shows,

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Speaker 3: which is now done. I saw the one at Fenway

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Speaker 3: and it was really quite terrific. The sound there was wonderful,

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Speaker 3: as people who in the friendly probably know, and you

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Speaker 3: know you're watching from a distance that's not good. But nevertheless,

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Speaker 3: it felt great to be in the midst of that

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Speaker 3: music once again. And I think I got to be honest,

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Speaker 3: I mean, I felt a real connection, maybe and more

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Speaker 3: so because I had just sought to him a couple

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Speaker 3: of weeks before that. It had an idea of what

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Speaker 3: was going on in his mind in terms of putting

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Speaker 3: this final shebang together, and you know, the the mountains

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Speaker 3: they had to overcome and doing it. And he has

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Speaker 3: always been very open about those kind of things. And

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Speaker 3: you know, in fact, the first interview I did with

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Speaker 3: him was in New York. I think it was eighty five,

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Speaker 3: and you know, he had just written a book and

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Speaker 3: it dealt a lot with his addiction. Not necessarily his

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Speaker 3: per se, but the subject was addiction, and he was

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Speaker 3: certainly drawing from his own experience. And you know, that

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Speaker 3: was pretty heavy stuff to go through to, you know,

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Speaker 3: to be in a first encounter to have all of

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Speaker 3: that kind of come out. But I you know, command

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Speaker 3: him for it, and you know his honesty and forthrighters

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Speaker 3: in discussing all of that, Why.

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Speaker 2: You supposed so many rock stars get addicted? Is it

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Speaker 2: because it's going on I'm risk too, or because they

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Speaker 2: talk about pressure, but a lot of people have pressure?

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Speaker 2: Is because it's available and all around. What does your

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Speaker 2: take on why that is?

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Speaker 3: My take is that it's a lot less prevalent now

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Speaker 3: than it used to be. I think the generation several

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Speaker 3: generations I guess that are up there now are much

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Speaker 3: more I think aware of the dangers and the pitfalls

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Speaker 3: that come. I think, you know, the people now that

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Speaker 3: are doing it are much more. I think they've got

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Speaker 3: their nose to the grindstone a little bit more than well,

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Speaker 3: you know, something up their nose perhaps, But I think

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Speaker 3: back in the if you will, the seventies and eighties, nineties.

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Speaker 3: I mean, when these guys were getting all the success.

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Speaker 3: You know, there's for one thing, it's free, right Often

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Speaker 3: if you're a rock star, there's people wanting to give

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Speaker 3: it to you. Townsend said that was a problem too.

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Speaker 3: People would come up to them and go, you know, hey,

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Speaker 3: you know I've got whatever, cocaine, heroin, whatever it might be.

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Speaker 3: And you know, so you have to have the discipline

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Speaker 3: to say, no, that's not good. I don't want to

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Speaker 3: do that, and part of you really does want to

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Speaker 3: do that. And Whose bass player John Atwhistle died from

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Speaker 3: an overdose of cocaine. After giving it up for a

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Speaker 3: long time, he decided, oh, one last bit before the

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Speaker 3: Who starts their tour. I guess it was a two

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Speaker 3: thousand and two tour, and it killed him. And of

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Speaker 3: course The Who's drummer Keith Moon died before that. Also,

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Speaker 3: drugs and alcohol involved in that.

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Speaker 4: You know.

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Speaker 3: I think it's been part of the rock culture for

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Speaker 3: so long, or especially back in those days, that I

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Speaker 3: think some people thought it was just sort of an

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Speaker 3: accepted cost of doing business in a way, And of

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Speaker 3: course a lot of fun up until it wasn't. And

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Speaker 3: you know the famous Aerosmith line. I think I don't

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Speaker 3: know if it was Joe Perry or Steve Tyler, but

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Speaker 3: the thing about them, we used to be musicians doing drugs,

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Speaker 3: and then we became drug add explained music. And one thing, yeah,

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Speaker 3: I mean, yeah, go ahead.

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Speaker 2: One thing that people don't understand is the extreme boredom

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Speaker 2: of going on tour. That's part one and part two,

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Speaker 2: the extreme letdown after the show is over. You might

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Speaker 2: think you'd be all glowy and welcoming people, but you

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Speaker 2: know what, it's a letdown. You travel. You traveled all

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Speaker 2: day in the band. Maybe if you're rich, you travel

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Speaker 2: in a plane, but still you're traveling. You don't really

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Speaker 2: see the city. You go to another club, then there's

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Speaker 2: the adrenaline of the gig, and then it's a huge letdown,

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Speaker 2: like what, No, I just got to go back to

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Speaker 2: the hotel and I gotta get on a bus or

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Speaker 2: a plane and go somewhere else, some nameless city and

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Speaker 2: do it all over again. Some of these people have

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Speaker 2: one hundred stop tours, one hundred and fifty stop tours,

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Speaker 2: and it's just gotta be so grueling that I would

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Speaker 2: think that would be kind of a major factor some

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Speaker 2: the dude to get through the border. I'm in the gruelingness.

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Speaker 3: I think you're very right. For a lot of people,

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Speaker 3: that's it, I mean, the highest incredible being on stage

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Speaker 3: and the adjustment from not being on stage. I can't

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Speaker 3: tell you how many people I've talked to, and actually

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Speaker 3: recently Nicky Dolan's of the Monkeys, who was in town

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Speaker 3: playing City Winery last night and tonight, actually saw him

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Speaker 3: last night. I talked to him for a while and

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Speaker 3: he's talked to me about that whole thing about I mean,

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Speaker 3: he's eighty years old, Nicky, and he sounds great and

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Speaker 3: he's really enthusiastic about playing. But it really is that,

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Speaker 3: you know, hour and a half that he's on stage

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Speaker 3: where he comes alive and the rest of it, and

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Speaker 3: especially the older you get, the more grueling it gets you.

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Speaker 3: As you mentioned there, that were grueling. Yeah, you know

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Speaker 3: that's the part that you know, everybody would like to

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Speaker 3: skip if they can't, but it's necessary, as you say,

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Speaker 3: to get from city to city. So it's sort of like,

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Speaker 3: you know, the part of your day that is focused

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Speaker 3: and intense is relevantly a short period of time compared

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Speaker 3: to what most people do for their eight hour jobs,

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Speaker 3: whatever it might pay. And then you've got a lot

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Speaker 3: of time, a lot of downtime. And I know for Nikki,

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Speaker 3: for instance, one of the things is the family, both well,

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Speaker 3: his sister things with him, tours with him, but the

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Speaker 3: extended family that a band can bring, and he and

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Speaker 3: his back and then are very close. And I mean

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Speaker 3: they dine together, they hang together, they talk all the time.

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Speaker 3: And I think to have that kind of support system,

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Speaker 3: familial support system, when you're on the road, it's very

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Speaker 3: integral to doing it and wanting to do it.

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Speaker 2: Yeah, you know, a long time ago I kind of

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Speaker 2: wondered why would a man bring their family onto it?

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Speaker 2: But now, in my wisdom, I kind of get it.

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Speaker 2: I kind of see why, Oh, there'd be somebody to

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Speaker 2: talk to, somebody, you know, you're not all alone. You're

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Speaker 2: not going to go do necessarily such bad And of

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Speaker 2: course this is interesting. It must be interesting to be

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Speaker 2: Mickey Donalds on the backside of a career. He's not,

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Speaker 2: you know, flying first class. Probably he's probably low budgeting it,

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Speaker 2: and that's going to be an entirely different thing when

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Speaker 2: you get to the level of playing the tops Field Fair,

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Speaker 2: and I love the tops Field Fair, but you know

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Speaker 2: what I mean, it's got to be an entirely different thing.

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Speaker 2: I have a hard news break at thirty one, so

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Speaker 2: I don't want to get us involved in another question.

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Speaker 2: But I just want you to take this time to

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Speaker 2: tell folks where to get the book. And we'll do

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Speaker 2: this two or three times. I hope, where can you

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Speaker 2: get your book? Because it's not the traditional.

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Speaker 4: Way the book.

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Speaker 3: They were both published in twenty twenty three, so they're

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Speaker 3: not likely to be found in your bookstore. I will

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Speaker 3: have to say that. I will say you can get

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Speaker 3: them the publisher, which is a trouserpressbooks dot com, or

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Speaker 3: the Amazon or Apple Music online. There are plenty of

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Speaker 3: ways to get it perfect.

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Speaker 2: Now, let's have a drumm roll and find out if

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Speaker 2: the government shut down is now over or not.

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Speaker 1: Night Died with Dan Ray on w b Z, Boston's

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Speaker 1: news radio.

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Speaker 2: Let's continue with the rock writer Jim Sullivan. He's got

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Speaker 2: a lot of stories about a lot of interesting interactions

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Speaker 2: with some big famous people, and we'll continue. I guess

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Speaker 2: with the clash we all we've talked about. Pete Townsend

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Speaker 2: had a little bit a little different direction, Jim, if

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Speaker 2: we could talk about your interactions with the Clash and

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Speaker 2: by the way, London Calling by the Clash is my

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Speaker 2: go to karaoke song, And I'm gonna ask you at

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Speaker 2: this point what is your go Do you ever do karaoke? Jim?

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Speaker 2: I would love to see it, and what would you say?

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Speaker 3: I do not. My wife did it once at a

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Speaker 3: bar next to the Paradise where we went after a

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Speaker 3: Stiff Little Finger show and Jake Burns from sci Little

361
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Speaker 3: Fingers joined us and Rosa my wife the things. You're

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Speaker 3: just terrific and great, but I would very much the

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Speaker 3: observer in that count.

364
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Speaker 2: You are in the business, don't you think people are

365
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Speaker 2: quite forgiving?

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Speaker 3: Not really, not in that case, especially with cell phone cameras,

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Speaker 3: videos that wouldn't happen. All right, let's dig down anyway

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Speaker 3: into the Clash the Clash. I saw them nineteen seventy

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Speaker 3: nine the Harvard Square Theater, which no longer exists. It

370
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Speaker 3: was their first Boston appearance. I think it was maybe

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Speaker 3: the fourth US show, and the anticipation for that was

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Speaker 3: just immense around town. That was also the time with

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Speaker 3: the WBCN strike, which is a whole other topic which

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Speaker 3: probably we don't need to get into right now, but

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Speaker 3: there was that going on at the same time.

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Speaker 2: For those of you don't know, WBCN at the time

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Speaker 2: until two thousand and nine was the premiere rock station,

378
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Speaker 2: and it was one of the three or four big

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Speaker 2: ones in the country that kind of wrote new music.

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Speaker 3: Is true, That is true, very yeah. They were very

381
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Speaker 3: much a supporter of the Clash and the class, very

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Speaker 3: much a supporter of BCN. And I will never forget

383
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Speaker 3: the way they took the stage with I'm So Bored

384
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Speaker 3: with the USA, and the idea that they would hit

385
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Speaker 3: the States with this song about being bored by the States,

386
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Speaker 3: and this song was actually more about being bored with

387
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Speaker 3: American TV, which got pumped into England constantly, so they

388
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Speaker 3: had all these cop shows and they just sort of

389
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Speaker 3: went back enough of all that. And this is kind

390
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Speaker 3: of a funny little anic that I was talking to

391
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Speaker 3: Joe Strummer and the late singer guitarists for The Clash

392
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Speaker 3: about that song, and it started off he said it

393
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Speaker 3: was just sort of a love song or an anti

394
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Speaker 3: love song, where it was I'm so bored with you,

395
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Speaker 3: and somewhere in the writing process it mutated from that

396
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Speaker 3: kind of a simple statement like that into being bored

397
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Speaker 3: with the whole culture of the United States, and it

398
00:22:01,560 --> 00:22:05,760
Speaker 3: became a statement of sorts and the crowd went the

399
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Speaker 3: crowd went nuts. I mean it was just like we

400
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Speaker 3: were just so with them. We were bored too. I mean,

401
00:22:10,359 --> 00:22:13,080
Speaker 3: you know, it's like, we don't want her corporate rock music.

402
00:22:13,160 --> 00:22:15,760
Speaker 3: We want this punk rock from England or America wherever

403
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Speaker 3: it's coming from. And uh, it was just one of

404
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Speaker 3: the greatest times in my life. I really had, you know,

405
00:22:22,280 --> 00:22:24,399
Speaker 3: just so so so many great memories with that.

406
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Speaker 2: Did you did you interview them? Then?

407
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Speaker 4: Yeah?

408
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Speaker 3: I did.

409
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Speaker 4: I did.

410
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Speaker 3: I talked to Paul, the bass player in Joe pretty extensive.

411
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Speaker 3: I did a big story for Sweet Potato at the time.

412
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Speaker 3: And then many years later post clash, I think it

413
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Speaker 3: would have been eighty nine, when he was playing with

414
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Speaker 3: his man the Muscalarios. They played the Paradise and we

415
00:22:46,040 --> 00:22:49,080
Speaker 3: were talking there and uh, you know, we're hitting it

416
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Speaker 3: off well, and he wanted to continue the night, so

417
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Speaker 3: we all went down to Foley's Bar in the downtown

418
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Speaker 3: crossing one there too, and uh, it was so I

419
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Speaker 3: mean I got it walking into the bar with you

420
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Speaker 3: know the punk rock or old man bar that it

421
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Speaker 3: was walking in with Strummer where all the punks are like,

422
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Speaker 3: oh my god, Joe Strummer is here in our little

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Speaker 3: dive bar.

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Speaker 2: That is a huge, huge deal for people in the

425
00:23:14,680 --> 00:23:17,400
Speaker 2: rock You had to go to an old man dive

426
00:23:17,440 --> 00:23:20,919
Speaker 2: bar with Joe Strummer. That is just that one memory

427
00:23:20,920 --> 00:23:22,280
Speaker 2: would be enough for most people.

428
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Speaker 3: And the funny thing about it was, of course Joe

429
00:23:26,640 --> 00:23:28,760
Speaker 3: could not buy a drink all night. It was like

430
00:23:28,880 --> 00:23:32,720
Speaker 3: just people lining up in beers and it was just

431
00:23:32,840 --> 00:23:34,920
Speaker 3: one of those one of those great memories. I've gone

432
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Speaker 3: fortunate to me be a part of that.

433
00:23:37,040 --> 00:23:39,639
Speaker 2: Okay, this is a good, good opportunity to make a comparison,

434
00:23:39,720 --> 00:23:43,919
Speaker 2: So you you we talked about Who first, and we

435
00:23:44,000 --> 00:23:48,120
Speaker 2: talked about the Clash. Now, was there would the Who

436
00:23:48,160 --> 00:23:51,040
Speaker 2: fall under the the category of the type of bands

437
00:23:51,080 --> 00:23:54,920
Speaker 2: that the Clash and other punk bands we're trying we're

438
00:23:54,960 --> 00:23:58,600
Speaker 2: trying to tear down, not not personally, but that their genre.

439
00:23:59,359 --> 00:24:03,800
Speaker 2: Were they diometrically opposed to that level? Would would Joe

440
00:24:03,840 --> 00:24:07,720
Speaker 2: Stromer be like anti who? H?

441
00:24:07,960 --> 00:24:10,359
Speaker 3: I think yes and no. And the no part of

442
00:24:10,400 --> 00:24:12,600
Speaker 3: it is because the Clash ended up opening up for

443
00:24:12,680 --> 00:24:16,320
Speaker 3: the Who on their on one of their tours. Actually

444
00:24:16,480 --> 00:24:20,680
Speaker 3: they played Madison Square Garden together. Uh, and they they

445
00:24:21,000 --> 00:24:24,040
Speaker 3: were indebted to The Who, to the Kinks, to mont

446
00:24:24,119 --> 00:24:27,440
Speaker 3: the Hoople, to many of the bands that came before them.

447
00:24:27,760 --> 00:24:31,200
Speaker 3: At the same time there they were trying to establish

448
00:24:31,280 --> 00:24:34,280
Speaker 3: a line between the old and the new, and uh,

449
00:24:35,160 --> 00:24:38,199
Speaker 3: there was this sort of a people joked about, you know,

450
00:24:38,880 --> 00:24:40,919
Speaker 3: the joke, I was a punk before you were a punk,

451
00:24:41,440 --> 00:24:44,359
Speaker 3: and it's like, when did you become a punk rocker?

452
00:24:44,600 --> 00:24:46,840
Speaker 3: So I was there in seventy six? Man, oh yeah,

453
00:24:46,920 --> 00:24:50,320
Speaker 3: were you, well, maybe seventy seven or seventy a. And

454
00:24:50,440 --> 00:24:52,720
Speaker 3: you know, it's like this badge of I was there

455
00:24:52,840 --> 00:24:53,959
Speaker 3: at the beginning of it all.

456
00:24:54,040 --> 00:24:58,439
Speaker 2: Speaking of that badge, the first Pestols show, probably seven

457
00:24:58,520 --> 00:25:01,239
Speaker 2: million people say they were there, and of course they

458
00:25:01,280 --> 00:25:04,680
Speaker 2: were probably only room for two hundred or something like that.

459
00:25:06,280 --> 00:25:07,440
Speaker 3: Which show I'm sorry what you said.

460
00:25:07,720 --> 00:25:09,960
Speaker 2: The Sex Missiles first show. There are so many people

461
00:25:10,000 --> 00:25:12,840
Speaker 2: will say they were at the first show or at

462
00:25:12,880 --> 00:25:15,720
Speaker 2: one of those early shows in England. It's what is it,

463
00:25:15,560 --> 00:25:17,639
Speaker 2: it's attendance inflation.

464
00:25:18,720 --> 00:25:25,120
Speaker 3: I was at their first US show in Atlanta, No, no, lie,

465
00:25:25,280 --> 00:25:28,439
Speaker 3: And it was really just by happenstance. The reason I

466
00:25:28,520 --> 00:25:30,840
Speaker 3: was in Atlanta was to visit a friend, college friend

467
00:25:31,480 --> 00:25:34,320
Speaker 3: and the of the class. I'm sorry. The Tostoles were

468
00:25:34,359 --> 00:25:36,440
Speaker 3: going to play Atlanta like the third or fourth date

469
00:25:36,560 --> 00:25:39,760
Speaker 3: on their tour, but because of visa problems, because of

470
00:25:39,800 --> 00:25:43,400
Speaker 3: their criminal background Malcolm McLaren screwing things up their manager,

471
00:25:44,520 --> 00:25:47,600
Speaker 3: Atlanta ended up being the first date. And I ended

472
00:25:47,640 --> 00:25:50,560
Speaker 3: up in line when I got to Atlanta with my

473
00:25:50,600 --> 00:25:54,440
Speaker 3: friend Lesley, and we just stood in line. We bought

474
00:25:54,560 --> 00:25:56,480
Speaker 3: tickets the show as long as all that. We bought

475
00:25:56,520 --> 00:26:00,840
Speaker 3: tickets for two tickets for eighty dollars from a kid

476
00:26:00,840 --> 00:26:03,399
Speaker 3: in mine who wanted to have eighty dollars more than

477
00:26:03,440 --> 00:26:05,959
Speaker 3: he wanted to see the Sex Pistoles. And we were

478
00:26:06,000 --> 00:26:08,000
Speaker 3: there early enough. We were like, I think it's third

479
00:26:08,119 --> 00:26:10,520
Speaker 3: fourth row of I mean, not that it was seated,

480
00:26:10,520 --> 00:26:12,160
Speaker 3: it was all standing up, but we were like right

481
00:26:12,200 --> 00:26:15,320
Speaker 3: in the pack of that, and it was just so

482
00:26:15,400 --> 00:26:17,880
Speaker 3: much fun. And I remember talking to one an older

483
00:26:17,920 --> 00:26:20,600
Speaker 3: gentleman who had been a fan of Back to the

484
00:26:20,640 --> 00:26:23,240
Speaker 3: Who in the mid sixties, and he was there for

485
00:26:23,280 --> 00:26:28,439
Speaker 3: the Pistols in seventy seventy eight, and he said to me,

486
00:26:29,000 --> 00:26:30,680
Speaker 3: this is just like it was with the Who. It

487
00:26:30,720 --> 00:26:33,920
Speaker 3: feels just the same vibe for me. And so there

488
00:26:33,920 --> 00:26:36,439
Speaker 3: you go. I mean there is a connection between the

489
00:26:36,520 --> 00:26:40,919
Speaker 3: music's and the energy and the right. Yeah, you know,

490
00:26:41,240 --> 00:26:45,040
Speaker 3: controversy as supposed to just unbelievable stories.

491
00:26:45,200 --> 00:26:49,320
Speaker 2: I never I never interviewed Jack John Lyden. I did

492
00:26:49,320 --> 00:26:52,159
Speaker 2: get to have sushi with him one time, which is

493
00:26:52,640 --> 00:26:56,119
Speaker 2: which is better than nothing, but nothing like that. We

494
00:26:56,160 --> 00:26:59,480
Speaker 2: have Stephen Brockton who wants to check in. Hi Steve, say,

495
00:26:59,480 --> 00:27:00,960
Speaker 2: how did Jim? Jim Sullivan?

496
00:27:01,680 --> 00:27:03,240
Speaker 4: Hi Bradley, Hi Jim, how you doing?

497
00:27:04,280 --> 00:27:04,520
Speaker 3: Steve?

498
00:27:05,640 --> 00:27:06,720
Speaker 4: Good good? Can you hear me? All right?

499
00:27:06,920 --> 00:27:07,160
Speaker 3: Yeah?

500
00:27:07,320 --> 00:27:08,920
Speaker 2: Sure can good?

501
00:27:09,000 --> 00:27:14,119
Speaker 4: Good? Yeah? I'm my famous person i've met is Keith Riches.

502
00:27:14,359 --> 00:27:19,480
Speaker 2: Oh that's big December eighteen, his birthday same as mine. Wow,

503
00:27:21,280 --> 00:27:23,280
Speaker 2: So tell us the stories. Tell us the stories.

504
00:27:23,320 --> 00:27:27,879
Speaker 4: Steve Well, he's a friend of mine, is a pilot

505
00:27:28,040 --> 00:27:31,720
Speaker 4: and he sometimes flies famous people around and he'll call

506
00:27:31,800 --> 00:27:33,119
Speaker 4: me and tell me if I can get, if I

507
00:27:33,160 --> 00:27:35,159
Speaker 4: can make it, I get, I get to go along,

508
00:27:35,920 --> 00:27:38,280
Speaker 4: not so much lately with all the airline stuff that's happened.

509
00:27:38,280 --> 00:27:41,320
Speaker 4: But he really don't do it anymore. But he called

510
00:27:41,320 --> 00:27:42,399
Speaker 4: me up out of the blue, one day and just

511
00:27:42,400 --> 00:27:44,520
Speaker 4: told me that I'm going to Math's venue. You want

512
00:27:44,520 --> 00:27:45,760
Speaker 4: to go to Moth's Vine and says, yeah, I'll go

513
00:27:45,760 --> 00:27:47,679
Speaker 4: to Maths in't but I met him ut in Norwood.

514
00:27:47,720 --> 00:27:50,879
Speaker 4: We jumped in the plane, flew with mathas Vinnys. We

515
00:27:51,040 --> 00:27:56,440
Speaker 4: go go to Keith. We saw Keith was already there.

516
00:27:56,480 --> 00:27:59,639
Speaker 4: At one time. It was two different times actually, so

517
00:28:01,280 --> 00:28:06,880
Speaker 4: one time the plane, Yes, I did, I lijet, Oh.

518
00:28:06,760 --> 00:28:09,239
Speaker 2: My god, did you?

519
00:28:09,640 --> 00:28:11,159
Speaker 4: I was like dropping I was dropping out.

520
00:28:11,200 --> 00:28:11,840
Speaker 2: I was like, I.

521
00:28:11,760 --> 00:28:12,560
Speaker 4: Can't believe this.

522
00:28:13,359 --> 00:28:14,040
Speaker 2: You wouldn't tell me.

523
00:28:14,040 --> 00:28:15,600
Speaker 4: He didn't tell me. My buddy didn't tell me until

524
00:28:15,600 --> 00:28:17,960
Speaker 4: I get into plane, and I'm going, what the hell

525
00:28:18,040 --> 00:28:20,440
Speaker 4: is it? We didn't tell me. It was supposed to

526
00:28:20,440 --> 00:28:22,840
Speaker 4: be Keith Richards. I'm going I was dying because he's

527
00:28:22,840 --> 00:28:23,720
Speaker 4: a big, some big fan.

528
00:28:23,760 --> 00:28:26,879
Speaker 2: You know. So were you sitting in the co pilots

529
00:28:26,880 --> 00:28:28,960
Speaker 2: saying or were you sitting back with Keith Richards?

530
00:28:29,560 --> 00:28:32,359
Speaker 4: Well, from time to time, from time to time, confidentially

531
00:28:32,400 --> 00:28:33,560
Speaker 4: between you and me and everybody else.

532
00:28:33,520 --> 00:28:35,040
Speaker 2: Was listening, I wouldn't.

533
00:28:35,200 --> 00:28:37,120
Speaker 4: I would get to sit I would get to sit No, no, no, no,

534
00:28:37,720 --> 00:28:40,120
Speaker 4: I would get to sit in the in the passenger

535
00:28:40,120 --> 00:28:41,760
Speaker 4: seat because they need to balance the plane we have.

536
00:28:41,800 --> 00:28:44,840
Speaker 4: They have to keep it level, so they that's really

537
00:28:44,840 --> 00:28:45,480
Speaker 4: why I was there.

538
00:28:45,480 --> 00:28:48,480
Speaker 2: I was like, luggage, so Keith.

539
00:28:50,000 --> 00:28:51,440
Speaker 4: A couple of times. I did I actually get to

540
00:28:51,440 --> 00:28:55,560
Speaker 4: talk to him? Dude, you say, well, I was so

541
00:28:55,600 --> 00:28:57,400
Speaker 4: stop struck. I didn't. I didn't know who was say right.

542
00:28:57,760 --> 00:29:01,120
Speaker 4: So I got to take his bag off the jet

543
00:29:01,600 --> 00:29:03,560
Speaker 4: because he was over in one of those nasty macus

544
00:29:03,760 --> 00:29:07,800
Speaker 4: Yard Airport advance, those Dodge vands. This is a nasty,

545
00:29:07,920 --> 00:29:09,200
Speaker 4: nasty thing to send out to get Keith, but it

546
00:29:09,280 --> 00:29:12,760
Speaker 4: kind of fits him. I was supposed to go get

547
00:29:12,800 --> 00:29:14,200
Speaker 4: his bag out of the plane and bring him his bag.

548
00:29:14,240 --> 00:29:16,239
Speaker 4: So I go get his bag and don't drop. That

549
00:29:16,280 --> 00:29:19,120
Speaker 4: bag had a big bottle of wine in it. So

550
00:29:19,160 --> 00:29:21,480
Speaker 4: I bring him over with the bag. He was already

551
00:29:21,520 --> 00:29:23,960
Speaker 4: in the in the in the in the van, so

552
00:29:24,000 --> 00:29:26,080
Speaker 4: I hand it in the bag. I saw the wine

553
00:29:26,080 --> 00:29:27,400
Speaker 4: in there, And when he reached for the for the

554
00:29:27,440 --> 00:29:30,800
Speaker 4: for the wine, he took a little extra time because

555
00:29:30,800 --> 00:29:34,880
Speaker 4: he showed me his sculler ring, like real slowly, and

556
00:29:34,920 --> 00:29:37,160
Speaker 4: I was like, oh, look at that. It's a sculler ring.

557
00:29:37,240 --> 00:29:39,840
Speaker 4: I don't believe it. He just like moving it around,

558
00:29:40,200 --> 00:29:45,480
Speaker 4: you know, watch me freak out. He knows, he goes, Yeah,

559
00:29:45,480 --> 00:29:47,960
Speaker 4: he goes, he goes. He says to me, he goes.

560
00:29:48,000 --> 00:29:49,640
Speaker 4: I need that for the old lady. I gotta bring

561
00:29:49,720 --> 00:29:50,440
Speaker 4: that for the old lady.

562
00:29:51,920 --> 00:29:55,040
Speaker 2: A stellar, sterling story.

563
00:29:56,160 --> 00:29:59,200
Speaker 4: Actually, actually there's a whole lot more, but uh, I

564
00:29:59,360 --> 00:30:00,400
Speaker 4: just tell her tell you sometime.

565
00:30:00,440 --> 00:30:04,120
Speaker 2: But huh, well, we'll save I really appreciate you.

566
00:30:04,200 --> 00:30:07,360
Speaker 4: Yeah, but the high point quickly, just quickly, the high point. Yeah,

567
00:30:08,440 --> 00:30:10,560
Speaker 4: the high point was I got to ride in in

568
00:30:10,600 --> 00:30:15,360
Speaker 4: the van to his vacation home, no into that, no nothing,

569
00:30:16,680 --> 00:30:21,680
Speaker 4: and he smoked h lucky strike or a camel no

570
00:30:21,840 --> 00:30:25,360
Speaker 4: filter in the van, and I got to Inhale Keith

571
00:30:25,400 --> 00:30:28,720
Speaker 4: Ridge's secondhand tobacco's.

572
00:30:28,920 --> 00:30:31,160
Speaker 2: I completely get that. It's very likely that, Yeah, I

573
00:30:32,520 --> 00:30:36,040
Speaker 2: completely I did something similar. It's likely that you actually

574
00:30:36,360 --> 00:30:40,520
Speaker 2: got some off Keith Richard's molecules inside your body and

575
00:30:41,080 --> 00:30:43,200
Speaker 2: which changed your DNA.

576
00:30:43,000 --> 00:30:46,600
Speaker 4: A little bit. I anserly felt really cool. I don't

577
00:30:46,600 --> 00:30:47,000
Speaker 4: know what it was.

578
00:30:47,720 --> 00:30:51,120
Speaker 2: That's great story. I appreciate that. WHOA, look at the time,

579
00:30:51,520 --> 00:30:54,680
Speaker 2: we have so much more to cover with uh, Jim

580
00:30:54,840 --> 00:30:58,200
Speaker 2: Jim Sullivan, rock Rider, He's got more stories. I'll tell

581
00:30:58,200 --> 00:31:00,600
Speaker 2: you that I hope you're not in a hurry.

582
00:31:00,760 --> 00:31:03,480
Speaker 3: Jim, No, I'm fine, I'm fine.

583
00:31:03,640 --> 00:31:05,640
Speaker 2: Cool. Let's take this break on w b Z.

584
00:31:06,880 --> 00:31:11,120
Speaker 1: You're on night Side with Dan Ray on WBZ Boston's

585
00:31:11,200 --> 00:31:11,800
Speaker 1: news Radio.

586
00:31:12,360 --> 00:31:14,400
Speaker 2: Thanks for being on night Side Battle and Jay for Dan.

587
00:31:14,440 --> 00:31:17,120
Speaker 2: Where with Jim Sullivan And I want to before we

588
00:31:17,200 --> 00:31:18,960
Speaker 2: go back to Jim, tell you a little bit more

589
00:31:18,960 --> 00:31:23,440
Speaker 2: about the book. Some of the people that Jim Is

590
00:31:23,480 --> 00:31:26,560
Speaker 2: interacted with. Our list them here, Jerry le Lewis and Hunter,

591
00:31:26,640 --> 00:31:29,840
Speaker 2: David Bowie, Iggy Pop Lou read stories about these people,

592
00:31:29,960 --> 00:31:35,680
Speaker 2: and may I add that Jim has the added advantage

593
00:31:35,680 --> 00:31:38,000
Speaker 2: of actually being a writer. A lot of people write

594
00:31:38,000 --> 00:31:41,040
Speaker 2: books about rock then aren't not really writers. But because

595
00:31:41,120 --> 00:31:44,400
Speaker 2: Jim is an expert and excellent writer, the whole thing

596
00:31:44,480 --> 00:31:48,120
Speaker 2: is a breeze that it's just clever and well done

597
00:31:48,240 --> 00:31:52,600
Speaker 2: and not filled with cliches, and it's just wonderful book.

598
00:31:53,280 --> 00:31:56,680
Speaker 2: And by the way, it's called Backstation Beyond forty five

599
00:31:56,760 --> 00:31:58,840
Speaker 2: years of Rock, Chats and Rants. Let me get to

600
00:31:58,880 --> 00:32:01,840
Speaker 2: some of the other people in there, because there are

601
00:32:02,600 --> 00:32:06,640
Speaker 2: rock and roll folks for all ends of the spectrum.

602
00:32:06,840 --> 00:32:11,520
Speaker 2: Jerry Lee Lewis, Ian Hunter, David Bowie, Iggy Pop, Lou Reed,

603
00:32:12,880 --> 00:32:17,120
Speaker 2: Brian Eno, Brian Ferry, The A, Roxy Music Guys, That

604
00:32:17,280 --> 00:32:20,840
Speaker 2: Roxy Music Guy, h King, Crimson, Peter Gabriel, Jethro Tal,

605
00:32:21,000 --> 00:32:25,960
Speaker 2: Ginger Baker, The Caream Drummer, Ringo Star Warren Zevon, very underrated,

606
00:32:26,080 --> 00:32:31,400
Speaker 2: Pete Townsend, The Kinks, Both Ray and Dave and Leonard Cohen,

607
00:32:31,520 --> 00:32:36,240
Speaker 2: Maryanne Faithful, John Fogerty of Creden's, Tina Turner, Neil Young,

608
00:32:36,640 --> 00:32:41,840
Speaker 2: Richard Thompson, Darlene Love, Alice Cooper, Jay Giles, Aerosmith, Kiss, Motorhead,

609
00:32:41,920 --> 00:32:47,360
Speaker 2: George Clinton. I interviewed George Clinton, Tangerine Dream and a

610
00:32:47,360 --> 00:32:52,280
Speaker 2: bunch More, I Won't The Cure, Gang of Four, Alvis Costello,

611
00:32:52,400 --> 00:32:56,280
Speaker 2: Beastie Boys, Somebody for Everybody There and again. These are

612
00:32:56,360 --> 00:33:00,720
Speaker 2: all glued together by excellent breezy writing. It's a complete

613
00:33:00,760 --> 00:33:04,000
Speaker 2: no brainer, great for you, great for a gift, and

614
00:33:04,040 --> 00:33:06,720
Speaker 2: it's available on by way of Trouser Press Books or

615
00:33:06,760 --> 00:33:13,320
Speaker 2: as I understand, on Amazon. There. Now we cover that

616
00:33:13,880 --> 00:33:18,280
Speaker 2: a little bit. Now, let's squeeze in one more cool

617
00:33:18,320 --> 00:33:19,880
Speaker 2: story before the top of the air. Jim and I

618
00:33:19,960 --> 00:33:21,920
Speaker 2: hope you can. If you're not doing anything, maybe you

619
00:33:21,960 --> 00:33:22,880
Speaker 2: can stay after.

620
00:33:22,760 --> 00:33:25,680
Speaker 3: Two, I can I can do that. Let me do

621
00:33:25,760 --> 00:33:27,640
Speaker 3: I was thinking of this while you were reeling off

622
00:33:27,680 --> 00:33:31,040
Speaker 3: the list there, Bradley, and thanks for There are a

623
00:33:31,080 --> 00:33:34,200
Speaker 3: ton of people in there. I think eighty one chapters

624
00:33:34,240 --> 00:33:38,080
Speaker 3: of something, considering both books and the e book. Ellis

625
00:33:38,080 --> 00:33:43,400
Speaker 3: Cooper this from the from the book itself. I just

626
00:33:43,440 --> 00:33:45,680
Speaker 3: popped up a quote that I had and was asking

627
00:33:45,720 --> 00:33:47,760
Speaker 3: about the early days and how much they were hated

628
00:33:47,760 --> 00:33:50,080
Speaker 3: by people, and he said, oh, gosh, yeah, we weren't

629
00:33:50,200 --> 00:33:52,920
Speaker 3: just hated by the establishment. We were hated by rock.

630
00:33:53,360 --> 00:33:56,160
Speaker 3: When we came out and we did the outrageous stage show,

631
00:33:56,240 --> 00:33:59,280
Speaker 3: it was heralding to all the bands, the grateful Dead

632
00:33:59,400 --> 00:34:02,320
Speaker 3: dance like that, that their era was over. Bands like

633
00:34:02,360 --> 00:34:05,160
Speaker 3: that hated us. Until you have a hit record, you're

634
00:34:05,200 --> 00:34:08,120
Speaker 3: basically an outsider. Well then you have a hit record

635
00:34:08,239 --> 00:34:10,120
Speaker 3: and two or three, and all of a sudden, you're

636
00:34:10,160 --> 00:34:13,200
Speaker 3: not an outsider and you are now what's going on?

637
00:34:13,440 --> 00:34:15,440
Speaker 3: And now you have to do a show. If you

638
00:34:15,440 --> 00:34:18,280
Speaker 3: want to stay with it, you have to do a show. Yeah,

639
00:34:18,360 --> 00:34:21,560
Speaker 3: and that was that's very very true.

640
00:34:21,600 --> 00:34:24,840
Speaker 2: Look at ghosts or did he have to create his

641
00:34:24,920 --> 00:34:29,840
Speaker 2: own little niche? He wasn't he wasn't punk. He wasn't

642
00:34:30,200 --> 00:34:34,040
Speaker 2: he wasn't the battle progressive rock. He wasn't punk. He

643
00:34:34,200 --> 00:34:38,239
Speaker 2: wasn't really Ozzy Osbourne, or was he. I mean, maybe

644
00:34:38,280 --> 00:34:40,320
Speaker 2: that's as close as maybe that's.

645
00:34:40,120 --> 00:34:43,319
Speaker 4: Just that would be.

646
00:34:43,440 --> 00:34:45,760
Speaker 3: That would be close Aussie. I think I think Alice,

647
00:34:46,200 --> 00:34:48,520
Speaker 3: you know, he and the band. I mean, the band

648
00:34:48,600 --> 00:34:50,759
Speaker 3: was called Alice Cooper, and yeah he was he took

649
00:34:50,760 --> 00:34:53,520
Speaker 3: the name Alice Cooper from his given name, Vince Vernier.

650
00:34:55,080 --> 00:34:59,120
Speaker 3: But you know, they did something very early on the

651
00:34:59,320 --> 00:35:01,960
Speaker 3: very few we're doing, and I mean they used theatrics.

652
00:35:02,000 --> 00:35:07,680
Speaker 3: They used a grotesque imagery, the executions, the mock executions

653
00:35:07,680 --> 00:35:10,239
Speaker 3: that happened, hanging guillotine in the end of the night,

654
00:35:11,120 --> 00:35:14,520
Speaker 3: songs like Dead Babies, I Love the Dead. They were

655
00:35:14,520 --> 00:35:18,000
Speaker 3: going out on a limb, and you know I loved it.

656
00:35:18,040 --> 00:35:19,880
Speaker 3: I mean I was a kid who loved that kind

657
00:35:19,920 --> 00:35:22,480
Speaker 3: of rebellion and loved the kind of hard rock energy

658
00:35:22,520 --> 00:35:24,680
Speaker 3: he brought to it. And I got to tell you this,

659
00:35:24,719 --> 00:35:27,200
Speaker 3: probably one of the best two days of my life

660
00:35:27,239 --> 00:35:29,360
Speaker 3: were a couple of years ago when I got to

661
00:35:29,360 --> 00:35:32,799
Speaker 3: play golf with him. He was in town with the

662
00:35:32,800 --> 00:35:36,480
Speaker 3: Hollywood Vampires, the Bandits with Johnny Depp and Joe Perry

663
00:35:36,880 --> 00:35:40,239
Speaker 3: and Alice is a golfer, big time golfer, and he

664
00:35:40,320 --> 00:35:42,680
Speaker 3: wanted to play, and his people got in touch with

665
00:35:42,719 --> 00:35:44,520
Speaker 3: me and said, hey, do you have any time would

666
00:35:44,560 --> 00:35:47,080
Speaker 3: you like to golf with Alice? I said yeah, I

667
00:35:47,400 --> 00:35:49,040
Speaker 3: think let me check. Yeah, I think I can do that.

668
00:35:49,560 --> 00:35:52,719
Speaker 3: And we played on a Monday. He was in town

669
00:35:52,760 --> 00:35:54,399
Speaker 3: for the week getting ready for the show and doing

670
00:35:54,440 --> 00:35:57,120
Speaker 3: some stuff, so he was around. We played on a Monday,

671
00:35:57,560 --> 00:36:00,360
Speaker 3: got down the round and he said, you want to

672
00:36:00,360 --> 00:36:04,000
Speaker 3: play again before the show and I said, yeah, I

673
00:36:04,000 --> 00:36:06,279
Speaker 3: think I can do that too. So we played the

674
00:36:06,360 --> 00:36:09,839
Speaker 3: day of the show, the morning of the show, and

675
00:36:09,880 --> 00:36:12,520
Speaker 3: then we went to the show at night. And it

676
00:36:12,640 --> 00:36:16,280
Speaker 3: was so great because Alice during golf dressed like a golfer, frankly,

677
00:36:16,320 --> 00:36:18,879
Speaker 3: an old man golfer. You can you know, there are

678
00:36:18,920 --> 00:36:23,600
Speaker 3: pictures up on on online, uh. And then the transition

679
00:36:23,800 --> 00:36:26,520
Speaker 3: from that to the character that he plays in concert

680
00:36:26,600 --> 00:36:28,600
Speaker 3: with all the makeup and everything like that. It was

681
00:36:28,680 --> 00:36:32,200
Speaker 3: just fabulous. And there's pictures of me and him as golfers,

682
00:36:32,200 --> 00:36:34,640
Speaker 3: and then me and him at the show itself, backstage

683
00:36:34,680 --> 00:36:37,319
Speaker 3: before the show, and it's just pretty funny. All of

684
00:36:37,320 --> 00:36:40,920
Speaker 3: that happening in the same day.

685
00:36:40,200 --> 00:36:42,840
Speaker 2: Was intimidating golfing with Alice Cooper. You get up to

686
00:36:42,880 --> 00:36:45,600
Speaker 2: the t you know he's a good golf and I

687
00:36:45,640 --> 00:36:47,600
Speaker 2: have golf with you. I know I know what level

688
00:36:47,640 --> 00:36:49,640
Speaker 2: you're at or what level he used to be. Were

689
00:36:49,640 --> 00:36:52,680
Speaker 2: you intimidated ding off in front of Alice Cooper? Yes

690
00:36:52,800 --> 00:36:53,400
Speaker 2: or no?

691
00:36:54,080 --> 00:36:54,279
Speaker 4: Yes?

692
00:36:54,400 --> 00:36:58,520
Speaker 3: Yes, yes and no. And here's the thing. You know

693
00:36:58,520 --> 00:36:59,640
Speaker 3: what I got to say, this.

694
00:36:59,640 --> 00:37:02,160
Speaker 2: Is a good We're going to find out why both

695
00:37:02,239 --> 00:37:06,839
Speaker 2: yes or no? Intimidating to golf with Alice Cooper with us?

696
00:37:07,360 --> 00:37:09,480
Speaker 2: After this, stay with us to find out what it's

697
00:37:09,600 --> 00:37:12,759
Speaker 2: like to do you offer Alice Cooper on WBZ This

698
00:37:12,880 --> 00:37:15,279
Speaker 2: is nights Side with Dan Ray. I'm Bradley Jane for Dan.

699
00:37:16,040 --> 00:37:19,480
Speaker 2: Let's hear some more rock stars with writer Jim Sullivan

700
00:37:19,520 --> 00:37:21,360
Speaker 2: on WBZ News Radio ten thirty