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Speaker 1: Welcome, Welcome, Welcome to the Bob Left Sets podcast. My

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Speaker 1: guest this week is legendary music executive, the youngest president

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Speaker 1: in the history of the music business, president at age

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Speaker 1: thirty two, of Atlantic Records, Jerry Greenberg. How you doing,

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Speaker 1: my friend? Okay, Now, you've worked with literally a who's

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Speaker 1: who of legends, Abba, led Zeppelin, Michael Jackson. Okay, So

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Speaker 1: who is the best to work with? The most meaningful,

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Speaker 1: not necessarily the easiest. Wow, that's a that's a tough

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Speaker 1: question to answer. I will say that probably the most

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Speaker 1: creative and visionary person that I work with is Michael Jackson. Really,

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Speaker 1: oh yeah, I'm forget about it. I mean this guy.

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Speaker 1: I remember when he called me to interview me to

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Speaker 1: he was starting his own record label, and I came

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Speaker 1: home and I said to my wife, I just met

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Speaker 1: Walt Disney, and she said, what are you talking about?

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Speaker 1: I said, this guy is such a visionary, such a visionary.

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Speaker 1: He wants to build theme parks, he wants to do Broadway,

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Speaker 1: he wants to be David Geffen. I mean, all rolled

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Speaker 1: into one and um, that's my was my first impression

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Speaker 1: of him. I mean I never never met him before,

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Speaker 1: but we spent two hours together. Uh, he did his

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Speaker 1: homework about Jerry Greenberg. And of course I've been listening

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Speaker 1: to Michael Jackson since I was a baby, but um,

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Speaker 1: it was I would have to put him at pretty

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Speaker 1: much at the top of the list. In answer to

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Speaker 1: your question, Okay, so you had that meeting. Did he

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Speaker 1: live up to that meeting? Yes, there's no question. Okay,

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Speaker 1: So what year did you get involved. I got involved

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Speaker 1: with Michael in So what's the first project you worked

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Speaker 1: on with him? Free Willy Soundtrack? Uh. They wanted they

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Speaker 1: wanted a song from Michael Jackson. I called Michael and

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Speaker 1: he said to me, I saw the movie, I saw

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Speaker 1: the track, everything, but I can't write it. I don't

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Speaker 1: have any time. And I went into his uh last

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Speaker 1: album and I found a song called will You Be There?

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Speaker 1: And I sent it up to the producers and I said,

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Speaker 1: does this work? And they said yes. And so that

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Speaker 1: was the launch of m j J Records, having the

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Speaker 1: first soundtrack being Free Willy, one of michael songs, and

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Speaker 1: then we put Michael's nephews in three t Then we

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Speaker 1: got UH Girls Group to do a remake. So our

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Speaker 1: first record for our record company ended up platinum out

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Speaker 1: of the box. And what did you think when he died?

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Speaker 1: Did you see that coming? Oh no, not not not

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Speaker 1: at all. And I don't want to give it away,

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Speaker 1: but there's a whole there's a major story about what

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Speaker 1: happened that the day after Michael died. I will just

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Speaker 1: say that. Let me say that I was rushed to

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Speaker 1: the hospital wait for your own medical and my own,

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Speaker 1: my own medical condition, the day after he died, Okay,

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Speaker 1: And therefore you attribute that to the news of his death.

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Speaker 1: I attributed to, yes, the news of his death, the

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Speaker 1: fact that I was up doing interviews for almost fifteen hours,

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Speaker 1: the stress of everything, and um, but here I am so, now,

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Speaker 1: did you have a cardiac event or anything or was

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Speaker 1: just stress and you went to the hospital and you

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Speaker 1: chilled out? Well? Uh, I went to the hospital because

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Speaker 1: I had back pain and pain in my arms and everything.

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Speaker 1: And what happened is, believe it or not, a flat

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Speaker 1: line for seventeen seconds, wow, in the hospital or at home,

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Speaker 1: you know, in the hospital, thank god. But I had

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Speaker 1: the doctors around me and they got me back. And

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Speaker 1: the bottom line is I had a torn iord to

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Speaker 1: and but I had great doctors and they fixed it

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Speaker 1: and uh, and I'm here. Okay, let's go back to

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Speaker 1: the beginning. You're from the Haven, Connecticut, right, correct? Okay,

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Speaker 1: all of the world's best pizza. That's the big decision.

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Speaker 1: We ask everybody. Was it Peppi's or is it Sally's.

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Speaker 1: So you went to Peppi's for the clam pizza, but

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Speaker 1: you went to Sally's maybe more for the sauce and

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Speaker 1: this and that. But both of them were pretty pretty,

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Speaker 1: pretty pretty good. Well, the funniest thing is it's one

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Speaker 1: of the few things in life that live up to

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Speaker 1: the legend. I remember going to Peppi's being all hyped

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Speaker 1: and go, damn, this is really this. Every time I

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Speaker 1: go back to Connecticut, I have to get the pizza. Correct. Okay,

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Speaker 1: So you're there and you're growing up, and what does

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Speaker 1: your father do for a living. My father was in

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Speaker 1: the jewelry business, thirty nine years in the jewelry business.

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Speaker 1: Everybody loved them. I mean, if you're going to go

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Speaker 1: buy a watch or a piece of jewelry, oh, go

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Speaker 1: down and see Bill Greenberg. It's Specters in New Haven.

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Speaker 1: He's the guy. It's just the way. Wait, just for

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Speaker 1: one second, Specters was that connected to the same Specters

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Speaker 1: and Bridgeport. Do you know I'm not just because my

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Speaker 1: closest friend from high school. I'm gonna see it another month.

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Speaker 1: His father, his mother was specter and his father ran Specters,

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Speaker 1: and I knew they were like three or four stories.

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Speaker 1: I'll ask him when he's out here. I bet it was. Okay, So,

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Speaker 1: now was your father first generation American? Yeah? Okay, and okay,

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Speaker 1: So he's working at Specters. And what's it like growing up?

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Speaker 1: What's it like growing up? Mother and father just great parents.

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Speaker 1: My mother very hard worker. She held three jobs. She

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Speaker 1: was a bookkeeper, she was a cashier. He had the

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Speaker 1: one job at Specters. But growing up in Connecticut, I

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Speaker 1: grew up on an area called City Point, and it

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Speaker 1: was near the water. So I grew up loving boating.

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Speaker 1: I was painting boats when I was like nine years

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Speaker 1: old and ten years old. You know, you know, I

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Speaker 1: mean you can't see his handwave. He doesn't mean paint artistically,

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Speaker 1: means literally painting boats. Yeah, literally the bottoms of boats, etcetera, etcetera.

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Speaker 1: So I uh, you know, I grew up one around

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Speaker 1: the water. I grew up with great parents, and I

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Speaker 1: was very lucky, very very lucky. Now you had your brother.

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Speaker 1: It was just the two of you. It was just

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Speaker 1: me and my brother, and you were who was the

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Speaker 1: older brother? Do you? He was the older brother eight

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Speaker 1: year eight years older than you. I didn't realize. Okay,

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Speaker 1: So when did you become interested in music? Okay? So

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Speaker 1: I'm at a bar mitzvah and the band takes a

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Speaker 1: break and there's music coming playing like you know, through speakers,

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Speaker 1: records or whatever. And I go over to the drums

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Speaker 1: and sit behind the drum set and I'm tapping, okay,

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Speaker 1: And I see the drummer talk to my mother and

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Speaker 1: I say, oh god, I guess he's mad. Next thing

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Speaker 1: I know, my mother comes over and she said, the

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Speaker 1: drummer told me you have natural rhythm. I have to

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Speaker 1: get you drum lessons. Wow. So within thirty seconds, I'm

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Speaker 1: now a drummer. I mean, I'm taking drum lessons. So

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Speaker 1: parents buy you a kid a whole bit. Oh yeah, listen.

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Speaker 1: I I loved it. And what happened is there was

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Speaker 1: a guy in New Haven who booked all the bar

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Speaker 1: Mitz's and weddings and this and that. He calls my

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Speaker 1: mother up. I'm fifteen years old. He calls my mother

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Speaker 1: up and oh god, I have to back up in

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Speaker 1: somebody in the fifties, you know. So I'm fifteen years old.

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Speaker 1: My mother says his name was Arnold Moost. He should

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Speaker 1: arnelmos called and he said everybody, every musician he can find,

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Speaker 1: works on New Year's Eve. Which can I book a

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Speaker 1: job for your son to play? So she said sure.

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Speaker 1: But my father had a shlip me down to I

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Speaker 1: remember it was called the One Eagle restaurant, like on

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Speaker 1: Chapel Street in New Haven. I walk in and the

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Speaker 1: there was a base player and a piano player, and

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Speaker 1: they took a look at me. I mean, I'm fifteen

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Speaker 1: years old, babe, and he said, they go, okay. So

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Speaker 1: I play all night with brushes, uh, and get through it.

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Speaker 1: Ten to two was was the gig. And I remember

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Speaker 1: I came home and I had something like thirty or

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Speaker 1: thirty five rich. It was like what my father made

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Speaker 1: all week, you know. So first of all, I always

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Speaker 1: wanted a rowboat, and I went to my father once

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Speaker 1: I asked him some money for a rowbot. He as,

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Speaker 1: you work for you can buy anything you want. So

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Speaker 1: of course I took the money, went right out and

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Speaker 1: I bought me a robot and that was the beginning

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Speaker 1: of Jerry getting into the music business. Really okay, well,

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Speaker 1: you played with these other pickup musicians, when was your

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Speaker 1: next gig? My next gig was realizing that, wait a minute,

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Speaker 1: there's money in being a musician. I found the guitar

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Speaker 1: player and I said, let's form a band. So we

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Speaker 1: formed the band and we started. Uh. There was a

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Speaker 1: group from the Haven, Connecticut called the Five Satin's which

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Speaker 1: had probably the biggest do wop record in your in history.

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Speaker 1: And I became from the name of that record from

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Speaker 1: my audience who may not know. Second, what was the

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Speaker 1: name of the record for the audience that may not know?

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Speaker 1: In the Stole of the Night? Oh yeah? And the

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Speaker 1: Still in the Night should have been should be do

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Speaker 1: the big biggest record during the older days? Okay at

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Speaker 1: that point in time, was W A v Z still

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Speaker 1: the top four as Okay? I remember trying to pull

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Speaker 1: that in from Fairfield and whatever. When I went to

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Speaker 1: summer camp, we played W A v Z. So, in

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Speaker 1: any event, that's the biggest do wop hit, biggest hit,

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Speaker 1: and you have that guitars friend, and now all of

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Speaker 1: a sudden we put a band together, and we're backing

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Speaker 1: them up. We're going to New York and we're backing

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Speaker 1: up the Yeah, we're backing up this five cents. How

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Speaker 1: did you get that gig? They we were a good band,

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Speaker 1: and you know, and they liked this. But but let

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Speaker 1: me just say this. My band turned out to be

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Speaker 1: the number one college fraternity band in the area. If

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Speaker 1: you watched Animal House and you saw Belushi at that

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Speaker 1: fraternity seen my band was that band. Okay. We used

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Speaker 1: to play Yale and Wesleyan and Trinity and we even

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Speaker 1: got gigs up in Boston. So we were we were,

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Speaker 1: we were rocking. I was like, okay, so how old

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Speaker 1: were you when this was happening? And how often would

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Speaker 1: you work every weekend? Okay? And did you graduate from

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Speaker 1: high school? Yes? Okay, you graded from high school. No

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Speaker 1: thought of college. You're a musician. I was thinking about

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Speaker 1: music school, maybe Julius Heart School of Music. But past. Okay,

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Speaker 1: So you're playing every weekend with your band. What kind

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Speaker 1: of money you're making? Uh? We were getting paid anywhere

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Speaker 1: from to three hundred dollars a night. I was making

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Speaker 1: anywhere from fifty dollars. I was booking, so I would

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Speaker 1: take ten percent off the top. I was the booker,

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Speaker 1: and I got so many calls for our band. Did

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Speaker 1: I remember I said once to the fraternity guy, well listen,

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Speaker 1: we're a book, but I think I could get you

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Speaker 1: a band, and he said, okay, great, I trust you.

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Speaker 1: So now all of a sudden, at eighteen years old,

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Speaker 1: I'm booking bands. I'm playing all these different colleges. And

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Speaker 1: you know, I went from a rowboat to a seventeen

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Speaker 1: foot speedboat. Wow. And he's still living at home. Uh,

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Speaker 1: still living at home? Correct? Okay, So the name of

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Speaker 1: the band is was the Passengers? Okay? And do you

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Speaker 1: think are you the kind of person you're gonna find

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Speaker 1: a way your survivor you're gonna find a way to

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Speaker 1: make money. If it wasn't, the music business would have

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Speaker 1: been something else. I don't know. I never thought of

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Speaker 1: of ever. Oh God, you gotta gotta make money to live.

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Speaker 1: I just well, it's just kind of came natural. Well,

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Speaker 1: I guess it's one thing to be a member of

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Speaker 1: the band. It's also another thing to book the band.

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Speaker 1: But the story always is is the drummer is the

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Speaker 1: business guy. So this proves the point. Really, Oh yeah,

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Speaker 1: you get into it. I give you example after example

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Speaker 1: where the drummer is the business guy. Wow. So okay,

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Speaker 1: so you're doing this. How long do you do this for?

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Speaker 1: How long I do this for? I do it? Uh

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Speaker 1: because well we're starting to cut records, and we the

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Speaker 1: guy who's uh actually the producer of these different records.

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Speaker 1: He's got a deal with a big publishing company in

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Speaker 1: New York. So we would go to New York with

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Speaker 1: back up bands, back up the Satin's or a couple

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Speaker 1: of other groups make some records. We were on Amy

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Speaker 1: Malabel as King Author and the nights were on Atlantic

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Speaker 1: Is Jerry and the Passengers. Uh. You know, we just

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Speaker 1: cut a lot of a lot of different stuff and

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Speaker 1: one record that we can't I couldn't get a deal for.

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Speaker 1: So what I did was, uh, I pressed up the

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Speaker 1: record on my own. I sent the tape to r

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Speaker 1: C A pressed up the record on my own. My

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Speaker 1: guitar player was named c strand I'm Greenberg green C Records.

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Speaker 1: Press it up, take the record. Because I'm getting very

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Speaker 1: friendly with all the radio. This shock eys guys from

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Speaker 1: a vz D, E, W D r C and hard

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Speaker 1: dr C. Absolutely, I'm gonna mention that. We'll talk about

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Speaker 1: that in a minute. So the bottom line is I

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Speaker 1: pressed up the record and I put it into Cutler's

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Speaker 1: and I'm the famous record shop in New Haven, Connecticut. Yeah,

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Speaker 1: it's the biggest. And uh so I'm up in Hartford

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Speaker 1: collecting my money at a distributor. I over hear the

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Speaker 1: guy say, oh, my promotion man's leaving. I'm looking for somebody.

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Speaker 1: I say to the guy, wait a minute, how about me,

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Speaker 1: I'd love that job. So he gives me the job.

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Speaker 1: I am now a record promotion man working for Seaboard

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Speaker 1: Distributors out of Hartford. Going is far down to Bridgeport

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Speaker 1: to w I c C. That is correct, too far

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Speaker 1: uh north as Springfield, w Y something in Springfield. And

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Speaker 1: of course the big station in Connecticut was w d

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Speaker 1: R C and Harford, and that was run by birtha

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Speaker 1: porter who everyone knew at that time. If Bertha picked

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Speaker 1: the record, it could break nationally. So, okay, a couple

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Speaker 1: of questions. This is a pre Beatles, Yeah, so what

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Speaker 1: kind of records were you working? Oh? No, you know,

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Speaker 1: it's funny, funny. I had VJ as one of my labels.

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Speaker 1: Had I had a Beatles record was introducing the Beatles

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Speaker 1: on j one of the capital passed. Okay, so, uh

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Speaker 1: this is in uh Nino and you know we had

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Speaker 1: Atlantic and Chess and Checker and basically when almost all

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Speaker 1: the labels were independent. Okay, Now did you were you

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Speaker 1: continuing to play in your band on the weekends? Now?

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Speaker 1: Did you you were making good money? We're buying a speedboat.

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Speaker 1: Did you have a dream of stardom? No? Okay, so

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Speaker 1: you're just doing it? So okay. You you took the

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Speaker 1: job as a radio record promotion being thinking I've got

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Speaker 1: nothing to do Monday to Friday, or this will be

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Speaker 1: a career or I just want to have, you know,

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Speaker 1: a job. Well, I didn't know. You know, it was

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Speaker 1: a job, and I felt it could be a career

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Speaker 1: because I love music. I was when you love music, man,

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Speaker 1: you just want to be around music. So I'm a

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Speaker 1: guy who loves music and I'm a musician. So what's

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Speaker 1: been an than that? Okay? So how long do you

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Speaker 1: work for cboard? How? Probably three or four years. But

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Speaker 1: I became, you know, very close with everybody at Atlantic Records.

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Speaker 1: And why was that? Uh? I think they liked me.

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Speaker 1: I was breaking records in Connecticut for Atlantic, and I

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Speaker 1: think they realized all of a sudden, Jerry had good

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Speaker 1: ears and Jerry Wexler. Henry Allen was ahead of promotion

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Speaker 1: at the time. Henry calls me and he goes, listen,

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Speaker 1: Jerry Wexler just bought a record. I just bought a record.

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Speaker 1: He wants you to hear it and tell him what

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Speaker 1: and tell you what he what you think and were

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Speaker 1: I'm sending it up a man getting it up to

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Speaker 1: you special delivery. The record was Percy Sledge When a

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Speaker 1: Man Loves So I hear the record and I'm very

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Speaker 1: close with the DJ in New Haven at w d

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Speaker 1: E daytime station. I go to w d at two

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Speaker 1: o'clock in the afternoon and I said, listen, put this on.

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Speaker 1: Plays it at two, plays it again at three thirty,

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Speaker 1: plays it again at like five. The phones are going

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Speaker 1: crazy crazy. Cutler's record job calls the station, what's this

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Speaker 1: man loves the woman record you're playing on? We got

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Speaker 1: people coming in want to buy it. So I called

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Speaker 1: Jerry Wexlet the next day and I go, Jerry, You're

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Speaker 1: gonna have the biggest crossover pop record you've ever seen.

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Speaker 1: Watch And it was the truth. I mean, come on,

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Speaker 1: we'll take a quick break and come back with more

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Speaker 1: of my conversation with legendary record label executive Jerry Greenberg,

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Speaker 1: recorded live at the tune In Studios in Venice, California. Hi,

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Speaker 1: it's Bob left Sex. Over the last couple of months,

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Speaker 1: I've interviewed the lead singer of Garbage, Shirley Manson, and

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Speaker 1: legendary drummer Kenny arn Off. But I really love getting

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Speaker 1: the stories and the executives in and around the music industry,

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Speaker 1: like Jerry. Whether you come for the music, the tech,

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Speaker 1: or otherwise, be the first here next week's episode by

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Speaker 1: subscribing to the podcast on tune In, Apple Podcasts or

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Speaker 1: your podcast player of choice. While you're there, please rate

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Speaker 1: and review. Okay, let's get back to my conversation with

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Speaker 1: Jerry Greenberg. What was the key to promoting a record tour?

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Speaker 1: I mean, that's an obvious one, but when records not

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Speaker 1: that obvious? What was the key to getting in on

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Speaker 1: the radio? Um? Just too tenacity? Keep keep pounding the

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Speaker 1: guy and going, hey, look it just happened in Texas,

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Speaker 1: or it's doing this somewhere else, or what do they

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Speaker 1: call it? The key to being a good promotion man?

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Speaker 1: I think there's one being honest to having a good

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Speaker 1: track record, because you remember, you're trying to talk this

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Speaker 1: guy into taking air time and play a record. You

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Speaker 1: don't want to play a stiff. He wants to play

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Speaker 1: a hit. He wants to be the first to play

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Speaker 1: a hit. And I had that relationship, I think with

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Speaker 1: a lot of guys and um and girls, and but

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Speaker 1: I was very close with Bertha and she loved me. So, uh,

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Speaker 1: let me just say this. A job opens up at

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Speaker 1: the other distributorship. Okay, there's two big distributorships in Harvard.

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Speaker 1: Job opens up. My brother is doing radio promotion and

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Speaker 1: I'm that radio selling time at a radio station. So

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Speaker 1: I say to Bertha, Bertha, do me a favor. I'd

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Speaker 1: like my brother to get that job. She said, well,

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Speaker 1: I got to meet him. I said fine, So I

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Speaker 1: set up a lunch. She falls in love with my brother.

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Speaker 1: She calls the distributor. Hey, you know, Jerry's got a brother,

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Speaker 1: Bob Greenberger. Boom, Bob gets the job. So now we

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Speaker 1: got Bob at one distributor, me at the other. But

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Speaker 1: here's the best story yet, you're ready. I have to

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Speaker 1: go in the army to do Army Reserve you know,

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Speaker 1: none of us want to get drafted at that time. Uh,

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Speaker 1: you could be out if you had a baby that

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Speaker 1: postpone you're getting drafted. That none of us wanted to

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Speaker 1: go to Vietnam. Anyways, I signed up a Army reserve.

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Speaker 1: Army reserve, you got to go away for six months

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Speaker 1: and then you have to serve for four more years,

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Speaker 1: going to meetings, etcetera. And I signed up. So Jerry

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Speaker 1: Water calls me up ahead of Atlantic, says Jerry, after

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Speaker 1: the thing with the happened with the Percy Sledge record,

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Speaker 1: I want to hire you. I want you to come

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Speaker 1: to New York and work for me, I said Jerry.

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Speaker 1: I can't right now because I have to serve six

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Speaker 1: months in the Army. I don't want to come there,

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Speaker 1: and then I have to go, I said, But as

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Speaker 1: soon as I get out, is the job still open

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Speaker 1: the day you're out of the Army, you're coming to

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Speaker 1: work for Atlantic Records? I go, okay, great, So now

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Speaker 1: I get the call to go and serve. So I

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Speaker 1: say to my brother, let me ask you a question.

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Speaker 1: What do you think if we put Dad into the

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Speaker 1: record business? He says, I said that this is this

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Speaker 1: job is perfect for him. Everybody loves him. It's personality.

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Speaker 1: I said. He grew up listening to me with the

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Speaker 1: band downstairs. He loves music. She he says, let's take

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Speaker 1: a shot. So we go to Bertha and we go Bertha,

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Speaker 1: I gotta go in the army for six months, but

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Speaker 1: I want my dad to fill in for me. Is

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Speaker 1: that cool? I gotta meet him. Fine, you'll love him.

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Speaker 1: So we bring that up to Harvard as lunch with

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Speaker 1: birth reporter. I go to Marvin, my boss, and I say, listen,

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Speaker 1: I gotta go now for six months. But I got

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Speaker 1: the replacement for me for six months. I said, you

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Speaker 1: know who's eye said, my father? Your father? Yeah, trust me.

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Speaker 1: Bertha loves him. He calls up Bertha. She said, oh yeah,

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Speaker 1: Bill Greenberg, he's great. Blah blah blah. So bingo. My

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Speaker 1: father's now took my job. He's in doing record promotion.

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Speaker 1: So he gives up his jewelry salesman's job, gives up

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Speaker 1: to Julia. Now he died and went to heaven. He

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Speaker 1: got a car, he got an expense account. He's taking

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Speaker 1: these DJs. I love golf, so I said, then take

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Speaker 1: the guy from a VZ out to play golf. He did.

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Speaker 1: Now he's getting records on after I'm in the army.

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Speaker 1: Two months I get a note from Marvin, don't come back.

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Speaker 1: Your father's better than you. So we had the Greenberg dynasty.

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Speaker 1: There was an article came out in cash Box, the

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Speaker 1: Greenberg dynasty. Father's son brother. But it's a reverse kind

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Speaker 1: of trip, if you know, it's usually the kid gets

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Speaker 1: into father's business. This was the kid put the father

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Speaker 1: in in my business. But just a uh been up

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Speaker 1: one little uh hole here, your brother, how do you

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Speaker 1: get into selling radio time? Um, that's interesting. I don't know.

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Speaker 1: He just he knew somebody at a radio station and

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Speaker 1: a job came. He did a It could have might

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Speaker 1: have been NAVEZ, New Haven, one of the radio stations

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Speaker 1: in New Haven. So that was I utilized that with Bertha, like, Hey,

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Speaker 1: this guy, you know, he's not a cook or or

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Speaker 1: salesman or something. He's in radio already. Let's get him

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Speaker 1: out of selling time and let's get him into promotion.

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Speaker 1: So in any event, you're in the army for six months,

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Speaker 1: you get out and you go to work for Atlantic

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Speaker 1: Correct and you have to move to New York City. No,

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Speaker 1: I'm living in New Haven and I'm commuting every day,

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Speaker 1: every day from the Raven every day from New Haven.

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Speaker 1: That's almost because I grew up, as I say, in

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Speaker 1: fear Field. When I grew up in fear Field in

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Speaker 1: the sixties, that was just one step too far. People

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Speaker 1: commute now, but the Heathen that's like an hour and

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Speaker 1: a half each way on the train. Yeah. I took

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Speaker 1: the train a couple of times, but it didn't work out.

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Speaker 1: So I'm driving and they give your parking because parking

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Speaker 1: in New York City could eat up your whole salary. Uh.

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Speaker 1: Now they as it happened after about two years. I

404
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Speaker 1: remember I went into armed and I said, listen, you

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Speaker 1: know you guys got me out late at night. I'm

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Speaker 1: driving home at eleven o'clock. I said, we we gotta

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Speaker 1: fix this. So they gave me a car and a driver. Yeah,

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Speaker 1: and then they kept on saying, why don't you move

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Speaker 1: to the city, And I said, my wife ex wife, Uh,

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Speaker 1: it's not like living in the city with the kids.

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Speaker 1: I said, but I you know, if you help me out,

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Speaker 1: I will move closer. And I did. I moved to Greenwich.

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Speaker 1: So I was in Greenwich. Now we're on a forty

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Speaker 1: five minute ride and h I'm commuting. Okay, So you

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Speaker 1: go to work for Atlantic. Do you remember what year

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Speaker 1: that is? Sixty seven? Sixty seven, sixty eight? Okay, so

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Speaker 1: they're still doing the rascals over there in Atlantic. Oh yeah, okay,

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Speaker 1: what's your gig at Atlantic? I come in and that's

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Speaker 1: what I thought. I show up the first day and

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Speaker 1: I said, what am I promotion? Man? What I know?

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Speaker 1: You're Jerry Wexler assistant. And I'll never forget. We walk

422
00:26:40,520 --> 00:26:46,479
Speaker 1: into a meeting Jerry Wexler and probably fifteen Atlantic people's

423
00:26:46,480 --> 00:26:50,400
Speaker 1: staff people, and he goes, I want to introduce Jerry Greenberg.

424
00:26:50,400 --> 00:26:53,240
Speaker 1: Here's my new assistant. So I expect you to treat

425
00:26:53,320 --> 00:26:55,919
Speaker 1: him with respect. And I will remember I knew a

426
00:26:55,960 --> 00:26:59,080
Speaker 1: lot of those guys because they would be calling me

427
00:26:59,440 --> 00:27:02,040
Speaker 1: to promote different records. They all knew who I was.

428
00:27:02,600 --> 00:27:05,399
Speaker 1: So I came in as as Jerry's assistant, where I

429
00:27:06,520 --> 00:27:09,639
Speaker 1: will tell you that's the man that taught me the

430
00:27:09,680 --> 00:27:16,280
Speaker 1: record business. Okay, so tell us more about Jerry. Well, Jerry.

431
00:27:17,760 --> 00:27:21,240
Speaker 1: Somebody asked me something about Jerry, and I said, working

432
00:27:21,280 --> 00:27:24,880
Speaker 1: for Jerry Watson was like joining the Marines. You either

433
00:27:25,000 --> 00:27:27,760
Speaker 1: came out a drill sergeant, or they found you in

434
00:27:27,800 --> 00:27:31,840
Speaker 1: a swamp. And I mean, Jerry would think nothing on

435
00:27:31,960 --> 00:27:34,960
Speaker 1: the Jewish holiday, young k PORI he called my house.

436
00:27:35,000 --> 00:27:37,280
Speaker 1: He says, I got to speak to Jerry, and my

437
00:27:37,320 --> 00:27:40,000
Speaker 1: wife said, he's in the temple. Give me the temple number.

438
00:27:40,040 --> 00:27:42,240
Speaker 1: I want to talk to him. Jerry would call me

439
00:27:42,280 --> 00:27:45,359
Speaker 1: at three in the morning and say, did you listen

440
00:27:45,400 --> 00:27:49,480
Speaker 1: to the oldest reading test pressing? I'm hearing ticks and pops.

441
00:27:49,840 --> 00:27:54,800
Speaker 1: I mean, he was just a maniac in a good way.

442
00:27:54,960 --> 00:28:00,400
Speaker 1: Uh taught me, always returned phone calls. Taught me people said,

443
00:28:00,440 --> 00:28:03,520
Speaker 1: how did you become president at thirty two years old?

444
00:28:03,560 --> 00:28:06,359
Speaker 1: I said, I called everybody back, and I knew how

445
00:28:06,359 --> 00:28:09,159
Speaker 1: to see yes and no. And that was Jerry Wexler

446
00:28:09,280 --> 00:28:13,720
Speaker 1: teaching me that. Okay, so, but Jerry was also a producer.

447
00:28:14,520 --> 00:28:17,080
Speaker 1: Jerry is the guy that signed the Wretha Franklin. Jerry

448
00:28:17,080 --> 00:28:22,080
Speaker 1: would produce the first job I had an Atlantic. Jerry

449
00:28:22,119 --> 00:28:24,040
Speaker 1: calls me and is, obviously, listen, the first thing we're

450
00:28:24,040 --> 00:28:29,320
Speaker 1: gonna do. I'm producing Dusty Springfield. I love her from England.

451
00:28:29,920 --> 00:28:34,199
Speaker 1: He said, I need songs. So it gives me a

452
00:28:34,280 --> 00:28:38,440
Speaker 1: list of people to call, like Carol King and Jerry

453
00:28:38,480 --> 00:28:42,200
Speaker 1: Goffin and Ellie Greenwich and all these different people. So

454
00:28:42,280 --> 00:28:45,960
Speaker 1: my first job at Atlantic Records was finding songs for

455
00:28:46,080 --> 00:28:52,480
Speaker 1: Jerry Wexler to produce Dusty Springfield. I found a couple myself,

456
00:28:52,560 --> 00:28:56,120
Speaker 1: believe it or not, that made the album, and that

457
00:28:56,280 --> 00:29:01,320
Speaker 1: was the Dusty and Memphis album. Legendary, legendary them. But Jerry,

458
00:29:01,680 --> 00:29:07,680
Speaker 1: Jerry's gig was running Atlantic during the day and making

459
00:29:08,320 --> 00:29:14,280
Speaker 1: records at night with Dr John Or. His biggest artist

460
00:29:14,360 --> 00:29:20,160
Speaker 1: was basically a Wretha Franklin, and he discovered Wretha. I mean,

461
00:29:20,160 --> 00:29:22,520
Speaker 1: he took her from Columbia, made her a big week star,

462
00:29:23,360 --> 00:29:26,920
Speaker 1: and that was his biggest claim to fame. But what

463
00:29:27,080 --> 00:29:31,560
Speaker 1: happened is basically they sold a company right to Kenny

464
00:29:31,560 --> 00:29:34,960
Speaker 1: to Warner Brothers. Yeah, there was called Kenny at the time.

465
00:29:35,000 --> 00:29:38,720
Speaker 1: Then they changed to Warner Brothers. And once the company

466
00:29:38,800 --> 00:29:43,200
Speaker 1: was sold, I think Jerry made the decision probably seventy

467
00:29:44,240 --> 00:29:48,920
Speaker 1: that he wanted to spend more time recording. He also

468
00:29:49,040 --> 00:29:52,479
Speaker 1: loved the water, so he ended up buying a place

469
00:29:52,680 --> 00:29:57,880
Speaker 1: in Florida, had a boat in Florida, UH connected with

470
00:29:58,040 --> 00:30:03,360
Speaker 1: Criteria's studios, and he would record all of his acts

471
00:30:03,680 --> 00:30:08,200
Speaker 1: at Criteria and be on the phone with me. But

472
00:30:08,520 --> 00:30:12,560
Speaker 1: he wasn't running the company anymore. Now we'll cut to

473
00:30:13,200 --> 00:30:16,600
Speaker 1: the beginning of Jerry's rise in Atlantic. Okay, let's just

474
00:30:16,600 --> 00:30:20,480
Speaker 1: go back for one session. At the time, her Babyson

475
00:30:20,560 --> 00:30:23,640
Speaker 1: was out, but his wife was still there being the account. No,

476
00:30:23,920 --> 00:30:27,240
Speaker 1: she wasn't there when I came. What was am It's

477
00:30:27,360 --> 00:30:31,560
Speaker 1: role when you were there? Amage role was a guy

478
00:30:31,640 --> 00:30:35,200
Speaker 1: who he was the president of the company or co

479
00:30:35,400 --> 00:30:37,880
Speaker 1: founder of the company. When I first came. I never

480
00:30:37,920 --> 00:30:42,080
Speaker 1: saw him, really, yeah, never saw him. Uh, he was

481
00:30:42,120 --> 00:30:47,320
Speaker 1: either in England or he was in California. Almas claimed

482
00:30:47,320 --> 00:30:51,680
Speaker 1: to fame. Once I joined the company, was finding a

483
00:30:51,680 --> 00:30:54,960
Speaker 1: lot of the English acts from England, getting a relationship

484
00:30:55,000 --> 00:30:57,400
Speaker 1: with Chris Brockwell. So now all of a sudden we

485
00:30:57,400 --> 00:31:00,440
Speaker 1: got Mark to Hoopo, and we got King Crimson, so

486
00:31:00,920 --> 00:31:04,680
Speaker 1: m and Robert Stigwood, and he heard Clapton in the club.

487
00:31:05,000 --> 00:31:08,440
Speaker 1: So Alman spent most of his time in Europe, in England,

488
00:31:09,240 --> 00:31:14,840
Speaker 1: and in California. Ahmed signed The Iron Butterfly and all

489
00:31:14,880 --> 00:31:18,600
Speaker 1: of those acts. So you had Almed more of an

490
00:31:18,600 --> 00:31:23,160
Speaker 1: A and R source, Jerry more of a guy who

491
00:31:23,240 --> 00:31:27,400
Speaker 1: ran day to day but also record producer. That was

492
00:31:28,480 --> 00:31:31,080
Speaker 1: before they sold the company or just as they sold

493
00:31:31,080 --> 00:31:34,120
Speaker 1: the company. Okay, so really Jerry was Jerry Wexen was

494
00:31:34,120 --> 00:31:38,040
Speaker 1: the day to day guy. Now, oh yeah, no question. Okay.

495
00:31:38,040 --> 00:31:41,240
Speaker 1: So Jerry Wexler moves to Florida, and when that leaves

496
00:31:41,240 --> 00:31:45,920
Speaker 1: you where that leaves me. Even while Jerry was there,

497
00:31:45,960 --> 00:31:48,880
Speaker 1: I kind of moved was moving up. I was the

498
00:31:48,920 --> 00:31:51,440
Speaker 1: head of promotion. I was the national promotion director. I

499
00:31:51,480 --> 00:31:55,720
Speaker 1: had a great team, Dickey Klein and uh Danny Marcus

500
00:31:55,760 --> 00:31:59,280
Speaker 1: and all the all these all these great great promotion people.

501
00:32:00,200 --> 00:32:05,520
Speaker 1: Then they promoted me. I started signing acts. The first

502
00:32:05,520 --> 00:32:08,000
Speaker 1: act I signed, believe it or not in nineties sixty

503
00:32:08,080 --> 00:32:11,440
Speaker 1: seven or sixty eight was Archie Bell in the Drills

504
00:32:11,440 --> 00:32:14,680
Speaker 1: Tighten Up right, So that that was on Atlantic, right, Yeah,

505
00:32:14,760 --> 00:32:17,320
Speaker 1: I think you know that's funny that that record didn't

506
00:32:17,320 --> 00:32:20,600
Speaker 1: sound like anything else, and that my sister bought the single,

507
00:32:21,160 --> 00:32:24,280
Speaker 1: huge hit, huge hit. How did you find that? I

508
00:32:24,320 --> 00:32:27,800
Speaker 1: got in the mail from Hue Mo you know who

509
00:32:27,840 --> 00:32:33,320
Speaker 1: you producer in Texas well, M E A U X

510
00:32:33,560 --> 00:32:36,960
Speaker 1: right exactly. So, So then I moved up as head

511
00:32:36,960 --> 00:32:39,320
Speaker 1: of A and R. Because I'm signing all of these acts.

512
00:32:39,920 --> 00:32:43,480
Speaker 1: Then they promoted me to general manager. So now I'm

513
00:32:43,520 --> 00:32:46,640
Speaker 1: the second in command right under under Wax. Now you're

514
00:32:46,680 --> 00:32:50,640
Speaker 1: moving up so quickly? Aren't other people jealous? It was

515
00:32:50,680 --> 00:32:54,680
Speaker 1: a family there, family. The older guys had a lot

516
00:32:54,720 --> 00:32:59,080
Speaker 1: of respect for me, George for Ness, Juggie Gale, you

517
00:32:59,120 --> 00:33:03,000
Speaker 1: know that right right. For those of you who don't know,

518
00:33:03,840 --> 00:33:08,800
Speaker 1: I started getting Bob's sheet in Atlantic records probably the

519
00:33:08,840 --> 00:33:12,600
Speaker 1: early seventies. Is not a blue piece of paper used

520
00:33:12,600 --> 00:33:15,120
Speaker 1: to come into mail. I used to open it up

521
00:33:15,160 --> 00:33:18,040
Speaker 1: and read it. You had the Bob left this tip

522
00:33:18,120 --> 00:33:22,280
Speaker 1: of the week and this isn't that Shaw. I'm probably

523
00:33:22,320 --> 00:33:27,520
Speaker 1: one of his podcasts guys here who go back longer

524
00:33:27,560 --> 00:33:32,600
Speaker 1: with Bob than anybody. Absolutely, and so, uh, continue your

525
00:33:32,680 --> 00:33:38,360
Speaker 1: journey up the Atlantic food chain. Well, so my my journey.

526
00:33:38,760 --> 00:33:41,040
Speaker 1: The biggest thing that happened. So they sell the company

527
00:33:41,200 --> 00:33:45,000
Speaker 1: Jerry's in Florida. Almond comes into my office and he goes,

528
00:33:45,840 --> 00:33:49,600
Speaker 1: I'm signing the Rolling Stones. You're the only person in

529
00:33:49,680 --> 00:33:53,440
Speaker 1: Atlantic I trust talking to make ja. He says, So

530
00:33:53,520 --> 00:33:56,160
Speaker 1: you're gonna come with me. We had a signing party

531
00:33:56,200 --> 00:34:01,800
Speaker 1: in France and I flew to answer with Ahmed and

532
00:34:02,240 --> 00:34:05,640
Speaker 1: we signed the Rolling Stones. That was the beginning of

533
00:34:05,680 --> 00:34:10,040
Speaker 1: my relationship now with Ahmed, and I'll never forget. Mick

534
00:34:10,280 --> 00:34:13,560
Speaker 1: came into New York with the first album, which was

535
00:34:13,600 --> 00:34:17,360
Speaker 1: Sticky Fingers. It was just Sticky Fingers, and um, it

536
00:34:17,400 --> 00:34:19,520
Speaker 1: calls me, he says, mix here with the first record.

537
00:34:19,920 --> 00:34:22,160
Speaker 1: He wants to play it for me, but I want

538
00:34:22,160 --> 00:34:25,920
Speaker 1: you there. And we walked down to the mastering room

539
00:34:26,080 --> 00:34:31,200
Speaker 1: and Me, Mick, Jagger and Ahmed and he looks to

540
00:34:32,000 --> 00:34:34,319
Speaker 1: to Jagger and he said, this guy picks all the

541
00:34:34,360 --> 00:34:38,440
Speaker 1: singles here. He says, let him hear your record brown Sugar.

542
00:34:38,640 --> 00:34:43,279
Speaker 1: Of course that's your single. And from that moment on,

543
00:34:43,320 --> 00:34:48,839
Speaker 1: I became a hero with Mick. Wow. So now when

544
00:34:48,920 --> 00:34:54,360
Speaker 1: do you become the president of the nineteen seventy four four? Correct?

545
00:34:54,480 --> 00:34:58,640
Speaker 1: And is there a president before? That? Was the president? Was? Ahmed?

546
00:34:58,640 --> 00:35:01,440
Speaker 1: In said, I'm moving up to chair man. Uh you know,

547
00:35:01,520 --> 00:35:04,520
Speaker 1: Steve Ross wants me as chairman of Atlantic. You're going

548
00:35:04,600 --> 00:35:07,600
Speaker 1: to be president. Boom boom boom. So there I am man,

549
00:35:08,080 --> 00:35:12,719
Speaker 1: you know, thirty two years old president of Atlantic. But um,

550
00:35:12,800 --> 00:35:15,719
Speaker 1: you know Jerry wasn't there to answer the phones. M

551
00:35:15,760 --> 00:35:19,200
Speaker 1: it's always traveling never came into the office until four

552
00:35:19,200 --> 00:35:23,640
Speaker 1: o'clock in the afternoon, and so I was the guy.

553
00:35:24,400 --> 00:35:27,640
Speaker 1: But I will tell you that I had the greatest

554
00:35:27,800 --> 00:35:33,680
Speaker 1: team at Atlantic Records. You know, I love football. I

555
00:35:34,120 --> 00:35:36,439
Speaker 1: say we were the Green Bay Packers during that time.

556
00:35:37,120 --> 00:35:39,319
Speaker 1: Call me, Vince Lombardi. I don't know if you want

557
00:35:39,320 --> 00:35:43,600
Speaker 1: to call me. But it was that team there, that spirit.

558
00:35:43,719 --> 00:35:46,480
Speaker 1: Nobody wants to go home. Everybody loved the artists, everybody

559
00:35:46,520 --> 00:35:51,080
Speaker 1: loved the music. The music the musicians were It was

560
00:35:51,200 --> 00:35:56,360
Speaker 1: like nothing you've ever seen, and unfortunately nothing that exists now,

561
00:35:56,719 --> 00:35:59,839
Speaker 1: right of course. Okay, so they had a legendary run.

562
00:36:00,440 --> 00:36:04,879
Speaker 1: It's not only the Stones. They have led Zeppelin. So

563
00:36:05,040 --> 00:36:08,120
Speaker 1: tell us about your work with led Zeppelin. Well, let

564
00:36:08,120 --> 00:36:11,440
Speaker 1: me tell you. Led Zeppelin got signed. We're working on

565
00:36:11,480 --> 00:36:15,880
Speaker 1: the Bud, Dusty and Springfield album. And Dusty says to

566
00:36:16,000 --> 00:36:20,000
Speaker 1: Jerry Wexler, you know, John Paul Jones is going to

567
00:36:20,120 --> 00:36:24,040
Speaker 1: form a new group with Jimmy Page. He's leaving the Yardbirds.

568
00:36:24,200 --> 00:36:27,799
Speaker 1: So Jerry goes I wanted and he finds out that

569
00:36:28,360 --> 00:36:31,680
Speaker 1: Steve Wisse, who is a lawyer for the Rascals, manages

570
00:36:31,800 --> 00:36:37,399
Speaker 1: Jimmy Page picked up the phone Jerry Wexler signed led

571
00:36:37,480 --> 00:36:41,720
Speaker 1: Zeppelin just off of we never Helready note the music,

572
00:36:42,120 --> 00:36:46,720
Speaker 1: just off of the legendary Jimmy Page John Paul Jones,

573
00:36:46,760 --> 00:36:49,800
Speaker 1: who was the greatest session musician in London. There was

574
00:36:49,840 --> 00:36:54,560
Speaker 1: no Bonzo, there was no Robert Plant and Jerry Wexler

575
00:36:54,920 --> 00:36:59,480
Speaker 1: signed led Zeppelin. So now we get the first record,

576
00:37:00,320 --> 00:37:04,960
Speaker 1: first record, that's okay. I become very friends, very good

577
00:37:04,960 --> 00:37:09,160
Speaker 1: friends with Peter Grahant, the manager. The manager, very big guy,

578
00:37:09,280 --> 00:37:11,879
Speaker 1: used to be a wrestler. Everybody was afraid of him.

579
00:37:11,880 --> 00:37:16,360
Speaker 1: Everybody said he managed the animals. I think also he

580
00:37:16,480 --> 00:37:20,520
Speaker 1: was partners would make him most. He and I just

581
00:37:20,600 --> 00:37:23,759
Speaker 1: hit it off. I mean, you know, if you go

582
00:37:23,840 --> 00:37:27,840
Speaker 1: back and think about it, if managers don't get along

583
00:37:27,840 --> 00:37:30,359
Speaker 1: with the head of promotion, how they're going to get

584
00:37:30,360 --> 00:37:33,919
Speaker 1: the records? Right? Of course, so he was smart enough

585
00:37:33,960 --> 00:37:37,440
Speaker 1: to know, Hey, god, I think I should treat this

586
00:37:38,000 --> 00:37:40,920
Speaker 1: Jerry Greenberg with respect. But it was better than that,

587
00:37:41,160 --> 00:37:45,480
Speaker 1: because remember, I'm a drummer, I'm a musician. I'm one

588
00:37:45,520 --> 00:37:48,080
Speaker 1: of them. I'm not I didn't come from being an

589
00:37:48,120 --> 00:37:52,480
Speaker 1: accountant or a lawyer. One Hey man, I'm one of

590
00:37:52,520 --> 00:37:56,440
Speaker 1: you guys. So Peter Grant and I were very very close.

591
00:37:57,040 --> 00:38:00,239
Speaker 1: But this is the great led Zeppelin. Jerry Greenberg's worry.

592
00:38:00,960 --> 00:38:04,239
Speaker 1: So the second record comes out. A whole Lot of

593
00:38:04,320 --> 00:38:08,600
Speaker 1: Love is blowing up on the FM stations, blowing up,

594
00:38:08,719 --> 00:38:13,880
Speaker 1: but it's five minutes and some odd seconds. You're not

595
00:38:13,920 --> 00:38:16,200
Speaker 1: going to get that on w a BC. You're not

596
00:38:16,200 --> 00:38:18,839
Speaker 1: gonna get it on a BC. I call up Peter Grin.

597
00:38:18,920 --> 00:38:21,120
Speaker 1: I go, Peter, do me a favorite, talk to Jimmy,

598
00:38:21,440 --> 00:38:23,640
Speaker 1: asked them to go in the studio and making edit

599
00:38:23,920 --> 00:38:27,479
Speaker 1: for me. A whole lot of Love. We're not as

600
00:38:27,480 --> 00:38:32,680
Speaker 1: saying as man, So I said, please, please comes back.

601
00:38:32,960 --> 00:38:37,200
Speaker 1: I spoke to Jimmy's not doing it. Click. So now

602
00:38:37,560 --> 00:38:41,320
Speaker 1: this record is getting bigger and bigger. Call him back.

603
00:38:41,480 --> 00:38:43,640
Speaker 1: You gotta give it to me. I'm telling you I can.

604
00:38:43,840 --> 00:38:47,359
Speaker 1: We can break the group in America. You got it.

605
00:38:47,520 --> 00:38:51,520
Speaker 1: Pulls be back. We're not doing it. So I say,

606
00:38:51,719 --> 00:38:53,799
Speaker 1: what if I did it? Let me let me make

607
00:38:53,840 --> 00:38:56,800
Speaker 1: an edit and I'll send it to you for your approval.

608
00:38:57,760 --> 00:39:01,640
Speaker 1: Go ahead, I take record. I put it down by

609
00:39:01,680 --> 00:39:05,880
Speaker 1: my desk. I watched the clock at two. They're in

610
00:39:05,960 --> 00:39:08,439
Speaker 1: the hook. What's the hook? A hold lot of love?

611
00:39:09,520 --> 00:39:12,560
Speaker 1: I need a whole lot of love. I faded out.

612
00:39:12,920 --> 00:39:16,840
Speaker 1: I faded at three oh five. I sent it to Peter.

613
00:39:17,520 --> 00:39:20,880
Speaker 1: Peter says to me, Jimmy wants to know what are

614
00:39:20,920 --> 00:39:23,719
Speaker 1: you gonna do with this exactly? I said, Oh, I'm

615
00:39:23,760 --> 00:39:27,000
Speaker 1: just gonna cut a couple of doves and send it

616
00:39:27,120 --> 00:39:29,040
Speaker 1: and a couple of doves and send it to a

617
00:39:29,080 --> 00:39:33,520
Speaker 1: couple of radio stations. Jimmy said, okay. I pressed up

618
00:39:34,000 --> 00:39:39,400
Speaker 1: two thousand records, two thousand long version, one side, short

619
00:39:39,520 --> 00:39:42,960
Speaker 1: version the other. We know what happened, right, we know

620
00:39:43,080 --> 00:39:45,200
Speaker 1: what happened. It was first and fore most. I remember

621
00:39:45,200 --> 00:39:47,360
Speaker 1: because I was a fan of the first album, and

622
00:39:47,400 --> 00:39:50,839
Speaker 1: it was an inside thing. That album came out, leads

623
00:39:50,920 --> 00:39:54,000
Speaker 1: up into within a week, everybody in my high school

624
00:39:54,000 --> 00:39:56,080
Speaker 1: had it. A whole lot of love was everywhere. I

625
00:39:56,080 --> 00:39:57,640
Speaker 1: played it every day for a week and then couldn't

626
00:39:57,640 --> 00:40:00,279
Speaker 1: play it for like months, just because every where you

627
00:40:00,280 --> 00:40:04,040
Speaker 1: went you heard that record. Correct, so the band, So

628
00:40:04,160 --> 00:40:07,799
Speaker 1: the record blows up? Right? You love this. I get

629
00:40:07,800 --> 00:40:11,600
Speaker 1: a call from Peter. Jimmy wants to know when the

630
00:40:11,640 --> 00:40:15,759
Speaker 1: records coming on the jar. Peter record can't come on

631
00:40:15,880 --> 00:40:19,360
Speaker 1: the chart. It's not out of as a signal oh,

632
00:40:19,520 --> 00:40:24,440
Speaker 1: calls back. Jimmy said, put it out as so we

633
00:40:24,520 --> 00:40:26,359
Speaker 1: put it on. In America, they wouldn't put it out

634
00:40:26,440 --> 00:40:29,279
Speaker 1: and it wouldn't allow it in England. I believe we

635
00:40:29,360 --> 00:40:31,200
Speaker 1: put it out, and I think the record one top

636
00:40:31,239 --> 00:40:36,160
Speaker 1: ten for sure. That broke the band. But you know

637
00:40:36,560 --> 00:40:39,440
Speaker 1: that was something that Jerry is proud of, and he

638
00:40:39,520 --> 00:40:44,279
Speaker 1: had the tenacity to keep calling the Jutzpah to you know,

639
00:40:44,760 --> 00:40:47,600
Speaker 1: get that record on the radio. Blew right up. I mean,

640
00:40:47,760 --> 00:40:50,280
Speaker 1: w A d C in New York's playing led Zeppelin.

641
00:40:50,360 --> 00:40:53,840
Speaker 1: Come on, that's a legendary top forty station. Correct. For

642
00:40:53,880 --> 00:41:00,560
Speaker 1: those people who don't know, you're listening to Mike conversation

643
00:41:00,600 --> 00:41:04,320
Speaker 1: with legendary record label executive Jerry Greenberg, recorded live to

644
00:41:04,400 --> 00:41:11,080
Speaker 1: the Tune In studios in Venice, California. I hope you're

645
00:41:11,160 --> 00:41:14,960
Speaker 1: enjoying this episode of the Bob Left Sets podcast. If

646
00:41:14,960 --> 00:41:18,200
Speaker 1: you want to see videos, photos, and soundbites from Jerry

647
00:41:18,360 --> 00:41:20,239
Speaker 1: and the rest of my guests as they joined me

648
00:41:20,280 --> 00:41:24,040
Speaker 1: in the studio, visit at tune in on Twitter, Facebook,

649
00:41:24,080 --> 00:41:28,719
Speaker 1: and Instagram. Now more of my conversation with Jerry Greenberg

650
00:41:28,719 --> 00:41:33,440
Speaker 1: on The Bob Left Sets Podcast. Okay, just stay with

651
00:41:33,560 --> 00:41:35,960
Speaker 1: let's up one for a while. The next album leads

652
00:41:36,040 --> 00:41:39,040
Speaker 1: up on the three is a complete left turn, doesn't

653
00:41:39,080 --> 00:41:42,120
Speaker 1: do as well. But then they come out with the

654
00:41:42,160 --> 00:41:45,680
Speaker 1: fourth album with Stairway to Heaven. Correct, Are you aware

655
00:41:45,760 --> 00:41:48,160
Speaker 1: that that's going to become the most famous rock track

656
00:41:48,239 --> 00:41:51,480
Speaker 1: of all time? Then I and then I think it,

657
00:41:52,080 --> 00:41:54,799
Speaker 1: you know, right at the beginning, not really, I knew

658
00:41:54,880 --> 00:41:58,360
Speaker 1: it was something special though it was very very special.

659
00:41:58,640 --> 00:42:02,600
Speaker 1: I mean English band are special, you know. I mean

660
00:42:03,280 --> 00:42:06,320
Speaker 1: you think about you you listen to Genesis and Emerson

661
00:42:06,400 --> 00:42:13,080
Speaker 1: Lake and Palmer and the musicianship from English bands, it's

662
00:42:13,120 --> 00:42:16,760
Speaker 1: just incredible. And when you think about Stairway to Heaven

663
00:42:17,320 --> 00:42:21,200
Speaker 1: with the guitar solo and and the shift in tempo

664
00:42:21,480 --> 00:42:25,399
Speaker 1: and it was, it was absolutely amazing. So now let's

665
00:42:25,440 --> 00:42:29,800
Speaker 1: cut two number one FM cut in the in the country,

666
00:42:31,360 --> 00:42:35,440
Speaker 1: eight minutes seven. We ain't cutting that, I don't think,

667
00:42:36,200 --> 00:42:39,600
Speaker 1: But I call him up and I say, give me something,

668
00:42:39,719 --> 00:42:43,880
Speaker 1: give me something that we could hang our hats on.

669
00:42:44,640 --> 00:42:47,200
Speaker 1: And they ended up we I forget who did it.

670
00:42:47,239 --> 00:42:49,800
Speaker 1: I know, I didn't go in and just faded out.

671
00:42:49,960 --> 00:42:52,080
Speaker 1: We had to work on the guitar solo and everything,

672
00:42:52,239 --> 00:42:55,319
Speaker 1: but we got it down to five minutes, and so

673
00:42:55,360 --> 00:42:57,520
Speaker 1: we got a lot of top for these stations to

674
00:42:57,640 --> 00:43:02,240
Speaker 1: place their way to heaven. But it's the number one

675
00:43:02,760 --> 00:43:06,400
Speaker 1: FM track in history. Of course it used to be.

676
00:43:06,440 --> 00:43:09,680
Speaker 1: You know, the Memorial five was always number one. So

677
00:43:09,760 --> 00:43:12,239
Speaker 1: let me let me just tell you my great leads

678
00:43:12,320 --> 00:43:14,880
Speaker 1: up one story. So I would go to their concerts

679
00:43:15,719 --> 00:43:18,840
Speaker 1: mostly they pay two or three nights at Madison Square Garden,

680
00:43:19,920 --> 00:43:24,320
Speaker 1: always backstage, always sitting on the speakers. Took the kids

681
00:43:26,440 --> 00:43:30,719
Speaker 1: one night at the garden. Richard Cole, who is their

682
00:43:30,840 --> 00:43:35,719
Speaker 1: road manager. I see they set up a conga's and

683
00:43:35,800 --> 00:43:37,880
Speaker 1: on a Whole Lot of Love the encore Richard go

684
00:43:37,920 --> 00:43:41,759
Speaker 1: out and play congas. So I say to Richard, let

685
00:43:41,760 --> 00:43:45,160
Speaker 1: me do it. He goes, come on, I said, come on,

686
00:43:45,320 --> 00:43:48,000
Speaker 1: you know I'm a drummer. Let me do it. He says,

687
00:43:48,040 --> 00:43:52,759
Speaker 1: give me fifty dollars. I say, you got it. I

688
00:43:52,800 --> 00:43:56,239
Speaker 1: whip into my pocket. I take out fifty dollars. I

689
00:43:56,320 --> 00:44:01,640
Speaker 1: go out. I am playing conga's on the led Zeppelin

690
00:44:01,719 --> 00:44:05,840
Speaker 1: Whole Lot of Love Encore at Madison Square Garden, and

691
00:44:05,960 --> 00:44:08,920
Speaker 1: Jimmy and Robert turn around the see me. They get hysterical.

692
00:44:10,320 --> 00:44:14,880
Speaker 1: The song ends. I go to walk off stage. Bonzo

693
00:44:14,920 --> 00:44:18,600
Speaker 1: grabs me by my shirt drags me to the front

694
00:44:18,640 --> 00:44:22,600
Speaker 1: of the stage. I'm in the middle of led Zeppelin.

695
00:44:22,760 --> 00:44:25,120
Speaker 1: Jerry Greenberg is in the middle of led Zeppelin taking

696
00:44:25,120 --> 00:44:29,359
Speaker 1: about at Madison Square Garden. I can tell you that's

697
00:44:29,360 --> 00:44:33,200
Speaker 1: a memory, buddy, that's for sure. Now let's go through

698
00:44:33,239 --> 00:44:35,680
Speaker 1: some of your other greatest hits in Atlantic. You sign

699
00:44:35,760 --> 00:44:40,360
Speaker 1: Apple correct? How did that happen? It happened because Ness,

700
00:44:40,440 --> 00:44:43,360
Speaker 1: we are it again? Who was Ahmed's brother who was

701
00:44:43,400 --> 00:44:46,160
Speaker 1: one of the founders of Atlantic, who when the company

702
00:44:46,200 --> 00:44:51,640
Speaker 1: got sold, became head of Wea International, called me up

703
00:44:51,680 --> 00:44:57,439
Speaker 1: and he said, listen, the Eurovision Song of the Year

704
00:44:57,760 --> 00:45:01,080
Speaker 1: is a song by a Swedish group called uh Songs

705
00:45:01,080 --> 00:45:05,520
Speaker 1: called Waterloo and the goop's called Harbor, and um, I

706
00:45:05,600 --> 00:45:07,720
Speaker 1: don't think they have a deal in America. I'm getting

707
00:45:07,719 --> 00:45:09,279
Speaker 1: a copy of the record. I'm gonna give it to

708
00:45:09,280 --> 00:45:13,960
Speaker 1: Phil Carson, who's the head of our international company, and

709
00:45:14,040 --> 00:45:16,719
Speaker 1: I'll have sent it to you. And I get the

710
00:45:16,719 --> 00:45:19,080
Speaker 1: record in the mail and I listened to it and

711
00:45:19,440 --> 00:45:22,799
Speaker 1: it kind of had like a Phil Specter beach Boy

712
00:45:22,960 --> 00:45:26,360
Speaker 1: is kind of sound, and I knew it was great.

713
00:45:27,120 --> 00:45:30,799
Speaker 1: So I want called the lawyer in New York. They

714
00:45:30,840 --> 00:45:34,920
Speaker 1: said the records available and I signed. Well, it turned

715
00:45:34,920 --> 00:45:37,200
Speaker 1: out to be the biggest selling group in the world.

716
00:45:37,920 --> 00:45:39,880
Speaker 1: And who else did you work with in your tenure

717
00:45:39,920 --> 00:45:44,120
Speaker 1: there in Atlantic? Who else did I sign or work with?

718
00:45:44,200 --> 00:45:48,120
Speaker 1: I work with everybody. I mean, you know ROBERTA. Flack, Reata, Franklin,

719
00:45:48,719 --> 00:45:52,040
Speaker 1: Benny King. Uh, you know. I was the head of promotion,

720
00:45:52,080 --> 00:45:54,240
Speaker 1: but then I became the head of the record company,

721
00:45:54,600 --> 00:45:58,799
Speaker 1: so I worked with the whole roster. So who else

722
00:45:58,840 --> 00:46:03,520
Speaker 1: did you sign? Yea, Oh, I signed a foreigner. That's

723
00:46:03,560 --> 00:46:08,279
Speaker 1: probably my biggest rock signing. I remember hearing feels like

724
00:46:08,280 --> 00:46:11,120
Speaker 1: the first time on the radio, and literally driving directly

725
00:46:11,160 --> 00:46:13,560
Speaker 1: to the record store. Just had to own it, right,

726
00:46:13,840 --> 00:46:16,520
Speaker 1: The sound of that feels like the first time. Yeah,

727
00:46:16,760 --> 00:46:20,000
Speaker 1: you know, it's funny because I heard you on when

728
00:46:20,080 --> 00:46:24,040
Speaker 1: you did the Paul Rogers interview. You talked about hearing

729
00:46:24,200 --> 00:46:27,640
Speaker 1: free on the mirrored Parkway. You gotta remember, I'm driving

730
00:46:27,719 --> 00:46:32,000
Speaker 1: home every night to Greenwich. That's in the car, That's

731
00:46:32,000 --> 00:46:34,279
Speaker 1: where I was picking the records. I didn't have time

732
00:46:34,320 --> 00:46:36,760
Speaker 1: in the office to listen to music. I'm I'm getting

733
00:46:36,800 --> 00:46:39,839
Speaker 1: a hundred and fifty phone calls a day. So when

734
00:46:39,840 --> 00:46:42,400
Speaker 1: did Jerry get a chance to listen to music on

735
00:46:42,480 --> 00:46:47,480
Speaker 1: the way home? Had a limo, had a tape deck, speakers, cassettes,

736
00:46:48,239 --> 00:46:52,560
Speaker 1: and they sent me to Bad Company Record and I

737
00:46:52,680 --> 00:46:57,080
Speaker 1: picked UH Can't Dare Enough of You Love. I laugh

738
00:46:57,160 --> 00:46:59,520
Speaker 1: when you're talking about that with Paul Rods is because

739
00:47:00,360 --> 00:47:03,239
Speaker 1: I got on the mirror Parkway and I played that

740
00:47:03,280 --> 00:47:06,560
Speaker 1: record all the way at the Greenwich. That's an instant here,

741
00:47:06,640 --> 00:47:09,719
Speaker 1: that one one listen hit one? How do you sign for?

742
00:47:10,719 --> 00:47:13,080
Speaker 1: How did I sign for it? But Prager called me

743
00:47:13,440 --> 00:47:17,560
Speaker 1: who I knew? Who managed uh an act on Atlantic

744
00:47:17,840 --> 00:47:22,439
Speaker 1: and managed Mountain, obviously managed Leslie West. The producer called me, says,

745
00:47:22,480 --> 00:47:26,279
Speaker 1: I got a great band for you, Bapa, Papa. I

746
00:47:26,880 --> 00:47:29,279
Speaker 1: think they sent over a tape. I feel like the

747
00:47:29,320 --> 00:47:31,880
Speaker 1: first time was on the demo tape. I said, I

748
00:47:31,920 --> 00:47:35,480
Speaker 1: got to see them live. So I go to the

749
00:47:35,800 --> 00:47:39,879
Speaker 1: recording UH studio that the rehearsing app. I had Jim

750
00:47:39,960 --> 00:47:42,080
Speaker 1: Delahan who was the head of A and our guy

751
00:47:42,760 --> 00:47:45,800
Speaker 1: and another guy and we go there and the audition

752
00:47:45,880 --> 00:47:49,600
Speaker 1: for me and Mick says to me Rick Jones, Mick Jones,

753
00:47:49,680 --> 00:47:52,600
Speaker 1: I'm sorry, Mick Jones. Lead in the guitar players. Says

754
00:47:52,640 --> 00:47:55,440
Speaker 1: to me, well, you know, we're talking to A and M,

755
00:47:55,480 --> 00:47:59,160
Speaker 1: which is a California based a record company, big record company.

756
00:47:59,160 --> 00:48:02,920
Speaker 1: We're talking to A stuff which is Clive Davis's new company.

757
00:48:03,480 --> 00:48:06,600
Speaker 1: Three companies with A's and them. And I said, listen,

758
00:48:06,920 --> 00:48:08,759
Speaker 1: First of all, you don't want to sign with A

759
00:48:08,880 --> 00:48:11,399
Speaker 1: and M. They're a great company, but they're based in California.

760
00:48:11,960 --> 00:48:16,360
Speaker 1: Number two, we're based here. We're based here in l A.

761
00:48:17,200 --> 00:48:23,200
Speaker 1: And I always give the bands Jerry's pitch that he's

762
00:48:23,239 --> 00:48:27,040
Speaker 1: a drummer, that he's one of them. So I said

763
00:48:27,040 --> 00:48:29,120
Speaker 1: to him, I said to him, listen, man, you know

764
00:48:29,360 --> 00:48:32,160
Speaker 1: I'm a drummer. In fact, let me sit in with

765
00:48:32,200 --> 00:48:34,440
Speaker 1: you guys now I want to play a song. I

766
00:48:34,480 --> 00:48:39,000
Speaker 1: get up and I jam with the band. So like

767
00:48:39,080 --> 00:48:41,680
Speaker 1: Mick Jones is like kind of shocked, and and they're all,

768
00:48:41,800 --> 00:48:43,920
Speaker 1: you know, I'm pretty good too. And four a drummer,

769
00:48:44,840 --> 00:48:48,080
Speaker 1: So they say to me. I I say to them,

770
00:48:48,120 --> 00:48:51,080
Speaker 1: I say, listen, tell Bud you want to sign with Atlantic,

771
00:48:51,560 --> 00:48:53,799
Speaker 1: but we got a deal. I promise you a gold

772
00:48:53,880 --> 00:48:57,560
Speaker 1: record on the first record. But I gotta play Madison's

773
00:48:57,600 --> 00:49:03,280
Speaker 1: were Garden. When you play the sure enough we didn't

774
00:49:03,280 --> 00:49:05,400
Speaker 1: put it in the contract, but sure enough, their first

775
00:49:05,440 --> 00:49:08,960
Speaker 1: record comes out. There was only one other record that

776
00:49:09,000 --> 00:49:12,960
Speaker 1: came out at the same time that blew up like that, Boston. Right.

777
00:49:13,360 --> 00:49:16,719
Speaker 1: So the Boston was six months before, six months before, right.

778
00:49:16,840 --> 00:49:19,200
Speaker 1: I remember Bug coming to my office every day. I'm

779
00:49:19,200 --> 00:49:20,680
Speaker 1: glad you said that because he used to come to

780
00:49:20,719 --> 00:49:24,759
Speaker 1: my office day. I want Boston. You gotta make this

781
00:49:24,920 --> 00:49:28,600
Speaker 1: like Boston, and and we did. So now they're gonna

782
00:49:28,600 --> 00:49:32,040
Speaker 1: play the Garden. And I know they're gonna play the Garden.

783
00:49:32,080 --> 00:49:34,360
Speaker 1: I said, hey, you know, we gotta bet. They said, don't.

784
00:49:34,360 --> 00:49:36,719
Speaker 1: We're gonna take care of it. So I'm on the

785
00:49:36,760 --> 00:49:40,920
Speaker 1: side of the stage. Sure enough, on the encore, uh

786
00:49:41,400 --> 00:49:43,640
Speaker 1: hot Blood and I think it was a song whatever

787
00:49:43,680 --> 00:49:47,000
Speaker 1: the encore was to take out a drum set. Jerry

788
00:49:47,040 --> 00:49:50,279
Speaker 1: goes out, Jerry plays the encore. They say to me,

789
00:49:50,960 --> 00:49:52,879
Speaker 1: you know, we're gonna take the drum set on the road,

790
00:49:53,680 --> 00:49:58,000
Speaker 1: so wherever you show up, you can you can sit in.

791
00:49:58,600 --> 00:50:02,680
Speaker 1: So they played the Forum. I flew to California, I

792
00:50:02,719 --> 00:50:05,000
Speaker 1: did the Form, I did Miami, I did all the

793
00:50:05,040 --> 00:50:11,600
Speaker 1: warm places Hawaii. But we're to this day. I'm still

794
00:50:11,719 --> 00:50:14,840
Speaker 1: very close with Mick Jones. You know they've changed members.

795
00:50:15,760 --> 00:50:18,000
Speaker 1: I saw him what a year ago when they played

796
00:50:18,000 --> 00:50:22,520
Speaker 1: out here, and you know, you go to a foreign

797
00:50:22,680 --> 00:50:27,080
Speaker 1: Foreigner concerts like a jukebox, absolutely amazing, how many hits

798
00:50:27,080 --> 00:50:29,160
Speaker 1: they have. And then when they worked with but Lange

799
00:50:29,200 --> 00:50:32,160
Speaker 1: and they did that incredible album Foreigner four, it was

800
00:50:32,239 --> 00:50:36,759
Speaker 1: just unreal. So okay, you tell us how you got

801
00:50:36,840 --> 00:50:39,719
Speaker 1: Foreigner away from A and M and Arista. Did you

802
00:50:39,760 --> 00:50:45,720
Speaker 1: ever lose a band? Oh yeah, oh yeah, I missed

803
00:50:45,719 --> 00:50:49,880
Speaker 1: a few. I was the first guy to see Billy Joel.

804
00:50:50,239 --> 00:50:54,560
Speaker 1: I wanted to sign Billy Joel and it's a long story,

805
00:50:54,600 --> 00:50:59,160
Speaker 1: but anyways, he ended up on Columbia. UM and uh,

806
00:50:59,239 --> 00:51:01,120
Speaker 1: this is a great story. You love and this is

807
00:51:01,120 --> 00:51:04,080
Speaker 1: a true story. So I get a call from Steve Lieber,

808
00:51:04,239 --> 00:51:08,600
Speaker 1: who's the manager partner with with David Krebs, big manager

809
00:51:08,640 --> 00:51:11,520
Speaker 1: in New York. He says, I want you to come

810
00:51:11,560 --> 00:51:14,040
Speaker 1: and see a band we're gonna have at Maxis Kansas City.

811
00:51:14,200 --> 00:51:17,160
Speaker 1: I said, okay, I show up with Almed. He said,

812
00:51:17,160 --> 00:51:19,880
Speaker 1: but you gotta bring Almed, so I said, okay, So

813
00:51:19,920 --> 00:51:23,439
Speaker 1: it's Armed. Myself. Phil Carson was in town. My guy

814
00:51:23,480 --> 00:51:27,560
Speaker 1: from Europe, Jim Delahan we go to Maxis Kansas City.

815
00:51:27,920 --> 00:51:30,239
Speaker 1: Who's sitting next to me, Clive Davis, who's on the

816
00:51:30,280 --> 00:51:32,560
Speaker 1: other side of me, the head of our c A.

817
00:51:32,560 --> 00:51:35,400
Speaker 1: All the record companies are there. All of a sudden,

818
00:51:36,080 --> 00:51:40,640
Speaker 1: band comes out. Who is it? Steve Tyler and he's

819
00:51:41,320 --> 00:51:45,440
Speaker 1: got scarves and Ahmed leans over. After the second number,

820
00:51:45,800 --> 00:51:48,440
Speaker 1: he says, we're out of here. I said, Ahmed, I

821
00:51:48,480 --> 00:51:51,560
Speaker 1: can't leave, I said, Steve leaving is a friend of mine.

822
00:51:51,560 --> 00:51:53,759
Speaker 1: We're not getting up and leaving, just sit there having

823
00:51:53,760 --> 00:51:58,759
Speaker 1: another drink. So after every song, I get up and

824
00:51:58,800 --> 00:52:05,200
Speaker 1: I'm ap plority yo, Nick Babe. Steve Leever and Clive's

825
00:52:05,560 --> 00:52:08,440
Speaker 1: next table is looking at me. All of a sudden,

826
00:52:08,760 --> 00:52:11,440
Speaker 1: Leeba comes over. After the show, he goes, you love

827
00:52:11,560 --> 00:52:14,840
Speaker 1: them right? I said, we hated him. She's your kidding,

828
00:52:15,320 --> 00:52:17,360
Speaker 1: I said no. I said, Amna wanted to leave, but

829
00:52:17,400 --> 00:52:20,319
Speaker 1: I kept them here. I said, Alma says to me,

830
00:52:20,800 --> 00:52:24,440
Speaker 1: we had just signed the stones. He's imitating Mick Jagger,

831
00:52:24,640 --> 00:52:27,160
Speaker 1: bah bah bah bah bah. So he said, yeah, but

832
00:52:27,200 --> 00:52:29,480
Speaker 1: I was watching you. I said, I did it for you.

833
00:52:30,320 --> 00:52:32,360
Speaker 1: Go over and tell Clive Davis you just got a

834
00:52:32,360 --> 00:52:36,600
Speaker 1: big offer from Atlantic. Double it. He'll double it guaranteed

835
00:52:37,480 --> 00:52:40,640
Speaker 1: true story. That's what happened. So that's how Aerosmith ended

836
00:52:40,719 --> 00:52:43,959
Speaker 1: up at That's how Aerosmith ended up in Columbia. So

837
00:52:44,360 --> 00:52:47,600
Speaker 1: you work is the head of the president of Atlantic

838
00:52:47,640 --> 00:52:54,880
Speaker 1: to what year until nine eighty? I decided after missing

839
00:52:54,920 --> 00:53:00,439
Speaker 1: a couple of great opportunities. Uh about business opportunities, Yes,

840
00:53:01,400 --> 00:53:07,120
Speaker 1: label opportunities. Okay, Uh David Geffen gave to me, So

841
00:53:07,280 --> 00:53:09,359
Speaker 1: you need your own label. You should have your own label.

842
00:53:09,400 --> 00:53:13,280
Speaker 1: You signed Foreigner Genesis Alba you know, blah blah blah.

843
00:53:13,320 --> 00:53:17,120
Speaker 1: Because I watched David, who offered me a piece of

844
00:53:17,160 --> 00:53:21,319
Speaker 1: Asylum Records back in the early days, start a record

845
00:53:21,360 --> 00:53:24,600
Speaker 1: company and make them a lot of money. So I

846
00:53:25,239 --> 00:53:29,080
Speaker 1: necessarily decided, I'm going to start my own record label

847
00:53:29,120 --> 00:53:33,719
Speaker 1: with my brother. And what's your brother doing at this point? Oh? My?

848
00:53:34,080 --> 00:53:38,360
Speaker 1: First of all, my well, my brother ends up back

849
00:53:38,440 --> 00:53:41,720
Speaker 1: from Hartford, ends up going to work for Warner Brothers.

850
00:53:42,239 --> 00:53:45,839
Speaker 1: From Warner Brothers New York, they moved them out to California.

851
00:53:46,200 --> 00:53:49,680
Speaker 1: So while I'm working started working for Atlantic, Bob is

852
00:53:49,719 --> 00:53:53,680
Speaker 1: now working for Warner Brothers in California. Once I took

853
00:53:53,719 --> 00:53:57,800
Speaker 1: over at Atlantic, I needed a new general manager for Atlantic.

854
00:53:58,160 --> 00:54:02,200
Speaker 1: So Bob now becomes the general manager of Atlantic in

855
00:54:02,200 --> 00:54:07,120
Speaker 1: the yearly seventies. So you have the Greenberg team and

856
00:54:07,239 --> 00:54:10,880
Speaker 1: your father is still working for the record distributor. Yeah,

857
00:54:11,120 --> 00:54:14,239
Speaker 1: that's still working for the distributor in Harford. You got

858
00:54:14,239 --> 00:54:17,080
Speaker 1: Bob in l A, got Jerry running Atlantic in New York,

859
00:54:17,800 --> 00:54:23,399
Speaker 1: and you know, we were the Greenberg's running Atlantic. But

860
00:54:23,680 --> 00:54:26,480
Speaker 1: so in nine Geffen comes to me. He said, you

861
00:54:26,520 --> 00:54:29,120
Speaker 1: know you need you should start your own record label,

862
00:54:29,719 --> 00:54:34,080
Speaker 1: you know, And I said, fine. You know, he said,

863
00:54:34,680 --> 00:54:37,359
Speaker 1: I go to Alma and my contracts up, and I said,

864
00:54:37,400 --> 00:54:39,879
Speaker 1: I want to start my my own label. They don't

865
00:54:39,880 --> 00:54:42,120
Speaker 1: want you to have it. They want the wall for you.

866
00:54:42,320 --> 00:54:47,400
Speaker 1: Anything to stay at Atlantic, anything you want, I said.

867
00:54:48,360 --> 00:54:52,040
Speaker 1: I was kind of like I just wanted something new.

868
00:54:52,239 --> 00:54:55,840
Speaker 1: You know, you reach a certain point. I mean I

869
00:54:55,960 --> 00:54:59,120
Speaker 1: had it down. Hey, let me start something new fresh.

870
00:54:59,160 --> 00:55:03,320
Speaker 1: Boom boom. Okay, they wouldn't do it. So Geffen calls

871
00:55:03,360 --> 00:55:07,279
Speaker 1: me a we all know that our friend David with

872
00:55:07,440 --> 00:55:10,239
Speaker 1: his phone book and he said, Alan Hirshfield wants to

873
00:55:10,280 --> 00:55:13,040
Speaker 1: meet with you. Alan Hirshfield just took all the twentieth

874
00:55:13,080 --> 00:55:16,800
Speaker 1: century Fox take a meeting with Alan Hirshfield. Alan Hurshield

875
00:55:16,840 --> 00:55:21,960
Speaker 1: said we're gonna offer you half twenty century Fox Records.

876
00:55:22,200 --> 00:55:25,920
Speaker 1: We'll start a new company. We'll call it Green Fox Records.

877
00:55:26,600 --> 00:55:30,880
Speaker 1: And here's the deal. So I go back to Ahmed

878
00:55:30,920 --> 00:55:33,800
Speaker 1: and everybody, I said, listen, I'm leaving. I'm going to

879
00:55:33,880 --> 00:55:37,319
Speaker 1: start a new record company. You got it. That's when

880
00:55:37,320 --> 00:55:41,160
Speaker 1: they gave me Mirage. Bob and I started Mirage in

881
00:55:42,640 --> 00:55:47,040
Speaker 1: We were consultants to Atlantic Records and I stayed there

882
00:55:47,040 --> 00:55:50,719
Speaker 1: for five years. But Prayer called me when he started Mirage.

883
00:55:51,680 --> 00:55:54,560
Speaker 1: What do you think was first record? I signed White Snake.

884
00:55:55,600 --> 00:56:00,800
Speaker 1: That was our first record. And what else was Amurage? Oh? God?

885
00:56:00,920 --> 00:56:05,879
Speaker 1: Southside Johnny Phoebe Snow had a big We were doing

886
00:56:05,920 --> 00:56:09,480
Speaker 1: a lot of dance records. Shannon let the music play.

887
00:56:09,480 --> 00:56:13,040
Speaker 1: Brenda Case start the system. You're in my system. I

888
00:56:13,080 --> 00:56:15,920
Speaker 1: mean we were always on the charge. Five years. We

889
00:56:15,920 --> 00:56:18,320
Speaker 1: were always on a charge. We were a small but

890
00:56:18,480 --> 00:56:21,680
Speaker 1: profitable little label. It was just Bob and I and

891
00:56:21,840 --> 00:56:25,040
Speaker 1: two other people. I took Jim Delahan with me and

892
00:56:25,239 --> 00:56:28,160
Speaker 1: a secretary. We were two people in l A, three

893
00:56:29,040 --> 00:56:31,880
Speaker 1: of us or four of us in uh New York.

894
00:56:32,520 --> 00:56:35,560
Speaker 1: But that's the way those you know, it's what's happening

895
00:56:35,600 --> 00:56:38,719
Speaker 1: now with these little independent labels. Atlantic was doing all

896
00:56:38,760 --> 00:56:42,239
Speaker 1: the marketing, the promotion, everything, and the next step is

897
00:56:42,400 --> 00:56:46,600
Speaker 1: w t G. The next step was was Tommy Montola

898
00:56:46,760 --> 00:56:52,000
Speaker 1: calling me. No. The next step actually after Mirage, was

899
00:56:53,200 --> 00:56:57,799
Speaker 1: Jerry Winthrump. Okay, Jerry Winthrump called me and said, I'm

900
00:56:57,800 --> 00:57:01,800
Speaker 1: starting MGM U A. I want you to be my guy.

901
00:57:01,960 --> 00:57:05,239
Speaker 1: I said, well, it's me and my brother, no problem.

902
00:57:05,280 --> 00:57:08,400
Speaker 1: So I left. We only had like a couple of

903
00:57:08,480 --> 00:57:11,279
Speaker 1: acts at that time. I'mage, so I left the acts

904
00:57:11,320 --> 00:57:15,640
Speaker 1: there and I went to MGMU A. First project, I

905
00:57:15,719 --> 00:57:20,480
Speaker 1: do a m G m G MGM you way as

906
00:57:20,560 --> 00:57:22,200
Speaker 1: Jerry comes to me and he says, I'm doing a

907
00:57:22,280 --> 00:57:25,280
Speaker 1: movie to the Karate Kid. You should do the music

908
00:57:25,920 --> 00:57:30,600
Speaker 1: put together Peter Stara Brooks, author from the song and

909
00:57:31,240 --> 00:57:35,680
Speaker 1: we had Glory of Love. First record comes out with

910
00:57:35,840 --> 00:57:42,560
Speaker 1: gold mgmuays in the record business. Jerry leaves after a

911
00:57:42,640 --> 00:57:45,479
Speaker 1: year and a half. The guy comes in. He says, listen,

912
00:57:45,560 --> 00:57:47,440
Speaker 1: I don't I don't like the record business. I don't

913
00:57:47,480 --> 00:57:50,480
Speaker 1: want to record business. He said, I want you you

914
00:57:50,640 --> 00:57:54,560
Speaker 1: to uh still do soundtracks on land on your contract.

915
00:57:55,360 --> 00:57:57,000
Speaker 1: I said, gee, I don't know if that's for me.

916
00:57:57,680 --> 00:58:04,040
Speaker 1: At the same time, am A walls me this seven ors.

917
00:58:05,040 --> 00:58:08,200
Speaker 1: He goes, I'd love you to come back and and

918
00:58:08,480 --> 00:58:11,760
Speaker 1: be part of Atlantic again. So I said, what are

919
00:58:11,800 --> 00:58:14,040
Speaker 1: we talking about? He said, how about you become president

920
00:58:14,120 --> 00:58:16,960
Speaker 1: of ATCO, which was the other label. I said, I'll

921
00:58:16,960 --> 00:58:19,280
Speaker 1: only do it if I could stay in California. And

922
00:58:19,400 --> 00:58:21,360
Speaker 1: I said, and it makes sense. You got Doug Morris

923
00:58:21,480 --> 00:58:24,720
Speaker 1: running it there in New York. Leave me in California.

924
00:58:24,760 --> 00:58:29,480
Speaker 1: I'll find things in California. He says, Okay, you got it.

925
00:58:30,040 --> 00:58:35,520
Speaker 1: So I'm now back in Atlantic, president of at CO.

926
00:58:37,000 --> 00:58:39,720
Speaker 1: First couple of records I signed, I do the soundtrack

927
00:58:39,800 --> 00:58:43,320
Speaker 1: to Eddie Murphy Coming to America. I do a deal

928
00:58:43,400 --> 00:58:49,480
Speaker 1: with Jerry Heller. First rap record on for Wheel was

929
00:58:50,360 --> 00:58:55,960
Speaker 1: J J. Fatt, Supersonic and mische Le. So then I

930
00:58:56,000 --> 00:58:59,840
Speaker 1: assigned an escape club from England. I signed like six things,

931
00:59:00,080 --> 00:59:02,680
Speaker 1: had five goal records. All that happened like in a

932
00:59:02,800 --> 00:59:07,439
Speaker 1: year and a half. But Atlantic just it wasn't the same.

933
00:59:08,480 --> 00:59:12,240
Speaker 1: And Tommy kept on calling me the total and he calls,

934
00:59:12,360 --> 00:59:17,520
Speaker 1: listen taking over Sony here the first guy I want higher.

935
00:59:17,720 --> 00:59:21,040
Speaker 1: I said, I am not coming back to New York.

936
00:59:21,680 --> 00:59:24,439
Speaker 1: Would you go back to New York? No? Never? Never.

937
00:59:25,040 --> 00:59:28,280
Speaker 1: I mean I keep reading I have nostalgia, and you

938
00:59:28,400 --> 00:59:30,960
Speaker 1: go and you say, hey, I miss it, and then

939
00:59:30,960 --> 00:59:34,720
Speaker 1: after like five or six days. Okay. The way I

940
00:59:34,760 --> 00:59:37,600
Speaker 1: always put it is New York City, greatest city in

941
00:59:37,640 --> 00:59:41,400
Speaker 1: the world. I'd rather live in Los Angeles. Correct. Yeah,

942
00:59:41,680 --> 00:59:43,880
Speaker 1: it's just like it's just the other thing is for

943
00:59:44,000 --> 00:59:46,080
Speaker 1: people like us who grew up in the suburbs. Even

944
00:59:46,120 --> 00:59:49,320
Speaker 1: though the traffic is terrible, I like not being totally

945
00:59:49,360 --> 00:59:51,440
Speaker 1: on top of each other in l A. And I

946
00:59:51,560 --> 00:59:54,000
Speaker 1: also like that there's not the bs of who your

947
00:59:54,080 --> 00:59:56,520
Speaker 1: parents were. Everybody is so full of ship in Los Angeles,

948
00:59:56,800 --> 00:59:58,640
Speaker 1: and I could be whoever I want to be. No

949
00:59:58,720 --> 01:00:03,240
Speaker 1: one really cares exactly exactly. My big thing with Los

950
01:00:03,320 --> 01:00:06,520
Speaker 1: Angeles was that I loved boating, and the first thing

951
01:00:06,600 --> 01:00:08,120
Speaker 1: I did when I got out here was by a

952
01:00:08,160 --> 01:00:10,080
Speaker 1: boat and kept in a Marina del Rey. Then I

953
01:00:10,160 --> 01:00:12,919
Speaker 1: moved it up to Newport. I'm voting every weekend. Man,

954
01:00:13,000 --> 01:00:16,600
Speaker 1: I'm I'm like going crazy. So I say to Tommy,

955
01:00:17,160 --> 01:00:21,760
Speaker 1: I'm not coming back. So he says, uh, fine, We'll

956
01:00:21,760 --> 01:00:23,840
Speaker 1: give you your own label. In California. I said that

957
01:00:23,880 --> 01:00:29,080
Speaker 1: makes sense, I said, you know, uh, California's still a

958
01:00:29,360 --> 01:00:34,280
Speaker 1: very active talent situation. So they gave me my own label.

959
01:00:34,360 --> 01:00:38,000
Speaker 1: But the interesting story is just before I went to

960
01:00:38,120 --> 01:00:42,560
Speaker 1: take the job, I'm at the Atlantic fort anniversary show.

961
01:00:43,400 --> 01:00:48,440
Speaker 1: Were led up in led Zeppelin Reunites and bonds. Bonzo's son,

962
01:00:48,560 --> 01:00:51,600
Speaker 1: John Bonham's playing drums. I lean over and I said,

963
01:00:51,720 --> 01:00:54,880
Speaker 1: my wife, I'm gonna sign that. Kid said what kid?

964
01:00:55,640 --> 01:01:00,520
Speaker 1: I said the drummer, John Bonham's son. So I go stage.

965
01:01:00,800 --> 01:01:03,360
Speaker 1: I grabbed Jason. I said, listen, man, I want to

966
01:01:03,720 --> 01:01:06,520
Speaker 1: what are you What are you doing after this? He said, well,

967
01:01:06,520 --> 01:01:08,440
Speaker 1: I'm thinking about putting a band together. No, no, no,

968
01:01:08,600 --> 01:01:11,280
Speaker 1: You're gonna put a band together, and you're gonna be

969
01:01:11,440 --> 01:01:16,080
Speaker 1: my first signing for my new label. So he goes okay.

970
01:01:16,800 --> 01:01:19,680
Speaker 1: So finds the lead singer and gets a guitar player.

971
01:01:19,760 --> 01:01:23,080
Speaker 1: We get Bob Ezeran, the greatest producer in the world.

972
01:01:24,120 --> 01:01:27,560
Speaker 1: My first record on w TG is Disregardful Time Keeping.

973
01:01:27,640 --> 01:01:30,720
Speaker 1: It's a platinum album. I'm in the rock business. So

974
01:01:30,880 --> 01:01:34,520
Speaker 1: I look around at Atlanta, at at at Now I'm

975
01:01:34,600 --> 01:01:38,080
Speaker 1: over at Sony Columbia, and I look around. I said,

976
01:01:38,120 --> 01:01:40,840
Speaker 1: what are they missing that I could bring to the table.

977
01:01:41,800 --> 01:01:46,440
Speaker 1: I said, they don't have any heavy metal. I signed Motorhead. Okay,

978
01:01:46,800 --> 01:01:51,520
Speaker 1: we have the first Grammy nominated record for Motorhead. Look

979
01:01:51,560 --> 01:01:56,400
Speaker 1: around again and I said, they're not putting out any soundtracks.

980
01:01:57,440 --> 01:02:00,400
Speaker 1: I get friendly with Cameron Crow the your t G

981
01:02:00,880 --> 01:02:06,840
Speaker 1: signs say anything. Peter Gabriel put together the soundtrack. I

982
01:02:06,920 --> 01:02:09,720
Speaker 1: had three gold records like Boom Boom Boom before you

983
01:02:09,840 --> 01:02:15,120
Speaker 1: blinked so and then I got a call from Michael Jackson.

984
01:02:16,240 --> 01:02:22,720
Speaker 1: This is like and they lawyer caused, Michael Jackson wants

985
01:02:22,720 --> 01:02:26,080
Speaker 1: to meet with you. Cut to go. Take the meeting

986
01:02:26,160 --> 01:02:31,320
Speaker 1: with Michael two hours, love you, love you, greatest guy

987
01:02:31,360 --> 01:02:34,560
Speaker 1: in the world. And I take a position in an

988
01:02:34,680 --> 01:02:38,920
Speaker 1: equity position too, by the way, in uh, Michael's m

989
01:02:39,000 --> 01:02:43,680
Speaker 1: g J music and um, the first thing I do there,

990
01:02:43,840 --> 01:02:47,160
Speaker 1: I think I mentioned is the free Willie. And then

991
01:02:47,280 --> 01:02:50,880
Speaker 1: we signed brown Stone. We signed Tatiana League, gave Rodney

992
01:02:50,960 --> 01:02:56,720
Speaker 1: Jerkins's first record. So my first job on Earth, I guess,

993
01:02:58,040 --> 01:03:03,600
Speaker 1: is making dreams come true, finding talent, loving the music,

994
01:03:04,360 --> 01:03:08,400
Speaker 1: still to this day, loving the music. I'm trying to

995
01:03:08,480 --> 01:03:11,920
Speaker 1: help some friends of mine. I got two young artists

996
01:03:11,960 --> 01:03:15,760
Speaker 1: that I'm trying to help develop. One's like a real

997
01:03:15,880 --> 01:03:20,280
Speaker 1: Bruce Springsteen kind of guy named Travis March, and the

998
01:03:20,400 --> 01:03:23,360
Speaker 1: other is a black singer up in from San Francisco,

999
01:03:23,560 --> 01:03:27,800
Speaker 1: real great, great black singer. So I'm still out there

1000
01:03:27,840 --> 01:03:32,280
Speaker 1: today now trying to help some people get things organized.

1001
01:03:33,080 --> 01:03:35,600
Speaker 1: The big thing that I'm working on also right now

1002
01:03:36,040 --> 01:03:40,040
Speaker 1: is a tribute to Michael in conjunction with his birthday.

1003
01:03:40,440 --> 01:03:44,560
Speaker 1: Michael's will be sixty in August nine, and I came

1004
01:03:44,640 --> 01:03:49,640
Speaker 1: up with an idea to do a tribute. He's the

1005
01:03:49,720 --> 01:03:52,400
Speaker 1: king of pop, but he's also the king of dance.

1006
01:03:54,120 --> 01:03:57,760
Speaker 1: I came up with an idea to put together all

1007
01:03:57,840 --> 01:04:02,280
Speaker 1: the young, the young, new up and coming dance artists.

1008
01:04:02,320 --> 01:04:09,000
Speaker 1: And I'm talking obviously Chris Brown, obviously Usher, obviously, you

1009
01:04:09,080 --> 01:04:11,680
Speaker 1: know all those groups that are out there that are

1010
01:04:13,000 --> 01:04:17,480
Speaker 1: inspired by Michael. So we came up. We're putting a

1011
01:04:17,560 --> 01:04:20,919
Speaker 1: song together called Shut Up and Dance, and we're gonna

1012
01:04:20,960 --> 01:04:26,720
Speaker 1: get all worldwide. You know, I'm I'm really very interested

1013
01:04:26,760 --> 01:04:29,440
Speaker 1: in this whole K pop thing. I think this K

1014
01:04:29,560 --> 01:04:32,760
Speaker 1: pop thing is going to explode here. So we're talking

1015
01:04:32,800 --> 01:04:35,600
Speaker 1: to be two s about being involved. We're talking to

1016
01:04:35,720 --> 01:04:39,040
Speaker 1: an artist from China. So I'm working on this project

1017
01:04:39,720 --> 01:04:41,560
Speaker 1: that it's kind of I don't want to say it's

1018
01:04:41,600 --> 01:04:43,760
Speaker 1: like a we are the World thing, but it's it's

1019
01:04:44,120 --> 01:04:48,480
Speaker 1: a lot of great artists together paying tribute to Michael

1020
01:04:48,520 --> 01:04:51,080
Speaker 1: and his dance in the dance world. Okay, so it's

1021
01:04:51,120 --> 01:04:53,840
Speaker 1: one track, one track, and it's a cover of a

1022
01:04:53,960 --> 01:04:57,160
Speaker 1: previous Michael Jackson song. No, it's a brand new song,

1023
01:04:57,760 --> 01:05:02,000
Speaker 1: brand new song. But who wrote it? Uh? Jason Drill.

1024
01:05:02,080 --> 01:05:10,200
Speaker 1: Oh right, that's really cool. So Okay, if this late day,

1025
01:05:10,280 --> 01:05:14,200
Speaker 1: you're still in the game, but on some level of

1026
01:05:14,240 --> 01:05:16,480
Speaker 1: the game is very similar to how it was when

1027
01:05:16,520 --> 01:05:20,680
Speaker 1: you started, but another level different because the difference would be, yeah,

1028
01:05:20,760 --> 01:05:25,160
Speaker 1: everything's independent. Everybody has individual power. But in the sixties,

1029
01:05:25,280 --> 01:05:28,160
Speaker 1: when there were fewer records, if you had to hit record,

1030
01:05:28,360 --> 01:05:31,600
Speaker 1: everybody in America knew it right, whereas today it is

1031
01:05:31,680 --> 01:05:34,400
Speaker 1: hard to get that mind share. So what do you

1032
01:05:34,600 --> 01:05:39,439
Speaker 1: feel about the music and the record business today? First

1033
01:05:39,440 --> 01:05:43,160
Speaker 1: of all, I feel that it's an amazing time for

1034
01:05:43,360 --> 01:05:47,400
Speaker 1: young artists. I'd like to preach to the young artists

1035
01:05:47,480 --> 01:05:53,520
Speaker 1: to say, have the patience to make your dreams come true.

1036
01:05:54,000 --> 01:05:57,320
Speaker 1: I tell everybody the big word in our business right

1037
01:05:57,360 --> 01:06:02,760
Speaker 1: now is patients. And what I'm seeing is these young

1038
01:06:02,880 --> 01:06:05,240
Speaker 1: kids who grew up to our music, grew up to

1039
01:06:05,360 --> 01:06:09,600
Speaker 1: Led Zeppelin. I mean I gret A Van, I mean

1040
01:06:09,680 --> 01:06:11,560
Speaker 1: I read about it in your column. The first thing

1041
01:06:11,640 --> 01:06:14,600
Speaker 1: I did was I went, I looked at the record

1042
01:06:15,040 --> 01:06:17,160
Speaker 1: and I said, God, if I had a record label,

1043
01:06:17,600 --> 01:06:19,840
Speaker 1: I'd signed him in a minute. And I called Jason.

1044
01:06:19,920 --> 01:06:23,440
Speaker 1: When Jason made the deal, Jason Flam who was presently Universal,

1045
01:06:23,840 --> 01:06:26,600
Speaker 1: were a lot of three ex Atlantic people were his

1046
01:06:26,720 --> 01:06:29,440
Speaker 1: Lava Records, Isa, Hey, they was in Atlantic, right But

1047
01:06:29,760 --> 01:06:33,160
Speaker 1: my my point is these kids are growing up to

1048
01:06:33,240 --> 01:06:35,600
Speaker 1: our music, and they're growing up to Billy Joel, They're

1049
01:06:35,600 --> 01:06:40,040
Speaker 1: growing up the Arrowsmith and they have the tools now

1050
01:06:40,280 --> 01:06:45,000
Speaker 1: available in their room to record, to make a video,

1051
01:06:45,560 --> 01:06:49,000
Speaker 1: to give it to YouTube. And I just think there's

1052
01:06:49,280 --> 01:06:53,920
Speaker 1: so worldwide now, there's so much great talent being nurtured

1053
01:06:54,680 --> 01:07:00,320
Speaker 1: that it's amazing. So how does this talent get exposed? Okay,

1054
01:07:01,120 --> 01:07:06,200
Speaker 1: a lot of it has to happen by touring, a

1055
01:07:06,320 --> 01:07:08,160
Speaker 1: lot of it has to happen by word of mouth.

1056
01:07:08,200 --> 01:07:11,640
Speaker 1: A lot of happen has to be lucky in getting

1057
01:07:11,720 --> 01:07:16,960
Speaker 1: signed to a record company. But there's an enormous opportunity

1058
01:07:17,280 --> 01:07:24,080
Speaker 1: right now for music companies, from publishing companies, for management companies.

1059
01:07:25,440 --> 01:07:29,080
Speaker 1: Major opportunity now in the music business. And do you

1060
01:07:29,240 --> 01:07:31,400
Speaker 1: think rock is dead or rock could come back? No,

1061
01:07:31,600 --> 01:07:34,520
Speaker 1: Rock's gonna come back. Really, why are you so convinced.

1062
01:07:36,280 --> 01:07:40,160
Speaker 1: I'm just smell it. Okay, call it a gut all

1063
01:07:40,160 --> 01:07:42,920
Speaker 1: of a sudden, you'll you'll, you'll see it. It's gonna be.

1064
01:07:45,160 --> 01:07:47,959
Speaker 1: It's gonna be songs. I mean, no disrespect to rapp

1065
01:07:48,080 --> 01:07:50,560
Speaker 1: and into everything that is going on, but you know,

1066
01:07:50,680 --> 01:07:55,520
Speaker 1: the main thing is as songs. And you know what

1067
01:07:56,040 --> 01:07:58,720
Speaker 1: I mean, Billy is still out there making songs. Billy

1068
01:07:58,840 --> 01:08:05,360
Speaker 1: Joe a brew It's song song business. Imagine my granddaughters

1069
01:08:07,600 --> 01:08:09,880
Speaker 1: fourteen years old, calls me up. I said, who's your

1070
01:08:09,880 --> 01:08:13,560
Speaker 1: favorite band? Imagine Dragons. I mean, young kids are getting

1071
01:08:13,600 --> 01:08:18,080
Speaker 1: into rock. Let me tell you, uh panic at the disco, etcetera.

1072
01:08:18,800 --> 01:08:23,320
Speaker 1: So I'm telling you rocks are gonna come back. Well,

1073
01:08:23,439 --> 01:08:25,920
Speaker 1: certainly people, but people don't realize, you know they because

1074
01:08:25,920 --> 01:08:29,519
Speaker 1: they give Greta Van Fleet a hard time sounding led Zeppelin. Well,

1075
01:08:29,560 --> 01:08:32,960
Speaker 1: this is fifty years after led Zeppelin and led Zeppelin

1076
01:08:33,080 --> 01:08:35,840
Speaker 1: was influenced by the American blues guys. And it wasn't

1077
01:08:35,840 --> 01:08:39,920
Speaker 1: even fifty years there exactly. No, it's it's it's funny

1078
01:08:40,040 --> 01:08:43,959
Speaker 1: because a lot of those English acts clapped in Zeppelin,

1079
01:08:44,120 --> 01:08:48,439
Speaker 1: et cetera. They all grew up to the blues exactly,

1080
01:08:48,479 --> 01:08:51,200
Speaker 1: all American music, all American music, and that's where they

1081
01:08:51,240 --> 01:08:53,519
Speaker 1: got a lot of it from. Who did you work with,

1082
01:08:54,160 --> 01:09:00,280
Speaker 1: who you believed in but didn't break through? Oh? Boy, um,

1083
01:09:02,520 --> 01:09:05,080
Speaker 1: I don't know, And you know that's a hard question.

1084
01:09:08,160 --> 01:09:11,160
Speaker 1: I was. I guess I was lucky. Then most of

1085
01:09:11,240 --> 01:09:16,679
Speaker 1: the acts broke through. Here's here's a well, here's an example.

1086
01:09:17,080 --> 01:09:20,719
Speaker 1: I've read in the newspaper. John Prine is out touring,

1087
01:09:21,040 --> 01:09:24,400
Speaker 1: has a record oil. Well, Jerry Waxer signed John Prin.

1088
01:09:25,520 --> 01:09:27,880
Speaker 1: But he didn't break through it Atlantic. I mean he

1089
01:09:27,920 --> 01:09:30,320
Speaker 1: didn't really you know what, he's never really broke it through.

1090
01:09:30,560 --> 01:09:32,559
Speaker 1: The times have caught up with him. So he's an

1091
01:09:32,640 --> 01:09:36,080
Speaker 1: established artist, but he never had a hit, right exactly.

1092
01:09:36,880 --> 01:09:38,840
Speaker 1: But you know, when I go back and I think,

1093
01:09:39,320 --> 01:09:42,639
Speaker 1: you know of some of the acts that Jerry found signed.

1094
01:09:44,080 --> 01:09:47,400
Speaker 1: Learning from Jerry, the diversity of Jerry signed De Laney

1095
01:09:47,439 --> 01:09:50,680
Speaker 1: and Bonnie, then he went to Dr John. Then he

1096
01:09:50,800 --> 01:09:54,240
Speaker 1: did the Alice Cooper deal. I mean, this is the

1097
01:09:54,280 --> 01:09:57,360
Speaker 1: guy that was all over the place with music. And

1098
01:09:57,479 --> 01:09:59,840
Speaker 1: that's when I think, uh, you know, I am I

1099
01:10:00,040 --> 01:10:03,400
Speaker 1: learned about soundtracks. I mean the deal for the Muppets soundtrack.

1100
01:10:03,840 --> 01:10:06,840
Speaker 1: I picked Rainbow I heard Rainbow Connection. This is a

1101
01:10:06,920 --> 01:10:09,519
Speaker 1: great story. I come back and then Jerry Almetterre in

1102
01:10:09,600 --> 01:10:12,559
Speaker 1: their office. I said, listen, I just made a great deal.

1103
01:10:12,680 --> 01:10:16,680
Speaker 1: We got the soundtrack to the Muppets. There's dead silence,

1104
01:10:17,320 --> 01:10:20,479
Speaker 1: m it goes, oh the Muppets. I said, well, they

1105
01:10:20,560 --> 01:10:24,200
Speaker 1: their puppets. They got a TV shot. TV doesn't sell. No,

1106
01:10:24,760 --> 01:10:26,800
Speaker 1: this is big. Trust me, this is gonna be big.

1107
01:10:27,560 --> 01:10:30,240
Speaker 1: He said, what's the soundtrack? I said, well, it's basically music.

1108
01:10:30,320 --> 01:10:32,240
Speaker 1: But they got a song I think could be a hit.

1109
01:10:32,800 --> 01:10:36,400
Speaker 1: They got a song. What's the song? Oh, it's called

1110
01:10:36,520 --> 01:10:39,439
Speaker 1: Rainbow Connection. Who's going to do it? Or the Frog?

1111
01:10:41,240 --> 01:10:44,839
Speaker 1: Wait a minute, the Frog is going to sing Rainbow Connection.

1112
01:10:45,439 --> 01:10:47,360
Speaker 1: I said, yeah, it's a Paul Williams song. I think

1113
01:10:47,400 --> 01:10:49,760
Speaker 1: it could be a hit single. They looked at me

1114
01:10:49,880 --> 01:10:52,880
Speaker 1: like I was smoking weed. Man, are you guys? Are

1115
01:10:52,920 --> 01:10:55,840
Speaker 1: you crazy? And I remember Jerry. The quote from Jerry

1116
01:10:56,040 --> 01:10:59,439
Speaker 1: was ahmed the kids right, more than he's wrong. If

1117
01:10:59,520 --> 01:11:01,760
Speaker 1: he says is gonna be hit, it's gonna be hit.

1118
01:11:02,320 --> 01:11:08,800
Speaker 1: And it was. Well pause here for a brief moment

1119
01:11:08,880 --> 01:11:15,479
Speaker 1: and get right back to Jerry Greenberg. Check out my

1120
01:11:15,680 --> 01:11:18,519
Speaker 1: writing at left sets dot com. I cover all the

1121
01:11:18,600 --> 01:11:21,719
Speaker 1: topics of the podcast and more. Go to left sets

1122
01:11:21,760 --> 01:11:23,920
Speaker 1: dot com and sign up for the newsletter to read

1123
01:11:24,080 --> 01:11:29,880
Speaker 1: all my rants and observations. Now more with legendary record

1124
01:11:30,000 --> 01:11:33,000
Speaker 1: label executive Jerry Greenberg, recorded live at the two In

1125
01:11:33,120 --> 01:11:39,800
Speaker 1: Studios in Venice, California. Okay, just covering up some other stuff,

1126
01:11:39,880 --> 01:11:43,519
Speaker 1: covering some other stuff. To what degree was Paola factor

1127
01:11:43,600 --> 01:11:46,559
Speaker 1: in your history? I don't talk about I'm not asking

1128
01:11:46,600 --> 01:11:49,000
Speaker 1: you your personal stories of paying people, but the business

1129
01:11:49,040 --> 01:11:53,679
Speaker 1: at large, I think it all got blown out of proportion.

1130
01:11:53,800 --> 01:11:57,600
Speaker 1: Hit Man got blown out of proportion. We to me,

1131
01:11:58,560 --> 01:12:02,920
Speaker 1: I never hand that the shocky any money. Did I

1132
01:12:04,000 --> 01:12:09,160
Speaker 1: do certain promotions? I remember I took about twenty DJs

1133
01:12:09,280 --> 01:12:13,040
Speaker 1: to the Super Bowl, uh in Florida and Miami was

1134
01:12:13,160 --> 01:12:17,240
Speaker 1: playing or something. I forget who was playing. But those

1135
01:12:17,320 --> 01:12:19,320
Speaker 1: things you could kind of get away with those kind

1136
01:12:19,360 --> 01:12:25,559
Speaker 1: of promotional things. Um. But um, as far as cash

1137
01:12:25,800 --> 01:12:30,320
Speaker 1: being out there and are are are drugs. It wasn't

1138
01:12:30,400 --> 01:12:33,640
Speaker 1: as big as everybody's making it sound. Well. There was

1139
01:12:33,720 --> 01:12:40,280
Speaker 1: that era though, where there was cash paid to independent promoters. Correct, okay?

1140
01:12:40,520 --> 01:12:43,280
Speaker 1: And how much how much drugs did you see and

1141
01:12:43,400 --> 01:12:48,640
Speaker 1: do in your heyday? I'm probably the only musician and

1142
01:12:48,720 --> 01:12:51,280
Speaker 1: the only one in the record business that could put

1143
01:12:51,360 --> 01:12:55,599
Speaker 1: my hand on a bible and say I never put

1144
01:12:55,680 --> 01:12:58,719
Speaker 1: anything up my nose. I never put anything in my mouth.

1145
01:12:59,439 --> 01:13:01,560
Speaker 1: The only thing I did, and I will tell you

1146
01:13:01,680 --> 01:13:04,920
Speaker 1: that I did it quite often with smoke. Weed. But

1147
01:13:05,720 --> 01:13:09,160
Speaker 1: think about the seventies and weed. You know, I said

1148
01:13:09,280 --> 01:13:13,920
Speaker 1: something to somebody. They laughed. I said, you know, you

1149
01:13:14,000 --> 01:13:17,000
Speaker 1: could put a blindfold on me, walked me into the

1150
01:13:17,080 --> 01:13:20,240
Speaker 1: Madison Square garden and I could tell what band is

1151
01:13:20,320 --> 01:13:25,000
Speaker 1: playing by how much weed I smell. Is that is

1152
01:13:25,040 --> 01:13:27,600
Speaker 1: that good? That's very good? So you you want to

1153
01:13:27,640 --> 01:13:33,160
Speaker 1: know who like the bands where they can? Yes? Really?

1154
01:13:33,360 --> 01:13:37,320
Speaker 1: Oh yeah, yes, Genesis, Emerson, Lake and Palmer very big

1155
01:13:37,560 --> 01:13:44,760
Speaker 1: weed smokers. Uh and Zeppelin Stones not so much. I mean, yeah,

1156
01:13:45,080 --> 01:13:50,000
Speaker 1: but not not as much as those English psychedelic bands

1157
01:13:50,160 --> 01:13:54,400
Speaker 1: or whatever. But um, I never smoked any weed in

1158
01:13:54,560 --> 01:13:59,760
Speaker 1: you in the office. Uh, never you know you're you're

1159
01:14:00,240 --> 01:14:04,360
Speaker 1: with the bands afterwards, and everybody's passing a joint. You

1160
01:14:04,439 --> 01:14:07,000
Speaker 1: know you'd smoke. Okay, Well, there were some heavy cocaine

1161
01:14:07,040 --> 01:14:10,800
Speaker 1: you're especially the late seventies early eighties. Uh, how did

1162
01:14:10,840 --> 01:14:14,839
Speaker 1: you decide not to take it? That's a very good question,

1163
01:14:15,280 --> 01:14:17,880
Speaker 1: and I can give you the answer. I was very

1164
01:14:17,960 --> 01:14:22,240
Speaker 1: good friends with the drummer and average White band, very

1165
01:14:22,280 --> 01:14:25,840
Speaker 1: good friends. And I got a call in my office, Um,

1166
01:14:26,439 --> 01:14:29,720
Speaker 1: forgive me, I forgot his name. Guess what so and

1167
01:14:29,800 --> 01:14:33,400
Speaker 1: so had just died. I said, what, Yeah, he was

1168
01:14:33,439 --> 01:14:36,679
Speaker 1: at a party. He thought it was cocaine, It was heroin.

1169
01:14:37,080 --> 01:14:41,479
Speaker 1: He died right at that moment. I think the light

1170
01:14:41,560 --> 01:14:45,479
Speaker 1: bulb went off of my brain. Jerry, you'll never gonna

1171
01:14:45,600 --> 01:14:49,120
Speaker 1: put any white stuff up your nose, are in your mouth,

1172
01:14:49,560 --> 01:14:53,559
Speaker 1: never ever. And I would be backstage with a lot

1173
01:14:53,680 --> 01:14:56,600
Speaker 1: of groups and they'd be passing that shoot around. But

1174
01:14:57,320 --> 01:15:01,680
Speaker 1: Jerry passed. Okay. And then how did you make Roundabout

1175
01:15:01,720 --> 01:15:05,599
Speaker 1: a hit? Because they had, yes, had three previous albums.

1176
01:15:06,120 --> 01:15:09,200
Speaker 1: The third one had some success. The Roundabout was a

1177
01:15:09,320 --> 01:15:11,920
Speaker 1: lengthy track that it sounded like nothing on the radio.

1178
01:15:13,680 --> 01:15:16,520
Speaker 1: So you know that I did the edit on Roundabout.

1179
01:15:17,120 --> 01:15:18,320
Speaker 1: If you might have told me in the past, but

1180
01:15:18,400 --> 01:15:21,599
Speaker 1: I forgot Yeah, no, same story. I went in the studio,

1181
01:15:22,000 --> 01:15:25,639
Speaker 1: worked with some engineers, got it down, got it played.

1182
01:15:26,240 --> 01:15:29,439
Speaker 1: And that's another example of like, Jerry, what can we

1183
01:15:29,560 --> 01:15:35,000
Speaker 1: do for you? And so at Christmas, we're giving yes

1184
01:15:35,080 --> 01:15:37,600
Speaker 1: Gold Records, and they said, we got a present for you,

1185
01:15:37,920 --> 01:15:40,519
Speaker 1: and they show up. They gave me a brand new

1186
01:15:40,600 --> 01:15:45,200
Speaker 1: drum set. Again they knew I was drummers. Good friends

1187
01:15:45,240 --> 01:15:48,840
Speaker 1: with Alan White and well the boys. I say, take

1188
01:15:48,880 --> 01:15:51,080
Speaker 1: the drum set out to Nashville and Colosseum I want

1189
01:15:51,120 --> 01:15:54,519
Speaker 1: to sit in. I say it as a joke. We

1190
01:15:54,600 --> 01:15:57,040
Speaker 1: go out to National Colosseum. All of a sudden, bingo,

1191
01:15:57,200 --> 01:16:00,240
Speaker 1: they set up the drum set. Jerry is now laying

1192
01:16:00,320 --> 01:16:03,800
Speaker 1: Nassau Coliseum. You've played all the venues. I played all

1193
01:16:03,800 --> 01:16:09,639
Speaker 1: the venues. So another story, famous lads upwards. Story three

1194
01:16:09,760 --> 01:16:12,400
Speaker 1: I believe it is. And the Houses of the Houses

1195
01:16:12,400 --> 01:16:15,960
Speaker 1: of the Holy Tour I think it was. They played

1196
01:16:16,000 --> 01:16:18,280
Speaker 1: Madison Square Garden for three nights. They're staying at the

1197
01:16:18,360 --> 01:16:22,799
Speaker 1: Drake Hotel. There's two hundred odd thousand in the safe.

1198
01:16:23,439 --> 01:16:26,280
Speaker 1: It gets stolen and they fly back to England, not

1199
01:16:26,320 --> 01:16:30,000
Speaker 1: worrying about the money. Hey do you think many people

1200
01:16:30,120 --> 01:16:33,360
Speaker 1: think they stole the money themselves. What do you think happened? No,

1201
01:16:33,520 --> 01:16:36,679
Speaker 1: I don't think so. They don't need to steal the money,

1202
01:16:37,479 --> 01:16:40,960
Speaker 1: you know. Um, I think it was really stolen. I

1203
01:16:41,360 --> 01:16:43,880
Speaker 1: think they realized there wasn't no way they were going

1204
01:16:43,920 --> 01:16:51,960
Speaker 1: to get it back. And listen, Um, things happen on

1205
01:16:52,080 --> 01:16:55,120
Speaker 1: the road, as we all know. Okay, well, it sounds

1206
01:16:55,120 --> 01:16:58,600
Speaker 1: like there's a lot of stories there. And then to

1207
01:16:58,760 --> 01:17:01,680
Speaker 1: what degree? And you had all these acts, I mean

1208
01:17:01,760 --> 01:17:04,760
Speaker 1: people acts like Abba. They literally just made hits. They

1209
01:17:04,760 --> 01:17:08,080
Speaker 1: were hitting factory. But let's go back to Genesis. They

1210
01:17:08,160 --> 01:17:10,680
Speaker 1: didn't have hits. You know. Peter Gabriel had a hit

1211
01:17:10,840 --> 01:17:14,519
Speaker 1: in seventies six or seventy seven, seventy seven with Soulsbury

1212
01:17:14,600 --> 01:17:17,320
Speaker 1: Hill at least an FM hit, but Genesis really didn't

1213
01:17:17,320 --> 01:17:19,720
Speaker 1: have a hit until the late seventies. Would you tell

1214
01:17:19,840 --> 01:17:26,000
Speaker 1: these bands give me a hit? Oh yeah, yeah, I mean,

1215
01:17:26,080 --> 01:17:32,000
Speaker 1: if you could get something that gets the attention, the

1216
01:17:32,120 --> 01:17:36,560
Speaker 1: attention not not only radio, but you know, give me

1217
01:17:36,680 --> 01:17:41,160
Speaker 1: a hit video, give me a song that maybe could

1218
01:17:41,200 --> 01:17:43,880
Speaker 1: be a commercial, or give me a song that could

1219
01:17:43,880 --> 01:17:46,479
Speaker 1: be at the end track of a of a of

1220
01:17:46,600 --> 01:17:52,840
Speaker 1: a movie or something in in UH in TV UH.

1221
01:17:54,080 --> 01:18:01,240
Speaker 1: But don't give up your creativity on doing it. I mean,

1222
01:18:01,320 --> 01:18:05,000
Speaker 1: don't say to yourself, oh, I'm going to copy, because

1223
01:18:05,680 --> 01:18:08,479
Speaker 1: what you want to do is really be honest to

1224
01:18:08,640 --> 01:18:13,560
Speaker 1: yourself and to the songs you're writing and to the

1225
01:18:13,680 --> 01:18:17,959
Speaker 1: band you're putting together. Um. I think it's very important.

1226
01:18:18,320 --> 01:18:20,320
Speaker 1: You know. I was in the studio the other day

1227
01:18:20,400 --> 01:18:23,200
Speaker 1: when I was talking to uh drummer that was Cheryl

1228
01:18:23,240 --> 01:18:26,720
Speaker 1: Crowe's drummer, and we were talking and I said about

1229
01:18:26,760 --> 01:18:30,719
Speaker 1: Damn m Carroll. Yeah, and I said that another drummer

1230
01:18:30,760 --> 01:18:34,439
Speaker 1: is a business guy. And I said, you know, let

1231
01:18:34,479 --> 01:18:38,640
Speaker 1: me tell you something. We and the bass player of

1232
01:18:38,720 --> 01:18:41,479
Speaker 1: the foundation of a band. I mean, I can tell

1233
01:18:41,600 --> 01:18:45,760
Speaker 1: you that talking to the young guys out there that

1234
01:18:45,840 --> 01:18:49,000
Speaker 1: are guitar players or piano players or you know, if

1235
01:18:49,000 --> 01:18:52,439
Speaker 1: you're gonna especially if you're going into rock world, you

1236
01:18:52,560 --> 01:18:54,840
Speaker 1: better find yourself a great drummer and a great bass

1237
01:18:54,880 --> 01:18:58,960
Speaker 1: player because that's the foundation. Okay, since you're in it.

1238
01:18:59,360 --> 01:19:05,120
Speaker 1: Who were the great drummers? To me, the two greatest

1239
01:19:05,200 --> 01:19:11,120
Speaker 1: rock drummers is uh, John Bonham and Keith Moon. Those

1240
01:19:11,160 --> 01:19:15,040
Speaker 1: are two great rock druve thing Chad from Chili Peppers

1241
01:19:15,160 --> 01:19:19,200
Speaker 1: is great, Matt Swarm is great. Um. But you know

1242
01:19:19,280 --> 01:19:21,800
Speaker 1: there's different kind of drummers. You know, Charlie Watts is

1243
01:19:22,200 --> 01:19:25,479
Speaker 1: just the goddamn jazz drummers playing two and four behind.

1244
01:19:25,640 --> 01:19:28,960
Speaker 1: He's a bar room drummer, you know. So there's a

1245
01:19:29,080 --> 01:19:33,880
Speaker 1: lot of drummers that just keep Dennis Elliott and Foreigner

1246
01:19:34,040 --> 01:19:38,639
Speaker 1: was it great, great drummer, um, But there's different styles.

1247
01:19:39,760 --> 01:19:43,200
Speaker 1: I mean, for me, if you're talking about a rock

1248
01:19:44,120 --> 01:19:50,040
Speaker 1: drummer with a sound man, nobody's just better than Bonzo Well.

1249
01:19:50,080 --> 01:19:51,840
Speaker 1: You know, I've seen I certainly saw him in his

1250
01:19:51,960 --> 01:19:55,200
Speaker 1: hey day. But I will say seeing Keith Moon play

1251
01:19:55,520 --> 01:19:58,240
Speaker 1: Tommy with Who with Fillmore East, it was like there

1252
01:19:58,280 --> 01:19:59,880
Speaker 1: were two drummers that you just didn't even figure out

1253
01:19:59,880 --> 01:20:02,800
Speaker 1: how he could do it. It was amazing. You know,

1254
01:20:03,200 --> 01:20:05,439
Speaker 1: he looks great. You know, it's funny when you're a drummer.

1255
01:20:05,520 --> 01:20:09,120
Speaker 1: That's why I asked drummers. I'm not going to weigh in.

1256
01:20:09,400 --> 01:20:12,160
Speaker 1: I'm certainly aware of the great drummers. Guitarists, I'll weigh

1257
01:20:12,200 --> 01:20:14,639
Speaker 1: in because I believe the best guitarist of the rock

1258
01:20:14,720 --> 01:20:17,920
Speaker 1: era is Jeff Beck. Okay, Hendricks did a lot of

1259
01:20:17,960 --> 01:20:21,400
Speaker 1: innovative things. But Beck is you know, and I remember

1260
01:20:21,439 --> 01:20:24,160
Speaker 1: when they hit the Arms tour and it was Paige

1261
01:20:24,200 --> 01:20:28,120
Speaker 1: Clapton and Beck on the same stage. Beck blew him off.

1262
01:20:28,479 --> 01:20:31,360
Speaker 1: So I'm not trum going to weigh in on who

1263
01:20:31,439 --> 01:20:37,800
Speaker 1: the best drummers. Those are all certainly great drummers. Absolutely. Okay, Jerry,

1264
01:20:37,880 --> 01:20:39,960
Speaker 1: this has been wonderful. We've only hit the tip of

1265
01:20:40,000 --> 01:20:44,679
Speaker 1: the iceberg. But can we part two? We can certainly

1266
01:20:44,720 --> 01:20:47,360
Speaker 1: do it. Part two. We want to drill down into

1267
01:20:47,479 --> 01:20:50,519
Speaker 1: the AX and specific stories of the AX. This time

1268
01:20:50,600 --> 01:20:54,040
Speaker 1: we got your general history and which is get your

1269
01:20:54,080 --> 01:20:58,160
Speaker 1: father a job in the business, and uh, certainly the

1270
01:20:58,400 --> 01:21:00,640
Speaker 1: top line, but you get down the nitty guitty, you know,

1271
01:21:00,880 --> 01:21:04,360
Speaker 1: because we're here talking about the successes and it's a

1272
01:21:04,479 --> 01:21:07,080
Speaker 1: lot of work. You talk about patients. You know. You

1273
01:21:07,200 --> 01:21:10,200
Speaker 1: can have led Zeppelin, which explodes on the second records,

1274
01:21:10,439 --> 01:21:13,440
Speaker 1: but a lot of things are really long work projects

1275
01:21:14,240 --> 01:21:17,160
Speaker 1: and they'll be more talk. So it's been wonderful. Thanks

1276
01:21:17,200 --> 01:21:20,320
Speaker 1: so much for being here. Okay, and I will like

1277
01:21:20,520 --> 01:21:23,400
Speaker 1: to come back because I'd like everybody to know that

1278
01:21:23,520 --> 01:21:28,040
Speaker 1: I'm currently doing a book on Atlantic in the seventies

1279
01:21:28,760 --> 01:21:31,599
Speaker 1: through the eyes of Jerry Greenberg, So it could kind

1280
01:21:31,600 --> 01:21:34,800
Speaker 1: of cover everything just about Atlantic and I think, you know,

1281
01:21:34,920 --> 01:21:37,479
Speaker 1: we've been filming a documentary on my life, which is

1282
01:21:37,560 --> 01:21:40,160
Speaker 1: well that documentary but going on for like five plus years.

1283
01:21:40,200 --> 01:21:43,120
Speaker 1: What is that documentary ever gonna hit the Uh, it's

1284
01:21:43,240 --> 01:21:45,800
Speaker 1: it's getting close. But you know, I think I'm the

1285
01:21:45,920 --> 01:21:48,679
Speaker 1: only guy that has Richard Branson. I got the last

1286
01:21:48,760 --> 01:21:52,240
Speaker 1: interview from Jerry Heller and the last one from Jerry Winthrop.

1287
01:21:52,640 --> 01:21:57,120
Speaker 1: It's going to be a very very interesting movie or

1288
01:21:57,520 --> 01:22:00,880
Speaker 1: documentary or TV series. Well time and know how to

1289
01:22:00,920 --> 01:22:05,280
Speaker 1: get my plug in. Man, this is a roots are

1290
01:22:05,360 --> 01:22:07,760
Speaker 1: coming out, and certainly we've been talking about the documentary

1291
01:22:07,800 --> 01:22:09,840
Speaker 1: forever and this is the heyday. People want to know

1292
01:22:10,680 --> 01:22:12,760
Speaker 1: about what was going on in the seventies. Oh yeah.

1293
01:22:12,800 --> 01:22:16,960
Speaker 1: But but the great thing is you're gonna hear Richard

1294
01:22:17,040 --> 01:22:20,680
Speaker 1: called the Roady talk about Jerry taking the sticks and go,

1295
01:22:21,000 --> 01:22:23,760
Speaker 1: and it's not going to come from me. So that's

1296
01:22:23,800 --> 01:22:27,760
Speaker 1: what I'm very excited about it. Okay, Well, we'll look

1297
01:22:27,800 --> 01:22:30,840
Speaker 1: forward to that and when it's launching, we'll have you back. Okay, buddy,

1298
01:22:30,880 --> 01:22:33,320
Speaker 1: God bless thank you, thank you so much, Jerry. Till

1299
01:22:33,360 --> 01:22:35,960
Speaker 1: next time, it's Bob left Sets on the Bob Left

1300
01:22:36,000 --> 01:22:43,000
Speaker 1: Sets podcast. That wraps up this week's episode of the

1301
01:22:43,080 --> 01:22:45,720
Speaker 1: Bob Left Sets Podcast, recorded live at the tune In

1302
01:22:45,840 --> 01:22:50,000
Speaker 1: Studios in Venice, California. I hope you enjoyed this conversation

1303
01:22:50,080 --> 01:22:53,720
Speaker 1: with legendary record label executive Jerry Greenberg. He had some

1304
01:22:53,840 --> 01:22:57,040
Speaker 1: great stories. Send me your feedback at Bob at left

1305
01:22:57,080 --> 01:23:00,559
Speaker 1: sets dot com. Until next time, I'm Bob left Sex.

1306
01:23:11,280 --> 01:23:16,200
Speaker 1: Can think of in me reason and I don't know

1307
01:23:16,720 --> 01:23:21,600
Speaker 1: me exactly. One must be so