WEBVTT - Jerry Greenberg

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<v Speaker 1>Welcome, Welcome, Welcome to the Bob Left Sets podcast. My

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<v Speaker 1>guest this week is legendary music executive, the youngest president

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<v Speaker 1>in the history of the music business, president at age

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<v Speaker 1>thirty two, of Atlantic Records, Jerry Greenberg. How you doing,

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<v Speaker 1>my friend? Okay, Now, you've worked with literally a who's

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<v Speaker 1>who of legends, Abba, led Zeppelin, Michael Jackson. Okay, So

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<v Speaker 1>who is the best to work with? The most meaningful,

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<v Speaker 1>not necessarily the easiest. Wow, that's a that's a tough

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<v Speaker 1>question to answer. I will say that probably the most

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<v Speaker 1>creative and visionary person that I work with is Michael Jackson. Really,

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<v Speaker 1>oh yeah, I'm forget about it. I mean this guy.

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<v Speaker 1>I remember when he called me to interview me to

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<v Speaker 1>he was starting his own record label, and I came

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<v Speaker 1>home and I said to my wife, I just met

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<v Speaker 1>Walt Disney, and she said, what are you talking about?

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<v Speaker 1>I said, this guy is such a visionary, such a visionary.

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<v Speaker 1>He wants to build theme parks, he wants to do Broadway,

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<v Speaker 1>he wants to be David Geffen. I mean, all rolled

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<v Speaker 1>into one and um, that's my was my first impression

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<v Speaker 1>of him. I mean I never never met him before,

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<v Speaker 1>but we spent two hours together. Uh, he did his

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<v Speaker 1>homework about Jerry Greenberg. And of course I've been listening

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<v Speaker 1>to Michael Jackson since I was a baby, but um,

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<v Speaker 1>it was I would have to put him at pretty

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<v Speaker 1>much at the top of the list. In answer to

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<v Speaker 1>your question, Okay, so you had that meeting. Did he

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<v Speaker 1>live up to that meeting? Yes, there's no question. Okay,

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<v Speaker 1>So what year did you get involved. I got involved

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<v Speaker 1>with Michael in So what's the first project you worked

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<v Speaker 1>on with him? Free Willy Soundtrack? Uh. They wanted they

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<v Speaker 1>wanted a song from Michael Jackson. I called Michael and

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<v Speaker 1>he said to me, I saw the movie, I saw

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<v Speaker 1>the track, everything, but I can't write it. I don't

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<v Speaker 1>have any time. And I went into his uh last

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<v Speaker 1>album and I found a song called will You Be There?

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<v Speaker 1>And I sent it up to the producers and I said,

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<v Speaker 1>does this work? And they said yes. And so that

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<v Speaker 1>was the launch of m j J Records, having the

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<v Speaker 1>first soundtrack being Free Willy, one of michael songs, and

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<v Speaker 1>then we put Michael's nephews in three t Then we

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<v Speaker 1>got UH Girls Group to do a remake. So our

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<v Speaker 1>first record for our record company ended up platinum out

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<v Speaker 1>of the box. And what did you think when he died?

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<v Speaker 1>Did you see that coming? Oh no, not not not

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<v Speaker 1>at all. And I don't want to give it away,

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<v Speaker 1>but there's a whole there's a major story about what

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<v Speaker 1>happened that the day after Michael died. I will just

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<v Speaker 1>say that. Let me say that I was rushed to

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<v Speaker 1>the hospital wait for your own medical and my own,

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<v Speaker 1>my own medical condition, the day after he died, Okay,

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<v Speaker 1>And therefore you attribute that to the news of his death.

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<v Speaker 1>I attributed to, yes, the news of his death, the

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<v Speaker 1>fact that I was up doing interviews for almost fifteen hours,

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<v Speaker 1>the stress of everything, and um, but here I am so, now,

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<v Speaker 1>did you have a cardiac event or anything or was

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<v Speaker 1>just stress and you went to the hospital and you

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<v Speaker 1>chilled out? Well? Uh, I went to the hospital because

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<v Speaker 1>I had back pain and pain in my arms and everything.

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<v Speaker 1>And what happened is, believe it or not, a flat

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<v Speaker 1>line for seventeen seconds, wow, in the hospital or at home,

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<v Speaker 1>you know, in the hospital, thank god. But I had

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<v Speaker 1>the doctors around me and they got me back. And

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<v Speaker 1>the bottom line is I had a torn iord to

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<v Speaker 1>and but I had great doctors and they fixed it

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<v Speaker 1>and uh, and I'm here. Okay, let's go back to

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<v Speaker 1>the beginning. You're from the Haven, Connecticut, right, correct? Okay,

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<v Speaker 1>all of the world's best pizza. That's the big decision.

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<v Speaker 1>We ask everybody. Was it Peppi's or is it Sally's.

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<v Speaker 1>So you went to Peppi's for the clam pizza, but

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<v Speaker 1>you went to Sally's maybe more for the sauce and

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<v Speaker 1>this and that. But both of them were pretty pretty,

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<v Speaker 1>pretty pretty good. Well, the funniest thing is it's one

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<v Speaker 1>of the few things in life that live up to

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<v Speaker 1>the legend. I remember going to Peppi's being all hyped

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<v Speaker 1>and go, damn, this is really this. Every time I

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<v Speaker 1>go back to Connecticut, I have to get the pizza. Correct. Okay,

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<v Speaker 1>So you're there and you're growing up, and what does

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<v Speaker 1>your father do for a living. My father was in

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<v Speaker 1>the jewelry business, thirty nine years in the jewelry business.

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<v Speaker 1>Everybody loved them. I mean, if you're going to go

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<v Speaker 1>buy a watch or a piece of jewelry, oh, go

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<v Speaker 1>down and see Bill Greenberg. It's Specters in New Haven.

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<v Speaker 1>He's the guy. It's just the way. Wait, just for

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<v Speaker 1>one second, Specters was that connected to the same Specters

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<v Speaker 1>and Bridgeport. Do you know I'm not just because my

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<v Speaker 1>closest friend from high school. I'm gonna see it another month.

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<v Speaker 1>His father, his mother was specter and his father ran Specters,

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<v Speaker 1>and I knew they were like three or four stories.

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<v Speaker 1>I'll ask him when he's out here. I bet it was. Okay, So,

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<v Speaker 1>now was your father first generation American? Yeah? Okay, and okay,

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<v Speaker 1>So he's working at Specters. And what's it like growing up?

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<v Speaker 1>What's it like growing up? Mother and father just great parents.

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<v Speaker 1>My mother very hard worker. She held three jobs. She

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<v Speaker 1>was a bookkeeper, she was a cashier. He had the

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<v Speaker 1>one job at Specters. But growing up in Connecticut, I

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<v Speaker 1>grew up on an area called City Point, and it

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<v Speaker 1>was near the water. So I grew up loving boating.

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<v Speaker 1>I was painting boats when I was like nine years

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<v Speaker 1>old and ten years old. You know, you know, I

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<v Speaker 1>mean you can't see his handwave. He doesn't mean paint artistically,

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<v Speaker 1>means literally painting boats. Yeah, literally the bottoms of boats, etcetera, etcetera.

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<v Speaker 1>So I uh, you know, I grew up one around

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<v Speaker 1>the water. I grew up with great parents, and I

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<v Speaker 1>was very lucky, very very lucky. Now you had your brother.

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<v Speaker 1>It was just the two of you. It was just

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<v Speaker 1>me and my brother, and you were who was the

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<v Speaker 1>older brother? Do you? He was the older brother eight

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<v Speaker 1>year eight years older than you. I didn't realize. Okay,

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<v Speaker 1>So when did you become interested in music? Okay? So

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<v Speaker 1>I'm at a bar mitzvah and the band takes a

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<v Speaker 1>break and there's music coming playing like you know, through speakers,

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<v Speaker 1>records or whatever. And I go over to the drums

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<v Speaker 1>and sit behind the drum set and I'm tapping, okay,

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<v Speaker 1>And I see the drummer talk to my mother and

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<v Speaker 1>I say, oh god, I guess he's mad. Next thing

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<v Speaker 1>I know, my mother comes over and she said, the

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<v Speaker 1>drummer told me you have natural rhythm. I have to

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<v Speaker 1>get you drum lessons. Wow. So within thirty seconds, I'm

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<v Speaker 1>now a drummer. I mean, I'm taking drum lessons. So

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<v Speaker 1>parents buy you a kid a whole bit. Oh yeah, listen.

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<v Speaker 1>I I loved it. And what happened is there was

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<v Speaker 1>a guy in New Haven who booked all the bar

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<v Speaker 1>Mitz's and weddings and this and that. He calls my

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<v Speaker 1>mother up. I'm fifteen years old. He calls my mother

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<v Speaker 1>up and oh god, I have to back up in

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<v Speaker 1>somebody in the fifties, you know. So I'm fifteen years old.

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<v Speaker 1>My mother says his name was Arnold Moost. He should

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<v Speaker 1>arnelmos called and he said everybody, every musician he can find,

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<v Speaker 1>works on New Year's Eve. Which can I book a

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<v Speaker 1>job for your son to play? So she said sure.

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<v Speaker 1>But my father had a shlip me down to I

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<v Speaker 1>remember it was called the One Eagle restaurant, like on

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<v Speaker 1>Chapel Street in New Haven. I walk in and the

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<v Speaker 1>there was a base player and a piano player, and

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<v Speaker 1>they took a look at me. I mean, I'm fifteen

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<v Speaker 1>years old, babe, and he said, they go, okay. So

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<v Speaker 1>I play all night with brushes, uh, and get through it.

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<v Speaker 1>Ten to two was was the gig. And I remember

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<v Speaker 1>I came home and I had something like thirty or

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<v Speaker 1>thirty five rich. It was like what my father made

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<v Speaker 1>all week, you know. So first of all, I always

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<v Speaker 1>wanted a rowboat, and I went to my father once

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<v Speaker 1>I asked him some money for a rowbot. He as,

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<v Speaker 1>you work for you can buy anything you want. So

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<v Speaker 1>of course I took the money, went right out and

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<v Speaker 1>I bought me a robot and that was the beginning

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<v Speaker 1>of Jerry getting into the music business. Really okay, well,

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<v Speaker 1>you played with these other pickup musicians, when was your

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<v Speaker 1>next gig? My next gig was realizing that, wait a minute,

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<v Speaker 1>there's money in being a musician. I found the guitar

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<v Speaker 1>player and I said, let's form a band. So we

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<v Speaker 1>formed the band and we started. Uh. There was a

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<v Speaker 1>group from the Haven, Connecticut called the Five Satin's which

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<v Speaker 1>had probably the biggest do wop record in your in history.

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<v Speaker 1>And I became from the name of that record from

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<v Speaker 1>my audience who may not know. Second, what was the

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<v Speaker 1>name of the record for the audience that may not know?

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<v Speaker 1>In the Stole of the Night? Oh yeah? And the

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<v Speaker 1>Still in the Night should have been should be do

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<v Speaker 1>the big biggest record during the older days? Okay at

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<v Speaker 1>that point in time, was W A v Z still

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<v Speaker 1>the top four as Okay? I remember trying to pull

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<v Speaker 1>that in from Fairfield and whatever. When I went to

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<v Speaker 1>summer camp, we played W A v Z. So, in

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<v Speaker 1>any event, that's the biggest do wop hit, biggest hit,

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<v Speaker 1>and you have that guitars friend, and now all of

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<v Speaker 1>a sudden we put a band together, and we're backing

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<v Speaker 1>them up. We're going to New York and we're backing

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<v Speaker 1>up the Yeah, we're backing up this five cents. How

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<v Speaker 1>did you get that gig? They we were a good band,

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<v Speaker 1>and you know, and they liked this. But but let

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<v Speaker 1>me just say this. My band turned out to be

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<v Speaker 1>the number one college fraternity band in the area. If

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<v Speaker 1>you watched Animal House and you saw Belushi at that

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<v Speaker 1>fraternity seen my band was that band. Okay. We used

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<v Speaker 1>to play Yale and Wesleyan and Trinity and we even

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<v Speaker 1>got gigs up in Boston. So we were we were,

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<v Speaker 1>we were rocking. I was like, okay, so how old

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<v Speaker 1>were you when this was happening? And how often would

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<v Speaker 1>you work every weekend? Okay? And did you graduate from

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<v Speaker 1>high school? Yes? Okay, you graded from high school. No

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<v Speaker 1>thought of college. You're a musician. I was thinking about

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<v Speaker 1>music school, maybe Julius Heart School of Music. But past. Okay,

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<v Speaker 1>So you're playing every weekend with your band. What kind

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<v Speaker 1>of money you're making? Uh? We were getting paid anywhere

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<v Speaker 1>from to three hundred dollars a night. I was making

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<v Speaker 1>anywhere from fifty dollars. I was booking, so I would

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<v Speaker 1>take ten percent off the top. I was the booker,

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<v Speaker 1>and I got so many calls for our band. Did

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<v Speaker 1>I remember I said once to the fraternity guy, well listen,

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<v Speaker 1>we're a book, but I think I could get you

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<v Speaker 1>a band, and he said, okay, great, I trust you.

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<v Speaker 1>So now all of a sudden, at eighteen years old,

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<v Speaker 1>I'm booking bands. I'm playing all these different colleges. And

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<v Speaker 1>you know, I went from a rowboat to a seventeen

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<v Speaker 1>foot speedboat. Wow. And he's still living at home. Uh,

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<v Speaker 1>still living at home? Correct? Okay, So the name of

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<v Speaker 1>the band is was the Passengers? Okay? And do you

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<v Speaker 1>think are you the kind of person you're gonna find

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<v Speaker 1>a way your survivor you're gonna find a way to

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<v Speaker 1>make money. If it wasn't, the music business would have

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<v Speaker 1>been something else. I don't know. I never thought of

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<v Speaker 1>of ever. Oh God, you gotta gotta make money to live.

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<v Speaker 1>I just well, it's just kind of came natural. Well,

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<v Speaker 1>I guess it's one thing to be a member of

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<v Speaker 1>the band. It's also another thing to book the band.

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<v Speaker 1>But the story always is is the drummer is the

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<v Speaker 1>business guy. So this proves the point. Really, Oh yeah,

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<v Speaker 1>you get into it. I give you example after example

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<v Speaker 1>where the drummer is the business guy. Wow. So okay,

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<v Speaker 1>so you're doing this. How long do you do this for?

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<v Speaker 1>How long I do this for? I do it? Uh

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<v Speaker 1>because well we're starting to cut records, and we the

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<v Speaker 1>guy who's uh actually the producer of these different records.

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<v Speaker 1>He's got a deal with a big publishing company in

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<v Speaker 1>New York. So we would go to New York with

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<v Speaker 1>back up bands, back up the Satin's or a couple

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<v Speaker 1>of other groups make some records. We were on Amy

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<v Speaker 1>Malabel as King Author and the nights were on Atlantic

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<v Speaker 1>Is Jerry and the Passengers. Uh. You know, we just

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<v Speaker 1>cut a lot of a lot of different stuff and

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<v Speaker 1>one record that we can't I couldn't get a deal for.

0:14:06.120 --> 0:14:09.200
<v Speaker 1>So what I did was, uh, I pressed up the

0:14:09.200 --> 0:14:11.120
<v Speaker 1>record on my own. I sent the tape to r

0:14:11.200 --> 0:14:13.520
<v Speaker 1>C A pressed up the record on my own. My

0:14:13.600 --> 0:14:17.440
<v Speaker 1>guitar player was named c strand I'm Greenberg green C Records.

0:14:17.920 --> 0:14:22.000
<v Speaker 1>Press it up, take the record. Because I'm getting very

0:14:22.040 --> 0:14:24.560
<v Speaker 1>friendly with all the radio. This shock eys guys from

0:14:24.560 --> 0:14:28.600
<v Speaker 1>a vz D, E, W D r C and hard

0:14:28.920 --> 0:14:32.320
<v Speaker 1>dr C. Absolutely, I'm gonna mention that. We'll talk about

0:14:32.320 --> 0:14:36.560
<v Speaker 1>that in a minute. So the bottom line is I

0:14:36.640 --> 0:14:40.000
<v Speaker 1>pressed up the record and I put it into Cutler's

0:14:40.680 --> 0:14:44.479
<v Speaker 1>and I'm the famous record shop in New Haven, Connecticut. Yeah,

0:14:44.480 --> 0:14:48.520
<v Speaker 1>it's the biggest. And uh so I'm up in Hartford

0:14:48.760 --> 0:14:51.160
<v Speaker 1>collecting my money at a distributor. I over hear the

0:14:51.160 --> 0:14:54.960
<v Speaker 1>guy say, oh, my promotion man's leaving. I'm looking for somebody.

0:14:55.000 --> 0:14:57.280
<v Speaker 1>I say to the guy, wait a minute, how about me,

0:14:57.440 --> 0:15:00.400
<v Speaker 1>I'd love that job. So he gives me the job.

0:15:00.680 --> 0:15:05.840
<v Speaker 1>I am now a record promotion man working for Seaboard

0:15:05.880 --> 0:15:10.440
<v Speaker 1>Distributors out of Hartford. Going is far down to Bridgeport

0:15:10.600 --> 0:15:15.000
<v Speaker 1>to w I c C. That is correct, too far

0:15:15.760 --> 0:15:21.960
<v Speaker 1>uh north as Springfield, w Y something in Springfield. And

0:15:22.000 --> 0:15:25.200
<v Speaker 1>of course the big station in Connecticut was w d

0:15:25.440 --> 0:15:28.600
<v Speaker 1>R C and Harford, and that was run by birtha

0:15:28.720 --> 0:15:32.920
<v Speaker 1>porter who everyone knew at that time. If Bertha picked

0:15:32.920 --> 0:15:38.600
<v Speaker 1>the record, it could break nationally. So, okay, a couple

0:15:38.600 --> 0:15:42.360
<v Speaker 1>of questions. This is a pre Beatles, Yeah, so what

0:15:42.440 --> 0:15:44.720
<v Speaker 1>kind of records were you working? Oh? No, you know,

0:15:44.880 --> 0:15:48.920
<v Speaker 1>it's funny, funny. I had VJ as one of my labels.

0:15:49.160 --> 0:15:52.680
<v Speaker 1>Had I had a Beatles record was introducing the Beatles

0:15:52.680 --> 0:15:58.240
<v Speaker 1>on j one of the capital passed. Okay, so, uh

0:15:58.280 --> 0:16:04.120
<v Speaker 1>this is in uh Nino and you know we had

0:16:04.120 --> 0:16:07.800
<v Speaker 1>Atlantic and Chess and Checker and basically when almost all

0:16:07.840 --> 0:16:13.080
<v Speaker 1>the labels were independent. Okay, Now did you were you

0:16:13.120 --> 0:16:16.440
<v Speaker 1>continuing to play in your band on the weekends? Now?

0:16:16.480 --> 0:16:19.280
<v Speaker 1>Did you you were making good money? We're buying a speedboat.

0:16:19.600 --> 0:16:24.600
<v Speaker 1>Did you have a dream of stardom? No? Okay, so

0:16:24.720 --> 0:16:29.520
<v Speaker 1>you're just doing it? So okay. You you took the

0:16:29.680 --> 0:16:35.440
<v Speaker 1>job as a radio record promotion being thinking I've got

0:16:35.440 --> 0:16:37.320
<v Speaker 1>nothing to do Monday to Friday, or this will be

0:16:37.360 --> 0:16:40.560
<v Speaker 1>a career or I just want to have, you know,

0:16:40.640 --> 0:16:45.040
<v Speaker 1>a job. Well, I didn't know. You know, it was

0:16:45.080 --> 0:16:48.440
<v Speaker 1>a job, and I felt it could be a career

0:16:48.560 --> 0:16:53.360
<v Speaker 1>because I love music. I was when you love music, man,

0:16:53.440 --> 0:16:55.880
<v Speaker 1>you just want to be around music. So I'm a

0:16:55.920 --> 0:16:59.600
<v Speaker 1>guy who loves music and I'm a musician. So what's

0:16:59.640 --> 0:17:02.160
<v Speaker 1>been an than that? Okay? So how long do you

0:17:02.160 --> 0:17:07.600
<v Speaker 1>work for cboard? How? Probably three or four years. But

0:17:07.680 --> 0:17:12.040
<v Speaker 1>I became, you know, very close with everybody at Atlantic Records.

0:17:12.400 --> 0:17:17.040
<v Speaker 1>And why was that? Uh? I think they liked me.

0:17:17.080 --> 0:17:20.880
<v Speaker 1>I was breaking records in Connecticut for Atlantic, and I

0:17:20.920 --> 0:17:24.640
<v Speaker 1>think they realized all of a sudden, Jerry had good

0:17:24.680 --> 0:17:30.800
<v Speaker 1>ears and Jerry Wexler. Henry Allen was ahead of promotion

0:17:30.840 --> 0:17:34.120
<v Speaker 1>at the time. Henry calls me and he goes, listen,

0:17:34.200 --> 0:17:38.080
<v Speaker 1>Jerry Wexler just bought a record. I just bought a record.

0:17:38.320 --> 0:17:41.199
<v Speaker 1>He wants you to hear it and tell him what

0:17:41.440 --> 0:17:44.280
<v Speaker 1>and tell you what he what you think and were

0:17:44.359 --> 0:17:46.520
<v Speaker 1>I'm sending it up a man getting it up to

0:17:46.520 --> 0:17:51.399
<v Speaker 1>you special delivery. The record was Percy Sledge When a

0:17:51.440 --> 0:17:55.720
<v Speaker 1>Man Loves So I hear the record and I'm very

0:17:55.800 --> 0:17:58.399
<v Speaker 1>close with the DJ in New Haven at w d

0:17:58.480 --> 0:18:02.640
<v Speaker 1>E daytime station. I go to w d at two

0:18:02.640 --> 0:18:05.040
<v Speaker 1>o'clock in the afternoon and I said, listen, put this on.

0:18:06.200 --> 0:18:09.919
<v Speaker 1>Plays it at two, plays it again at three thirty,

0:18:10.760 --> 0:18:13.760
<v Speaker 1>plays it again at like five. The phones are going

0:18:14.000 --> 0:18:20.400
<v Speaker 1>crazy crazy. Cutler's record job calls the station, what's this

0:18:20.440 --> 0:18:23.400
<v Speaker 1>man loves the woman record you're playing on? We got

0:18:23.440 --> 0:18:25.720
<v Speaker 1>people coming in want to buy it. So I called

0:18:25.760 --> 0:18:29.280
<v Speaker 1>Jerry Wexlet the next day and I go, Jerry, You're

0:18:29.320 --> 0:18:33.040
<v Speaker 1>gonna have the biggest crossover pop record you've ever seen.

0:18:33.880 --> 0:18:38.480
<v Speaker 1>Watch And it was the truth. I mean, come on,

0:18:42.760 --> 0:18:44.640
<v Speaker 1>we'll take a quick break and come back with more

0:18:44.680 --> 0:18:48.720
<v Speaker 1>of my conversation with legendary record label executive Jerry Greenberg,

0:18:48.760 --> 0:18:56.520
<v Speaker 1>recorded live at the tune In Studios in Venice, California. Hi,

0:18:56.640 --> 0:18:59.119
<v Speaker 1>it's Bob left Sex. Over the last couple of months,

0:18:59.359 --> 0:19:02.480
<v Speaker 1>I've interviewed the lead singer of Garbage, Shirley Manson, and

0:19:02.680 --> 0:19:05.840
<v Speaker 1>legendary drummer Kenny arn Off. But I really love getting

0:19:05.840 --> 0:19:08.960
<v Speaker 1>the stories and the executives in and around the music industry,

0:19:09.119 --> 0:19:12.240
<v Speaker 1>like Jerry. Whether you come for the music, the tech,

0:19:12.560 --> 0:19:15.879
<v Speaker 1>or otherwise, be the first here next week's episode by

0:19:15.920 --> 0:19:19.679
<v Speaker 1>subscribing to the podcast on tune In, Apple Podcasts or

0:19:19.680 --> 0:19:23.360
<v Speaker 1>your podcast player of choice. While you're there, please rate

0:19:23.359 --> 0:19:27.159
<v Speaker 1>and review. Okay, let's get back to my conversation with

0:19:27.240 --> 0:19:33.000
<v Speaker 1>Jerry Greenberg. What was the key to promoting a record tour?

0:19:33.040 --> 0:19:35.639
<v Speaker 1>I mean, that's an obvious one, but when records not

0:19:35.720 --> 0:19:37.920
<v Speaker 1>that obvious? What was the key to getting in on

0:19:38.000 --> 0:19:46.159
<v Speaker 1>the radio? Um? Just too tenacity? Keep keep pounding the

0:19:46.200 --> 0:19:49.560
<v Speaker 1>guy and going, hey, look it just happened in Texas,

0:19:49.680 --> 0:19:52.439
<v Speaker 1>or it's doing this somewhere else, or what do they

0:19:52.440 --> 0:19:56.119
<v Speaker 1>call it? The key to being a good promotion man?

0:19:56.200 --> 0:20:00.680
<v Speaker 1>I think there's one being honest to having a good

0:20:00.760 --> 0:20:04.000
<v Speaker 1>track record, because you remember, you're trying to talk this

0:20:04.040 --> 0:20:08.639
<v Speaker 1>guy into taking air time and play a record. You

0:20:08.680 --> 0:20:12.200
<v Speaker 1>don't want to play a stiff. He wants to play

0:20:12.200 --> 0:20:14.440
<v Speaker 1>a hit. He wants to be the first to play

0:20:14.520 --> 0:20:19.000
<v Speaker 1>a hit. And I had that relationship, I think with

0:20:19.040 --> 0:20:24.600
<v Speaker 1>a lot of guys and um and girls, and but

0:20:24.680 --> 0:20:32.520
<v Speaker 1>I was very close with Bertha and she loved me. So, uh,

0:20:33.080 --> 0:20:36.159
<v Speaker 1>let me just say this. A job opens up at

0:20:36.200 --> 0:20:40.080
<v Speaker 1>the other distributorship. Okay, there's two big distributorships in Harvard.

0:20:40.160 --> 0:20:43.159
<v Speaker 1>Job opens up. My brother is doing radio promotion and

0:20:43.400 --> 0:20:47.239
<v Speaker 1>I'm that radio selling time at a radio station. So

0:20:47.280 --> 0:20:50.560
<v Speaker 1>I say to Bertha, Bertha, do me a favor. I'd

0:20:50.600 --> 0:20:52.919
<v Speaker 1>like my brother to get that job. She said, well,

0:20:52.960 --> 0:20:55.000
<v Speaker 1>I got to meet him. I said fine, So I

0:20:55.040 --> 0:20:57.760
<v Speaker 1>set up a lunch. She falls in love with my brother.

0:20:58.359 --> 0:21:01.160
<v Speaker 1>She calls the distributor. Hey, you know, Jerry's got a brother,

0:21:01.240 --> 0:21:06.080
<v Speaker 1>Bob Greenberger. Boom, Bob gets the job. So now we

0:21:06.200 --> 0:21:09.840
<v Speaker 1>got Bob at one distributor, me at the other. But

0:21:09.920 --> 0:21:13.760
<v Speaker 1>here's the best story yet, you're ready. I have to

0:21:13.760 --> 0:21:17.800
<v Speaker 1>go in the army to do Army Reserve you know,

0:21:17.880 --> 0:21:20.679
<v Speaker 1>none of us want to get drafted at that time. Uh,

0:21:20.880 --> 0:21:23.200
<v Speaker 1>you could be out if you had a baby that

0:21:23.600 --> 0:21:26.600
<v Speaker 1>postpone you're getting drafted. That none of us wanted to

0:21:26.640 --> 0:21:29.280
<v Speaker 1>go to Vietnam. Anyways, I signed up a Army reserve.

0:21:29.880 --> 0:21:32.600
<v Speaker 1>Army reserve, you got to go away for six months

0:21:33.080 --> 0:21:35.200
<v Speaker 1>and then you have to serve for four more years,

0:21:36.119 --> 0:21:43.639
<v Speaker 1>going to meetings, etcetera. And I signed up. So Jerry

0:21:43.640 --> 0:21:47.480
<v Speaker 1>Water calls me up ahead of Atlantic, says Jerry, after

0:21:47.520 --> 0:21:52.720
<v Speaker 1>the thing with the happened with the Percy Sledge record,

0:21:53.560 --> 0:21:55.160
<v Speaker 1>I want to hire you. I want you to come

0:21:55.200 --> 0:21:57.399
<v Speaker 1>to New York and work for me, I said Jerry.

0:21:57.520 --> 0:22:00.880
<v Speaker 1>I can't right now because I have to serve six

0:22:00.920 --> 0:22:02.560
<v Speaker 1>months in the Army. I don't want to come there,

0:22:02.600 --> 0:22:04.320
<v Speaker 1>and then I have to go, I said, But as

0:22:04.359 --> 0:22:06.440
<v Speaker 1>soon as I get out, is the job still open

0:22:06.760 --> 0:22:09.040
<v Speaker 1>the day you're out of the Army, you're coming to

0:22:09.080 --> 0:22:12.480
<v Speaker 1>work for Atlantic Records? I go, okay, great, So now

0:22:12.520 --> 0:22:17.199
<v Speaker 1>I get the call to go and serve. So I

0:22:17.240 --> 0:22:19.159
<v Speaker 1>say to my brother, let me ask you a question.

0:22:20.720 --> 0:22:22.919
<v Speaker 1>What do you think if we put Dad into the

0:22:22.960 --> 0:22:27.639
<v Speaker 1>record business? He says, I said that this is this

0:22:27.800 --> 0:22:31.320
<v Speaker 1>job is perfect for him. Everybody loves him. It's personality.

0:22:31.920 --> 0:22:34.679
<v Speaker 1>I said. He grew up listening to me with the

0:22:34.720 --> 0:22:38.840
<v Speaker 1>band downstairs. He loves music. She he says, let's take

0:22:38.880 --> 0:22:42.800
<v Speaker 1>a shot. So we go to Bertha and we go Bertha,

0:22:42.920 --> 0:22:45.639
<v Speaker 1>I gotta go in the army for six months, but

0:22:45.800 --> 0:22:48.440
<v Speaker 1>I want my dad to fill in for me. Is

0:22:48.480 --> 0:22:52.280
<v Speaker 1>that cool? I gotta meet him. Fine, you'll love him.

0:22:52.400 --> 0:22:54.760
<v Speaker 1>So we bring that up to Harvard as lunch with

0:22:54.880 --> 0:22:59.400
<v Speaker 1>birth reporter. I go to Marvin, my boss, and I say, listen,

0:22:59.440 --> 0:23:01.480
<v Speaker 1>I gotta go now for six months. But I got

0:23:01.480 --> 0:23:04.800
<v Speaker 1>the replacement for me for six months. I said, you

0:23:04.920 --> 0:23:08.119
<v Speaker 1>know who's eye said, my father? Your father? Yeah, trust me.

0:23:08.520 --> 0:23:12.360
<v Speaker 1>Bertha loves him. He calls up Bertha. She said, oh yeah,

0:23:12.520 --> 0:23:17.639
<v Speaker 1>Bill Greenberg, he's great. Blah blah blah. So bingo. My

0:23:17.760 --> 0:23:22.120
<v Speaker 1>father's now took my job. He's in doing record promotion.

0:23:22.160 --> 0:23:24.719
<v Speaker 1>So he gives up his jewelry salesman's job, gives up

0:23:24.720 --> 0:23:28.119
<v Speaker 1>to Julia. Now he died and went to heaven. He

0:23:28.240 --> 0:23:31.720
<v Speaker 1>got a car, he got an expense account. He's taking

0:23:31.760 --> 0:23:35.480
<v Speaker 1>these DJs. I love golf, so I said, then take

0:23:35.520 --> 0:23:37.920
<v Speaker 1>the guy from a VZ out to play golf. He did.

0:23:38.800 --> 0:23:42.680
<v Speaker 1>Now he's getting records on after I'm in the army.

0:23:42.720 --> 0:23:45.240
<v Speaker 1>Two months I get a note from Marvin, don't come back.

0:23:45.280 --> 0:23:51.760
<v Speaker 1>Your father's better than you. So we had the Greenberg dynasty.

0:23:51.880 --> 0:23:54.080
<v Speaker 1>There was an article came out in cash Box, the

0:23:54.119 --> 0:23:57.960
<v Speaker 1>Greenberg dynasty. Father's son brother. But it's a reverse kind

0:23:57.960 --> 0:24:02.320
<v Speaker 1>of trip, if you know, it's usually the kid gets

0:24:02.359 --> 0:24:05.240
<v Speaker 1>into father's business. This was the kid put the father

0:24:05.359 --> 0:24:08.719
<v Speaker 1>in in my business. But just a uh been up

0:24:08.760 --> 0:24:13.399
<v Speaker 1>one little uh hole here, your brother, how do you

0:24:13.440 --> 0:24:20.239
<v Speaker 1>get into selling radio time? Um, that's interesting. I don't know.

0:24:20.440 --> 0:24:23.840
<v Speaker 1>He just he knew somebody at a radio station and

0:24:24.119 --> 0:24:28.400
<v Speaker 1>a job came. He did a It could have might

0:24:28.400 --> 0:24:31.280
<v Speaker 1>have been NAVEZ, New Haven, one of the radio stations

0:24:31.280 --> 0:24:36.560
<v Speaker 1>in New Haven. So that was I utilized that with Bertha, like, Hey,

0:24:36.680 --> 0:24:39.119
<v Speaker 1>this guy, you know, he's not a cook or or

0:24:39.200 --> 0:24:42.199
<v Speaker 1>salesman or something. He's in radio already. Let's get him

0:24:42.200 --> 0:24:45.119
<v Speaker 1>out of selling time and let's get him into promotion.

0:24:45.880 --> 0:24:47.880
<v Speaker 1>So in any event, you're in the army for six months,

0:24:47.880 --> 0:24:49.840
<v Speaker 1>you get out and you go to work for Atlantic

0:24:49.960 --> 0:24:52.280
<v Speaker 1>Correct and you have to move to New York City. No,

0:24:52.480 --> 0:24:55.640
<v Speaker 1>I'm living in New Haven and I'm commuting every day,

0:24:55.800 --> 0:24:59.280
<v Speaker 1>every day from the Raven every day from New Haven.

0:24:59.520 --> 0:25:01.199
<v Speaker 1>That's almost because I grew up, as I say, in

0:25:01.240 --> 0:25:02.800
<v Speaker 1>fear Field. When I grew up in fear Field in

0:25:02.800 --> 0:25:05.760
<v Speaker 1>the sixties, that was just one step too far. People

0:25:05.800 --> 0:25:09.240
<v Speaker 1>commute now, but the Heathen that's like an hour and

0:25:09.240 --> 0:25:12.800
<v Speaker 1>a half each way on the train. Yeah. I took

0:25:12.840 --> 0:25:15.080
<v Speaker 1>the train a couple of times, but it didn't work out.

0:25:15.520 --> 0:25:20.560
<v Speaker 1>So I'm driving and they give your parking because parking

0:25:20.600 --> 0:25:24.600
<v Speaker 1>in New York City could eat up your whole salary. Uh.

0:25:25.000 --> 0:25:29.680
<v Speaker 1>Now they as it happened after about two years. I

0:25:29.800 --> 0:25:33.520
<v Speaker 1>remember I went into armed and I said, listen, you

0:25:33.520 --> 0:25:36.240
<v Speaker 1>know you guys got me out late at night. I'm

0:25:36.320 --> 0:25:39.560
<v Speaker 1>driving home at eleven o'clock. I said, we we gotta

0:25:39.640 --> 0:25:44.080
<v Speaker 1>fix this. So they gave me a car and a driver. Yeah,

0:25:45.040 --> 0:25:48.560
<v Speaker 1>and then they kept on saying, why don't you move

0:25:48.600 --> 0:25:54.680
<v Speaker 1>to the city, And I said, my wife ex wife, Uh,

0:25:54.960 --> 0:25:57.359
<v Speaker 1>it's not like living in the city with the kids.

0:25:58.000 --> 0:26:00.240
<v Speaker 1>I said, but I you know, if you help me out,

0:26:00.280 --> 0:26:03.640
<v Speaker 1>I will move closer. And I did. I moved to Greenwich.

0:26:04.640 --> 0:26:08.080
<v Speaker 1>So I was in Greenwich. Now we're on a forty

0:26:08.080 --> 0:26:12.520
<v Speaker 1>five minute ride and h I'm commuting. Okay, So you

0:26:12.600 --> 0:26:15.400
<v Speaker 1>go to work for Atlantic. Do you remember what year

0:26:15.440 --> 0:26:22.199
<v Speaker 1>that is? Sixty seven? Sixty seven, sixty eight? Okay, so

0:26:22.240 --> 0:26:25.680
<v Speaker 1>they're still doing the rascals over there in Atlantic. Oh yeah, okay,

0:26:25.720 --> 0:26:29.800
<v Speaker 1>what's your gig at Atlantic? I come in and that's

0:26:29.840 --> 0:26:33.640
<v Speaker 1>what I thought. I show up the first day and

0:26:33.680 --> 0:26:36.639
<v Speaker 1>I said, what am I promotion? Man? What I know?

0:26:36.720 --> 0:26:40.440
<v Speaker 1>You're Jerry Wexler assistant. And I'll never forget. We walk

0:26:40.520 --> 0:26:46.479
<v Speaker 1>into a meeting Jerry Wexler and probably fifteen Atlantic people's

0:26:46.480 --> 0:26:50.400
<v Speaker 1>staff people, and he goes, I want to introduce Jerry Greenberg.

0:26:50.400 --> 0:26:53.240
<v Speaker 1>Here's my new assistant. So I expect you to treat

0:26:53.320 --> 0:26:55.919
<v Speaker 1>him with respect. And I will remember I knew a

0:26:55.960 --> 0:26:59.080
<v Speaker 1>lot of those guys because they would be calling me

0:26:59.440 --> 0:27:02.040
<v Speaker 1>to promote different records. They all knew who I was.

0:27:02.600 --> 0:27:05.399
<v Speaker 1>So I came in as as Jerry's assistant, where I

0:27:06.520 --> 0:27:09.639
<v Speaker 1>will tell you that's the man that taught me the

0:27:09.680 --> 0:27:16.280
<v Speaker 1>record business. Okay, so tell us more about Jerry. Well, Jerry.

0:27:17.760 --> 0:27:21.240
<v Speaker 1>Somebody asked me something about Jerry, and I said, working

0:27:21.280 --> 0:27:24.880
<v Speaker 1>for Jerry Watson was like joining the Marines. You either

0:27:25.000 --> 0:27:27.760
<v Speaker 1>came out a drill sergeant, or they found you in

0:27:27.800 --> 0:27:31.840
<v Speaker 1>a swamp. And I mean, Jerry would think nothing on

0:27:31.960 --> 0:27:34.960
<v Speaker 1>the Jewish holiday, young k PORI he called my house.

0:27:35.000 --> 0:27:37.280
<v Speaker 1>He says, I got to speak to Jerry, and my

0:27:37.320 --> 0:27:40.000
<v Speaker 1>wife said, he's in the temple. Give me the temple number.

0:27:40.040 --> 0:27:42.240
<v Speaker 1>I want to talk to him. Jerry would call me

0:27:42.280 --> 0:27:45.359
<v Speaker 1>at three in the morning and say, did you listen

0:27:45.400 --> 0:27:49.480
<v Speaker 1>to the oldest reading test pressing? I'm hearing ticks and pops.

0:27:49.840 --> 0:27:54.800
<v Speaker 1>I mean, he was just a maniac in a good way.

0:27:54.960 --> 0:28:00.400
<v Speaker 1>Uh taught me, always returned phone calls. Taught me people said,

0:28:00.440 --> 0:28:03.520
<v Speaker 1>how did you become president at thirty two years old?

0:28:03.560 --> 0:28:06.359
<v Speaker 1>I said, I called everybody back, and I knew how

0:28:06.359 --> 0:28:09.159
<v Speaker 1>to see yes and no. And that was Jerry Wexler

0:28:09.280 --> 0:28:13.720
<v Speaker 1>teaching me that. Okay, so, but Jerry was also a producer.

0:28:14.520 --> 0:28:17.080
<v Speaker 1>Jerry is the guy that signed the Wretha Franklin. Jerry

0:28:17.080 --> 0:28:22.080
<v Speaker 1>would produce the first job I had an Atlantic. Jerry

0:28:22.119 --> 0:28:24.040
<v Speaker 1>calls me and is, obviously, listen, the first thing we're

0:28:24.040 --> 0:28:29.320
<v Speaker 1>gonna do. I'm producing Dusty Springfield. I love her from England.

0:28:29.920 --> 0:28:34.199
<v Speaker 1>He said, I need songs. So it gives me a

0:28:34.280 --> 0:28:38.440
<v Speaker 1>list of people to call, like Carol King and Jerry

0:28:38.480 --> 0:28:42.200
<v Speaker 1>Goffin and Ellie Greenwich and all these different people. So

0:28:42.280 --> 0:28:45.960
<v Speaker 1>my first job at Atlantic Records was finding songs for

0:28:46.080 --> 0:28:52.480
<v Speaker 1>Jerry Wexler to produce Dusty Springfield. I found a couple myself,

0:28:52.560 --> 0:28:56.120
<v Speaker 1>believe it or not, that made the album, and that

0:28:56.280 --> 0:29:01.320
<v Speaker 1>was the Dusty and Memphis album. Legendary, legendary them. But Jerry,

0:29:01.680 --> 0:29:07.680
<v Speaker 1>Jerry's gig was running Atlantic during the day and making

0:29:08.320 --> 0:29:14.280
<v Speaker 1>records at night with Dr John Or. His biggest artist

0:29:14.360 --> 0:29:20.160
<v Speaker 1>was basically a Wretha Franklin, and he discovered Wretha. I mean,

0:29:20.160 --> 0:29:22.520
<v Speaker 1>he took her from Columbia, made her a big week star,

0:29:23.360 --> 0:29:26.920
<v Speaker 1>and that was his biggest claim to fame. But what

0:29:27.080 --> 0:29:31.560
<v Speaker 1>happened is basically they sold a company right to Kenny

0:29:31.560 --> 0:29:34.960
<v Speaker 1>to Warner Brothers. Yeah, there was called Kenny at the time.

0:29:35.000 --> 0:29:38.720
<v Speaker 1>Then they changed to Warner Brothers. And once the company

0:29:38.800 --> 0:29:43.200
<v Speaker 1>was sold, I think Jerry made the decision probably seventy

0:29:44.240 --> 0:29:48.920
<v Speaker 1>that he wanted to spend more time recording. He also

0:29:49.040 --> 0:29:52.479
<v Speaker 1>loved the water, so he ended up buying a place

0:29:52.680 --> 0:29:57.880
<v Speaker 1>in Florida, had a boat in Florida, UH connected with

0:29:58.040 --> 0:30:03.360
<v Speaker 1>Criteria's studios, and he would record all of his acts

0:30:03.680 --> 0:30:08.200
<v Speaker 1>at Criteria and be on the phone with me. But

0:30:08.520 --> 0:30:12.560
<v Speaker 1>he wasn't running the company anymore. Now we'll cut to

0:30:13.200 --> 0:30:16.600
<v Speaker 1>the beginning of Jerry's rise in Atlantic. Okay, let's just

0:30:16.600 --> 0:30:20.480
<v Speaker 1>go back for one session. At the time, her Babyson

0:30:20.560 --> 0:30:23.640
<v Speaker 1>was out, but his wife was still there being the account. No,

0:30:23.920 --> 0:30:27.240
<v Speaker 1>she wasn't there when I came. What was am It's

0:30:27.360 --> 0:30:31.560
<v Speaker 1>role when you were there? Amage role was a guy

0:30:31.640 --> 0:30:35.200
<v Speaker 1>who he was the president of the company or co

0:30:35.400 --> 0:30:37.880
<v Speaker 1>founder of the company. When I first came. I never

0:30:37.920 --> 0:30:42.080
<v Speaker 1>saw him, really, yeah, never saw him. Uh, he was

0:30:42.120 --> 0:30:47.320
<v Speaker 1>either in England or he was in California. Almas claimed

0:30:47.320 --> 0:30:51.680
<v Speaker 1>to fame. Once I joined the company, was finding a

0:30:51.680 --> 0:30:54.960
<v Speaker 1>lot of the English acts from England, getting a relationship

0:30:55.000 --> 0:30:57.400
<v Speaker 1>with Chris Brockwell. So now all of a sudden we

0:30:57.400 --> 0:31:00.440
<v Speaker 1>got Mark to Hoopo, and we got King Crimson, so

0:31:00.920 --> 0:31:04.680
<v Speaker 1>m and Robert Stigwood, and he heard Clapton in the club.

0:31:05.000 --> 0:31:08.440
<v Speaker 1>So Alman spent most of his time in Europe, in England,

0:31:09.240 --> 0:31:14.840
<v Speaker 1>and in California. Ahmed signed The Iron Butterfly and all

0:31:14.880 --> 0:31:18.600
<v Speaker 1>of those acts. So you had Almed more of an

0:31:18.600 --> 0:31:23.160
<v Speaker 1>A and R source, Jerry more of a guy who

0:31:23.240 --> 0:31:27.400
<v Speaker 1>ran day to day but also record producer. That was

0:31:28.480 --> 0:31:31.080
<v Speaker 1>before they sold the company or just as they sold

0:31:31.080 --> 0:31:34.120
<v Speaker 1>the company. Okay, so really Jerry was Jerry Wexen was

0:31:34.120 --> 0:31:38.040
<v Speaker 1>the day to day guy. Now, oh yeah, no question. Okay.

0:31:38.040 --> 0:31:41.240
<v Speaker 1>So Jerry Wexler moves to Florida, and when that leaves

0:31:41.240 --> 0:31:45.920
<v Speaker 1>you where that leaves me. Even while Jerry was there,

0:31:45.960 --> 0:31:48.880
<v Speaker 1>I kind of moved was moving up. I was the

0:31:48.920 --> 0:31:51.440
<v Speaker 1>head of promotion. I was the national promotion director. I

0:31:51.480 --> 0:31:55.720
<v Speaker 1>had a great team, Dickey Klein and uh Danny Marcus

0:31:55.760 --> 0:31:59.280
<v Speaker 1>and all the all these all these great great promotion people.

0:32:00.200 --> 0:32:05.520
<v Speaker 1>Then they promoted me. I started signing acts. The first

0:32:05.520 --> 0:32:08.000
<v Speaker 1>act I signed, believe it or not in nineties sixty

0:32:08.080 --> 0:32:11.440
<v Speaker 1>seven or sixty eight was Archie Bell in the Drills

0:32:11.440 --> 0:32:14.680
<v Speaker 1>Tighten Up right, So that that was on Atlantic, right, Yeah,

0:32:14.760 --> 0:32:17.320
<v Speaker 1>I think you know that's funny that that record didn't

0:32:17.320 --> 0:32:20.600
<v Speaker 1>sound like anything else, and that my sister bought the single,

0:32:21.160 --> 0:32:24.280
<v Speaker 1>huge hit, huge hit. How did you find that? I

0:32:24.320 --> 0:32:27.800
<v Speaker 1>got in the mail from Hue Mo you know who

0:32:27.840 --> 0:32:33.320
<v Speaker 1>you producer in Texas well, M E A U X

0:32:33.560 --> 0:32:36.960
<v Speaker 1>right exactly. So, So then I moved up as head

0:32:36.960 --> 0:32:39.320
<v Speaker 1>of A and R. Because I'm signing all of these acts.

0:32:39.920 --> 0:32:43.480
<v Speaker 1>Then they promoted me to general manager. So now I'm

0:32:43.520 --> 0:32:46.640
<v Speaker 1>the second in command right under under Wax. Now you're

0:32:46.680 --> 0:32:50.640
<v Speaker 1>moving up so quickly? Aren't other people jealous? It was

0:32:50.680 --> 0:32:54.680
<v Speaker 1>a family there, family. The older guys had a lot

0:32:54.720 --> 0:32:59.080
<v Speaker 1>of respect for me, George for Ness, Juggie Gale, you

0:32:59.120 --> 0:33:03.000
<v Speaker 1>know that right right. For those of you who don't know,

0:33:03.840 --> 0:33:08.800
<v Speaker 1>I started getting Bob's sheet in Atlantic records probably the

0:33:08.840 --> 0:33:12.600
<v Speaker 1>early seventies. Is not a blue piece of paper used

0:33:12.600 --> 0:33:15.120
<v Speaker 1>to come into mail. I used to open it up

0:33:15.160 --> 0:33:18.040
<v Speaker 1>and read it. You had the Bob left this tip

0:33:18.120 --> 0:33:22.280
<v Speaker 1>of the week and this isn't that Shaw. I'm probably

0:33:22.320 --> 0:33:27.520
<v Speaker 1>one of his podcasts guys here who go back longer

0:33:27.560 --> 0:33:32.600
<v Speaker 1>with Bob than anybody. Absolutely, and so, uh, continue your

0:33:32.680 --> 0:33:38.360
<v Speaker 1>journey up the Atlantic food chain. Well, so my my journey.

0:33:38.760 --> 0:33:41.040
<v Speaker 1>The biggest thing that happened. So they sell the company

0:33:41.200 --> 0:33:45.000
<v Speaker 1>Jerry's in Florida. Almond comes into my office and he goes,

0:33:45.840 --> 0:33:49.600
<v Speaker 1>I'm signing the Rolling Stones. You're the only person in

0:33:49.680 --> 0:33:53.440
<v Speaker 1>Atlantic I trust talking to make ja. He says, So

0:33:53.520 --> 0:33:56.160
<v Speaker 1>you're gonna come with me. We had a signing party

0:33:56.200 --> 0:34:01.800
<v Speaker 1>in France and I flew to answer with Ahmed and

0:34:02.240 --> 0:34:05.640
<v Speaker 1>we signed the Rolling Stones. That was the beginning of

0:34:05.680 --> 0:34:10.040
<v Speaker 1>my relationship now with Ahmed, and I'll never forget. Mick

0:34:10.280 --> 0:34:13.560
<v Speaker 1>came into New York with the first album, which was

0:34:13.600 --> 0:34:17.360
<v Speaker 1>Sticky Fingers. It was just Sticky Fingers, and um, it

0:34:17.400 --> 0:34:19.520
<v Speaker 1>calls me, he says, mix here with the first record.

0:34:19.920 --> 0:34:22.160
<v Speaker 1>He wants to play it for me, but I want

0:34:22.160 --> 0:34:25.920
<v Speaker 1>you there. And we walked down to the mastering room

0:34:26.080 --> 0:34:31.200
<v Speaker 1>and Me, Mick, Jagger and Ahmed and he looks to

0:34:32.000 --> 0:34:34.319
<v Speaker 1>to Jagger and he said, this guy picks all the

0:34:34.360 --> 0:34:38.440
<v Speaker 1>singles here. He says, let him hear your record brown Sugar.

0:34:38.640 --> 0:34:43.279
<v Speaker 1>Of course that's your single. And from that moment on,

0:34:43.320 --> 0:34:48.839
<v Speaker 1>I became a hero with Mick. Wow. So now when

0:34:48.920 --> 0:34:54.360
<v Speaker 1>do you become the president of the nineteen seventy four four? Correct?

0:34:54.480 --> 0:34:58.640
<v Speaker 1>And is there a president before? That? Was the president? Was? Ahmed?

0:34:58.640 --> 0:35:01.440
<v Speaker 1>In said, I'm moving up to chair man. Uh you know,

0:35:01.520 --> 0:35:04.520
<v Speaker 1>Steve Ross wants me as chairman of Atlantic. You're going

0:35:04.600 --> 0:35:07.600
<v Speaker 1>to be president. Boom boom boom. So there I am man,

0:35:08.080 --> 0:35:12.719
<v Speaker 1>you know, thirty two years old president of Atlantic. But um,

0:35:12.800 --> 0:35:15.719
<v Speaker 1>you know Jerry wasn't there to answer the phones. M

0:35:15.760 --> 0:35:19.200
<v Speaker 1>it's always traveling never came into the office until four

0:35:19.200 --> 0:35:23.640
<v Speaker 1>o'clock in the afternoon, and so I was the guy.

0:35:24.400 --> 0:35:27.640
<v Speaker 1>But I will tell you that I had the greatest

0:35:27.800 --> 0:35:33.680
<v Speaker 1>team at Atlantic Records. You know, I love football. I

0:35:34.120 --> 0:35:36.439
<v Speaker 1>say we were the Green Bay Packers during that time.

0:35:37.120 --> 0:35:39.319
<v Speaker 1>Call me, Vince Lombardi. I don't know if you want

0:35:39.320 --> 0:35:43.600
<v Speaker 1>to call me. But it was that team there, that spirit.

0:35:43.719 --> 0:35:46.480
<v Speaker 1>Nobody wants to go home. Everybody loved the artists, everybody

0:35:46.520 --> 0:35:51.080
<v Speaker 1>loved the music. The music the musicians were It was

0:35:51.200 --> 0:35:56.360
<v Speaker 1>like nothing you've ever seen, and unfortunately nothing that exists now,

0:35:56.719 --> 0:35:59.839
<v Speaker 1>right of course. Okay, so they had a legendary run.

0:36:00.440 --> 0:36:04.879
<v Speaker 1>It's not only the Stones. They have led Zeppelin. So

0:36:05.040 --> 0:36:08.120
<v Speaker 1>tell us about your work with led Zeppelin. Well, let

0:36:08.120 --> 0:36:11.440
<v Speaker 1>me tell you. Led Zeppelin got signed. We're working on

0:36:11.480 --> 0:36:15.880
<v Speaker 1>the Bud, Dusty and Springfield album. And Dusty says to

0:36:16.000 --> 0:36:20.000
<v Speaker 1>Jerry Wexler, you know, John Paul Jones is going to

0:36:20.120 --> 0:36:24.040
<v Speaker 1>form a new group with Jimmy Page. He's leaving the Yardbirds.

0:36:24.200 --> 0:36:27.799
<v Speaker 1>So Jerry goes I wanted and he finds out that

0:36:28.360 --> 0:36:31.680
<v Speaker 1>Steve Wisse, who is a lawyer for the Rascals, manages

0:36:31.800 --> 0:36:37.399
<v Speaker 1>Jimmy Page picked up the phone Jerry Wexler signed led

0:36:37.480 --> 0:36:41.720
<v Speaker 1>Zeppelin just off of we never Helready note the music,

0:36:42.120 --> 0:36:46.720
<v Speaker 1>just off of the legendary Jimmy Page John Paul Jones,

0:36:46.760 --> 0:36:49.800
<v Speaker 1>who was the greatest session musician in London. There was

0:36:49.840 --> 0:36:54.560
<v Speaker 1>no Bonzo, there was no Robert Plant and Jerry Wexler

0:36:54.920 --> 0:36:59.480
<v Speaker 1>signed led Zeppelin. So now we get the first record,

0:37:00.320 --> 0:37:04.960
<v Speaker 1>first record, that's okay. I become very friends, very good

0:37:04.960 --> 0:37:09.160
<v Speaker 1>friends with Peter Grahant, the manager. The manager, very big guy,

0:37:09.280 --> 0:37:11.879
<v Speaker 1>used to be a wrestler. Everybody was afraid of him.

0:37:11.880 --> 0:37:16.360
<v Speaker 1>Everybody said he managed the animals. I think also he

0:37:16.480 --> 0:37:20.520
<v Speaker 1>was partners would make him most. He and I just

0:37:20.600 --> 0:37:23.759
<v Speaker 1>hit it off. I mean, you know, if you go

0:37:23.840 --> 0:37:27.840
<v Speaker 1>back and think about it, if managers don't get along

0:37:27.840 --> 0:37:30.359
<v Speaker 1>with the head of promotion, how they're going to get

0:37:30.360 --> 0:37:33.919
<v Speaker 1>the records? Right? Of course, so he was smart enough

0:37:33.960 --> 0:37:37.440
<v Speaker 1>to know, Hey, god, I think I should treat this

0:37:38.000 --> 0:37:40.920
<v Speaker 1>Jerry Greenberg with respect. But it was better than that,

0:37:41.160 --> 0:37:45.480
<v Speaker 1>because remember, I'm a drummer, I'm a musician. I'm one

0:37:45.520 --> 0:37:48.080
<v Speaker 1>of them. I'm not I didn't come from being an

0:37:48.120 --> 0:37:52.480
<v Speaker 1>accountant or a lawyer. One Hey man, I'm one of

0:37:52.520 --> 0:37:56.440
<v Speaker 1>you guys. So Peter Grant and I were very very close.

0:37:57.040 --> 0:38:00.239
<v Speaker 1>But this is the great led Zeppelin. Jerry Greenberg's worry.

0:38:00.960 --> 0:38:04.239
<v Speaker 1>So the second record comes out. A whole Lot of

0:38:04.320 --> 0:38:08.600
<v Speaker 1>Love is blowing up on the FM stations, blowing up,

0:38:08.719 --> 0:38:13.880
<v Speaker 1>but it's five minutes and some odd seconds. You're not

0:38:13.920 --> 0:38:16.200
<v Speaker 1>going to get that on w a BC. You're not

0:38:16.200 --> 0:38:18.839
<v Speaker 1>gonna get it on a BC. I call up Peter Grin.

0:38:18.920 --> 0:38:21.120
<v Speaker 1>I go, Peter, do me a favorite, talk to Jimmy,

0:38:21.440 --> 0:38:23.640
<v Speaker 1>asked them to go in the studio and making edit

0:38:23.920 --> 0:38:27.479
<v Speaker 1>for me. A whole lot of Love. We're not as

0:38:27.480 --> 0:38:32.680
<v Speaker 1>saying as man, So I said, please, please comes back.

0:38:32.960 --> 0:38:37.200
<v Speaker 1>I spoke to Jimmy's not doing it. Click. So now

0:38:37.560 --> 0:38:41.320
<v Speaker 1>this record is getting bigger and bigger. Call him back.

0:38:41.480 --> 0:38:43.640
<v Speaker 1>You gotta give it to me. I'm telling you I can.

0:38:43.840 --> 0:38:47.359
<v Speaker 1>We can break the group in America. You got it.

0:38:47.520 --> 0:38:51.520
<v Speaker 1>Pulls be back. We're not doing it. So I say,

0:38:51.719 --> 0:38:53.799
<v Speaker 1>what if I did it? Let me let me make

0:38:53.840 --> 0:38:56.800
<v Speaker 1>an edit and I'll send it to you for your approval.

0:38:57.760 --> 0:39:01.640
<v Speaker 1>Go ahead, I take record. I put it down by

0:39:01.680 --> 0:39:05.880
<v Speaker 1>my desk. I watched the clock at two. They're in

0:39:05.960 --> 0:39:08.439
<v Speaker 1>the hook. What's the hook? A hold lot of love?

0:39:09.520 --> 0:39:12.560
<v Speaker 1>I need a whole lot of love. I faded out.

0:39:12.920 --> 0:39:16.840
<v Speaker 1>I faded at three oh five. I sent it to Peter.

0:39:17.520 --> 0:39:20.880
<v Speaker 1>Peter says to me, Jimmy wants to know what are

0:39:20.920 --> 0:39:23.719
<v Speaker 1>you gonna do with this exactly? I said, Oh, I'm

0:39:23.760 --> 0:39:27.000
<v Speaker 1>just gonna cut a couple of doves and send it

0:39:27.120 --> 0:39:29.040
<v Speaker 1>and a couple of doves and send it to a

0:39:29.080 --> 0:39:33.520
<v Speaker 1>couple of radio stations. Jimmy said, okay. I pressed up

0:39:34.000 --> 0:39:39.400
<v Speaker 1>two thousand records, two thousand long version, one side, short

0:39:39.520 --> 0:39:42.960
<v Speaker 1>version the other. We know what happened, right, we know

0:39:43.080 --> 0:39:45.200
<v Speaker 1>what happened. It was first and fore most. I remember

0:39:45.200 --> 0:39:47.360
<v Speaker 1>because I was a fan of the first album, and

0:39:47.400 --> 0:39:50.839
<v Speaker 1>it was an inside thing. That album came out, leads

0:39:50.920 --> 0:39:54.000
<v Speaker 1>up into within a week, everybody in my high school

0:39:54.000 --> 0:39:56.080
<v Speaker 1>had it. A whole lot of love was everywhere. I

0:39:56.080 --> 0:39:57.640
<v Speaker 1>played it every day for a week and then couldn't

0:39:57.640 --> 0:40:00.279
<v Speaker 1>play it for like months, just because every where you

0:40:00.280 --> 0:40:04.040
<v Speaker 1>went you heard that record. Correct, so the band, So

0:40:04.160 --> 0:40:07.799
<v Speaker 1>the record blows up? Right? You love this. I get

0:40:07.800 --> 0:40:11.600
<v Speaker 1>a call from Peter. Jimmy wants to know when the

0:40:11.640 --> 0:40:15.759
<v Speaker 1>records coming on the jar. Peter record can't come on

0:40:15.880 --> 0:40:19.360
<v Speaker 1>the chart. It's not out of as a signal oh,

0:40:19.520 --> 0:40:24.440
<v Speaker 1>calls back. Jimmy said, put it out as so we

0:40:24.520 --> 0:40:26.359
<v Speaker 1>put it on. In America, they wouldn't put it out

0:40:26.440 --> 0:40:29.279
<v Speaker 1>and it wouldn't allow it in England. I believe we

0:40:29.360 --> 0:40:31.200
<v Speaker 1>put it out, and I think the record one top

0:40:31.239 --> 0:40:36.160
<v Speaker 1>ten for sure. That broke the band. But you know

0:40:36.560 --> 0:40:39.440
<v Speaker 1>that was something that Jerry is proud of, and he

0:40:39.520 --> 0:40:44.279
<v Speaker 1>had the tenacity to keep calling the Jutzpah to you know,

0:40:44.760 --> 0:40:47.600
<v Speaker 1>get that record on the radio. Blew right up. I mean,

0:40:47.760 --> 0:40:50.280
<v Speaker 1>w A d C in New York's playing led Zeppelin.

0:40:50.360 --> 0:40:53.840
<v Speaker 1>Come on, that's a legendary top forty station. Correct. For

0:40:53.880 --> 0:41:00.560
<v Speaker 1>those people who don't know, you're listening to Mike conversation

0:41:00.600 --> 0:41:04.320
<v Speaker 1>with legendary record label executive Jerry Greenberg, recorded live to

0:41:04.400 --> 0:41:11.080
<v Speaker 1>the Tune In studios in Venice, California. I hope you're

0:41:11.160 --> 0:41:14.960
<v Speaker 1>enjoying this episode of the Bob Left Sets podcast. If

0:41:14.960 --> 0:41:18.200
<v Speaker 1>you want to see videos, photos, and soundbites from Jerry

0:41:18.360 --> 0:41:20.239
<v Speaker 1>and the rest of my guests as they joined me

0:41:20.280 --> 0:41:24.040
<v Speaker 1>in the studio, visit at tune in on Twitter, Facebook,

0:41:24.080 --> 0:41:28.719
<v Speaker 1>and Instagram. Now more of my conversation with Jerry Greenberg

0:41:28.719 --> 0:41:33.440
<v Speaker 1>on The Bob Left Sets Podcast. Okay, just stay with

0:41:33.560 --> 0:41:35.960
<v Speaker 1>let's up one for a while. The next album leads

0:41:36.040 --> 0:41:39.040
<v Speaker 1>up on the three is a complete left turn, doesn't

0:41:39.080 --> 0:41:42.120
<v Speaker 1>do as well. But then they come out with the

0:41:42.160 --> 0:41:45.680
<v Speaker 1>fourth album with Stairway to Heaven. Correct, Are you aware

0:41:45.760 --> 0:41:48.160
<v Speaker 1>that that's going to become the most famous rock track

0:41:48.239 --> 0:41:51.480
<v Speaker 1>of all time? Then I and then I think it,

0:41:52.080 --> 0:41:54.799
<v Speaker 1>you know, right at the beginning, not really, I knew

0:41:54.880 --> 0:41:58.360
<v Speaker 1>it was something special though it was very very special.

0:41:58.640 --> 0:42:02.600
<v Speaker 1>I mean English band are special, you know. I mean

0:42:03.280 --> 0:42:06.320
<v Speaker 1>you think about you you listen to Genesis and Emerson

0:42:06.400 --> 0:42:13.080
<v Speaker 1>Lake and Palmer and the musicianship from English bands, it's

0:42:13.120 --> 0:42:16.760
<v Speaker 1>just incredible. And when you think about Stairway to Heaven

0:42:17.320 --> 0:42:21.200
<v Speaker 1>with the guitar solo and and the shift in tempo

0:42:21.480 --> 0:42:25.399
<v Speaker 1>and it was, it was absolutely amazing. So now let's

0:42:25.440 --> 0:42:29.800
<v Speaker 1>cut two number one FM cut in the in the country,

0:42:31.360 --> 0:42:35.440
<v Speaker 1>eight minutes seven. We ain't cutting that, I don't think,

0:42:36.200 --> 0:42:39.600
<v Speaker 1>But I call him up and I say, give me something,

0:42:39.719 --> 0:42:43.880
<v Speaker 1>give me something that we could hang our hats on.

0:42:44.640 --> 0:42:47.200
<v Speaker 1>And they ended up we I forget who did it.

0:42:47.239 --> 0:42:49.800
<v Speaker 1>I know, I didn't go in and just faded out.

0:42:49.960 --> 0:42:52.080
<v Speaker 1>We had to work on the guitar solo and everything,

0:42:52.239 --> 0:42:55.319
<v Speaker 1>but we got it down to five minutes, and so

0:42:55.360 --> 0:42:57.520
<v Speaker 1>we got a lot of top for these stations to

0:42:57.640 --> 0:43:02.240
<v Speaker 1>place their way to heaven. But it's the number one

0:43:02.760 --> 0:43:06.400
<v Speaker 1>FM track in history. Of course it used to be.

0:43:06.440 --> 0:43:09.680
<v Speaker 1>You know, the Memorial five was always number one. So

0:43:09.760 --> 0:43:12.239
<v Speaker 1>let me let me just tell you my great leads

0:43:12.320 --> 0:43:14.880
<v Speaker 1>up one story. So I would go to their concerts

0:43:15.719 --> 0:43:18.840
<v Speaker 1>mostly they pay two or three nights at Madison Square Garden,

0:43:19.920 --> 0:43:24.320
<v Speaker 1>always backstage, always sitting on the speakers. Took the kids

0:43:26.440 --> 0:43:30.719
<v Speaker 1>one night at the garden. Richard Cole, who is their

0:43:30.840 --> 0:43:35.719
<v Speaker 1>road manager. I see they set up a conga's and

0:43:35.800 --> 0:43:37.880
<v Speaker 1>on a Whole Lot of Love the encore Richard go

0:43:37.920 --> 0:43:41.759
<v Speaker 1>out and play congas. So I say to Richard, let

0:43:41.760 --> 0:43:45.160
<v Speaker 1>me do it. He goes, come on, I said, come on,

0:43:45.320 --> 0:43:48.000
<v Speaker 1>you know I'm a drummer. Let me do it. He says,

0:43:48.040 --> 0:43:52.759
<v Speaker 1>give me fifty dollars. I say, you got it. I

0:43:52.800 --> 0:43:56.239
<v Speaker 1>whip into my pocket. I take out fifty dollars. I

0:43:56.320 --> 0:44:01.640
<v Speaker 1>go out. I am playing conga's on the led Zeppelin

0:44:01.719 --> 0:44:05.840
<v Speaker 1>Whole Lot of Love Encore at Madison Square Garden, and

0:44:05.960 --> 0:44:08.920
<v Speaker 1>Jimmy and Robert turn around the see me. They get hysterical.

0:44:10.320 --> 0:44:14.880
<v Speaker 1>The song ends. I go to walk off stage. Bonzo

0:44:14.920 --> 0:44:18.600
<v Speaker 1>grabs me by my shirt drags me to the front

0:44:18.640 --> 0:44:22.600
<v Speaker 1>of the stage. I'm in the middle of led Zeppelin.

0:44:22.760 --> 0:44:25.120
<v Speaker 1>Jerry Greenberg is in the middle of led Zeppelin taking

0:44:25.120 --> 0:44:29.359
<v Speaker 1>about at Madison Square Garden. I can tell you that's

0:44:29.360 --> 0:44:33.200
<v Speaker 1>a memory, buddy, that's for sure. Now let's go through

0:44:33.239 --> 0:44:35.680
<v Speaker 1>some of your other greatest hits in Atlantic. You sign

0:44:35.760 --> 0:44:40.360
<v Speaker 1>Apple correct? How did that happen? It happened because Ness,

0:44:40.440 --> 0:44:43.360
<v Speaker 1>we are it again? Who was Ahmed's brother who was

0:44:43.400 --> 0:44:46.160
<v Speaker 1>one of the founders of Atlantic, who when the company

0:44:46.200 --> 0:44:51.640
<v Speaker 1>got sold, became head of Wea International, called me up

0:44:51.680 --> 0:44:57.439
<v Speaker 1>and he said, listen, the Eurovision Song of the Year

0:44:57.760 --> 0:45:01.080
<v Speaker 1>is a song by a Swedish group called uh Songs

0:45:01.080 --> 0:45:05.520
<v Speaker 1>called Waterloo and the goop's called Harbor, and um, I

0:45:05.600 --> 0:45:07.720
<v Speaker 1>don't think they have a deal in America. I'm getting

0:45:07.719 --> 0:45:09.279
<v Speaker 1>a copy of the record. I'm gonna give it to

0:45:09.280 --> 0:45:13.960
<v Speaker 1>Phil Carson, who's the head of our international company, and

0:45:14.040 --> 0:45:16.719
<v Speaker 1>I'll have sent it to you. And I get the

0:45:16.719 --> 0:45:19.080
<v Speaker 1>record in the mail and I listened to it and

0:45:19.440 --> 0:45:22.799
<v Speaker 1>it kind of had like a Phil Specter beach Boy

0:45:22.960 --> 0:45:26.360
<v Speaker 1>is kind of sound, and I knew it was great.

0:45:27.120 --> 0:45:30.799
<v Speaker 1>So I want called the lawyer in New York. They

0:45:30.840 --> 0:45:34.920
<v Speaker 1>said the records available and I signed. Well, it turned

0:45:34.920 --> 0:45:37.200
<v Speaker 1>out to be the biggest selling group in the world.

0:45:37.920 --> 0:45:39.880
<v Speaker 1>And who else did you work with in your tenure

0:45:39.920 --> 0:45:44.120
<v Speaker 1>there in Atlantic? Who else did I sign or work with?

0:45:44.200 --> 0:45:48.120
<v Speaker 1>I work with everybody. I mean, you know ROBERTA. Flack, Reata, Franklin,

0:45:48.719 --> 0:45:52.040
<v Speaker 1>Benny King. Uh, you know. I was the head of promotion,

0:45:52.080 --> 0:45:54.240
<v Speaker 1>but then I became the head of the record company,

0:45:54.600 --> 0:45:58.799
<v Speaker 1>so I worked with the whole roster. So who else

0:45:58.840 --> 0:46:03.520
<v Speaker 1>did you sign? Yea, Oh, I signed a foreigner. That's

0:46:03.560 --> 0:46:08.279
<v Speaker 1>probably my biggest rock signing. I remember hearing feels like

0:46:08.280 --> 0:46:11.120
<v Speaker 1>the first time on the radio, and literally driving directly

0:46:11.160 --> 0:46:13.560
<v Speaker 1>to the record store. Just had to own it, right,

0:46:13.840 --> 0:46:16.520
<v Speaker 1>The sound of that feels like the first time. Yeah,

0:46:16.760 --> 0:46:20.000
<v Speaker 1>you know, it's funny because I heard you on when

0:46:20.080 --> 0:46:24.040
<v Speaker 1>you did the Paul Rogers interview. You talked about hearing

0:46:24.200 --> 0:46:27.640
<v Speaker 1>free on the mirrored Parkway. You gotta remember, I'm driving

0:46:27.719 --> 0:46:32.000
<v Speaker 1>home every night to Greenwich. That's in the car, That's

0:46:32.000 --> 0:46:34.279
<v Speaker 1>where I was picking the records. I didn't have time

0:46:34.320 --> 0:46:36.760
<v Speaker 1>in the office to listen to music. I'm I'm getting

0:46:36.800 --> 0:46:39.839
<v Speaker 1>a hundred and fifty phone calls a day. So when

0:46:39.840 --> 0:46:42.400
<v Speaker 1>did Jerry get a chance to listen to music on

0:46:42.480 --> 0:46:47.480
<v Speaker 1>the way home? Had a limo, had a tape deck, speakers, cassettes,

0:46:48.239 --> 0:46:52.560
<v Speaker 1>and they sent me to Bad Company Record and I

0:46:52.680 --> 0:46:57.080
<v Speaker 1>picked UH Can't Dare Enough of You Love. I laugh

0:46:57.160 --> 0:46:59.520
<v Speaker 1>when you're talking about that with Paul Rods is because

0:47:00.360 --> 0:47:03.239
<v Speaker 1>I got on the mirror Parkway and I played that

0:47:03.280 --> 0:47:06.560
<v Speaker 1>record all the way at the Greenwich. That's an instant here,

0:47:06.640 --> 0:47:09.719
<v Speaker 1>that one one listen hit one? How do you sign for?

0:47:10.719 --> 0:47:13.080
<v Speaker 1>How did I sign for it? But Prager called me

0:47:13.440 --> 0:47:17.560
<v Speaker 1>who I knew? Who managed uh an act on Atlantic

0:47:17.840 --> 0:47:22.439
<v Speaker 1>and managed Mountain, obviously managed Leslie West. The producer called me, says,

0:47:22.480 --> 0:47:26.279
<v Speaker 1>I got a great band for you, Bapa, Papa. I

0:47:26.880 --> 0:47:29.279
<v Speaker 1>think they sent over a tape. I feel like the

0:47:29.320 --> 0:47:31.880
<v Speaker 1>first time was on the demo tape. I said, I

0:47:31.920 --> 0:47:35.480
<v Speaker 1>got to see them live. So I go to the

0:47:35.800 --> 0:47:39.879
<v Speaker 1>recording UH studio that the rehearsing app. I had Jim

0:47:39.960 --> 0:47:42.080
<v Speaker 1>Delahan who was the head of A and our guy

0:47:42.760 --> 0:47:45.800
<v Speaker 1>and another guy and we go there and the audition

0:47:45.880 --> 0:47:49.600
<v Speaker 1>for me and Mick says to me Rick Jones, Mick Jones,

0:47:49.680 --> 0:47:52.600
<v Speaker 1>I'm sorry, Mick Jones. Lead in the guitar players. Says

0:47:52.640 --> 0:47:55.440
<v Speaker 1>to me, well, you know, we're talking to A and M,

0:47:55.480 --> 0:47:59.160
<v Speaker 1>which is a California based a record company, big record company.

0:47:59.160 --> 0:48:02.920
<v Speaker 1>We're talking to A stuff which is Clive Davis's new company.

0:48:03.480 --> 0:48:06.600
<v Speaker 1>Three companies with A's and them. And I said, listen,

0:48:06.920 --> 0:48:08.759
<v Speaker 1>First of all, you don't want to sign with A

0:48:08.880 --> 0:48:11.399
<v Speaker 1>and M. They're a great company, but they're based in California.

0:48:11.960 --> 0:48:16.360
<v Speaker 1>Number two, we're based here. We're based here in l A.

0:48:17.200 --> 0:48:23.200
<v Speaker 1>And I always give the bands Jerry's pitch that he's

0:48:23.239 --> 0:48:27.040
<v Speaker 1>a drummer, that he's one of them. So I said

0:48:27.040 --> 0:48:29.120
<v Speaker 1>to him, I said to him, listen, man, you know

0:48:29.360 --> 0:48:32.160
<v Speaker 1>I'm a drummer. In fact, let me sit in with

0:48:32.200 --> 0:48:34.440
<v Speaker 1>you guys now I want to play a song. I

0:48:34.480 --> 0:48:39.000
<v Speaker 1>get up and I jam with the band. So like

0:48:39.080 --> 0:48:41.680
<v Speaker 1>Mick Jones is like kind of shocked, and and they're all,

0:48:41.800 --> 0:48:43.920
<v Speaker 1>you know, I'm pretty good too. And four a drummer,

0:48:44.840 --> 0:48:48.080
<v Speaker 1>So they say to me. I I say to them,

0:48:48.120 --> 0:48:51.080
<v Speaker 1>I say, listen, tell Bud you want to sign with Atlantic,

0:48:51.560 --> 0:48:53.799
<v Speaker 1>but we got a deal. I promise you a gold

0:48:53.880 --> 0:48:57.560
<v Speaker 1>record on the first record. But I gotta play Madison's

0:48:57.600 --> 0:49:03.280
<v Speaker 1>were Garden. When you play the sure enough we didn't

0:49:03.280 --> 0:49:05.400
<v Speaker 1>put it in the contract, but sure enough, their first

0:49:05.440 --> 0:49:08.960
<v Speaker 1>record comes out. There was only one other record that

0:49:09.000 --> 0:49:12.960
<v Speaker 1>came out at the same time that blew up like that, Boston. Right.

0:49:13.360 --> 0:49:16.719
<v Speaker 1>So the Boston was six months before, six months before, right.

0:49:16.840 --> 0:49:19.200
<v Speaker 1>I remember Bug coming to my office every day. I'm

0:49:19.200 --> 0:49:20.680
<v Speaker 1>glad you said that because he used to come to

0:49:20.719 --> 0:49:24.759
<v Speaker 1>my office day. I want Boston. You gotta make this

0:49:24.920 --> 0:49:28.600
<v Speaker 1>like Boston, and and we did. So now they're gonna

0:49:28.600 --> 0:49:32.040
<v Speaker 1>play the Garden. And I know they're gonna play the Garden.

0:49:32.080 --> 0:49:34.360
<v Speaker 1>I said, hey, you know, we gotta bet. They said, don't.

0:49:34.360 --> 0:49:36.719
<v Speaker 1>We're gonna take care of it. So I'm on the

0:49:36.760 --> 0:49:40.920
<v Speaker 1>side of the stage. Sure enough, on the encore, uh

0:49:41.400 --> 0:49:43.640
<v Speaker 1>hot Blood and I think it was a song whatever

0:49:43.680 --> 0:49:47.000
<v Speaker 1>the encore was to take out a drum set. Jerry

0:49:47.040 --> 0:49:50.279
<v Speaker 1>goes out, Jerry plays the encore. They say to me,

0:49:50.960 --> 0:49:52.879
<v Speaker 1>you know, we're gonna take the drum set on the road,

0:49:53.680 --> 0:49:58.000
<v Speaker 1>so wherever you show up, you can you can sit in.

0:49:58.600 --> 0:50:02.680
<v Speaker 1>So they played the Forum. I flew to California, I

0:50:02.719 --> 0:50:05.000
<v Speaker 1>did the Form, I did Miami, I did all the

0:50:05.040 --> 0:50:11.600
<v Speaker 1>warm places Hawaii. But we're to this day. I'm still

0:50:11.719 --> 0:50:14.840
<v Speaker 1>very close with Mick Jones. You know they've changed members.

0:50:15.760 --> 0:50:18.000
<v Speaker 1>I saw him what a year ago when they played

0:50:18.000 --> 0:50:22.520
<v Speaker 1>out here, and you know, you go to a foreign

0:50:22.680 --> 0:50:27.080
<v Speaker 1>Foreigner concerts like a jukebox, absolutely amazing, how many hits

0:50:27.080 --> 0:50:29.160
<v Speaker 1>they have. And then when they worked with but Lange

0:50:29.200 --> 0:50:32.160
<v Speaker 1>and they did that incredible album Foreigner four, it was

0:50:32.239 --> 0:50:36.759
<v Speaker 1>just unreal. So okay, you tell us how you got

0:50:36.840 --> 0:50:39.719
<v Speaker 1>Foreigner away from A and M and Arista. Did you

0:50:39.760 --> 0:50:45.720
<v Speaker 1>ever lose a band? Oh yeah, oh yeah, I missed

0:50:45.719 --> 0:50:49.880
<v Speaker 1>a few. I was the first guy to see Billy Joel.

0:50:50.239 --> 0:50:54.560
<v Speaker 1>I wanted to sign Billy Joel and it's a long story,

0:50:54.600 --> 0:50:59.160
<v Speaker 1>but anyways, he ended up on Columbia. UM and uh,

0:50:59.239 --> 0:51:01.120
<v Speaker 1>this is a great story. You love and this is

0:51:01.120 --> 0:51:04.080
<v Speaker 1>a true story. So I get a call from Steve Lieber,

0:51:04.239 --> 0:51:08.600
<v Speaker 1>who's the manager partner with with David Krebs, big manager

0:51:08.640 --> 0:51:11.520
<v Speaker 1>in New York. He says, I want you to come

0:51:11.560 --> 0:51:14.040
<v Speaker 1>and see a band we're gonna have at Maxis Kansas City.

0:51:14.200 --> 0:51:17.160
<v Speaker 1>I said, okay, I show up with Almed. He said,

0:51:17.160 --> 0:51:19.880
<v Speaker 1>but you gotta bring Almed, so I said, okay, So

0:51:19.920 --> 0:51:23.439
<v Speaker 1>it's Armed. Myself. Phil Carson was in town. My guy

0:51:23.480 --> 0:51:27.560
<v Speaker 1>from Europe, Jim Delahan we go to Maxis Kansas City.

0:51:27.920 --> 0:51:30.239
<v Speaker 1>Who's sitting next to me, Clive Davis, who's on the

0:51:30.280 --> 0:51:32.560
<v Speaker 1>other side of me, the head of our c A.

0:51:32.560 --> 0:51:35.400
<v Speaker 1>All the record companies are there. All of a sudden,

0:51:36.080 --> 0:51:40.640
<v Speaker 1>band comes out. Who is it? Steve Tyler and he's

0:51:41.320 --> 0:51:45.440
<v Speaker 1>got scarves and Ahmed leans over. After the second number,

0:51:45.800 --> 0:51:48.440
<v Speaker 1>he says, we're out of here. I said, Ahmed, I

0:51:48.480 --> 0:51:51.560
<v Speaker 1>can't leave, I said, Steve leaving is a friend of mine.

0:51:51.560 --> 0:51:53.759
<v Speaker 1>We're not getting up and leaving, just sit there having

0:51:53.760 --> 0:51:58.759
<v Speaker 1>another drink. So after every song, I get up and

0:51:58.800 --> 0:52:05.200
<v Speaker 1>I'm ap plority yo, Nick Babe. Steve Leever and Clive's

0:52:05.560 --> 0:52:08.440
<v Speaker 1>next table is looking at me. All of a sudden,

0:52:08.760 --> 0:52:11.440
<v Speaker 1>Leeba comes over. After the show, he goes, you love

0:52:11.560 --> 0:52:14.840
<v Speaker 1>them right? I said, we hated him. She's your kidding,

0:52:15.320 --> 0:52:17.360
<v Speaker 1>I said no. I said, Amna wanted to leave, but

0:52:17.400 --> 0:52:20.319
<v Speaker 1>I kept them here. I said, Alma says to me,

0:52:20.800 --> 0:52:24.440
<v Speaker 1>we had just signed the stones. He's imitating Mick Jagger,

0:52:24.640 --> 0:52:27.160
<v Speaker 1>bah bah bah bah bah. So he said, yeah, but

0:52:27.200 --> 0:52:29.480
<v Speaker 1>I was watching you. I said, I did it for you.

0:52:30.320 --> 0:52:32.360
<v Speaker 1>Go over and tell Clive Davis you just got a

0:52:32.360 --> 0:52:36.600
<v Speaker 1>big offer from Atlantic. Double it. He'll double it guaranteed

0:52:37.480 --> 0:52:40.640
<v Speaker 1>true story. That's what happened. So that's how Aerosmith ended

0:52:40.719 --> 0:52:43.959
<v Speaker 1>up at That's how Aerosmith ended up in Columbia. So

0:52:44.360 --> 0:52:47.600
<v Speaker 1>you work is the head of the president of Atlantic

0:52:47.640 --> 0:52:54.880
<v Speaker 1>to what year until nine eighty? I decided after missing

0:52:54.920 --> 0:53:00.439
<v Speaker 1>a couple of great opportunities. Uh about business opportunities, Yes,

0:53:01.400 --> 0:53:07.120
<v Speaker 1>label opportunities. Okay, Uh David Geffen gave to me, So

0:53:07.280 --> 0:53:09.359
<v Speaker 1>you need your own label. You should have your own label.

0:53:09.400 --> 0:53:13.280
<v Speaker 1>You signed Foreigner Genesis Alba you know, blah blah blah.

0:53:13.320 --> 0:53:17.120
<v Speaker 1>Because I watched David, who offered me a piece of

0:53:17.160 --> 0:53:21.319
<v Speaker 1>Asylum Records back in the early days, start a record

0:53:21.360 --> 0:53:24.600
<v Speaker 1>company and make them a lot of money. So I

0:53:25.239 --> 0:53:29.080
<v Speaker 1>necessarily decided, I'm going to start my own record label

0:53:29.120 --> 0:53:33.719
<v Speaker 1>with my brother. And what's your brother doing at this point? Oh? My?

0:53:34.080 --> 0:53:38.360
<v Speaker 1>First of all, my well, my brother ends up back

0:53:38.440 --> 0:53:41.720
<v Speaker 1>from Hartford, ends up going to work for Warner Brothers.

0:53:42.239 --> 0:53:45.839
<v Speaker 1>From Warner Brothers New York, they moved them out to California.

0:53:46.200 --> 0:53:49.680
<v Speaker 1>So while I'm working started working for Atlantic, Bob is

0:53:49.719 --> 0:53:53.680
<v Speaker 1>now working for Warner Brothers in California. Once I took

0:53:53.719 --> 0:53:57.800
<v Speaker 1>over at Atlantic, I needed a new general manager for Atlantic.

0:53:58.160 --> 0:54:02.200
<v Speaker 1>So Bob now becomes the general manager of Atlantic in

0:54:02.200 --> 0:54:07.120
<v Speaker 1>the yearly seventies. So you have the Greenberg team and

0:54:07.239 --> 0:54:10.880
<v Speaker 1>your father is still working for the record distributor. Yeah,

0:54:11.120 --> 0:54:14.239
<v Speaker 1>that's still working for the distributor in Harford. You got

0:54:14.239 --> 0:54:17.080
<v Speaker 1>Bob in l A, got Jerry running Atlantic in New York,

0:54:17.800 --> 0:54:23.399
<v Speaker 1>and you know, we were the Greenberg's running Atlantic. But

0:54:23.680 --> 0:54:26.480
<v Speaker 1>so in nine Geffen comes to me. He said, you

0:54:26.520 --> 0:54:29.120
<v Speaker 1>know you need you should start your own record label,

0:54:29.719 --> 0:54:34.080
<v Speaker 1>you know, And I said, fine. You know, he said,

0:54:34.680 --> 0:54:37.359
<v Speaker 1>I go to Alma and my contracts up, and I said,

0:54:37.400 --> 0:54:39.879
<v Speaker 1>I want to start my my own label. They don't

0:54:39.880 --> 0:54:42.120
<v Speaker 1>want you to have it. They want the wall for you.

0:54:42.320 --> 0:54:47.400
<v Speaker 1>Anything to stay at Atlantic, anything you want, I said.

0:54:48.360 --> 0:54:52.040
<v Speaker 1>I was kind of like I just wanted something new.

0:54:52.239 --> 0:54:55.840
<v Speaker 1>You know, you reach a certain point. I mean I

0:54:55.960 --> 0:54:59.120
<v Speaker 1>had it down. Hey, let me start something new fresh.

0:54:59.160 --> 0:55:03.320
<v Speaker 1>Boom boom. Okay, they wouldn't do it. So Geffen calls

0:55:03.360 --> 0:55:07.279
<v Speaker 1>me a we all know that our friend David with

0:55:07.440 --> 0:55:10.239
<v Speaker 1>his phone book and he said, Alan Hirshfield wants to

0:55:10.280 --> 0:55:13.040
<v Speaker 1>meet with you. Alan Hirshfield just took all the twentieth

0:55:13.080 --> 0:55:16.800
<v Speaker 1>century Fox take a meeting with Alan Hirshfield. Alan Hurshield

0:55:16.840 --> 0:55:21.960
<v Speaker 1>said we're gonna offer you half twenty century Fox Records.

0:55:22.200 --> 0:55:25.920
<v Speaker 1>We'll start a new company. We'll call it Green Fox Records.

0:55:26.600 --> 0:55:30.880
<v Speaker 1>And here's the deal. So I go back to Ahmed

0:55:30.920 --> 0:55:33.800
<v Speaker 1>and everybody, I said, listen, I'm leaving. I'm going to

0:55:33.880 --> 0:55:37.319
<v Speaker 1>start a new record company. You got it. That's when

0:55:37.320 --> 0:55:41.160
<v Speaker 1>they gave me Mirage. Bob and I started Mirage in

0:55:42.640 --> 0:55:47.040
<v Speaker 1>We were consultants to Atlantic Records and I stayed there

0:55:47.040 --> 0:55:50.719
<v Speaker 1>for five years. But Prayer called me when he started Mirage.

0:55:51.680 --> 0:55:54.560
<v Speaker 1>What do you think was first record? I signed White Snake.

0:55:55.600 --> 0:56:00.800
<v Speaker 1>That was our first record. And what else was Amurage? Oh? God?

0:56:00.920 --> 0:56:05.879
<v Speaker 1>Southside Johnny Phoebe Snow had a big We were doing

0:56:05.920 --> 0:56:09.480
<v Speaker 1>a lot of dance records. Shannon let the music play.

0:56:09.480 --> 0:56:13.040
<v Speaker 1>Brenda Case start the system. You're in my system. I

0:56:13.080 --> 0:56:15.920
<v Speaker 1>mean we were always on the charge. Five years. We

0:56:15.920 --> 0:56:18.320
<v Speaker 1>were always on a charge. We were a small but

0:56:18.480 --> 0:56:21.680
<v Speaker 1>profitable little label. It was just Bob and I and

0:56:21.840 --> 0:56:25.040
<v Speaker 1>two other people. I took Jim Delahan with me and

0:56:25.239 --> 0:56:28.160
<v Speaker 1>a secretary. We were two people in l A, three

0:56:29.040 --> 0:56:31.880
<v Speaker 1>of us or four of us in uh New York.

0:56:32.520 --> 0:56:35.560
<v Speaker 1>But that's the way those you know, it's what's happening

0:56:35.600 --> 0:56:38.719
<v Speaker 1>now with these little independent labels. Atlantic was doing all

0:56:38.760 --> 0:56:42.239
<v Speaker 1>the marketing, the promotion, everything, and the next step is

0:56:42.400 --> 0:56:46.600
<v Speaker 1>w t G. The next step was was Tommy Montola

0:56:46.760 --> 0:56:52.000
<v Speaker 1>calling me. No. The next step actually after Mirage, was

0:56:53.200 --> 0:56:57.799
<v Speaker 1>Jerry Winthrump. Okay, Jerry Winthrump called me and said, I'm

0:56:57.800 --> 0:57:01.800
<v Speaker 1>starting MGM U A. I want you to be my guy.

0:57:01.960 --> 0:57:05.239
<v Speaker 1>I said, well, it's me and my brother, no problem.

0:57:05.280 --> 0:57:08.400
<v Speaker 1>So I left. We only had like a couple of

0:57:08.480 --> 0:57:11.279
<v Speaker 1>acts at that time. I'mage, so I left the acts

0:57:11.320 --> 0:57:15.640
<v Speaker 1>there and I went to MGMU A. First project, I

0:57:15.719 --> 0:57:20.480
<v Speaker 1>do a m G m G MGM you way as

0:57:20.560 --> 0:57:22.200
<v Speaker 1>Jerry comes to me and he says, I'm doing a

0:57:22.280 --> 0:57:25.280
<v Speaker 1>movie to the Karate Kid. You should do the music

0:57:25.920 --> 0:57:30.600
<v Speaker 1>put together Peter Stara Brooks, author from the song and

0:57:31.240 --> 0:57:35.680
<v Speaker 1>we had Glory of Love. First record comes out with

0:57:35.840 --> 0:57:42.560
<v Speaker 1>gold mgmuays in the record business. Jerry leaves after a

0:57:42.640 --> 0:57:45.479
<v Speaker 1>year and a half. The guy comes in. He says, listen,

0:57:45.560 --> 0:57:47.440
<v Speaker 1>I don't I don't like the record business. I don't

0:57:47.480 --> 0:57:50.480
<v Speaker 1>want to record business. He said, I want you you

0:57:50.640 --> 0:57:54.560
<v Speaker 1>to uh still do soundtracks on land on your contract.

0:57:55.360 --> 0:57:57.000
<v Speaker 1>I said, gee, I don't know if that's for me.

0:57:57.680 --> 0:58:04.040
<v Speaker 1>At the same time, am A walls me this seven ors.

0:58:05.040 --> 0:58:08.200
<v Speaker 1>He goes, I'd love you to come back and and

0:58:08.480 --> 0:58:11.760
<v Speaker 1>be part of Atlantic again. So I said, what are

0:58:11.800 --> 0:58:14.040
<v Speaker 1>we talking about? He said, how about you become president

0:58:14.120 --> 0:58:16.960
<v Speaker 1>of ATCO, which was the other label. I said, I'll

0:58:16.960 --> 0:58:19.280
<v Speaker 1>only do it if I could stay in California. And

0:58:19.400 --> 0:58:21.360
<v Speaker 1>I said, and it makes sense. You got Doug Morris

0:58:21.480 --> 0:58:24.720
<v Speaker 1>running it there in New York. Leave me in California.

0:58:24.760 --> 0:58:29.480
<v Speaker 1>I'll find things in California. He says, Okay, you got it.

0:58:30.040 --> 0:58:35.520
<v Speaker 1>So I'm now back in Atlantic, president of at CO.

0:58:37.000 --> 0:58:39.720
<v Speaker 1>First couple of records I signed, I do the soundtrack

0:58:39.800 --> 0:58:43.320
<v Speaker 1>to Eddie Murphy Coming to America. I do a deal

0:58:43.400 --> 0:58:49.480
<v Speaker 1>with Jerry Heller. First rap record on for Wheel was

0:58:50.360 --> 0:58:55.960
<v Speaker 1>J J. Fatt, Supersonic and mische Le. So then I

0:58:56.000 --> 0:58:59.840
<v Speaker 1>assigned an escape club from England. I signed like six things,

0:59:00.080 --> 0:59:02.680
<v Speaker 1>had five goal records. All that happened like in a

0:59:02.800 --> 0:59:07.439
<v Speaker 1>year and a half. But Atlantic just it wasn't the same.

0:59:08.480 --> 0:59:12.240
<v Speaker 1>And Tommy kept on calling me the total and he calls,

0:59:12.360 --> 0:59:17.520
<v Speaker 1>listen taking over Sony here the first guy I want higher.

0:59:17.720 --> 0:59:21.040
<v Speaker 1>I said, I am not coming back to New York.

0:59:21.680 --> 0:59:24.439
<v Speaker 1>Would you go back to New York? No? Never? Never.

0:59:25.040 --> 0:59:28.280
<v Speaker 1>I mean I keep reading I have nostalgia, and you

0:59:28.400 --> 0:59:30.960
<v Speaker 1>go and you say, hey, I miss it, and then

0:59:30.960 --> 0:59:34.720
<v Speaker 1>after like five or six days. Okay. The way I

0:59:34.760 --> 0:59:37.600
<v Speaker 1>always put it is New York City, greatest city in

0:59:37.640 --> 0:59:41.400
<v Speaker 1>the world. I'd rather live in Los Angeles. Correct. Yeah,

0:59:41.680 --> 0:59:43.880
<v Speaker 1>it's just like it's just the other thing is for

0:59:44.000 --> 0:59:46.080
<v Speaker 1>people like us who grew up in the suburbs. Even

0:59:46.120 --> 0:59:49.320
<v Speaker 1>though the traffic is terrible, I like not being totally

0:59:49.360 --> 0:59:51.440
<v Speaker 1>on top of each other in l A. And I

0:59:51.560 --> 0:59:54.000
<v Speaker 1>also like that there's not the bs of who your

0:59:54.080 --> 0:59:56.520
<v Speaker 1>parents were. Everybody is so full of ship in Los Angeles,

0:59:56.800 --> 0:59:58.640
<v Speaker 1>and I could be whoever I want to be. No

0:59:58.720 --> 1:00:03.240
<v Speaker 1>one really cares exactly exactly. My big thing with Los

1:00:03.320 --> 1:00:06.520
<v Speaker 1>Angeles was that I loved boating, and the first thing

1:00:06.600 --> 1:00:08.120
<v Speaker 1>I did when I got out here was by a

1:00:08.160 --> 1:00:10.080
<v Speaker 1>boat and kept in a Marina del Rey. Then I

1:00:10.160 --> 1:00:12.919
<v Speaker 1>moved it up to Newport. I'm voting every weekend. Man,

1:00:13.000 --> 1:00:16.600
<v Speaker 1>I'm I'm like going crazy. So I say to Tommy,

1:00:17.160 --> 1:00:21.760
<v Speaker 1>I'm not coming back. So he says, uh, fine, We'll

1:00:21.760 --> 1:00:23.840
<v Speaker 1>give you your own label. In California. I said that

1:00:23.880 --> 1:00:29.080
<v Speaker 1>makes sense, I said, you know, uh, California's still a

1:00:29.360 --> 1:00:34.280
<v Speaker 1>very active talent situation. So they gave me my own label.

1:00:34.360 --> 1:00:38.000
<v Speaker 1>But the interesting story is just before I went to

1:00:38.120 --> 1:00:42.560
<v Speaker 1>take the job, I'm at the Atlantic fort anniversary show.

1:00:43.400 --> 1:00:48.440
<v Speaker 1>Were led up in led Zeppelin Reunites and bonds. Bonzo's son,

1:00:48.560 --> 1:00:51.600
<v Speaker 1>John Bonham's playing drums. I lean over and I said,

1:00:51.720 --> 1:00:54.880
<v Speaker 1>my wife, I'm gonna sign that. Kid said what kid?

1:00:55.640 --> 1:01:00.520
<v Speaker 1>I said the drummer, John Bonham's son. So I go stage.

1:01:00.800 --> 1:01:03.360
<v Speaker 1>I grabbed Jason. I said, listen, man, I want to

1:01:03.720 --> 1:01:06.520
<v Speaker 1>what are you What are you doing after this? He said, well,

1:01:06.520 --> 1:01:08.440
<v Speaker 1>I'm thinking about putting a band together. No, no, no,

1:01:08.600 --> 1:01:11.280
<v Speaker 1>You're gonna put a band together, and you're gonna be

1:01:11.440 --> 1:01:16.080
<v Speaker 1>my first signing for my new label. So he goes okay.

1:01:16.800 --> 1:01:19.680
<v Speaker 1>So finds the lead singer and gets a guitar player.

1:01:19.760 --> 1:01:23.080
<v Speaker 1>We get Bob Ezeran, the greatest producer in the world.

1:01:24.120 --> 1:01:27.560
<v Speaker 1>My first record on w TG is Disregardful Time Keeping.

1:01:27.640 --> 1:01:30.720
<v Speaker 1>It's a platinum album. I'm in the rock business. So

1:01:30.880 --> 1:01:34.520
<v Speaker 1>I look around at Atlanta, at at at Now I'm

1:01:34.600 --> 1:01:38.080
<v Speaker 1>over at Sony Columbia, and I look around. I said,

1:01:38.120 --> 1:01:40.840
<v Speaker 1>what are they missing that I could bring to the table.

1:01:41.800 --> 1:01:46.440
<v Speaker 1>I said, they don't have any heavy metal. I signed Motorhead. Okay,

1:01:46.800 --> 1:01:51.520
<v Speaker 1>we have the first Grammy nominated record for Motorhead. Look

1:01:51.560 --> 1:01:56.400
<v Speaker 1>around again and I said, they're not putting out any soundtracks.

1:01:57.440 --> 1:02:00.400
<v Speaker 1>I get friendly with Cameron Crow the your t G

1:02:00.880 --> 1:02:06.840
<v Speaker 1>signs say anything. Peter Gabriel put together the soundtrack. I

1:02:06.920 --> 1:02:09.720
<v Speaker 1>had three gold records like Boom Boom Boom before you

1:02:09.840 --> 1:02:15.120
<v Speaker 1>blinked so and then I got a call from Michael Jackson.

1:02:16.240 --> 1:02:22.720
<v Speaker 1>This is like and they lawyer caused, Michael Jackson wants

1:02:22.720 --> 1:02:26.080
<v Speaker 1>to meet with you. Cut to go. Take the meeting

1:02:26.160 --> 1:02:31.320
<v Speaker 1>with Michael two hours, love you, love you, greatest guy

1:02:31.360 --> 1:02:34.560
<v Speaker 1>in the world. And I take a position in an

1:02:34.680 --> 1:02:38.920
<v Speaker 1>equity position too, by the way, in uh, Michael's m

1:02:39.000 --> 1:02:43.680
<v Speaker 1>g J music and um, the first thing I do there,

1:02:43.840 --> 1:02:47.160
<v Speaker 1>I think I mentioned is the free Willie. And then

1:02:47.280 --> 1:02:50.880
<v Speaker 1>we signed brown Stone. We signed Tatiana League, gave Rodney

1:02:50.960 --> 1:02:56.720
<v Speaker 1>Jerkins's first record. So my first job on Earth, I guess,

1:02:58.040 --> 1:03:03.600
<v Speaker 1>is making dreams come true, finding talent, loving the music,

1:03:04.360 --> 1:03:08.400
<v Speaker 1>still to this day, loving the music. I'm trying to

1:03:08.480 --> 1:03:11.920
<v Speaker 1>help some friends of mine. I got two young artists

1:03:11.960 --> 1:03:15.760
<v Speaker 1>that I'm trying to help develop. One's like a real

1:03:15.880 --> 1:03:20.280
<v Speaker 1>Bruce Springsteen kind of guy named Travis March, and the

1:03:20.400 --> 1:03:23.360
<v Speaker 1>other is a black singer up in from San Francisco,

1:03:23.560 --> 1:03:27.800
<v Speaker 1>real great, great black singer. So I'm still out there

1:03:27.840 --> 1:03:32.280
<v Speaker 1>today now trying to help some people get things organized.

1:03:33.080 --> 1:03:35.600
<v Speaker 1>The big thing that I'm working on also right now

1:03:36.040 --> 1:03:40.040
<v Speaker 1>is a tribute to Michael in conjunction with his birthday.

1:03:40.440 --> 1:03:44.560
<v Speaker 1>Michael's will be sixty in August nine, and I came

1:03:44.640 --> 1:03:49.640
<v Speaker 1>up with an idea to do a tribute. He's the

1:03:49.720 --> 1:03:52.400
<v Speaker 1>king of pop, but he's also the king of dance.

1:03:54.120 --> 1:03:57.760
<v Speaker 1>I came up with an idea to put together all

1:03:57.840 --> 1:04:02.280
<v Speaker 1>the young, the young, new up and coming dance artists.

1:04:02.320 --> 1:04:09.000
<v Speaker 1>And I'm talking obviously Chris Brown, obviously Usher, obviously, you

1:04:09.080 --> 1:04:11.680
<v Speaker 1>know all those groups that are out there that are

1:04:13.000 --> 1:04:17.480
<v Speaker 1>inspired by Michael. So we came up. We're putting a

1:04:17.560 --> 1:04:20.919
<v Speaker 1>song together called Shut Up and Dance, and we're gonna

1:04:20.960 --> 1:04:26.720
<v Speaker 1>get all worldwide. You know, I'm I'm really very interested

1:04:26.760 --> 1:04:29.440
<v Speaker 1>in this whole K pop thing. I think this K

1:04:29.560 --> 1:04:32.760
<v Speaker 1>pop thing is going to explode here. So we're talking

1:04:32.800 --> 1:04:35.600
<v Speaker 1>to be two s about being involved. We're talking to

1:04:35.720 --> 1:04:39.040
<v Speaker 1>an artist from China. So I'm working on this project

1:04:39.720 --> 1:04:41.560
<v Speaker 1>that it's kind of I don't want to say it's

1:04:41.600 --> 1:04:43.760
<v Speaker 1>like a we are the World thing, but it's it's

1:04:44.120 --> 1:04:48.480
<v Speaker 1>a lot of great artists together paying tribute to Michael

1:04:48.520 --> 1:04:51.080
<v Speaker 1>and his dance in the dance world. Okay, so it's

1:04:51.120 --> 1:04:53.840
<v Speaker 1>one track, one track, and it's a cover of a

1:04:53.960 --> 1:04:57.160
<v Speaker 1>previous Michael Jackson song. No, it's a brand new song,

1:04:57.760 --> 1:05:02.000
<v Speaker 1>brand new song. But who wrote it? Uh? Jason Drill.

1:05:02.080 --> 1:05:10.200
<v Speaker 1>Oh right, that's really cool. So Okay, if this late day,

1:05:10.280 --> 1:05:14.200
<v Speaker 1>you're still in the game, but on some level of

1:05:14.240 --> 1:05:16.480
<v Speaker 1>the game is very similar to how it was when

1:05:16.520 --> 1:05:20.680
<v Speaker 1>you started, but another level different because the difference would be, yeah,

1:05:20.760 --> 1:05:25.160
<v Speaker 1>everything's independent. Everybody has individual power. But in the sixties,

1:05:25.280 --> 1:05:28.160
<v Speaker 1>when there were fewer records, if you had to hit record,

1:05:28.360 --> 1:05:31.600
<v Speaker 1>everybody in America knew it right, whereas today it is

1:05:31.680 --> 1:05:34.400
<v Speaker 1>hard to get that mind share. So what do you

1:05:34.600 --> 1:05:39.439
<v Speaker 1>feel about the music and the record business today? First

1:05:39.440 --> 1:05:43.160
<v Speaker 1>of all, I feel that it's an amazing time for

1:05:43.360 --> 1:05:47.400
<v Speaker 1>young artists. I'd like to preach to the young artists

1:05:47.480 --> 1:05:53.520
<v Speaker 1>to say, have the patience to make your dreams come true.

1:05:54.000 --> 1:05:57.320
<v Speaker 1>I tell everybody the big word in our business right

1:05:57.360 --> 1:06:02.760
<v Speaker 1>now is patients. And what I'm seeing is these young

1:06:02.880 --> 1:06:05.240
<v Speaker 1>kids who grew up to our music, grew up to

1:06:05.360 --> 1:06:09.600
<v Speaker 1>Led Zeppelin. I mean I gret A Van, I mean

1:06:09.680 --> 1:06:11.560
<v Speaker 1>I read about it in your column. The first thing

1:06:11.640 --> 1:06:14.600
<v Speaker 1>I did was I went, I looked at the record

1:06:15.040 --> 1:06:17.160
<v Speaker 1>and I said, God, if I had a record label,

1:06:17.600 --> 1:06:19.840
<v Speaker 1>I'd signed him in a minute. And I called Jason.

1:06:19.920 --> 1:06:23.440
<v Speaker 1>When Jason made the deal, Jason Flam who was presently Universal,

1:06:23.840 --> 1:06:26.600
<v Speaker 1>were a lot of three ex Atlantic people were his

1:06:26.720 --> 1:06:29.440
<v Speaker 1>Lava Records, Isa, Hey, they was in Atlantic, right But

1:06:29.760 --> 1:06:33.160
<v Speaker 1>my my point is these kids are growing up to

1:06:33.240 --> 1:06:35.600
<v Speaker 1>our music, and they're growing up to Billy Joel, They're

1:06:35.600 --> 1:06:40.040
<v Speaker 1>growing up the Arrowsmith and they have the tools now

1:06:40.280 --> 1:06:45.000
<v Speaker 1>available in their room to record, to make a video,

1:06:45.560 --> 1:06:49.000
<v Speaker 1>to give it to YouTube. And I just think there's

1:06:49.280 --> 1:06:53.920
<v Speaker 1>so worldwide now, there's so much great talent being nurtured

1:06:54.680 --> 1:07:00.320
<v Speaker 1>that it's amazing. So how does this talent get exposed? Okay,

1:07:01.120 --> 1:07:06.200
<v Speaker 1>a lot of it has to happen by touring, a

1:07:06.320 --> 1:07:08.160
<v Speaker 1>lot of it has to happen by word of mouth.

1:07:08.200 --> 1:07:11.640
<v Speaker 1>A lot of happen has to be lucky in getting

1:07:11.720 --> 1:07:16.960
<v Speaker 1>signed to a record company. But there's an enormous opportunity

1:07:17.280 --> 1:07:24.080
<v Speaker 1>right now for music companies, from publishing companies, for management companies.

1:07:25.440 --> 1:07:29.080
<v Speaker 1>Major opportunity now in the music business. And do you

1:07:29.240 --> 1:07:31.400
<v Speaker 1>think rock is dead or rock could come back? No,

1:07:31.600 --> 1:07:34.520
<v Speaker 1>Rock's gonna come back. Really, why are you so convinced.

1:07:36.280 --> 1:07:40.160
<v Speaker 1>I'm just smell it. Okay, call it a gut all

1:07:40.160 --> 1:07:42.920
<v Speaker 1>of a sudden, you'll you'll, you'll see it. It's gonna be.

1:07:45.160 --> 1:07:47.959
<v Speaker 1>It's gonna be songs. I mean, no disrespect to rapp

1:07:48.080 --> 1:07:50.560
<v Speaker 1>and into everything that is going on, but you know,

1:07:50.680 --> 1:07:55.520
<v Speaker 1>the main thing is as songs. And you know what

1:07:56.040 --> 1:07:58.720
<v Speaker 1>I mean, Billy is still out there making songs. Billy

1:07:58.840 --> 1:08:05.360
<v Speaker 1>Joe a brew It's song song business. Imagine my granddaughters

1:08:07.600 --> 1:08:09.880
<v Speaker 1>fourteen years old, calls me up. I said, who's your

1:08:09.880 --> 1:08:13.560
<v Speaker 1>favorite band? Imagine Dragons. I mean, young kids are getting

1:08:13.600 --> 1:08:18.080
<v Speaker 1>into rock. Let me tell you, uh panic at the disco, etcetera.

1:08:18.800 --> 1:08:23.320
<v Speaker 1>So I'm telling you rocks are gonna come back. Well,

1:08:23.439 --> 1:08:25.920
<v Speaker 1>certainly people, but people don't realize, you know they because

1:08:25.920 --> 1:08:29.519
<v Speaker 1>they give Greta Van Fleet a hard time sounding led Zeppelin. Well,

1:08:29.560 --> 1:08:32.960
<v Speaker 1>this is fifty years after led Zeppelin and led Zeppelin

1:08:33.080 --> 1:08:35.840
<v Speaker 1>was influenced by the American blues guys. And it wasn't

1:08:35.840 --> 1:08:39.920
<v Speaker 1>even fifty years there exactly. No, it's it's it's funny

1:08:40.040 --> 1:08:43.959
<v Speaker 1>because a lot of those English acts clapped in Zeppelin,

1:08:44.120 --> 1:08:48.439
<v Speaker 1>et cetera. They all grew up to the blues exactly,

1:08:48.479 --> 1:08:51.200
<v Speaker 1>all American music, all American music, and that's where they

1:08:51.240 --> 1:08:53.519
<v Speaker 1>got a lot of it from. Who did you work with,

1:08:54.160 --> 1:09:00.280
<v Speaker 1>who you believed in but didn't break through? Oh? Boy, um,

1:09:02.520 --> 1:09:05.080
<v Speaker 1>I don't know, And you know that's a hard question.

1:09:08.160 --> 1:09:11.160
<v Speaker 1>I was. I guess I was lucky. Then most of

1:09:11.240 --> 1:09:16.679
<v Speaker 1>the acts broke through. Here's here's a well, here's an example.

1:09:17.080 --> 1:09:20.719
<v Speaker 1>I've read in the newspaper. John Prine is out touring,

1:09:21.040 --> 1:09:24.400
<v Speaker 1>has a record oil. Well, Jerry Waxer signed John Prin.

1:09:25.520 --> 1:09:27.880
<v Speaker 1>But he didn't break through it Atlantic. I mean he

1:09:27.920 --> 1:09:30.320
<v Speaker 1>didn't really you know what, he's never really broke it through.

1:09:30.560 --> 1:09:32.559
<v Speaker 1>The times have caught up with him. So he's an

1:09:32.640 --> 1:09:36.080
<v Speaker 1>established artist, but he never had a hit, right exactly.

1:09:36.880 --> 1:09:38.840
<v Speaker 1>But you know, when I go back and I think,

1:09:39.320 --> 1:09:42.639
<v Speaker 1>you know of some of the acts that Jerry found signed.

1:09:44.080 --> 1:09:47.400
<v Speaker 1>Learning from Jerry, the diversity of Jerry signed De Laney

1:09:47.439 --> 1:09:50.680
<v Speaker 1>and Bonnie, then he went to Dr John. Then he

1:09:50.800 --> 1:09:54.240
<v Speaker 1>did the Alice Cooper deal. I mean, this is the

1:09:54.280 --> 1:09:57.360
<v Speaker 1>guy that was all over the place with music. And

1:09:57.479 --> 1:09:59.840
<v Speaker 1>that's when I think, uh, you know, I am I

1:10:00.040 --> 1:10:03.400
<v Speaker 1>learned about soundtracks. I mean the deal for the Muppets soundtrack.

1:10:03.840 --> 1:10:06.840
<v Speaker 1>I picked Rainbow I heard Rainbow Connection. This is a

1:10:06.920 --> 1:10:09.519
<v Speaker 1>great story. I come back and then Jerry Almetterre in

1:10:09.600 --> 1:10:12.559
<v Speaker 1>their office. I said, listen, I just made a great deal.

1:10:12.680 --> 1:10:16.680
<v Speaker 1>We got the soundtrack to the Muppets. There's dead silence,

1:10:17.320 --> 1:10:20.479
<v Speaker 1>m it goes, oh the Muppets. I said, well, they

1:10:20.560 --> 1:10:24.200
<v Speaker 1>their puppets. They got a TV shot. TV doesn't sell. No,

1:10:24.760 --> 1:10:26.800
<v Speaker 1>this is big. Trust me, this is gonna be big.

1:10:27.560 --> 1:10:30.240
<v Speaker 1>He said, what's the soundtrack? I said, well, it's basically music.

1:10:30.320 --> 1:10:32.240
<v Speaker 1>But they got a song I think could be a hit.

1:10:32.800 --> 1:10:36.400
<v Speaker 1>They got a song. What's the song? Oh, it's called

1:10:36.520 --> 1:10:39.439
<v Speaker 1>Rainbow Connection. Who's going to do it? Or the Frog?

1:10:41.240 --> 1:10:44.839
<v Speaker 1>Wait a minute, the Frog is going to sing Rainbow Connection.

1:10:45.439 --> 1:10:47.360
<v Speaker 1>I said, yeah, it's a Paul Williams song. I think

1:10:47.400 --> 1:10:49.760
<v Speaker 1>it could be a hit single. They looked at me

1:10:49.880 --> 1:10:52.880
<v Speaker 1>like I was smoking weed. Man, are you guys? Are

1:10:52.920 --> 1:10:55.840
<v Speaker 1>you crazy? And I remember Jerry. The quote from Jerry

1:10:56.040 --> 1:10:59.439
<v Speaker 1>was ahmed the kids right, more than he's wrong. If

1:10:59.520 --> 1:11:01.760
<v Speaker 1>he says is gonna be hit, it's gonna be hit.

1:11:02.320 --> 1:11:08.800
<v Speaker 1>And it was. Well pause here for a brief moment

1:11:08.880 --> 1:11:15.479
<v Speaker 1>and get right back to Jerry Greenberg. Check out my

1:11:15.680 --> 1:11:18.519
<v Speaker 1>writing at left sets dot com. I cover all the

1:11:18.600 --> 1:11:21.719
<v Speaker 1>topics of the podcast and more. Go to left sets

1:11:21.760 --> 1:11:23.920
<v Speaker 1>dot com and sign up for the newsletter to read

1:11:24.080 --> 1:11:29.880
<v Speaker 1>all my rants and observations. Now more with legendary record

1:11:30.000 --> 1:11:33.000
<v Speaker 1>label executive Jerry Greenberg, recorded live at the two In

1:11:33.120 --> 1:11:39.800
<v Speaker 1>Studios in Venice, California. Okay, just covering up some other stuff,

1:11:39.880 --> 1:11:43.519
<v Speaker 1>covering some other stuff. To what degree was Paola factor

1:11:43.600 --> 1:11:46.559
<v Speaker 1>in your history? I don't talk about I'm not asking

1:11:46.600 --> 1:11:49.000
<v Speaker 1>you your personal stories of paying people, but the business

1:11:49.040 --> 1:11:53.679
<v Speaker 1>at large, I think it all got blown out of proportion.

1:11:53.800 --> 1:11:57.600
<v Speaker 1>Hit Man got blown out of proportion. We to me,

1:11:58.560 --> 1:12:02.920
<v Speaker 1>I never hand that the shocky any money. Did I

1:12:04.000 --> 1:12:09.160
<v Speaker 1>do certain promotions? I remember I took about twenty DJs

1:12:09.280 --> 1:12:13.040
<v Speaker 1>to the Super Bowl, uh in Florida and Miami was

1:12:13.160 --> 1:12:17.240
<v Speaker 1>playing or something. I forget who was playing. But those

1:12:17.320 --> 1:12:19.320
<v Speaker 1>things you could kind of get away with those kind

1:12:19.360 --> 1:12:25.559
<v Speaker 1>of promotional things. Um. But um, as far as cash

1:12:25.800 --> 1:12:30.320
<v Speaker 1>being out there and are are are drugs. It wasn't

1:12:30.400 --> 1:12:33.640
<v Speaker 1>as big as everybody's making it sound. Well. There was

1:12:33.720 --> 1:12:40.280
<v Speaker 1>that era though, where there was cash paid to independent promoters. Correct, okay?

1:12:40.520 --> 1:12:43.280
<v Speaker 1>And how much how much drugs did you see and

1:12:43.400 --> 1:12:48.640
<v Speaker 1>do in your heyday? I'm probably the only musician and

1:12:48.720 --> 1:12:51.280
<v Speaker 1>the only one in the record business that could put

1:12:51.360 --> 1:12:55.599
<v Speaker 1>my hand on a bible and say I never put

1:12:55.680 --> 1:12:58.719
<v Speaker 1>anything up my nose. I never put anything in my mouth.

1:12:59.439 --> 1:13:01.560
<v Speaker 1>The only thing I did, and I will tell you

1:13:01.680 --> 1:13:04.920
<v Speaker 1>that I did it quite often with smoke. Weed. But

1:13:05.720 --> 1:13:09.160
<v Speaker 1>think about the seventies and weed. You know, I said

1:13:09.280 --> 1:13:13.920
<v Speaker 1>something to somebody. They laughed. I said, you know, you

1:13:14.000 --> 1:13:17.000
<v Speaker 1>could put a blindfold on me, walked me into the

1:13:17.080 --> 1:13:20.240
<v Speaker 1>Madison Square garden and I could tell what band is

1:13:20.320 --> 1:13:25.000
<v Speaker 1>playing by how much weed I smell. Is that is

1:13:25.040 --> 1:13:27.600
<v Speaker 1>that good? That's very good? So you you want to

1:13:27.640 --> 1:13:33.160
<v Speaker 1>know who like the bands where they can? Yes? Really?

1:13:33.360 --> 1:13:37.320
<v Speaker 1>Oh yeah, yes, Genesis, Emerson, Lake and Palmer very big

1:13:37.560 --> 1:13:44.760
<v Speaker 1>weed smokers. Uh and Zeppelin Stones not so much. I mean, yeah,

1:13:45.080 --> 1:13:50.000
<v Speaker 1>but not not as much as those English psychedelic bands

1:13:50.160 --> 1:13:54.400
<v Speaker 1>or whatever. But um, I never smoked any weed in

1:13:54.560 --> 1:13:59.760
<v Speaker 1>you in the office. Uh, never you know you're you're

1:14:00.240 --> 1:14:04.360
<v Speaker 1>with the bands afterwards, and everybody's passing a joint. You

1:14:04.439 --> 1:14:07.000
<v Speaker 1>know you'd smoke. Okay, Well, there were some heavy cocaine

1:14:07.040 --> 1:14:10.800
<v Speaker 1>you're especially the late seventies early eighties. Uh, how did

1:14:10.840 --> 1:14:14.839
<v Speaker 1>you decide not to take it? That's a very good question,

1:14:15.280 --> 1:14:17.880
<v Speaker 1>and I can give you the answer. I was very

1:14:17.960 --> 1:14:22.240
<v Speaker 1>good friends with the drummer and average White band, very

1:14:22.280 --> 1:14:25.840
<v Speaker 1>good friends. And I got a call in my office, Um,

1:14:26.439 --> 1:14:29.720
<v Speaker 1>forgive me, I forgot his name. Guess what so and

1:14:29.800 --> 1:14:33.400
<v Speaker 1>so had just died. I said, what, Yeah, he was

1:14:33.439 --> 1:14:36.679
<v Speaker 1>at a party. He thought it was cocaine, It was heroin.

1:14:37.080 --> 1:14:41.479
<v Speaker 1>He died right at that moment. I think the light

1:14:41.560 --> 1:14:45.479
<v Speaker 1>bulb went off of my brain. Jerry, you'll never gonna

1:14:45.600 --> 1:14:49.120
<v Speaker 1>put any white stuff up your nose, are in your mouth,

1:14:49.560 --> 1:14:53.559
<v Speaker 1>never ever. And I would be backstage with a lot

1:14:53.680 --> 1:14:56.600
<v Speaker 1>of groups and they'd be passing that shoot around. But

1:14:57.320 --> 1:15:01.680
<v Speaker 1>Jerry passed. Okay. And then how did you make Roundabout

1:15:01.720 --> 1:15:05.599
<v Speaker 1>a hit? Because they had, yes, had three previous albums.

1:15:06.120 --> 1:15:09.200
<v Speaker 1>The third one had some success. The Roundabout was a

1:15:09.320 --> 1:15:11.920
<v Speaker 1>lengthy track that it sounded like nothing on the radio.

1:15:13.680 --> 1:15:16.520
<v Speaker 1>So you know that I did the edit on Roundabout.

1:15:17.120 --> 1:15:18.320
<v Speaker 1>If you might have told me in the past, but

1:15:18.400 --> 1:15:21.599
<v Speaker 1>I forgot Yeah, no, same story. I went in the studio,

1:15:22.000 --> 1:15:25.639
<v Speaker 1>worked with some engineers, got it down, got it played.

1:15:26.240 --> 1:15:29.439
<v Speaker 1>And that's another example of like, Jerry, what can we

1:15:29.560 --> 1:15:35.000
<v Speaker 1>do for you? And so at Christmas, we're giving yes

1:15:35.080 --> 1:15:37.600
<v Speaker 1>Gold Records, and they said, we got a present for you,

1:15:37.920 --> 1:15:40.519
<v Speaker 1>and they show up. They gave me a brand new

1:15:40.600 --> 1:15:45.200
<v Speaker 1>drum set. Again they knew I was drummers. Good friends

1:15:45.240 --> 1:15:48.840
<v Speaker 1>with Alan White and well the boys. I say, take

1:15:48.880 --> 1:15:51.080
<v Speaker 1>the drum set out to Nashville and Colosseum I want

1:15:51.120 --> 1:15:54.519
<v Speaker 1>to sit in. I say it as a joke. We

1:15:54.600 --> 1:15:57.040
<v Speaker 1>go out to National Colosseum. All of a sudden, bingo,

1:15:57.200 --> 1:16:00.240
<v Speaker 1>they set up the drum set. Jerry is now laying

1:16:00.320 --> 1:16:03.800
<v Speaker 1>Nassau Coliseum. You've played all the venues. I played all

1:16:03.800 --> 1:16:09.639
<v Speaker 1>the venues. So another story, famous lads upwards. Story three

1:16:09.760 --> 1:16:12.400
<v Speaker 1>I believe it is. And the Houses of the Houses

1:16:12.400 --> 1:16:15.960
<v Speaker 1>of the Holy Tour I think it was. They played

1:16:16.000 --> 1:16:18.280
<v Speaker 1>Madison Square Garden for three nights. They're staying at the

1:16:18.360 --> 1:16:22.799
<v Speaker 1>Drake Hotel. There's two hundred odd thousand in the safe.

1:16:23.439 --> 1:16:26.280
<v Speaker 1>It gets stolen and they fly back to England, not

1:16:26.320 --> 1:16:30.000
<v Speaker 1>worrying about the money. Hey do you think many people

1:16:30.120 --> 1:16:33.360
<v Speaker 1>think they stole the money themselves. What do you think happened? No,

1:16:33.520 --> 1:16:36.679
<v Speaker 1>I don't think so. They don't need to steal the money,

1:16:37.479 --> 1:16:40.960
<v Speaker 1>you know. Um, I think it was really stolen. I

1:16:41.360 --> 1:16:43.880
<v Speaker 1>think they realized there wasn't no way they were going

1:16:43.920 --> 1:16:51.960
<v Speaker 1>to get it back. And listen, Um, things happen on

1:16:52.080 --> 1:16:55.120
<v Speaker 1>the road, as we all know. Okay, well, it sounds

1:16:55.120 --> 1:16:58.600
<v Speaker 1>like there's a lot of stories there. And then to

1:16:58.760 --> 1:17:01.680
<v Speaker 1>what degree? And you had all these acts, I mean

1:17:01.760 --> 1:17:04.760
<v Speaker 1>people acts like Abba. They literally just made hits. They

1:17:04.760 --> 1:17:08.080
<v Speaker 1>were hitting factory. But let's go back to Genesis. They

1:17:08.160 --> 1:17:10.680
<v Speaker 1>didn't have hits. You know. Peter Gabriel had a hit

1:17:10.840 --> 1:17:14.519
<v Speaker 1>in seventies six or seventy seven, seventy seven with Soulsbury

1:17:14.600 --> 1:17:17.320
<v Speaker 1>Hill at least an FM hit, but Genesis really didn't

1:17:17.320 --> 1:17:19.720
<v Speaker 1>have a hit until the late seventies. Would you tell

1:17:19.840 --> 1:17:26.000
<v Speaker 1>these bands give me a hit? Oh yeah, yeah, I mean,

1:17:26.080 --> 1:17:32.000
<v Speaker 1>if you could get something that gets the attention, the

1:17:32.120 --> 1:17:36.560
<v Speaker 1>attention not not only radio, but you know, give me

1:17:36.680 --> 1:17:41.160
<v Speaker 1>a hit video, give me a song that maybe could

1:17:41.200 --> 1:17:43.880
<v Speaker 1>be a commercial, or give me a song that could

1:17:43.880 --> 1:17:46.479
<v Speaker 1>be at the end track of a of a of

1:17:46.600 --> 1:17:52.840
<v Speaker 1>a movie or something in in UH in TV UH.

1:17:54.080 --> 1:18:01.240
<v Speaker 1>But don't give up your creativity on doing it. I mean,

1:18:01.320 --> 1:18:05.000
<v Speaker 1>don't say to yourself, oh, I'm going to copy, because

1:18:05.680 --> 1:18:08.479
<v Speaker 1>what you want to do is really be honest to

1:18:08.640 --> 1:18:13.560
<v Speaker 1>yourself and to the songs you're writing and to the

1:18:13.680 --> 1:18:17.959
<v Speaker 1>band you're putting together. Um. I think it's very important.

1:18:18.320 --> 1:18:20.320
<v Speaker 1>You know. I was in the studio the other day

1:18:20.400 --> 1:18:23.200
<v Speaker 1>when I was talking to uh drummer that was Cheryl

1:18:23.240 --> 1:18:26.720
<v Speaker 1>Crowe's drummer, and we were talking and I said about

1:18:26.760 --> 1:18:30.719
<v Speaker 1>Damn m Carroll. Yeah, and I said that another drummer

1:18:30.760 --> 1:18:34.439
<v Speaker 1>is a business guy. And I said, you know, let

1:18:34.479 --> 1:18:38.640
<v Speaker 1>me tell you something. We and the bass player of

1:18:38.720 --> 1:18:41.479
<v Speaker 1>the foundation of a band. I mean, I can tell

1:18:41.600 --> 1:18:45.760
<v Speaker 1>you that talking to the young guys out there that

1:18:45.840 --> 1:18:49.000
<v Speaker 1>are guitar players or piano players or you know, if

1:18:49.000 --> 1:18:52.439
<v Speaker 1>you're gonna especially if you're going into rock world, you

1:18:52.560 --> 1:18:54.840
<v Speaker 1>better find yourself a great drummer and a great bass

1:18:54.880 --> 1:18:58.960
<v Speaker 1>player because that's the foundation. Okay, since you're in it.

1:18:59.360 --> 1:19:05.120
<v Speaker 1>Who were the great drummers? To me, the two greatest

1:19:05.200 --> 1:19:11.120
<v Speaker 1>rock drummers is uh, John Bonham and Keith Moon. Those

1:19:11.160 --> 1:19:15.040
<v Speaker 1>are two great rock druve thing Chad from Chili Peppers

1:19:15.160 --> 1:19:19.200
<v Speaker 1>is great, Matt Swarm is great. Um. But you know

1:19:19.280 --> 1:19:21.800
<v Speaker 1>there's different kind of drummers. You know, Charlie Watts is

1:19:22.200 --> 1:19:25.479
<v Speaker 1>just the goddamn jazz drummers playing two and four behind.

1:19:25.640 --> 1:19:28.960
<v Speaker 1>He's a bar room drummer, you know. So there's a

1:19:29.080 --> 1:19:33.880
<v Speaker 1>lot of drummers that just keep Dennis Elliott and Foreigner

1:19:34.040 --> 1:19:38.639
<v Speaker 1>was it great, great drummer, um, But there's different styles.

1:19:39.760 --> 1:19:43.200
<v Speaker 1>I mean, for me, if you're talking about a rock

1:19:44.120 --> 1:19:50.040
<v Speaker 1>drummer with a sound man, nobody's just better than Bonzo Well.

1:19:50.080 --> 1:19:51.840
<v Speaker 1>You know, I've seen I certainly saw him in his

1:19:51.960 --> 1:19:55.200
<v Speaker 1>hey day. But I will say seeing Keith Moon play

1:19:55.520 --> 1:19:58.240
<v Speaker 1>Tommy with Who with Fillmore East, it was like there

1:19:58.280 --> 1:19:59.880
<v Speaker 1>were two drummers that you just didn't even figure out

1:19:59.880 --> 1:20:02.800
<v Speaker 1>how he could do it. It was amazing. You know,

1:20:03.200 --> 1:20:05.439
<v Speaker 1>he looks great. You know, it's funny when you're a drummer.

1:20:05.520 --> 1:20:09.120
<v Speaker 1>That's why I asked drummers. I'm not going to weigh in.

1:20:09.400 --> 1:20:12.160
<v Speaker 1>I'm certainly aware of the great drummers. Guitarists, I'll weigh

1:20:12.200 --> 1:20:14.639
<v Speaker 1>in because I believe the best guitarist of the rock

1:20:14.720 --> 1:20:17.920
<v Speaker 1>era is Jeff Beck. Okay, Hendricks did a lot of

1:20:17.960 --> 1:20:21.400
<v Speaker 1>innovative things. But Beck is you know, and I remember

1:20:21.439 --> 1:20:24.160
<v Speaker 1>when they hit the Arms tour and it was Paige

1:20:24.200 --> 1:20:28.120
<v Speaker 1>Clapton and Beck on the same stage. Beck blew him off.

1:20:28.479 --> 1:20:31.360
<v Speaker 1>So I'm not trum going to weigh in on who

1:20:31.439 --> 1:20:37.800
<v Speaker 1>the best drummers. Those are all certainly great drummers. Absolutely. Okay, Jerry,

1:20:37.880 --> 1:20:39.960
<v Speaker 1>this has been wonderful. We've only hit the tip of

1:20:40.000 --> 1:20:44.679
<v Speaker 1>the iceberg. But can we part two? We can certainly

1:20:44.720 --> 1:20:47.360
<v Speaker 1>do it. Part two. We want to drill down into

1:20:47.479 --> 1:20:50.519
<v Speaker 1>the AX and specific stories of the AX. This time

1:20:50.600 --> 1:20:54.040
<v Speaker 1>we got your general history and which is get your

1:20:54.080 --> 1:20:58.160
<v Speaker 1>father a job in the business, and uh, certainly the

1:20:58.400 --> 1:21:00.640
<v Speaker 1>top line, but you get down the nitty guitty, you know,

1:21:00.880 --> 1:21:04.360
<v Speaker 1>because we're here talking about the successes and it's a

1:21:04.479 --> 1:21:07.080
<v Speaker 1>lot of work. You talk about patients. You know. You

1:21:07.200 --> 1:21:10.200
<v Speaker 1>can have led Zeppelin, which explodes on the second records,

1:21:10.439 --> 1:21:13.440
<v Speaker 1>but a lot of things are really long work projects

1:21:14.240 --> 1:21:17.160
<v Speaker 1>and they'll be more talk. So it's been wonderful. Thanks

1:21:17.200 --> 1:21:20.320
<v Speaker 1>so much for being here. Okay, and I will like

1:21:20.520 --> 1:21:23.400
<v Speaker 1>to come back because I'd like everybody to know that

1:21:23.520 --> 1:21:28.040
<v Speaker 1>I'm currently doing a book on Atlantic in the seventies

1:21:28.760 --> 1:21:31.599
<v Speaker 1>through the eyes of Jerry Greenberg, So it could kind

1:21:31.600 --> 1:21:34.800
<v Speaker 1>of cover everything just about Atlantic and I think, you know,

1:21:34.920 --> 1:21:37.479
<v Speaker 1>we've been filming a documentary on my life, which is

1:21:37.560 --> 1:21:40.160
<v Speaker 1>well that documentary but going on for like five plus years.

1:21:40.200 --> 1:21:43.120
<v Speaker 1>What is that documentary ever gonna hit the Uh, it's

1:21:43.240 --> 1:21:45.800
<v Speaker 1>it's getting close. But you know, I think I'm the

1:21:45.920 --> 1:21:48.679
<v Speaker 1>only guy that has Richard Branson. I got the last

1:21:48.760 --> 1:21:52.240
<v Speaker 1>interview from Jerry Heller and the last one from Jerry Winthrop.

1:21:52.640 --> 1:21:57.120
<v Speaker 1>It's going to be a very very interesting movie or

1:21:57.520 --> 1:22:00.880
<v Speaker 1>documentary or TV series. Well time and know how to

1:22:00.920 --> 1:22:05.280
<v Speaker 1>get my plug in. Man, this is a roots are

1:22:05.360 --> 1:22:07.760
<v Speaker 1>coming out, and certainly we've been talking about the documentary

1:22:07.800 --> 1:22:09.840
<v Speaker 1>forever and this is the heyday. People want to know

1:22:10.680 --> 1:22:12.760
<v Speaker 1>about what was going on in the seventies. Oh yeah.

1:22:12.800 --> 1:22:16.960
<v Speaker 1>But but the great thing is you're gonna hear Richard

1:22:17.040 --> 1:22:20.680
<v Speaker 1>called the Roady talk about Jerry taking the sticks and go,

1:22:21.000 --> 1:22:23.760
<v Speaker 1>and it's not going to come from me. So that's

1:22:23.800 --> 1:22:27.760
<v Speaker 1>what I'm very excited about it. Okay, Well, we'll look

1:22:27.800 --> 1:22:30.840
<v Speaker 1>forward to that and when it's launching, we'll have you back. Okay, buddy,

1:22:30.880 --> 1:22:33.320
<v Speaker 1>God bless thank you, thank you so much, Jerry. Till

1:22:33.360 --> 1:22:35.960
<v Speaker 1>next time, it's Bob left Sets on the Bob Left

1:22:36.000 --> 1:22:43.000
<v Speaker 1>Sets podcast. That wraps up this week's episode of the

1:22:43.080 --> 1:22:45.720
<v Speaker 1>Bob Left Sets Podcast, recorded live at the tune In

1:22:45.840 --> 1:22:50.000
<v Speaker 1>Studios in Venice, California. I hope you enjoyed this conversation

1:22:50.080 --> 1:22:53.720
<v Speaker 1>with legendary record label executive Jerry Greenberg. He had some

1:22:53.840 --> 1:22:57.040
<v Speaker 1>great stories. Send me your feedback at Bob at left

1:22:57.080 --> 1:23:00.559
<v Speaker 1>sets dot com. Until next time, I'm Bob left Sex.

1:23:11.280 --> 1:23:16.200
<v Speaker 1>Can think of in me reason and I don't know

1:23:16.720 --> 1:23:21.600
<v Speaker 1>me exactly. One must be so