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Speaker 1: Welcome, Welcome, Welcome back to the Bob Left's Podcast. My

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Speaker 1: guest today is manager extraordinaire Ru Sale. We built the

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Speaker 1: careers of everybody from Backman Turner, Overdrive, to Michael Bubley,

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Speaker 1: to Brian Adams and many more. Bruce glad to have

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Speaker 1: you here. Great to be here, Bob, Great to be here.

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Speaker 1: It took me away from the elections. But that's okay,

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Speaker 1: I want to get away from it. Okay. Why do

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Speaker 1: you love Elvis so much? Well, I grew up in

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Speaker 1: that air, of course. You know, probably the first artist

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Speaker 1: I ever saw in in in Vancouver nine and um

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Speaker 1: I went. My mother took me, I remember, and uh

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Speaker 1: it was the only choice at that time. Bob. That

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Speaker 1: was when music was really changing, and uh he just

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Speaker 1: captured me. Uh the stuff he was doing, it just

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Speaker 1: changed my whole thing. Because I was listening to my

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Speaker 1: mother's songs on the radio, not knocking them. They were

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Speaker 1: decent songs. But I mean, all of a sudden, this

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Speaker 1: guy came out and I so, like John Lennon said,

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Speaker 1: I said, for there was Elvis, there was nothing, And

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Speaker 1: I said, so I've all but I stayed and Elvis fan,

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Speaker 1: I've got I knew you might talk about this. I

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Speaker 1: got eighty two books on Elvis in my house. Okay,

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Speaker 1: if you have eighty two, how many books are there?

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Speaker 1: That must be every book? I don't know, but I'll

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Speaker 1: tell you I I there's so much always to find.

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Speaker 1: And like my partner Tom Feldman was thinking about talking about,

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Speaker 1: I said, but all of a sudden you wanted, I said, Sam,

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Speaker 1: read these two books by Peter garrel Nick. Just read

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Speaker 1: these two that'll do it for you. You'll be that's enough.

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Speaker 1: And I said, and he did, and he and he said,

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Speaker 1: this is unbelievable. And the stuff that people find out

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Speaker 1: about him, he did, They didn't know this. I didn't

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Speaker 1: know that. I did. I think that, Wow, you know,

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Speaker 1: people are rediscovering Elvius all the time. I guess Bob

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Speaker 1: Well tell us a couple of things most people don't know.

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Speaker 1: Boy well, you know, I thought I did not know

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Speaker 1: until three weeks ago, probably that he turned out. He

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Speaker 1: didn't turn down Dolly Parton turned down him singing the

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Speaker 1: Whitney Houston song. Okay, And I didn't know that ever happened.

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Speaker 1: I just because Dolly Parton said it, and it was

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Speaker 1: I kind of it was kind of nice tie in

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Speaker 1: for me because I was sitting there Michael Booble, he

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Speaker 1: was in the midst of talking to her. We're doing

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Speaker 1: a duet with her on her new album. It's just

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Speaker 1: out there now. So it was kind of neat that

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Speaker 1: that fell in there. But the other thing that um,

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Speaker 1: I thought was and then and then of course the

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Speaker 1: other thing was interested about that song is I Will

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Speaker 1: Always Love You? Is that when they were getting divorced,

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Speaker 1: uh she he when they were walking out of the church,

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Speaker 1: out of the courtroom. He sang that song to Priscilla

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Speaker 1: as he held her head and walked out the door.

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Speaker 1: You are you are a fault of all kinds of

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Speaker 1: information that that that's amazing. You have eighty Elvis books

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Speaker 1: if you read them all, yes, sir, okay. And are

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Speaker 1: you a collector of anything else? Yes, sir, I have

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Speaker 1: Uh Bob, I got some great stuff. I got Elvis

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Speaker 1: is barber chair. That's something got for me out of

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Speaker 1: Graceland when he they he aged them over. It was

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Speaker 1: in a storage thing and that girl got it for

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Speaker 1: me who worked there. Um, I've got I've got what

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Speaker 1: I put the three things side by side. They're all

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Speaker 1: framed one piece and I gotta send you the picture

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Speaker 1: of it. It's a it's Elvis Presley's work schedule on

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Speaker 1: one night ers in in the yes and seventy four,

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Speaker 1: seventy four, and it the schedule is staggering. It's every day,

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Speaker 1: two shows on the weekend. Blah blah blah, all this stuff.

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Speaker 1: And then then beside it was was was Colonel Parker's

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Speaker 1: uh letter to him that saying, I'm working on Bakersfield.

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Speaker 1: It's gonna be sold out. Don't you worry. I'll see

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Speaker 1: you when you get there. So on and so forth,

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Speaker 1: because the colonel always stayed ahead of him, never watched

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Speaker 1: the show. He was ahead of him setting up the

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Speaker 1: next one and the next one. I bought from Wayne Newton,

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Speaker 1: who got it from a maid in Las Vegas who

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Speaker 1: was cleaning up Elvis's room. And he wrote a letter

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Speaker 1: to God saying that take me away from this, take

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Speaker 1: me away from this. I I don't want to be

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Speaker 1: in this life anymore. I've had you know this thing.

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Speaker 1: And then he took it, and you wrote you rippled

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Speaker 1: it or put in his fist, close his fist into

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Speaker 1: the garbage. She took it out. He got it this

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Speaker 1: way way Newton find it, got it, he sold it

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Speaker 1: to me, and I put it in the frame. I

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Speaker 1: put here's his work schedule, here's what his manager has

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Speaker 1: to say, and here's what he feels like. Unbelievable. Of course. Uh.

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Speaker 1: The Colonel Tom Parker's story is an amazing story. He

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Speaker 1: came from Carnivals. Supposedly he was an illegal alien, which

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Speaker 1: is why Elvis could never tour outside of the US,

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Speaker 1: and additionally had a fifty fifty deal. So as a manager,

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Speaker 1: what do you think of Colonel Tom Parker? I think

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Speaker 1: Colonel Tom Parker. Now, I have arguments all the time

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Speaker 1: with this. I had a good argument Jerry Shilling, not

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Speaker 1: probably ten years ago. Now, okay, don't Jerry for a while.

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Speaker 1: And I used to get onto Colonel Parker cause I

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Speaker 1: thought he was probably the worst manager in the history

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Speaker 1: of the music business. But Jerry Shilling and they stand

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Speaker 1: up for him. And Jerry Silly was Elvis's best friend,

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Speaker 1: one of them, and he said, what you're saying that

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Speaker 1: because of what you know now, we didn't know anything.

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Speaker 1: We were breaking the trail. We had no we had

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Speaker 1: no idea what we were doing. We had no one

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Speaker 1: to look up to. We were the pioneers. It's easy

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Speaker 1: for you to say, why didn't you work four days

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Speaker 1: a week, Why did you do this? Why did you

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Speaker 1: put the stupid routing together? You know? And and uh

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Speaker 1: and and so he stuck up for him. No other

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Speaker 1: people stand up for because of some of the deals

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Speaker 1: he made. The deals he made in the movie business

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Speaker 1: were great, but he was stuck on that million dollars.

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Speaker 1: We made a million dollars and a million dollars there

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Speaker 1: is another million dollars and a million dollars. He made

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Speaker 1: those ship films after he made about five good ones,

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Speaker 1: just because the Colonel was getting a big cut of it.

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Speaker 1: But it was not at that time. It was fifty percent.

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Speaker 1: He got that deal later on when Elvis was at

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Speaker 1: a drugged out stupor uh in in Memphis and he

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Speaker 1: and he colonel went in there and got him to

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Speaker 1: sign it. He probably didn't know even though he signed it.

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Speaker 1: But it wasn't fifty for the get go. Okay, so

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Speaker 1: what was it from the get go? I think it's

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Speaker 1: a standard deal. I mean that from what I understand

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Speaker 1: I've been told, and I think that's probably right. I

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Speaker 1: have not seen his contract with him. Okay, let's go back.

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Speaker 1: So you grew up in Vancouver. Yeah, And how many

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Speaker 1: generations was your family in Canada? Uh? Third? Three? Oh? Really?

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Speaker 1: So who came and what was their idea? My my

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Speaker 1: grandparents came, or my mother's grand my mother's my father's

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Speaker 1: grand my father's parents came, and a typical coming from England.

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Speaker 1: And I just wanted to get out of England and

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Speaker 1: take going to the New Land. And it was fine.

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Speaker 1: I guess they did fine in Vancouver. I can't say

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Speaker 1: I was poor. I can't say they didn't have a job.

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Speaker 1: They did well, and uh not we were rich by

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Speaker 1: a stretch of the imagination. But I like my grandmother

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Speaker 1: because she she wanted to send the sons to learn

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Speaker 1: something that set this gate. She gave them one away ticket.

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Speaker 1: One kid went to San Diego, became an engineer and

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Speaker 1: under a deep seat tanker engineer. The other one was

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Speaker 1: sent to South Africa the one way ticket, and he'd

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Speaker 1: be worked in the diamond business, naturally, in the mining business,

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Speaker 1: and and and and uh. Then I was born and

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Speaker 1: raised in Vancouver. After that, my mom came from the

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Speaker 1: pig uh and I I never met her parents because

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Speaker 1: she was more or less spirited out of the house

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Speaker 1: by a woman who took pity on her by the

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Speaker 1: way she was treated and asked if she could come.

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Speaker 1: She would take her to her place in Winnipeg from

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Speaker 1: a place up north in Manitoba, and she raised my mom. Okay,

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Speaker 1: so what did your parents do for a living? My

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Speaker 1: dad was a deep sea engineer and a tanker went

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Speaker 1: around the world delivering oil for him. And how often

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Speaker 1: was he home? He's one of those jobs four months on,

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Speaker 1: four months off day for day when you're doing deep

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Speaker 1: sea work like that. And how many kids in the

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Speaker 1: family to me and my brother and I and your brother.

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Speaker 1: My brother's retired. I don't know how much money he made,

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Speaker 1: but I but he retired a lot earlier than me.

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Speaker 1: He's a younger brother and he's driving around his motorcycle

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Speaker 1: now and having a good time. I shake my head sometimes.

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Speaker 1: And what kind of relationship do you have with him? Good, good,

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Speaker 1: solid relationship. You know, he has to be Bruce Allen's brother.

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Speaker 1: And in this town that's not you know, that's a

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Speaker 1: little bit more difficult than me. Okay, Vancouver is a

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Speaker 1: very hip, modern town today. What was it like when

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Speaker 1: you were growing up? Well, it's funny for me. I'm like,

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Speaker 1: kind of like that Bruce Springsteen story he ended up.

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Speaker 1: I didn't. I've never moved more than five miles from

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Speaker 1: my host where I was born. And uh, but where

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Speaker 1: would you go here? In Vancouver? It's a great city. Uh.

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Speaker 1: And when I grew up in school, I enjoyed high school.

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Speaker 1: I enjoyed going to school. I had no problem with

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Speaker 1: that because I my mom. My father died when I

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Speaker 1: was twelve. I was raised by my mom and in

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Speaker 1: those days, in those days, Bob, you were raised by

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Speaker 1: the neighborhood. If you're in that situation. My mom had

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Speaker 1: to go to work, I had to go to school.

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Speaker 1: So I'd come home from school, I have to check

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Speaker 1: in with the neighborhood. Give you a sandwich and maybe

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Speaker 1: a glass of milk, and then you know, you played

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Speaker 1: with their sons or whatever. You went out, but you

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Speaker 1: had to check in with the with the neighborhood. So um,

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Speaker 1: I went to school. I went to school into a

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Speaker 1: school where very wealthy kids in that school, the high

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Speaker 1: class area. But I had to walk. Guys not in

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Speaker 1: that area had to walk to school. So it's about

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Speaker 1: two mile walk, two mile walk to school, and and

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Speaker 1: I watched what was going on when I was growing up,

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Speaker 1: and these kids got driven to school and Mercedes, or

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Speaker 1: when they got to be seventeen or they got their

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Speaker 1: own Mercedes and stuff like that. And I'm sitting there,

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Speaker 1: you know, walking to school, and I think, I think

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Speaker 1: it's been the driver of my entire life, is trying

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Speaker 1: to raise myself up from that. So I started working.

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Speaker 1: I started working building trucks in Canadian Kenworth when I

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Speaker 1: was eighteen. Well, well, well let's slow down before that.

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Speaker 1: So what kind of kids were you? Were you like

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Speaker 1: the leader the kids? Yeah? I was a leader, There's

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Speaker 1: no doubt about it. Um. I was a half past

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Speaker 1: athlete as a very good runner tract team. I played rugby,

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Speaker 1: but they wouldn't let me play rugby because of my

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Speaker 1: track stuff except on the outside wing. So I was

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Speaker 1: in the violent part of it. And uh you know,

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Speaker 1: I ran pretty well, Bobby. I got a Canadian record

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Speaker 1: for a while, and a half mile races had or

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Speaker 1: eighty yards in those days. I think it's the eights now.

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Speaker 1: And uh, you know, I enjoyed high school. I really

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Speaker 1: enjoyed high school. And I discovered music really when I

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Speaker 1: was in high school. The real. I broughtened my base

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Speaker 1: from Elvis, and I really got into James Brown, the Icon.

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Speaker 1: Tina Turner review Fats Domino. I really really a big

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Speaker 1: fan of black music. And I was there when they

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Speaker 1: brought those Dick caravan of stars all the way up

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Speaker 1: there and they came in with you. Everybody got up

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Speaker 1: there and saying three songs they every Brothers Paul like,

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Speaker 1: and they just loaded it up with people. And I

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Speaker 1: used to go to every one of those and I

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Speaker 1: was but I was really fascinated by the black music

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Speaker 1: because of just what they put out. You go to

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Speaker 1: a James Brown show when he was in his heyday,

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Speaker 1: it was terrified. And I continue to turn and review.

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Speaker 1: The first time I ever saw a strobe light, Um,

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Speaker 1: I Turner was looking, where's the strobe bladey walked off

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Speaker 1: the stage, walked up to the side of the thing

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Speaker 1: where the platform was got on it sure turned on

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Speaker 1: this so this stool blake walked back and it's just

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Speaker 1: it was I love that black music. The s was fantastic,

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Speaker 1: And because we were in Seattle, close to Seattle, they

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Speaker 1: always came up there. Seattle came up to Vancouver, Seattle

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Speaker 1: came up to Vancouver. That was the next stop and

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Speaker 1: that was probably the only show they even did in

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Speaker 1: Canada at that time. Went back to the seats. Okay,

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Speaker 1: so your mother played music in the house. How did

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Speaker 1: you actually become aware of Elvis um because he came

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Speaker 1: on TV, had Sullivan. That's the first time everybody I

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Speaker 1: heard him before that. I can remember my uh that

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Speaker 1: was the first time I saw. I saw him was

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Speaker 1: on Ed Sullivan, I think, and I remember my mother

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Speaker 1: sitting there and holding onto herself saying, I can't look

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Speaker 1: at his eyes. I can't look at his eyes. And

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Speaker 1: I'm just sitting there looking at this guy saying, Wow,

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Speaker 1: this is really something really different, and uh it I

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Speaker 1: think it set me on the path. I I play

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Speaker 1: Elvis every single day, okay, I have. I only have

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Speaker 1: a few stations and serious on the on my radio

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Speaker 1: and Elvis is one of them, the Elvis Channel, And

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Speaker 1: uh I find you know it was I've had these thrills,

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Speaker 1: like Michael Bob was the first guy to go in

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Speaker 1: and do the duet with Elvis on the duets on

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Speaker 1: the duet album they did for the with the London Symphony.

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Speaker 1: It was a big deal. But Michael's a fan, So

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Speaker 1: you're not like me, but I mean, he's a fan.

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Speaker 1: And so for me to go in there to see that,

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Speaker 1: that was great. Priscilla Presley put Michael Boobley on the

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Speaker 1: Walk of Fame in Hollywood, all this stuff. You know,

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Speaker 1: it's I'm still kind of tied into that organization, and

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Speaker 1: I'm proud to do that because I think that, let's

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Speaker 1: face it, he laid the groundwork absolutely. Now, in a

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Speaker 1: slightly later era with the Beatles, they were on TV

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Speaker 1: and then everybody wanted to become a performer, they got

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Speaker 1: a guitar whatever. Since you saw Elvis, did you ever

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Speaker 1: want to become a performer? No, no, not a not

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Speaker 1: a chance, because I think I knew my limitations. But

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Speaker 1: I was very upset when the Beatles came because I

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Speaker 1: was the Elvis guy. I was never a big Beatles fan,

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Speaker 1: but I did see the Beatles in Vancouver, the same

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Speaker 1: place as Elvis in Vancouver, and uh and uh it's

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Speaker 1: uh it picked sides in those days. To me, the

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Speaker 1: Beatles were a girls group because I'm listening to she

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Speaker 1: Loves You, yeah, yeah, yeah, you know and and all

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Speaker 1: this stuff, and I never bought into it. I went

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Speaker 1: to the show, and I saw it and it was

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Speaker 1: very It was very good actually, with a big bill

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Speaker 1: like Jackie Deshat and and Exciters and all these other

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Speaker 1: hecks on it. It was It was a good show

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Speaker 1: and everything else. But I wasn't a Beatles fan, so

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Speaker 1: I really can't speak about the Beatles with that much intelligence. Okay,

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Speaker 1: So in high school when you become a big music fan,

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Speaker 1: is it mostly the radio or do you have records

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Speaker 1: to how do you feed your addiction? Definitely the radio

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Speaker 1: and all the time. And I bought albums continually, and

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Speaker 1: I still have all those albums downstairs I got. I

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Speaker 1: got them in my in my office downstairs, in the

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Speaker 1: basement of this building. And there's about I would say

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Speaker 1: now because I get in some away, probably not not

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Speaker 1: that men. Seven thousand albums down there, and you know

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Speaker 1: what I'm doing right now to Bob, which is amazing.

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Speaker 1: I got all these c ds. I got twenties seven CDs,

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Speaker 1: and I'm sitting there and I'm going through them every day.

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Speaker 1: I put them in a in a when I'm up

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Speaker 1: around the house walking around, I put it in a stacker.

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Speaker 1: I got a twenty c D stacker and it kicks

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Speaker 1: these things out and I'm playing them in an order,

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Speaker 1: just as all. It's all alphabetical in my in my

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Speaker 1: the way I stack all my CDs in my host.

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Speaker 1: But it's really funny because my girlfriend sits there and said,

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Speaker 1: what are we on now? He said, this is gonna

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Speaker 1: be a long chapter. This is miscellaneous, this is this

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Speaker 1: is this is all the greatest hit stuff that come

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Speaker 1: in the great of the deep soul stuff from Dave

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Speaker 1: Girl and and those guys you know who did those

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Speaker 1: great soul albums under the UK. I've playing all that

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Speaker 1: stuff now, and I'll play one after the other right now,

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Speaker 1: mane is I've only at the ms that I've been

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Speaker 1: starting since the beginning of the year, and it's, uh,

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Speaker 1: it's it's kind of neat to hear that old stuff,

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Speaker 1: and I'm gonna hang onto it. I certainly have hung

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Speaker 1: on to all my stuff. I have all my vinyl

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Speaker 1: from the beginning, a little scratched up. But does this

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Speaker 1: music you said, you're going literally from me to Z

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Speaker 1: how much of it holds up? And how much of

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Speaker 1: you say? Well, that was a period thing and I

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Speaker 1: liked it then, but it's really not that good now

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Speaker 1: I have I have I have a chopping bag in there, Bob.

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Speaker 1: And when I don't like the CD, and I'm never

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Speaker 1: going to play it again because I know I'm not

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Speaker 1: now into the bag it goes. Okay, I am cutting

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Speaker 1: it back that much. But I looked at it today

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Speaker 1: and uh before I came down here, and I got

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Speaker 1: it probably about fifty in there. And I think we're

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Speaker 1: going to convert him into uh, they'll be hanging up

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Speaker 1: in a tree. I gotta decorate this tree outdoors for charity,

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Speaker 1: and I think there's gonna be all these old CDs

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Speaker 1: spinning around up there. Okay, So let's go back to

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Speaker 1: you were mentioned you graduating from high school. Is there

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Speaker 1: any thought how good a student are you in school?

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Speaker 1: I passed, okay, So there was never a thought of

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Speaker 1: going to college or any education beyond that. No. You see,

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Speaker 1: I went right to work with the Canadian ken Worth

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Speaker 1: too um uh to actually to be honest, to get money.

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Speaker 1: And of course when you start that building trucks, and

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Speaker 1: I was welding trucks and truck cabs and stuff like that.

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Speaker 1: I did it for a couple of years and I

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Speaker 1: really liked the money. I'd handing money before this is fantastic.

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Speaker 1: Got my money, I got I got a car. All

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Speaker 1: the kids who went to school, they got no car.

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Speaker 1: I got a car. I got time to go out

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Speaker 1: there and do go to things I wanted to do.

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Speaker 1: And then all of a sudden, the guys on the

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Speaker 1: line said to me, listen you and do more than this.

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Speaker 1: You don't want to stay here. You're like twenty years old.

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Speaker 1: I've been here for forty years. Believe me. I know

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Speaker 1: you like the money, but get out of here. Get

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Speaker 1: out of here, go to school. You're not stupid. Get

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Speaker 1: to go to school. So I signed up to go

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Speaker 1: to university and I went uh one year, I got

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Speaker 1: the second year, and I started a third year. And

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Speaker 1: that's when I A guy came up to a football

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Speaker 1: player owned a club in Vancouver. He knew my love

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Speaker 1: of music, and he said, listen, I got this new

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Speaker 1: band from Hong Kong, White guys with uh Hong Kong

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Speaker 1: Chinese drummer. And he said, I'll let you take a

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Speaker 1: look at him, because I think that can really happen.

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Speaker 1: But they don't know what to do, they don't know

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Speaker 1: how to act in this and that. And I walked

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Speaker 1: in there, Bob, and it was they were a Beatles band.

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Speaker 1: So here I am the guys playing English music, Scott Walker,

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Speaker 1: the Walker Brothers, Okay, the Hollies, all this stuff, and

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Speaker 1: I said there, wow. I mean I'm not a fan

360
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Speaker 1: of this stuff. But the guy says, can you help

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Speaker 1: them out because if you go to all the show's

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Speaker 1: boost turn these guys into some kind of an act

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Speaker 1: on stage. And I said yeah, okay, And I mean,

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00:17:06,520 --> 00:17:08,359
Speaker 1: you know, they did other songs too, but basically they

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00:17:08,400 --> 00:17:10,919
Speaker 1: played a lot of English music. And I brought up

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Speaker 1: in a town where it was the R and B bands,

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Speaker 1: mostly white white bands with black front men, and uh,

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Speaker 1: all of a sudden, there this this club when we

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00:17:18,880 --> 00:17:20,920
Speaker 1: started working on like that started to take off because

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00:17:20,960 --> 00:17:22,840
Speaker 1: they were playing the music that was really coming up

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Speaker 1: and the other clubs weren't. And I took that band

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Speaker 1: called the Five Man Cargo, and I remember I got

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Speaker 1: a chance to go to Chicago with a band called

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Speaker 1: the Mob, which was that comes some guys from the

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00:17:35,480 --> 00:17:39,160
Speaker 1: Bucking Hands, kind of a drag guys, and also Wayne

376
00:17:39,200 --> 00:17:42,480
Speaker 1: Cocher and the CC Riders who you heard of, and

377
00:17:43,720 --> 00:17:46,440
Speaker 1: ended up playing these bowling alleies in and they play

378
00:17:46,440 --> 00:17:50,840
Speaker 1: in bowling alleys in Chicago, and I thought, I don't

379
00:17:50,840 --> 00:17:53,040
Speaker 1: want to redo this, and we went back to Vancouver

380
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Speaker 1: and I took that band and I started a booking

381
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Speaker 1: agency and I booked it myself and managed them. And

382
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Speaker 1: then all of a sudden, as club owners do, they

383
00:18:02,280 --> 00:18:05,480
Speaker 1: look around other people in town and say, that gets

384
00:18:05,480 --> 00:18:07,400
Speaker 1: They're really doing good there. But the music we're playing,

385
00:18:07,440 --> 00:18:09,280
Speaker 1: the kids really like that other music. I'm gonna go

386
00:18:09,359 --> 00:18:11,280
Speaker 1: up see if I can get that band. So they

387
00:18:11,359 --> 00:18:12,879
Speaker 1: came to me and they asked, me, if you know,

388
00:18:13,480 --> 00:18:15,000
Speaker 1: would you take these guys out of here and put

389
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Speaker 1: them I'd like to bring them my club. What are

390
00:18:16,560 --> 00:18:18,399
Speaker 1: you're making and say, okay, well we'll pay you more,

391
00:18:18,480 --> 00:18:22,639
Speaker 1: you know the drill and uh. I said okay, but

392
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Speaker 1: I'll tell you what. Because I kind of was an

393
00:18:24,880 --> 00:18:26,840
Speaker 1: economics major in school, I was going to be one.

394
00:18:26,840 --> 00:18:28,560
Speaker 1: I thought I would turn into Jimmy Hoffa, but I

395
00:18:28,640 --> 00:18:32,439
Speaker 1: said listen. I said, I'll come to your club if

396
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Speaker 1: I can get out of this one. And I said,

397
00:18:34,160 --> 00:18:36,000
Speaker 1: but here's the deal. I gotta pull this band out

398
00:18:36,040 --> 00:18:38,000
Speaker 1: of here and I'm gonna put another one in here.

399
00:18:38,160 --> 00:18:39,760
Speaker 1: But when I come to your club with this band,

400
00:18:39,800 --> 00:18:41,680
Speaker 1: I'd like to have the booking rights for that club

401
00:18:42,200 --> 00:18:45,040
Speaker 1: for the rest of the year, and the guy made

402
00:18:45,080 --> 00:18:47,560
Speaker 1: the deal. And I did that quite a bit, moving

403
00:18:47,600 --> 00:18:49,679
Speaker 1: these couple of bands I had by that time around.

404
00:18:50,480 --> 00:18:52,640
Speaker 1: And by the time that Bato came into town looking

405
00:18:52,680 --> 00:18:54,760
Speaker 1: for work because Randy got you know, left the guests

406
00:18:54,760 --> 00:18:56,760
Speaker 1: who and he couldn't they didn't, he couldn't get any work.

407
00:18:56,800 --> 00:18:58,920
Speaker 1: He came to the West coast because I hadn't locked

408
00:18:58,960 --> 00:19:02,320
Speaker 1: up at that time, I had seventeen clubs downtown, and

409
00:19:02,400 --> 00:19:05,159
Speaker 1: I mean downtown in that time. At that time, in

410
00:19:05,200 --> 00:19:09,560
Speaker 1: the early seventies, bands are making two thousand dollars a week. Okay.

411
00:19:09,600 --> 00:19:12,399
Speaker 1: They don't make that anymore, okay, And so I had

412
00:19:12,480 --> 00:19:15,159
Speaker 1: this booking agency and that's how Randy Backman and I met,

413
00:19:15,200 --> 00:19:17,000
Speaker 1: and that's when I started to move away from the

414
00:19:17,080 --> 00:19:21,400
Speaker 1: agency and into the management side. Okay, let's slow down

415
00:19:21,400 --> 00:19:23,200
Speaker 1: and go back to the beginning. You knew the football

416
00:19:23,240 --> 00:19:25,920
Speaker 1: player hooked you up with the band, he owned a club.

417
00:19:27,080 --> 00:19:30,560
Speaker 1: What was your role in that first club. My only

418
00:19:30,720 --> 00:19:33,639
Speaker 1: role was looking after that band and getting them to

419
00:19:33,720 --> 00:19:37,560
Speaker 1: turn them into a real performing act. That was it. Okay,

420
00:19:37,640 --> 00:19:40,280
Speaker 1: No no relationship to the club at all, just just

421
00:19:40,440 --> 00:19:43,960
Speaker 1: to help with that music. So when you had seventeen clubs,

422
00:19:44,320 --> 00:19:47,080
Speaker 1: you were essentially the agent. You weren't an owner in

423
00:19:47,160 --> 00:19:50,480
Speaker 1: any of those clubs. No, I was not okay. When

424
00:19:50,600 --> 00:19:54,760
Speaker 1: you had seventeen bands, were they all local bands or

425
00:19:54,800 --> 00:19:58,320
Speaker 1: did you represent anybody outside of the Vancouver area. I

426
00:19:58,400 --> 00:20:00,040
Speaker 1: had it locked up so that people who want to

427
00:20:00,080 --> 00:20:02,440
Speaker 1: play in Vancouver, because it was a very valuable market,

428
00:20:02,520 --> 00:20:04,399
Speaker 1: came to me and I booked him. But out of

429
00:20:04,440 --> 00:20:06,719
Speaker 1: the seventeen bands will be working on a regular basis,

430
00:20:06,960 --> 00:20:11,600
Speaker 1: at least a dozen of them were Vancouver. Okay, And

431
00:20:12,520 --> 00:20:16,720
Speaker 1: it first it was obviously just yourself. As you got seventeen,

432
00:20:16,840 --> 00:20:19,960
Speaker 1: you know, when you're working seventeen clubs, etcetera, did you

433
00:20:20,080 --> 00:20:22,719
Speaker 1: hire anybody? I just hired an assistant. That's all at

434
00:20:22,760 --> 00:20:25,000
Speaker 1: that time. And you can do it that way. You're

435
00:20:25,040 --> 00:20:27,000
Speaker 1: just booking stuff, You're not you know, that's all you're doing.

436
00:20:27,040 --> 00:20:29,159
Speaker 1: It's not it's it's phone work, to tell you more

437
00:20:29,200 --> 00:20:31,399
Speaker 1: than anything else. I had a deal though. My deal

438
00:20:31,440 --> 00:20:32,879
Speaker 1: with the clubs was I come up there. I can

439
00:20:33,000 --> 00:20:35,920
Speaker 1: collect my money every Saturday night, but I just take

440
00:20:36,040 --> 00:20:38,560
Speaker 1: my money, just put my money separate my ten So

441
00:20:38,680 --> 00:20:40,440
Speaker 1: after chase these bands all over the place to get it.

442
00:20:40,680 --> 00:20:42,479
Speaker 1: So I made straight about Saturday night. I'd hit all

443
00:20:42,520 --> 00:20:45,679
Speaker 1: those places, get my money, and that'd be for the week. Okay.

444
00:20:45,760 --> 00:20:48,520
Speaker 1: Back in that era, you know, the music business was

445
00:20:48,600 --> 00:20:51,000
Speaker 1: a cash business all the way, even you know, up

446
00:20:51,040 --> 00:20:54,920
Speaker 1: through the seventies. So did your you know, nightclubs have

447
00:20:55,080 --> 00:20:59,400
Speaker 1: a checkered history, did you have any problem collecting your money? Um?

448
00:20:59,640 --> 00:21:03,400
Speaker 1: I own I got. I only got stiffed probably once,

449
00:21:03,720 --> 00:21:07,080
Speaker 1: and that's why I pulled my money off early. Okay,

450
00:21:07,160 --> 00:21:09,320
Speaker 1: so the band never really got paid. I got mine

451
00:21:09,400 --> 00:21:11,879
Speaker 1: first in the clubs they went along with, because the

452
00:21:11,880 --> 00:21:14,600
Speaker 1: clubs don't pay bands until they're finished either. So no

453
00:21:14,800 --> 00:21:16,560
Speaker 1: that they say I was making. If the guys making

454
00:21:17,359 --> 00:21:19,480
Speaker 1: can say we only paid me, you're a hundred and

455
00:21:19,520 --> 00:21:21,160
Speaker 1: fifty dollars short. You know, I gave it to the agent.

456
00:21:22,720 --> 00:21:25,080
Speaker 1: So I didn't really have those battles. But we had.

457
00:21:25,200 --> 00:21:27,359
Speaker 1: We had the market really sewn up here well, and

458
00:21:27,400 --> 00:21:31,840
Speaker 1: it was people behaved. I hate. Vancouver is a good

459
00:21:31,880 --> 00:21:34,720
Speaker 1: size city, but seventeen clubs, that's a lot for one

460
00:21:35,480 --> 00:21:38,879
Speaker 1: town to support. Yeah, but I mean a Seattle was

461
00:21:38,920 --> 00:21:42,320
Speaker 1: also very good. Uh. I can tell you know, I

462
00:21:42,359 --> 00:21:44,200
Speaker 1: can go, I can walk down the street in Vancouver

463
00:21:44,400 --> 00:21:47,560
Speaker 1: two blocks that I had eight seven of those clubs

464
00:21:47,680 --> 00:21:51,000
Speaker 1: in two blocks, two and a half blocks. And what

465
00:21:51,240 --> 00:21:56,520
Speaker 1: was driving attendance at those clubs? Music? Everybody was And

466
00:21:56,560 --> 00:21:58,919
Speaker 1: I mean, you know, David Foster played on my circuit.

467
00:21:59,640 --> 00:22:04,600
Speaker 1: Uh you know, uh he lubber Boy was pulled off

468
00:22:04,640 --> 00:22:07,840
Speaker 1: that circuit. Uh back Matron over drive of course before

469
00:22:07,840 --> 00:22:11,080
Speaker 1: their back Matron over drive by Belt. Uh. But some

470
00:22:11,359 --> 00:22:13,520
Speaker 1: most of the big bands in Canada came through there

471
00:22:13,680 --> 00:22:16,359
Speaker 1: and worked on their way up. And uh it was.

472
00:22:16,440 --> 00:22:20,000
Speaker 1: It was a really really strong musical town and great

473
00:22:20,040 --> 00:22:22,280
Speaker 1: great radio too because Red Robinson was here. What he's

474
00:22:22,280 --> 00:22:24,280
Speaker 1: a rock and Roll Hall of Fame disc jockey and

475
00:22:24,400 --> 00:22:25,960
Speaker 1: he had done a lot of work he brought to

476
00:22:26,040 --> 00:22:28,520
Speaker 1: black music up here, and we you know, he knew

477
00:22:28,600 --> 00:22:30,480
Speaker 1: he didn't follow. In those days, you made your own

478
00:22:30,520 --> 00:22:36,000
Speaker 1: top forty Okay, now it sounds like you were working

479
00:22:36,040 --> 00:22:38,600
Speaker 1: around the clock. Were you making good money? Is making

480
00:22:38,640 --> 00:22:41,040
Speaker 1: really good money? I kept my tax returns and I

481
00:22:41,119 --> 00:22:43,560
Speaker 1: looked at him about two years ago. I was doing

482
00:22:43,600 --> 00:22:47,440
Speaker 1: pretty good, you know, in those days, and and and

483
00:22:47,800 --> 00:22:49,480
Speaker 1: and and yeah, but you're young. You can work hard.

484
00:22:49,920 --> 00:22:52,320
Speaker 1: It's not absolutely And get where am I hanging around

485
00:22:52,600 --> 00:22:54,760
Speaker 1: lots of broads, lots of fun, and I'm in the

486
00:22:54,800 --> 00:23:00,239
Speaker 1: clubs big It's not that bad. And then single to right,

487
00:23:00,720 --> 00:23:02,560
Speaker 1: So what happened at school? How do you decide to

488
00:23:02,600 --> 00:23:06,400
Speaker 1: part ways with school? Um? I could I look where

489
00:23:06,400 --> 00:23:08,399
Speaker 1: I was going and what I was thinking of majoring in.

490
00:23:08,480 --> 00:23:10,439
Speaker 1: I could see the end of the road. I can

491
00:23:10,480 --> 00:23:12,439
Speaker 1: see you stay here, You'll be making fifty grandy here,

492
00:23:12,480 --> 00:23:14,800
Speaker 1: that's about far. How far are you're doing? And you'll

493
00:23:14,840 --> 00:23:16,680
Speaker 1: have a nice wife and two kids. You're living in

494
00:23:16,720 --> 00:23:18,720
Speaker 1: the suburbs. And and I just said no, I'm not

495
00:23:18,760 --> 00:23:20,760
Speaker 1: going to do it. And I just quit that quick

496
00:23:20,800 --> 00:23:24,240
Speaker 1: school and just went to music full time. Okay, so

497
00:23:24,400 --> 00:23:27,520
Speaker 1: the guests who breaks up? So what exact year does

498
00:23:27,680 --> 00:23:30,159
Speaker 1: Randy Backman track you down? And what does that look like?

499
00:23:31,320 --> 00:23:33,600
Speaker 1: He phones me up and he says, introduced himself and

500
00:23:33,680 --> 00:23:35,920
Speaker 1: the Brandy back And says, I know Randy, you know

501
00:23:35,960 --> 00:23:38,280
Speaker 1: who you are. He said, listen, Um, I got a

502
00:23:38,320 --> 00:23:41,560
Speaker 1: band together and I'm paying everybody. It's my brother and

503
00:23:41,760 --> 00:23:44,879
Speaker 1: to my brother's a manager, and uh, he says, the

504
00:23:45,000 --> 00:23:48,040
Speaker 1: bad guitar players is my brother and Fred Turner. I

505
00:23:48,080 --> 00:23:50,440
Speaker 1: got this guy called Fred Turner can really singing my drummers,

506
00:23:50,520 --> 00:23:54,040
Speaker 1: my other brother, and uh, I'm I'm looking after everybody,

507
00:23:54,040 --> 00:23:56,000
Speaker 1: he says, But I can't work and I need some work.

508
00:23:56,040 --> 00:23:58,040
Speaker 1: And I know you got that market side up, science

509
00:23:58,680 --> 00:24:01,239
Speaker 1: sealed up. So what's the chance that can I work

510
00:24:01,280 --> 00:24:04,720
Speaker 1: in the area? And I thought, Randy Backman on the guests,

511
00:24:04,720 --> 00:24:07,600
Speaker 1: who was all the songs that they've done, Surely to god,

512
00:24:07,640 --> 00:24:10,240
Speaker 1: he's gonna come here and I get him to Yeah,

513
00:24:10,440 --> 00:24:12,680
Speaker 1: and I'll probably come here and he'll play the guest

514
00:24:12,720 --> 00:24:15,720
Speaker 1: whose songs? Why wouldn't he And he'll it's got to

515
00:24:15,720 --> 00:24:18,399
Speaker 1: be good. Randy Backman's a name in our country. And

516
00:24:18,600 --> 00:24:20,399
Speaker 1: so I said, I'd like to see and he says, well,

517
00:24:20,440 --> 00:24:22,480
Speaker 1: we got a job at Fort McMurray. That's the oil

518
00:24:22,560 --> 00:24:25,360
Speaker 1: fields up north of Edmonton. He says, a nice, I'll

519
00:24:25,400 --> 00:24:27,240
Speaker 1: fly up there to see you. So I went up

520
00:24:27,240 --> 00:24:29,040
Speaker 1: there and it was really good. It was really good.

521
00:24:29,080 --> 00:24:31,359
Speaker 1: I mean, he sang all the right songs. He's you know,

522
00:24:31,560 --> 00:24:34,280
Speaker 1: they covered Burton's ass with his brothers and they got

523
00:24:34,320 --> 00:24:36,840
Speaker 1: it done. And I brought him into the clubs, and

524
00:24:36,960 --> 00:24:38,399
Speaker 1: of course he didn't want to be in the clubs,

525
00:24:38,440 --> 00:24:40,080
Speaker 1: but he just wanted to get up the boys off

526
00:24:40,119 --> 00:24:42,600
Speaker 1: the payroll. So he wanted to get some steady money

527
00:24:42,680 --> 00:24:47,159
Speaker 1: coming in. But he um he was working on another record.

528
00:24:47,359 --> 00:24:49,160
Speaker 1: Brave Belt was the name of the band at that time.

529
00:24:50,080 --> 00:24:54,440
Speaker 1: The band, the record came out, didn't do anything. He

530
00:24:54,520 --> 00:24:58,200
Speaker 1: started on another record and uh it was. It was

531
00:24:58,280 --> 00:25:00,600
Speaker 1: the first actually turned into the first Beach Yeo record.

532
00:25:01,520 --> 00:25:03,399
Speaker 1: And he came to me and he said, what are

533
00:25:03,400 --> 00:25:05,160
Speaker 1: you think? And I said, this is a good Randy.

534
00:25:05,880 --> 00:25:07,120
Speaker 1: I says, what are you gonna who are you gonna

535
00:25:07,119 --> 00:25:10,200
Speaker 1: get to manage you? And he said, well, listen, would

536
00:25:10,200 --> 00:25:13,720
Speaker 1: you be interested in it? And he said, you know

537
00:25:13,880 --> 00:25:15,960
Speaker 1: more about managing a band than I do. I mean,

538
00:25:16,080 --> 00:25:18,119
Speaker 1: what do I know? I've been sitting in Vancouver but

539
00:25:18,160 --> 00:25:20,119
Speaker 1: all the time doing this, right, You know how to

540
00:25:20,200 --> 00:25:22,440
Speaker 1: manage a band, Randy, He says, yeah, but I don't

541
00:25:22,480 --> 00:25:23,880
Speaker 1: know how to go in there all the time saying

542
00:25:23,920 --> 00:25:26,800
Speaker 1: I want, I want, I want, I want. He says,

543
00:25:26,840 --> 00:25:29,199
Speaker 1: So I think you can do it. I said okay.

544
00:25:29,359 --> 00:25:32,399
Speaker 1: So I said, okay, let's give it a go. I

545
00:25:32,440 --> 00:25:34,440
Speaker 1: had to get somebody to come in to work on

546
00:25:34,520 --> 00:25:36,720
Speaker 1: my agency, and Sam Feldman, who's a friend of mine

547
00:25:36,800 --> 00:25:38,760
Speaker 1: and worked at the different clubs, and he had a

548
00:25:38,880 --> 00:25:42,119
Speaker 1: small book and agency of different bands, mora alternative that

549
00:25:42,160 --> 00:25:44,879
Speaker 1: I wasn't really that interested in the club circuit. And

550
00:25:45,280 --> 00:25:48,159
Speaker 1: he said, I said, Samwich, like, come in. I might

551
00:25:48,240 --> 00:25:50,040
Speaker 1: have to leave it like to get you bring into

552
00:25:50,080 --> 00:25:53,640
Speaker 1: the company. And I said, it's funny thing as I said.

553
00:25:54,119 --> 00:25:56,560
Speaker 1: He said, well, okay, but what are you gonna pay me?

554
00:25:56,600 --> 00:25:59,359
Speaker 1: I said, well, listen, I don't know what's going to

555
00:25:59,440 --> 00:26:02,080
Speaker 1: happen here. You take care of this. I'll look after you.

556
00:26:02,160 --> 00:26:03,800
Speaker 1: Blah blah. We'll split it up here, you know, we'll

557
00:26:03,840 --> 00:26:06,239
Speaker 1: just split it, okay, because I thought I could hang

558
00:26:06,280 --> 00:26:08,280
Speaker 1: on to his bands. I got my bands. I'll take

559
00:26:08,320 --> 00:26:12,320
Speaker 1: this shot. But because I knew if Backman Overdrive failed,

560
00:26:13,080 --> 00:26:16,240
Speaker 1: I'd come back and be gone anyway, so you know,

561
00:26:16,359 --> 00:26:20,000
Speaker 1: because let's face it. So anyway, we went up to Randy.

562
00:26:20,080 --> 00:26:22,280
Speaker 1: We took out the record and got turned down. But wait, wait, wait, wait,

563
00:26:22,280 --> 00:26:24,520
Speaker 1: wait a little bit slower. Yeah, so you made that

564
00:26:24,720 --> 00:26:28,639
Speaker 1: deal with Sam yea and did you give him fifty

565
00:26:29,240 --> 00:26:32,840
Speaker 1: of Backman at that point of your interest the mind? No, No,

566
00:26:33,280 --> 00:26:37,800
Speaker 1: so it was only okay. So they okay, so tell

567
00:26:37,840 --> 00:26:40,040
Speaker 1: me go back to the record. So so we get

568
00:26:40,080 --> 00:26:42,720
Speaker 1: the record finished, and we go to shop and off

569
00:26:42,800 --> 00:26:45,240
Speaker 1: we go. We go to New York, we get turned down.

570
00:26:45,560 --> 00:26:49,199
Speaker 1: We go to to uh Los Angeles, we got turned down.

571
00:26:49,320 --> 00:26:51,320
Speaker 1: Randy will say in his book, I don't think he's

572
00:26:51,320 --> 00:26:53,160
Speaker 1: that many, but he said, we got down turned down

573
00:26:53,200 --> 00:26:55,960
Speaker 1: by twenty seven record companies, which is probably pretty close.

574
00:26:57,119 --> 00:26:59,960
Speaker 1: And uh so, all of a sudden, we got a

575
00:27:00,000 --> 00:27:02,280
Speaker 1: phone call and we didn't even go to this place,

576
00:27:02,680 --> 00:27:05,680
Speaker 1: from a guy called Charlie Fash, working Mercury Records in Chicago.

577
00:27:06,400 --> 00:27:08,000
Speaker 1: Of course we didn't go to Chicago. We didn't think

578
00:27:08,000 --> 00:27:10,600
Speaker 1: of any labels in Chicago. But he came. He said, listen,

579
00:27:10,640 --> 00:27:12,200
Speaker 1: I've heard this record. Could I come out and see

580
00:27:12,240 --> 00:27:16,320
Speaker 1: you guys? So I said, we said okay. Out came

581
00:27:16,400 --> 00:27:21,159
Speaker 1: Charlie Fash and he said, you know this record, this

582
00:27:21,320 --> 00:27:24,040
Speaker 1: record is really close. He said, but if you can

583
00:27:24,080 --> 00:27:26,879
Speaker 1: just get me, I think maybe you're a song or

584
00:27:26,960 --> 00:27:30,240
Speaker 1: too short. And Randy went back. He said okay, and

585
00:27:30,600 --> 00:27:33,560
Speaker 1: we started working on some stuff and sent it back

586
00:27:33,600 --> 00:27:36,640
Speaker 1: to Charlie and Charlie said, I'm gonna sign you guys.

587
00:27:38,320 --> 00:27:42,760
Speaker 1: So he signed us. Now, Randy, that's what he wants.

588
00:27:42,800 --> 00:27:43,920
Speaker 1: He just he wanted to get he didn't want to

589
00:27:43,920 --> 00:27:46,040
Speaker 1: be a Canadian guy stuck up in Canna, so we

590
00:27:46,160 --> 00:27:49,080
Speaker 1: signed to them for whatever the deal was. Alan stein Or,

591
00:27:49,200 --> 00:27:52,040
Speaker 1: a lawyer in New York who ready had used before,

592
00:27:52,200 --> 00:27:53,960
Speaker 1: took care of the deal. So we were signed to

593
00:27:54,040 --> 00:27:58,760
Speaker 1: Mercury Records. And Randy said, listen, if we gotta we're

594
00:27:58,760 --> 00:28:00,480
Speaker 1: gonna break this record, we gotta go on the road.

595
00:28:01,440 --> 00:28:03,600
Speaker 1: That's how you do it, and that's how you did it, okay.

596
00:28:03,720 --> 00:28:07,760
Speaker 1: And I could see it was really funny because I

597
00:28:07,960 --> 00:28:12,880
Speaker 1: was Randy. Randy Backman didn't want to travel in buses

598
00:28:13,680 --> 00:28:16,200
Speaker 1: because he remembers one time he said, I was coming

599
00:28:16,240 --> 00:28:18,119
Speaker 1: into a down a hill into revel Stoke, which is

600
00:28:18,160 --> 00:28:21,879
Speaker 1: a scheme country in in Vancouver in the BC, and

601
00:28:21,960 --> 00:28:24,280
Speaker 1: the brakes failed and he said we had to go

602
00:28:24,920 --> 00:28:28,720
Speaker 1: down there. The roady guy kept the thing on the

603
00:28:28,800 --> 00:28:30,680
Speaker 1: course as best as he could, try to slow it

604
00:28:30,720 --> 00:28:32,720
Speaker 1: down by shift down, shifting everything else. We came to

605
00:28:32,760 --> 00:28:34,800
Speaker 1: the spot and he said, jump out. I remember hanging

606
00:28:34,840 --> 00:28:36,760
Speaker 1: out of my guitar and jumping into a snow bank.

607
00:28:37,440 --> 00:28:38,720
Speaker 1: He said, So I never wanted to be on a

608
00:28:38,760 --> 00:28:41,640
Speaker 1: bus again. So we drove. We drove everything. I drove

609
00:28:41,680 --> 00:28:45,120
Speaker 1: across back and forth across the USA six times, and

610
00:28:46,400 --> 00:28:48,680
Speaker 1: he it was me and him in the front and

611
00:28:48,760 --> 00:28:51,480
Speaker 1: three guys in the back of a car and and

612
00:28:51,760 --> 00:28:54,920
Speaker 1: with our stuff piled up, not our equipment, but our clothes,

613
00:28:55,000 --> 00:28:58,560
Speaker 1: our suitcases. That and you know, it was the best

614
00:28:58,640 --> 00:29:02,400
Speaker 1: thing I ever did, because I would never missed one show.

615
00:29:03,360 --> 00:29:04,920
Speaker 1: You know, in those days, we had two trees on

616
00:29:05,000 --> 00:29:07,720
Speaker 1: the side, some kind of and all the p a

617
00:29:07,800 --> 00:29:10,560
Speaker 1: stacked on the stage. So I get bored, I'd call

618
00:29:10,600 --> 00:29:12,960
Speaker 1: the lights. I do the lights, you know, become fill

619
00:29:13,040 --> 00:29:15,360
Speaker 1: up the day, take my money and go to the

620
00:29:15,440 --> 00:29:17,800
Speaker 1: next city. And we did that for years until we broke.

621
00:29:17,880 --> 00:29:21,320
Speaker 1: And we when we broke, it really broke because the

622
00:29:21,760 --> 00:29:25,040
Speaker 1: Mercury Records they focused and focused on that act we were.

623
00:29:25,120 --> 00:29:28,040
Speaker 1: I was. I was one of the big big acts

624
00:29:28,080 --> 00:29:30,440
Speaker 1: on a very small label. You can't beat it, sorry,

625
00:29:30,480 --> 00:29:32,800
Speaker 1: on a major. No, it wasn't not a major, Bob,

626
00:29:32,840 --> 00:29:36,360
Speaker 1: It's a mid major. And we they did a great

627
00:29:36,440 --> 00:29:38,560
Speaker 1: job for us. And you know, it's really funny because

628
00:29:38,920 --> 00:29:40,960
Speaker 1: I remember the guy, when the guy who came in there,

629
00:29:41,760 --> 00:29:43,800
Speaker 1: he was a new genius. He was a guy who

630
00:29:43,840 --> 00:29:45,960
Speaker 1: got great marks in college and had a college radio.

631
00:29:46,200 --> 00:29:49,040
Speaker 1: He walked into that radio into that company, and that's

632
00:29:49,080 --> 00:29:54,200
Speaker 1: where I met Cliff burnsday. Of course, of course, let's

633
00:29:54,640 --> 00:29:57,080
Speaker 1: have a big act by that. Let's go back a

634
00:29:57,120 --> 00:30:00,640
Speaker 1: little bit. Um, did you have paper with beat eo? No?

635
00:30:01,800 --> 00:30:05,280
Speaker 1: Do you have paper with your acts today? No? Okay?

636
00:30:05,840 --> 00:30:09,480
Speaker 1: And if you ever had a situation, I don't know

637
00:30:09,720 --> 00:30:14,040
Speaker 1: in the acts ever leave you? Um No, not any

638
00:30:14,080 --> 00:30:16,840
Speaker 1: big act that I've ever had. Um. I don't even

639
00:30:16,880 --> 00:30:22,240
Speaker 1: think a small act did. But uh, the only act,

640
00:30:22,720 --> 00:30:27,960
Speaker 1: the only act that that I I stopped and I

641
00:30:30,000 --> 00:30:33,520
Speaker 1: she she didn't leave as I did, and I only

642
00:30:33,600 --> 00:30:37,280
Speaker 1: did it. I had my reasons for doing it, but

643
00:30:37,680 --> 00:30:39,560
Speaker 1: I love doing it. I missed doing it. I was

644
00:30:39,600 --> 00:30:42,320
Speaker 1: in Martina McBride in the country music business, and we

645
00:30:42,400 --> 00:30:44,800
Speaker 1: did a good job with her. She's got you know.

646
00:30:44,960 --> 00:30:47,880
Speaker 1: She she was second to Reba McIntyre when I left

647
00:30:47,920 --> 00:30:50,760
Speaker 1: it on top of thirty radio top thirty records in

648
00:30:50,800 --> 00:30:54,760
Speaker 1: country business, in the country business, and I just felt

649
00:30:55,080 --> 00:31:01,000
Speaker 1: that I was managing two people, managing her and has

650
00:31:01,080 --> 00:31:04,280
Speaker 1: managed her husband and her husband's a lovely guy. But boy,

651
00:31:04,320 --> 00:31:07,320
Speaker 1: it's difficult. And um, you know, I always used to

652
00:31:07,360 --> 00:31:09,640
Speaker 1: say to my assistant, used say, she's how is it?

653
00:31:09,680 --> 00:31:12,040
Speaker 1: I says, the meeting is great, but as I drove

654
00:31:12,080 --> 00:31:14,480
Speaker 1: away from the house, I know there's always one more meeting,

655
00:31:16,240 --> 00:31:19,320
Speaker 1: and you know, and and sometimes I'm not I'm not

656
00:31:19,400 --> 00:31:21,520
Speaker 1: knocking women marrying guys and bands and they really don't

657
00:31:21,520 --> 00:31:24,160
Speaker 1: bother me. But I mean, that was a difficult one.

658
00:31:24,200 --> 00:31:26,640
Speaker 1: That was a woman in the first place, and a husband,

659
00:31:27,360 --> 00:31:31,840
Speaker 1: and I I could see myself nearly in that same situation,

660
00:31:32,240 --> 00:31:36,080
Speaker 1: because all of a sudden, she's exploding and you're mare

661
00:31:36,080 --> 00:31:37,800
Speaker 1: illegal what you want to be involved? You want to

662
00:31:37,800 --> 00:31:39,560
Speaker 1: do this? And John was a smart, smart guy. You

663
00:31:39,640 --> 00:31:41,840
Speaker 1: ran a good sound company. He was a smart guy.

664
00:31:42,480 --> 00:31:45,680
Speaker 1: But just just too many phone calls, too many phone calls. Well,

665
00:31:45,800 --> 00:31:48,040
Speaker 1: certainly those of us who have gotten midnight phone calls

666
00:31:48,080 --> 00:31:57,720
Speaker 1: from John at length, you certainly no, let's go back. Okay,

667
00:31:57,760 --> 00:32:01,000
Speaker 1: A lot of very big acts at this late date,

668
00:32:01,040 --> 00:32:03,480
Speaker 1: when they become that big, they asked for reduction in

669
00:32:03,880 --> 00:32:09,160
Speaker 1: management percentage. Has that been your experience? No, I'll tell

670
00:32:09,200 --> 00:32:14,640
Speaker 1: you why I take it. I take of these bands.

671
00:32:15,560 --> 00:32:20,320
Speaker 1: I take after the agents. Money is gone. I take

672
00:32:21,280 --> 00:32:24,120
Speaker 1: after the sound of lights. Basic sound of lights is gone.

673
00:32:25,120 --> 00:32:28,240
Speaker 1: I don't believe in commissioning stuff that they don't even

674
00:32:28,280 --> 00:32:32,800
Speaker 1: see it's just flow through. Money's gone. Okay, I don't

675
00:32:32,840 --> 00:32:36,840
Speaker 1: work with business managers. Okay, we look after all their money.

676
00:32:37,560 --> 00:32:39,320
Speaker 1: We take care of all the money. We don't we

677
00:32:39,680 --> 00:32:41,719
Speaker 1: take care of the mines to take care of all

678
00:32:41,760 --> 00:32:44,520
Speaker 1: the money. To the point where here's the money, here's

679
00:32:44,560 --> 00:32:47,520
Speaker 1: your money, here's my money. And I think it's their

680
00:32:47,600 --> 00:32:50,880
Speaker 1: job to get a tax problem. I just have my

681
00:32:51,000 --> 00:32:52,560
Speaker 1: job to get them a tax problem. They got to

682
00:32:52,600 --> 00:32:55,360
Speaker 1: solve it. So I've never worked with business managers, which

683
00:32:55,480 --> 00:33:00,880
Speaker 1: I find I'm not. I just find it they get

684
00:33:00,880 --> 00:33:05,480
Speaker 1: involved where areas they shouldn't. Okay, So well, just to

685
00:33:05,560 --> 00:33:08,760
Speaker 1: go this deep, will you give any investment advice to

686
00:33:08,880 --> 00:33:12,840
Speaker 1: some of these bands? Okay, let's go back to bt O.

687
00:33:12,960 --> 00:33:15,440
Speaker 1: It goes from Brave Belt goes to bt O. First

688
00:33:15,480 --> 00:33:17,760
Speaker 1: album comes out. I know where the track is blue Collar.

689
00:33:18,560 --> 00:33:21,280
Speaker 1: That's the one that the single. Yet that gets some

690
00:33:21,520 --> 00:33:25,080
Speaker 1: regional play such it in the Midwest. It's successful, not

691
00:33:25,240 --> 00:33:28,920
Speaker 1: really successful. We certainly the East goes the second album

692
00:33:29,200 --> 00:33:35,320
Speaker 1: has taken care of business. Actually I had uh no,

693
00:33:35,440 --> 00:33:37,080
Speaker 1: that's it's it's not the first big track. The big

694
00:33:37,120 --> 00:33:41,400
Speaker 1: track that first was uh ain't seen nothing yet? No, no,

695
00:33:41,800 --> 00:33:46,120
Speaker 1: uh that was right right, let it ride, of course,

696
00:33:46,240 --> 00:33:51,200
Speaker 1: of course. Okay, So when you had let it ride

697
00:33:51,800 --> 00:33:54,320
Speaker 1: and you had taken care of business, did you know

698
00:33:54,600 --> 00:34:02,320
Speaker 1: you had gold? I knew, I knew we had. It

699
00:34:02,480 --> 00:34:05,000
Speaker 1: was letter ride and then take care yea, yeah, I

700
00:34:05,320 --> 00:34:07,720
Speaker 1: knew it was gonna happen, okay, And I made it

701
00:34:07,800 --> 00:34:10,759
Speaker 1: another what I call smart move. I had everybody wanting

702
00:34:10,800 --> 00:34:13,520
Speaker 1: to book them and do stuff. And I went to

703
00:34:13,560 --> 00:34:18,640
Speaker 1: an independent who had only zz top and he came

704
00:34:18,680 --> 00:34:21,399
Speaker 1: and he wanted to say, listen, I like it. I'd

705
00:34:21,440 --> 00:34:23,000
Speaker 1: like to get involved with you. And we got involved.

706
00:34:23,040 --> 00:34:27,040
Speaker 1: I did some dates and early early with at those times,

707
00:34:27,120 --> 00:34:30,360
Speaker 1: concerts West and stuff like that. I did some shows

708
00:34:30,400 --> 00:34:32,440
Speaker 1: at those people, and all of a sudden, I just

709
00:34:32,800 --> 00:34:35,400
Speaker 1: I was having trouble because there's no consistency. I was

710
00:34:35,440 --> 00:34:37,600
Speaker 1: moving back and forth between a bunch of promoters. And

711
00:34:37,640 --> 00:34:40,239
Speaker 1: I remember talking to Don Fox, who ended up with

712
00:34:40,320 --> 00:34:42,759
Speaker 1: and I was sitting in a we didn't have cell phones.

713
00:34:42,840 --> 00:34:44,959
Speaker 1: I was sitting in a phone booth talking to people,

714
00:34:45,320 --> 00:34:48,080
Speaker 1: and I got in this argument and he said, why

715
00:34:48,120 --> 00:34:50,600
Speaker 1: do you put up with that ship? With what the why? Why? What?

716
00:34:50,800 --> 00:34:52,200
Speaker 1: Why are you putting up with that? It was something

717
00:34:52,239 --> 00:34:55,399
Speaker 1: you know some promoters somewhere, and I said, you know, Donn,

718
00:34:55,440 --> 00:34:57,480
Speaker 1: You're right, And remember taking the phone book always reminds

719
00:34:57,480 --> 00:34:58,880
Speaker 1: me of taking the phone book, and I grabbed the thing.

720
00:34:58,960 --> 00:35:01,200
Speaker 1: We had all the area code ages and I went like,

721
00:35:02,120 --> 00:35:04,719
Speaker 1: here's your territory, now take care of it. Give him

722
00:35:04,719 --> 00:35:09,120
Speaker 1: the whole territory in the United States. Okay. So prior

723
00:35:09,360 --> 00:35:13,080
Speaker 1: to don Fox, you didn't you were the agent for

724
00:35:13,160 --> 00:35:15,680
Speaker 1: the band. No, I was signed with C I was

725
00:35:15,719 --> 00:35:18,320
Speaker 1: signed with. This is great too, because I was signed

726
00:35:18,360 --> 00:35:20,680
Speaker 1: with the guy I couldn't get. Agencies weren't really that

727
00:35:20,760 --> 00:35:23,160
Speaker 1: interested as when we started. I sat a guy named

728
00:35:23,160 --> 00:35:25,400
Speaker 1: Paul Smith, I forget the name of the agency, and

729
00:35:25,440 --> 00:35:27,080
Speaker 1: he used to work for Colonel Parker. And that's how

730
00:35:27,120 --> 00:35:29,920
Speaker 1: I got to meet Elvis Presley. So I didn't know

731
00:35:30,000 --> 00:35:32,680
Speaker 1: you met Elvis? Oh yeah, who was that? Well what

732
00:35:32,800 --> 00:35:38,120
Speaker 1: happened there with Backman Turner Overdrive? Because but tell me, okay,

733
00:35:38,200 --> 00:35:41,840
Speaker 1: keep going. So Paul Smith was this agent for me

734
00:35:41,960 --> 00:35:43,960
Speaker 1: in a small agency and I can't remember the name, Bob,

735
00:35:44,000 --> 00:35:47,640
Speaker 1: I'm sorry, but um he told me these stories about

736
00:35:47,680 --> 00:35:51,719
Speaker 1: working for Colonel Parker. And so when Backmin Turnover Drive

737
00:35:51,840 --> 00:35:54,480
Speaker 1: came through Vegas, and I said, listen, we're going in Vegas.

738
00:35:54,480 --> 00:35:56,120
Speaker 1: And Elvis was at the same time, and I've seen

739
00:35:56,200 --> 00:35:59,000
Speaker 1: him many times in Vegas. He says, I said, do

740
00:35:59,040 --> 00:36:02,920
Speaker 1: you get me backstage and meat Elvis? So yeah, I

741
00:36:02,960 --> 00:36:05,520
Speaker 1: said really, He says yeah. He says, when do you

742
00:36:05,560 --> 00:36:07,920
Speaker 1: want to go? And I said, okay. I liked some

743
00:36:08,000 --> 00:36:09,279
Speaker 1: of the guys might come on and come, and so

744
00:36:09,440 --> 00:36:13,000
Speaker 1: we three of the guys came. It was me, Me

745
00:36:13,080 --> 00:36:15,360
Speaker 1: and Robbie Backman, the drummer, Blair Thornte, you know, the

746
00:36:15,360 --> 00:36:17,600
Speaker 1: guitar player. I think that was that three of us

747
00:36:17,640 --> 00:36:19,759
Speaker 1: went to it. Randy had to fly home, he was

748
00:36:19,840 --> 00:36:22,440
Speaker 1: piste off and he had to fly home and h

749
00:36:23,000 --> 00:36:24,680
Speaker 1: so he sat there and went to the show. That

750
00:36:24,800 --> 00:36:29,359
Speaker 1: was probably nineteen seventy five. I think I'm pretty close

751
00:36:29,440 --> 00:36:34,000
Speaker 1: to n So I went back there, met Elvis and

752
00:36:34,280 --> 00:36:38,080
Speaker 1: everybody something. Sit there, you wait and somebody comes and

753
00:36:38,160 --> 00:36:40,040
Speaker 1: get you like they do take you back. You sit

754
00:36:40,120 --> 00:36:43,720
Speaker 1: down in this room and all of a sudden Elvis,

755
00:36:44,560 --> 00:36:47,560
Speaker 1: Elvis came out of his dressing room and they said

756
00:36:47,719 --> 00:36:49,920
Speaker 1: the guy brought him over and he said, this is

757
00:36:50,440 --> 00:36:53,080
Speaker 1: Bruce down, this is Blackman. Guys from Backman turn over

758
00:36:53,160 --> 00:36:57,000
Speaker 1: drive and he just this guy could have been and

759
00:36:57,080 --> 00:36:58,719
Speaker 1: I've I've talked to a lot of people who know him,

760
00:36:58,719 --> 00:37:00,879
Speaker 1: a lot of people have ever been around him. Could

761
00:37:01,000 --> 00:37:03,239
Speaker 1: be one of the nicest guys you've ever wanted to meet.

762
00:37:03,680 --> 00:37:05,520
Speaker 1: And he said, nice to meet you, guys. How are

763
00:37:05,520 --> 00:37:08,000
Speaker 1: you doing? Blah blah blah. And the boy said, he

764
00:37:08,120 --> 00:37:09,759
Speaker 1: pushed me for it, and you talked to him, talked

765
00:37:09,760 --> 00:37:13,759
Speaker 1: to him. So I talked. I talked to him and

766
00:37:13,960 --> 00:37:17,040
Speaker 1: and we we had given me maybe we know we

767
00:37:17,080 --> 00:37:20,400
Speaker 1: were going, so we made up this uh this uh

768
00:37:21,400 --> 00:37:24,320
Speaker 1: a gift of the back into over drive wheel. It

769
00:37:24,440 --> 00:37:28,280
Speaker 1: was made of silver, and we gave him the wheel

770
00:37:29,239 --> 00:37:31,279
Speaker 1: made himself and give it to him. He gave us

771
00:37:31,320 --> 00:37:36,880
Speaker 1: what he gave us what TCB necklaces, okay, and he

772
00:37:37,040 --> 00:37:40,200
Speaker 1: he called it taking care of the boss and uh

773
00:37:40,600 --> 00:37:44,359
Speaker 1: and uh, I remember my head. I talked to him.

774
00:37:44,400 --> 00:37:47,320
Speaker 1: My hand was shaken, he said, and he was so polite,

775
00:37:47,360 --> 00:37:50,200
Speaker 1: like taking the slow down, take it easy to relax

776
00:37:50,840 --> 00:37:54,920
Speaker 1: and uh. And then he said, uh, you know, thank

777
00:37:54,960 --> 00:37:56,720
Speaker 1: you very much and I hope you can see again.

778
00:37:56,760 --> 00:38:00,399
Speaker 1: And that was it. It was pretty cool. They're real cool,

779
00:38:00,760 --> 00:38:04,040
Speaker 1: absolutely absolutely And I met him one more time after that,

780
00:38:04,520 --> 00:38:08,600
Speaker 1: he in Memphis, he came to uh show there. I

781
00:38:08,680 --> 00:38:12,560
Speaker 1: think it was I think with I think was probably

782
00:38:12,600 --> 00:38:15,040
Speaker 1: still again back when term but I came back stage,

783
00:38:15,080 --> 00:38:17,719
Speaker 1: I said a load him that just that. Then he

784
00:38:17,880 --> 00:38:20,720
Speaker 1: just stayed for a little while, went upstairs and watched

785
00:38:20,760 --> 00:38:23,360
Speaker 1: I guess somewhere out there. And that was it. But

786
00:38:23,560 --> 00:38:25,399
Speaker 1: you know what, do you always like, yes, sir, No, sir,

787
00:38:25,520 --> 00:38:27,759
Speaker 1: thank you, yes sir? You know what I mean. That's

788
00:38:27,800 --> 00:38:29,839
Speaker 1: the way he was. This guy was a good guy

789
00:38:30,200 --> 00:38:32,080
Speaker 1: and and that and that's why when you find when

790
00:38:32,080 --> 00:38:34,040
Speaker 1: you talk to people who've been in there in his company,

791
00:38:34,600 --> 00:38:37,279
Speaker 1: this is a good guy. And that's why I think

792
00:38:37,400 --> 00:38:39,520
Speaker 1: that's why it's a tragedy. It's a tragedy rich an

793
00:38:39,520 --> 00:38:43,839
Speaker 1: American tragedy dying that young. Did you, having met him

794
00:38:43,920 --> 00:38:47,040
Speaker 1: late in his career, did you see that coming when

795
00:38:47,040 --> 00:38:48,600
Speaker 1: I saw me look real good the last time I

796
00:38:48,640 --> 00:38:50,120
Speaker 1: saw me look real good by the time I saw

797
00:38:50,200 --> 00:38:52,719
Speaker 1: him on stage, and it had been a couple of

798
00:38:52,760 --> 00:38:55,520
Speaker 1: years longer. You're in the seventy seven now you felt

799
00:38:55,760 --> 00:38:58,319
Speaker 1: that's where Colonel Parker was an asshole? Why put him

800
00:38:58,360 --> 00:39:00,680
Speaker 1: out like that? Why put him out there? Why I

801
00:39:00,760 --> 00:39:03,279
Speaker 1: put them out there. I wanted the money, that's right,

802
00:39:03,400 --> 00:39:05,719
Speaker 1: That's what that was about. Colonel. I know guys who

803
00:39:05,760 --> 00:39:07,640
Speaker 1: worked with Colonel Parker saw Blues a million and a

804
00:39:07,680 --> 00:39:10,400
Speaker 1: half dollars in forty five minutes on the on the

805
00:39:10,480 --> 00:39:12,760
Speaker 1: Roulett Wheel. Now that's the stupidest bet in the casino.

806
00:39:13,239 --> 00:39:14,919
Speaker 1: And that was his problem. And that's why I played

807
00:39:14,960 --> 00:39:18,240
Speaker 1: in Vegas for nothing, okay, in comparison to other stars.

808
00:39:18,840 --> 00:39:21,799
Speaker 1: When I ended up managing Anne Murray, I asked her,

809
00:39:22,160 --> 00:39:23,880
Speaker 1: I said, did you let do you work when the

810
00:39:23,920 --> 00:39:25,560
Speaker 1: Elvis was there? He says, Healy, I worked with Elvis

811
00:39:25,600 --> 00:39:28,000
Speaker 1: there all the time. And she said and I said,

812
00:39:28,520 --> 00:39:30,480
Speaker 1: She said, I was the one who got everything changed

813
00:39:30,640 --> 00:39:33,400
Speaker 1: to one show instead of two. I said, how did

814
00:39:33,400 --> 00:39:35,240
Speaker 1: you do that? And she said, I had a kid's

815
00:39:35,560 --> 00:39:38,839
Speaker 1: two kids had one for the other two. And she said,

816
00:39:39,360 --> 00:39:41,239
Speaker 1: they want me to come back to Bally's. And I said,

817
00:39:41,239 --> 00:39:44,000
Speaker 1: I ain't coming. I can't do two shows. I can't

818
00:39:44,000 --> 00:39:46,719
Speaker 1: sit there doing a show at eight seven o'clock, eight

819
00:39:46,760 --> 00:39:48,920
Speaker 1: o'clock at night and another one at midnight. Okay, I

820
00:39:49,000 --> 00:39:51,440
Speaker 1: got these kids. So they gave her a break and

821
00:39:51,520 --> 00:39:54,520
Speaker 1: said do one, just do one, and then everybody followed,

822
00:39:54,640 --> 00:39:56,600
Speaker 1: I would I would have thought Elvis would have done that.

823
00:39:56,640 --> 00:39:58,919
Speaker 1: The colonel didn't give a dad. He was doing two shows,

824
00:39:58,960 --> 00:40:02,719
Speaker 1: seven nights a week, lots of time. Just just that's

825
00:40:02,719 --> 00:40:04,440
Speaker 1: a great story for Anne Murray. She broke the whole

826
00:40:04,480 --> 00:40:07,520
Speaker 1: two too, so Vegas and not Dr Barber's Dreis and

827
00:40:07,600 --> 00:40:12,560
Speaker 1: not Franks, not Elvis, Presley and Murray. So you know

828
00:40:12,800 --> 00:40:16,960
Speaker 1: you've had these, you know, worldwide successful acts. Is there

829
00:40:17,040 --> 00:40:19,879
Speaker 1: anybody at this point you haven't met that you want

830
00:40:19,920 --> 00:40:22,920
Speaker 1: to meet? I'll tell you. And this is gonna So

831
00:40:23,000 --> 00:40:26,879
Speaker 1: I turned on this thing to watch a talk last

832
00:40:27,239 --> 00:40:32,080
Speaker 1: two weeks ago, a stream of Elvis Costello talking to

833
00:40:32,160 --> 00:40:35,719
Speaker 1: Peter grell Nick okay, and I sat there and I

834
00:40:35,760 --> 00:40:37,160
Speaker 1: wanted to hear what he had to say because Peter

835
00:40:37,200 --> 00:40:39,839
Speaker 1: Groan thought, that's an Elvis guy. He's written great books

836
00:40:39,880 --> 00:40:44,239
Speaker 1: on Sam Cook, He's written books on on on what's

837
00:40:44,239 --> 00:40:46,920
Speaker 1: his Sam Phillips, He's written books on the on the

838
00:40:47,080 --> 00:40:49,719
Speaker 1: black music business. I mean, he's a fabulous writer. And

839
00:40:49,800 --> 00:40:52,680
Speaker 1: nearly from a sociological point of view too, you learned

840
00:40:52,680 --> 00:40:54,160
Speaker 1: about what was going on in the world at that

841
00:40:54,200 --> 00:40:57,520
Speaker 1: time and where those guys worked. And I'm sitting there

842
00:40:57,560 --> 00:41:01,960
Speaker 1: with Elvis watching him, and I think Elvis might have

843
00:41:02,000 --> 00:41:06,640
Speaker 1: talked more than more than Groulning. I mean, yeah, okay, Elvis,

844
00:41:06,800 --> 00:41:10,520
Speaker 1: you're you know, launch too, But I mean I want

845
00:41:10,520 --> 00:41:12,359
Speaker 1: to hear what Peter Grounnick says. And that's the one

846
00:41:12,400 --> 00:41:13,920
Speaker 1: person I'd like to meet. And I will go down

847
00:41:14,000 --> 00:41:16,359
Speaker 1: to one of the Elvis events to go down there

848
00:41:16,400 --> 00:41:17,759
Speaker 1: just to meet him because I love to sit down

849
00:41:17,800 --> 00:41:19,960
Speaker 1: in a room and talk with him. Because okay, he

850
00:41:20,040 --> 00:41:25,279
Speaker 1: never met Elvis, which is pretty weird. That is weird. Okay,

851
00:41:25,360 --> 00:41:28,440
Speaker 1: let's go back to uh bt O you make the

852
00:41:28,520 --> 00:41:32,239
Speaker 1: deal with Don Fox. Is the agent still involved or

853
00:41:32,320 --> 00:41:34,120
Speaker 1: now is they're no longer an agent? The agent? The

854
00:41:34,160 --> 00:41:38,680
Speaker 1: agent was still involved there, Okay. Now, just like with Elvis,

855
00:41:38,840 --> 00:41:41,160
Speaker 1: Presley and Jerry Shilling and talking about the fifties, they

856
00:41:41,160 --> 00:41:45,760
Speaker 1: were inventing it. In reality, the business music road business

857
00:41:45,960 --> 00:41:48,440
Speaker 1: was being invented in the late sixties with rock and

858
00:41:48,560 --> 00:41:52,560
Speaker 1: rollers and seventies. What were the lessons you learned back then?

859
00:41:52,560 --> 00:41:54,560
Speaker 1: Because you were totally green, you were learning while you

860
00:41:54,600 --> 00:41:56,440
Speaker 1: were going a learning while I was going yea, and

861
00:41:56,520 --> 00:41:58,640
Speaker 1: Randy had some experience he did and he was a

862
00:41:58,719 --> 00:42:01,480
Speaker 1: good he was a good guy. For me, it was

863
00:42:01,880 --> 00:42:04,400
Speaker 1: the thing is, it's just the biggest thing was to

864
00:42:04,560 --> 00:42:08,919
Speaker 1: him was he had a rule. Okay, we're all gotta

865
00:42:08,920 --> 00:42:12,040
Speaker 1: get together. We're a band. We make a time at night,

866
00:42:12,080 --> 00:42:13,640
Speaker 1: we say, okay, we're going to bed. We're leaving this

867
00:42:13,800 --> 00:42:17,000
Speaker 1: hotel at at ten o'clock in the morning to drive

868
00:42:17,040 --> 00:42:19,160
Speaker 1: twitter miles to the next place, right or two whatever

869
00:42:19,200 --> 00:42:22,440
Speaker 1: it was, we leave at ten. If he wasn't there

870
00:42:22,440 --> 00:42:26,239
Speaker 1: a ten, you left, and I remember, you know, we

871
00:42:26,320 --> 00:42:29,440
Speaker 1: only stayed in those two story holiday inns, right right,

872
00:42:29,800 --> 00:42:33,040
Speaker 1: So I remember, I remember Randy's he's coming, Robbie's coming,

873
00:42:33,080 --> 00:42:37,520
Speaker 1: he's coming. It's ten o'clock. Let's go and left him. Guys,

874
00:42:37,640 --> 00:42:39,560
Speaker 1: So we are you know, that's one thing. You guys

875
00:42:39,600 --> 00:42:41,239
Speaker 1: had to be on time, guys, and we and you know,

876
00:42:41,360 --> 00:42:44,680
Speaker 1: we looked after ourselves as best we could. Um, we're young,

877
00:42:44,960 --> 00:42:47,720
Speaker 1: we could take a lot more the way. But remember

878
00:42:47,880 --> 00:42:51,640
Speaker 1: Randy Backman's a Mormon, okay, And you got kicked out

879
00:42:51,680 --> 00:42:54,040
Speaker 1: of the guests who because his warman beliefs clashed with

880
00:42:54,480 --> 00:42:57,480
Speaker 1: their lifestyle. So it was a bit of a it

881
00:42:57,640 --> 00:42:59,360
Speaker 1: was it. I wasn't out there with a C. D

882
00:42:59,480 --> 00:43:02,239
Speaker 1: C or van Halen or pretty pretty having a ton

883
00:43:02,280 --> 00:43:05,520
Speaker 1: of fun. Okay, because Randy was the big brother, Randy

884
00:43:05,560 --> 00:43:08,360
Speaker 1: was paying the freight mostly, and uh so it was

885
00:43:08,760 --> 00:43:10,440
Speaker 1: it was. I mean, there were great stories, but I

886
00:43:10,480 --> 00:43:12,400
Speaker 1: had to keep with those stories away from Randy. So

887
00:43:12,480 --> 00:43:16,840
Speaker 1: I roomed with Randy continually on the road because I

888
00:43:17,000 --> 00:43:18,560
Speaker 1: was there to make sure he didn't start walking around

889
00:43:18,600 --> 00:43:22,640
Speaker 1: and wonder what the band was doing. Okay, you know,

890
00:43:23,000 --> 00:43:25,879
Speaker 1: I know you that car accident about fifteen years ago

891
00:43:26,280 --> 00:43:29,920
Speaker 1: in Tennessee. The question becomes, if you're driving a station

892
00:43:30,000 --> 00:43:33,080
Speaker 1: wagon back and forth six times, you must have some

893
00:43:33,239 --> 00:43:36,360
Speaker 1: close calls or falling asleep at the wheel or something. No,

894
00:43:36,880 --> 00:43:39,319
Speaker 1: but no, because you know you're driving short. The one

895
00:43:39,360 --> 00:43:41,759
Speaker 1: thing about driving tour, driving like we did, you never

896
00:43:41,880 --> 00:43:44,120
Speaker 1: drove far. Okay, you can only go as far as

897
00:43:44,120 --> 00:43:46,600
Speaker 1: the equipment could get. We're Randy wanted to play five

898
00:43:46,680 --> 00:43:50,880
Speaker 1: nights a week, so we're not we're not driving stupid distances. Um.

899
00:43:51,160 --> 00:43:52,880
Speaker 1: The only time I fell asleep, but the wheel was

900
00:43:52,920 --> 00:43:54,960
Speaker 1: going to it. Jerry Lee Lewis auction that I thought

901
00:43:55,040 --> 00:43:57,560
Speaker 1: I could get his piano, one of his pianos that

902
00:43:57,600 --> 00:43:59,920
Speaker 1: I was driving. I got off the plane in Nashville,

903
00:44:00,000 --> 00:44:03,640
Speaker 1: had to drive to uh Um and to to Memphis.

904
00:44:03,680 --> 00:44:06,480
Speaker 1: I was going to drive to Memphis, and I fell

905
00:44:06,520 --> 00:44:09,000
Speaker 1: asleep at the wheel driving and I went down off

906
00:44:09,040 --> 00:44:12,400
Speaker 1: the highway into between highway with dropped down to the

907
00:44:12,440 --> 00:44:14,799
Speaker 1: grass and what we have as a grass going under

908
00:44:14,800 --> 00:44:19,400
Speaker 1: the car like that, right, And a guy O trucker

909
00:44:19,480 --> 00:44:24,799
Speaker 1: went by and pass me and blew the horn. WHOA,

910
00:44:24,960 --> 00:44:26,960
Speaker 1: I woke up, Bob, I'm telling me something. If I

911
00:44:27,040 --> 00:44:29,279
Speaker 1: just stepped on the brakes out of flip the car, okay,

912
00:44:29,280 --> 00:44:31,399
Speaker 1: I had to flip the car and I just kept

913
00:44:31,400 --> 00:44:33,200
Speaker 1: it going. But I never fell asleep on the on

914
00:44:33,280 --> 00:44:35,719
Speaker 1: the road driving okay, But there were things that kept

915
00:44:35,760 --> 00:44:37,400
Speaker 1: you go up to if you wanted to keep up,

916
00:44:37,920 --> 00:44:42,560
Speaker 1: stay away. And I drove every nobody else drove, I drove. Okay.

917
00:44:42,920 --> 00:44:47,040
Speaker 1: So you're working with Don Fox. You have this incredible success.

918
00:44:47,080 --> 00:44:50,439
Speaker 1: Of course, it's a different era. As David Krebs always says,

919
00:44:50,680 --> 00:44:53,359
Speaker 1: tickets were three, four or five dollars then that we're

920
00:44:53,400 --> 00:44:58,360
Speaker 1: not a hundred dollars a piece. So, uh, how is business?

921
00:44:58,440 --> 00:45:00,440
Speaker 1: Did you go clean in most market? Did you make

922
00:45:00,480 --> 00:45:03,200
Speaker 1: a lot of money? Did he get screwed? What happened Randy?

923
00:45:03,600 --> 00:45:05,279
Speaker 1: Don Fox? Says to me that he never had a

924
00:45:05,320 --> 00:45:08,120
Speaker 1: fastest sellout in his career until he was doing a

925
00:45:08,200 --> 00:45:10,040
Speaker 1: young actor in the Latin the last few years. Back

926
00:45:10,040 --> 00:45:12,200
Speaker 1: to turn Over Drive suttle tickets faster than any act

927
00:45:12,239 --> 00:45:15,000
Speaker 1: he ever ever did, and they were we argued over

928
00:45:15,120 --> 00:45:19,320
Speaker 1: eight dollar tickets, and we really argued over ten dollar tickets. Okay,

929
00:45:19,400 --> 00:45:21,680
Speaker 1: but be your right, five six bucks, seven bucks, that's

930
00:45:21,680 --> 00:45:25,160
Speaker 1: what it was. Okay. Then they have all this big

931
00:45:25,239 --> 00:45:28,839
Speaker 1: success there on Mercury, which you were the biggest act,

932
00:45:28,880 --> 00:45:31,160
Speaker 1: but it was a mid tier label. They put out

933
00:45:31,239 --> 00:45:34,880
Speaker 1: Four Wheel Drive and it sells out of the Boxer's

934
00:45:34,960 --> 00:45:38,640
Speaker 1: not really what happens. How does bto fall apart? It

935
00:45:38,760 --> 00:45:43,640
Speaker 1: becomes it falls apart because Randy, I believe, wanted to

936
00:45:43,719 --> 00:45:45,560
Speaker 1: produce the record. I wanted to write most of the

937
00:45:45,640 --> 00:45:48,840
Speaker 1: songs and own the publishing. And the boys it was

938
00:45:49,080 --> 00:45:51,000
Speaker 1: it was they wanted to get a share of the publishing.

939
00:45:51,000 --> 00:45:53,719
Speaker 1: They thought they should get a share of it, and

940
00:45:54,320 --> 00:45:57,240
Speaker 1: he didn't give it up. And that's the trouble with bands, Okay,

941
00:45:58,400 --> 00:46:01,080
Speaker 1: that's why bands breakup. Part it's always over money. And

942
00:46:01,239 --> 00:46:03,360
Speaker 1: because that was my first band, I didn't have the

943
00:46:03,440 --> 00:46:06,920
Speaker 1: skill to stop it. I didn't. I didn't have the

944
00:46:07,239 --> 00:46:09,040
Speaker 1: wherewith all to stoff, but I couldn't figure out how

945
00:46:09,080 --> 00:46:11,879
Speaker 1: to stop it. Okay, and Randy, because Randy was Randy

946
00:46:11,960 --> 00:46:13,440
Speaker 1: was confident he could do it on his own. Again,

947
00:46:14,160 --> 00:46:15,759
Speaker 1: then he was going to leave, and this and that

948
00:46:15,880 --> 00:46:17,880
Speaker 1: and the boys just weren't going to give up. So

949
00:46:18,000 --> 00:46:20,040
Speaker 1: it all kind of blew up, Bob, and that was it?

950
00:46:20,719 --> 00:46:23,680
Speaker 1: And where did that leave you? Why? I went back

951
00:46:23,719 --> 00:46:26,560
Speaker 1: to the agency. Okay, So I go walking in the

952
00:46:26,560 --> 00:46:29,239
Speaker 1: agency trying to take over the agency, and started to

953
00:46:29,239 --> 00:46:31,399
Speaker 1: go back again that I've been away a long time.

954
00:46:32,520 --> 00:46:34,319
Speaker 1: The agency wasn't running the same way as I want

955
00:46:34,320 --> 00:46:36,759
Speaker 1: to understood. The boss again said that, okay, here we go.

956
00:46:37,120 --> 00:46:40,000
Speaker 1: So that's where Sam and I clashed, and uh you know,

957
00:46:40,160 --> 00:46:42,800
Speaker 1: he put in a lot of time, and I was difficult,

958
00:46:42,840 --> 00:46:46,160
Speaker 1: I think coming back from that. And uh so with

959
00:46:46,320 --> 00:46:49,040
Speaker 1: the agency split, we never split. We haven't split to

960
00:46:49,120 --> 00:46:52,480
Speaker 1: this day, Okay, but we're in different locales and actually

961
00:46:52,520 --> 00:46:55,120
Speaker 1: we're probably closer friends now than we ever were when

962
00:46:55,120 --> 00:46:57,000
Speaker 1: we were together. And so all of a sudden, I

963
00:46:57,080 --> 00:47:00,200
Speaker 1: was just not watching. I watched the office walkout. People

964
00:47:00,239 --> 00:47:02,120
Speaker 1: were going to good agency. If they go you haven't

965
00:47:02,120 --> 00:47:04,479
Speaker 1: got anything going this. I was left with one girl

966
00:47:05,280 --> 00:47:09,520
Speaker 1: and uh, get a call for from somebody in Calgary

967
00:47:09,560 --> 00:47:13,120
Speaker 1: said he's got the span called lover boy. Would you

968
00:47:13,160 --> 00:47:16,239
Speaker 1: be interested in taking a look at it? And that's

969
00:47:16,280 --> 00:47:19,920
Speaker 1: how that that run started. And we like, before you

970
00:47:19,960 --> 00:47:22,160
Speaker 1: go to the lover boy, were you depressed that you

971
00:47:22,200 --> 00:47:26,200
Speaker 1: were now going to be Vancouver be booking bands again. Well,

972
00:47:26,200 --> 00:47:28,000
Speaker 1: I wasn't gonna be booking bands with against the agency

973
00:47:28,040 --> 00:47:30,919
Speaker 1: went with them, you see. I was still gonna get paid,

974
00:47:31,239 --> 00:47:33,960
Speaker 1: but I would we worked together, Okay, So I had

975
00:47:34,000 --> 00:47:36,279
Speaker 1: nothing to do much. I had to do something. So

976
00:47:36,760 --> 00:47:39,880
Speaker 1: that's what I just came. I went got try. I

977
00:47:40,000 --> 00:47:42,440
Speaker 1: probably tried some bands in there that didn't work. Who

978
00:47:42,440 --> 00:47:44,960
Speaker 1: a lover boy called that kind of worked. I went

979
00:47:45,000 --> 00:47:46,920
Speaker 1: down to see them and they were good. Tell a

980
00:47:47,000 --> 00:47:49,880
Speaker 1: story of lover boy. His owned But they were managed

981
00:47:49,920 --> 00:47:52,239
Speaker 1: by a guy who ran a nightclub in a big

982
00:47:52,360 --> 00:47:56,600
Speaker 1: nightclub in Calgary, lou Blair. And he's a Vancouver guy

983
00:47:57,040 --> 00:47:59,960
Speaker 1: and he's doing clubs when I was in Vancouver booking them,

984
00:48:00,680 --> 00:48:03,799
Speaker 1: and uh, he said, listen, I got this great band.

985
00:48:03,840 --> 00:48:06,680
Speaker 1: You've got nothing to do. Would you take a look

986
00:48:06,719 --> 00:48:08,719
Speaker 1: at And I said, okay, So I went up to

987
00:48:08,760 --> 00:48:10,320
Speaker 1: see them in Calgary and they were really good, but

988
00:48:10,360 --> 00:48:12,719
Speaker 1: they hadn't made a record yet, and he said, I'm

989
00:48:12,760 --> 00:48:14,400
Speaker 1: going to get try and make a record. I signed

990
00:48:14,400 --> 00:48:19,480
Speaker 1: it with Columbia for CBS Canada. He says, okay. So

991
00:48:19,719 --> 00:48:22,239
Speaker 1: I was done in Los Angeles one day and he

992
00:48:23,000 --> 00:48:24,600
Speaker 1: he was it was interesting. He knew where he was,

993
00:48:24,680 --> 00:48:27,560
Speaker 1: so he came to the same hotel and he said, listen,

994
00:48:27,680 --> 00:48:28,799
Speaker 1: where are you going? He said, I'm going to see

995
00:48:28,800 --> 00:48:31,480
Speaker 1: a friend of mine in Palm Springs and he said,

996
00:48:31,560 --> 00:48:33,920
Speaker 1: you know, want you listen to this? And he gave

997
00:48:33,960 --> 00:48:36,840
Speaker 1: me that first lover Boy album rough right or not

998
00:48:37,080 --> 00:48:42,480
Speaker 1: final mix? But turn me loose? Holy cow, you know,

999
00:48:43,160 --> 00:48:45,120
Speaker 1: I mean these are great. They made great he made

1000
00:48:45,160 --> 00:48:49,960
Speaker 1: great records. That's Bruce Fairburn uh and Bob Rock And

1001
00:48:50,160 --> 00:48:54,880
Speaker 1: I um, I well got downe this to paulm Springs

1002
00:48:54,880 --> 00:48:58,000
Speaker 1: and I called him and he said what do you think?

1003
00:48:58,080 --> 00:49:00,719
Speaker 1: And I think? I said this is real good? Is unbelievable,

1004
00:49:00,880 --> 00:49:02,879
Speaker 1: how good this is? And he said, well good. I'm

1005
00:49:02,920 --> 00:49:04,360
Speaker 1: six blocks up the street, so I'll come over and

1006
00:49:04,400 --> 00:49:05,600
Speaker 1: see it. He followed me down. I don't know what

1007
00:49:05,640 --> 00:49:07,279
Speaker 1: kind of a rendit carry was said by MS follow

1008
00:49:07,360 --> 00:49:10,840
Speaker 1: me down there and uh it uh. We put a

1009
00:49:10,920 --> 00:49:13,040
Speaker 1: deal together and off we went with the lover Boy.

1010
00:49:13,320 --> 00:49:14,840
Speaker 1: And our big deal, of course was to move it

1011
00:49:14,960 --> 00:49:20,320
Speaker 1: out of out of Canada to Colombia down the States,

1012
00:49:20,840 --> 00:49:23,520
Speaker 1: and we did that. Although most bands that moved out

1013
00:49:23,560 --> 00:49:25,839
Speaker 1: of Canada and go down the States, the States looks

1014
00:49:25,920 --> 00:49:28,120
Speaker 1: very as scans at you because they know you're getting

1015
00:49:28,160 --> 00:49:31,279
Speaker 1: thirty PC airplay up there and really, what do you

1016
00:49:31,400 --> 00:49:35,880
Speaker 1: really mean? And uh, okay, usually though one of the

1017
00:49:36,000 --> 00:49:37,959
Speaker 1: you know, there's the issue of attention, but there's also

1018
00:49:38,040 --> 00:49:40,880
Speaker 1: once again the issue of money and that you know,

1019
00:49:41,080 --> 00:49:44,279
Speaker 1: getting signed to the US label is supposed to sign

1020
00:49:44,360 --> 00:49:47,960
Speaker 1: to the Canadian deal. The deals are different. Yes, So

1021
00:49:48,120 --> 00:49:51,680
Speaker 1: how did you get lover Boy to the American label? Well,

1022
00:49:52,560 --> 00:49:54,239
Speaker 1: first of all, we had had they had the rights

1023
00:49:54,640 --> 00:49:57,560
Speaker 1: the deal Lou deal Lou made with Colombia, they had

1024
00:49:57,600 --> 00:49:59,600
Speaker 1: the rights. Okay, we didn't good to shop it down there.

1025
00:49:59,760 --> 00:50:02,719
Speaker 1: Had I would go in Columbia or wherever label they

1026
00:50:02,760 --> 00:50:05,719
Speaker 1: were gonna put it on, and so we were just there.

1027
00:50:06,600 --> 00:50:09,520
Speaker 1: So okay, now we got to make make it happen.

1028
00:50:10,640 --> 00:50:13,320
Speaker 1: And you know what the biggest thing was was that

1029
00:50:13,960 --> 00:50:17,200
Speaker 1: um I knew how to do with back and turn

1030
00:50:17,320 --> 00:50:19,080
Speaker 1: over drive. I knew how to get out and give

1031
00:50:19,120 --> 00:50:20,920
Speaker 1: me a shot on the radio. Give me a shot

1032
00:50:21,040 --> 00:50:24,600
Speaker 1: and I'll make it happen because I knew I could

1033
00:50:24,719 --> 00:50:26,239
Speaker 1: go on the road and do it. I just knew it,

1034
00:50:26,880 --> 00:50:30,920
Speaker 1: and then they could. Then we hit MTV. Turned Me

1035
00:50:31,000 --> 00:50:33,120
Speaker 1: Loose is one of the first songs ever. Believe me,

1036
00:50:33,239 --> 00:50:35,200
Speaker 1: I know, I remember seeing it on the big screen

1037
00:50:35,280 --> 00:50:40,359
Speaker 1: in jim rist Village country clubs, that iconic song. Yep.

1038
00:50:40,480 --> 00:50:43,520
Speaker 1: So that's what happened, is that's how we got it going.

1039
00:50:43,880 --> 00:50:46,960
Speaker 1: MTV came out. We were getting They worked the record

1040
00:50:47,000 --> 00:50:49,080
Speaker 1: really hard. They believed in the act. I gave him

1041
00:50:49,160 --> 00:50:51,040
Speaker 1: dates and that's what I was doing that We were there.

1042
00:50:51,160 --> 00:50:52,799
Speaker 1: We were going to the radio stations. We were doing

1043
00:50:52,800 --> 00:50:55,160
Speaker 1: all the things that was before all these chain book

1044
00:50:55,239 --> 00:50:58,080
Speaker 1: radio stations they have now every place was individual and

1045
00:50:58,200 --> 00:51:00,520
Speaker 1: we did it like it was a real lot of work.

1046
00:51:00,719 --> 00:51:03,080
Speaker 1: And and we and the same thing. These guys worked

1047
00:51:03,120 --> 00:51:05,840
Speaker 1: their assa. We think we were two hundred and fifty

1048
00:51:06,360 --> 00:51:10,640
Speaker 1: fifty shows a year, you know, pretty regularly, and boy boy,

1049
00:51:10,800 --> 00:51:12,600
Speaker 1: it would be made it and don Fox I phone.

1050
00:51:12,719 --> 00:51:16,279
Speaker 1: I've been using the same damn formula for so long,

1051
00:51:16,400 --> 00:51:19,799
Speaker 1: It's ridiculous. Don Solomon said wow, and he phoned up

1052
00:51:19,800 --> 00:51:23,440
Speaker 1: Bill Ham and he said, Bill, I got an opening

1053
00:51:23,440 --> 00:51:26,680
Speaker 1: act for you. He said, who love her Boy? He said,

1054
00:51:26,680 --> 00:51:29,279
Speaker 1: who love her boy? Because Bill just into his body

1055
00:51:29,280 --> 00:51:34,279
Speaker 1: he does down there and the tour, Bill got mixed up,

1056
00:51:34,320 --> 00:51:36,320
Speaker 1: but got messed up with the album was not happening,

1057
00:51:37,040 --> 00:51:41,160
Speaker 1: and Fox convict convinced him said, listen, this band is

1058
00:51:41,160 --> 00:51:42,719
Speaker 1: ready to go. They want to go on the tour.

1059
00:51:43,320 --> 00:51:45,520
Speaker 1: I've sold the tickets. I don't want to rewrote this thing.

1060
00:51:45,880 --> 00:51:48,800
Speaker 1: Let's go out anyway. You don't need the record and

1061
00:51:49,040 --> 00:51:51,759
Speaker 1: and Bills. I'm not going out without the record. Don No, no,

1062
00:51:51,960 --> 00:51:54,399
Speaker 1: you gotta go without the record. This band and Build

1063
00:51:54,440 --> 00:51:57,280
Speaker 1: and ZZ Top will do some out business. And he foushed.

1064
00:51:57,600 --> 00:52:00,400
Speaker 1: Bill Ham rolled over and said okay, okay, okay, okay,

1065
00:52:00,880 --> 00:52:02,719
Speaker 1: and he went. He went. They went out without a tour.

1066
00:52:03,440 --> 00:52:06,160
Speaker 1: It was me opening and it was great and because

1067
00:52:06,440 --> 00:52:08,239
Speaker 1: they could do it. They were pretty hot then that

1068
00:52:08,360 --> 00:52:10,479
Speaker 1: that that was before the bull and everything on stage,

1069
00:52:10,520 --> 00:52:13,520
Speaker 1: but they were still really hot. And uh, we broke

1070
00:52:13,600 --> 00:52:17,880
Speaker 1: lover Boy because getting dragged around by zz talk. Okay,

1071
00:52:18,080 --> 00:52:23,120
Speaker 1: So so how does it segue to Brian Adams real quick,

1072
00:52:23,160 --> 00:52:26,279
Speaker 1: because Brian Adams came pretty fast after lover Boy, and

1073
00:52:26,480 --> 00:52:28,440
Speaker 1: he was just in. He was in the bar bands.

1074
00:52:28,719 --> 00:52:30,600
Speaker 1: And since we both thought since we had still had

1075
00:52:30,680 --> 00:52:32,799
Speaker 1: some of the ownership or the booking rights for them

1076
00:52:32,800 --> 00:52:34,840
Speaker 1: all those clubs, it was you know, I could go

1077
00:52:34,920 --> 00:52:37,120
Speaker 1: see all these bands. And I went to see Adams

1078
00:52:37,160 --> 00:52:39,160
Speaker 1: and he was all right. And he had a little

1079
00:52:39,200 --> 00:52:41,200
Speaker 1: bit of hit called let Me Take You Dancing. It

1080
00:52:41,360 --> 00:52:43,680
Speaker 1: was a it was more of a disco record and

1081
00:52:44,120 --> 00:52:47,560
Speaker 1: what he does now. And he came to my office

1082
00:52:48,320 --> 00:52:53,080
Speaker 1: and wanted to talk to me, and uh, I didn't.

1083
00:52:53,120 --> 00:52:55,560
Speaker 1: I didn't talk to him. I just I remember he

1084
00:52:55,680 --> 00:52:58,359
Speaker 1: just sat out there and went home. And that happened

1085
00:52:58,400 --> 00:53:01,840
Speaker 1: a couple of times, and then finally my assistant just

1086
00:53:01,960 --> 00:53:04,400
Speaker 1: go talk to the guy. Good guys, okay, come on,

1087
00:53:04,480 --> 00:53:07,360
Speaker 1: and Brian sit down. So he had this conversation and

1088
00:53:07,440 --> 00:53:09,520
Speaker 1: he had started he had he had let Me Take

1089
00:53:09,520 --> 00:53:11,120
Speaker 1: You Dance, and he had a thing at A and M.

1090
00:53:11,200 --> 00:53:12,919
Speaker 1: He had signed at A and M as a writer

1091
00:53:14,200 --> 00:53:16,200
Speaker 1: and they were going to let him maybe do a record,

1092
00:53:17,640 --> 00:53:22,879
Speaker 1: and uh, he said, like you to manage me, he said,

1093
00:53:23,400 --> 00:53:25,399
Speaker 1: And I said, yeah, really, what do you do? He said,

1094
00:53:25,440 --> 00:53:28,560
Speaker 1: well I got this record and uh and the record

1095
00:53:28,680 --> 00:53:31,000
Speaker 1: was good, that first album with Brian Adam for it. Okay,

1096
00:53:31,040 --> 00:53:34,200
Speaker 1: so he cut the first album without you boy, I

1097
00:53:34,320 --> 00:53:38,440
Speaker 1: wasn't there. So was there a manager then? No, well

1098
00:53:38,600 --> 00:53:41,719
Speaker 1: maybe that was I don't think so. And uh so

1099
00:53:41,880 --> 00:53:45,080
Speaker 1: he said, um, I can manage me. And I said, well,

1100
00:53:45,160 --> 00:53:47,319
Speaker 1: you know, it's a good record, Brian, real good. He says,

1101
00:53:47,400 --> 00:53:51,400
Speaker 1: I said, here's my deal, blah blah blah. And he'll

1102
00:53:51,480 --> 00:53:53,279
Speaker 1: argue that I wanted part of the publishing. But I

1103
00:53:53,360 --> 00:53:55,720
Speaker 1: never wanted part of the publishing. But something that became

1104
00:53:56,120 --> 00:53:59,480
Speaker 1: a breaking point in the in the discussion, and it

1105
00:53:59,520 --> 00:54:01,680
Speaker 1: pissed me off. And I remember kicking the garbage can

1106
00:54:01,800 --> 00:54:03,680
Speaker 1: at him beside my desk and he caught it and

1107
00:54:03,760 --> 00:54:08,399
Speaker 1: kept talking. I thought that was really impressive, so I said,

1108
00:54:08,719 --> 00:54:10,439
Speaker 1: he said, And I'm gonna tell you something, Bruce. He says,

1109
00:54:10,480 --> 00:54:12,320
Speaker 1: I work. I know how you work. He says, I

1110
00:54:12,360 --> 00:54:14,479
Speaker 1: can work just as hard as anybody. And he says,

1111
00:54:15,000 --> 00:54:17,800
Speaker 1: I'm I will break this record. I can do it.

1112
00:54:17,960 --> 00:54:19,880
Speaker 1: And he says I will be the biggest act you

1113
00:54:20,040 --> 00:54:24,799
Speaker 1: ever had. That was before I booked my first show

1114
00:54:24,840 --> 00:54:29,400
Speaker 1: with And you know, he's lived up to that. Okay,

1115
00:54:29,960 --> 00:54:32,360
Speaker 1: so you make a deal with him. The first album

1116
00:54:32,560 --> 00:54:35,920
Speaker 1: is out, so you get involved Lonely Nights, that's your

1117
00:54:35,960 --> 00:54:39,720
Speaker 1: first album. Yeah, yeah, I came out. I worked that album,

1118
00:54:39,760 --> 00:54:43,359
Speaker 1: of course, the first one, first one. Yeah, So how

1119
00:54:43,400 --> 00:54:46,160
Speaker 1: does Lonely Okay? At this point in time, is he

1120
00:54:46,239 --> 00:54:48,680
Speaker 1: still signed to A and M Canada or signed directly

1121
00:54:48,760 --> 00:54:52,000
Speaker 1: in Hollywood? We never signed. We never signed with an

1122
00:54:52,120 --> 00:54:55,719
Speaker 1: M Canada until probably the third record. Okay, so you

1123
00:54:55,800 --> 00:54:58,640
Speaker 1: worked the first album. Tell me about the second Adams album.

1124
00:54:59,400 --> 00:55:01,400
Speaker 1: I thought you you got it. It was one of

1125
00:55:01,400 --> 00:55:05,279
Speaker 1: the best albums he's ever done. Absolutely, I think it's fantastic.

1126
00:55:06,560 --> 00:55:10,320
Speaker 1: But we were still Canadian signed. Um, but we we

1127
00:55:10,600 --> 00:55:13,960
Speaker 1: we worked our way into uh, into Jerry and Herbs.

1128
00:55:14,280 --> 00:55:16,920
Speaker 1: You know they knew we were around er Jerry and

1129
00:55:18,840 --> 00:55:21,840
Speaker 1: the record I thought didn't do very well. Excuse me

1130
00:55:21,920 --> 00:55:24,840
Speaker 1: for how well how good it was? Okay, Brian was

1131
00:55:24,880 --> 00:55:30,160
Speaker 1: piste off, I was piste off. And then we did

1132
00:55:30,239 --> 00:55:35,759
Speaker 1: cuts like a knife. And when we did cuts like

1133
00:55:35,880 --> 00:55:39,640
Speaker 1: a knife, Jerry Moss said to me. I went to

1134
00:55:39,719 --> 00:55:41,560
Speaker 1: Jake Moss I said, Okay, this is a great record,

1135
00:55:42,440 --> 00:55:45,400
Speaker 1: and if I don't break, if we can't break, this

1136
00:55:45,520 --> 00:55:51,000
Speaker 1: record I want to release from you. And he said

1137
00:55:51,520 --> 00:55:57,359
Speaker 1: to me, he said, okay, I'll make that deal. He thought.

1138
00:55:57,400 --> 00:55:59,399
Speaker 1: He said, it's gotta be this's gotta be a platinum record.

1139
00:56:00,640 --> 00:56:02,200
Speaker 1: And he did it, and they did it, and we

1140
00:56:02,360 --> 00:56:05,200
Speaker 1: did it, and everybody worked together. I'm very pro record

1141
00:56:05,239 --> 00:56:07,879
Speaker 1: company even to this day, Bob, I'm not anti record company.

1142
00:56:07,880 --> 00:56:10,920
Speaker 1: I remember being an anti record company guy. I believe

1143
00:56:11,320 --> 00:56:13,200
Speaker 1: there is a team there. If you can get them

1144
00:56:13,239 --> 00:56:16,160
Speaker 1: to work with you, they are just an asset. Okay.

1145
00:56:16,239 --> 00:56:18,239
Speaker 1: And I and I and and A and M worked

1146
00:56:18,239 --> 00:56:19,960
Speaker 1: their house off for Briant. We did a good job

1147
00:56:20,520 --> 00:56:22,600
Speaker 1: and we had great arguments. I remember we're doing Tina

1148
00:56:22,640 --> 00:56:25,640
Speaker 1: Turner show turned Tina Turner song It's Only Love. Uh,

1149
00:56:26,280 --> 00:56:28,080
Speaker 1: It's only Love and that song It's Only Love member

1150
00:56:28,120 --> 00:56:31,240
Speaker 1: the Tina Turner doing. So we were just big in America.

1151
00:56:31,280 --> 00:56:33,319
Speaker 1: We were running around American men and they were doing

1152
00:56:33,400 --> 00:56:36,360
Speaker 1: pretty good. And you know, we did some journey tours

1153
00:56:36,400 --> 00:56:39,759
Speaker 1: and stuff like that. And uh, and went in there

1154
00:56:39,800 --> 00:56:44,440
Speaker 1: and I said, Tina Turner came up to the Commodore

1155
00:56:44,480 --> 00:56:47,239
Speaker 1: played a Commodore ballroom here about eight hundred seats. We

1156
00:56:48,160 --> 00:56:49,799
Speaker 1: Bryan went down to Meeter. We went down to meet her.

1157
00:56:50,520 --> 00:56:53,759
Speaker 1: I've met her before, but we, uh, should you come

1158
00:56:53,760 --> 00:56:55,239
Speaker 1: over to the studio maybe and sing this song? We

1159
00:56:55,400 --> 00:56:56,799
Speaker 1: left the song for She came over the next day

1160
00:56:56,800 --> 00:57:00,479
Speaker 1: and sang that song, and so anyway was on the album.

1161
00:57:00,480 --> 00:57:01,920
Speaker 1: Everybody loved it. When I was on the album, then

1162
00:57:01,960 --> 00:57:05,399
Speaker 1: I said, Jerry, because Brian Brian was born, he wasn't

1163
00:57:05,440 --> 00:57:07,560
Speaker 1: born in Vancouver. He came to Vancouver, he lived and

1164
00:57:07,640 --> 00:57:09,680
Speaker 1: he lived in Israel, he lived in he lived in

1165
00:57:09,760 --> 00:57:13,200
Speaker 1: this in in in England, he lived in in uh,

1166
00:57:13,719 --> 00:57:15,880
Speaker 1: Spain and Portugal. He lived all over the world. So

1167
00:57:16,000 --> 00:57:19,440
Speaker 1: he wasn't just satisfied just doing North America. Okay. He

1168
00:57:19,520 --> 00:57:22,080
Speaker 1: knew there was another market out there, and I remember

1169
00:57:22,120 --> 00:57:25,320
Speaker 1: I had to go into I. I talked one of

1170
00:57:25,400 --> 00:57:28,880
Speaker 1: my agents, Carl Layton Pope was another small agent who

1171
00:57:28,920 --> 00:57:31,640
Speaker 1: had done a Lover Boy and down doing Adams for me.

1172
00:57:32,120 --> 00:57:36,160
Speaker 1: He thought he could get me on Tina Turner tour,

1173
00:57:37,600 --> 00:57:41,040
Speaker 1: and uh so I Jerry Moss and I said, listen,

1174
00:57:41,360 --> 00:57:43,320
Speaker 1: we're not gonna record. Was doing pretty well. He wanted

1175
00:57:43,400 --> 00:57:44,440
Speaker 1: us to be in the States, but we've been in

1176
00:57:44,480 --> 00:57:46,840
Speaker 1: the States. I don't need to do another runner, I said,

1177
00:57:47,360 --> 00:57:49,480
Speaker 1: we want to go to Europe and what are you

1178
00:57:49,520 --> 00:57:52,479
Speaker 1: gonna do in Europe? We're gonna got a Tina Turner

1179
00:57:52,520 --> 00:57:55,880
Speaker 1: to a Tina Turner. Bruce, He's a lounge ack, which

1180
00:57:56,040 --> 00:57:59,160
Speaker 1: was correct in Vegas, she was a loungeack. But this

1181
00:57:59,400 --> 00:58:02,280
Speaker 1: was her. This is the big record when Roger David

1182
00:58:02,360 --> 00:58:04,200
Speaker 1: got older, and this is probably the first record he

1183
00:58:04,280 --> 00:58:07,680
Speaker 1: made with her and she we went over there and

1184
00:58:08,640 --> 00:58:14,360
Speaker 1: and Tina Turner. We broke Europe and the UK on

1185
00:58:14,480 --> 00:58:17,920
Speaker 1: Tina Turner's back, okay, because every night we went out

1186
00:58:17,960 --> 00:58:20,160
Speaker 1: there did our show. It was okay, they do a

1187
00:58:20,200 --> 00:58:23,320
Speaker 1: couple of three songs. Then she came out. Then we

1188
00:58:23,440 --> 00:58:25,160
Speaker 1: went out there and sang that song with her, and

1189
00:58:25,400 --> 00:58:27,480
Speaker 1: that was she was just Tina Turner in the UK.

1190
00:58:27,840 --> 00:58:29,880
Speaker 1: That was the rubber stamp and Brian and his forehead

1191
00:58:29,920 --> 00:58:36,000
Speaker 1: You're great and away it went from that. It been fabulous. Okay,

1192
00:58:36,040 --> 00:58:38,720
Speaker 1: So you have that great success straight from the heart, etcetera.

1193
00:58:39,240 --> 00:58:45,000
Speaker 1: Then comes the big album Everything I Do, I Do

1194
00:58:45,080 --> 00:58:47,160
Speaker 1: it for you album No No, I mean when you

1195
00:58:47,280 --> 00:58:50,360
Speaker 1: do run away All of a sudden, Brian Adams is

1196
00:58:50,720 --> 00:58:56,400
Speaker 1: everywhere under you run to run to you, Well run

1197
00:58:56,440 --> 00:58:59,560
Speaker 1: do you? Was on the uh that was on that

1198
00:58:59,680 --> 00:59:01,560
Speaker 1: was Was that the name of the album? Pub I

1199
00:59:01,600 --> 00:59:04,320
Speaker 1: still it was four? It was the fourth album. Yeah,

1200
00:59:04,640 --> 00:59:07,920
Speaker 1: I'm looking around here because they're all up here somewhere. Um, okay,

1201
00:59:07,960 --> 00:59:09,600
Speaker 1: the fourth album with a run to You on it.

1202
00:59:09,840 --> 00:59:11,520
Speaker 1: That was the thing where you made the divondboard dove

1203
00:59:11,600 --> 00:59:16,800
Speaker 1: into the empty swimming exactly exactly. And h yeah that

1204
00:59:17,000 --> 00:59:19,960
Speaker 1: that that really exploded that album. That was a great album.

1205
00:59:20,120 --> 00:59:22,920
Speaker 1: And uh we Tina Turner was on that album, as

1206
00:59:22,960 --> 00:59:25,240
Speaker 1: I remember, is that correct? R right? It's only love.

1207
00:59:25,280 --> 00:59:27,840
Speaker 1: I pretty sure it's on that album. But the but

1208
00:59:28,040 --> 00:59:32,160
Speaker 1: he was literally could have been the biggest star on

1209
00:59:32,400 --> 00:59:35,960
Speaker 1: MTV at that point. Yeah, he was everywhere and he worked.

1210
00:59:36,040 --> 00:59:38,400
Speaker 1: Like I said, we worked, We worked everywhere. But we

1211
00:59:38,520 --> 00:59:41,560
Speaker 1: played big cities, played the small cities. I always did that.

1212
00:59:41,640 --> 00:59:43,840
Speaker 1: I always tried to cover off the smaller markets too.

1213
00:59:44,440 --> 00:59:46,960
Speaker 1: And and and Maz there at her side, and and

1214
00:59:47,360 --> 00:59:48,520
Speaker 1: did a hell of a job for us. And they

1215
00:59:48,600 --> 00:59:51,360
Speaker 1: got no complaints over in America. Well, you know, we

1216
00:59:51,560 --> 00:59:54,160
Speaker 1: we've had some publishing arguments, but I don't think anything

1217
00:59:54,200 --> 01:00:03,320
Speaker 1: with the record company in general. Okay, So after Reckless,

1218
01:00:03,400 --> 01:00:07,120
Speaker 1: that's the album with Run to You. Uh, then he's

1219
01:00:07,160 --> 01:00:10,120
Speaker 1: sort of there's a backlash that he's not political enough.

1220
01:00:10,160 --> 01:00:12,680
Speaker 1: He does the album Into the Fire, which is not

1221
01:00:13,040 --> 01:00:16,160
Speaker 1: as successful as what came before. That was my fault

1222
01:00:16,200 --> 01:00:19,920
Speaker 1: because I took that amnesty to her, and so he

1223
01:00:20,040 --> 01:00:24,000
Speaker 1: was out there with all the you know, the intellectuals

1224
01:00:24,680 --> 01:00:28,160
Speaker 1: of rock were out there with the police. We're out

1225
01:00:28,160 --> 01:00:31,600
Speaker 1: there with you too, of course, and we're doing these

1226
01:00:31,600 --> 01:00:36,160
Speaker 1: shows and I think Adam Brian, right, I wanted to say,

1227
01:00:36,320 --> 01:00:38,040
Speaker 1: you know, I want to make a change, I want

1228
01:00:38,080 --> 01:00:40,680
Speaker 1: to do something differently, got something I want to say.

1229
01:00:41,400 --> 01:00:43,160
Speaker 1: What am I going to say? No, he's an artist.

1230
01:00:43,240 --> 01:00:45,760
Speaker 1: That's what that's what you do, and you get you

1231
01:00:45,880 --> 01:00:48,760
Speaker 1: earned the rate to do it. But it was a

1232
01:00:49,840 --> 01:00:51,320
Speaker 1: it did. It was not the record that we thought

1233
01:00:51,320 --> 01:00:53,720
Speaker 1: it wouldn't be. Although it's interesting now when he's on tour.

1234
01:00:54,440 --> 01:00:56,720
Speaker 1: He played some of those songs and we're doing a

1235
01:00:57,080 --> 01:00:58,840
Speaker 1: on each other at the Royal overt Hall. I know

1236
01:00:58,920 --> 01:01:00,880
Speaker 1: we're doing a night there, but that's that's what's gonna be.

1237
01:01:00,960 --> 01:01:03,200
Speaker 1: The whole night is that album. There are people do

1238
01:01:03,360 --> 01:01:05,280
Speaker 1: like that album, but it wasn't the album it was.

1239
01:01:05,360 --> 01:01:07,480
Speaker 1: It was a change from what we were doing. But

1240
01:01:07,600 --> 01:01:09,600
Speaker 1: he felt he had to make it well. The first

1241
01:01:09,640 --> 01:01:11,439
Speaker 1: three tracks on the album he did, The Night Into

1242
01:01:11,480 --> 01:01:13,560
Speaker 1: the Fire and Victim of Love. I play those all

1243
01:01:13,760 --> 01:01:16,160
Speaker 1: the time. I don't fight as I agree with you.

1244
01:01:16,280 --> 01:01:18,760
Speaker 1: The second album is the best. You want it, you

1245
01:01:18,840 --> 01:01:22,440
Speaker 1: got it, okay, but that album is not as successful

1246
01:01:23,200 --> 01:01:26,960
Speaker 1: as you wanted to be. Tell us the transition to

1247
01:01:27,120 --> 01:01:32,880
Speaker 1: Everything I Do and working with Mutt Lang. Um. Mutt

1248
01:01:32,960 --> 01:01:39,520
Speaker 1: Lang I had worked with month before booking his band,

1249
01:01:39,640 --> 01:01:41,960
Speaker 1: and he had at the time called City Boy, but

1250
01:01:42,000 --> 01:01:44,240
Speaker 1: he's more a friend of Clive Calder's and Mutt Lang's

1251
01:01:44,760 --> 01:01:48,720
Speaker 1: and and I booked him, uh, you know, across Canada

1252
01:01:49,200 --> 01:01:53,840
Speaker 1: and they did what they did. But Uh, Adams, I

1253
01:01:53,960 --> 01:01:59,240
Speaker 1: believe Bryan Adams and I had a conversation, came up

1254
01:01:59,320 --> 01:02:03,720
Speaker 1: with the with Mutt Lang idea, and we gave Mu

1255
01:02:03,800 --> 01:02:08,240
Speaker 1: a call. And that's a songwriter, and I think he

1256
01:02:08,400 --> 01:02:11,720
Speaker 1: loved adams songwriting and he loved his voice. He's always

1257
01:02:11,760 --> 01:02:14,840
Speaker 1: told me they just loved it. And Clive Calder and

1258
01:02:14,880 --> 01:02:16,960
Speaker 1: I you know, he liked me. We got everybody got

1259
01:02:16,960 --> 01:02:20,040
Speaker 1: along weird, you knew each other like you know, pretty

1260
01:02:20,040 --> 01:02:22,320
Speaker 1: good friends. So that deal started with mud Lang album

1261
01:02:22,360 --> 01:02:25,600
Speaker 1: on on that album and uh, and Everything I Do

1262
01:02:25,920 --> 01:02:28,400
Speaker 1: was not on that album. It was there in the

1263
01:02:28,480 --> 01:02:32,600
Speaker 1: mixing stage of that album and with two songs to go,

1264
01:02:32,880 --> 01:02:37,600
Speaker 1: Michael Caman sent me a track, the instrumental track of

1265
01:02:37,680 --> 01:02:41,120
Speaker 1: Everything I Do for this movie and I said, Michael,

1266
01:02:41,280 --> 01:02:42,439
Speaker 1: you know, what do you want to do? He says,

1267
01:02:42,840 --> 01:02:44,480
Speaker 1: I think Brian can re sing this song? Can you

1268
01:02:44,520 --> 01:02:46,320
Speaker 1: get it? And I says, okay, but I'm mixing this album.

1269
01:02:46,320 --> 01:02:47,600
Speaker 1: I don't know if I might get it to him.

1270
01:02:47,840 --> 01:02:49,560
Speaker 1: So I sent it over to Brian right away and

1271
01:02:49,600 --> 01:02:51,440
Speaker 1: I think can listen to the song Him and mut

1272
01:02:51,520 --> 01:02:54,000
Speaker 1: sitting there. They wrote this song in about thirty minutes

1273
01:02:54,920 --> 01:02:56,520
Speaker 1: and the way it went and it's still the long

1274
01:02:56,680 --> 01:02:59,000
Speaker 1: number one, longest number one record in England to this day.

1275
01:02:59,760 --> 01:03:04,439
Speaker 1: Oh okay, let's go back to that era because it's

1276
01:03:04,560 --> 01:03:09,000
Speaker 1: very significant in terms of the marketplace and that Brian

1277
01:03:09,160 --> 01:03:12,360
Speaker 1: was known as a rocker and let's just say that

1278
01:03:12,480 --> 01:03:14,160
Speaker 1: Everything I Do is a little bit of small cy

1279
01:03:14,280 --> 01:03:19,040
Speaker 1: and sappy. People criticized him for making that record, but

1280
01:03:19,200 --> 01:03:23,040
Speaker 1: simultaneous within making the record, a O R radio where

1281
01:03:23,080 --> 01:03:26,400
Speaker 1: he was living completely died. Correct and that and we

1282
01:03:26,720 --> 01:03:30,400
Speaker 1: we survived, We survived as a result of that song.

1283
01:03:30,800 --> 01:03:31,920
Speaker 1: And I we had a we had a lot more

1284
01:03:31,960 --> 01:03:33,920
Speaker 1: of those ballots to it. It saved us, okay, And

1285
01:03:34,000 --> 01:03:36,880
Speaker 1: we still kept up our arena business because of it, okay.

1286
01:03:37,080 --> 01:03:39,680
Speaker 1: And people people think that was you know that that

1287
01:03:39,840 --> 01:03:42,200
Speaker 1: was because Adams rocky. He sold out. He didn't sell out.

1288
01:03:42,240 --> 01:03:44,200
Speaker 1: He wrote the goddamn song. I mean, it's not like

1289
01:03:44,440 --> 01:03:46,680
Speaker 1: I'm out there hustling songs to try and make it rock.

1290
01:03:46,880 --> 01:03:49,040
Speaker 1: He was. He was writing those songs, he was writing

1291
01:03:49,080 --> 01:03:51,280
Speaker 1: the ballants, he was writing all that stuff. Bryan Adams

1292
01:03:51,320 --> 01:03:54,320
Speaker 1: wrote every song here he ever ever recorded on around albums.

1293
01:03:54,680 --> 01:03:56,200
Speaker 1: I mean, you were involved in the writing with this

1294
01:03:56,640 --> 01:04:00,160
Speaker 1: partner Jim Balance or Mutt Lang or whatever. And mud

1295
01:04:00,280 --> 01:04:02,280
Speaker 1: Mudd Lange could sell a battle too. He did. He did,

1296
01:04:02,360 --> 01:04:06,640
Speaker 1: heaven he did, you know we he was straddling two places.

1297
01:04:06,760 --> 01:04:09,400
Speaker 1: While trying to straddle two places. I remember Brian Adams

1298
01:04:09,400 --> 01:04:11,240
Speaker 1: had number one and number two on the charts back

1299
01:04:11,280 --> 01:04:14,960
Speaker 1: to back. He had the triple song with All for Love,

1300
01:04:15,080 --> 01:04:17,640
Speaker 1: and he had he had uh I think the next

1301
01:04:17,680 --> 01:04:21,360
Speaker 1: song probably who was all for Love and uh god,

1302
01:04:21,400 --> 01:04:23,680
Speaker 1: I have to think of the name. But they're back

1303
01:04:23,720 --> 01:04:25,720
Speaker 1: to back singles one and number one and number two.

1304
01:04:25,800 --> 01:04:29,600
Speaker 1: It's phenomenal. People liked him, you know, and he could

1305
01:04:29,640 --> 01:04:31,520
Speaker 1: still rock. He go out the Rocky shows, a rock

1306
01:04:31,600 --> 01:04:34,560
Speaker 1: show with some ballots, but you have to apologize for them.

1307
01:04:35,120 --> 01:04:39,520
Speaker 1: It's how the Ronthos battles. People love them. Okay. Uh.

1308
01:04:40,040 --> 01:04:43,400
Speaker 1: But if the simultaneous you have another business managing producers,

1309
01:04:44,160 --> 01:04:46,320
Speaker 1: you have Bob Rock and Bruce Fairburn, how does that

1310
01:04:46,440 --> 01:04:48,880
Speaker 1: come together? Well, Fairburn played for one of my big

1311
01:04:48,960 --> 01:04:51,800
Speaker 1: bar bands. Fairburn and I grew up together the same neighborhood.

1312
01:04:51,800 --> 01:04:55,560
Speaker 1: He's a couple of years younger and I. He was

1313
01:04:55,600 --> 01:04:58,320
Speaker 1: in a bar band called, um, what was it called.

1314
01:04:59,200 --> 01:05:01,959
Speaker 1: It's called that did Man because just a bar band.

1315
01:05:02,080 --> 01:05:05,480
Speaker 1: And I looked at him and doing these things. And

1316
01:05:05,560 --> 01:05:10,360
Speaker 1: he he was a graduate student in town planning, and

1317
01:05:10,480 --> 01:05:12,880
Speaker 1: he was he was a smart guy from university. And

1318
01:05:12,960 --> 01:05:15,720
Speaker 1: he didn't want to be in the bars plane plane trumpet,

1319
01:05:15,760 --> 01:05:18,040
Speaker 1: which he played a tough instrument in the bars. So

1320
01:05:18,800 --> 01:05:23,040
Speaker 1: so he wanted to become a producer and actually the

1321
01:05:23,120 --> 01:05:26,040
Speaker 1: person records he did first of course, we're the lover

1322
01:05:26,120 --> 01:05:29,560
Speaker 1: of some of the lover Boy records and uh, and

1323
01:05:29,640 --> 01:05:32,240
Speaker 1: then Bob Rock came in and Bob Rock used to

1324
01:05:32,560 --> 01:05:35,160
Speaker 1: deliver the tea bags around it at at the record

1325
01:05:35,280 --> 01:05:37,040
Speaker 1: at the in the studio. He used to run around

1326
01:05:37,040 --> 01:05:39,440
Speaker 1: and you know, look after things there. And he got

1327
01:05:39,480 --> 01:05:43,080
Speaker 1: into a band called the Payolas. I managed. I managed

1328
01:05:43,080 --> 01:05:46,920
Speaker 1: the Payolas, and the Payolas couldn't get out of Canada.

1329
01:05:47,280 --> 01:05:49,720
Speaker 1: They made a mistake. Is we made a mistake. We

1330
01:05:49,800 --> 01:05:52,320
Speaker 1: went down there and Charlie Miner was working the records

1331
01:05:52,360 --> 01:05:54,240
Speaker 1: for Am down there, and we gave him a record,

1332
01:05:54,480 --> 01:05:56,640
Speaker 1: We gave him the song they could. He could never

1333
01:05:56,680 --> 01:06:00,800
Speaker 1: work a band called the Payolas. Okay, Drove he couldn't

1334
01:06:00,800 --> 01:06:01,840
Speaker 1: do it. He said, I can't do it. I'm not

1335
01:06:01,880 --> 01:06:03,880
Speaker 1: gonna do it, blah blah blahs. And Bob want to

1336
01:06:03,920 --> 01:06:05,640
Speaker 1: hang on to it. But anyway, that band could only

1337
01:06:05,680 --> 01:06:08,959
Speaker 1: goes so far. Okay, they were not a bad band,

1338
01:06:09,160 --> 01:06:11,360
Speaker 1: but they didn't have what I knew would break through.

1339
01:06:11,360 --> 01:06:14,160
Speaker 1: But I knew Bob Rock, and when he was coming

1340
01:06:14,200 --> 01:06:17,640
Speaker 1: out of his engineering thing that I said, I believe

1341
01:06:17,640 --> 01:06:19,800
Speaker 1: Bob Rock could be a producer, and I kind of

1342
01:06:19,880 --> 01:06:22,160
Speaker 1: made him quit the band and he went into what

1343
01:06:22,240 --> 01:06:24,120
Speaker 1: he did now. But he was brought up as an

1344
01:06:24,160 --> 01:06:28,160
Speaker 1: engineer with Bruce Fairburn and okay, but you know the

1345
01:06:28,600 --> 01:06:31,080
Speaker 1: Fairburn worked with Adam Then all of a Sudden he

1346
01:06:31,160 --> 01:06:33,960
Speaker 1: had mega success. He did Slippery when Wet, he did

1347
01:06:34,160 --> 01:06:37,120
Speaker 1: Errol Smith. How did that all come together? Well? That

1348
01:06:37,280 --> 01:06:40,840
Speaker 1: was that was John Kalander. John Kloner was a big

1349
01:06:40,920 --> 01:06:43,920
Speaker 1: fan of what of what Bruce had done with with

1350
01:06:44,160 --> 01:06:45,840
Speaker 1: with with some of the records that we've made with

1351
01:06:45,920 --> 01:06:49,440
Speaker 1: Loverboy records, especially, I mean John bon Job used to

1352
01:06:49,440 --> 01:06:51,640
Speaker 1: come to every Loverboy show when we were out in

1353
01:06:51,720 --> 01:06:53,200
Speaker 1: the East co He loved He thought lover Boy is

1354
01:06:53,240 --> 01:06:57,160
Speaker 1: fantastic and John Kladner liked it. And Fairburn made that record,

1355
01:06:57,400 --> 01:06:59,920
Speaker 1: the first lover Boy record, the second lover Boy record too.

1356
01:07:00,080 --> 01:07:05,320
Speaker 1: But he he uh he he got hired by Klauder

1357
01:07:05,440 --> 01:07:09,400
Speaker 1: to do Sweat all the bon Jovi records and and

1358
01:07:09,680 --> 01:07:13,800
Speaker 1: they were done all the bank, all those Vancouver had

1359
01:07:13,840 --> 01:07:15,880
Speaker 1: a great scene that I mean more I talked about it,

1360
01:07:16,320 --> 01:07:18,840
Speaker 1: all those acts that came out of there, the producers

1361
01:07:18,880 --> 01:07:20,800
Speaker 1: that came out of there, the studios that were there

1362
01:07:20,800 --> 01:07:22,280
Speaker 1: and still there today. The warehouse is one of the

1363
01:07:22,360 --> 01:07:27,600
Speaker 1: greatest studios in the world. Okay, it's still here. But Fairburn, Fairburn,

1364
01:07:28,320 --> 01:07:30,720
Speaker 1: Fairburn was amazing. He could sit there because I used

1365
01:07:30,720 --> 01:07:32,520
Speaker 1: to have figure out the budgets. He said, I'm gonna

1366
01:07:32,520 --> 01:07:34,760
Speaker 1: start this record July fifteenth, and gonna mix it on

1367
01:07:34,840 --> 01:07:38,640
Speaker 1: September four, and we'll be finished by and uh first

1368
01:07:38,680 --> 01:07:41,240
Speaker 1: of the end of September. And he nailed those all

1369
01:07:41,280 --> 01:07:43,520
Speaker 1: the day because he's a planner, and he he and

1370
01:07:43,600 --> 01:07:45,200
Speaker 1: he tried. He was with family too, and he said,

1371
01:07:45,200 --> 01:07:47,280
Speaker 1: I only worked from you know, at ten o'clock till

1372
01:07:47,280 --> 01:07:49,440
Speaker 1: six o'clock and I to go home for dinner. And

1373
01:07:49,480 --> 01:07:53,000
Speaker 1: then I coached soccer and he and he and Roxell

1374
01:07:53,080 --> 01:07:54,880
Speaker 1: Rockbery had to do a lot of it too, right,

1375
01:07:54,920 --> 01:07:58,160
Speaker 1: So he learned it with Fairbor learned business of production

1376
01:07:59,200 --> 01:08:03,440
Speaker 1: and uh, okay, he's very successful also. So Fairburn tragically

1377
01:08:03,520 --> 01:08:08,320
Speaker 1: dies really very sad. How does Bob get the gig

1378
01:08:08,400 --> 01:08:13,479
Speaker 1: with Metallica? They the band called him, and the band

1379
01:08:13,560 --> 01:08:15,760
Speaker 1: called him because of some record they'd heard. Who was

1380
01:08:15,800 --> 01:08:18,960
Speaker 1: that ahead of Bob? Would Bobbly that ahead of I

1381
01:08:19,000 --> 01:08:20,800
Speaker 1: should have sat here? That got Bob. I don't sit

1382
01:08:20,840 --> 01:08:22,960
Speaker 1: here and go over my past. I should have had no, no, no,

1383
01:08:23,200 --> 01:08:25,760
Speaker 1: you're doing what I should have been sitting here with

1384
01:08:25,840 --> 01:08:28,240
Speaker 1: my fucking things. I could say, okay, well, but that

1385
01:08:28,320 --> 01:08:29,880
Speaker 1: they heard a record that they were really liked, and

1386
01:08:29,960 --> 01:08:31,640
Speaker 1: I think it was I think it was the one

1387
01:08:31,720 --> 01:08:35,760
Speaker 1: with John Sykes um like White White White Snake. Yeah,

1388
01:08:35,800 --> 01:08:39,679
Speaker 1: but was that ahead of him and Metallica? Yeah, Okay,

1389
01:08:39,800 --> 01:08:41,720
Speaker 1: that was a record that they really liked. And how

1390
01:08:41,800 --> 01:08:44,920
Speaker 1: he got a call for for to do Metallica and

1391
01:08:46,200 --> 01:08:48,479
Speaker 1: he made that that great record. The first record that

1392
01:08:48,520 --> 01:08:50,559
Speaker 1: he made was great. And then of course he went

1393
01:08:50,600 --> 01:08:54,439
Speaker 1: through that little psychological thing for the other You know, Bob, Bob, Bob,

1394
01:08:54,680 --> 01:08:57,080
Speaker 1: Bob has done great records. He's a great producer to

1395
01:08:57,160 --> 01:09:00,400
Speaker 1: this day. Okay, you're talking about fairburning budgets when you're

1396
01:09:00,479 --> 01:09:02,800
Speaker 1: managing Bob at this point in fairburned back in the

1397
01:09:02,840 --> 01:09:07,040
Speaker 1: old day. You can't spell budget, fair rock, you can't stop.

1398
01:09:07,560 --> 01:09:10,880
Speaker 1: Those are big battles. Fairburn can spell. Fairburn could get records.

1399
01:09:10,920 --> 01:09:12,479
Speaker 1: He knocked him right out. He said, it's gonna cost

1400
01:09:12,520 --> 01:09:15,519
Speaker 1: this much, It's gonna cost that much. And so but

1401
01:09:15,680 --> 01:09:18,200
Speaker 1: as Bob's manager, how deeply you and do you get

1402
01:09:18,200 --> 01:09:23,640
Speaker 1: involved beyond just getting him the gig? Um we do

1403
01:09:24,800 --> 01:09:30,639
Speaker 1: we do properly everything for Bob. Um we don't. And again,

1404
01:09:30,800 --> 01:09:32,320
Speaker 1: you know, we take get out his money, we collect

1405
01:09:32,360 --> 01:09:34,519
Speaker 1: his money, we give him his money. I get my

1406
01:09:34,640 --> 01:09:38,360
Speaker 1: commissioned the same thing. It always has and uh, we

1407
01:09:38,479 --> 01:09:40,240
Speaker 1: do get him to get him the gigs, and but

1408
01:09:40,400 --> 01:09:42,800
Speaker 1: he's now I don't have to get him the gigs.

1409
01:09:43,000 --> 01:09:45,400
Speaker 1: I have to answer the phone, big Bob Rock. Bob

1410
01:09:45,560 --> 01:09:49,439
Speaker 1: Rock gets called a lot, okay, And it's tough business

1411
01:09:49,479 --> 01:09:51,439
Speaker 1: for him now because the budgets that we had in

1412
01:09:51,520 --> 01:09:55,240
Speaker 1: Metallica era and and after that and Slippy and um

1413
01:09:55,320 --> 01:09:58,240
Speaker 1: sorry not Slippy went and the Motley Crewe records. You know,

1414
01:09:58,560 --> 01:10:01,640
Speaker 1: those budgets gone. Now, Bob, it's tough to get a

1415
01:10:01,720 --> 01:10:03,439
Speaker 1: big budget. You've got to be able to get the

1416
01:10:03,560 --> 01:10:07,400
Speaker 1: records done quicker because they just don't throw that kind

1417
01:10:07,439 --> 01:10:09,839
Speaker 1: of money actually anymore. I mean, it's gonna be interesting

1418
01:10:09,840 --> 01:10:11,840
Speaker 1: when they do the Booblet records because we have their

1419
01:10:11,880 --> 01:10:14,719
Speaker 1: expensive records. There's lots of musicians in their live music,

1420
01:10:15,280 --> 01:10:18,160
Speaker 1: and it's it's gonna be interesting coming up for this

1421
01:10:18,240 --> 01:10:21,320
Speaker 1: next Booblet record. So tell us the story of Boo Blay.

1422
01:10:22,240 --> 01:10:25,479
Speaker 1: Bo Blay was played. I I owned some clubs for

1423
01:10:25,520 --> 01:10:28,000
Speaker 1: a while and last for a while, I had bought

1424
01:10:28,040 --> 01:10:30,320
Speaker 1: some clubs after I got out of the booking businesses

1425
01:10:30,400 --> 01:10:32,479
Speaker 1: more rocked in the menagerement. I had two or three

1426
01:10:32,479 --> 01:10:34,519
Speaker 1: clubs and he played in a month in a while,

1427
01:10:34,640 --> 01:10:37,960
Speaker 1: he played in a bar called the Georgia Street Bar

1428
01:10:38,000 --> 01:10:39,800
Speaker 1: and grill and need to play all the records, all

1429
01:10:39,840 --> 01:10:41,560
Speaker 1: the songs he plays today. He played there with a

1430
01:10:41,600 --> 01:10:46,080
Speaker 1: trio and stuff like that. Um, he goes to uh,

1431
01:10:46,200 --> 01:10:48,760
Speaker 1: he gets a lot. He goes to sing for the

1432
01:10:48,800 --> 01:10:52,200
Speaker 1: Prime Minister's daughter's wedding because Foster was at it and

1433
01:10:52,320 --> 01:10:54,439
Speaker 1: fostered and said, you'd get this guy. He can sing

1434
01:10:54,560 --> 01:10:56,920
Speaker 1: this stuff. And so he came out there and sang

1435
01:10:56,960 --> 01:10:59,080
Speaker 1: for the Prime Minister to two or three songs. I was.

1436
01:10:59,320 --> 01:11:01,400
Speaker 1: I wasn't there at the time and wasn't involved at

1437
01:11:01,439 --> 01:11:05,439
Speaker 1: that time, and the Prime Minister said, Foster, you've got

1438
01:11:05,560 --> 01:11:07,519
Speaker 1: to make this do a record for this guy. And

1439
01:11:07,640 --> 01:11:10,240
Speaker 1: Foster took it as a challenge and said he would.

1440
01:11:10,360 --> 01:11:12,160
Speaker 1: And I had managed David, like I told you before,

1441
01:11:12,200 --> 01:11:16,479
Speaker 1: when he's eighteen nineteen, and he he came back and

1442
01:11:16,520 --> 01:11:19,920
Speaker 1: started working on this record and unbeknownst to me, and

1443
01:11:20,680 --> 01:11:24,800
Speaker 1: he's down the stage making it and uh, probably in

1444
01:11:24,880 --> 01:11:28,519
Speaker 1: the record. He phoned me he said, uh, listen, um,

1445
01:11:28,760 --> 01:11:31,000
Speaker 1: I'm making this record. I wonder if you'd be interested

1446
01:11:31,000 --> 01:11:33,000
Speaker 1: in the artist. He says, he says, you ever heard

1447
01:11:33,040 --> 01:11:34,800
Speaker 1: of Michael Booby. I says, yeah, I used to work

1448
01:11:34,840 --> 01:11:36,840
Speaker 1: in a cocktail lounge type of thing that I had.

1449
01:11:36,920 --> 01:11:38,840
Speaker 1: He said yeah, he said, I'm making this record with

1450
01:11:38,920 --> 01:11:40,599
Speaker 1: him and so Reverie. What kind of record are you making?

1451
01:11:41,040 --> 01:11:44,240
Speaker 1: I'm making a romance record, a romance record. Why would

1452
01:11:44,280 --> 01:11:47,360
Speaker 1: you be making a romance record, Bruce, he says, I

1453
01:11:47,439 --> 01:11:49,400
Speaker 1: listen to everything is on radio, there's no romance. People

1454
01:11:49,439 --> 01:11:52,720
Speaker 1: always want romance. I'm making this romance record. I said,

1455
01:11:52,760 --> 01:11:56,680
Speaker 1: that's interesting. He says, okay. He says, you interested all.

1456
01:11:56,760 --> 01:11:58,360
Speaker 1: I says, well, you know, David, you're making the record.

1457
01:11:58,400 --> 01:11:59,840
Speaker 1: Of course I got to be interested. He said, well,

1458
01:11:59,840 --> 01:12:04,519
Speaker 1: how interested? He says I Abo? I said okay. He said,

1459
01:12:04,960 --> 01:12:08,000
Speaker 1: what's gonna take? What's gonna make you go to? I said, well,

1460
01:12:08,040 --> 01:12:09,479
Speaker 1: you better send it to me so I can hear it.

1461
01:12:10,000 --> 01:12:11,200
Speaker 1: He says, okay, I'll send it up to you. So

1462
01:12:11,240 --> 01:12:14,360
Speaker 1: about a week later, up came the record songs and

1463
01:12:14,920 --> 01:12:18,760
Speaker 1: listen to the record. Foster makes great records, and and

1464
01:12:18,880 --> 01:12:20,120
Speaker 1: I didn't know what to do with it. And I

1465
01:12:20,240 --> 01:12:24,439
Speaker 1: but as much as I bet on Randy Backman for

1466
01:12:24,560 --> 01:12:28,559
Speaker 1: Backman turn Over Drive, I bet on David Foster because

1467
01:12:28,600 --> 01:12:31,519
Speaker 1: he was coming off Josh Groban. I bet on David Foster,

1468
01:12:31,960 --> 01:12:35,280
Speaker 1: it's Michael Bobble because he was on a roll a

1469
01:12:35,320 --> 01:12:38,719
Speaker 1: bit in that genre. But then I got the record

1470
01:12:38,720 --> 01:12:41,720
Speaker 1: and I thought, what do I do with it? How

1471
01:12:41,760 --> 01:12:43,719
Speaker 1: do how do we what is this a theater actor?

1472
01:12:43,840 --> 01:12:45,560
Speaker 1: I didn't, you know, trying to get a grip of this,

1473
01:12:46,320 --> 01:12:49,240
Speaker 1: and I sent it to my send it to Don Fox,

1474
01:12:49,760 --> 01:12:52,400
Speaker 1: probably I would bring into America because I know he

1475
01:12:52,560 --> 01:12:55,280
Speaker 1: killed for it because he's independent. And I gave it

1476
01:12:55,360 --> 01:12:57,920
Speaker 1: to my agent in Europe and they both thought he

1477
01:12:58,000 --> 01:13:01,800
Speaker 1: was making a joke. And I said, no, this is

1478
01:13:01,960 --> 01:13:03,840
Speaker 1: this is gonna be a record. I'm gonna do this

1479
01:13:03,920 --> 01:13:07,080
Speaker 1: record and I Don, I said, Don listen, we're gonna

1480
01:13:07,120 --> 01:13:08,640
Speaker 1: put this record out and you're gonna help me with it.

1481
01:13:08,760 --> 01:13:10,320
Speaker 1: And I'd like you to help me with it. And

1482
01:13:12,040 --> 01:13:13,760
Speaker 1: he said, I don't know, But I just don't know

1483
01:13:13,800 --> 01:13:16,439
Speaker 1: what he says, but he says, get the kids singing.

1484
01:13:16,479 --> 01:13:19,000
Speaker 1: A kid happen to be in the office, and and

1485
01:13:19,160 --> 01:13:21,320
Speaker 1: I says, put him on the phone of me, says

1486
01:13:22,840 --> 01:13:26,000
Speaker 1: I want this is Don Fox. Michael, Yeah, Don Fox, Yes,

1487
01:13:26,040 --> 01:13:29,040
Speaker 1: I heard you, Don Okay singing returned to me for

1488
01:13:29,160 --> 01:13:31,840
Speaker 1: me because Don kind of likes that. Returned to me

1489
01:13:33,920 --> 01:13:38,800
Speaker 1: Fox that I think this is fantastic. Okay, So he said, okay, okay, okay, okay,

1490
01:13:38,800 --> 01:13:40,320
Speaker 1: and he went to his office. He played the record.

1491
01:13:40,320 --> 01:13:41,880
Speaker 1: The office looked at him like he was from Mars

1492
01:13:42,080 --> 01:13:43,800
Speaker 1: and says, we're going to try and break this act.

1493
01:13:44,439 --> 01:13:45,760
Speaker 1: So I said, he said, let's say you put a

1494
01:13:45,840 --> 01:13:50,439
Speaker 1: bunch of shows together, Phoenix, Seattle, small small cities in

1495
01:13:50,840 --> 01:13:53,760
Speaker 1: the record results, small cities in uh California, so on

1496
01:13:53,760 --> 01:13:58,360
Speaker 1: and so forth, and uh put on put the tickets

1497
01:13:58,400 --> 01:14:00,240
Speaker 1: on sale. Remember he phoned me after the first again,

1498
01:14:00,720 --> 01:14:07,799
Speaker 1: okay ticket accounts. Here we go Phoenix, Okay, some surplace

1499
01:14:07,880 --> 01:14:11,800
Speaker 1: in California, eight Seattle. What does his family drive down?

1500
01:14:12,080 --> 01:14:16,080
Speaker 1: You know, like we sit there and I go, okay. Well,

1501
01:14:16,439 --> 01:14:18,280
Speaker 1: you know, and he worked at he believed in it.

1502
01:14:18,360 --> 01:14:20,719
Speaker 1: But all of a sudden we hit TV. Michael Bubby

1503
01:14:20,760 --> 01:14:24,320
Speaker 1: got put on TV. And have that happened? That just

1504
01:14:24,479 --> 01:14:27,160
Speaker 1: that the record company pushing We ended up two people

1505
01:14:27,800 --> 01:14:30,280
Speaker 1: people of the record company. We're behind us. One person

1506
01:14:30,280 --> 01:14:31,920
Speaker 1: who was behind us at that record company who did

1507
01:14:31,960 --> 01:14:33,920
Speaker 1: a hell of a job is Liz Rosenberg. And if

1508
01:14:33,920 --> 01:14:35,559
Speaker 1: I say, I bring up Lizzard Road. If I bring

1509
01:14:35,640 --> 01:14:37,400
Speaker 1: up Liz Rosenberg in front the name, in front of

1510
01:14:37,479 --> 01:14:39,960
Speaker 1: any pr person in the world, they know who the

1511
01:14:40,000 --> 01:14:43,880
Speaker 1: hell she is and they whoa whoa right, So she

1512
01:14:44,040 --> 01:14:46,479
Speaker 1: had some muscle and she muscled us on too, like

1513
01:14:46,600 --> 01:14:49,800
Speaker 1: to the day show. And it worked and people say wow,

1514
01:14:50,000 --> 01:14:52,439
Speaker 1: you know, and he started to sell records. Who was

1515
01:14:52,520 --> 01:14:54,840
Speaker 1: the other person who was behind you at the label? Oh,

1516
01:14:55,960 --> 01:14:59,760
Speaker 1: at that time, there's two guys. It was him and

1517
01:15:00,360 --> 01:15:03,280
Speaker 1: the the girl who there was a guy who's gone

1518
01:15:03,360 --> 01:15:06,320
Speaker 1: Jeremy something who used to work there too. But the guy,

1519
01:15:06,400 --> 01:15:08,519
Speaker 1: the product manager, was behind us. So it was Liz

1520
01:15:08,600 --> 01:15:09,960
Speaker 1: and him they were and he was but he was

1521
01:15:10,000 --> 01:15:11,600
Speaker 1: one of these product managers like to make toys, you know,

1522
01:15:11,680 --> 01:15:14,320
Speaker 1: I'll send your stuff. That's Michael right right, right right,

1523
01:15:14,960 --> 01:15:17,800
Speaker 1: you know the guys that used to and and and he.

1524
01:15:17,960 --> 01:15:20,800
Speaker 1: But then then and of course then another guy or

1525
01:15:20,880 --> 01:15:22,560
Speaker 1: who caught it in South Africa was a friend of

1526
01:15:22,640 --> 01:15:25,600
Speaker 1: mine now a friend of mine named Dion Singer, and

1527
01:15:25,720 --> 01:15:28,240
Speaker 1: he caught it in Toronto in South Africa and started

1528
01:15:28,280 --> 01:15:29,880
Speaker 1: to do some stuff over there. So we had these weird,

1529
01:15:29,960 --> 01:15:33,160
Speaker 1: weird markets South Africa. The States are starting to warm

1530
01:15:33,240 --> 01:15:37,679
Speaker 1: up Canada, Canada. That's your phone, not mine, Canada, Canada,

1531
01:15:37,880 --> 01:15:41,400
Speaker 1: because it was because of course he's in Canada. But

1532
01:15:41,760 --> 01:15:45,080
Speaker 1: you know it, it's just he did great press. He

1533
01:15:45,160 --> 01:15:46,800
Speaker 1: did every time he was on TV. And that's a

1534
01:15:46,880 --> 01:15:49,320
Speaker 1: record that was broken, Bob by us doing TV show

1535
01:15:49,479 --> 01:15:51,680
Speaker 1: really because then and then the music caught up to

1536
01:15:51,840 --> 01:15:56,640
Speaker 1: us and uh, Bob, it's it's unbelievable. And and he

1537
01:15:56,720 --> 01:15:59,639
Speaker 1: had you know, and and Foster, Foster did a great

1538
01:15:59,680 --> 01:16:02,000
Speaker 1: job us. All those albums that heat, all the albums

1539
01:16:02,000 --> 01:16:04,000
Speaker 1: that that David's done with Michael have been very very good.

1540
01:16:04,520 --> 01:16:05,680
Speaker 1: And then of course, of course it is a big

1541
01:16:05,720 --> 01:16:08,479
Speaker 1: home run with a Christmas album. And you know, as

1542
01:16:08,680 --> 01:16:11,599
Speaker 1: as I go into my ninth year now, that Christmas

1543
01:16:11,640 --> 01:16:13,640
Speaker 1: album out and your Bob, that's very neat to do

1544
01:16:13,720 --> 01:16:15,400
Speaker 1: in the Christmas albums only you only work on for

1545
01:16:15,520 --> 01:16:19,599
Speaker 1: about eight weeks max, you know, And that's the biggest

1546
01:16:19,640 --> 01:16:24,960
Speaker 1: selling album known in Christmas record history. Okay, so let's

1547
01:16:25,000 --> 01:16:28,679
Speaker 1: talk about today. Certainly the business has changed. For fifteen

1548
01:16:28,760 --> 01:16:31,679
Speaker 1: years we were arguing about the disruption of the music business.

1549
01:16:31,800 --> 01:16:36,240
Speaker 1: That's basically over what do we know? Streaming has paused

1550
01:16:36,320 --> 01:16:41,080
Speaker 1: revenues to go up, but generally speaking, the revenues go

1551
01:16:41,240 --> 01:16:44,080
Speaker 1: primarily to those at the very top of the Spotify

1552
01:16:44,240 --> 01:16:49,240
Speaker 1: top fifty. So as a manager today, what is your

1553
01:16:49,880 --> 01:16:53,320
Speaker 1: you know, what is your plan for an act? Well,

1554
01:16:53,400 --> 01:16:55,040
Speaker 1: that's what I'm looking into now. And I think the

1555
01:16:55,120 --> 01:16:58,000
Speaker 1: only thing that I'm feeling good about Spotify is that

1556
01:16:59,200 --> 01:17:02,439
Speaker 1: I hear and only reading stuff, reading and reading because

1557
01:17:02,439 --> 01:17:04,760
Speaker 1: I ever put out a record on Michael for a while.

1558
01:17:05,720 --> 01:17:10,720
Speaker 1: Is that the dead generation now fifty plus is going

1559
01:17:10,760 --> 01:17:13,120
Speaker 1: over to streaming because they have no option. Now you

1560
01:17:13,160 --> 01:17:15,759
Speaker 1: would know that better than me, but that's what I'm told, Okay,

1561
01:17:15,840 --> 01:17:18,200
Speaker 1: And I believe that how am you know? In terms

1562
01:17:18,240 --> 01:17:19,800
Speaker 1: of breaking the record is one thing, In terms of

1563
01:17:19,840 --> 01:17:24,040
Speaker 1: getting paid is another. But keeps Yeah, and so I've

1564
01:17:24,080 --> 01:17:27,960
Speaker 1: always I think, you know, it's gonna be interesting how

1565
01:17:28,080 --> 01:17:30,000
Speaker 1: how this record is, Well, see the next record, no

1566
01:17:30,040 --> 01:17:31,840
Speaker 1: matter what he does. But the one thing I've learned,

1567
01:17:31,920 --> 01:17:35,040
Speaker 1: Bob is I can't I don't think I know is

1568
01:17:35,120 --> 01:17:37,559
Speaker 1: I can't chase it. I can't sit there and look

1569
01:17:37,600 --> 01:17:39,200
Speaker 1: what's getting played on the radio and say, Michael, this

1570
01:17:39,240 --> 01:17:40,479
Speaker 1: is we gotta do some of this, we gotta do

1571
01:17:40,560 --> 01:17:43,000
Speaker 1: some of that. We have to. I think I believe,

1572
01:17:43,160 --> 01:17:45,240
Speaker 1: stay in our lane and do what we do, okay,

1573
01:17:45,240 --> 01:17:50,080
Speaker 1: because basically our our life is sensational. Okay, people want

1574
01:17:50,160 --> 01:17:53,120
Speaker 1: to see this guy, okay, and we I put on

1575
01:17:53,240 --> 01:17:57,360
Speaker 1: ticket sales in in in your in the UK ten

1576
01:17:57,479 --> 01:18:00,439
Speaker 1: days ago for this tour we're doing just le around

1577
01:18:00,439 --> 01:18:03,400
Speaker 1: with it with called the Stately Home Store. We are

1578
01:18:03,400 --> 01:18:05,320
Speaker 1: playing in front of these mansions outside the country in

1579
01:18:05,400 --> 01:18:07,840
Speaker 1: England and put our ticket sales on sale in the

1580
01:18:07,920 --> 01:18:10,920
Speaker 1: midst of this thing the pandemic and did eighteen thousand

1581
01:18:10,960 --> 01:18:14,000
Speaker 1: tickets in two days. Okay. Now he's done. When are they?

1582
01:18:14,040 --> 01:18:16,040
Speaker 1: When are these days supposed to play? Post to schedule

1583
01:18:16,120 --> 01:18:18,600
Speaker 1: in July August this year? Okay. Now, this is a

1584
01:18:18,640 --> 01:18:21,240
Speaker 1: guy who's done in one single run ten nights at

1585
01:18:21,280 --> 01:18:23,800
Speaker 1: the O two. Nobody does that then and ended up

1586
01:18:23,880 --> 01:18:25,320
Speaker 1: had to split a couple of days. We came back

1587
01:18:25,360 --> 01:18:27,840
Speaker 1: and do two more, so twelve nights. Is this guy

1588
01:18:28,080 --> 01:18:32,559
Speaker 1: sells tickets around the world, So why should be chasing

1589
01:18:32,680 --> 01:18:37,599
Speaker 1: radio because what's my chances there? Michael's forty two years old,

1590
01:18:38,080 --> 01:18:41,840
Speaker 1: He's a he's great, great joy, great guy, great singer,

1591
01:18:41,960 --> 01:18:45,479
Speaker 1: great performer. Okay, if I can just get good records,

1592
01:18:46,760 --> 01:18:50,280
Speaker 1: we'll do fine, our our audience will find us. Okay.

1593
01:18:50,320 --> 01:18:52,560
Speaker 1: Will they be buying records, probably not, will be the

1594
01:18:52,600 --> 01:18:57,479
Speaker 1: same Alexis play whatever, Probably yes. But I still don't

1595
01:18:57,520 --> 01:18:59,920
Speaker 1: want to give up making records because there are there

1596
01:19:00,080 --> 01:19:03,640
Speaker 1: is still I think that I believe there's a real

1597
01:19:03,680 --> 01:19:07,559
Speaker 1: big market out there for Michael Buble still this day. Okay,

1598
01:19:07,640 --> 01:19:11,200
Speaker 1: but let's just say, in general, an act that already

1599
01:19:11,280 --> 01:19:15,280
Speaker 1: has a career, how important is the record in terms

1600
01:19:15,360 --> 01:19:17,920
Speaker 1: of road business? Where you make the lions share of

1601
01:19:18,000 --> 01:19:22,000
Speaker 1: the money, if you're if you if you're if you're

1602
01:19:22,040 --> 01:19:25,280
Speaker 1: an act, if you're a heritage act. It's not because

1603
01:19:25,320 --> 01:19:29,040
Speaker 1: they're going there to see the songs they want. I

1604
01:19:29,200 --> 01:19:30,920
Speaker 1: was out there touring Brian Adams. A bill was Brian

1605
01:19:31,000 --> 01:19:35,040
Speaker 1: Adams and and uh and Uh Billy Idol. That audience

1606
01:19:35,040 --> 01:19:37,679
Speaker 1: stood up from beginning to end. Fantastic, Okay, they knew

1607
01:19:37,720 --> 01:19:39,960
Speaker 1: every song. They don't know what Billy's last albums or

1608
01:19:40,040 --> 01:19:43,559
Speaker 1: Brian's okay, but they love to hear those songs. Though

1609
01:19:43,720 --> 01:19:46,680
Speaker 1: that generation was brought up with music, music was a

1610
01:19:46,720 --> 01:19:48,680
Speaker 1: big part of Bob less tess life. It's a big

1611
01:19:48,720 --> 01:19:50,439
Speaker 1: part of mine, Okay. It was a big part of

1612
01:19:50,479 --> 01:19:52,320
Speaker 1: Brian's and it was a big part of of of

1613
01:19:53,040 --> 01:19:55,479
Speaker 1: of of journeys, or a big part of all all

1614
01:19:55,479 --> 01:19:57,320
Speaker 1: the different that all those guys, that was a big

1615
01:19:57,360 --> 01:20:00,280
Speaker 1: part of our life. Those acts and those songs, and

1616
01:20:00,320 --> 01:20:02,600
Speaker 1: those people still want to hear them. They want to

1617
01:20:02,680 --> 01:20:05,599
Speaker 1: hear them. I will guarantee you that they're not gonna

1618
01:20:05,640 --> 01:20:08,560
Speaker 1: go and want to go to see Little Punk or

1619
01:20:08,600 --> 01:20:10,519
Speaker 1: what these acts are. They're not gonna go see him

1620
01:20:10,840 --> 01:20:13,960
Speaker 1: when they're fifty. I don't believe that, Okay. I believe

1621
01:20:14,000 --> 01:20:15,920
Speaker 1: our guys will keep coming. And I believe young people

1622
01:20:16,120 --> 01:20:17,680
Speaker 1: like our music too. They do. You can see it

1623
01:20:17,760 --> 01:20:20,160
Speaker 1: in festivals. You get up there, you put a band

1624
01:20:20,240 --> 01:20:23,080
Speaker 1: Brian Adams playing any festival. I can sit him there

1625
01:20:23,120 --> 01:20:24,720
Speaker 1: and say, you can bang out ten hits in a row.

1626
01:20:24,760 --> 01:20:27,120
Speaker 1: And I don't care who you are, you go whoa boy.

1627
01:20:28,200 --> 01:20:30,679
Speaker 1: And that's that's the and that's why did the Eagles

1628
01:20:30,680 --> 01:20:33,720
Speaker 1: stay the Eagles. The Eagles can sell tickets anywhere for

1629
01:20:33,840 --> 01:20:36,160
Speaker 1: any price. Irving's proved her over and over again. You

1630
01:20:36,200 --> 01:20:38,240
Speaker 1: look at hundred bucks, are you insane? I mean I

1631
01:20:38,520 --> 01:20:40,680
Speaker 1: went through that ere They're going there and people go

1632
01:20:40,840 --> 01:20:45,519
Speaker 1: to see those songs, and those songs my kids have

1633
01:20:45,640 --> 01:20:49,000
Speaker 1: sat in my house listening to my music for such

1634
01:20:49,000 --> 01:20:51,360
Speaker 1: a long time has become their music, and my daughter

1635
01:20:51,479 --> 01:20:52,840
Speaker 1: was down. I had to go to Irving to get

1636
01:20:52,840 --> 01:20:54,479
Speaker 1: tickets for that show in Vegas, but you had when

1637
01:20:54,479 --> 01:20:57,360
Speaker 1: they had their orchestra there. He loves us and to

1638
01:20:57,439 --> 01:20:59,160
Speaker 1: come back homes. He's only but that gimes. She's like

1639
01:20:59,240 --> 01:21:01,360
Speaker 1: twenty eight or night. She came back and said, that's

1640
01:21:01,360 --> 01:21:03,640
Speaker 1: the best show I've ever seen, you know, and that

1641
01:21:03,760 --> 01:21:06,720
Speaker 1: and that's pretty cool. But how do you decide on

1642
01:21:06,800 --> 01:21:13,640
Speaker 1: ticket prices for Boo bleyan atoms? Well, Dawn Fox does

1643
01:21:13,840 --> 01:21:16,280
Speaker 1: never want anybody to not be able to come, be

1644
01:21:16,400 --> 01:21:18,720
Speaker 1: able to buy a ticket. He can't stand some of

1645
01:21:18,760 --> 01:21:22,559
Speaker 1: these prices he's seen, and so we have huge arguments

1646
01:21:22,600 --> 01:21:25,800
Speaker 1: over that. But we do have to scale the house.

1647
01:21:26,320 --> 01:21:28,439
Speaker 1: You know. There's reasons why you can get more money

1648
01:21:28,840 --> 01:21:31,280
Speaker 1: at the place. We were out there with nineteen trucks.

1649
01:21:31,439 --> 01:21:34,400
Speaker 1: We got out there with thirty six musicians. Okay, this

1650
01:21:34,520 --> 01:21:37,639
Speaker 1: isn't cheap. Okay, So I mean we gotta make money,

1651
01:21:37,720 --> 01:21:40,479
Speaker 1: we gotta make a living. So the hundred dollar ticket market,

1652
01:21:40,560 --> 01:21:42,560
Speaker 1: I thought that Irving was nuts and it's going to

1653
01:21:42,640 --> 01:21:46,160
Speaker 1: screw up the business. That's nothing now, so we can

1654
01:21:46,200 --> 01:21:48,920
Speaker 1: sell a ticket. Mike can sell a ticket for hundred bucks,

1655
01:21:49,320 --> 01:21:51,000
Speaker 1: and he can sell ticket for a hundred fifty bucks

1656
01:21:51,040 --> 01:21:53,320
Speaker 1: at a certain place. They can do that and people

1657
01:21:53,360 --> 01:21:56,120
Speaker 1: will come because and the one thing you gotta remember,

1658
01:21:56,240 --> 01:21:58,080
Speaker 1: you gotta stay in your lane. But guess what, he's

1659
01:21:58,120 --> 01:22:01,120
Speaker 1: so lucky. He's the only guy in the lane. Right. Absolutely,

1660
01:22:01,720 --> 01:22:03,880
Speaker 1: there's no better business than that, No, I know it.

1661
01:22:03,960 --> 01:22:05,720
Speaker 1: So you know if the people he's he's the guy,

1662
01:22:05,840 --> 01:22:07,880
Speaker 1: they'll go and see because he can do it. And

1663
01:22:08,240 --> 01:22:12,599
Speaker 1: and it's it's it's it's really a battle over over ticket.

1664
01:22:12,680 --> 01:22:18,200
Speaker 1: It is with down because he just doesn't believe in

1665
01:22:18,240 --> 01:22:20,680
Speaker 1: the high ticket prices. He doesn't like it, okay, but

1666
01:22:20,760 --> 01:22:22,479
Speaker 1: he knows he has to be competitive with me. And

1667
01:22:22,680 --> 01:22:26,080
Speaker 1: so yeah, could I get more somewhere else? Probably? Is

1668
01:22:26,120 --> 01:22:28,560
Speaker 1: that the right thing to do? Maybe, but maybe not

1669
01:22:28,800 --> 01:22:33,559
Speaker 1: too because at least bou Blaze Michael spaper stuff stuff

1670
01:22:33,600 --> 01:22:36,120
Speaker 1: on it too. Bob. He he didn't want me to

1671
01:22:36,200 --> 01:22:38,000
Speaker 1: walk in there and say our top prices two hundred bucks.

1672
01:22:38,120 --> 01:22:39,559
Speaker 1: He doesn't want to get the phone calls. He doesn't

1673
01:22:39,560 --> 01:22:41,600
Speaker 1: want to get people talking to him about it. You know,

1674
01:22:41,720 --> 01:22:45,680
Speaker 1: he's doing fine, okay now big topics. I don't know

1675
01:22:45,760 --> 01:22:47,759
Speaker 1: how much they affect your market, but in the business

1676
01:22:47,800 --> 01:22:51,280
Speaker 1: in general, big topics are the secondary market and the fees.

1677
01:22:51,800 --> 01:22:56,000
Speaker 1: What are your takes on those fees for? How which fees? Uh?

1678
01:22:56,360 --> 01:23:00,400
Speaker 1: You know, ticket fees. Oh well, I got a promoter

1679
01:23:00,479 --> 01:23:03,240
Speaker 1: who bashes away at that better than anybody. So I

1680
01:23:03,439 --> 01:23:07,000
Speaker 1: I think I've never been I've never had a problem

1681
01:23:07,360 --> 01:23:10,519
Speaker 1: because Michael Bobble. First of all, there's a big demand

1682
01:23:10,920 --> 01:23:12,880
Speaker 1: from the city, from the town, from the places in

1683
01:23:13,000 --> 01:23:16,200
Speaker 1: small markets too, to have Michael Bobble there. We gotta

1684
01:23:16,240 --> 01:23:19,680
Speaker 1: get Michael Booble into this building. Okay. You don't have

1685
01:23:19,760 --> 01:23:21,719
Speaker 1: to get the ever the everyday rock act in the building.

1686
01:23:21,760 --> 01:23:23,600
Speaker 1: We've got to get Michael Boobery here. It's important that

1687
01:23:23,680 --> 01:23:26,040
Speaker 1: Michael boober week and that's what we get. So don

1688
01:23:26,120 --> 01:23:29,080
Speaker 1: fox when he cuts those deals, I think he does

1689
01:23:29,120 --> 01:23:30,800
Speaker 1: a hell of a job. So I don't sit here

1690
01:23:30,880 --> 01:23:32,760
Speaker 1: complaining too much about the feast because they already haven't

1691
01:23:32,760 --> 01:23:36,840
Speaker 1: affected me. Okay, Because if somebody wants you because they

1692
01:23:36,960 --> 01:23:39,320
Speaker 1: need you, because they want to go to get to

1693
01:23:39,439 --> 01:23:41,519
Speaker 1: this type of they want to get that crowd in there,

1694
01:23:42,080 --> 01:23:44,920
Speaker 1: guess what Michael Booble will come in, and he doesn't

1695
01:23:44,960 --> 01:23:46,360
Speaker 1: mean you get read don't need we don't need to

1696
01:23:46,360 --> 01:23:50,320
Speaker 1: get raped in pillage by the building. Okay. And that's

1697
01:23:50,360 --> 01:23:52,960
Speaker 1: so far it hasn't. Or the ticket thing, I mean,

1698
01:23:53,080 --> 01:23:56,200
Speaker 1: Don goes through Ticketmaster. You know, we all sell our

1699
01:23:56,200 --> 01:23:59,160
Speaker 1: tickets the same way, but we price our stuff the

1700
01:23:59,200 --> 01:24:00,800
Speaker 1: way we want to. Bob, I don't, I don't we

1701
01:24:00,880 --> 01:24:04,000
Speaker 1: don't you want to get big fees? I mean, yeah, yeah,

1702
01:24:04,000 --> 01:24:06,160
Speaker 1: you go in. You're going, sir, here's what don Don

1703
01:24:06,280 --> 01:24:09,479
Speaker 1: sees the Madison Square Garden bill and just about commits suicide. Okay,

1704
01:24:09,960 --> 01:24:11,320
Speaker 1: you can sell all the tickets. We want to walk

1705
01:24:11,360 --> 01:24:13,320
Speaker 1: out of their fifty grand I mean, it's just the

1706
01:24:13,360 --> 01:24:16,000
Speaker 1: way it is. Okay. But where we can go down

1707
01:24:16,040 --> 01:24:17,720
Speaker 1: the street, the Barklay Center. Now we can go back

1708
01:24:17,720 --> 01:24:19,760
Speaker 1: to Nassau Coliseum, it's done. How we can go to

1709
01:24:20,280 --> 01:24:23,120
Speaker 1: Prudential across the river. We do all of them, okay.

1710
01:24:23,160 --> 01:24:25,320
Speaker 1: And it's you don't have to go there, but yes,

1711
01:24:25,360 --> 01:24:27,040
Speaker 1: you have to go to the Madison Square Garden because

1712
01:24:27,080 --> 01:24:29,040
Speaker 1: that's the thing that that's that's the ones you want

1713
01:24:29,080 --> 01:24:31,400
Speaker 1: to play in Madison Square Garden. You want to play

1714
01:24:32,160 --> 01:24:34,280
Speaker 1: Wembley and you want to play the Buddha Coot. Okay,

1715
01:24:34,360 --> 01:24:37,080
Speaker 1: that's great. Now you're a national, worldwide act. But I said,

1716
01:24:37,280 --> 01:24:40,479
Speaker 1: I said, he gets mad at me. But I want

1717
01:24:40,520 --> 01:24:41,680
Speaker 1: to go to the I don't care what I have

1718
01:24:41,760 --> 01:24:43,960
Speaker 1: to pay pay to play the Garden. I want to

1719
01:24:44,000 --> 01:24:45,680
Speaker 1: play there because I think it's a must. I think

1720
01:24:45,680 --> 01:24:48,000
Speaker 1: it's a stamp. We made. We made a we made

1721
01:24:48,040 --> 01:24:52,080
Speaker 1: that deal. Michael Michael Booble meets Madison Square Garden. That

1722
01:24:52,240 --> 01:24:57,280
Speaker 1: was a Grammy winning video DVD. And think for and

1723
01:24:57,400 --> 01:24:59,559
Speaker 1: because it was. It's a big deal for a guy

1724
01:24:59,560 --> 01:25:01,840
Speaker 1: who was play the what's that thing? The Blue in

1725
01:25:01,960 --> 01:25:05,080
Speaker 1: New York, The Blue Bird of the Blue, the Little

1726
01:25:05,760 --> 01:25:07,960
Speaker 1: Blue Angel. I'm trying to remember what it is, remember

1727
01:25:08,320 --> 01:25:11,479
Speaker 1: a little jazz club and he plays that. That's what

1728
01:25:11,600 --> 01:25:13,760
Speaker 1: we were playing. That's where I started with him. He

1729
01:25:13,800 --> 01:25:16,560
Speaker 1: went to Madison Square Garden. I don't think he believed it.

1730
01:25:17,320 --> 01:25:19,240
Speaker 1: He did that and did and he died three four

1731
01:25:19,320 --> 01:25:21,519
Speaker 1: nights there. Great, So I don't have I don't have

1732
01:25:21,640 --> 01:25:24,760
Speaker 1: big bitches, Bob with prices and what about what's the

1733
01:25:24,800 --> 01:25:28,479
Speaker 1: plan with Adams these days? I gotta hear a new record.

1734
01:25:28,560 --> 01:25:30,640
Speaker 1: He's all excited about this record. His birthday to day

1735
01:25:30,680 --> 01:25:32,479
Speaker 1: so I wished him happy birthday and I said, I'm

1736
01:25:32,520 --> 01:25:34,160
Speaker 1: looking forward to hearing your record. But he's done and

1737
01:25:34,320 --> 01:25:37,599
Speaker 1: mustie and he says, yeah, the engineer becoming back. I'll

1738
01:25:37,600 --> 01:25:39,680
Speaker 1: after quarantine for fourteen days and I'll you know, he

1739
01:25:39,840 --> 01:25:42,120
Speaker 1: he'll kind of I'll wait to get it and I'll

1740
01:25:42,160 --> 01:25:44,840
Speaker 1: probably have it in a couple of weeks and it'll

1741
01:25:44,880 --> 01:25:47,479
Speaker 1: be interesting and the record will be good. But now

1742
01:25:47,560 --> 01:25:49,560
Speaker 1: I gotta sit there and say, okay, now, where what

1743
01:25:49,680 --> 01:25:51,320
Speaker 1: do we do with this record? How do we have

1744
01:25:51,479 --> 01:25:53,880
Speaker 1: how do we promote this? That's gonna be That's gonna

1745
01:25:53,880 --> 01:25:56,920
Speaker 1: be something I gotta sit down with and discuss, okay,

1746
01:25:57,000 --> 01:25:59,000
Speaker 1: because that it's not the way it used to be.

1747
01:25:59,160 --> 01:26:02,000
Speaker 1: And we and I got brought up in a different era,

1748
01:26:02,320 --> 01:26:05,080
Speaker 1: and we just it's hard for these artists to figure

1749
01:26:05,120 --> 01:26:07,680
Speaker 1: out what to do with this music. But if he

1750
01:26:07,800 --> 01:26:10,160
Speaker 1: tours all the time, which he will, and uh, and

1751
01:26:10,680 --> 01:26:12,680
Speaker 1: we don't like I mean, I'm glad Billboard. I'm glad

1752
01:26:12,720 --> 01:26:15,240
Speaker 1: Billboard took away the buy a ticket, get them c

1753
01:26:15,360 --> 01:26:18,040
Speaker 1: D stuff. You know, I'm just I hated that that's

1754
01:26:18,080 --> 01:26:20,920
Speaker 1: a fake chart. If you ever saw listen, the chart

1755
01:26:21,000 --> 01:26:25,519
Speaker 1: is still fake. It's you know, it's not meaning exactly

1756
01:26:25,960 --> 01:26:27,880
Speaker 1: is a magazine come out. Just's like Sports illustrat It's

1757
01:26:27,880 --> 01:26:29,760
Speaker 1: not five times a year. I mean what you know,

1758
01:26:30,000 --> 01:26:32,479
Speaker 1: I just I never get the magazine. I get the

1759
01:26:32,520 --> 01:26:36,080
Speaker 1: Billboard bulletin. But maybe that's the thing. The problem is,

1760
01:26:36,200 --> 01:26:37,760
Speaker 1: you know, I don't pay I get it as part

1761
01:26:37,800 --> 01:26:41,760
Speaker 1: of Apple News. Plus it's too consumer facing. At this point,

1762
01:26:41,880 --> 01:26:45,679
Speaker 1: there's just not enough insider information and it's bad writers

1763
01:26:46,000 --> 01:26:48,519
Speaker 1: writing about pop stuff. There's really no insight in it.

1764
01:26:48,800 --> 01:26:50,439
Speaker 1: And as far as the charts, the funny thing, of

1765
01:26:50,560 --> 01:26:54,839
Speaker 1: course is Pensky now owns them all variety Hollywood reporters,

1766
01:26:54,920 --> 01:26:58,000
Speaker 1: Sound Ski and Rolling Stone, and they have to competing

1767
01:26:58,080 --> 01:27:01,639
Speaker 1: you know, uh counts. But it's really the industry doesn't

1768
01:27:01,720 --> 01:27:04,560
Speaker 1: want an accurate account. They want to manipulate it so

1769
01:27:04,720 --> 01:27:07,040
Speaker 1: they can promote. It's like, you know this, I'm a

1770
01:27:07,080 --> 01:27:09,720
Speaker 1: Springsteen fan, but they put out a hype He's got

1771
01:27:09,760 --> 01:27:12,040
Speaker 1: a new album. He had a top five album in

1772
01:27:12,120 --> 01:27:16,599
Speaker 1: the last six decades. Okay, what does that mean? Almost

1773
01:27:16,720 --> 01:27:18,880
Speaker 1: no one bought it, almost no one heard it. They're

1774
01:27:18,920 --> 01:27:21,400
Speaker 1: like doing it so they can have the publicity. Yeah,

1775
01:27:21,800 --> 01:27:23,800
Speaker 1: I know. Anyway, there's all these gimbicks to you know,

1776
01:27:23,880 --> 01:27:25,400
Speaker 1: look at that. I mean, I put out the records.

1777
01:27:25,560 --> 01:27:27,200
Speaker 1: I've done it with my own acts. Okay, here we go.

1778
01:27:27,280 --> 01:27:28,960
Speaker 1: We gotta debut this at number one. We gotta put

1779
01:27:28,960 --> 01:27:30,599
Speaker 1: our tour at the same time. Every time you buy

1780
01:27:30,600 --> 01:27:32,400
Speaker 1: a ticket, you gotta buy the album. The album is included,

1781
01:27:32,439 --> 01:27:34,400
Speaker 1: or whatever you do. Bang it is number one, first week,

1782
01:27:34,479 --> 01:27:36,800
Speaker 1: number two, it's twenty two, okay, I mean second week.

1783
01:27:37,120 --> 01:27:38,680
Speaker 1: I mean that. That's not the way it's supposed to be.

1784
01:27:38,840 --> 01:27:41,000
Speaker 1: Bob's find a debut number one, but you want to

1785
01:27:41,040 --> 01:27:42,479
Speaker 1: hang around in the five, in the top five for

1786
01:27:42,560 --> 01:27:46,080
Speaker 1: the least a month. Absolutely, And it's not that way

1787
01:27:46,160 --> 01:27:49,840
Speaker 1: with certainly the Heritage X. But with Bryan Adams, is

1788
01:27:49,960 --> 01:27:53,120
Speaker 1: there a plan he wants to make a record, he

1789
01:27:53,280 --> 01:27:56,000
Speaker 1: makes the record. Is there a way to get his

1790
01:27:56,120 --> 01:27:59,479
Speaker 1: new music heard? The best way, the best way to

1791
01:27:59,520 --> 01:28:02,920
Speaker 1: get it, It's hardest way is via film. Okay. If

1792
01:28:02,920 --> 01:28:04,360
Speaker 1: you can get something in a film, it might work.

1793
01:28:04,400 --> 01:28:06,320
Speaker 1: If you get something a big TV show, it might work.

1794
01:28:06,479 --> 01:28:09,160
Speaker 1: That's a that's a long, long, long shot, okay. And

1795
01:28:09,240 --> 01:28:11,439
Speaker 1: you can't stand around waiting for it. He's gonna come

1796
01:28:11,479 --> 01:28:13,240
Speaker 1: with a record. He's gonna want that record out and

1797
01:28:13,320 --> 01:28:14,720
Speaker 1: he's want to go out. He wants to go out

1798
01:28:14,720 --> 01:28:17,080
Speaker 1: there and play it. Brian Adams. We had a deal

1799
01:28:17,120 --> 01:28:20,360
Speaker 1: if we put together a deal in Germany two months

1800
01:28:20,400 --> 01:28:23,840
Speaker 1: ago where the Merrick Lie we buried. The promoter there

1801
01:28:24,280 --> 01:28:28,200
Speaker 1: had made a deal with a city that we were

1802
01:28:28,200 --> 01:28:30,280
Speaker 1: going to do a show stadium show with three three

1803
01:28:30,320 --> 01:28:33,479
Speaker 1: Germans and Adams, Adams headlining for twelve thousand people in

1804
01:28:33,640 --> 01:28:36,360
Speaker 1: seventy five thousand seat soccer stadium. But he wanted to

1805
01:28:36,400 --> 01:28:39,760
Speaker 1: get music going again. Everybody got we all got going.

1806
01:28:39,840 --> 01:28:42,360
Speaker 1: And I was against it because I I think there's

1807
01:28:42,360 --> 01:28:44,439
Speaker 1: a vibe to music. I think there's old vibe to

1808
01:28:44,479 --> 01:28:45,960
Speaker 1: be sitting in a car. I think there's no vibe

1809
01:28:45,960 --> 01:28:48,320
Speaker 1: in those pens stock pens they made the people stand

1810
01:28:48,360 --> 01:28:50,559
Speaker 1: in London in and I don't think there's any vibe

1811
01:28:50,560 --> 01:28:52,280
Speaker 1: in sitting there in twelve thousand, five hundred people in

1812
01:28:52,320 --> 01:28:55,000
Speaker 1: the seventy five stee stadium. I think it's a terrible thing.

1813
01:28:55,400 --> 01:28:58,519
Speaker 1: But he wants to play. So what am I gonna do.

1814
01:28:59,160 --> 01:29:01,400
Speaker 1: I'm gonna put together other tour. I'm doing it now.

1815
01:29:01,520 --> 01:29:03,759
Speaker 1: He'll go and play again. He'll play the new album

1816
01:29:04,240 --> 01:29:08,320
Speaker 1: and hopefully hopefully some people will like it and be

1817
01:29:08,479 --> 01:29:10,640
Speaker 1: driven to it. But can I really promise, can I

1818
01:29:10,720 --> 01:29:13,080
Speaker 1: promise a radio hit bop? I wouldn't say that. I can't.

1819
01:29:13,400 --> 01:29:15,080
Speaker 1: I can't do that. If I if I went to

1820
01:29:15,120 --> 01:29:17,120
Speaker 1: Brian am said I would make this. I'll take this

1821
01:29:17,240 --> 01:29:19,880
Speaker 1: top five pop radio. First of all, you think I

1822
01:29:20,040 --> 01:29:23,559
Speaker 1: was mad. But he still wants to create. He wants

1823
01:29:23,600 --> 01:29:26,439
Speaker 1: to create. This guy is a creator. So I'm there

1824
01:29:26,479 --> 01:29:29,760
Speaker 1: to help him do that. He can always tour. He knows,

1825
01:29:29,920 --> 01:29:32,600
Speaker 1: he knows that people love those songs, and and and

1826
01:29:32,880 --> 01:29:34,679
Speaker 1: and isn't he lucky he's got them? I remember said

1827
01:29:34,680 --> 01:29:38,000
Speaker 1: there with Elton John and some private we didn't ball

1828
01:29:38,080 --> 01:29:40,439
Speaker 1: rain or someplace like that, and Alton John sat there

1829
01:29:40,439 --> 01:29:42,439
Speaker 1: and he said, Brian used to listen as when when

1830
01:29:42,720 --> 01:29:46,360
Speaker 1: when When everything I do is hot? He says, Brian,

1831
01:29:47,280 --> 01:29:49,160
Speaker 1: you better like that record because you'll be sending it

1832
01:29:49,200 --> 01:29:51,400
Speaker 1: for the rest of your life. And you know what,

1833
01:29:51,560 --> 01:29:53,960
Speaker 1: He's right, He's right. We have to And I mean,

1834
01:29:54,560 --> 01:29:57,360
Speaker 1: and and what's wrong with that, Bob? What's wrong with it? Nothing?

1835
01:29:57,760 --> 01:29:59,559
Speaker 1: But it's great that Brian can still put out records

1836
01:29:59,560 --> 01:30:01,680
Speaker 1: and people to put them out, and we do. He

1837
01:30:01,760 --> 01:30:03,599
Speaker 1: does a good job. On him He's still a great writer.

1838
01:30:04,280 --> 01:30:08,639
Speaker 1: And it's just if I said to you and said

1839
01:30:08,640 --> 01:30:09,880
Speaker 1: I got a plan, I can know I can put

1840
01:30:09,920 --> 01:30:13,280
Speaker 1: this thing top ten, you'd say you're an asset. I mean,

1841
01:30:13,320 --> 01:30:18,519
Speaker 1: because we know what we're dealing with. Okay, you're not

1842
01:30:18,720 --> 01:30:22,160
Speaker 1: at all. You're a guy's guy. Why is everybody in

1843
01:30:22,240 --> 01:30:24,680
Speaker 1: your office, same with Irving? Why is everybody in your

1844
01:30:24,720 --> 01:30:27,120
Speaker 1: office a woman? Because they're smarter and they and they

1845
01:30:27,360 --> 01:30:29,400
Speaker 1: are better, better, and they work better and then you

1846
01:30:29,400 --> 01:30:32,280
Speaker 1: know what they are. They're dedicated to what they do. Okay,

1847
01:30:32,360 --> 01:30:34,479
Speaker 1: only they have to do with a woman is hopefully

1848
01:30:34,920 --> 01:30:39,640
Speaker 1: I believe this anyways, treat them politely and properly. And

1849
01:30:39,840 --> 01:30:44,400
Speaker 1: I go to my girls are tremendously tuned into you

1850
01:30:44,479 --> 01:30:46,680
Speaker 1: because the young ages from twenty five some of them.

1851
01:30:46,960 --> 01:30:49,720
Speaker 1: So one of my sisters twenty five years old. The

1852
01:30:49,800 --> 01:30:52,519
Speaker 1: stuff she knows that I don't know, you know, And

1853
01:30:52,720 --> 01:30:54,840
Speaker 1: and and I got my marketing girls probably one of

1854
01:30:54,840 --> 01:30:58,720
Speaker 1: the best in the country. I mean, my accountant is

1855
01:30:58,800 --> 01:31:01,040
Speaker 1: it's been doing that and looking after these guys money

1856
01:31:01,120 --> 01:31:04,320
Speaker 1: or getting our settlements for probably eighteen years. And I

1857
01:31:04,400 --> 01:31:06,280
Speaker 1: guess you know what other one other thing, Bob, they

1858
01:31:06,280 --> 01:31:10,200
Speaker 1: don't want my job swinging dicks want my job. You

1859
01:31:10,280 --> 01:31:15,920
Speaker 1: know that. That's an excellent point. Absolutely, So will you

1860
01:31:16,000 --> 01:31:20,160
Speaker 1: ever retire? Do this till you drop? Well, you know,

1861
01:31:20,240 --> 01:31:26,360
Speaker 1: I'm seventy five now, and I don't think so. I think, Bob,

1862
01:31:26,640 --> 01:31:30,200
Speaker 1: as long as I'm winning, I'll keep doing it. Okay,

1863
01:31:30,840 --> 01:31:35,519
Speaker 1: we got some we got some really cool stuff coming. Okay. Um,

1864
01:31:36,000 --> 01:31:40,040
Speaker 1: and not necessarily music all the time. But you know,

1865
01:31:40,120 --> 01:31:42,840
Speaker 1: Michael has done very very well with Pepsi and the

1866
01:31:42,880 --> 01:31:46,120
Speaker 1: Bubbly thing, you know that, and uh, and there's a

1867
01:31:46,200 --> 01:31:48,719
Speaker 1: lot of demand for him for that stuff. And and Brian,

1868
01:31:48,800 --> 01:31:50,519
Speaker 1: you know, he had that, He had the thing on Broadway,

1869
01:31:51,120 --> 01:31:54,800
Speaker 1: Pretty Woman on Broadway and stuff like that. These guys,

1870
01:31:54,920 --> 01:31:58,680
Speaker 1: these guys love music. So we I know we can.

1871
01:31:58,800 --> 01:32:00,840
Speaker 1: I know we can keep them going. We have a history,

1872
01:32:01,360 --> 01:32:04,840
Speaker 1: we have a we have a legacy, okay. And I

1873
01:32:04,960 --> 01:32:06,600
Speaker 1: believe as long as you put on good shows and

1874
01:32:06,880 --> 01:32:09,160
Speaker 1: give the audience their money's worth, and we could play

1875
01:32:09,200 --> 01:32:11,720
Speaker 1: some of the new music to not a problem. That's

1876
01:32:11,720 --> 01:32:13,360
Speaker 1: why Michael, Michael is the best deal of all. He

1877
01:32:13,400 --> 01:32:18,400
Speaker 1: puts out music anyway exactly, you know. But I mean,

1878
01:32:18,520 --> 01:32:21,240
Speaker 1: I just believe you've got a career there, and you

1879
01:32:21,280 --> 01:32:23,720
Speaker 1: can keep going. I know Brian does, and you know,

1880
01:32:23,880 --> 01:32:26,160
Speaker 1: like Jann Arden, I just took over John Ardens. You know,

1881
01:32:26,479 --> 01:32:30,439
Speaker 1: I took over Joann Arden for for for whatever reason,

1882
01:32:30,800 --> 01:32:33,240
Speaker 1: basically the girls wandered in the office, you know, because

1883
01:32:33,280 --> 01:32:35,040
Speaker 1: she thought he thought would be good. And jan got

1884
01:32:35,080 --> 01:32:37,080
Speaker 1: a TV show and just got picked up down in

1885
01:32:37,240 --> 01:32:39,599
Speaker 1: US too. She's fifty seven years old, and we're gonna

1886
01:32:39,640 --> 01:32:42,160
Speaker 1: break this girl. We're gonna break this girl fifty seven

1887
01:32:42,280 --> 01:32:45,160
Speaker 1: years old. Are you kidding? You're gonna break her musically,

1888
01:32:45,479 --> 01:32:48,160
Speaker 1: musically and as I know as a celebrity too, as

1889
01:32:48,200 --> 01:32:51,280
Speaker 1: a person who's who's a viable artist. Okay, I want

1890
01:32:51,320 --> 01:32:53,240
Speaker 1: to break your music. Bruce read the cup. I just

1891
01:32:53,240 --> 01:32:54,920
Speaker 1: sent it down. He said he didn't even know this happen.

1892
01:32:55,120 --> 01:32:57,280
Speaker 1: And all of a sudden, Hulu picked up this series

1893
01:32:57,520 --> 01:32:59,200
Speaker 1: and the same people did Ships Creak and you know

1894
01:32:59,280 --> 01:33:02,920
Speaker 1: Ship's Creek. We're okay, and so this is gonna follow

1895
01:33:03,000 --> 01:33:05,479
Speaker 1: and she'll have a massive career. Her book came out.

1896
01:33:05,520 --> 01:33:07,360
Speaker 1: Today's the third time and she's had a book out

1897
01:33:07,600 --> 01:33:10,040
Speaker 1: the number one in the number one in Canada three

1898
01:33:10,120 --> 01:33:12,240
Speaker 1: times in a row. Now they're moving it down to

1899
01:33:12,320 --> 01:33:14,719
Speaker 1: the States. Do you watch what will happen fifty seven

1900
01:33:14,840 --> 01:33:17,320
Speaker 1: years old? Are you fucking kidding me? And it's it's

1901
01:33:17,360 --> 01:33:19,560
Speaker 1: a real I'm really proud of it. Okay. And I

1902
01:33:19,640 --> 01:33:21,320
Speaker 1: got the call from Bob Rock to help him out

1903
01:33:21,320 --> 01:33:24,439
Speaker 1: with the Offspring. We got involved with the Offspring, Okay,

1904
01:33:24,560 --> 01:33:26,960
Speaker 1: I did, Bob. Bob's making these records. Nobody's helping the

1905
01:33:27,000 --> 01:33:29,640
Speaker 1: records are going to dine in the ditch. Okay. So

1906
01:33:29,840 --> 01:33:33,639
Speaker 1: he says, Bruce, come on, he helped me help out

1907
01:33:33,720 --> 01:33:36,599
Speaker 1: the boys. I don't. I don't know the Offspring music

1908
01:33:36,680 --> 01:33:39,200
Speaker 1: that well, but people in the office knew it, okay.

1909
01:33:39,320 --> 01:33:41,320
Speaker 1: And I said, let's given a shot on you know,

1910
01:33:41,520 --> 01:33:45,679
Speaker 1: I met Dexter and and uh and I'm preay quite

1911
01:33:45,680 --> 01:33:47,439
Speaker 1: excited about it. I never thought i'd work in a

1912
01:33:47,479 --> 01:33:49,160
Speaker 1: band again. I did. I didn't want to work in

1913
01:33:49,200 --> 01:33:50,479
Speaker 1: a band again. I don't want to argue with a

1914
01:33:50,520 --> 01:33:53,080
Speaker 1: bunch of guys. But you know, Randy Bursticks carrying the

1915
01:33:53,120 --> 01:33:55,720
Speaker 1: ball on that and other people in my office. I mean,

1916
01:33:55,760 --> 01:33:58,439
Speaker 1: I'm doing what I can do, but you know, these

1917
01:34:00,840 --> 01:34:02,800
Speaker 1: I'm winning. As long as I keep winning, I think

1918
01:34:02,840 --> 01:34:06,840
Speaker 1: I'll stay in it. What is that is? Is that unreasonable?

1919
01:34:07,160 --> 01:34:09,800
Speaker 1: Not whatsoever? I don't plan to retire as all. I've

1920
01:34:09,800 --> 01:34:12,720
Speaker 1: got my faculties, but I just know your personality. I

1921
01:34:12,840 --> 01:34:14,560
Speaker 1: was setting it up, and I don't see how you

1922
01:34:14,640 --> 01:34:17,280
Speaker 1: don't continue to win. As you say, you know, Boo

1923
01:34:17,360 --> 01:34:19,400
Speaker 1: Bleat and the Atoms, they can sell tickets till they

1924
01:34:19,520 --> 01:34:21,519
Speaker 1: don't want to work anymore. Oh yeah, But I mean,

1925
01:34:21,720 --> 01:34:24,479
Speaker 1: but also, you know, it forces guys like me, the

1926
01:34:24,960 --> 01:34:27,080
Speaker 1: situation we're in with radio, in the situation we're in

1927
01:34:27,240 --> 01:34:31,519
Speaker 1: in our business, it's it's it forces me and my

1928
01:34:31,680 --> 01:34:34,800
Speaker 1: people here to look elsewhere to do stuff. And there's

1929
01:34:34,800 --> 01:34:36,680
Speaker 1: a lot of stuff out there. There's a lot of

1930
01:34:36,760 --> 01:34:39,519
Speaker 1: things that can be done, and and I'm trying to

1931
01:34:39,600 --> 01:34:41,600
Speaker 1: do some of them, and I kind of enjoy it,

1932
01:34:42,200 --> 01:34:45,600
Speaker 1: you know. But you also you also tell me a

1933
01:34:45,680 --> 01:34:48,200
Speaker 1: couple of times we've been together, and you go, I'm thinking, Bob,

1934
01:34:48,400 --> 01:34:52,000
Speaker 1: I'm always thinking, and you're coming up with ideas. You're

1935
01:34:52,040 --> 01:34:55,800
Speaker 1: not someone I mean, you're essentially in the business all

1936
01:34:55,880 --> 01:35:00,080
Speaker 1: the time. You're not taking a vacation and check it out. No, no,

1937
01:35:00,479 --> 01:35:04,360
Speaker 1: And you know, I mean, I I love what I do,

1938
01:35:04,520 --> 01:35:08,040
Speaker 1: and Bob, but I know, I know, I understand why

1939
01:35:08,120 --> 01:35:11,400
Speaker 1: guys leave. Okay, I understand why guys get out of

1940
01:35:11,400 --> 01:35:16,280
Speaker 1: the business, and uh, it's management. You care about the

1941
01:35:16,320 --> 01:35:20,920
Speaker 1: bubbler like kids. I care about these guys. Okay, I said,

1942
01:35:20,920 --> 01:35:23,840
Speaker 1: I got out to see Martina McBride and because Joe

1943
01:35:23,920 --> 01:35:26,200
Speaker 1: Galante his wife died, had to go to the and

1944
01:35:26,320 --> 01:35:28,800
Speaker 1: been to back to Nashville. Since I left and I

1945
01:35:28,920 --> 01:35:31,360
Speaker 1: saw John and Martina. It broke me down like a

1946
01:35:31,360 --> 01:35:37,200
Speaker 1: twelve year old. Okay's crying because you know, I can't

1947
01:35:37,240 --> 01:35:39,240
Speaker 1: hate the person. It just didn't work. Okay. We told

1948
01:35:39,240 --> 01:35:40,920
Speaker 1: a lot of records. We want everything. It was to win.

1949
01:35:41,439 --> 01:35:43,880
Speaker 1: But I mean, you're involved with these people. It's it's

1950
01:35:44,400 --> 01:35:47,120
Speaker 1: it's it's important. That's why you say you've got a

1951
01:35:47,120 --> 01:35:48,800
Speaker 1: contract with Bubble. You know, you got a contract with

1952
01:35:49,160 --> 01:35:50,960
Speaker 1: the Offspring. No, you got a contract with Bob. No

1953
01:35:51,040 --> 01:35:54,479
Speaker 1: you got a contract? No, no, no, Okay, because but

1954
01:35:54,560 --> 01:35:56,360
Speaker 1: I've never got to the point where I said this

1955
01:35:56,560 --> 01:35:59,040
Speaker 1: is funny. I gotta get out of here. Okay, are

1956
01:35:59,280 --> 01:36:01,360
Speaker 1: they never have? We failed? I failed and had to

1957
01:36:01,360 --> 01:36:03,120
Speaker 1: go on. There's no sense. I know when sometimes when

1958
01:36:03,120 --> 01:36:05,240
Speaker 1: I can't can't keep doing it. So I'm not going

1959
01:36:05,280 --> 01:36:07,120
Speaker 1: to break this act or didn't work, The thing doesn't

1960
01:36:07,240 --> 01:36:09,519
Speaker 1: somehow doesn't work. I can leave and walk away and

1961
01:36:09,560 --> 01:36:12,599
Speaker 1: said the best I can. But isn't it a lot better,

1962
01:36:12,760 --> 01:36:16,120
Speaker 1: Bob than then? Okay, remember I got you guys signed

1963
01:36:16,160 --> 01:36:17,680
Speaker 1: for life. Now, every time that song gets played, I

1964
01:36:17,720 --> 01:36:20,040
Speaker 1: want to make sure I'm gonna check your Come on, man,

1965
01:36:20,840 --> 01:36:24,240
Speaker 1: fuck this, I did you know? I don't do that, Martin.

1966
01:36:24,320 --> 01:36:27,320
Speaker 1: I shook. I phoned her up and and when I quit,

1967
01:36:27,479 --> 01:36:29,960
Speaker 1: and I never I didn't ask for a sunset clause.

1968
01:36:30,040 --> 01:36:33,599
Speaker 1: Sunset fuck you know we did all right altogether, That's

1969
01:36:33,640 --> 01:36:37,240
Speaker 1: what I believe. Okay. Now, it used to be a

1970
01:36:37,400 --> 01:36:41,439
Speaker 1: very unitary business where there was one chart, everybody knew

1971
01:36:41,479 --> 01:36:45,160
Speaker 1: the same songs, and all the business has been completely flattened.

1972
01:36:45,479 --> 01:36:48,920
Speaker 1: So do you feel okay, I'm in the atoms business,

1973
01:36:49,000 --> 01:36:51,120
Speaker 1: I'm in the art and is I'm the offspring business.

1974
01:36:51,360 --> 01:36:54,240
Speaker 1: And what's happening in Billboard, what's happening and who's running

1975
01:36:54,280 --> 01:36:57,559
Speaker 1: the labels is an interesting thing, but it's not really

1976
01:36:57,680 --> 01:37:01,559
Speaker 1: me anymore. I'd love to go, I go. I love

1977
01:37:01,640 --> 01:37:03,840
Speaker 1: to go talk. I love talking to record company people, Bob,

1978
01:37:03,840 --> 01:37:05,400
Speaker 1: because in the in the end, a lot of them

1979
01:37:05,840 --> 01:37:07,479
Speaker 1: that I talked to, and if I talked to Tom

1980
01:37:07,600 --> 01:37:11,160
Speaker 1: corson Okay, and if I talked to UH, if I

1981
01:37:11,280 --> 01:37:15,120
Speaker 1: talked to the guys at Universal, or if I talked

1982
01:37:15,160 --> 01:37:17,280
Speaker 1: to Reznikov, or I talked to these guys, I have

1983
01:37:17,360 --> 01:37:21,240
Speaker 1: to work with their their music guys. Bob, there's music guys.

1984
01:37:21,520 --> 01:37:23,720
Speaker 1: I said. There was Paul Kremin over there at UH

1985
01:37:24,320 --> 01:37:27,320
Speaker 1: at the label, and he's a music guy. They know music,

1986
01:37:27,400 --> 01:37:30,040
Speaker 1: they talked. They still love it. Okay, they're they're forced

1987
01:37:30,080 --> 01:37:32,320
Speaker 1: to work where they gotta work, but they still like music.

1988
01:37:33,000 --> 01:37:36,080
Speaker 1: And I so I I don't have any problem. You know.

1989
01:37:36,479 --> 01:37:38,559
Speaker 1: When I talked to guys in Land, Tony Harlow over

1990
01:37:38,560 --> 01:37:40,720
Speaker 1: there who runs runs it over in the UK, and

1991
01:37:41,200 --> 01:37:44,120
Speaker 1: and Max Maxwell Soda and stuff like that, they're really

1992
01:37:44,200 --> 01:37:47,760
Speaker 1: notedgable music guys that they they don't think anybody likes

1993
01:37:48,240 --> 01:37:51,120
Speaker 1: particularly likes where the business is right now, except except

1994
01:37:51,360 --> 01:37:52,840
Speaker 1: the money that comes in and the money they make

1995
01:37:52,880 --> 01:37:54,960
Speaker 1: and the bonuses and the bullshit they do. They like

1996
01:37:55,080 --> 01:37:57,680
Speaker 1: it for that. But sure, every guy, every guy I

1997
01:37:57,720 --> 01:38:01,000
Speaker 1: have talked to in the business says the same. You

1998
01:38:01,080 --> 01:38:04,240
Speaker 1: know what, Bruce, It's a great business, but just isn't

1999
01:38:04,280 --> 01:38:06,599
Speaker 1: fun like it used to be. That's what they say.

2000
01:38:07,280 --> 01:38:10,000
Speaker 1: Every guy who's like sixty or fifty five. You know,

2001
01:38:10,240 --> 01:38:12,840
Speaker 1: that's what they say, and I think that's right. Now.

2002
01:38:12,920 --> 01:38:15,599
Speaker 1: I'm lucky that I got great artists and I get

2003
01:38:15,760 --> 01:38:18,160
Speaker 1: writing the creative thing. I said, So, I'm kind of lucky.

2004
01:38:18,160 --> 01:38:21,040
Speaker 1: I don't have to work. Should I don't want to work? Okay,

2005
01:38:23,360 --> 01:38:25,880
Speaker 1: it's just it's just different. Okay, Just a couple more

2006
01:38:26,040 --> 01:38:28,120
Speaker 1: things for those who aren't informed. You know, you're a

2007
01:38:28,160 --> 01:38:32,120
Speaker 1: guy living in Vancouver, but your acts are international acts

2008
01:38:32,520 --> 01:38:34,960
Speaker 1: from the you know, certainly going to Canada many a time.

2009
01:38:35,040 --> 01:38:38,400
Speaker 1: What stuns me in Canada is everybody knows everybody, okay,

2010
01:38:39,040 --> 01:38:40,960
Speaker 1: and it's like a high school and if you raise

2011
01:38:41,040 --> 01:38:44,280
Speaker 1: your head too high, they want to tear you down, etcetera.

2012
01:38:44,720 --> 01:38:48,320
Speaker 1: But where is Canada's place in the world market today?

2013
01:38:48,640 --> 01:38:51,360
Speaker 1: And what is the difference between Canada and it certainly

2014
01:38:51,439 --> 01:38:54,760
Speaker 1: United States? Well, the different the difference in Canada is

2015
01:38:55,240 --> 01:38:57,280
Speaker 1: I think his status probably the top five countries and

2016
01:38:57,360 --> 01:38:58,840
Speaker 1: people want to break I think that's one of the

2017
01:38:58,920 --> 01:39:03,759
Speaker 1: top five countries. Um as far as as far as musically,

2018
01:39:04,960 --> 01:39:07,000
Speaker 1: I think we're trying to find our way again, okay,

2019
01:39:07,120 --> 01:39:08,880
Speaker 1: but there has been some stuff out of here. You

2020
01:39:08,960 --> 01:39:15,120
Speaker 1: stand there and say, oh, Drake, um Bieber. Oh what's

2021
01:39:15,120 --> 01:39:19,960
Speaker 1: the kid's name? Sean Mendez? Oh boy Weekend? Who come on? Man?

2022
01:39:20,320 --> 01:39:22,200
Speaker 1: That Toronto seems really booming now. Used to be all

2023
01:39:22,200 --> 01:39:25,160
Speaker 1: out of the west. Okay, the Toronto guys stayed in Toronto.

2024
01:39:25,160 --> 01:39:26,760
Speaker 1: They can run around the Golden Triangle out there and

2025
01:39:26,800 --> 01:39:28,120
Speaker 1: to make money. They didn't have to go with me.

2026
01:39:28,240 --> 01:39:31,000
Speaker 1: I had my next stop after Vancouver was Calgary. Seattle

2027
01:39:31,120 --> 01:39:33,120
Speaker 1: was closer. So I mean, you know, I I try

2028
01:39:33,200 --> 01:39:35,840
Speaker 1: to I work north south. Those guys are used to

2029
01:39:35,920 --> 01:39:38,520
Speaker 1: working back there for the longest time, just in that triangle.

2030
01:39:38,920 --> 01:39:41,760
Speaker 1: But those guys, those people behind those acts, they've done

2031
01:39:41,760 --> 01:39:43,840
Speaker 1: a great job. And I think I think Canada has

2032
01:39:44,080 --> 01:39:46,200
Speaker 1: got a place in the map. I remember there's three

2033
01:39:46,280 --> 01:39:49,840
Speaker 1: songs on the top five in the were Canadian. Okay,

2034
01:39:49,880 --> 01:39:52,080
Speaker 1: you sing Celindy on you're throwing some of these people,

2035
01:39:52,479 --> 01:39:57,599
Speaker 1: you know. I mean, it's it's it's a booming music country. Really,

2036
01:39:57,880 --> 01:40:00,760
Speaker 1: there's just not enough people here to sustain you know

2037
01:40:00,880 --> 01:40:03,920
Speaker 1: that there's not enough. You can't sell enough here. It's

2038
01:40:04,040 --> 01:40:05,680
Speaker 1: but it's it's a great I mean, I know you

2039
01:40:05,800 --> 01:40:08,599
Speaker 1: enjoy yourself when you come up here. You know, people

2040
01:40:08,600 --> 01:40:10,240
Speaker 1: talk about Canada and they talk about the health and

2041
01:40:10,320 --> 01:40:12,479
Speaker 1: I moved to Canada in a minute. I mean, it's

2042
01:40:12,560 --> 01:40:15,160
Speaker 1: like it's a better life than living in the United States.

2043
01:40:15,280 --> 01:40:17,639
Speaker 1: The people just haven't been there. I mean, that's typical Americans.

2044
01:40:17,680 --> 01:40:19,880
Speaker 1: They haven't been outside of the United States, never mind

2045
01:40:19,960 --> 01:40:23,600
Speaker 1: just into Canada. But speaking of the United States, you know,

2046
01:40:23,720 --> 01:40:26,520
Speaker 1: there are a lot of people up north who were snowbirds.

2047
01:40:27,120 --> 01:40:29,640
Speaker 1: You you are a little bit different. You have a

2048
01:40:29,720 --> 01:40:32,439
Speaker 1: place in the South, but not in Florida and not

2049
01:40:32,600 --> 01:40:35,000
Speaker 1: in Arizona. Can you just tell us a little bit.

2050
01:40:35,320 --> 01:40:37,240
Speaker 1: I have a place in Las Vegas. And the reason

2051
01:40:37,320 --> 01:40:40,720
Speaker 1: I have a place in Las Vegas is I just

2052
01:40:40,800 --> 01:40:42,240
Speaker 1: need I thought I should. It's the right thing to do.

2053
01:40:42,920 --> 01:40:44,640
Speaker 1: A big fight fan. I go to the fights a

2054
01:40:44,720 --> 01:40:48,960
Speaker 1: lot down there. Uh my girlfriend, the photographers, she likes

2055
01:40:49,000 --> 01:40:51,200
Speaker 1: to go out there and and take pictures in that

2056
01:40:51,320 --> 01:40:54,600
Speaker 1: area and stuff like that. And but basically when I

2057
01:40:54,640 --> 01:40:57,960
Speaker 1: went to she sat there, we looked around, did the

2058
01:40:58,000 --> 01:41:01,360
Speaker 1: typical Vancouver thing. Let's go to home. Why we'll get

2059
01:41:01,400 --> 01:41:02,840
Speaker 1: a place in a way. Everybody's got a place in

2060
01:41:02,840 --> 01:41:05,519
Speaker 1: a way. Okay. We went over there ten o'clock at night.

2061
01:41:05,520 --> 01:41:08,599
Speaker 1: I didn't know what to do. Okay, Okay, then she said,

2062
01:41:08,840 --> 01:41:12,200
Speaker 1: let's go okay, let's try Palm Springs. Palm Space for

2063
01:41:12,280 --> 01:41:15,559
Speaker 1: me is for old people, okay, and I'm old. Actually

2064
01:41:15,560 --> 01:41:17,760
Speaker 1: I shouldn't even say that. But there's nothing happening there either,

2065
01:41:17,800 --> 01:41:20,120
Speaker 1: and I don't go. Okay. So then we tried Phoenix.

2066
01:41:20,240 --> 01:41:22,920
Speaker 1: This is what Canadians do. So I went to Phoenix

2067
01:41:23,000 --> 01:41:26,519
Speaker 1: and I didn't like it. Then she said, why don't

2068
01:41:26,520 --> 01:41:28,120
Speaker 1: we try Las Vegas? And I know she had to

2069
01:41:28,160 --> 01:41:30,439
Speaker 1: grit her teeth and say, why don't we try Las Vegas.

2070
01:41:31,040 --> 01:41:34,639
Speaker 1: I went up to Las Vegas and Dr Paul Anko

2071
01:41:34,680 --> 01:41:36,960
Speaker 1: who guided me through where the livers or stuff like that,

2072
01:41:37,120 --> 01:41:39,960
Speaker 1: and uh, ended up in Las Vegas. And I love

2073
01:41:40,000 --> 01:41:43,600
Speaker 1: going to Las Vegas. Okay, great, great, great, great restaurants,

2074
01:41:43,800 --> 01:41:45,479
Speaker 1: lots to go on, and got a hockey team there. Now,

2075
01:41:45,479 --> 01:41:46,920
Speaker 1: I mean they're coming to me now. They got a

2076
01:41:46,960 --> 01:41:48,960
Speaker 1: hockey team there. Now, they got pro football there. Now,

2077
01:41:49,240 --> 01:41:51,360
Speaker 1: I mean, why would you not live in Las Vegas.

2078
01:41:51,400 --> 01:41:53,439
Speaker 1: I I look at people live in California, say, wait

2079
01:41:53,439 --> 01:41:55,000
Speaker 1: a minute, you're paying this kind of taxes. Why you

2080
01:41:55,120 --> 01:41:57,639
Speaker 1: drive across the border and live in Las Vegas? Everything

2081
01:41:57,720 --> 01:41:59,360
Speaker 1: is there. They got just as good restaurants as you've

2082
01:41:59,360 --> 01:42:03,240
Speaker 1: got in Los Angeles, California. How often you're there pre COVID.

2083
01:42:03,360 --> 01:42:05,000
Speaker 1: I'm not there now. I haven't been there since March.

2084
01:42:06,120 --> 01:42:07,639
Speaker 1: But I tried to hit. I tried to hit about

2085
01:42:07,640 --> 01:42:09,400
Speaker 1: sixty days a year. And here's the other thing about

2086
01:42:09,439 --> 01:42:13,040
Speaker 1: Las Vegas, Palm Sphinx doesn't happen is Phoenix, Las Vegas

2087
01:42:13,080 --> 01:42:16,519
Speaker 1: and Southwest Airlines is direct. Las Vegas as a city

2088
01:42:16,600 --> 01:42:20,240
Speaker 1: is direct anywhere, NonStop to London, nonstopped to Germany. Right, Okay,

2089
01:42:20,680 --> 01:42:25,240
Speaker 1: perfect for me. It's a business decision. So Bruce, we

2090
01:42:25,400 --> 01:42:27,519
Speaker 1: certainly know you're a man of opinions and you're not

2091
01:42:27,640 --> 01:42:30,760
Speaker 1: afraid to express them, and you certainly have done that

2092
01:42:30,920 --> 01:42:34,360
Speaker 1: on the radio in Vancouver for years and years. What

2093
01:42:34,640 --> 01:42:37,120
Speaker 1: is your take on the world situation? For those people

2094
01:42:37,120 --> 01:42:41,439
Speaker 1: who don't know, Certainly we have we have an election

2095
01:42:41,520 --> 01:42:43,200
Speaker 1: going on right now. As we do this, we don't

2096
01:42:43,280 --> 01:42:47,839
Speaker 1: know the exact results. Let's not talk about those right now. However,

2097
01:42:48,840 --> 01:42:53,040
Speaker 1: the US has moved towards the right, Canada has always

2098
01:42:53,240 --> 01:42:57,679
Speaker 1: started much further to the left front than the United States.

2099
01:42:57,880 --> 01:43:00,960
Speaker 1: What is your take on politics in the world today? Well,

2100
01:43:01,000 --> 01:43:03,200
Speaker 1: I said there's a lot, there's a lot of we

2101
01:43:03,240 --> 01:43:05,240
Speaker 1: see it above. A lot of populist politics going on

2102
01:43:05,280 --> 01:43:07,560
Speaker 1: in a lot of places, um, you know in America's

2103
01:43:07,560 --> 01:43:10,120
Speaker 1: of course one of them, with a lot with Trump

2104
01:43:10,200 --> 01:43:13,600
Speaker 1: in there. Um. But there's also I think what I

2105
01:43:13,720 --> 01:43:17,400
Speaker 1: find more most interesting is young people getting involved in

2106
01:43:17,520 --> 01:43:20,960
Speaker 1: politics now and actually making some changes. Okay, the youth

2107
01:43:21,280 --> 01:43:23,479
Speaker 1: are gonna have to be are going to be served again,

2108
01:43:23,840 --> 01:43:27,479
Speaker 1: you know. I got I watched the uh Chicago seven

2109
01:43:27,840 --> 01:43:33,360
Speaker 1: movie and that I think, Bob, is that right? Okay?

2110
01:43:33,360 --> 01:43:35,240
Speaker 1: And I watched that movie and I sat there and

2111
01:43:35,240 --> 01:43:36,880
Speaker 1: I said to my girl, said, that's the last time

2112
01:43:36,960 --> 01:43:39,920
Speaker 1: that I ever saw protests work in the United States.

2113
01:43:40,240 --> 01:43:42,120
Speaker 1: And I said, Plus, I said, the music that came

2114
01:43:42,160 --> 01:43:44,720
Speaker 1: out of there was unbelievable. Some girl gets shot in

2115
01:43:44,800 --> 01:43:46,680
Speaker 1: Kent State, and and and and this guy's got a

2116
01:43:46,840 --> 01:43:48,360
Speaker 1: song on the radio about it five days, you know

2117
01:43:48,360 --> 01:43:50,519
Speaker 1: what I mean. I mean, music was really involved in

2118
01:43:50,600 --> 01:43:53,479
Speaker 1: that stuff. And Uh, I think that I think the

2119
01:43:53,560 --> 01:43:55,360
Speaker 1: future lies with the young people. I really do. I

2120
01:43:55,400 --> 01:43:57,240
Speaker 1: think they're going to clean up the environment. You know,

2121
01:43:57,280 --> 01:44:00,680
Speaker 1: they're there. They're not gonna have the same arguments that

2122
01:44:00,760 --> 01:44:05,080
Speaker 1: we our generation has right now, and it's it's disappointing

2123
01:44:05,160 --> 01:44:08,160
Speaker 1: to me, So you're still as excited as you always were.

2124
01:44:08,400 --> 01:44:11,280
Speaker 1: Yeah about the business in life. I make business of

2125
01:44:11,400 --> 01:44:15,080
Speaker 1: life or the business of the business, business and life. Well,

2126
01:44:15,560 --> 01:44:20,160
Speaker 1: I'm I'm stone, col healthy, touch wood, Okay I am,

2127
01:44:20,600 --> 01:44:22,200
Speaker 1: and uh I'm going to the gym now more and

2128
01:44:22,280 --> 01:44:24,559
Speaker 1: they ever do do because you know what, COVID drove

2129
01:44:24,600 --> 01:44:26,640
Speaker 1: me to the gym. Okay, I'm on the road all

2130
01:44:26,640 --> 01:44:28,000
Speaker 1: the time. Now I'm going to the gym three times

2131
01:44:28,000 --> 01:44:29,439
Speaker 1: a week for the trainer. I can't believe it how

2132
01:44:29,439 --> 01:44:32,439
Speaker 1: it's changed me. Okay, I'm eating better. Okay, So I

2133
01:44:32,800 --> 01:44:34,240
Speaker 1: this is the kind of COVID worked for me for

2134
01:44:34,320 --> 01:44:38,439
Speaker 1: that and uh, I think that UH as excited. I mean,

2135
01:44:38,920 --> 01:44:41,040
Speaker 1: I sit there. I know I said it five times

2136
01:44:41,080 --> 01:44:44,439
Speaker 1: to you today. The jan Arden project for me has

2137
01:44:44,439 --> 01:44:46,880
Speaker 1: been wonderful to watch that happen. Okay, And and I

2138
01:44:47,000 --> 01:44:49,400
Speaker 1: hope that there will be other things that that I'll

2139
01:44:49,400 --> 01:44:51,160
Speaker 1: be doing happen. I got some pretty cool things coming

2140
01:44:51,200 --> 01:44:54,040
Speaker 1: with bou bleg that they're different for me, just different.

2141
01:44:54,080 --> 01:44:56,559
Speaker 1: I'm learning and that's great if I can keep learning

2142
01:44:57,120 --> 01:45:00,160
Speaker 1: because I've done you know, people say to me, what

2143
01:45:00,400 --> 01:45:02,680
Speaker 1: what do you what do you have to prove You've

2144
01:45:02,720 --> 01:45:04,679
Speaker 1: done everything I want. Why are you go? Enjoy yourself?

2145
01:45:05,680 --> 01:45:07,840
Speaker 1: And I enjoyed myself sitting here. Thank you very much.

2146
01:45:09,640 --> 01:45:12,760
Speaker 1: And on that note, Bruce, thanks so much for doing this.

2147
01:45:12,920 --> 01:45:14,800
Speaker 1: You know we skimmed the top. We could go on

2148
01:45:14,960 --> 01:45:18,080
Speaker 1: for days. You're a fountain of information and knowledge, and

2149
01:45:18,240 --> 01:45:20,479
Speaker 1: thanks so much for doing this. Thank you, Bob, enjoy

2150
01:45:20,560 --> 01:45:22,120
Speaker 1: to enjoy the hell over it. Next time? Do I

2151
01:45:22,160 --> 01:45:23,240
Speaker 1: want to have all my albums in front of me

2152
01:45:23,320 --> 01:45:28,479
Speaker 1: so I get the goddamn peats right? Okay, until next time.

2153
01:45:28,600 --> 01:45:29,840
Speaker 1: This is Bob left sense