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Speaker 1: Now here's a highlight from coast to coast am on iHeartRadio.

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Speaker 2: So Harvey, that's cool tune.

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Speaker 3: Listen. I'm just it's in a world where we have

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Speaker 3: so much variety, whether it be rap music or ed

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Speaker 3: m or singer songwriter ballads, acoustic music. Something happens when

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Speaker 3: you kind of hear a raucous rock and roll, you know,

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Speaker 3: Chuck Berry inspired riff, even as bumper music. Yeah, it

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Speaker 3: kind of things start jumping a bit, yeah, and it builds.

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Speaker 3: I haven't felt that way on the Rolling Stones albums.

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Speaker 3: For the live thing is a different scenario. I haven't felt,

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Speaker 3: you know, maybe close to them in the audio world.

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Speaker 3: I'm talking product for a very long time, and maybe

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Speaker 3: I'm being maybe I'm rejoining the fan club a bit,

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Speaker 3: you know. And I guess you feel the same way too.

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Speaker 2: I do.

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Speaker 4: And what I caught myself doing was hitting replay on

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Speaker 4: that tune.

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Speaker 2: I'm like, I want to hear it again.

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Speaker 1: And.

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Speaker 3: I do want to amplify one other thing. And not

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Speaker 3: because I'm a child of Hollywood, but when the Stones

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Speaker 3: come to town and record in Hollywood, like some of

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Speaker 3: the new record on Sunset Boulevard at the studio, I

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Speaker 3: think a lot of people forget maybe that's my job

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Speaker 3: is on the expedition that literally, I don't know, ninety

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Speaker 3: percent of their recordings from nineteen sixty four to nineteen

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Speaker 3: sixty seven we're done on Sunset Boulevard, where a lot

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Speaker 3: of the new record was done at this studio. They

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Speaker 3: did a lot of their seminal albums with the producer

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Speaker 3: Andrew lou Goldham at RCAA Studios, and then they did

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Speaker 3: Bridges to Babylon in the same facility. And so there

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Speaker 3: is the influence of Hollywood and Sunset Boulevard. And I mean,

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Speaker 3: I've always said that the Rolling Stones records. Could you

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Speaker 3: imagine if the albums you cherish from sixty four to

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Speaker 3: sixty seven, that little block, imagine if they were recorded

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Speaker 3: in New York instead of the flexibility and the environmental

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Speaker 3: graphic of Hollywood and Sunset Boulevard. The setting, the bioregional

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Speaker 3: environment does play a part in what we eventually hear,

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Speaker 3: and I think some of that has seeped in this

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Speaker 3: new recording.

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Speaker 2: You know, you remind me of the conversation around the

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Speaker 2: Tammy Show.

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Speaker 3: Well, I'm the expert on that one, I will believe.

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Speaker 4: Yeah, so I'm going to turn you on that because

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Speaker 4: I think it's still a lot of people don't know

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Speaker 4: about this, but it's still a little bit like in

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Speaker 4: the biopic with James Brown and you know, as legend goes,

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Speaker 4: the band was still in nineteen sixty four when the

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Speaker 4: first toured America, they hadn't even had a hit right

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Speaker 4: on American radio.

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Speaker 2: They were kind of obscure.

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Speaker 4: I think didn't Bill Wyman or somebody describe it as

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Speaker 4: an absolute disaster the first tour or the other you know,

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Speaker 4: there's a.

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Speaker 3: Lot of myths about that. And listen, I was twelve

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Speaker 3: years old across the street from the Santa Monica Civic Auditorium,

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Speaker 3: you know, at a surfboard shop. I did not know

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Speaker 3: what was going down, although I sure noticed a lot

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Speaker 3: of girls wearing short skirts. I was too busy with

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Speaker 3: my surfer pal, longboarder Peter Piper, buying paraffin wax for

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Speaker 3: our con surfboards. I actually had a Macaha skateboard. I

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Speaker 3: didn't know what was going on. But in the fifty

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Speaker 3: years of reporting and interviewing everybody associated with the Tammy Show, director, producer,

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Speaker 3: band members, choreographers, you know, and Sting references it in

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Speaker 3: one of his songs as well with the Police. Let's

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Speaker 3: just be really clear that it was a two day

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Speaker 3: shoot with a rehearsal. It was sort of, shall we say,

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Speaker 3: like all Hollywood movies, because I've been a lot of

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Speaker 3: film sets, it's shot out of sequence, and so you know,

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Speaker 3: even the order of what we see on DVD now

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Speaker 3: or on TV, that's not with the exception of the

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Speaker 3: hosts Jan and Dean. I mean, sure, you know the Stones,

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Speaker 3: James Brown, the Stones had to follow James Brown. But

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Speaker 3: you know there was an hour to wait, or there

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Speaker 3: was a lot of break time to set up equipment

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Speaker 3: and things like that. It isn't this situation as perceived

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Speaker 3: by all of us. What counts is the product that

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Speaker 3: impacts us and the genius work of Jack Nietzsche as

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Speaker 3: the musical director of The Tammy Show. I just have

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Speaker 3: been in the studio with a wonderful guitarist, Don Peak.

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Speaker 3: I did ten years with Ray Charles. He's on a

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Speaker 3: lot of the big the Jackson five records. He did

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Speaker 3: many years with Barry White. Don Peak is in both

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Speaker 3: the Tammy Show Band in the orchestra. He's also in

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Speaker 3: the Big T and T Show, which is kind of

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Speaker 3: this sister element to the Tammy Show. So I have

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Speaker 3: talked extensively with these people. And the last time I

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Speaker 3: was on your show, when I was touting my book

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Speaker 3: on music documentaries, Rock Set doc you know, we we

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Speaker 3: we talked about the Tammy Show and some of these things.

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Speaker 3: And so I've made it a point to talk to

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Speaker 3: the participants, and you know, they have their own stories.

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Speaker 3: The truth is often in the middle, but it does work.

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Speaker 3: And both Mick Jagger, you know, has told the story

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Speaker 3: that he actually had to sort of do some ministry

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Speaker 3: work with James Brown when it was explained to James

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Speaker 3: Brown listen to them, you know, you're going to be

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Speaker 3: kind of we're going to be kind of following you.

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Speaker 3: And even Nick said, you know, it's kind of shot

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Speaker 3: out of a sequence. It's going to be a put

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Speaker 3: together project. I don't think James Brown was having any

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Speaker 3: of that, but I actually think and I've talked to

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Speaker 3: Jack Nietzschee, you know, the late Jack Nietzschee extensively about

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Speaker 3: the Tammy Show, and he thought James Brown opening if

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Speaker 3: you want to use that term for the Rolling Stones

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Speaker 3: or them following his act. Oh, if James was an act,

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Speaker 3: it was life on stage that he thought it inspired

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Speaker 3: the Rolling Stones to take it to another level. And

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Speaker 3: and you know, for all of us as consumers, guess

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Speaker 3: what we like both of them, James Brown and the

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Speaker 3: Rolling Stones and the Motown Acts and janed Dean, And

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Speaker 3: it's such a time capsule of a rock and roll,

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Speaker 3: isn't it.

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Speaker 2: Well.

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Speaker 4: I will go over the old ground that we tackled

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Speaker 4: last time, but I will say what I like most

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Speaker 4: about the story, sorry, is that Mick Jagger got has

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Speaker 4: come up. And if that part of the story is

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Speaker 4: true of James Brown telling Mick Jagger follow that because

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Speaker 4: he knows that, you know, Jagger had been ripping off

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Speaker 4: a lot of his moves and nobody did it better

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Speaker 4: than the original hardest working man at show business. So

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Speaker 4: I mean, I look at that and I say, I

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Speaker 4: hope that part of the story is true. I do

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Speaker 4: know that, as you have said before in the past that.

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Speaker 2: I think maybe it wasn't you.

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Speaker 4: But so somebody said that, I mean, didn't they didn't

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Speaker 4: they regret doing it? I mean, wasn't it Like many

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Speaker 4: of the Stones performers were like, that was a huge

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Speaker 4: mistake to try and go on that stage sort of but.

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Speaker 3: The interesting thing is the bands, everybody who participated. It

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Speaker 3: was a package deal, and everybody got paid quite handsomely.

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Speaker 3: In nineteen sixty four phase.

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Speaker 2: What would be a nineteen sixty four.

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Speaker 3: I think every person involved, I'm talking every act got

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Speaker 3: twenty five grand each. Wow, they did surrender all the rights.

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Speaker 3: They're talking about product television, sure, a movie exhibition.

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Speaker 2: That is a ton of money.

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Speaker 3: Back then, though, I was put together by GAC General

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Speaker 3: Artist Corporation, kind of a booking agent. And so even

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Speaker 3: shall we say, the other people on the band, the

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Speaker 3: groups besides you know, the Stones and James Brown and

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Speaker 3: the Motown Artists. So everybody got a nice payday. And

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Speaker 3: here they are at the beach in southern California. So

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Speaker 3: I don't think anybody regretted anything about that. And sometimes

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Speaker 3: when you have that baptism by fire. Look, the Stones

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Speaker 3: got to I'm sure it helped fuel their records that

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Speaker 3: they were recording on Sunset Boulevard at RCA right after that,

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Speaker 3: or when they did extra touring and then the Stones

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Speaker 3: and by the way, Mick Jagger had watched Little Richard

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Speaker 3: probably thirty times on a nineteen sixty three tour with

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Speaker 3: the everly brothers, Don Teak and I were talking about this,

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Speaker 3: so he was already looking at Icontina Turner and motown

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Speaker 3: music and Little Richard and of course you know he

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Speaker 3: went to the Apollo before or after to go see

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Speaker 3: James Brown. He's never hidden the fact that the influences

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Speaker 3: he wore on his sleeve, and eventually he became his

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Speaker 3: own performer after soaking up the DNA of these legends.

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Speaker 4: But okay, let me just fundamentally, since you know the

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Speaker 4: Tammy Show, and for people who don't, it's worth looking

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Speaker 4: at and it's worth looking into because it's so fascinating.

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Speaker 4: And do we ever agree on what exactly Tammy Tami?

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Speaker 3: Well? Teenage American Music International, that's kind of where it

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Speaker 3: comes from. But I've interviewed the director, Steve Bender a

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Speaker 3: couple of times, but you know, because I know his

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Speaker 3: history and he went to LA High School and he's

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Speaker 3: another native Angelino. I mean, Steve had worked on a

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Speaker 3: show called Jazz Scene USA in like sixty and sixty one.

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Speaker 3: So his blocking techniques there is directorial style. It came

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Speaker 3: from jazz as an improv, but he also knew how

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Speaker 3: lights were working, and he knew to bring in uh

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Speaker 3: the choreographer David Winters and also Tony Bassel, So there

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Speaker 3: was choreography and dance and energy and impulse and and

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Speaker 3: also it was so well done. Plus it was in

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Speaker 3: a new kind of film stock called electrona vision, which

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Speaker 3: was short lived. It's if you've ever seen the movie Harlow,

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Speaker 3: it was kind of a different the direct It was

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Speaker 3: sort of like you shoot it on video and then

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Speaker 3: you put it back to like film. It's a different

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Speaker 3: kind of black and white film experience. It didn't last

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Speaker 3: long due to it was kind of expensive, but that

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Speaker 3: was something developed from radio state TV station KTLA out here.

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Speaker 3: So the film stock is even it plays the part

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Speaker 3: again like I was talking earlier about the studios and

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Speaker 3: room tone and environmental aspect. It even brings you in

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Speaker 3: a little deeper maybe, although it's all been transferred now

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Speaker 3: and highlighted on DVD and Blu ray, and it's a

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Speaker 3: little different. But it was not your traditional shoot quick

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Speaker 3: black and white concert footage of a rock and roll

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Speaker 3: band and lip sync. It really was a two and

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Speaker 3: a half day kind of concert experience that we got

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Speaker 3: to see in theaters and quick, and then it disappeared

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Speaker 3: for a long time because there was no video outlets,

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Speaker 3: there was no VCRs, there was no DVDs, and then

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Speaker 3: it came back and now it's a really good discovery

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Speaker 3: for anybody to see that era and.

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Speaker 4: To see Terry gar right dancing in the back, d

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Speaker 4: bat and.

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Speaker 3: Man's in there too. There's it was a thriving, throbbing

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Speaker 3: Los Angeles experience and it kind of bleeds into the

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Speaker 3: things that Jack could would do the following year when

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Speaker 3: he brought a shin dig on television, right, I mean

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Speaker 3: it all comes from it. Yeah, I can see that

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Speaker 3: all right, but correlation.

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Speaker 4: But is it not true then though, that the Stones

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Speaker 4: insisted on going last, and that that's what the regret is,

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Speaker 4: is that they they should have been more respectful of

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Speaker 4: James Brown and the energy that he brought to a stage,

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Speaker 4: regardless as you say, whether or not there was an

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Speaker 4: hour's gap for resetting cameras and lights or whatever, that

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Speaker 4: they recognize, even if the story is not true about

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Speaker 4: you know, James Brown passing Mick Jagger and the Wings

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Speaker 4: saying to him, yet go on top that that it

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Speaker 4: was still that was still the Stone's choice that they

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Speaker 4: were the last act and as maybe at the time,

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Speaker 4: they feel like they hadn't they really hadn't earned that yet.

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Speaker 3: Well, you know it, Partymie agrees with you with pardon me.

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Speaker 3: Ben's to Jack Nietzsche, the musical director who knew the

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Speaker 3: Rolling Stones and brought them in and said to Steve Bender,

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Speaker 3: they're hot, They're going to be huge. They do roots music.

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Speaker 3: And I think Jack told me more than once he

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Speaker 3: suggested or determine the order, because he knew, let's start

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Speaker 3: it off with some surf music or pop vocal, you know,

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Speaker 3: Jan and Dean. Let's take everybody through some other English

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Speaker 3: groups early on during the pavement, Billy J. Kramer, Let's

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Speaker 3: let the Motown artists, whether it be the Supremes or

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Speaker 3: of course Martin Gay. Let's let Chuck Berry kick it

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Speaker 3: off pretty early to set up the Stones, and Chuck

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Speaker 3: Berry is their ancestral godfather. I think Jack really set

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Speaker 3: it up that the Stones and management and their record

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Speaker 3: label probably didn't have the clout or power in nineteen

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Speaker 3: sixty four to demand this kind of stuff. I think

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Speaker 3: it just kind of worked out that way. But Jack

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Speaker 3: Nietzsche saw the promise of the Rolling Stones very early,

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Speaker 3: and you know, he probably liked to put them into

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Speaker 3: a baptism by fire thing, and by the time they

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Speaker 3: played the show, and it was taped, and by the

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Speaker 3: time they started playing, they took off. And Jack Meetzsche's

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Speaker 3: told me in two different books when the Stones appeared,

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Speaker 3: it was a new type of emotion. Now. I don't

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Speaker 3: know if he was comparing or contrasting James, you know,

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Speaker 3: James's gig, and James was otherworldly, but the Stones at

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Speaker 3: least held their mud pretty much that it was not disaster.

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Speaker 3: And I think as we look at it now, I'm

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Speaker 3: just glad we have Brian Jones on screen and we

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Speaker 3: can see that original band right at that moment.

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Speaker 4: Not stoned out of his mind like he was doing

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Speaker 4: sympathy for the devil or whatever it was, that other

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Speaker 4: thing that you could see him there.

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Speaker 3: It was quite passive show.

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Speaker 4: Yeah, let's just say it was passive. Okay, So that's

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Speaker 4: the Tammy Show. Do you have photos in this book

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Speaker 4: Rolling Stones icons from that period?

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Speaker 2: I didn't know.

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Speaker 3: I know there's a nineteen sixty four photos, but there

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Speaker 3: were there was probably some rights issues where they couldn't

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Speaker 3: license some things, but there are, you know, pictures from

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Speaker 3: nineteen sixty four, and there are you know, pictures from

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Speaker 3: the rock and roll circus, and you know some of

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Speaker 3: their television appearances. But I think what happened with this book,

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Speaker 3: and it happens largely I think with the Stones is

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Speaker 3: we are maybe you and I are a bit different

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Speaker 3: in some people in your listenership. Somehow most of the

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Speaker 3: Stones photos end up being live stage shots. Oh okay,

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Speaker 3: you know, as opposed to because photographers and studios. You know,

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Speaker 3: there weren't people weren't taking a lot of pictures of

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Speaker 3: rock and roll bands in studios and sixty four they

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Speaker 3: might have been a set person or somebody aligned with

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Speaker 3: a television station. Nobody was carrying a lot of their

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Speaker 3: own photographers in that sixty three sixty four world. That's

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Speaker 3: why we're very grateful when we see early motown apps

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Speaker 3: and some of those people, because you don't see tons

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Speaker 3: of the photos.

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Speaker 1: Then listen to more Coast to Coast AM every weeknight

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Speaker 1: at one am Eastern and go to Coast to coastam

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