1 00:00:01,000 --> 00:00:01,840 Speaker 1: Taking a Walk. 2 00:00:02,160 --> 00:00:06,600 Speaker 2: He said, Buffalo Bill, it's ed V. How about doing 3 00:00:06,640 --> 00:00:09,799 Speaker 2: tail Ed's fade at center field at Fenway Park. And 4 00:00:09,880 --> 00:00:12,440 Speaker 2: I said that sounds like fun and he said, where 5 00:00:12,440 --> 00:00:13,960 Speaker 2: are you now? I said, I'm just telling me. He said, 6 00:00:13,960 --> 00:00:15,640 Speaker 2: can you get down here and do a sound check? 7 00:00:15,720 --> 00:00:17,640 Speaker 2: And you know, this is like they had the rehearsals 8 00:00:17,800 --> 00:00:20,360 Speaker 2: they had the park that night. I think it was, 9 00:00:20,600 --> 00:00:23,439 Speaker 2: I don't know whatever night. It was Saturday night, and 10 00:00:23,680 --> 00:00:26,439 Speaker 2: I'm like, I could be there and however long it 11 00:00:26,480 --> 00:00:28,520 Speaker 2: takes me to drive there, I just had one glass 12 00:00:28,520 --> 00:00:30,840 Speaker 2: of wine that I hadn't even finished. So I got 13 00:00:30,880 --> 00:00:33,000 Speaker 2: there and it was just I mean, from that moment, 14 00:00:33,040 --> 00:00:35,199 Speaker 2: it was just trippy. I mean, I'm on stage at 15 00:00:35,240 --> 00:00:38,639 Speaker 2: Family Parker, nobody there, and I'm already like over excited, 16 00:00:38,680 --> 00:00:41,360 Speaker 2: and he's handing me a guitar and oh, you know, 17 00:00:41,720 --> 00:00:43,879 Speaker 2: Townsend gave me this guitar or whatever. You know, I said, 18 00:00:43,960 --> 00:00:46,519 Speaker 2: crazy crazy rarefied air. 19 00:00:46,640 --> 00:00:49,160 Speaker 3: On Buzz Night and this is the Taking a Walk Podcast. 20 00:00:49,280 --> 00:00:53,640 Speaker 3: If you like this podcast, just like Bill P. From Savannah, Georgia, 21 00:00:53,800 --> 00:00:56,840 Speaker 3: please share with your friends, leave us a review, and 22 00:00:56,920 --> 00:00:59,840 Speaker 3: thanks for spreading the news about taking a Walk Today. 23 00:01:00,040 --> 00:01:02,760 Speaker 3: Look at music history with a man who not only 24 00:01:02,840 --> 00:01:05,959 Speaker 3: lives it as a musician and loves it, but he's 25 00:01:06,000 --> 00:01:09,400 Speaker 3: also a great author of some amazing music books as well. 26 00:01:09,880 --> 00:01:12,600 Speaker 1: Bill Janovitz is one of the founding members of. 27 00:01:12,560 --> 00:01:17,520 Speaker 3: The alternative rock group Buffalo Tom, a Boston legend. Bill 28 00:01:17,640 --> 00:01:20,160 Speaker 3: was also the author of Exile on Main Street, a 29 00:01:20,200 --> 00:01:21,800 Speaker 3: great book on the rolling Stones. 30 00:01:22,319 --> 00:01:24,040 Speaker 1: Also the author of Leon. 31 00:01:23,840 --> 00:01:26,720 Speaker 3: Russell, A Master of Space and Time, and he's got 32 00:01:26,760 --> 00:01:30,199 Speaker 3: an upcoming book on the cars as well coming out soon. 33 00:01:30,720 --> 00:01:33,920 Speaker 3: Let's talk with Bill Janovitz now on Taking a Walk. 34 00:01:35,040 --> 00:01:37,080 Speaker 1: Bill, thanks for being on Taking a Walk. 35 00:01:37,120 --> 00:01:42,440 Speaker 3: Can you remember that first moment that you know connected 36 00:01:42,480 --> 00:01:44,400 Speaker 3: you with a lifetime of loving music. 37 00:01:45,120 --> 00:01:48,680 Speaker 2: I mean it was so primal that I don't know 38 00:01:48,680 --> 00:01:50,320 Speaker 2: if there was a moment, like to me, it was 39 00:01:50,360 --> 00:01:53,960 Speaker 2: like it was always something that was in me. I 40 00:01:54,000 --> 00:01:56,520 Speaker 2: mean it was like, you know, some kids want to 41 00:01:56,520 --> 00:02:00,600 Speaker 2: be sports stars, and I never even entertained such a thought. 42 00:02:01,680 --> 00:02:04,280 Speaker 2: But music was around my house, even though my parents 43 00:02:04,320 --> 00:02:07,480 Speaker 2: weren't super like big record collectors or anything like that. 44 00:02:07,720 --> 00:02:10,600 Speaker 2: My father had sung in a vocal quartet in New 45 00:02:10,639 --> 00:02:14,080 Speaker 2: York called the Fabulaires. It was sort of a you know, 46 00:02:14,280 --> 00:02:17,480 Speaker 2: do wop kind of thing in the late fifties early sixties. 47 00:02:17,520 --> 00:02:20,000 Speaker 2: But he never took it too seriously. But he was 48 00:02:20,000 --> 00:02:23,320 Speaker 2: always singing and always tapping, and the rhythms were always there. 49 00:02:23,400 --> 00:02:25,000 Speaker 2: So but I mean, you know, I grew up with 50 00:02:25,080 --> 00:02:28,160 Speaker 2: AM radio just listening to everything back then in the 51 00:02:28,200 --> 00:02:31,720 Speaker 2: early seventies, late sixties, early seventies, and but yeah, I 52 00:02:31,760 --> 00:02:34,320 Speaker 2: don't know. I suppose if there was a galvanizing moment 53 00:02:34,400 --> 00:02:37,320 Speaker 2: is when my mom bought me a guitar for Christmas, 54 00:02:37,320 --> 00:02:39,040 Speaker 2: which I hadn't even really thought about. I had been 55 00:02:39,040 --> 00:02:41,760 Speaker 2: playing trumpet as a kid, but I needed something cooler, 56 00:02:41,800 --> 00:02:44,560 Speaker 2: and that was like it was like, you know, being 57 00:02:44,600 --> 00:02:47,680 Speaker 2: handed the keys to uh, I don't know whatever, a 58 00:02:47,720 --> 00:02:49,519 Speaker 2: mansion or a Maserati one of the other. 59 00:02:50,840 --> 00:02:54,240 Speaker 1: Where is that guitar today, That's a good question. 60 00:02:54,520 --> 00:02:56,680 Speaker 2: I don't know where that little it was a little 61 00:02:56,760 --> 00:03:01,000 Speaker 2: nylon string, you know, just a classical type of entry 62 00:03:01,080 --> 00:03:03,360 Speaker 2: level guitar. I would like to say it's, you know, 63 00:03:03,360 --> 00:03:04,960 Speaker 2: at the Rock and Roll Hall of Fame or something, 64 00:03:04,960 --> 00:03:08,120 Speaker 2: but it's probably in Moldy in somebody's closet somewhere. I 65 00:03:08,120 --> 00:03:09,520 Speaker 2: have no idea what I did with them. 66 00:03:09,960 --> 00:03:14,000 Speaker 1: So what was the first concert experience that shaped you well. 67 00:03:14,040 --> 00:03:16,240 Speaker 2: I remember going to like so I grew up on 68 00:03:16,280 --> 00:03:18,359 Speaker 2: the north shore of Long Island in New York town 69 00:03:18,360 --> 00:03:21,360 Speaker 2: called Huntington, and there was a big band in regionally 70 00:03:21,840 --> 00:03:24,200 Speaker 2: in New York and Connecticut and the Tri state area 71 00:03:24,240 --> 00:03:26,480 Speaker 2: called the Good Rats. And they got around a little 72 00:03:26,480 --> 00:03:28,560 Speaker 2: bit and they played the college circuit and stuff, and 73 00:03:28,560 --> 00:03:30,600 Speaker 2: they were just a good time sort of boogie band. 74 00:03:30,680 --> 00:03:32,800 Speaker 2: And I remember seeing them at the high school. I mean, 75 00:03:32,840 --> 00:03:36,520 Speaker 2: it wasn't really a formal concert, but it was it 76 00:03:36,560 --> 00:03:38,440 Speaker 2: was like, you know, it was like seeing a real 77 00:03:38,520 --> 00:03:41,760 Speaker 2: band for the first time. But not long after that, 78 00:03:41,880 --> 00:03:46,120 Speaker 2: I saw The Grateful Dead at the Nassau Coliseum in 79 00:03:46,160 --> 00:03:49,040 Speaker 2: like nineteen eighty one, I guess it would have been, 80 00:03:49,520 --> 00:03:52,560 Speaker 2: and you know, that was sort of like, wow, okay, 81 00:03:52,600 --> 00:03:54,880 Speaker 2: this is you know, being at a real big show 82 00:03:54,960 --> 00:03:56,640 Speaker 2: like that. My parents, I was the first born, so 83 00:03:57,120 --> 00:04:00,520 Speaker 2: my parents were really protective. So I was I think 84 00:04:00,560 --> 00:04:02,840 Speaker 2: I was fifteen, I guess when that happened. But you know, 85 00:04:02,880 --> 00:04:05,640 Speaker 2: I would I try to go to shows with concerts before, 86 00:04:05,720 --> 00:04:06,760 Speaker 2: but to no avail. 87 00:04:07,360 --> 00:04:10,120 Speaker 3: I grew up in Stanford, Connecticut, and I would work 88 00:04:10,280 --> 00:04:14,000 Speaker 3: in Danbury at a station there called I ninety five 89 00:04:14,480 --> 00:04:17,560 Speaker 3: for many, many years, and I have to say, m 90 00:04:17,640 --> 00:04:21,520 Speaker 3: seed many a night at the Fore and Aft, which 91 00:04:21,520 --> 00:04:25,320 Speaker 3: included the lead of the bill being the good Rats. 92 00:04:25,480 --> 00:04:30,240 Speaker 4: So gotta play tasty there you go. Yeah, it's a 93 00:04:30,279 --> 00:04:32,120 Speaker 4: good one. Yeah. 94 00:04:32,400 --> 00:04:36,920 Speaker 3: So, how difficult was it to avoid getting a real 95 00:04:37,000 --> 00:04:39,719 Speaker 3: job throughout your career and then having to get a 96 00:04:39,760 --> 00:04:40,280 Speaker 3: real job. 97 00:04:40,800 --> 00:04:43,240 Speaker 2: Yeah, well, I mean so Buffalo Tom started when I 98 00:04:43,279 --> 00:04:46,400 Speaker 2: was at school in college. The three of us, you know, 99 00:04:46,440 --> 00:04:49,679 Speaker 2: met up there, and so it kind of got rolling 100 00:04:49,760 --> 00:04:51,920 Speaker 2: before I graduated. So I didn't really have to think 101 00:04:51,920 --> 00:04:55,320 Speaker 2: about getting a real job at all. I just had 102 00:04:55,360 --> 00:04:57,920 Speaker 2: to think about, like, you know, paying the rent, because 103 00:04:57,960 --> 00:05:01,039 Speaker 2: Buffalo Tom certainly wasn't doing that for while. It wasn't 104 00:05:01,120 --> 00:05:05,560 Speaker 2: until our third album in ninety two that we Tom 105 00:05:05,600 --> 00:05:08,159 Speaker 2: and I were able to quit our day jobs. Chris 106 00:05:08,360 --> 00:05:10,159 Speaker 2: never wanted to quit his day job because he was 107 00:05:10,200 --> 00:05:13,359 Speaker 2: working the booking agency that he still owns today was 108 00:05:13,360 --> 00:05:16,919 Speaker 2: something he started out as an intern in college. So 109 00:05:17,279 --> 00:05:20,320 Speaker 2: he's been at the same place called Concerted Efforts since 110 00:05:20,520 --> 00:05:22,960 Speaker 2: he was a college kid. Essentially, so Tom and I 111 00:05:23,000 --> 00:05:27,360 Speaker 2: that were able to stop our menial day jobs. I 112 00:05:27,440 --> 00:05:29,799 Speaker 2: was working at a pip printing off of our wife 113 00:05:30,000 --> 00:05:33,000 Speaker 2: or on al Wife Brook Parkway and Cambridge, and I 114 00:05:33,040 --> 00:05:34,880 Speaker 2: was like, it was the kind of job where it's likeeah, 115 00:05:34,920 --> 00:05:37,800 Speaker 2: I'm leaving going on a tour, and thinking that was 116 00:05:37,800 --> 00:05:39,000 Speaker 2: the end of it. He goes, Okay, I'll see you 117 00:05:39,000 --> 00:05:40,920 Speaker 2: when you get back. You're like, God, damn, I still 118 00:05:40,960 --> 00:05:45,320 Speaker 2: have that job, you know. But yeah, and then we 119 00:05:45,520 --> 00:05:49,719 Speaker 2: managed to keep that alive until like basically another ten years. 120 00:05:50,120 --> 00:05:52,640 Speaker 2: I mean, we were on the road a lot, and 121 00:05:52,680 --> 00:05:55,200 Speaker 2: we were what we'd call a working class band. I mean, 122 00:05:55,480 --> 00:05:58,240 Speaker 2: made a living, nice living at it, but never got 123 00:05:58,279 --> 00:06:01,920 Speaker 2: to be stratospheric, you know, can retire at our house 124 00:06:01,960 --> 00:06:06,800 Speaker 2: on Hawaii kind of thing. But yeah, I mean my 125 00:06:06,920 --> 00:06:09,880 Speaker 2: kids started coming and I eased back into the work world, 126 00:06:10,200 --> 00:06:12,359 Speaker 2: or into the work world for the first time really. 127 00:06:13,040 --> 00:06:16,200 Speaker 2: I got my license to sell real estate in the area, 128 00:06:16,360 --> 00:06:18,560 Speaker 2: and it was good because I thought, well, it's flexible. 129 00:06:18,640 --> 00:06:20,719 Speaker 2: I don't have to be at a desk nine to five. 130 00:06:21,000 --> 00:06:23,320 Speaker 2: And it worked out well. I mean, it took a 131 00:06:23,320 --> 00:06:25,279 Speaker 2: while to sort of get going, but at the same time, 132 00:06:25,320 --> 00:06:27,440 Speaker 2: I wasn't really eager for it to get going because 133 00:06:27,440 --> 00:06:30,640 Speaker 2: I was still doing music enough where I didn't really 134 00:06:30,960 --> 00:06:33,520 Speaker 2: want it to be a real thing. But so you know, 135 00:06:34,080 --> 00:06:36,320 Speaker 2: it's not like, I mean, I'm glad I didn't take 136 00:06:36,360 --> 00:06:39,039 Speaker 2: some sort of more I think I was thinking about, 137 00:06:39,240 --> 00:06:41,599 Speaker 2: I could go into marketing or advertising. What could I 138 00:06:41,640 --> 00:06:44,599 Speaker 2: do with this ten years of music and a communications 139 00:06:44,640 --> 00:06:47,880 Speaker 2: degree from New Bats. So I'm glad I didn't land 140 00:06:47,920 --> 00:06:50,919 Speaker 2: in something that was more like, you know, career that 141 00:06:50,960 --> 00:06:53,280 Speaker 2: would kept me maybe from doing music in the future. 142 00:06:54,000 --> 00:06:57,280 Speaker 1: Congratulations on Buffalo Tom's tenth LP. 143 00:06:57,520 --> 00:07:01,000 Speaker 3: Does that blow you away? Saying tenth LP? My god, 144 00:07:01,080 --> 00:07:05,279 Speaker 3: that's awesome? Jump Rope? Who are the musical influences that 145 00:07:05,480 --> 00:07:07,080 Speaker 3: you tapped into for this one? 146 00:07:07,400 --> 00:07:07,599 Speaker 5: Oh? 147 00:07:07,640 --> 00:07:11,000 Speaker 2: At this point, we're just I think we're mostly self referential. 148 00:07:11,120 --> 00:07:14,840 Speaker 2: I mean, there's always the classic rock sort of foundation 149 00:07:15,040 --> 00:07:17,120 Speaker 2: that we all have, which is Neil Young and the 150 00:07:17,160 --> 00:07:20,840 Speaker 2: Stones and Van Morrison and you know, even led Zeppelin. Well, 151 00:07:21,000 --> 00:07:23,320 Speaker 2: you know, when we thinking about this record in particular, 152 00:07:23,760 --> 00:07:28,320 Speaker 2: we didn't mention some things like Ram's kind of moving 153 00:07:28,440 --> 00:07:31,360 Speaker 2: back towards their sort of more acoustic roots on things 154 00:07:31,480 --> 00:07:34,800 Speaker 2: like Fables of the Reconstruction or that era out of Time. 155 00:07:35,360 --> 00:07:37,960 Speaker 2: But it's mostly like, oh, let's do this, let's do 156 00:07:38,040 --> 00:07:41,760 Speaker 2: this aftermath type Stones, you know, part here or Oh, 157 00:07:41,800 --> 00:07:44,680 Speaker 2: that's that reminds me of It's more like you hear 158 00:07:44,800 --> 00:07:48,640 Speaker 2: your influences coming out, like this song Autumn Letter to Me, 159 00:07:48,680 --> 00:07:51,320 Speaker 2: which might as well be Buffalo Tom doing a Van 160 00:07:51,360 --> 00:07:53,560 Speaker 2: Morrison type of song, but a certain kind of Van 161 00:07:53,600 --> 00:07:56,440 Speaker 2: Morrison type of song, maybe more of an Astral Weeks 162 00:07:56,440 --> 00:07:59,440 Speaker 2: than a Domino type of song, you know, like pastoral 163 00:07:59,520 --> 00:08:03,560 Speaker 2: folk type stuff. So yeah, I mean, you know, this record, 164 00:08:03,560 --> 00:08:06,200 Speaker 2: we really wanted to let the acoustics be up front 165 00:08:06,480 --> 00:08:08,360 Speaker 2: a bit more, and to the extent that I thought 166 00:08:08,400 --> 00:08:10,080 Speaker 2: it was going to be a primarily acoustic record, but 167 00:08:10,080 --> 00:08:12,840 Speaker 2: it turned into a more band record than as usual. 168 00:08:13,400 --> 00:08:14,720 Speaker 1: I love New Girls singing. 169 00:08:14,800 --> 00:08:18,600 Speaker 3: That one is so infectious and puts a smile on 170 00:08:18,640 --> 00:08:21,960 Speaker 3: my face. Tell me about the process of creating a 171 00:08:22,000 --> 00:08:22,680 Speaker 3: song like that. 172 00:08:23,240 --> 00:08:26,600 Speaker 2: Yeah, well that's so when Buffalo Tom started, I was 173 00:08:26,720 --> 00:08:28,120 Speaker 2: the one that was bringing I was the one that 174 00:08:28,200 --> 00:08:30,920 Speaker 2: had all the song ideas, and for the most part 175 00:08:31,080 --> 00:08:33,360 Speaker 2: Tom brought you know, we would bring fragments to each other. 176 00:08:33,360 --> 00:08:36,320 Speaker 2: But then Chris Colburn started bringing in more and more songs. 177 00:08:36,360 --> 00:08:38,079 Speaker 2: Each record he would bring in a few more songs, 178 00:08:38,080 --> 00:08:41,400 Speaker 2: and he became he became a writer in Buffalo Tom 179 00:08:41,720 --> 00:08:44,080 Speaker 2: and he started to write for Buffalo Tom, I think, 180 00:08:44,200 --> 00:08:46,400 Speaker 2: or at least with Buffalo Tom in mind, to the 181 00:08:46,440 --> 00:08:48,880 Speaker 2: extent that he's like, he's fifty to fifty on this 182 00:08:48,920 --> 00:08:51,480 Speaker 2: record more or less, and he wrote that one. But 183 00:08:51,559 --> 00:08:53,920 Speaker 2: with Buffalo Tom, it's like I think he you know, 184 00:08:53,960 --> 00:08:57,000 Speaker 2: speaking of references, I think he and musical influences. I 185 00:08:57,000 --> 00:08:59,079 Speaker 2: think I think he mentioned, oh, this is kind of 186 00:08:59,360 --> 00:09:03,760 Speaker 2: attack this like who'sh Could Do? New Day Rising type 187 00:09:03,760 --> 00:09:07,120 Speaker 2: of song, either the actual title track from that record 188 00:09:07,400 --> 00:09:09,719 Speaker 2: or something from that. So, I mean, Who's Could Do 189 00:09:09,800 --> 00:09:12,079 Speaker 2: is one of those main stays for the three of us, 190 00:09:12,120 --> 00:09:15,160 Speaker 2: you know, kind of a combination of folk and hard 191 00:09:15,280 --> 00:09:19,120 Speaker 2: rock stuff. It's all stuff we grew up with. Who Zeppelin, 192 00:09:19,160 --> 00:09:21,760 Speaker 2: aal have these big acoustics too, so that was all 193 00:09:21,800 --> 00:09:24,120 Speaker 2: in there. But yeah, new girls singing. I can't speak 194 00:09:24,120 --> 00:09:26,079 Speaker 2: to the lyrics so much aside from what I've heard 195 00:09:26,120 --> 00:09:29,520 Speaker 2: Chris say, which is like a tribute to certain strong women. 196 00:09:29,640 --> 00:09:32,280 Speaker 2: And I think it's sort of his reaction, if I 197 00:09:32,360 --> 00:09:36,640 Speaker 2: may speculate, to you know, the whole sort of post 198 00:09:36,720 --> 00:09:40,600 Speaker 2: Trump years or the Trump era of women in the 199 00:09:40,600 --> 00:09:43,600 Speaker 2: Women's March and that kind of thing, and this reaction 200 00:09:43,720 --> 00:09:44,440 Speaker 2: to those years. 201 00:09:44,800 --> 00:09:47,920 Speaker 1: So what's the first music related book that you read 202 00:09:48,000 --> 00:09:51,480 Speaker 1: that sort of wet your whistle to be a great 203 00:09:51,520 --> 00:09:54,239 Speaker 1: author of books on music and musicians. 204 00:09:54,679 --> 00:09:57,160 Speaker 2: Yeah, you know, I had sort of these rock encyclopedia 205 00:09:57,240 --> 00:10:00,200 Speaker 2: type books. I can't think of the author that she 206 00:10:00,320 --> 00:10:03,679 Speaker 2: was famous for one of them. So they were like anthologies, 207 00:10:03,720 --> 00:10:06,920 Speaker 2: like I remember Dick Clark's twenty fifth Anniversary of Rock 208 00:10:06,960 --> 00:10:08,839 Speaker 2: and Roll. I mean it's like it was only twenty 209 00:10:08,840 --> 00:10:11,400 Speaker 2: five years old when I got it, you know, in 210 00:10:11,440 --> 00:10:14,080 Speaker 2: the late seventies. So there were those kinds of books, 211 00:10:14,080 --> 00:10:17,960 Speaker 2: and I was fascinated by these like profiles of Chuck 212 00:10:18,040 --> 00:10:20,080 Speaker 2: Berry and you know, but it goes all the way up. 213 00:10:20,080 --> 00:10:22,679 Speaker 2: I remember there's a picture of Jonathan Richmond and his 214 00:10:22,800 --> 00:10:26,920 Speaker 2: Leslie College sweatshirt doing a dance and wondering who that 215 00:10:26,960 --> 00:10:29,520 Speaker 2: guy was, you know, And it was of course all 216 00:10:29,559 --> 00:10:32,120 Speaker 2: the public the magazines. But in terms of a book, 217 00:10:32,559 --> 00:10:34,880 Speaker 2: I mean, it would have to be like the Tony 218 00:10:34,960 --> 00:10:39,199 Speaker 2: Sanchez Stones book, you know, the oh my goodness, I'm 219 00:10:39,240 --> 00:10:41,400 Speaker 2: just drawing a blank here. But it's like it's like 220 00:10:41,440 --> 00:10:44,679 Speaker 2: the first one, right, like the uh oh, it'll come 221 00:10:44,720 --> 00:10:46,320 Speaker 2: to me, and I'm sure it's staring at me in 222 00:10:46,360 --> 00:10:48,280 Speaker 2: the face, but Stone's books, and it was one on 223 00:10:48,440 --> 00:10:50,800 Speaker 2: Keith Richards, but that was a little bore sort of 224 00:10:50,880 --> 00:10:52,760 Speaker 2: like well, it would have been like seventy nine, I 225 00:10:52,760 --> 00:10:55,800 Speaker 2: guess or so. But Barbara Sharon, his manager, I think, 226 00:10:56,080 --> 00:10:57,679 Speaker 2: wrote that book. She I don't know if she was 227 00:10:57,720 --> 00:11:00,000 Speaker 2: his manager at the time, but those kind of early 228 00:11:00,080 --> 00:11:01,280 Speaker 2: Stones books really got me. 229 00:11:01,760 --> 00:11:05,160 Speaker 3: You must have been influenced also by the way, you know, 230 00:11:05,520 --> 00:11:10,000 Speaker 3: Rolling Stone Magazine during that period was so formidable as well. 231 00:11:10,400 --> 00:11:13,600 Speaker 2: Yeah, and I didn't have a subscription until around eighty one, 232 00:11:13,640 --> 00:11:17,120 Speaker 2: eighty two or something, maybe eighty one, but I you know, 233 00:11:17,160 --> 00:11:19,839 Speaker 2: I would pick up Rolling Stones whenever I could, and 234 00:11:20,480 --> 00:11:23,360 Speaker 2: even like things like Jim Farmer and People Magazine. I 235 00:11:23,360 --> 00:11:25,000 Speaker 2: didn't even know if I knew who it was at 236 00:11:25,040 --> 00:11:27,840 Speaker 2: that time, but they had serious writers in general interest 237 00:11:27,920 --> 00:11:32,680 Speaker 2: magazines like that, but Cream Circus, especially if you saw 238 00:11:32,720 --> 00:11:34,120 Speaker 2: something on the cover that you really want to know 239 00:11:34,160 --> 00:11:36,439 Speaker 2: more about. But then it's like, oh, yeah, sure we 240 00:11:36,559 --> 00:11:39,240 Speaker 2: get you with Mick and Keith or Robert and Jimmy 241 00:11:39,280 --> 00:11:41,280 Speaker 2: on the cover, but then there's all these other great 242 00:11:41,320 --> 00:11:44,240 Speaker 2: things inside. Of course, the frustrating thing back then was 243 00:11:44,280 --> 00:11:46,240 Speaker 2: being able to hear the music because It wasn't like 244 00:11:46,280 --> 00:11:48,560 Speaker 2: at our fingertips like it is now. But there was 245 00:11:48,600 --> 00:11:52,199 Speaker 2: also that great challenge of going into the record store 246 00:11:52,280 --> 00:11:54,360 Speaker 2: and hey, hey, you know about this, and you know 247 00:11:54,360 --> 00:11:56,839 Speaker 2: I'm reading about ram now and just about That's how 248 00:11:56,960 --> 00:12:00,160 Speaker 2: bands form. It's like other people coming into me, a 249 00:12:00,200 --> 00:12:03,400 Speaker 2: guy at a record counter and saying, oh, you should 250 00:12:03,480 --> 00:12:05,520 Speaker 2: check out this and this. Oh oh you like that too, 251 00:12:05,679 --> 00:12:07,960 Speaker 2: Let's form a band. Right, That's kind of how it goes. 252 00:12:08,360 --> 00:12:11,079 Speaker 1: We'll be right back with the Taken a Walk podcast. 253 00:12:12,240 --> 00:12:15,679 Speaker 1: Welcome back to the Taken a Walk Podcast. So how 254 00:12:15,679 --> 00:12:16,040 Speaker 1: do you. 255 00:12:16,000 --> 00:12:19,000 Speaker 3: Decide on who the subject is going to be of 256 00:12:19,080 --> 00:12:20,560 Speaker 3: a book that you're going to write? 257 00:12:20,760 --> 00:12:23,240 Speaker 2: Well, the first one was a natural. So the first 258 00:12:23,240 --> 00:12:26,280 Speaker 2: one was Exile on Mainstream. I had always been interested 259 00:12:26,280 --> 00:12:28,319 Speaker 2: in writing, even back in college. In fact, I probably 260 00:12:28,360 --> 00:12:31,160 Speaker 2: would have gone on to get a graduate degree in 261 00:12:31,360 --> 00:12:34,720 Speaker 2: an MFA or something in college a post grab because 262 00:12:34,720 --> 00:12:37,000 Speaker 2: I was really interested in writing. So once Buffalo time 263 00:12:37,040 --> 00:12:39,280 Speaker 2: really kind of slowed down and took a hiatus, I 264 00:12:39,320 --> 00:12:42,160 Speaker 2: was doing some freelance stuff for AllMusic dot Com and 265 00:12:42,200 --> 00:12:44,920 Speaker 2: things like that, and I remember the thirty three and 266 00:12:44,960 --> 00:12:47,880 Speaker 2: a third series. Back then it was Continuum Books. Now 267 00:12:47,920 --> 00:12:52,080 Speaker 2: It's Bloomsbury coming out, and my friend Joe Pernice had 268 00:12:52,080 --> 00:12:54,560 Speaker 2: done one on on Meet his Murder by the Smiths, 269 00:12:55,000 --> 00:12:57,640 Speaker 2: and so I got in touch with them through Jim 270 00:12:57,840 --> 00:13:00,720 Speaker 2: and Joyce Lenahan, his manager and friend of mine. I said, 271 00:13:00,800 --> 00:13:02,839 Speaker 2: how about Exile on mainStreet? You know it is in 272 00:13:02,920 --> 00:13:05,680 Speaker 2: my favorite rock and roll record of all time, and 273 00:13:06,000 --> 00:13:07,840 Speaker 2: they said sure. I mean it was so easy. The 274 00:13:07,840 --> 00:13:10,640 Speaker 2: bar of entry back then is like set us an 275 00:13:10,640 --> 00:13:13,760 Speaker 2: outline in a sample, and they knew who Buffalo Tom was, 276 00:13:13,800 --> 00:13:16,920 Speaker 2: so there was that angle, maybe a little bit of grease, 277 00:13:17,000 --> 00:13:20,080 Speaker 2: the slit the skids there. So that was my first 278 00:13:20,160 --> 00:13:23,800 Speaker 2: foray into book writing. I wasn't planning on doing another 279 00:13:23,840 --> 00:13:25,320 Speaker 2: Stones book, and I don't know why it took me 280 00:13:25,360 --> 00:13:28,520 Speaker 2: so long to pull together another one, But in twenty 281 00:13:28,600 --> 00:13:32,360 Speaker 2: twelve an agent who I didn't know in the UK 282 00:13:32,520 --> 00:13:34,240 Speaker 2: asked me if I would be interested in doing something 283 00:13:34,280 --> 00:13:36,800 Speaker 2: for the Stones fiftieth anniversary, and he actually gave me 284 00:13:36,840 --> 00:13:40,400 Speaker 2: the framework of fifty tracks that tell the story of 285 00:13:40,440 --> 00:13:44,360 Speaker 2: the Rolling Stones, which he compared to Ian MacDonald's Revolution 286 00:13:44,440 --> 00:13:46,920 Speaker 2: in the Head about the Beatles, where it puts them 287 00:13:46,960 --> 00:13:51,240 Speaker 2: into their biography and their chronology into the songs and 288 00:13:51,360 --> 00:13:53,839 Speaker 2: the songs are sort of telling the story. And I 289 00:13:53,880 --> 00:13:55,480 Speaker 2: thought it was a great idea. It was like just 290 00:13:55,720 --> 00:13:58,720 Speaker 2: placed on a platter in front of me. So yeah, 291 00:13:58,760 --> 00:14:00,760 Speaker 2: so it was. You know, two of my two books, 292 00:14:00,800 --> 00:14:02,599 Speaker 2: my first two books, are about my favorite band. I 293 00:14:02,640 --> 00:14:04,920 Speaker 2: wish I had gotten to be able to talk to 294 00:14:04,960 --> 00:14:06,959 Speaker 2: those guys a bit more. I didn't get to talk 295 00:14:07,000 --> 00:14:09,400 Speaker 2: to Mick or Keith about or for the book at all. 296 00:14:09,679 --> 00:14:11,600 Speaker 2: I just happened to meet Keith at the at the 297 00:14:11,640 --> 00:14:14,280 Speaker 2: onset of the book. But yeah, and then I was 298 00:14:14,320 --> 00:14:17,800 Speaker 2: casting around for a lot a other idea more diligently, 299 00:14:17,840 --> 00:14:20,880 Speaker 2: but it took six years to come across this Leon 300 00:14:20,960 --> 00:14:23,520 Speaker 2: Russell opportunity because I don't do ghostwriting and I'm not 301 00:14:23,560 --> 00:14:25,720 Speaker 2: a full time writer. So I want the idea that 302 00:14:25,760 --> 00:14:27,280 Speaker 2: I'm going to spend a year or two of my 303 00:14:27,320 --> 00:14:30,560 Speaker 2: life doing to be something I'm really engaged with. And 304 00:14:31,120 --> 00:14:33,440 Speaker 2: long story short, I had thrown out an idea to 305 00:14:33,520 --> 00:14:36,240 Speaker 2: my new agent, my current agent, about doing Mad Dogs 306 00:14:36,240 --> 00:14:38,680 Speaker 2: and Englishmen, a book on Mad Dogs and Englishmen, but 307 00:14:38,720 --> 00:14:41,480 Speaker 2: he thought that was just a bit too narrow. You know, 308 00:14:41,520 --> 00:14:43,600 Speaker 2: it's a tour and a film and her album. But 309 00:14:44,040 --> 00:14:46,240 Speaker 2: I could have written a five hundred page book on 310 00:14:46,720 --> 00:14:50,000 Speaker 2: just that, I'm sure. But a year later he said, well, 311 00:14:50,000 --> 00:14:52,800 Speaker 2: what about Leon Russell? Did you pass on Leon Russell 312 00:14:52,920 --> 00:14:54,360 Speaker 2: the ass And I said not, I didn't pass, only 313 00:14:54,400 --> 00:14:56,840 Speaker 2: in Rustling. So well, the estate is looking for an 314 00:14:56,880 --> 00:14:59,320 Speaker 2: author to do a book about him. So that was 315 00:14:59,400 --> 00:15:01,640 Speaker 2: something that I just wrote a letter to his widow 316 00:15:01,760 --> 00:15:04,560 Speaker 2: Jan and said, I really want to write this book 317 00:15:04,600 --> 00:15:07,080 Speaker 2: for these reasons. And that's how that one came about. 318 00:15:07,200 --> 00:15:09,560 Speaker 2: With the Cars, which is my new one, I just happened. 319 00:15:09,640 --> 00:15:13,960 Speaker 2: I actually pitched the Cars to Elliott Easton before the 320 00:15:14,040 --> 00:15:17,560 Speaker 2: Leon book. I met Elliott as a musician. We both 321 00:15:17,560 --> 00:15:21,000 Speaker 2: played at this benefit and it was just this surreal 322 00:15:21,680 --> 00:15:23,680 Speaker 2: thing out in La. I'm playing with Elliott east and 323 00:15:23,760 --> 00:15:25,840 Speaker 2: Dennis Dikin from the smith Reens on the drums, and 324 00:15:25,880 --> 00:15:28,480 Speaker 2: Pete Thomas from The Attractions is over there, and it's 325 00:15:28,640 --> 00:15:30,240 Speaker 2: just it was in La. So it was just filled 326 00:15:30,240 --> 00:15:33,000 Speaker 2: with these rocks. And I wrote a little article about 327 00:15:33,040 --> 00:15:34,920 Speaker 2: it and Elliott really liked it, and I said, well, 328 00:15:34,960 --> 00:15:37,360 Speaker 2: what about doing a cars book? But rick O Kaiseik 329 00:15:37,400 --> 00:15:39,120 Speaker 2: wasn't run and I think he had he still had 330 00:15:39,120 --> 00:15:41,320 Speaker 2: full control of the band and didn't love the idea. 331 00:15:41,600 --> 00:15:43,760 Speaker 2: I think he liked the idea of doing a cars book, 332 00:15:43,760 --> 00:15:46,280 Speaker 2: but I think they wanted somebody like with a longer 333 00:15:46,360 --> 00:15:49,960 Speaker 2: history than I had. But then Rick passed away. Elliott 334 00:15:50,000 --> 00:15:52,240 Speaker 2: really loved it, or liked at least I think he 335 00:15:52,280 --> 00:15:55,160 Speaker 2: loved the Leon book, and I pitched the other two 336 00:15:55,320 --> 00:15:56,960 Speaker 2: survivors and here we are. 337 00:15:57,760 --> 00:15:59,160 Speaker 1: So when would the Cars book come up? 338 00:16:00,200 --> 00:16:03,320 Speaker 2: I just don't know. When I handed it in earlier 339 00:16:03,360 --> 00:16:05,600 Speaker 2: than my deadline, which was going to be the fault. 340 00:16:05,600 --> 00:16:07,800 Speaker 2: But I just handed it in and hopefully it's acceptable. 341 00:16:07,840 --> 00:16:09,040 Speaker 2: I haven't heard back yet. 342 00:16:09,160 --> 00:16:12,600 Speaker 5: So so, first in the case of Leon Russell and 343 00:16:12,600 --> 00:16:15,200 Speaker 5: then in the case of the Cars, what in your 344 00:16:15,320 --> 00:16:19,400 Speaker 5: process of researching those books surprised you. 345 00:16:19,320 --> 00:16:22,560 Speaker 3: About each of those situations as you were writing it. 346 00:16:23,160 --> 00:16:26,440 Speaker 2: With the Stones, I'm not sure if there was, it's 347 00:16:26,440 --> 00:16:29,760 Speaker 2: been a while. I would have to really consider that 348 00:16:29,880 --> 00:16:33,320 Speaker 2: a little bit. But with with Leon Russell, what surprised 349 00:16:33,360 --> 00:16:35,720 Speaker 2: me was a law because I didn't I knew the 350 00:16:35,760 --> 00:16:38,680 Speaker 2: touch points of Leon Russell. You know, I knew that 351 00:16:38,720 --> 00:16:42,479 Speaker 2: he had started with Jerry Lee Lewis as a teenager. 352 00:16:42,800 --> 00:16:45,960 Speaker 2: I knew that he had become a first call session 353 00:16:45,960 --> 00:16:48,360 Speaker 2: player with the Wrecking Crew. You know so called Wrecking 354 00:16:48,400 --> 00:16:51,600 Speaker 2: Crew in La Session musicians. I knew that he kind 355 00:16:51,600 --> 00:16:56,000 Speaker 2: of was formative with Delaney and Bonnie and Friends and 356 00:16:56,200 --> 00:16:58,360 Speaker 2: the Mad Dogs and Englishman was an outgrowth of that. 357 00:16:59,120 --> 00:17:01,280 Speaker 2: And then I had an idea idea that he was 358 00:17:01,320 --> 00:17:03,520 Speaker 2: this big solo star, but I didn't know the extent. 359 00:17:03,560 --> 00:17:05,760 Speaker 2: So I guess what we surprised me first with Leon 360 00:17:05,840 --> 00:17:10,840 Speaker 2: Russell was that he was headlining stadiums across the United States. 361 00:17:11,080 --> 00:17:13,400 Speaker 2: I mean, I was born in sixty six, so by 362 00:17:13,440 --> 00:17:15,919 Speaker 2: the time I was ten, that part of his career 363 00:17:16,040 --> 00:17:19,080 Speaker 2: was pretty much ending, and he was with Mary Russell 364 00:17:19,200 --> 00:17:21,679 Speaker 2: doing duets, his wife, and that was sort of the 365 00:17:21,680 --> 00:17:24,479 Speaker 2: beginning of the sort of slow decline of his career 366 00:17:24,640 --> 00:17:27,399 Speaker 2: for a while until he came back with Elton John 367 00:17:27,920 --> 00:17:29,800 Speaker 2: at the end and the Rock and Roll Hall of Fame, 368 00:17:29,880 --> 00:17:32,399 Speaker 2: and so that was sort of the arc that I knew. 369 00:17:32,480 --> 00:17:36,280 Speaker 2: So I didn't realize that, you know, because Leon Russell 370 00:17:36,320 --> 00:17:39,679 Speaker 2: had more or less disappeared from classic rock radio and 371 00:17:39,760 --> 00:17:42,879 Speaker 2: oldies radio. Even you know, you might hear a song 372 00:17:42,960 --> 00:17:46,520 Speaker 2: for you. You might hear I mean, you'd hear him playing, 373 00:17:46,560 --> 00:17:48,560 Speaker 2: you'd hear him on the Bad Finger track, or you'd 374 00:17:48,600 --> 00:17:51,479 Speaker 2: hear him on on Mad Dogs tracks, but even that 375 00:17:51,480 --> 00:17:55,480 Speaker 2: stuff was curiously absent growing up in the Northeast. By 376 00:17:55,480 --> 00:17:58,920 Speaker 2: the time I was conscious of it, b to which 377 00:17:59,000 --> 00:18:02,399 Speaker 2: he was us superstar, sort of surprised me. And the 378 00:18:02,400 --> 00:18:06,040 Speaker 2: fact that nobody, even like record collecting rock and roll 379 00:18:06,240 --> 00:18:09,840 Speaker 2: classic rock fans like myself don't really know that, you know, 380 00:18:09,920 --> 00:18:11,320 Speaker 2: until this book came out. 381 00:18:11,560 --> 00:18:14,320 Speaker 1: Yeah, and a record executive too, right, yeah. 382 00:18:14,359 --> 00:18:17,520 Speaker 2: Form Shelter Records signed. I mean, you know, I didn't 383 00:18:17,560 --> 00:18:19,520 Speaker 2: know that. I think I don't think I knew that 384 00:18:19,600 --> 00:18:22,080 Speaker 2: coming into it. Like maybe I did, because you know, 385 00:18:22,160 --> 00:18:23,920 Speaker 2: I had read the Petty book and so I knew 386 00:18:23,920 --> 00:18:26,959 Speaker 2: that I knew about that, but it's you just don't know, 387 00:18:27,040 --> 00:18:27,920 Speaker 2: and you don't know that. 388 00:18:27,960 --> 00:18:28,119 Speaker 3: You know. 389 00:18:28,320 --> 00:18:32,879 Speaker 2: They distributed basically this, I mean, after Israelites by Desmond Decker. 390 00:18:32,920 --> 00:18:36,360 Speaker 2: The first real reggae stuff was on Shelter Records. 391 00:18:36,359 --> 00:18:36,520 Speaker 1: You know. 392 00:18:36,560 --> 00:18:39,600 Speaker 2: It was like they they put out Bob Marley w 393 00:18:39,800 --> 00:18:42,960 Speaker 2: Conqueror and they put out Funky Kingston. So they were 394 00:18:43,000 --> 00:18:46,880 Speaker 2: like distributing reggae and America along with Chris Blackwell and Ireland. 395 00:18:47,160 --> 00:18:51,000 Speaker 2: They were, you know, all friends Denny Cordell. Yeah, So yeah, 396 00:18:51,000 --> 00:18:54,679 Speaker 2: and with the cars. With the cars, what surprised me 397 00:18:54,800 --> 00:18:59,000 Speaker 2: so far is the extent to which Rick was like 398 00:18:59,080 --> 00:19:03,840 Speaker 2: such a control freak, really, and the inner turmoil of 399 00:19:04,000 --> 00:19:06,240 Speaker 2: these guys and the power struggle. I mean, nothing's really 400 00:19:06,840 --> 00:19:08,919 Speaker 2: that doesn't surprise me so much. I mean, you expect 401 00:19:08,960 --> 00:19:12,760 Speaker 2: a certain amount of inner struggle and turmoil with the band, 402 00:19:12,840 --> 00:19:15,160 Speaker 2: you know, especially a band that breaks up after about 403 00:19:15,160 --> 00:19:18,200 Speaker 2: ten years, Like okay, why, But I mean I knew, 404 00:19:18,280 --> 00:19:19,880 Speaker 2: I knew a lot of this stuff about the cars, 405 00:19:19,920 --> 00:19:21,840 Speaker 2: so there's not a whole lot of surprises to me. 406 00:19:22,480 --> 00:19:25,680 Speaker 2: But hearing them speak about each other and how those 407 00:19:25,720 --> 00:19:29,440 Speaker 2: relationships worked were that was surprising, and it was really 408 00:19:30,040 --> 00:19:32,040 Speaker 2: people that will read the book will find out just 409 00:19:32,080 --> 00:19:36,440 Speaker 2: like sort of how the machinations of this, how conscious 410 00:19:36,480 --> 00:19:39,600 Speaker 2: some of this stuff was, and how machiavellian what some 411 00:19:39,640 --> 00:19:40,720 Speaker 2: of it was as well. 412 00:19:41,400 --> 00:19:45,879 Speaker 3: So tell us about the police come to Boston Festival 413 00:19:46,359 --> 00:19:50,000 Speaker 3: that's going to be going on November first through third. 414 00:19:50,680 --> 00:19:53,640 Speaker 2: Yeah. So I've always had this idea, like a lot 415 00:19:53,680 --> 00:19:56,680 Speaker 2: of artists, of having an anchor type of thing where 416 00:19:56,720 --> 00:19:59,040 Speaker 2: people come to you rather than you just go out 417 00:19:59,080 --> 00:20:00,600 Speaker 2: on the road. So you I've seen this in the 418 00:20:00,640 --> 00:20:04,840 Speaker 2: last twenty years with cruises and other people having their 419 00:20:04,880 --> 00:20:08,880 Speaker 2: own sort of big example is Wilco's Solid Sound Festival, 420 00:20:08,880 --> 00:20:12,240 Speaker 2: which they do almost annually, or ever you by annually 421 00:20:12,760 --> 00:20:14,760 Speaker 2: or semi annually, I don't know what I guess by 422 00:20:14,800 --> 00:20:20,119 Speaker 2: annually out in Pittsfield at mass Smoka anyway, So a 423 00:20:20,119 --> 00:20:23,040 Speaker 2: similar idea, I mean, Buffalo Tom has not. First of all, 424 00:20:23,080 --> 00:20:24,600 Speaker 2: we don't really have the desire to stay on the 425 00:20:24,640 --> 00:20:26,520 Speaker 2: road for months at a time. But even if we did, 426 00:20:26,560 --> 00:20:29,679 Speaker 2: we don't really have the time allowed or space in 427 00:20:29,720 --> 00:20:32,840 Speaker 2: our lives currently. Maybe when we're fully retired we can 428 00:20:32,880 --> 00:20:35,399 Speaker 2: do this. So and we are, you know, whenever we 429 00:20:35,480 --> 00:20:38,680 Speaker 2: post a date anywhere, like a two week tour, people 430 00:20:38,680 --> 00:20:41,199 Speaker 2: will say, please come to Brazil, Please come to Lithuania, 431 00:20:41,240 --> 00:20:44,359 Speaker 2: please come to you know, wherever, wherever it is, And 432 00:20:44,440 --> 00:20:46,080 Speaker 2: so we thought it'd be funny. I thought it would 433 00:20:46,080 --> 00:20:48,119 Speaker 2: be funny to call it to please come to Boston Festival, 434 00:20:48,119 --> 00:20:49,760 Speaker 2: which also is the name of the song, you know, 435 00:20:50,320 --> 00:20:52,720 Speaker 2: please come to Boston for the springtime or whatever. But 436 00:20:53,119 --> 00:20:54,840 Speaker 2: so that's the idea. I think we're just like sort 437 00:20:54,840 --> 00:20:59,680 Speaker 2: of starting somewhat small the Armory in Summerville, Massachusetts, you know, 438 00:21:00,280 --> 00:21:03,520 Speaker 2: nights three different records will play in their entirety, but 439 00:21:03,560 --> 00:21:06,080 Speaker 2: we'll also have some comedians and we kind of want 440 00:21:06,119 --> 00:21:08,359 Speaker 2: to grow it into more of a first of all, 441 00:21:08,359 --> 00:21:11,040 Speaker 2: a regular thing, but also like a broader thing, like 442 00:21:11,400 --> 00:21:15,080 Speaker 2: different arts and artists and musicians and make it. I mean, 443 00:21:15,080 --> 00:21:17,480 Speaker 2: I think the solid Sound in Festival was a great model, 444 00:21:17,480 --> 00:21:20,120 Speaker 2: which I haven't ever been to, but from what I understand, 445 00:21:20,119 --> 00:21:21,080 Speaker 2: that kind of thing. 446 00:21:21,720 --> 00:21:25,840 Speaker 3: So in closing, take us back to a magical moment 447 00:21:26,200 --> 00:21:33,919 Speaker 3: in your history. September second, twenty eighteen, Fenway Park. I 448 00:21:33,960 --> 00:21:37,399 Speaker 3: got chills thinking about it. On your Behalf Eddie Vedder 449 00:21:37,480 --> 00:21:40,320 Speaker 3: asked you to step up to the plate and sing 450 00:21:40,520 --> 00:21:41,560 Speaker 3: tail Lights Fade. 451 00:21:41,960 --> 00:21:42,640 Speaker 2: What was that? 452 00:21:42,880 --> 00:21:44,199 Speaker 1: Like? How did that come about? 453 00:21:44,760 --> 00:21:47,520 Speaker 2: Yeah? Yeah, So I knew they were coming to town 454 00:21:47,800 --> 00:21:51,439 Speaker 2: and I had not seen them since we played with 455 00:21:51,520 --> 00:21:54,200 Speaker 2: them in the early nineties. I mean, one of their 456 00:21:54,280 --> 00:21:57,520 Speaker 2: first shows, maybe their first show in Boston was playing 457 00:21:57,600 --> 00:22:00,199 Speaker 2: on this bill for I think it was WBCN, like 458 00:22:00,200 --> 00:22:03,360 Speaker 2: a Christmas show. It was like the Lemonheads were headlining, 459 00:22:03,440 --> 00:22:06,520 Speaker 2: maybe US seven League Boots was one of the bands. 460 00:22:06,560 --> 00:22:08,239 Speaker 2: The Google Dolls were on it, but it was like, 461 00:22:08,280 --> 00:22:11,120 Speaker 2: you know, it was a bill like that, and Pearl 462 00:22:11,160 --> 00:22:13,359 Speaker 2: Jam were down at the near the bottom of the bill. 463 00:22:13,680 --> 00:22:15,760 Speaker 2: Nobody knew who they were really it was they were 464 00:22:15,840 --> 00:22:19,880 Speaker 2: their record was just coming out and then exploded, and 465 00:22:19,920 --> 00:22:23,080 Speaker 2: like a year later we saw them again at Roskilde Festival, 466 00:22:23,119 --> 00:22:25,840 Speaker 2: I think, or some festival in Europe. I can't remember why. 467 00:22:25,840 --> 00:22:28,960 Speaker 2: I might have been Pink Pop in Holland and just 468 00:22:29,080 --> 00:22:33,600 Speaker 2: you know, hey guys, congratulations, you know. And I had 469 00:22:33,640 --> 00:22:35,800 Speaker 2: a little I have a little brother who's fifteen years younger, 470 00:22:35,840 --> 00:22:37,399 Speaker 2: who and I got a CD signed for him. He 471 00:22:37,440 --> 00:22:39,400 Speaker 2: was a big Pearl Jam fan. And those guys were 472 00:22:39,480 --> 00:22:43,480 Speaker 2: so nice, and you know, so I hadn't really seen 473 00:22:43,760 --> 00:22:47,119 Speaker 2: any of those guys in a long time until Eddie 474 00:22:47,240 --> 00:22:50,720 Speaker 2: started coming and doing Hot Steel of Cool music benefits 475 00:22:50,760 --> 00:22:53,560 Speaker 2: that I'd been part of, and he came to a 476 00:22:53,680 --> 00:22:55,760 Speaker 2: little show I did at Toad, which is a little 477 00:22:55,800 --> 00:22:59,199 Speaker 2: bar in Cambridge, and sang some songs late night with me. 478 00:22:59,840 --> 00:23:03,240 Speaker 2: So we kind of re established acquaintance a little bit sporadically. 479 00:23:03,240 --> 00:23:05,520 Speaker 2: But I was really not surprised. I was really shocked. 480 00:23:05,560 --> 00:23:08,159 Speaker 2: When I'm sitting there at my kitchen table enjoying a 481 00:23:08,160 --> 00:23:11,439 Speaker 2: glass of wine that Labor Day weekend, We're just about 482 00:23:11,440 --> 00:23:13,400 Speaker 2: to take our daughter back to school. The next day, 483 00:23:13,440 --> 00:23:16,399 Speaker 2: back to college, and I get this text. It's and 484 00:23:16,440 --> 00:23:19,640 Speaker 2: it's I probably already had Eddie and my cellphone somehow, 485 00:23:19,880 --> 00:23:24,119 Speaker 2: but it said, Hey, he said, Buffalo Bill, it's ed V. 486 00:23:25,200 --> 00:23:27,679 Speaker 2: How about doing tail Light's Fade at center field at 487 00:23:27,720 --> 00:23:31,040 Speaker 2: Fenway Park. And I said that sounds like fun And 488 00:23:31,080 --> 00:23:32,639 Speaker 2: he said, where are you now? I said, I'm just 489 00:23:32,640 --> 00:23:34,080 Speaker 2: telling me. He said, can you get down here and 490 00:23:34,119 --> 00:23:35,840 Speaker 2: do a sound check? And you know, this is like 491 00:23:35,880 --> 00:23:38,760 Speaker 2: they had the rehearsals they had the park that night. 492 00:23:39,080 --> 00:23:41,399 Speaker 2: I think it was, I don't know whatever night. It 493 00:23:41,400 --> 00:23:43,840 Speaker 2: was Saturday night, and I'm like, I could be there 494 00:23:43,840 --> 00:23:46,800 Speaker 2: and however long it takes me to drive there, I 495 00:23:46,920 --> 00:23:49,120 Speaker 2: just had one glass of wine that I hadn't even finished. 496 00:23:49,520 --> 00:23:51,400 Speaker 2: So I got there and it was just I mean, 497 00:23:51,400 --> 00:23:53,840 Speaker 2: from that moment, it was just trippy. I mean, I'm 498 00:23:53,880 --> 00:23:56,120 Speaker 2: on stage at Family Parker with nobody there, and I'm 499 00:23:56,359 --> 00:23:59,280 Speaker 2: already like over excited, and he's handed me a guitar 500 00:23:59,680 --> 00:24:02,159 Speaker 2: and oh, you know, pet Townsend gave me this guitar 501 00:24:02,240 --> 00:24:05,520 Speaker 2: or whatever. You know. It was a crazy, crazy rarefied air. 502 00:24:06,080 --> 00:24:08,640 Speaker 2: And yeah, the next night, I just you can see 503 00:24:08,640 --> 00:24:10,879 Speaker 2: the video of me how excited I am. I said, dude, 504 00:24:10,920 --> 00:24:14,439 Speaker 2: I'm playing with Barl Jam and been way back, you know. 505 00:24:15,960 --> 00:24:19,959 Speaker 2: And Eddie was really gracious and said, we're playing with 506 00:24:20,000 --> 00:24:23,120 Speaker 2: Bill at Fenway Park. And it was just I mean, 507 00:24:23,240 --> 00:24:25,199 Speaker 2: I got off stage and my phone was lit up 508 00:24:25,200 --> 00:24:26,960 Speaker 2: with all these people that I didn't know were there. 509 00:24:27,000 --> 00:24:31,320 Speaker 2: They're like, what you just crazy, surreal, and I'm sitting 510 00:24:31,320 --> 00:24:33,520 Speaker 2: there watching them on the side of the stage, which 511 00:24:33,640 --> 00:24:35,639 Speaker 2: was a tremendous show. I can't believe it took me 512 00:24:35,680 --> 00:24:37,720 Speaker 2: so long to see them again. They're like one of 513 00:24:37,720 --> 00:24:40,879 Speaker 2: these great live bands of all time, as most people know. 514 00:24:41,080 --> 00:24:44,199 Speaker 2: And then as he's leaving stage, he sees me and 515 00:24:44,240 --> 00:24:46,760 Speaker 2: he goes he sort of doubles back and he says, 516 00:24:47,040 --> 00:24:49,439 Speaker 2: I want to play too, like, you know, a doubleheader, 517 00:24:49,480 --> 00:24:52,479 Speaker 2: and I said yes. So the next night I was 518 00:24:52,560 --> 00:24:54,600 Speaker 2: back and it was just insane. 519 00:24:55,119 --> 00:24:58,040 Speaker 1: Oh my god, Good things happen to good people. 520 00:24:58,520 --> 00:25:01,880 Speaker 3: Bill, Janeviitz, thanks for being taking a walk, and good 521 00:25:01,960 --> 00:25:06,960 Speaker 3: luck on the upcoming events and new music and keep 522 00:25:07,000 --> 00:25:07,800 Speaker 3: it coming, baby. 523 00:25:08,320 --> 00:25:11,600 Speaker 4: Thanks so much, buds. I appreciate it. Thanks Bill, Thank 524 00:25:11,640 --> 00:25:14,120 Speaker 4: you man. Thanks, I appreciate it. I hope to see 525 00:25:14,160 --> 00:25:14,600 Speaker 4: you around. 526 00:25:14,920 --> 00:25:15,959 Speaker 2: I hope so as well. 527 00:25:16,280 --> 00:25:18,200 Speaker 1: I'll wave at you and the bike on the way by. 528 00:25:18,280 --> 00:25:20,320 Speaker 2: So yeah, it sounds good. I'm knock on your door. 529 00:25:21,440 --> 00:25:23,520 Speaker 1: Thanks Bill, all right, take care of us, Okay, you 530 00:25:23,560 --> 00:25:24,439 Speaker 1: take care all right. 531 00:25:24,840 --> 00:25:27,800 Speaker 3: Hi, thanks for listening to this episode of the Taking 532 00:25:27,880 --> 00:25:31,680 Speaker 3: a Walk Podcast with Bill Janovitz from Buffalo Tom. If 533 00:25:31,720 --> 00:25:34,199 Speaker 3: you like this episode, please share it with your friends, 534 00:25:34,320 --> 00:25:37,080 Speaker 3: leave us a review, and spread the word. Taking a 535 00:25:37,119 --> 00:25:41,480 Speaker 3: Walk is available at Apple Podcasts, Spotify, and is proudly 536 00:25:41,560 --> 00:25:45,240 Speaker 3: part of America's number one podcast network, iHeart