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Speaker 1: Welcome, Welcome, Welcome to the Bob Left Sets podcast. My

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Speaker 1: guest today is guitarist and songwriter extraordinary Eric Bazillium. He'll

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Speaker 1: know him from the Hooters, also as a songwriter of

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Speaker 1: Joan Osborne's one of us bon Jovi songs, Billy Myers

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Speaker 1: Kissed the Rain. We'll go on and I'm Eric. How

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Speaker 1: you doing, I'm great, Bob. Thanks. So let's start from

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Speaker 1: the beginning. You live in Sweden. I do live. I

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Speaker 1: live in Stockholm now. I've been living there, uh since,

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Speaker 1: since the summer. I've spent every summer there since I

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Speaker 1: met my wife in nine and then every other Christmas.

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Speaker 1: Done a couple of full years, but we decided to

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Speaker 1: do it again. Now did she meet you based on

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Speaker 1: your fame? Absolutely not. She sat next to me on

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Speaker 1: a flight from from JFK to Stockholm. We were on

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Speaker 1: our way to do a festival by that basically by

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Speaker 1: the North Pole. She had been. She had lived in

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Speaker 1: l A for a bunch of years, moved back to Sweden,

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Speaker 1: went back to l A to keep her green card

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Speaker 1: active and see if the the ex boyfriend was a thing.

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Speaker 1: So we sat next to each other, um exchanged phone numbers, um,

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Speaker 1: stayed in touch, found myself back there a few few

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Speaker 1: weeks later, and you know, it happened and the rest

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Speaker 1: is history. So you've been bands, most specifically the Hooters

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Speaker 1: were still together. Is who the members married to? Does

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Speaker 1: that affect the harmony of the band? It really can? Yeah? Yeah,

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Speaker 1: I mean I was married what I call my training

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Speaker 1: marriage um before this, and she uh, she was also

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Speaker 1: our bands stylist and visual director. Um. So she's responsible

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Speaker 1: for those colors that we wore and that got weird,

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Speaker 1: it got really it complicated things a lot. Okay, So

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Speaker 1: you're from Philadelphia. I am from Philadelphia. Okay, when how

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Speaker 1: did you first get into music? Um? I saw the

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Speaker 1: Beatles on edge before that. Were you into music? It

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Speaker 1: get all before the people. My mom My mom was

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Speaker 1: like a child prodigy concert pianist. She like, yeah, she

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Speaker 1: went to Curtis when she was nine, Curtis the famous

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Speaker 1: Curtis Institute, and um uh she was studying at the

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Speaker 1: University of Pennsylvania. She met my father when she was eighteen,

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Speaker 1: got married, had me And Okay, wait, did you finish

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Speaker 1: college or she drop off? When she finished college in Wow,

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Speaker 1: did you finish a pen? She did? She she graduated

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Speaker 1: Penn after I did, so what motive hit her to

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Speaker 1: go back? She and my dad got divorced when I

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Speaker 1: was twenty one, and so she wanted to, you know,

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Speaker 1: find herself. And she apparently I don't remember this, but

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Speaker 1: apparently she asked me, you know, what do you think

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Speaker 1: I should study? And I said, well, because my mother,

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Speaker 1: being even though she was a musician, had a serious

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Speaker 1: scientific bent about her. So I said, well, how about science?

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Speaker 1: So anthropology. So she ended up majoring in physical anthropology.

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Speaker 1: That's unbelievable. So your parents get divorced when you're twenty one.

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Speaker 1: I have a very good friend whose parents got divorced

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Speaker 1: right after we graduate from college. It really messed him up.

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Speaker 1: Didn't mess you up? I didn't think it did at

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Speaker 1: the time. In retrospect, yeah it did. I mean, it's it,

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Speaker 1: you know, it shakes the foundation. But you know, I

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Speaker 1: was I wasn't living at home. Um, but you know, yeah,

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Speaker 1: I think on some level it definitely did. So since

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Speaker 1: she's a concert pianist, did she introduce you? She make

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Speaker 1: you take piano lessons as a little kid. She didn't

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Speaker 1: make me. I I asked her for them, and I did.

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Speaker 1: She used to play the piano in the house all

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Speaker 1: the time, and I would sit next to her while

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Speaker 1: she was rocking chopin really and I would you know,

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Speaker 1: that was the first that was really my first rock experience.

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Speaker 1: Even though she was playing chopin. I would just see

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Speaker 1: the way, you know, her eyes would roll up into

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Speaker 1: her head and she would you know, I want that?

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Speaker 1: Did She also play records in the house, not that much.

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Speaker 1: But then my uncle, my my father's brother, played guitar.

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Speaker 1: He was a folk musician. Yeah, of any noted, no, no, no,

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Speaker 1: but he taught me my first guitar chords and my

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Speaker 1: first song on guitar. But the first song that I

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Speaker 1: ever learned to play and sing was El press Nueva

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Speaker 1: by Joan Bayaz and I learned it in Spanish. And

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Speaker 1: how old were you? I was nine or ten? I

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Speaker 1: think I was ten at that point, Okay. So you

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Speaker 1: start playing piano at what age six? Probably okay? And

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Speaker 1: when you when you pick up the guitar at what not?

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Speaker 1: Eight or nine? Not? Probably nine? And so you were

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Speaker 1: taught how to read music? To this day, can you

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Speaker 1: read music? I was taught to try to read music.

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Speaker 1: It's like I learned the alphabet, but I could never

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Speaker 1: like make music out of it. I've had a recent

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Speaker 1: experience with with reading because I am Someone showed me

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Speaker 1: a video of Chris Theely doing a Bach solo violand

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Speaker 1: sonata on mandolin. Now, mandolin, here's a mandolin. My my

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Speaker 1: career basically in the United well in the in the

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Speaker 1: United States, began with these cards. So I owe a

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Speaker 1: lot to the mandolin, but I never really addressed it

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Speaker 1: as a serious instrument. It was a spice in the Hooters,

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Speaker 1: the Hooters Arsenal of sounds. Um. Someone showed me this

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Speaker 1: video of Christinely playing this Bach piece and I said,

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Speaker 1: I'm I'm gonna learn that. And this was right when

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Speaker 1: we had moved to Stockholm, and I walked into the

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Speaker 1: famous Hellstones music store and he had just gotten in

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Speaker 1: this ninety five Gibson mandolin. The price was right. I

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Speaker 1: didn't have a mandolin in Sweden. Bought the mandolin, went home,

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Speaker 1: downloaded the sheet music, printed it out. And that was

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Speaker 1: early September. And I am still struggling to play this piece,

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Speaker 1: but I can kind of read a little bit. Now. Wow,

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Speaker 1: so okay, you're playing guitar and piano a little bit

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Speaker 1: and then are you listening to the transistor? Philly has

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Speaker 1: a legendary radio stage. Yeah, oh, I listened to. You know,

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Speaker 1: it's funny that the Beatles weren't the first thing that

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Speaker 1: that shook my rock to my question? So what was ironically?

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Speaker 1: The first record I ever bought was do Move? Uh

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Speaker 1: nak We can't play the too because we get into publishing, right,

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Speaker 1: But that was certainly good. But continue, So the first

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Speaker 1: song I learned was Sukiyaki, right, which is really called

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Speaker 1: Aruko by Ki Sakamoto. And I would stay home from

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Speaker 1: school feign illness to listen to the radio to hear

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Speaker 1: that song, which they were playing every playing every hour.

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Speaker 1: Your father was a psychiatrist. He didn't realize you were

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Speaker 1: feigning illness. No, he didn't notice. How many siblings do

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Speaker 1: you have? None? None? You're the old there's a lot

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Speaker 1: of pressure on you. Okay, So the Beatles. It's February

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Speaker 1: sixty four, February nine, The Beatles come on, Sullivan. How

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Speaker 1: does that change? My parents had gone to Baltimore to

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Speaker 1: look at it a Steinway for my mom, and I

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Speaker 1: opted to stay home because I wanted to watch the Beatles.

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Speaker 1: So I went over to our friend Bernie's house. You know,

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Speaker 1: they walked out, they did um all my loving and

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Speaker 1: you know, wow, And I remember when they remember because

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Speaker 1: underneath it they put the status of all the people.

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Speaker 1: And then he's married. I think it was. It was

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Speaker 1: during It was either at that point or I want

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Speaker 1: to hold your hand where I realized I want to

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Speaker 1: be him. First I looked at Paul, because no one

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Speaker 1: Paul was cute and he and and dark haired and

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Speaker 1: and I wanted to be him. And then I looked

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Speaker 1: at George, who was playing the solo for till there

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Speaker 1: was you, and I said, no, I want to be him.

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Speaker 1: Then I saw John, who was like the coolest guy alive.

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Speaker 1: I said no, I want to be him. And then

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Speaker 1: I saw Ringo, and no one had more fun than Ringo.

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Speaker 1: I realized I wanted to be all four of them. Okay,

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Speaker 1: So then what happened next? So what happened that next

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Speaker 1: was the next day Bernie and I started our first band.

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Speaker 1: Bernie was gonna play drums, and once again, Bernie's your

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Speaker 1: best friend, best friend. Okay, Bernie had any musical experience,

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Speaker 1: none whatsoever. Okay, and did you start said band? We did?

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Speaker 1: We did, We did it with our friend Paul. So

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Speaker 1: it was a trio. We and I called us the

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Speaker 1: Limes stuff like the quarry Men. And so before this

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Speaker 1: had happened and I had learned to play this Joan

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Speaker 1: Bayz song, my uncle I knew a guy named Gene

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Speaker 1: London who had a local kids show in Philadelphia, and

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Speaker 1: I performed on that show. So performed playing the guitar

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Speaker 1: and playing the guitar, singing the song. Well, that's pretty dramatic.

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Speaker 1: Unfortunately they the tapes are long gone, but he brought

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Speaker 1: us back. So the Limestones performed on the Gene London show.

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Speaker 1: We did A Hard Day's Night and House of the

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Speaker 1: Rising Sun. I mean, I'm speechless. So in high school

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Speaker 1: you must have been the biggest thing going. This is

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Speaker 1: so I was getting the crap kicked out of me

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Speaker 1: because I had long hair. Wow, you went to public

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Speaker 1: school or private? I went to public school through sixth

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Speaker 1: grade and then I went to private school. But you

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Speaker 1: didn't get yours k I actually did. In private school.

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Speaker 1: I went to a Quaker school, and I thought, oh,

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Speaker 1: I'm you know, I'm gonna be certain. No, it all

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Speaker 1: changed in like ninth grade. Uh, And like the guy

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Speaker 1: who was kicking my ass and eighth grade suddenly is like,

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Speaker 1: you know, my biggest defender of So you see the Beatles,

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Speaker 1: you need an electric guitar, API I got. Well, I

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Speaker 1: wanted to play bass because I wanted to be like

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Speaker 1: Paul first, So I got. I got you know, Dan

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Speaker 1: electro bass for eighty dollars. Okay, eighty dollars your parents

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Speaker 1: give you. Um, I had saved it, um, and I

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Speaker 1: got the bass. And we thought that Paul, who knew

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Speaker 1: a couple of chords, was going to play guitar. Well,

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Speaker 1: Paul couldn't play guitar, so Paul played bass. I played guitar.

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Speaker 1: And where'd you get a guitar? Paul had a guitar,

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Speaker 1: he had a Superro, he had like a thirty and

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Speaker 1: you had the amps too. I think we had one

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Speaker 1: amp between us, which is what the Beatles had for

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Speaker 1: a while. And we did, Um, yeah, we did. We

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Speaker 1: did the TV show and then um, that's sort of

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Speaker 1: never really caught fire. It wasn't until I was fifteen,

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Speaker 1: um that my first real band jailed. It was still Bernie,

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Speaker 1: Bernie and I and then um, there was a kid

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Speaker 1: that I went to Hebrew school with and Paul Vernick,

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Speaker 1: who kept trying to get me to play with him,

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Speaker 1: but he was such a nevish he was just like,

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Speaker 1: come on, man, come on man, I can sing, I

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Speaker 1: can play. Okay, fine, And then Bernie. It turns out

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Speaker 1: he went to high school with Bernie, and uh, Bernie said,

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Speaker 1: you know, this kid is really good. So we got

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Speaker 1: the three of us got together. By this point, Bernie's

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Speaker 1: playing bass, We get a drummer. This kid opens Paul

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Speaker 1: opens his mouth, and I'm like, oh god, this is like,

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Speaker 1: you know, Steve Winwood, Paul McCartney. This was like the

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Speaker 1: voice and he played great rhythm guitar and he wrote songs.

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Speaker 1: So we had our first real band at fifteen sixteen.

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Speaker 1: It was called Evil Seed, and I just got in

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Speaker 1: touch with What are The guy who managed us back

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Speaker 1: then got in touch with me. He had recordings which

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Speaker 1: I thought were all gone, Wow, Where are Paul and

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Speaker 1: Bernie today? Paul is no longer with us. He had

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Speaker 1: substance issues, which ultimately kim okay. Bernie is in northern

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Speaker 1: California doing, you know, living a real life, having a

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Speaker 1: real job, still playing bass. We get together sometimes and

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Speaker 1: it's like where one brain with four hands Okay, so

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Speaker 1: you have Evil Seed, you're fifteen years old. What happens next? Musically?

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Speaker 1: You know, we start getting really good. Uh, and then

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Speaker 1: they come over to the house and fire me because

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Speaker 1: I have another year of high school left. I was

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Speaker 1: a year younger and um, and I was also taking pictures.

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Speaker 1: I was really into photography at that point as well.

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Speaker 1: I don't know whose idea it was, but they fired me.

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Speaker 1: And then three months later they came back cap in

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Speaker 1: hand and said, sorry, man, would you come back? And

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Speaker 1: did you go back? I did? I did because it

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Speaker 1: really was a great band. I mean, listen, how much

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Speaker 1: were you working in terms of you know, playing like

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Speaker 1: forts parties and stuff like that. We we actually someone

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Speaker 1: actually did hire us for about misfah and they shut

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Speaker 1: us down after the first song. They did not want

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Speaker 1: to hear Cream and Hendricks covers. So this was a

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Speaker 1: band you played in the living in the basement or

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Speaker 1: in the party room, but you didn't play out. We did.

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Speaker 1: We did. We played you know, coffee houses. There was

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Speaker 1: one legendary coffee house called the heck It Circle, like

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Speaker 1: he could he They got us um where a lot

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Speaker 1: of weird, a lot of weird ship went down but

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Speaker 1: I managed to stay away from all that. So so

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Speaker 1: this band, Evil Seed takes you all the way through

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Speaker 1: high school, all the way through high school yep, and

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Speaker 1: then you yourself go to PEN and I myself go

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Speaker 1: to Pen. Band kind of breaks up. At this point,

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Speaker 1: Paul has already had his his substance issues have already

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Speaker 1: gotten the better of him, and it turns out that

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Speaker 1: there are other mental mental health things involved. So yeah,

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Speaker 1: I go off to Pen and my first week there,

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Speaker 1: I go to an electronic music class that they have.

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Speaker 1: They have him Moog synthesizers, serial number zero zero three,

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Speaker 1: and I see this guy in there with really long

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Speaker 1: blonde hair down to his waist and I recognize him.

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Speaker 1: He's in another Philly band called Wax that I've seen

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Speaker 1: open for the Birds, and um, we start talking and

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Speaker 1: hanging out and it turns out that his band, Wax

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Speaker 1: guitar player had left. At that point, their configuration was

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Speaker 1: two electric pianos, two drummers, a bass player, and a singer.

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Speaker 1: And I'm like, put me in. So I joined that band,

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Speaker 1: and that was challenging because he was at that even

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Speaker 1: at that point, Rob Himan was like that was Robbin. Yeah, Okay,

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Speaker 1: challenging because of his personality or because you weren't up

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Speaker 1: to snuff musically. I was up to snuff, but I

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Speaker 1: really had I mean I really did have to up

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Speaker 1: my game the musically. It was really some sophisticated music.

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Speaker 1: It was even then even instead we're talking about like

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Speaker 1: September seventy one. Okay, so you joined that band. How

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Speaker 1: much time goes to that band as opposed to school?

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Speaker 1: A lot? In fact, I basically almost flunked out second

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Speaker 1: semester freshman year. But you graduated a physics major. Right

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Speaker 1: by everybody's standards. Physics is not easy. You know, I'm wired.

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Speaker 1: I'm wired. Funny, I guess I was getting seasoned history

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Speaker 1: courses and a's in physics. Yeah, he just just comes naturally.

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Speaker 1: It didn't I had to work hard. But if I

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Speaker 1: worked hard, I'd get it and and the feeling of

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Speaker 1: satisfaction was similar to learning a piece of music. You

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Speaker 1: know that understanding Newton, understanding einst I there was there

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Speaker 1: was a moment, you know, there was magic eye paintings.

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Speaker 1: For me. It was like that I would stare at

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Speaker 1: a problem, and stare at a problem, and all of

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Speaker 1: a sudden I would see it clearly, and then if

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Speaker 1: I looked away, it would disappear. Okay, the obvious question

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Speaker 1: people would ask today is you have anything to do

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Speaker 1: with physics today? Not externally, but I think internally my process,

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Speaker 1: the way my subconscious mechanism works. I think it's the

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Speaker 1: same thing. I was going to ask that question second.

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Speaker 1: So you certainly answered it. But when people don't get

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Speaker 1: today today, when it's funny, because it's our generation and

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Speaker 1: even younger generations, they send their kids to school as

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Speaker 1: a glorified trade school to get a job. Where we went.

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Speaker 1: Our parents said, if you go and you graduate, we

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Speaker 1: don't care what right. That's what That's what mine said exactly.

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Speaker 1: So you are now playing with Rob in this band Wax,

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Speaker 1: to what degree? Do you have a dream of further success?

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Speaker 1: That's all I really want to do. In the meantime,

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Speaker 1: I took all the premed requirements and you know, got

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Speaker 1: my degree. Rob graduated three years before I did. H

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Speaker 1: So he and the singer David went off and just

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Speaker 1: kept writing songs. Meanwhile, Rick Schurdoff, who was the drummer

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Speaker 1: in that band, goes and gets a job for Clive

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Speaker 1: Davis as an A and R slash producer. His first

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Speaker 1: act of a and our heroism is he finds Mandy

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Speaker 1: for Barry Manilow. By Clive's terms, that's a huge victory. Yeah,

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Speaker 1: well by anybody's terms. I mean, Clive is always about

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Speaker 1: when you would go for a meeting with Clive, when

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Speaker 1: you want to hire somebody, he would say, bringing five

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Speaker 1: songs that are out there that you believe will be

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Speaker 1: covered and be hits. That's exactly what he what. I

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Speaker 1: think that was one of them. I think peaceful Easy

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Speaker 1: Feeling was one. I think Mandy came later. I don't

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Speaker 1: think that was an audition song. So so so Rick

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Speaker 1: goes off there and you're left at pen doing what

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00:15:41,120 --> 00:15:43,120
Speaker 1: studying physics? And I had a band, you know, my

300
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Speaker 1: my roommate who had known from high school years. He

301
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Speaker 1: had a Hammond organ, and then we found some other guys.

302
00:15:49,960 --> 00:15:53,160
Speaker 1: We had a band called Cyclic Blowfield and his funky calypsos.

303
00:15:53,680 --> 00:15:57,400
Speaker 1: Definitely the seventies. And to what degree were you known

304
00:15:57,480 --> 00:16:00,760
Speaker 1: in Philadelphia? Not at all? We played fat part ease um,

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00:16:01,880 --> 00:16:04,840
Speaker 1: you know, w and what to what degree was there

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00:16:04,920 --> 00:16:07,280
Speaker 1: a scene in Philly at that point? There wasn't. That's

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00:16:07,320 --> 00:16:09,760
Speaker 1: the thing there really wasn't much of a scene. Yeah,

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00:16:09,800 --> 00:16:12,360
Speaker 1: the famous Tower Theater where David Bowie cut his live album,

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Speaker 1: So there was a live music scene, but none of

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00:16:14,360 --> 00:16:17,920
Speaker 1: the local people were populating. The Tower didn't really start

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00:16:18,040 --> 00:16:23,840
Speaker 1: going until the mid seventies, right seventy four, even seventy

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00:16:24,600 --> 00:16:27,520
Speaker 1: There was a spectrum and where the roof blew off?

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Speaker 1: Where the roof? Yeah, yea for those I don't know,

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Speaker 1: that's a famous arena in Philadelphia. So the roof blows

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Speaker 1: off the spectrum. But were you an avid concert going yourself? Oh? Yeah, yeah,

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Speaker 1: I was a photographer too. Did you have a dream

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Speaker 1: of being a successful to be the Annie Leeb of it? No,

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Speaker 1: I had a dream of being John Paul George and Ringo.

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Speaker 1: But in the meantime, I enjoyed taking pictures of these

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Speaker 1: people and I love being in the dark room. I

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Speaker 1: loved printing them. So it was purely a hobby. Yeah, yeah,

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Speaker 1: except that at that point, bands would play two nights

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Speaker 1: at the Electric Factory. They play Friday and Saturday. I've

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Speaker 1: got on Friday. First in line, get right up front,

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Speaker 1: which is literally pushed up against the stage, which is

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Speaker 1: about a yard high. Shoot Shoot Shoot, Shoot, Go Home.

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Speaker 1: Developed the negatives, let him dry overnight, spend all day printing,

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Speaker 1: go back down, get first in line, and sell prints

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00:17:10,720 --> 00:17:13,400
Speaker 1: to kids online. So you were obviously dedicated. You would

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Speaker 1: sell them to the sell them to the people in

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Speaker 1: the line. How much would you selve them for? Buck?

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Speaker 1: Buck and a half? Maybe? How big were the prints?

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Speaker 1: Five by seven? Eight by ten? Really? Yeah? And what

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00:17:21,440 --> 00:17:24,240
Speaker 1: was somebody's supposed to do with the print during the show? Yeah,

335
00:17:24,320 --> 00:17:27,200
Speaker 1: you know, nobody ever seen. But then I would I

336
00:17:27,280 --> 00:17:30,120
Speaker 1: started handing them to the bands on stage. People would

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00:17:30,119 --> 00:17:32,280
Speaker 1: come out, someone would come out and say, with the

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00:17:32,359 --> 00:17:36,399
Speaker 1: individual who handed those photographs to Rod Stewart please come backstage?

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Speaker 1: And did you meet Rod Stewart? I did? I did?

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00:17:39,640 --> 00:17:42,560
Speaker 1: And Ronnie Wood. It was the first Faces tour and

341
00:17:42,760 --> 00:17:46,640
Speaker 1: like like an idiot, I sold the Negatives while Rod

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00:17:46,680 --> 00:17:49,520
Speaker 1: Stewart was so cool back then he was So those

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00:17:49,520 --> 00:17:51,200
Speaker 1: were the first rock stars you met? Or did you

344
00:17:51,240 --> 00:17:55,000
Speaker 1: met other people? Um? I actually had um? Well, but

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00:17:55,080 --> 00:17:58,000
Speaker 1: yeah that was them, Jeff back ten years after. I

346
00:17:58,080 --> 00:17:59,800
Speaker 1: really went after ten years after because I wanted to

347
00:17:59,840 --> 00:18:02,880
Speaker 1: be Alvin Lee and I actually got to be friends

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00:18:02,920 --> 00:18:05,040
Speaker 1: with them because I was fifteen sixteen, but I looked

349
00:18:05,080 --> 00:18:08,040
Speaker 1: twelve my voice didn't change a lot of sixteen. So

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00:18:08,760 --> 00:18:12,680
Speaker 1: this begs the question greatest guitarists in rock history. Ah,

351
00:18:12,840 --> 00:18:16,920
Speaker 1: that's that's a pantheon. I mean I have my favorites

352
00:18:16,960 --> 00:18:21,480
Speaker 1: for different things. George Harrison obviously, because he was the

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00:18:21,520 --> 00:18:24,240
Speaker 1: first guitarist that had parts, he really played orchestra Ley.

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00:18:24,720 --> 00:18:27,720
Speaker 1: Then came the Holy Trinity, Clapton, Beck, and Hendricks. Okay,

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00:18:27,800 --> 00:18:30,560
Speaker 1: of those, how do you rank those three or the unrankable?

356
00:18:30,760 --> 00:18:34,160
Speaker 1: They're kind of unrancable, I say, technically Beck right, hands

357
00:18:34,200 --> 00:18:38,280
Speaker 1: down if you like panatonic blues, Clapton revolutionizing the guitar

358
00:18:38,640 --> 00:18:41,760
Speaker 1: as a world Hendricks. Okay, so let's go back. So

359
00:18:42,640 --> 00:18:45,200
Speaker 1: Rick Shart off to New York working for Clive, and

360
00:18:45,440 --> 00:18:47,600
Speaker 1: Rob is playing in his own band because he graduated

361
00:18:47,640 --> 00:18:49,880
Speaker 1: three years before. He and David the singer are writing.

362
00:18:50,080 --> 00:18:52,919
Speaker 1: They're just writing songs so that Rick can signed them

363
00:18:52,960 --> 00:18:57,439
Speaker 1: to Arista. Right when I'm about to graduate, they get signed, right,

364
00:18:57,560 --> 00:19:00,520
Speaker 1: that's Baby Grant. That's Baby Grant. So again it's a

365
00:19:00,600 --> 00:19:02,680
Speaker 1: keyboard player and a and a singer. They need a

366
00:19:02,720 --> 00:19:05,959
Speaker 1: guitar player. Okay, So were you in touch with them

367
00:19:06,000 --> 00:19:08,840
Speaker 1: when they called you? Yeah? I touch all through. Okay,

368
00:19:08,880 --> 00:19:10,560
Speaker 1: so you called, so you must have thought you made it.

369
00:19:10,800 --> 00:19:13,160
Speaker 1: I thought, this is it. You know, I'm gonna I'm

370
00:19:13,160 --> 00:19:15,600
Speaker 1: gonna make a lot of money right away, and you

371
00:19:15,640 --> 00:19:17,240
Speaker 1: know we're going to go on the road and all

372
00:19:17,320 --> 00:19:20,240
Speaker 1: that great stuff that goes along with it. And then

373
00:19:20,600 --> 00:19:23,520
Speaker 1: what happens, Well, well, we're still working on the songs

374
00:19:24,040 --> 00:19:26,480
Speaker 1: and and you know, Rob's playing me these songs. And

375
00:19:27,160 --> 00:19:29,200
Speaker 1: you know, the thing about meeting Rob was I met

376
00:19:29,240 --> 00:19:32,240
Speaker 1: my equal, you know. I mean, Paul, who was in

377
00:19:32,320 --> 00:19:36,080
Speaker 1: The Evil Seed was an amazing songwriter singer, but Rob,

378
00:19:36,440 --> 00:19:39,560
Speaker 1: you know, his musicality just was on another level. I

379
00:19:39,640 --> 00:19:41,639
Speaker 1: mean really it was. To me, it was like Steely

380
00:19:41,720 --> 00:19:44,680
Speaker 1: Dan on steroids, the way his his sense for chord

381
00:19:44,800 --> 00:19:48,879
Speaker 1: changes and melodies, and and David who wrote all the lyrics. Then, um,

382
00:19:48,960 --> 00:19:51,639
Speaker 1: so it really really challenged me and it made me

383
00:19:51,760 --> 00:19:53,960
Speaker 1: up my game, especially when it was time to arrange

384
00:19:54,000 --> 00:19:56,960
Speaker 1: these songs and come up with signature guitar parts, and

385
00:19:57,240 --> 00:19:59,359
Speaker 1: I would come up with like instrumental sections. I'd go

386
00:19:59,400 --> 00:20:01,359
Speaker 1: off and would it and come back with this you know,

387
00:20:01,440 --> 00:20:05,120
Speaker 1: three minute exploration and they loved it because you could

388
00:20:05,160 --> 00:20:07,800
Speaker 1: do that. Then yeah, well listen, nothing better than having

389
00:20:07,840 --> 00:20:10,639
Speaker 1: your work be loved. So you make the record who

390
00:20:10,680 --> 00:20:13,480
Speaker 1: produced that record? Rick Rick and Rob Okay and the

391
00:20:13,600 --> 00:20:16,040
Speaker 1: record comes out. I have to own that record where

392
00:20:16,040 --> 00:20:18,280
Speaker 1: you're not on the cover and you got the person

393
00:20:18,400 --> 00:20:20,560
Speaker 1: made out of vegetables. And that's the second album. Well

394
00:20:20,560 --> 00:20:22,239
Speaker 1: that's the second album. I don't know if I own

395
00:20:22,280 --> 00:20:24,800
Speaker 1: the first. First one has has a Botero painting. I

396
00:20:24,880 --> 00:20:26,879
Speaker 1: have to go back to my collection. I certainly remember

397
00:20:26,920 --> 00:20:29,600
Speaker 1: the second. So you get to make two records. But

398
00:20:29,760 --> 00:20:32,719
Speaker 1: by my standards, nothing really happens with either of those rounds. Now.

399
00:20:32,760 --> 00:20:34,119
Speaker 1: I mean, we had a couple of shows where it

400
00:20:34,200 --> 00:20:36,359
Speaker 1: really felt like it was happening, and afterwards we're going,

401
00:20:36,400 --> 00:20:39,880
Speaker 1: We're the next Beatles, But uh no, it didn't happen.

402
00:20:39,960 --> 00:20:42,399
Speaker 1: I think we were. We were ten years ahead of

403
00:20:42,440 --> 00:20:44,639
Speaker 1: our time or ten years behind. But you know, our

404
00:20:44,680 --> 00:20:47,879
Speaker 1: first album came out when Talking Heads was happening, and

405
00:20:48,119 --> 00:20:50,480
Speaker 1: it was everything was going minimal and you know, and

406
00:20:50,560 --> 00:20:52,760
Speaker 1: if you you know, if you could play really well,

407
00:20:52,800 --> 00:20:54,920
Speaker 1: you kind of had to hide it. Whereas I'm playing

408
00:20:54,920 --> 00:20:57,400
Speaker 1: like I'm getting paid by the note. But Clive is amnimal.

409
00:20:57,800 --> 00:21:00,400
Speaker 1: He's behind it, he's behind it, but you can tell

410
00:21:00,600 --> 00:21:03,960
Speaker 1: he's like Rick was his pet A and R guy,

411
00:21:04,040 --> 00:21:05,919
Speaker 1: so we'll let Rick have his fun with these guys.

412
00:21:06,359 --> 00:21:08,600
Speaker 1: But after we did the second album and we started

413
00:21:08,880 --> 00:21:10,879
Speaker 1: writing songs for the third and by this point that

414
00:21:11,200 --> 00:21:13,280
Speaker 1: Robin David had brought me in as a full member

415
00:21:13,280 --> 00:21:15,359
Speaker 1: of the band, and you know, brought me into the

416
00:21:15,440 --> 00:21:19,399
Speaker 1: songwriting process, uh, And we started writing songs and sending

417
00:21:19,440 --> 00:21:21,720
Speaker 1: them to Clive, and Clive kind of sat us down

418
00:21:21,840 --> 00:21:25,240
Speaker 1: and said, guys, you know what a hit song sounds like,

419
00:21:25,760 --> 00:21:28,200
Speaker 1: and he played us actually something that he thought was

420
00:21:28,240 --> 00:21:30,640
Speaker 1: going to be a hit song, which was really lame.

421
00:21:30,880 --> 00:21:33,000
Speaker 1: And it was not a hit. No, but you know what,

422
00:21:33,160 --> 00:21:36,920
Speaker 1: nobody nobody bats a thousand. Even Clive doesn't take away

423
00:21:36,960 --> 00:21:39,560
Speaker 1: from anything. So we sit down and and we we

424
00:21:39,680 --> 00:21:42,440
Speaker 1: just realized this is not the place for us. And

425
00:21:42,600 --> 00:21:46,840
Speaker 1: then at some point Rob and I realized that it

426
00:21:46,960 --> 00:21:50,040
Speaker 1: wasn't gonna happen the style of music we were doing. Um,

427
00:21:50,359 --> 00:21:54,119
Speaker 1: the singer wasn't a rock star. And he even told us,

428
00:21:54,160 --> 00:21:56,800
Speaker 1: he said, you know, I wasn't born to rock. So

429
00:21:57,040 --> 00:21:58,879
Speaker 1: Rob and I decided to give it one more shot.

430
00:21:59,000 --> 00:22:01,320
Speaker 1: This is seventy nine. We're gonna have We're gonna have

431
00:22:01,480 --> 00:22:04,240
Speaker 1: one more band. What are we gonna do? How are

432
00:22:04,280 --> 00:22:07,040
Speaker 1: we going to make it into something that everyone else

433
00:22:07,119 --> 00:22:09,120
Speaker 1: isn't doing because we're not gonna do punk, because we're

434
00:22:09,160 --> 00:22:13,640
Speaker 1: just way beyond that. Um. At this point, the SKA

435
00:22:13,920 --> 00:22:17,040
Speaker 1: Invasion was happening, of course, so you know, we saw madness,

436
00:22:17,160 --> 00:22:20,040
Speaker 1: we saw the Selector, we saw the Specials, the police

437
00:22:20,080 --> 00:22:23,320
Speaker 1: were happening. And Robert Rob actually grew up going to

438
00:22:23,400 --> 00:22:25,679
Speaker 1: Jamaica as a kid and he was way into reggae,

439
00:22:26,400 --> 00:22:28,520
Speaker 1: so he said, you know what, no American bands were

440
00:22:28,560 --> 00:22:32,399
Speaker 1: doing this sca thing. Let's try that. And we had

441
00:22:32,400 --> 00:22:35,159
Speaker 1: already found a drummer. When originally we were going to

442
00:22:35,240 --> 00:22:36,639
Speaker 1: do it as a three piece, I mean, Robin I

443
00:22:36,640 --> 00:22:38,199
Speaker 1: looked at each other and I said, can you sing?

444
00:22:38,320 --> 00:22:40,640
Speaker 1: I don't know? Can you I don't know? Well let's

445
00:22:40,640 --> 00:22:43,119
Speaker 1: try it. Well at least if we sing together, at

446
00:22:43,160 --> 00:22:46,280
Speaker 1: least we can cover each other's asses. And we originally

447
00:22:46,320 --> 00:22:47,800
Speaker 1: we're going to do it as a as a three piece.

448
00:22:47,880 --> 00:22:50,120
Speaker 1: Rob was going to play left hand bass like Raymond's Eric,

449
00:22:50,840 --> 00:22:53,760
Speaker 1: but then um, the drummer was was in a band

450
00:22:53,800 --> 00:22:57,240
Speaker 1: which was which was breaking up because the lead singer

451
00:22:57,320 --> 00:23:00,520
Speaker 1: and lead guitarists were leaving. So I went with them

452
00:23:00,800 --> 00:23:02,840
Speaker 1: with that band, they had a two week commitment at

453
00:23:02,880 --> 00:23:06,520
Speaker 1: this club, and I realized, here's a great drummer, a

454
00:23:06,560 --> 00:23:09,040
Speaker 1: great bass player, a great guitars will bring them in.

455
00:23:10,600 --> 00:23:13,240
Speaker 1: And that became the Hooters, the original, the original Hooters.

456
00:23:13,760 --> 00:23:16,639
Speaker 1: So this is this is at this point, it is

457
00:23:16,680 --> 00:23:21,800
Speaker 1: eighty this is living in New York. Were living in Philly, Okay,

458
00:23:22,040 --> 00:23:23,800
Speaker 1: And what's the next step with the Hooters. Next step

459
00:23:23,840 --> 00:23:26,720
Speaker 1: with the Hooters is to write some songs, get a

460
00:23:26,800 --> 00:23:31,080
Speaker 1: band name, and get some gigs. Now the band is

461
00:23:31,160 --> 00:23:33,840
Speaker 1: named after the melodica. Yeah, Well, what happened was we

462
00:23:33,880 --> 00:23:37,600
Speaker 1: went into do our first first demos and uh my,

463
00:23:37,840 --> 00:23:39,639
Speaker 1: my friend Glenn, who was actually sitting out there and

464
00:23:40,000 --> 00:23:43,200
Speaker 1: in the control room, had had a melodica. Uh. Rob

465
00:23:43,240 --> 00:23:45,320
Speaker 1: and I being into reggae, we're listening to a lot

466
00:23:45,400 --> 00:23:49,360
Speaker 1: of Augustus Pablo, you know. He would just play melodica

467
00:23:49,440 --> 00:23:53,560
Speaker 1: over over these these tracks. Um, and Rob said, how

468
00:23:53,600 --> 00:23:55,840
Speaker 1: we should try a melodica, said, well, my buddy Glenn's

469
00:23:55,880 --> 00:23:58,480
Speaker 1: got one of them. And the meantime a friend of

470
00:23:58,520 --> 00:24:02,399
Speaker 1: ours had a mandolin and he also happened to have

471
00:24:02,480 --> 00:24:06,240
Speaker 1: some recording gear, so he recorded our first demos so

472
00:24:06,359 --> 00:24:08,600
Speaker 1: we're set up setting it for the first demos. I'm

473
00:24:08,600 --> 00:24:16,400
Speaker 1: playing a mandolin better than that, but um, And then

474
00:24:17,240 --> 00:24:20,280
Speaker 1: the engineer says, give me a level on that hooter. Ah,

475
00:24:21,560 --> 00:24:23,640
Speaker 1: And we looked at each other and went, okay, well,

476
00:24:23,760 --> 00:24:27,000
Speaker 1: this is a hooter. This is a hooter. The band

477
00:24:27,119 --> 00:24:29,520
Speaker 1: name thing took a few days because we were looking.

478
00:24:29,600 --> 00:24:32,439
Speaker 1: We wanted to be a plural noun so that each one,

479
00:24:32,560 --> 00:24:35,359
Speaker 1: each guy in the band could say I am a beatle,

480
00:24:35,480 --> 00:24:37,600
Speaker 1: rolling stone, not a shoe, not a chair, and it

481
00:24:37,640 --> 00:24:40,760
Speaker 1: couldn't be a household name. And then dawned on one

482
00:24:40,840 --> 00:24:42,840
Speaker 1: of us that it could be a hooter. So you

483
00:24:42,920 --> 00:24:45,200
Speaker 1: become the Hooters. And what's the next step towards success?

484
00:24:45,600 --> 00:24:49,400
Speaker 1: Rob's girlfriend at the time had a successful record store

485
00:24:49,520 --> 00:24:53,280
Speaker 1: that like alternative punk, new wave record store, and she

486
00:24:54,160 --> 00:24:56,720
Speaker 1: took it upon herself to to manage us with with

487
00:24:56,960 --> 00:25:00,520
Speaker 1: with Rob and we had a we had a very

488
00:25:00,560 --> 00:25:03,520
Speaker 1: successful marketing campaign. We printed up, we got she made

489
00:25:03,560 --> 00:25:06,040
Speaker 1: a logo for us, and printed up a bunch of

490
00:25:06,160 --> 00:25:08,439
Speaker 1: yellow eight and a half by eleven sheets of paper

491
00:25:08,800 --> 00:25:12,800
Speaker 1: that said h oo question mark, and we papered them

492
00:25:12,840 --> 00:25:15,000
Speaker 1: all over the city. Right, that's a good campaign. I

493
00:25:15,000 --> 00:25:17,600
Speaker 1: gotta give her credit. And then a week later Hooters,

494
00:25:18,440 --> 00:25:21,880
Speaker 1: and then the the date of our first show, which

495
00:25:21,920 --> 00:25:24,760
Speaker 1: was I think June of at a bar in Levittown,

496
00:25:25,280 --> 00:25:27,600
Speaker 1: and was it successful to people show up? People showed

497
00:25:27,680 --> 00:25:29,960
Speaker 1: up well because the band that I had played in

498
00:25:30,040 --> 00:25:33,040
Speaker 1: with David, our drummer, had a following, so they knew

499
00:25:33,119 --> 00:25:36,879
Speaker 1: David and they knew me, And yeah, they came, you know,

500
00:25:37,160 --> 00:25:39,560
Speaker 1: a hundred maybe the first night, two hundred the second night,

501
00:25:40,359 --> 00:25:43,520
Speaker 1: and we ended up playing at the bar called Vernon's

502
00:25:43,600 --> 00:25:46,280
Speaker 1: five nights a week, four sets a night, so that

503
00:25:46,440 --> 00:25:49,800
Speaker 1: was like that was our Hamburg exactly. I was just thinking, so,

504
00:25:50,280 --> 00:25:51,960
Speaker 1: how do you end up getting a deal with Columbia?

505
00:25:52,720 --> 00:25:55,200
Speaker 1: That was a long road really Yeah, yeah, yeah, we

506
00:25:55,240 --> 00:25:57,560
Speaker 1: did Vernon's places like that. Then we started doing a

507
00:25:57,640 --> 00:26:00,640
Speaker 1: residency at a place called Grendel's Lair in the City

508
00:26:00,720 --> 00:26:04,000
Speaker 1: on South Street in Philly every Monday night. Again. The

509
00:26:04,040 --> 00:26:06,480
Speaker 1: first time maybe we had seventy five people, second time

510
00:26:07,000 --> 00:26:09,720
Speaker 1: and fifty and within a few months the line was

511
00:26:09,800 --> 00:26:14,280
Speaker 1: around the block. Then a very lucky thing happened. Uh

512
00:26:14,880 --> 00:26:17,880
Speaker 1: this this jockey named Michael Tearson. I hear from Michael

513
00:26:17,880 --> 00:26:20,440
Speaker 1: tears all the time of course you do, Of course

514
00:26:20,560 --> 00:26:22,680
Speaker 1: you do. He decides he's going to put the studio

515
00:26:22,760 --> 00:26:25,120
Speaker 1: on lockdown and only play the music he wants to play.

516
00:26:25,720 --> 00:26:29,240
Speaker 1: Guerilla Radio. That was the that was the original Guerilla Radio.

517
00:26:29,680 --> 00:26:33,000
Speaker 1: So Betsy the manager calls him and says, hey, we

518
00:26:33,119 --> 00:26:35,560
Speaker 1: got some demos. Should we come down and said yeah.

519
00:26:35,760 --> 00:26:38,399
Speaker 1: So he plays our our first demo. It was a

520
00:26:38,440 --> 00:26:42,320
Speaker 1: sky instrumental called Man in the Street. Um, he plays it,

521
00:26:42,520 --> 00:26:46,119
Speaker 1: and I guess the phones went wild because they started

522
00:26:46,160 --> 00:26:49,080
Speaker 1: playing it like in regular rotation. This is w MMR.

523
00:26:49,600 --> 00:26:52,720
Speaker 1: This isn't like you know, you know, cheesy little. That's

524
00:26:52,760 --> 00:26:56,760
Speaker 1: one of the original so called underground FM rock stations. Yep, yep,

525
00:26:56,880 --> 00:27:00,639
Speaker 1: it was the second one. You know, things just and

526
00:27:00,720 --> 00:27:03,480
Speaker 1: then we put out our first single. We did a

527
00:27:03,560 --> 00:27:07,000
Speaker 1: live broadcast. We opened for for the Beat, for the

528
00:27:07,040 --> 00:27:10,520
Speaker 1: English Beat, who are our heroes right mirror in the bathroom,

529
00:27:10,640 --> 00:27:13,639
Speaker 1: Oh my god? And um we opened for them, and

530
00:27:14,000 --> 00:27:16,600
Speaker 1: we did a live version of All Your Zombies, which

531
00:27:16,680 --> 00:27:19,000
Speaker 1: they started playing and started really playing it. So we

532
00:27:19,119 --> 00:27:23,919
Speaker 1: put that out as our second single. So things are

533
00:27:23,960 --> 00:27:26,320
Speaker 1: really heating up. We're really getting gigs and it's spreading

534
00:27:26,359 --> 00:27:29,720
Speaker 1: out into the you know, into Jersey into Delaware. But

535
00:27:30,200 --> 00:27:32,399
Speaker 1: what happens in Philly stays in Philly. You know, you

536
00:27:32,520 --> 00:27:34,240
Speaker 1: go to New York to try to get somebody interested,

537
00:27:34,280 --> 00:27:36,359
Speaker 1: we'll come play in New York. So you go, I

538
00:27:36,480 --> 00:27:39,239
Speaker 1: think the place was called Privates and ten people show up,

539
00:27:39,880 --> 00:27:41,359
Speaker 1: you know, the A and our genius has come out

540
00:27:41,359 --> 00:27:44,400
Speaker 1: and say, well, it wasn't electric, right, but you try

541
00:27:44,480 --> 00:27:50,920
Speaker 1: being electric in front of ten people. Hey, it's Bob

542
00:27:51,080 --> 00:27:53,320
Speaker 1: left Sets. I thank you for your time. Welcome to

543
00:27:53,440 --> 00:27:57,320
Speaker 1: my new podcast, the Bob left Sets Podcast. Remember to

544
00:27:57,440 --> 00:28:01,240
Speaker 1: subscribe on tune in iTunes or wherever you get your podcasts.

545
00:28:05,200 --> 00:28:10,800
Speaker 1: So the Cindy law Per record was before the Hooters deal. Yes, okay,

546
00:28:11,119 --> 00:28:13,320
Speaker 1: Rick calls you Ricks, the producer of that. What does

547
00:28:13,359 --> 00:28:15,879
Speaker 1: he say? He says, because she she's already come from

548
00:28:15,920 --> 00:28:19,479
Speaker 1: failure in bankruptcy, right, he says, And he was basically

549
00:28:19,520 --> 00:28:23,680
Speaker 1: assigned her. Um and he says, I got this artist

550
00:28:23,840 --> 00:28:28,440
Speaker 1: and uh, he took her to see a number of

551
00:28:28,560 --> 00:28:31,280
Speaker 1: musicians and apparently she didn't like me at first. She

552
00:28:31,400 --> 00:28:34,760
Speaker 1: liked Rob, but she wasn't nuts about me. So it

553
00:28:34,920 --> 00:28:37,080
Speaker 1: was originally going to be another guitar player. But then

554
00:28:37,840 --> 00:28:39,480
Speaker 1: I don't know if Rick talked her into it, or

555
00:28:39,600 --> 00:28:42,360
Speaker 1: she saw us again and decided I was up to snuff.

556
00:28:43,000 --> 00:28:45,880
Speaker 1: But we started hunkering down in our We had this

557
00:28:46,120 --> 00:28:50,080
Speaker 1: rehearsal studio that we called the ranch like but it

558
00:28:50,200 --> 00:28:52,520
Speaker 1: was like not a ranch. It was like here in Philadelphia.

559
00:28:53,520 --> 00:28:57,400
Speaker 1: It was really like Deliverance world around there. Um and

560
00:28:58,200 --> 00:29:02,320
Speaker 1: Rick had is his suitcase full of songs. He had

561
00:29:02,360 --> 00:29:04,200
Speaker 1: girls just want to have Fun. Well, that's a Robert

562
00:29:04,240 --> 00:29:08,000
Speaker 1: Hazard song from Philadelphia. Did you know Robert Yeah? Oh sure.

563
00:29:08,040 --> 00:29:10,320
Speaker 1: He was our competition. He was our arrival. He had

564
00:29:10,360 --> 00:29:11,480
Speaker 1: that one thing, you know, We had that song on

565
00:29:11,560 --> 00:29:15,440
Speaker 1: the Elevator of Life. Which Escalator of Life? He talked

566
00:29:15,440 --> 00:29:17,840
Speaker 1: about his taking his mas to to the supermarket. He's

567
00:29:17,880 --> 00:29:21,600
Speaker 1: dead himself at this so okay he had that. And

568
00:29:21,680 --> 00:29:24,640
Speaker 1: then where do time after time and all that stuff

569
00:29:24,680 --> 00:29:26,960
Speaker 1: come from? Time after time? It was a later rival

570
00:29:28,920 --> 00:29:30,920
Speaker 1: girls this one am I allowed to play any of girls?

571
00:29:30,960 --> 00:29:32,840
Speaker 1: Just one to happen, but keep it short. Okay, this

572
00:29:33,000 --> 00:29:37,280
Speaker 1: was how it was originally written. But come home in

573
00:29:37,360 --> 00:29:40,240
Speaker 1: the middle of the night, my father. I haven't heard

574
00:29:40,280 --> 00:29:43,040
Speaker 1: the original version, so Cindy and it was boys just

575
00:29:43,160 --> 00:29:45,320
Speaker 1: want to have fun? No, it was girls just when Western.

576
00:29:45,440 --> 00:29:47,840
Speaker 1: Yes it was, but Cindy said, I will never sing

577
00:29:47,960 --> 00:29:50,880
Speaker 1: that song as song as I don't like the music

578
00:29:50,960 --> 00:29:54,760
Speaker 1: and it's demeaning to women. So we tried doing it

579
00:29:54,800 --> 00:29:56,880
Speaker 1: as a reggae. We tried doing it as a sky

580
00:29:57,200 --> 00:29:59,480
Speaker 1: we tried doing it as like a cat Stevens. She

581
00:29:59,760 --> 00:30:02,160
Speaker 1: was not having any of it. But Rick, who was

582
00:30:02,360 --> 00:30:04,440
Speaker 1: really an a and our genius, he knew that that

583
00:30:04,680 --> 00:30:09,920
Speaker 1: voice singing that song was gold. So finally one day

584
00:30:10,120 --> 00:30:12,320
Speaker 1: we came in and Rick's like, can't we figure out

585
00:30:12,360 --> 00:30:14,200
Speaker 1: a way to do this? Now? This was when Come

586
00:30:14,280 --> 00:30:16,360
Speaker 1: On Eileen was all over the world, and who didn't

587
00:30:16,440 --> 00:30:19,239
Speaker 1: love Come On Eileen? So Cindy says, can't you make

588
00:30:19,320 --> 00:30:23,840
Speaker 1: it sound like come On Eileen? And I remember that

589
00:30:23,920 --> 00:30:26,320
Speaker 1: I have such a clear visual memory of that moment.

590
00:30:26,360 --> 00:30:28,040
Speaker 1: I had an eight to eight drum machine, that's what

591
00:30:28,080 --> 00:30:30,600
Speaker 1: we did all of the demos, of course, and I

592
00:30:30,720 --> 00:30:33,400
Speaker 1: turned it that big tempo knob down. I changed the

593
00:30:33,440 --> 00:30:41,640
Speaker 1: kick drum pattern. I picked up my guitar and I went, yeah, yeah,

594
00:30:41,680 --> 00:30:44,520
Speaker 1: that's that's what's it like when you hear that riff

595
00:30:44,560 --> 00:30:46,400
Speaker 1: that you just come off that easy. When it became

596
00:30:46,520 --> 00:30:50,080
Speaker 1: ubiquitous all over TV, and radio did that kind of

597
00:30:50,200 --> 00:30:52,520
Speaker 1: just like blow your mind. It was pretty wacky. I

598
00:30:52,600 --> 00:30:57,400
Speaker 1: mean it was yeah, yeah, I probably felt like Raphael

599
00:30:57,520 --> 00:31:00,720
Speaker 1: Ravenscroft felt when every year right Acre Street, because I

600
00:31:00,840 --> 00:31:02,320
Speaker 1: got paid about as much as he did for that.

601
00:31:03,640 --> 00:31:06,640
Speaker 1: But um uh, And you know, of course a week later,

602
00:31:06,800 --> 00:31:08,800
Speaker 1: she's saying, you know, I always wanted to sing that song.

603
00:31:08,880 --> 00:31:11,840
Speaker 1: That song is so empowering to women. Oh listen, leave,

604
00:31:11,840 --> 00:31:14,040
Speaker 1: I'll leave it in today's environment. I won't make any

605
00:31:14,120 --> 00:31:16,640
Speaker 1: comment about that. So you're making that record? How long

606
00:31:16,680 --> 00:31:18,600
Speaker 1: does it take to make that album? We spent about

607
00:31:18,640 --> 00:31:22,080
Speaker 1: six months demoing the songs that that that Rick had

608
00:31:22,120 --> 00:31:24,320
Speaker 1: brought in a couple of them Cindy had co written.

609
00:31:25,000 --> 00:31:27,360
Speaker 1: It was a Jewels sheer song. There was all through

610
00:31:27,400 --> 00:31:30,120
Speaker 1: the night, and then we went into um, we went

611
00:31:30,200 --> 00:31:33,000
Speaker 1: into the record plant and okay, you make the record.

612
00:31:33,120 --> 00:31:36,200
Speaker 1: You have any idea it's going to be this gigantic smash,

613
00:31:36,240 --> 00:31:39,240
Speaker 1: which it turns out to be. I was really sort

614
00:31:39,280 --> 00:31:42,960
Speaker 1: of running on fumes creatively at that point. Cindy is brilliant.

615
00:31:43,080 --> 00:31:45,600
Speaker 1: I love her. She's like that wacky cousin that you

616
00:31:45,760 --> 00:31:50,440
Speaker 1: like have Thanksgiving with and and and you're tired afterwards.

617
00:31:50,520 --> 00:31:53,880
Speaker 1: But but she's great. I mean, I think she's one

618
00:31:53,920 --> 00:31:57,800
Speaker 1: of the greatest singers ever and fine, fine person, but

619
00:31:58,600 --> 00:32:01,400
Speaker 1: it was it was draining. And then towards the very end,

620
00:32:02,240 --> 00:32:03,720
Speaker 1: Rick was saying, you know, we could really use a

621
00:32:03,800 --> 00:32:07,280
Speaker 1: couple more songs, and Cindy was reading TV guide looking

622
00:32:07,320 --> 00:32:10,440
Speaker 1: for titles, so she found two titles Vertigo and time

623
00:32:10,480 --> 00:32:14,000
Speaker 1: after time I got Vertigo. We tried to write a

624
00:32:14,040 --> 00:32:17,120
Speaker 1: song called Vertigo. It wasn't good. She and Rob meanwhile,

625
00:32:17,760 --> 00:32:19,800
Speaker 1: come to me a couple of days later, say hey,

626
00:32:19,840 --> 00:32:21,320
Speaker 1: we got an idea for a song. They play me

627
00:32:21,400 --> 00:32:24,080
Speaker 1: the chorus like a verse idea and the chorus, and

628
00:32:24,160 --> 00:32:28,000
Speaker 1: I just said, you've you've just written yesterday. We're gonna

629
00:32:28,120 --> 00:32:30,000
Speaker 1: We're gonna hear the song for the rest of our lives.

630
00:32:31,320 --> 00:32:34,240
Speaker 1: Who created the arrangement? That was really me and Rob

631
00:32:34,320 --> 00:32:37,040
Speaker 1: and Rick and Bill Whitman, who was the engineer and

632
00:32:37,160 --> 00:32:40,440
Speaker 1: is now Cindy's musical director for fifteen years. So, but

633
00:32:40,560 --> 00:32:43,560
Speaker 1: the album comes out and goes nuclear. Did you foresee

634
00:32:43,640 --> 00:32:45,760
Speaker 1: that at all? No? I remember when I got got

635
00:32:45,920 --> 00:32:48,720
Speaker 1: my first pressing of it. I just listened to that.

636
00:32:48,800 --> 00:32:51,480
Speaker 1: I get aside from time after time, time after time

637
00:32:51,600 --> 00:32:53,840
Speaker 1: was a slam dunk. But like I heard, girls just

638
00:32:53,880 --> 00:32:55,520
Speaker 1: want to have fun coming out of my speakers, and

639
00:32:55,560 --> 00:33:00,280
Speaker 1: I'm like, I don't know, I just don't notice. H

640
00:33:01,680 --> 00:33:06,680
Speaker 1: But obviously I was wrong. Okay, so that's a big success.

641
00:33:06,720 --> 00:33:08,720
Speaker 1: How do the Hooters get signed? A lot of it

642
00:33:08,800 --> 00:33:10,360
Speaker 1: was on the strength of that. I mean I think

643
00:33:10,440 --> 00:33:13,000
Speaker 1: that gave Rick the ammunition he needed to be able

644
00:33:13,000 --> 00:33:15,280
Speaker 1: to sign us. So you basically owe your career to

645
00:33:15,360 --> 00:33:19,040
Speaker 1: wreck absolutely and even more so as in the next chapter,

646
00:33:19,120 --> 00:33:22,480
Speaker 1: Will Will Will reveal. But um, you know, we we

647
00:33:22,600 --> 00:33:24,640
Speaker 1: got we got a deal. We made the record, and

648
00:33:24,920 --> 00:33:27,240
Speaker 1: you know, All Use Zombies was the first the first

649
00:33:27,640 --> 00:33:30,479
Speaker 1: they were now in the MTV era. Okay, so when

650
00:33:30,520 --> 00:33:32,760
Speaker 1: you started the Hooters, it was before that because August

651
00:33:32,840 --> 00:33:38,560
Speaker 1: of eighty one is MTV. So how does that affect

652
00:33:38,760 --> 00:33:42,880
Speaker 1: the creative process and what you end up doing. It

653
00:33:42,920 --> 00:33:45,520
Speaker 1: didn't affect their songwriting or record making at all. I mean,

654
00:33:45,640 --> 00:33:48,000
Speaker 1: we just figured somebody would come in and make a video.

655
00:33:48,520 --> 00:33:50,480
Speaker 1: So okay, so you do All Use Zombies, which becomes

656
00:33:50,480 --> 00:33:53,800
Speaker 1: a huge yet became it's funny. It's funny. I think

657
00:33:53,840 --> 00:33:56,200
Speaker 1: it peaked at number fifty seven. Yeah, but the numbers

658
00:33:56,240 --> 00:33:58,040
Speaker 1: are irrelevant. They played They played it all the time

659
00:33:58,160 --> 00:34:01,360
Speaker 1: on the on the video channel, and then the next

660
00:34:01,400 --> 00:34:03,840
Speaker 1: track comes and we danced, which was really was what

661
00:34:04,640 --> 00:34:07,960
Speaker 1: made us go platinum. And now you're touring and you're

662
00:34:08,000 --> 00:34:10,680
Speaker 1: living the life, living the life, and do you believe

663
00:34:10,880 --> 00:34:13,680
Speaker 1: that you've you've achieved your dream? I was too busy

664
00:34:13,760 --> 00:34:16,600
Speaker 1: to believe anything. It really you miss it the first time.

665
00:34:17,120 --> 00:34:19,200
Speaker 1: You know, we weren't we weren't that young. I mean

666
00:34:19,200 --> 00:34:21,760
Speaker 1: I was already in my early thirties when this was happening.

667
00:34:22,360 --> 00:34:25,160
Speaker 1: But you know, it's such a whirlwind. I mean, we

668
00:34:25,440 --> 00:34:29,000
Speaker 1: played live AID, live aid. You know, people ask me

669
00:34:29,120 --> 00:34:30,960
Speaker 1: what was it like? I don't know. You know, we

670
00:34:31,080 --> 00:34:33,040
Speaker 1: walked on stage, we did two songs, we were off.

671
00:34:33,880 --> 00:34:35,640
Speaker 1: Do you hang out the rest of the day? I

672
00:34:35,719 --> 00:34:39,759
Speaker 1: actually there were there were personal issues. I actually ended

673
00:34:39,840 --> 00:34:42,400
Speaker 1: up going home for for a few hours, and I

674
00:34:42,480 --> 00:34:46,040
Speaker 1: went back for the for the finale. But um, I

675
00:34:46,200 --> 00:34:48,360
Speaker 1: was there for a fair amount of it. Okay, So

676
00:34:48,480 --> 00:34:50,600
Speaker 1: the first album comes out, goes platinum, and then where

677
00:34:50,600 --> 00:34:53,160
Speaker 1: does that leave you? Um? When we toured a bunch,

678
00:34:53,239 --> 00:34:56,480
Speaker 1: we opened for Lover Boy, Turn Me Loose, YEP, and

679
00:34:56,600 --> 00:35:01,239
Speaker 1: we opened for for Squeeze. UM, Don Henley for two weeks,

680
00:35:01,239 --> 00:35:04,000
Speaker 1: Squeeze for a couple of months, and Lover Boy Um

681
00:35:04,520 --> 00:35:06,359
Speaker 1: and then we have to make another album. And then

682
00:35:06,440 --> 00:35:08,320
Speaker 1: Day by Day was the third single, which was actually

683
00:35:08,360 --> 00:35:11,680
Speaker 1: the highest charting single. But you have three hits, which

684
00:35:11,760 --> 00:35:14,960
Speaker 1: by today's standards is gargantrain, actually four Where did the

685
00:35:15,000 --> 00:35:17,680
Speaker 1: Children Go? The single didn't really do well, but the

686
00:35:17,800 --> 00:35:20,759
Speaker 1: video was number It was our highest charting video, number two,

687
00:35:21,320 --> 00:35:23,480
Speaker 1: a live video. So then we have to make another record,

688
00:35:23,560 --> 00:35:26,840
Speaker 1: and there's that, you know, sophomore. We've used you know,

689
00:35:26,880 --> 00:35:29,440
Speaker 1: we've used all of our But while we were on

690
00:35:29,560 --> 00:35:32,680
Speaker 1: the road, we stayed busy, you know, we we're we're

691
00:35:32,719 --> 00:35:35,600
Speaker 1: on a bus. I had a mandlin and um on

692
00:35:36,000 --> 00:35:38,840
Speaker 1: one day, on a drive from New Orleans to San Antonio,

693
00:35:39,080 --> 00:35:47,280
Speaker 1: I picked up a mandolin and start going, etcetera, etcetera.

694
00:35:47,640 --> 00:35:49,759
Speaker 1: It's just that easy, just comes to you. Yeah, m

695
00:35:50,160 --> 00:35:52,840
Speaker 1: the brain and the fingers become one, okay, and you

696
00:35:52,960 --> 00:35:56,040
Speaker 1: realize you've written something that's gonna go. I realized I've

697
00:35:56,040 --> 00:35:59,000
Speaker 1: written something that's gonna make me go. For a while.

698
00:36:00,560 --> 00:36:02,320
Speaker 1: The whole band was in the back lounge when we

699
00:36:02,440 --> 00:36:04,120
Speaker 1: when we did that, and you know, Rob was playing

700
00:36:04,200 --> 00:36:07,920
Speaker 1: in the melodica the hooter Um, and it actually took

701
00:36:07,960 --> 00:36:10,840
Speaker 1: us six months to write the song because you know,

702
00:36:10,960 --> 00:36:12,719
Speaker 1: a riff like that is just a riff you got right.

703
00:36:12,760 --> 00:36:14,239
Speaker 1: At some point you have to sing something, and I

704
00:36:14,360 --> 00:36:17,000
Speaker 1: never thought the song actually came up to the level

705
00:36:17,080 --> 00:36:18,800
Speaker 1: of that. I wish that we would have found a

706
00:36:19,120 --> 00:36:22,560
Speaker 1: way to sing that melody, but the words never came. Okay,

707
00:36:22,600 --> 00:36:24,799
Speaker 1: But that's the second album. Now, that's the second album,

708
00:36:25,000 --> 00:36:26,320
Speaker 1: so that we do the second time, we take a

709
00:36:26,360 --> 00:36:31,120
Speaker 1: big chance a chordion's mandolin's uh, really going going out,

710
00:36:31,239 --> 00:36:35,000
Speaker 1: going for our ethnic weirdness thing. We've left the reggae

711
00:36:35,080 --> 00:36:37,440
Speaker 1: thing behind at this point. You know, we're staying with

712
00:36:37,520 --> 00:36:39,560
Speaker 1: our God theme, you know, all you zombies as a

713
00:36:39,600 --> 00:36:42,360
Speaker 1: Bible story. And we write Satellite, which is about like

714
00:36:42,440 --> 00:36:47,680
Speaker 1: Jimmy Folwell and and that el evangelist thing. Everybody thinks

715
00:36:47,719 --> 00:36:50,000
Speaker 1: we're like a Christian band or you know know, we're

716
00:36:50,000 --> 00:36:52,719
Speaker 1: a couple of lass Hebrews right and stuff. So the

717
00:36:52,760 --> 00:36:55,319
Speaker 1: album comes out and it's Ships Gold, which they took

718
00:36:55,360 --> 00:36:59,000
Speaker 1: back from us because after the returns um Our first

719
00:36:59,040 --> 00:37:01,839
Speaker 1: single from that album was Johnny b which the video

720
00:37:01,880 --> 00:37:04,800
Speaker 1: was directed by David Fincher. Did you know he was

721
00:37:04,800 --> 00:37:07,440
Speaker 1: going to turn into David Fincher. Nobody knew who he

722
00:37:07,600 --> 00:37:10,040
Speaker 1: had to turn to David Fincher. But um, and we

723
00:37:10,160 --> 00:37:12,600
Speaker 1: toured with Bryan Adams on that album, but it never

724
00:37:12,800 --> 00:37:18,240
Speaker 1: really caught hold in the US. Meanwhile, Germany happens. Johnny

725
00:37:18,280 --> 00:37:22,080
Speaker 1: b is a smash ubiquitous in Germany. We go there

726
00:37:22,760 --> 00:37:27,440
Speaker 1: and wow, I can do this, Okay, Germany and Scandinavia.

727
00:37:27,800 --> 00:37:30,399
Speaker 1: But what does the label say? Label says, that's great,

728
00:37:30,440 --> 00:37:33,600
Speaker 1: But um, you know, we gotta do another album. So

729
00:37:33,719 --> 00:37:36,440
Speaker 1: we go back and we've come off the road and

730
00:37:36,520 --> 00:37:38,520
Speaker 1: we're a kick ass band. I mean we still are.

731
00:37:38,680 --> 00:37:41,040
Speaker 1: We're more now than ever. Really, it's a rock and

732
00:37:41,200 --> 00:37:44,560
Speaker 1: roll show and the mandolins and the accordions make it

733
00:37:44,680 --> 00:37:46,920
Speaker 1: rock even harder. We play at we play at hard

734
00:37:47,000 --> 00:37:49,719
Speaker 1: rock festivals in Europe. Now. We played between like Black

735
00:37:49,840 --> 00:37:52,800
Speaker 1: Label Society and Azzi really Yeah and Pete. When we

736
00:37:52,840 --> 00:37:55,000
Speaker 1: pull out the mandolins and the according to they go nuts,

737
00:37:55,360 --> 00:37:58,320
Speaker 1: they lose their minds. So it's the energy that appeals

738
00:37:58,360 --> 00:37:59,920
Speaker 1: to that. It's the energy. It's the energy and the

739
00:38:00,239 --> 00:38:03,040
Speaker 1: songs because we write real songs. Okay, So you're making

740
00:38:03,080 --> 00:38:05,319
Speaker 1: the third record, making the third record, I want to Rock.

741
00:38:05,480 --> 00:38:08,200
Speaker 1: I Want to Rock. We end up doing five miles,

742
00:38:08,280 --> 00:38:10,120
Speaker 1: a cover of five hundred miles, and we have Peter

743
00:38:10,200 --> 00:38:12,200
Speaker 1: Poe and Mary sing on it with us, and it's

744
00:38:12,239 --> 00:38:15,719
Speaker 1: kind of a lugubrious reggae vibe. The whole album ends

745
00:38:15,760 --> 00:38:19,160
Speaker 1: up being our folkiest album yet, and I can't blame

746
00:38:19,200 --> 00:38:21,840
Speaker 1: it when anyone I signed off on every decision that

747
00:38:22,040 --> 00:38:24,319
Speaker 1: was the album that wanted to be made. It's like saying,

748
00:38:24,520 --> 00:38:26,960
Speaker 1: I'm going to conceive and give birth to a nuclear

749
00:38:27,000 --> 00:38:30,439
Speaker 1: physicist and he turns out being a basketball player. You can't,

750
00:38:30,520 --> 00:38:33,839
Speaker 1: You just can't. You know, every song, every recording has

751
00:38:33,880 --> 00:38:35,960
Speaker 1: a life of its own, its decide. The one chooses

752
00:38:36,040 --> 00:38:38,920
Speaker 1: the wizard, chooses the Wizard. That's a good one. I've

753
00:38:38,960 --> 00:38:42,160
Speaker 1: never heard that one before. It's from Harry Potter, whose

754
00:38:42,200 --> 00:38:43,920
Speaker 1: I haven't read it. There you go. It's in the

755
00:38:43,960 --> 00:38:46,879
Speaker 1: films too. But so we do our focus album yet

756
00:38:47,280 --> 00:38:50,480
Speaker 1: and at this point Columbia basically drops us. I mean

757
00:38:50,520 --> 00:38:52,320
Speaker 1: they don't drop us, but you know, they pulled the

758
00:38:52,360 --> 00:38:56,720
Speaker 1: plug on everything. We're touring places where we were selling

759
00:38:56,760 --> 00:39:00,360
Speaker 1: out theaters, were playing at at clubs and strip malls,

760
00:39:00,440 --> 00:39:03,279
Speaker 1: nobody's coming, nobody's playing the record on the radio. We're

761
00:39:03,360 --> 00:39:06,200
Speaker 1: fighting on the bus. Then we get a call we're

762
00:39:06,239 --> 00:39:09,880
Speaker 1: going to Sweden. We're going to Stockholm. So March ninety

763
00:39:10,239 --> 00:39:13,240
Speaker 1: we played the concert house coat who said in Stockholm,

764
00:39:13,280 --> 00:39:16,160
Speaker 1: which is one of the most beautiful venues in the world,

765
00:39:16,360 --> 00:39:19,520
Speaker 1: it's sold out. Everyone knows every word to every song.

766
00:39:19,920 --> 00:39:22,800
Speaker 1: Five Miles is a number one record there, And it's like,

767
00:39:22,920 --> 00:39:26,000
Speaker 1: at this point, okay, we're a European band. We knew

768
00:39:26,040 --> 00:39:31,239
Speaker 1: even then. Okay, let's segue. Now do you becoming a songwriter?

769
00:39:31,800 --> 00:39:36,160
Speaker 1: Because was the year of Joan Osborne. Joan came a

770
00:39:36,239 --> 00:39:39,520
Speaker 1: bit later along what year was John Osborne? Joan Osborne

771
00:39:39,560 --> 00:39:43,000
Speaker 1: was um came out in God, I guess it's in

772
00:39:43,080 --> 00:39:45,440
Speaker 1: the past and it's all blending together. So at what

773
00:39:45,600 --> 00:39:47,919
Speaker 1: point do you side you're gonna write songs for other people?

774
00:39:48,200 --> 00:39:49,680
Speaker 1: Rob and I did a bit a bit of that.

775
00:39:49,840 --> 00:39:52,560
Speaker 1: We we did an album with Patty Smythe We wrote

776
00:39:52,600 --> 00:39:54,600
Speaker 1: some of the songs on that. We did Uh. We

777
00:39:54,719 --> 00:39:56,759
Speaker 1: did Cindy's third album with her and we wrote we

778
00:39:56,840 --> 00:40:00,400
Speaker 1: wrote a lot of that. But Rick and I've actually

779
00:40:00,400 --> 00:40:02,920
Speaker 1: simultaneously found Joan in ninety three, she was playing at

780
00:40:02,920 --> 00:40:06,400
Speaker 1: one of our manager's clubs in Philadelphia, and Um, we

781
00:40:06,520 --> 00:40:08,920
Speaker 1: decided to have her over and see what happened, and

782
00:40:09,080 --> 00:40:12,239
Speaker 1: we we clicked. Okay, I love that album. She's never

783
00:40:12,280 --> 00:40:14,200
Speaker 1: been able to follow it up with Ladder and all

784
00:40:14,239 --> 00:40:16,160
Speaker 1: those other songs. Get But how do you write one

785
00:40:16,239 --> 00:40:18,160
Speaker 1: of us? Okay, Well, here's how you write a one

786
00:40:18,239 --> 00:40:20,480
Speaker 1: of us. It was like a laboratory. We would go

787
00:40:20,600 --> 00:40:23,560
Speaker 1: in every day to to our our place. Anybody had

788
00:40:23,560 --> 00:40:25,680
Speaker 1: an idea, we would develop it, try to make a

789
00:40:25,719 --> 00:40:28,400
Speaker 1: real song. And the meanwhile, I've been on tour with

790
00:40:28,440 --> 00:40:31,520
Speaker 1: the Hooters. I sit down on a plane, a flight

791
00:40:31,640 --> 00:40:37,520
Speaker 1: from from JFK to Stockholm, and this beautiful, obviously Swedish

792
00:40:37,560 --> 00:40:40,640
Speaker 1: girl sits next to me. I asked her her name

793
00:40:40,840 --> 00:40:42,920
Speaker 1: in Swedish because I was already I had a feeling.

794
00:40:43,160 --> 00:40:44,839
Speaker 1: I had a feeling was gonna come in early Andy,

795
00:40:45,600 --> 00:40:47,520
Speaker 1: and um, she says, I'm a Swedish girl with the

796
00:40:47,560 --> 00:40:50,560
Speaker 1: Jewish name. Oh, Sarah, Well, I'm a Jewish boy with

797
00:40:50,600 --> 00:40:54,440
Speaker 1: a Swedish name. Um. And one thing leads to another.

798
00:40:55,400 --> 00:40:58,399
Speaker 1: That January, she she moves in with me. We're making

799
00:40:58,840 --> 00:41:01,719
Speaker 1: We're gonna make the Jonas on record. She has my car,

800
00:41:02,440 --> 00:41:04,759
Speaker 1: picks me up at one of our sessions. I have

801
00:41:04,840 --> 00:41:07,000
Speaker 1: a guitar riff. You saw, you saw the thing with

802
00:41:07,080 --> 00:41:09,680
Speaker 1: the fingers. I picked up a guitar at Rob's one

803
00:41:09,760 --> 00:41:16,160
Speaker 1: morning and I did this. It just came out that

804
00:41:16,840 --> 00:41:20,200
Speaker 1: that's what it's the riff doujor. That was the riff doujur.

805
00:41:21,000 --> 00:41:22,880
Speaker 1: So that was in my head. I was playing that

806
00:41:23,000 --> 00:41:25,000
Speaker 1: playing on the piano. In fact, when Sarah came to

807
00:41:25,080 --> 00:41:26,960
Speaker 1: pick me up from the session, I was sitting at

808
00:41:27,000 --> 00:41:29,600
Speaker 1: the piano playing it and Joan was like riffing, doing

809
00:41:29,640 --> 00:41:33,359
Speaker 1: her Joan bluesy riffing thing over it. Maybe we'll make

810
00:41:33,400 --> 00:41:35,400
Speaker 1: something out of that. So we go home, we have dinner.

811
00:41:35,560 --> 00:41:38,040
Speaker 1: We watched the Making of Sergeant Pepper. You've seen that

812
00:41:38,120 --> 00:41:43,279
Speaker 1: documentary George Martin at the flat four channel. So it

813
00:41:43,440 --> 00:41:46,120
Speaker 1: ends and Sarah says, well, four track recording. What's what's

814
00:41:46,160 --> 00:41:49,319
Speaker 1: that all about? I said, well that, well, that crap

815
00:41:49,440 --> 00:41:51,920
Speaker 1: on my dining room table. That's a four track recorder.

816
00:41:52,080 --> 00:41:55,640
Speaker 1: Oh record something for me, she says, So, okay, I've

817
00:41:55,680 --> 00:41:58,000
Speaker 1: got this guitar riff. I have a little keyboard with

818
00:41:58,200 --> 00:42:00,759
Speaker 1: you know, drum sounds. And bass sounds. So I make

819
00:42:00,920 --> 00:42:03,800
Speaker 1: a little arrangement, a little track arrangement. Okay, I'll for

820
00:42:03,920 --> 00:42:08,000
Speaker 1: the verse, I'll just apeggiated of chord changes. Yeah, and

821
00:42:08,239 --> 00:42:13,480
Speaker 1: then I'll go somewhere for the B section. Yeah. Um.

822
00:42:13,719 --> 00:42:16,080
Speaker 1: And I put together a little arrangement and recorded it,

823
00:42:16,360 --> 00:42:20,040
Speaker 1: and I thought she'd be really impressed. And she's like, oh,

824
00:42:20,160 --> 00:42:23,400
Speaker 1: that's cool. Now sing it? Like sing it? What do

825
00:42:23,480 --> 00:42:26,040
Speaker 1: you mean? You need a chorus, you need a title,

826
00:42:26,080 --> 00:42:28,120
Speaker 1: you need a concept, and you have to write verses.

827
00:42:28,160 --> 00:42:30,479
Speaker 1: And then you realize that the verses don't fit the chorus,

828
00:42:30,520 --> 00:42:32,120
Speaker 1: so you change the course. And then two weeks later

829
00:42:32,160 --> 00:42:34,399
Speaker 1: you realize you ruined the whole thing, and you start over,

830
00:42:34,480 --> 00:42:38,320
Speaker 1: and eventually you know it takes takes some time here. Meanwhile,

831
00:42:38,360 --> 00:42:40,960
Speaker 1: she falls asleep on the sofa and I hear the

832
00:42:41,040 --> 00:42:43,680
Speaker 1: voice of Brad Roberts from the Crash Test Dummies in

833
00:42:43,760 --> 00:42:49,239
Speaker 1: my head, singing, if God had a name? Right? So, yeah,

834
00:42:49,239 --> 00:42:52,399
Speaker 1: I've told you this before, so but tell everybody else, telling,

835
00:42:52,440 --> 00:42:55,520
Speaker 1: telling everybody else. I hit record and I sang the song.

836
00:42:57,280 --> 00:42:59,160
Speaker 1: I sang the whole song except the last line of

837
00:42:59,200 --> 00:43:02,920
Speaker 1: the chorus. I was stuck just the stranger on the

838
00:43:03,160 --> 00:43:08,359
Speaker 1: bus and Sarah wakes up and goes trying to get home.

839
00:43:09,440 --> 00:43:13,719
Speaker 1: Stranger on the bus trying to get trying to trying

840
00:43:13,800 --> 00:43:18,360
Speaker 1: to make his way. Thank you, go back to sleeve. Okay,

841
00:43:18,400 --> 00:43:20,759
Speaker 1: you finished the song. Finished the song. One in the morning,

842
00:43:20,800 --> 00:43:23,799
Speaker 1: my my five year old daughters asleep upstairs. Go into

843
00:43:23,840 --> 00:43:27,359
Speaker 1: our our writing session the next day, have the little

844
00:43:27,440 --> 00:43:29,760
Speaker 1: dad tape with me. Forget about the song. I forget

845
00:43:29,800 --> 00:43:32,480
Speaker 1: that I've done it. Take a break in the afternoon. Um,

846
00:43:32,600 --> 00:43:34,719
Speaker 1: there might have been some herbal component to the to

847
00:43:34,840 --> 00:43:37,239
Speaker 1: the break. Uh. And then I remember, oh, guys, I

848
00:43:37,360 --> 00:43:40,719
Speaker 1: wrote this crazy thing, popping it. Rob pops in and

849
00:43:40,760 --> 00:43:42,879
Speaker 1: it was we were at Rob's at this point. Song ends.

850
00:43:42,960 --> 00:43:44,640
Speaker 1: I look up at first I see Rob and he's

851
00:43:44,640 --> 00:43:47,000
Speaker 1: sitting there with his arms crossed with that Oh god,

852
00:43:47,080 --> 00:43:49,520
Speaker 1: here's another one of another one of Eric's weird songs.

853
00:43:49,960 --> 00:43:51,680
Speaker 1: I look at Joan and she's like, you know, okay,

854
00:43:51,760 --> 00:43:54,080
Speaker 1: when can we get back to work? And Rick is

855
00:43:54,160 --> 00:43:56,600
Speaker 1: just looking down in that deep Rick space that he

856
00:43:56,680 --> 00:44:00,640
Speaker 1: gets into. Looks up says Joan, you think you could

857
00:44:00,680 --> 00:44:02,719
Speaker 1: sing that? He didn't say do you want to sing that?

858
00:44:03,040 --> 00:44:06,080
Speaker 1: Because she probably would have said, right, do you think

859
00:44:06,120 --> 00:44:08,439
Speaker 1: you could sing that the story I tell us she said,

860
00:44:08,520 --> 00:44:10,520
Speaker 1: I can sing the phone Book right out the lyrics.

861
00:44:11,360 --> 00:44:13,359
Speaker 1: I don't think she actually said that. She did say

862
00:44:13,400 --> 00:44:15,920
Speaker 1: something about a phone book, but it wasn't in that context.

863
00:44:16,040 --> 00:44:18,320
Speaker 1: But I wrote out the lyrics. I plugged the guitar

864
00:44:18,400 --> 00:44:21,320
Speaker 1: in and we just did a live to tape version

865
00:44:21,600 --> 00:44:24,120
Speaker 1: with guitar and vocal, and we all just looked at

866
00:44:24,160 --> 00:44:28,480
Speaker 1: each other and went, okay. I got remembered. That session ended.

867
00:44:28,520 --> 00:44:30,920
Speaker 1: I got in the car, poptica set in, listened and

868
00:44:31,320 --> 00:44:33,560
Speaker 1: started writing the grammy speech I should have gotten to give.

869
00:44:35,080 --> 00:44:37,520
Speaker 1: So you knew right away. I knew. I knew that voice,

870
00:44:37,680 --> 00:44:39,960
Speaker 1: that that was the voice that was born to sing

871
00:44:40,080 --> 00:44:41,759
Speaker 1: that song, and that was the song that that voice

872
00:44:41,840 --> 00:44:44,600
Speaker 1: was born to say. Okay. Now that song became ubiquitous,

873
00:44:44,960 --> 00:44:48,080
Speaker 1: to the point there was even a backlash. Did you

874
00:44:48,200 --> 00:44:54,919
Speaker 1: experience that as the writer? No? Yeah, they protested Joan

875
00:44:54,960 --> 00:44:57,680
Speaker 1: Osborne the Catholic League, which turns out has nothing to

876
00:44:57,719 --> 00:45:02,359
Speaker 1: do with the Catholic Church. Yeah. Really, And I saw

877
00:45:02,440 --> 00:45:04,920
Speaker 1: the guy interviewed on TV and he says, I remember

878
00:45:05,000 --> 00:45:08,040
Speaker 1: him saying, yes, you know her album, there's lots of

879
00:45:08,080 --> 00:45:14,520
Speaker 1: spirituality and sexuality and it raises questions. That's what a

880
00:45:14,560 --> 00:45:17,240
Speaker 1: song does. We'll have none of that here, but okay,

881
00:45:17,360 --> 00:45:21,359
Speaker 1: you write a song of that magnitude, two opportunities come

882
00:45:21,400 --> 00:45:24,800
Speaker 1: to you. Bone starts ringing off the Desmond Child. This

883
00:45:24,880 --> 00:45:27,319
Speaker 1: is where Desmond comes in. My buddy Glenn was sitting

884
00:45:27,320 --> 00:45:31,680
Speaker 1: out there, met Desmond at a dinner in Miami, calls

885
00:45:31,719 --> 00:45:33,640
Speaker 1: me and says, can I give Desmond Child your number?

886
00:45:33,640 --> 00:45:37,000
Speaker 1: I'm like, are you kidding? Right? Right right? So Desmond

887
00:45:37,040 --> 00:45:39,520
Speaker 1: calls me and he says, I've got this artist in

888
00:45:39,800 --> 00:45:43,560
Speaker 1: uh in London that I'm gonna sign. I've got a

889
00:45:43,680 --> 00:45:46,520
Speaker 1: song title Kiss the Rain, and I want to write

890
00:45:46,560 --> 00:45:48,000
Speaker 1: that song with you, and I want you to play

891
00:45:48,040 --> 00:45:49,440
Speaker 1: your guitar like you played it on one of us,

892
00:45:49,480 --> 00:45:53,759
Speaker 1: and I want your lyrical quirkiness for this, okay. And

893
00:45:53,880 --> 00:45:56,480
Speaker 1: I said, well cool, but I'm going to France next

894
00:45:56,520 --> 00:46:00,840
Speaker 1: week for this songwriting thing at my Miles Copeland's castle. Okay,

895
00:46:00,960 --> 00:46:04,680
Speaker 1: I'll come. So he followed me there and that's okay,

896
00:46:04,760 --> 00:46:06,800
Speaker 1: and that's where we started the song. And then he

897
00:46:07,000 --> 00:46:09,160
Speaker 1: lured me to London where we finished it with Billy

898
00:46:09,239 --> 00:46:12,800
Speaker 1: and at the Houseyon Hotel. Okay, how hard is it

899
00:46:12,920 --> 00:46:15,440
Speaker 1: to write when you're giving those prescriptions as supposed to

900
00:46:15,520 --> 00:46:17,640
Speaker 1: waiting for inspiration. I'll tell you how it happened. We

901
00:46:17,719 --> 00:46:21,360
Speaker 1: were standing by a wall in the courtyard and in

902
00:46:21,440 --> 00:46:23,320
Speaker 1: the castle and I picked up the guitar and go

903
00:46:31,680 --> 00:46:35,040
Speaker 1: and Desmond says, that's the chorus. That's that you've We've

904
00:46:35,120 --> 00:46:38,680
Speaker 1: just started kiss the Rain, okay, and it's cool. And

905
00:46:39,200 --> 00:46:41,400
Speaker 1: so we went to London. I played that and Desmond,

906
00:46:41,560 --> 00:46:45,160
Speaker 1: you know, kissed all right? That was you know, you

907
00:46:45,239 --> 00:46:48,000
Speaker 1: know I I do too, in fact of what you hear,

908
00:46:48,040 --> 00:46:51,839
Speaker 1: and that we recorded on My My, um My then

909
00:46:51,920 --> 00:46:54,840
Speaker 1: State of the Art Roland vs. Eight eight in that

910
00:46:55,000 --> 00:46:58,040
Speaker 1: hotel room in London. So what are your some of

911
00:46:58,120 --> 00:47:01,840
Speaker 1: your other favorite sort of sort of songs for hire

912
00:47:01,920 --> 00:47:05,879
Speaker 1: that you've written. I still like old before I die.

913
00:47:06,160 --> 00:47:09,040
Speaker 1: Robbie Williams first single, Okay, you know we live in

914
00:47:09,120 --> 00:47:11,680
Speaker 1: America where Robbie Williams never made it. How big was

915
00:47:11,800 --> 00:47:15,200
Speaker 1: that song in the UK? Huge? Huge all over Europe

916
00:47:15,520 --> 00:47:17,880
Speaker 1: over here? Okay? So you write these songs. We hear

917
00:47:17,920 --> 00:47:20,880
Speaker 1: all these stories about the music business. Do you believe

918
00:47:20,960 --> 00:47:23,600
Speaker 1: you were a the deals were fair and you got

919
00:47:23,680 --> 00:47:26,920
Speaker 1: the money you were entitled to. I still not have

920
00:47:27,080 --> 00:47:29,760
Speaker 1: not seen a scent from from our our Sony records,

921
00:47:29,760 --> 00:47:33,440
Speaker 1: our Columbia Records were still in the red. Wow, that

922
00:47:33,560 --> 00:47:38,400
Speaker 1: was a songwriter. Um, I've always kept my publishing, so

923
00:47:39,280 --> 00:47:42,080
Speaker 1: that's yeah. That was good. That continues to be good.

924
00:47:42,480 --> 00:47:45,080
Speaker 1: You know that the balance is changing now because streaming

925
00:47:45,680 --> 00:47:49,560
Speaker 1: favors the the rights owners. So right, the songwriters are

926
00:47:49,600 --> 00:47:53,120
Speaker 1: screwed in terms of percentage wise with streaming. Draconian. Okay,

927
00:47:53,440 --> 00:47:56,799
Speaker 1: so do you now view yourself You've had these successes,

928
00:47:56,840 --> 00:47:59,960
Speaker 1: We're going back twenty years to you know yourself yourself

929
00:48:00,000 --> 00:48:03,000
Speaker 1: as a songwriter as opposed to performer. I'm a musician,

930
00:48:03,760 --> 00:48:07,160
Speaker 1: you know. I'm a guitar player. I'm a singer when

931
00:48:07,160 --> 00:48:10,040
Speaker 1: I need to be. I'm an entertainer. I love performing.

932
00:48:10,239 --> 00:48:12,600
Speaker 1: I write songs because I need something to play. And

933
00:48:12,719 --> 00:48:14,800
Speaker 1: at this point in time, do you write the song

934
00:48:15,000 --> 00:48:17,520
Speaker 1: and then find the artist or to use or is

935
00:48:17,560 --> 00:48:21,279
Speaker 1: it like with Desmond Child, Hey, here's the title, here's

936
00:48:21,280 --> 00:48:23,760
Speaker 1: the situation. Right for this, it's usually with the artist.

937
00:48:24,520 --> 00:48:27,520
Speaker 1: You know. I had a great relationship with Amanda Marshall.

938
00:48:27,520 --> 00:48:30,239
Speaker 1: I wrote almost all of her second album. She was

939
00:48:30,400 --> 00:48:32,319
Speaker 1: whatever happened to her, you know, I stay in touch

940
00:48:32,360 --> 00:48:35,600
Speaker 1: with her, and she she had a nightmare thing with

941
00:48:35,680 --> 00:48:38,239
Speaker 1: her management and with with her her record company, and

942
00:48:38,360 --> 00:48:42,200
Speaker 1: she literally couldn't make music for five years, six years.

943
00:48:42,239 --> 00:48:44,839
Speaker 1: And by then, but I even saw at the Troupe door,

944
00:48:44,880 --> 00:48:47,640
Speaker 1: I was a huge fan. I wrote eleven of the

945
00:48:47,680 --> 00:48:50,120
Speaker 1: thirteen songs on that second album and produced the singles.

946
00:48:50,480 --> 00:48:53,640
Speaker 1: I loved her. I love her as a person, her voice,

947
00:48:54,120 --> 00:48:57,200
Speaker 1: she did things that were I wept after she did

948
00:48:57,280 --> 00:48:59,320
Speaker 1: the vocal for if I Didn't Have You, which is

949
00:48:59,840 --> 00:49:01,760
Speaker 1: I think one of the best songs I've ever written.

950
00:49:01,960 --> 00:49:04,400
Speaker 1: She did a song on the Tin Cup soundtrack. We

951
00:49:04,560 --> 00:49:07,800
Speaker 1: involved in that. That was earlier. Okay, So okay, you

952
00:49:07,840 --> 00:49:11,799
Speaker 1: said you work with her and any other situations recently, Yeah, yeah,

953
00:49:11,800 --> 00:49:13,799
Speaker 1: I mean I've been writing with the Scorpions for two

954
00:49:13,840 --> 00:49:19,160
Speaker 1: thousand three. About Scorpions went on their retirement tour. I

955
00:49:19,320 --> 00:49:20,840
Speaker 1: think I know the age, and I think the retirement

956
00:49:20,880 --> 00:49:22,600
Speaker 1: tour was three and a half years ago. And then

957
00:49:23,040 --> 00:49:25,399
Speaker 1: there's been two new albums since those five years ago.

958
00:49:25,400 --> 00:49:27,799
Speaker 1: And I actually wrote the single from that album, the Bet,

959
00:49:27,840 --> 00:49:30,640
Speaker 1: which was called the Best is Yet to come? Right

960
00:49:30,719 --> 00:49:35,719
Speaker 1: have been a clue? So you know, some people would

961
00:49:35,760 --> 00:49:37,960
Speaker 1: say that's a huge journey from Joan Osborne. But I

962
00:49:38,000 --> 00:49:40,600
Speaker 1: guess if you're a guitar player, it all works. It's

963
00:49:40,600 --> 00:49:42,719
Speaker 1: all music. It's all music. You know. I've done a

964
00:49:42,760 --> 00:49:45,719
Speaker 1: lot of folky stuff I've done, I've done r and

965
00:49:46,200 --> 00:49:48,680
Speaker 1: you know, it's music. It's finding a melody in some words,

966
00:49:48,760 --> 00:49:50,800
Speaker 1: and finding a way to play it. So how do

967
00:49:50,880 --> 00:49:53,279
Speaker 1: you decide to get the Hooters back together? You get

968
00:49:53,320 --> 00:49:56,880
Speaker 1: the band back together as well. We sort of we

969
00:49:57,000 --> 00:49:59,359
Speaker 1: never broke up. The phone started ringing off the hook

970
00:49:59,400 --> 00:50:02,880
Speaker 1: for me. You know. Rick signed us again to his

971
00:50:03,320 --> 00:50:06,440
Speaker 1: his label, PolyGram, but the well had sort of run

972
00:50:06,520 --> 00:50:09,520
Speaker 1: dry for Hooters songs, uh and Rob and Rick had

973
00:50:09,560 --> 00:50:11,839
Speaker 1: this concept for an album called Largo, which was based

974
00:50:11,880 --> 00:50:16,520
Speaker 1: on the Vorjak's epic journey across America. I wasn't feeling it.

975
00:50:16,800 --> 00:50:20,120
Speaker 1: I didn't really get what the concept was. Um, but

976
00:50:20,360 --> 00:50:22,880
Speaker 1: the music was beautiful. Um. It was just it was

977
00:50:23,320 --> 00:50:26,239
Speaker 1: ironic that on on the heels of my biggest ever hit,

978
00:50:26,280 --> 00:50:28,600
Speaker 1: which was totally lyric driven, I didn't write a word

979
00:50:28,640 --> 00:50:31,840
Speaker 1: of lyric on on the Largo album and it ultimately stiffed.

980
00:50:32,120 --> 00:50:34,040
Speaker 1: It did, which is a shame because it did. It

981
00:50:34,160 --> 00:50:36,360
Speaker 1: really did deserve to be heard, but there wasn't a

982
00:50:36,440 --> 00:50:39,839
Speaker 1: real artist. You know, I didn't. I did not want

983
00:50:39,840 --> 00:50:41,680
Speaker 1: it to be called the Hooters. It to me it

984
00:50:41,800 --> 00:50:43,799
Speaker 1: was not a Hooters record. The Hooters are a rock band.

985
00:50:44,200 --> 00:50:47,759
Speaker 1: That was not supposed to be Hooter's album. Um it's

986
00:50:47,800 --> 00:50:50,480
Speaker 1: a beautiful record. In fact, we performed it at Joe's

987
00:50:50,520 --> 00:50:54,320
Speaker 1: Pub last year because Rick and Rick is on a

988
00:50:54,400 --> 00:50:56,640
Speaker 1: mission to make a musical out of it. But there's

989
00:50:56,680 --> 00:50:59,000
Speaker 1: no book. It's like it's that kind of asked backwards.

990
00:50:59,080 --> 00:51:04,239
Speaker 1: But God us and his tenacity is is noteworthy. But uh,

991
00:51:04,520 --> 00:51:06,560
Speaker 1: you know Rob wanted you know, we had kids were

992
00:51:06,600 --> 00:51:08,680
Speaker 1: do you know we're raising our families. Rob wants to

993
00:51:08,680 --> 00:51:12,840
Speaker 1: build a studio. I'm getting all these opportunities, and you

994
00:51:12,880 --> 00:51:14,520
Speaker 1: know I did just I wanted to do a solo record,

995
00:51:14,640 --> 00:51:16,880
Speaker 1: which I did. I finally released that in two thousand

996
00:51:17,080 --> 00:51:19,359
Speaker 1: to no acclaim. But it's but I enjoyed it. Thank

997
00:51:19,400 --> 00:51:21,000
Speaker 1: you you did, and you wrote a really nice thing

998
00:51:21,040 --> 00:51:23,520
Speaker 1: about it. Time just went by all of a sudden.

999
00:51:23,560 --> 00:51:25,600
Speaker 1: We hadn't you know, played in six years. And then

1000
00:51:25,640 --> 00:51:28,040
Speaker 1: we get a phone call from Pierre Robert at w MMR.

1001
00:51:28,120 --> 00:51:30,960
Speaker 1: He's celebrating twenty years with the Hooters get together and

1002
00:51:31,080 --> 00:51:33,600
Speaker 1: play at his anniversary concerts. So we get on stage.

1003
00:51:33,600 --> 00:51:39,240
Speaker 1: We played forty minutes before Fuel. So we get on stage.

1004
00:51:39,400 --> 00:51:40,719
Speaker 1: You know, we re hearsed a couple of days and

1005
00:51:40,800 --> 00:51:44,279
Speaker 1: we remember playing looking around. We even think this is

1006
00:51:44,360 --> 00:51:46,600
Speaker 1: the best band I'll ever be in. I mean, you know,

1007
00:51:46,680 --> 00:51:48,560
Speaker 1: I've played with the greatest musicians in the world, but

1008
00:51:48,640 --> 00:51:50,400
Speaker 1: this is the best band I will ever be in.

1009
00:51:50,960 --> 00:51:53,280
Speaker 1: And uh, you know, we all had we had commitments

1010
00:51:53,320 --> 00:51:55,759
Speaker 1: through that summer. So but finally two thousand three we

1011
00:51:55,920 --> 00:51:57,959
Speaker 1: went back on. We went back to Germany. We toured

1012
00:51:58,000 --> 00:52:01,719
Speaker 1: all summer. And how much you work now basically it's

1013
00:52:01,719 --> 00:52:03,719
Speaker 1: a it's a summer job, okay. And how many of

1014
00:52:03,760 --> 00:52:06,400
Speaker 1: the people are original people? Well, our bass players only

1015
00:52:06,480 --> 00:52:11,560
Speaker 1: been with us since seven and everybody else, everybody else

1016
00:52:11,640 --> 00:52:14,399
Speaker 1: is originally Yeah, and we had we added a six

1017
00:52:14,520 --> 00:52:16,680
Speaker 1: member in two thousand ten because I broke my shoulder.

1018
00:52:16,719 --> 00:52:18,839
Speaker 1: Didn't know if I'd be able to play skiing don't

1019
00:52:18,960 --> 00:52:20,719
Speaker 1: do not a bad fall, but it was a snow

1020
00:52:21,160 --> 00:52:25,040
Speaker 1: uh snow ice snake under this powder snake. I landed

1021
00:52:25,120 --> 00:52:27,480
Speaker 1: on my on my elbow. Snap. I didn't know if

1022
00:52:27,480 --> 00:52:29,399
Speaker 1: I'd be able to play, So we added friend who

1023
00:52:29,440 --> 00:52:31,480
Speaker 1: I always said, if I hurt myself, you're the call.

1024
00:52:31,840 --> 00:52:34,279
Speaker 1: So can everybody make a living from their music? From

1025
00:52:34,320 --> 00:52:39,240
Speaker 1: the Hooters? We we we Yeah, yeah, pretty much. Okay,

1026
00:52:39,480 --> 00:52:42,000
Speaker 1: So if you achieve the dream looking at it from above,

1027
00:52:42,040 --> 00:52:43,640
Speaker 1: of course, I've written a song that everyone in the

1028
00:52:43,680 --> 00:52:46,239
Speaker 1: world knows and loves. I play in a band that

1029
00:52:46,600 --> 00:52:48,680
Speaker 1: plays as much as we want to, when we want

1030
00:52:48,719 --> 00:52:50,680
Speaker 1: to where we want to. I still feel there's a

1031
00:52:50,719 --> 00:52:52,520
Speaker 1: bit of a restless thing. I feel like there's something

1032
00:52:52,560 --> 00:52:54,840
Speaker 1: I still haven't done that I'm gonna do right, And

1033
00:52:54,920 --> 00:52:57,000
Speaker 1: how hard are you working at it? I am working.

1034
00:52:57,080 --> 00:53:00,080
Speaker 1: It's so hard. I'm working it so hard. I'm know

1035
00:53:00,160 --> 00:53:02,160
Speaker 1: now that I'm living in Stockholm, I'm in the center

1036
00:53:02,239 --> 00:53:05,800
Speaker 1: of the songwriting producing universe. So one day I'm writing

1037
00:53:05,880 --> 00:53:09,360
Speaker 1: a pop song. Uh, the next day I'm writing with

1038
00:53:09,400 --> 00:53:11,640
Speaker 1: a hard rock band. So you okay, So how does

1039
00:53:11,680 --> 00:53:13,759
Speaker 1: that answer your work? There's a network or you have

1040
00:53:13,880 --> 00:53:15,800
Speaker 1: to create the network for yourself. They come to me

1041
00:53:17,440 --> 00:53:20,520
Speaker 1: that we have to. You have come to listen to

1042
00:53:20,560 --> 00:53:23,759
Speaker 1: the Bob Left Sets podcast with Eric Basilian. We heard

1043
00:53:23,760 --> 00:53:27,839
Speaker 1: amazing stories about his band Cyndi Lawper other successes. Thanks

1044
00:53:27,880 --> 00:53:34,920
Speaker 1: so much, for doing this. Thank you, Bob. Always a pleasure. Hi,

1045
00:53:35,120 --> 00:53:36,759
Speaker 1: this is Bob left Sets. I don't want to thank

1046
00:53:36,800 --> 00:53:40,080
Speaker 1: you for being a fan of my podcast. You can

1047
00:53:40,200 --> 00:53:43,160
Speaker 1: email me at Bob at left sets dot com and

1048
00:53:43,440 --> 00:53:46,200
Speaker 1: let us know what you think. We're open to all ideas.

1049
00:53:46,480 --> 00:53:50,200
Speaker 1: Be sure to subscribe to tune in, iTunes or your

1050
00:53:50,520 --> 00:54:06,080
Speaker 1: podcast player of choice. Can think of