WEBVTT - Eric Bazilian

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<v Speaker 1>Welcome, Welcome, Welcome to the Bob Left Sets podcast. My

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<v Speaker 1>guest today is guitarist and songwriter extraordinary Eric Bazillium. He'll

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<v Speaker 1>know him from the Hooters, also as a songwriter of

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<v Speaker 1>Joan Osborne's one of us bon Jovi songs, Billy Myers

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<v Speaker 1>Kissed the Rain. We'll go on and I'm Eric. How

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<v Speaker 1>you doing, I'm great, Bob. Thanks. So let's start from

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<v Speaker 1>the beginning. You live in Sweden. I do live. I

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<v Speaker 1>live in Stockholm now. I've been living there, uh since,

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<v Speaker 1>since the summer. I've spent every summer there since I

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<v Speaker 1>met my wife in nine and then every other Christmas.

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<v Speaker 1>Done a couple of full years, but we decided to

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<v Speaker 1>do it again. Now did she meet you based on

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<v Speaker 1>your fame? Absolutely not. She sat next to me on

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<v Speaker 1>a flight from from JFK to Stockholm. We were on

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<v Speaker 1>our way to do a festival by that basically by

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<v Speaker 1>the North Pole. She had been. She had lived in

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<v Speaker 1>l A for a bunch of years, moved back to Sweden,

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<v Speaker 1>went back to l A to keep her green card

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<v Speaker 1>active and see if the the ex boyfriend was a thing.

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<v Speaker 1>So we sat next to each other, um exchanged phone numbers, um,

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<v Speaker 1>stayed in touch, found myself back there a few few

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<v Speaker 1>weeks later, and you know, it happened and the rest

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<v Speaker 1>is history. So you've been bands, most specifically the Hooters

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<v Speaker 1>were still together. Is who the members married to? Does

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<v Speaker 1>that affect the harmony of the band? It really can? Yeah? Yeah,

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<v Speaker 1>I mean I was married what I call my training

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<v Speaker 1>marriage um before this, and she uh, she was also

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<v Speaker 1>our bands stylist and visual director. Um. So she's responsible

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<v Speaker 1>for those colors that we wore and that got weird,

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<v Speaker 1>it got really it complicated things a lot. Okay, So

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<v Speaker 1>you're from Philadelphia. I am from Philadelphia. Okay, when how

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<v Speaker 1>did you first get into music? Um? I saw the

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<v Speaker 1>Beatles on edge before that. Were you into music? It

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<v Speaker 1>get all before the people. My mom My mom was

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<v Speaker 1>like a child prodigy concert pianist. She like, yeah, she

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<v Speaker 1>went to Curtis when she was nine, Curtis the famous

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<v Speaker 1>Curtis Institute, and um uh she was studying at the

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<v Speaker 1>University of Pennsylvania. She met my father when she was eighteen,

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<v Speaker 1>got married, had me And Okay, wait, did you finish

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<v Speaker 1>college or she drop off? When she finished college in Wow,

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<v Speaker 1>did you finish a pen? She did? She she graduated

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<v Speaker 1>Penn after I did, so what motive hit her to

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<v Speaker 1>go back? She and my dad got divorced when I

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<v Speaker 1>was twenty one, and so she wanted to, you know,

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<v Speaker 1>find herself. And she apparently I don't remember this, but

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<v Speaker 1>apparently she asked me, you know, what do you think

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<v Speaker 1>I should study? And I said, well, because my mother,

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<v Speaker 1>being even though she was a musician, had a serious

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<v Speaker 1>scientific bent about her. So I said, well, how about science?

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<v Speaker 1>So anthropology. So she ended up majoring in physical anthropology.

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<v Speaker 1>That's unbelievable. So your parents get divorced when you're twenty one.

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<v Speaker 1>I have a very good friend whose parents got divorced

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<v Speaker 1>right after we graduate from college. It really messed him up.

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<v Speaker 1>Didn't mess you up? I didn't think it did at

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<v Speaker 1>the time. In retrospect, yeah it did. I mean, it's it,

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<v Speaker 1>you know, it shakes the foundation. But you know, I

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<v Speaker 1>was I wasn't living at home. Um, but you know, yeah,

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<v Speaker 1>I think on some level it definitely did. So since

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<v Speaker 1>she's a concert pianist, did she introduce you? She make

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<v Speaker 1>you take piano lessons as a little kid. She didn't

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<v Speaker 1>make me. I I asked her for them, and I did.

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<v Speaker 1>She used to play the piano in the house all

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<v Speaker 1>the time, and I would sit next to her while

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<v Speaker 1>she was rocking chopin really and I would you know,

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<v Speaker 1>that was the first that was really my first rock experience.

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<v Speaker 1>Even though she was playing chopin. I would just see

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<v Speaker 1>the way, you know, her eyes would roll up into

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<v Speaker 1>her head and she would you know, I want that?

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<v Speaker 1>Did She also play records in the house, not that much.

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<v Speaker 1>But then my uncle, my my father's brother, played guitar.

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<v Speaker 1>He was a folk musician. Yeah, of any noted, no, no, no,

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<v Speaker 1>but he taught me my first guitar chords and my

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<v Speaker 1>first song on guitar. But the first song that I

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<v Speaker 1>ever learned to play and sing was El press Nueva

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<v Speaker 1>by Joan Bayaz and I learned it in Spanish. And

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<v Speaker 1>how old were you? I was nine or ten? I

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<v Speaker 1>think I was ten at that point, Okay. So you

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<v Speaker 1>start playing piano at what age six? Probably okay? And

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<v Speaker 1>when you when you pick up the guitar at what not?

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<v Speaker 1>Eight or nine? Not? Probably nine? And so you were

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<v Speaker 1>taught how to read music? To this day, can you

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<v Speaker 1>read music? I was taught to try to read music.

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<v Speaker 1>It's like I learned the alphabet, but I could never

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<v Speaker 1>like make music out of it. I've had a recent

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<v Speaker 1>experience with with reading because I am Someone showed me

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<v Speaker 1>a video of Chris Theely doing a Bach solo violand

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<v Speaker 1>sonata on mandolin. Now, mandolin, here's a mandolin. My my

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<v Speaker 1>career basically in the United well in the in the

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<v Speaker 1>United States, began with these cards. So I owe a

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<v Speaker 1>lot to the mandolin, but I never really addressed it

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<v Speaker 1>as a serious instrument. It was a spice in the Hooters,

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<v Speaker 1>the Hooters Arsenal of sounds. Um. Someone showed me this

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<v Speaker 1>video of Christinely playing this Bach piece and I said,

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<v Speaker 1>I'm I'm gonna learn that. And this was right when

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<v Speaker 1>we had moved to Stockholm, and I walked into the

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<v Speaker 1>famous Hellstones music store and he had just gotten in

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<v Speaker 1>this ninety five Gibson mandolin. The price was right. I

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<v Speaker 1>didn't have a mandolin in Sweden. Bought the mandolin, went home,

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<v Speaker 1>downloaded the sheet music, printed it out. And that was

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<v Speaker 1>early September. And I am still struggling to play this piece,

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<v Speaker 1>but I can kind of read a little bit. Now. Wow,

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<v Speaker 1>so okay, you're playing guitar and piano a little bit

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<v Speaker 1>and then are you listening to the transistor? Philly has

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<v Speaker 1>a legendary radio stage. Yeah, oh, I listened to. You know,

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<v Speaker 1>it's funny that the Beatles weren't the first thing that

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<v Speaker 1>that shook my rock to my question? So what was ironically?

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<v Speaker 1>The first record I ever bought was do Move? Uh

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<v Speaker 1>nak We can't play the too because we get into publishing, right,

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<v Speaker 1>But that was certainly good. But continue, So the first

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<v Speaker 1>song I learned was Sukiyaki, right, which is really called

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<v Speaker 1>Aruko by Ki Sakamoto. And I would stay home from

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<v Speaker 1>school feign illness to listen to the radio to hear

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<v Speaker 1>that song, which they were playing every playing every hour.

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<v Speaker 1>Your father was a psychiatrist. He didn't realize you were

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<v Speaker 1>feigning illness. No, he didn't notice. How many siblings do

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<v Speaker 1>you have? None? None? You're the old there's a lot

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<v Speaker 1>of pressure on you. Okay, So the Beatles. It's February

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<v Speaker 1>sixty four, February nine, The Beatles come on, Sullivan. How

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<v Speaker 1>does that change? My parents had gone to Baltimore to

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<v Speaker 1>look at it a Steinway for my mom, and I

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<v Speaker 1>opted to stay home because I wanted to watch the Beatles.

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<v Speaker 1>So I went over to our friend Bernie's house. You know,

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<v Speaker 1>they walked out, they did um all my loving and

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<v Speaker 1>you know, wow, And I remember when they remember because

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<v Speaker 1>underneath it they put the status of all the people.

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<v Speaker 1>And then he's married. I think it was. It was

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<v Speaker 1>during It was either at that point or I want

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<v Speaker 1>to hold your hand where I realized I want to

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<v Speaker 1>be him. First I looked at Paul, because no one

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<v Speaker 1>Paul was cute and he and and dark haired and

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<v Speaker 1>and I wanted to be him. And then I looked

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<v Speaker 1>at George, who was playing the solo for till there

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<v Speaker 1>was you, and I said, no, I want to be him.

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<v Speaker 1>Then I saw John, who was like the coolest guy alive.

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<v Speaker 1>I said no, I want to be him. And then

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<v Speaker 1>I saw Ringo, and no one had more fun than Ringo.

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<v Speaker 1>I realized I wanted to be all four of them. Okay,

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<v Speaker 1>So then what happened next? So what happened that next

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<v Speaker 1>was the next day Bernie and I started our first band.

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<v Speaker 1>Bernie was gonna play drums, and once again, Bernie's your

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<v Speaker 1>best friend, best friend. Okay, Bernie had any musical experience,

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<v Speaker 1>none whatsoever. Okay, and did you start said band? We did?

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<v Speaker 1>We did, We did it with our friend Paul. So

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<v Speaker 1>it was a trio. We and I called us the

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<v Speaker 1>Limes stuff like the quarry Men. And so before this

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<v Speaker 1>had happened and I had learned to play this Joan

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<v Speaker 1>Bayz song, my uncle I knew a guy named Gene

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<v Speaker 1>London who had a local kids show in Philadelphia, and

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<v Speaker 1>I performed on that show. So performed playing the guitar

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<v Speaker 1>and playing the guitar, singing the song. Well, that's pretty dramatic.

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<v Speaker 1>Unfortunately they the tapes are long gone, but he brought

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<v Speaker 1>us back. So the Limestones performed on the Gene London show.

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<v Speaker 1>We did A Hard Day's Night and House of the

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<v Speaker 1>Rising Sun. I mean, I'm speechless. So in high school

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<v Speaker 1>you must have been the biggest thing going. This is

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<v Speaker 1>so I was getting the crap kicked out of me

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<v Speaker 1>because I had long hair. Wow, you went to public

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<v Speaker 1>school or private? I went to public school through sixth

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<v Speaker 1>grade and then I went to private school. But you

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<v Speaker 1>didn't get yours k I actually did. In private school.

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<v Speaker 1>I went to a Quaker school, and I thought, oh,

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<v Speaker 1>I'm you know, I'm gonna be certain. No, it all

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<v Speaker 1>changed in like ninth grade. Uh, And like the guy

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<v Speaker 1>who was kicking my ass and eighth grade suddenly is like,

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<v Speaker 1>you know, my biggest defender of So you see the Beatles,

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<v Speaker 1>you need an electric guitar, API I got. Well, I

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<v Speaker 1>wanted to play bass because I wanted to be like

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<v Speaker 1>Paul first, So I got. I got you know, Dan

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<v Speaker 1>electro bass for eighty dollars. Okay, eighty dollars your parents

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<v Speaker 1>give you. Um, I had saved it, um, and I

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<v Speaker 1>got the bass. And we thought that Paul, who knew

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<v Speaker 1>a couple of chords, was going to play guitar. Well,

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<v Speaker 1>Paul couldn't play guitar, so Paul played bass. I played guitar.

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<v Speaker 1>And where'd you get a guitar? Paul had a guitar,

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<v Speaker 1>he had a Superro, he had like a thirty and

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<v Speaker 1>you had the amps too. I think we had one

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<v Speaker 1>amp between us, which is what the Beatles had for

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<v Speaker 1>a while. And we did, Um, yeah, we did. We

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<v Speaker 1>did the TV show and then um, that's sort of

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<v Speaker 1>never really caught fire. It wasn't until I was fifteen,

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<v Speaker 1>um that my first real band jailed. It was still Bernie,

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<v Speaker 1>Bernie and I and then um, there was a kid

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<v Speaker 1>that I went to Hebrew school with and Paul Vernick,

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<v Speaker 1>who kept trying to get me to play with him,

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<v Speaker 1>but he was such a nevish he was just like,

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<v Speaker 1>come on, man, come on man, I can sing, I

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<v Speaker 1>can play. Okay, fine, And then Bernie. It turns out

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<v Speaker 1>he went to high school with Bernie, and uh, Bernie said,

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<v Speaker 1>you know, this kid is really good. So we got

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<v Speaker 1>the three of us got together. By this point, Bernie's

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<v Speaker 1>playing bass, We get a drummer. This kid opens Paul

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<v Speaker 1>opens his mouth, and I'm like, oh god, this is like,

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<v Speaker 1>you know, Steve Winwood, Paul McCartney. This was like the

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<v Speaker 1>voice and he played great rhythm guitar and he wrote songs.

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<v Speaker 1>So we had our first real band at fifteen sixteen.

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<v Speaker 1>It was called Evil Seed, and I just got in

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<v Speaker 1>touch with What are The guy who managed us back

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<v Speaker 1>then got in touch with me. He had recordings which

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<v Speaker 1>I thought were all gone, Wow, Where are Paul and

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<v Speaker 1>Bernie today? Paul is no longer with us. He had

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<v Speaker 1>substance issues, which ultimately kim okay. Bernie is in northern

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<v Speaker 1>California doing, you know, living a real life, having a

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<v Speaker 1>real job, still playing bass. We get together sometimes and

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<v Speaker 1>it's like where one brain with four hands Okay, so

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<v Speaker 1>you have Evil Seed, you're fifteen years old. What happens next? Musically?

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<v Speaker 1>You know, we start getting really good. Uh, and then

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<v Speaker 1>they come over to the house and fire me because

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<v Speaker 1>I have another year of high school left. I was

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<v Speaker 1>a year younger and um, and I was also taking pictures.

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<v Speaker 1>I was really into photography at that point as well.

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<v Speaker 1>I don't know whose idea it was, but they fired me.

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<v Speaker 1>And then three months later they came back cap in

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<v Speaker 1>hand and said, sorry, man, would you come back? And

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<v Speaker 1>did you go back? I did? I did because it

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<v Speaker 1>really was a great band. I mean, listen, how much

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<v Speaker 1>were you working in terms of you know, playing like

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<v Speaker 1>forts parties and stuff like that. We we actually someone

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<v Speaker 1>actually did hire us for about misfah and they shut

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<v Speaker 1>us down after the first song. They did not want

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<v Speaker 1>to hear Cream and Hendricks covers. So this was a

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<v Speaker 1>band you played in the living in the basement or

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<v Speaker 1>in the party room, but you didn't play out. We did.

0:11:52.559 --> 0:11:54.839
<v Speaker 1>We did. We played you know, coffee houses. There was

0:11:54.920 --> 0:11:57.760
<v Speaker 1>one legendary coffee house called the heck It Circle, like

0:11:57.840 --> 0:12:01.480
<v Speaker 1>he could he They got us um where a lot

0:12:01.559 --> 0:12:03.559
<v Speaker 1>of weird, a lot of weird ship went down but

0:12:04.080 --> 0:12:06.559
<v Speaker 1>I managed to stay away from all that. So so

0:12:06.720 --> 0:12:08.760
<v Speaker 1>this band, Evil Seed takes you all the way through

0:12:08.840 --> 0:12:10.760
<v Speaker 1>high school, all the way through high school yep, and

0:12:10.840 --> 0:12:13.319
<v Speaker 1>then you yourself go to PEN and I myself go

0:12:13.400 --> 0:12:15.560
<v Speaker 1>to Pen. Band kind of breaks up. At this point,

0:12:15.640 --> 0:12:19.079
<v Speaker 1>Paul has already had his his substance issues have already

0:12:19.080 --> 0:12:20.520
<v Speaker 1>gotten the better of him, and it turns out that

0:12:20.559 --> 0:12:24.600
<v Speaker 1>there are other mental mental health things involved. So yeah,

0:12:24.640 --> 0:12:27.320
<v Speaker 1>I go off to Pen and my first week there,

0:12:27.760 --> 0:12:30.520
<v Speaker 1>I go to an electronic music class that they have.

0:12:30.600 --> 0:12:33.880
<v Speaker 1>They have him Moog synthesizers, serial number zero zero three,

0:12:34.640 --> 0:12:36.520
<v Speaker 1>and I see this guy in there with really long

0:12:36.640 --> 0:12:38.800
<v Speaker 1>blonde hair down to his waist and I recognize him.

0:12:38.920 --> 0:12:42.320
<v Speaker 1>He's in another Philly band called Wax that I've seen

0:12:42.640 --> 0:12:46.920
<v Speaker 1>open for the Birds, and um, we start talking and

0:12:47.040 --> 0:12:49.240
<v Speaker 1>hanging out and it turns out that his band, Wax

0:12:49.520 --> 0:12:52.120
<v Speaker 1>guitar player had left. At that point, their configuration was

0:12:52.160 --> 0:12:55.080
<v Speaker 1>two electric pianos, two drummers, a bass player, and a singer.

0:12:55.120 --> 0:12:59.319
<v Speaker 1>And I'm like, put me in. So I joined that band,

0:12:59.520 --> 0:13:03.800
<v Speaker 1>and that was challenging because he was at that even

0:13:03.840 --> 0:13:08.040
<v Speaker 1>at that point, Rob Himan was like that was Robbin. Yeah, Okay,

0:13:08.200 --> 0:13:11.240
<v Speaker 1>challenging because of his personality or because you weren't up

0:13:11.280 --> 0:13:13.760
<v Speaker 1>to snuff musically. I was up to snuff, but I

0:13:13.880 --> 0:13:16.200
<v Speaker 1>really had I mean I really did have to up

0:13:16.240 --> 0:13:19.760
<v Speaker 1>my game the musically. It was really some sophisticated music.

0:13:19.920 --> 0:13:22.400
<v Speaker 1>It was even then even instead we're talking about like

0:13:22.480 --> 0:13:26.400
<v Speaker 1>September seventy one. Okay, so you joined that band. How

0:13:26.480 --> 0:13:28.880
<v Speaker 1>much time goes to that band as opposed to school?

0:13:29.920 --> 0:13:33.000
<v Speaker 1>A lot? In fact, I basically almost flunked out second

0:13:33.040 --> 0:13:36.840
<v Speaker 1>semester freshman year. But you graduated a physics major. Right

0:13:37.440 --> 0:13:41.560
<v Speaker 1>by everybody's standards. Physics is not easy. You know, I'm wired.

0:13:41.720 --> 0:13:44.120
<v Speaker 1>I'm wired. Funny, I guess I was getting seasoned history

0:13:44.200 --> 0:13:47.720
<v Speaker 1>courses and a's in physics. Yeah, he just just comes naturally.

0:13:48.120 --> 0:13:49.719
<v Speaker 1>It didn't I had to work hard. But if I

0:13:49.800 --> 0:13:51.839
<v Speaker 1>worked hard, I'd get it and and the feeling of

0:13:52.960 --> 0:13:57.199
<v Speaker 1>satisfaction was similar to learning a piece of music. You

0:13:57.280 --> 0:14:00.640
<v Speaker 1>know that understanding Newton, understanding einst I there was there

0:14:00.720 --> 0:14:03.360
<v Speaker 1>was a moment, you know, there was magic eye paintings.

0:14:04.160 --> 0:14:05.640
<v Speaker 1>For me. It was like that I would stare at

0:14:05.679 --> 0:14:07.199
<v Speaker 1>a problem, and stare at a problem, and all of

0:14:07.240 --> 0:14:09.560
<v Speaker 1>a sudden I would see it clearly, and then if

0:14:09.600 --> 0:14:13.440
<v Speaker 1>I looked away, it would disappear. Okay, the obvious question

0:14:13.559 --> 0:14:16.400
<v Speaker 1>people would ask today is you have anything to do

0:14:16.520 --> 0:14:20.720
<v Speaker 1>with physics today? Not externally, but I think internally my process,

0:14:20.880 --> 0:14:24.920
<v Speaker 1>the way my subconscious mechanism works. I think it's the

0:14:25.040 --> 0:14:27.440
<v Speaker 1>same thing. I was going to ask that question second.

0:14:27.480 --> 0:14:29.440
<v Speaker 1>So you certainly answered it. But when people don't get

0:14:29.440 --> 0:14:32.040
<v Speaker 1>today today, when it's funny, because it's our generation and

0:14:32.080 --> 0:14:35.000
<v Speaker 1>even younger generations, they send their kids to school as

0:14:35.040 --> 0:14:38.000
<v Speaker 1>a glorified trade school to get a job. Where we went.

0:14:38.040 --> 0:14:40.080
<v Speaker 1>Our parents said, if you go and you graduate, we

0:14:40.160 --> 0:14:43.720
<v Speaker 1>don't care what right. That's what That's what mine said exactly.

0:14:44.040 --> 0:14:47.240
<v Speaker 1>So you are now playing with Rob in this band Wax,

0:14:47.920 --> 0:14:50.880
<v Speaker 1>to what degree? Do you have a dream of further success?

0:14:51.480 --> 0:14:53.680
<v Speaker 1>That's all I really want to do. In the meantime,

0:14:53.720 --> 0:14:56.160
<v Speaker 1>I took all the premed requirements and you know, got

0:14:56.240 --> 0:14:59.920
<v Speaker 1>my degree. Rob graduated three years before I did. H

0:15:00.240 --> 0:15:02.280
<v Speaker 1>So he and the singer David went off and just

0:15:02.400 --> 0:15:05.680
<v Speaker 1>kept writing songs. Meanwhile, Rick Schurdoff, who was the drummer

0:15:05.720 --> 0:15:08.240
<v Speaker 1>in that band, goes and gets a job for Clive

0:15:08.320 --> 0:15:11.920
<v Speaker 1>Davis as an A and R slash producer. His first

0:15:12.000 --> 0:15:14.760
<v Speaker 1>act of a and our heroism is he finds Mandy

0:15:14.840 --> 0:15:18.360
<v Speaker 1>for Barry Manilow. By Clive's terms, that's a huge victory. Yeah,

0:15:18.400 --> 0:15:21.080
<v Speaker 1>well by anybody's terms. I mean, Clive is always about

0:15:21.080 --> 0:15:22.400
<v Speaker 1>when you would go for a meeting with Clive, when

0:15:22.440 --> 0:15:25.000
<v Speaker 1>you want to hire somebody, he would say, bringing five

0:15:25.120 --> 0:15:27.200
<v Speaker 1>songs that are out there that you believe will be

0:15:27.280 --> 0:15:29.960
<v Speaker 1>covered and be hits. That's exactly what he what. I

0:15:30.040 --> 0:15:32.120
<v Speaker 1>think that was one of them. I think peaceful Easy

0:15:32.200 --> 0:15:35.280
<v Speaker 1>Feeling was one. I think Mandy came later. I don't

0:15:35.280 --> 0:15:37.880
<v Speaker 1>think that was an audition song. So so so Rick

0:15:37.960 --> 0:15:40.320
<v Speaker 1>goes off there and you're left at pen doing what

0:15:41.120 --> 0:15:43.120
<v Speaker 1>studying physics? And I had a band, you know, my

0:15:43.400 --> 0:15:46.840
<v Speaker 1>my roommate who had known from high school years. He

0:15:47.280 --> 0:15:49.600
<v Speaker 1>had a Hammond organ, and then we found some other guys.

0:15:49.960 --> 0:15:53.160
<v Speaker 1>We had a band called Cyclic Blowfield and his funky calypsos.

0:15:53.680 --> 0:15:57.400
<v Speaker 1>Definitely the seventies. And to what degree were you known

0:15:57.480 --> 0:16:00.760
<v Speaker 1>in Philadelphia? Not at all? We played fat part ease um,

0:16:01.880 --> 0:16:04.840
<v Speaker 1>you know, w and what to what degree was there

0:16:04.920 --> 0:16:07.280
<v Speaker 1>a scene in Philly at that point? There wasn't. That's

0:16:07.320 --> 0:16:09.760
<v Speaker 1>the thing there really wasn't much of a scene. Yeah,

0:16:09.800 --> 0:16:12.360
<v Speaker 1>the famous Tower Theater where David Bowie cut his live album,

0:16:12.560 --> 0:16:14.280
<v Speaker 1>So there was a live music scene, but none of

0:16:14.360 --> 0:16:17.920
<v Speaker 1>the local people were populating. The Tower didn't really start

0:16:18.040 --> 0:16:23.840
<v Speaker 1>going until the mid seventies, right seventy four, even seventy

0:16:24.600 --> 0:16:27.520
<v Speaker 1>There was a spectrum and where the roof blew off?

0:16:27.720 --> 0:16:30.120
<v Speaker 1>Where the roof? Yeah, yea for those I don't know,

0:16:30.200 --> 0:16:32.920
<v Speaker 1>that's a famous arena in Philadelphia. So the roof blows

0:16:32.960 --> 0:16:36.640
<v Speaker 1>off the spectrum. But were you an avid concert going yourself? Oh? Yeah, yeah,

0:16:36.720 --> 0:16:39.160
<v Speaker 1>I was a photographer too. Did you have a dream

0:16:39.200 --> 0:16:41.560
<v Speaker 1>of being a successful to be the Annie Leeb of it? No,

0:16:41.720 --> 0:16:44.160
<v Speaker 1>I had a dream of being John Paul George and Ringo.

0:16:44.280 --> 0:16:46.720
<v Speaker 1>But in the meantime, I enjoyed taking pictures of these

0:16:46.760 --> 0:16:48.280
<v Speaker 1>people and I love being in the dark room. I

0:16:48.320 --> 0:16:51.560
<v Speaker 1>loved printing them. So it was purely a hobby. Yeah, yeah,

0:16:51.560 --> 0:16:53.840
<v Speaker 1>except that at that point, bands would play two nights

0:16:53.880 --> 0:16:56.200
<v Speaker 1>at the Electric Factory. They play Friday and Saturday. I've

0:16:56.240 --> 0:16:58.680
<v Speaker 1>got on Friday. First in line, get right up front,

0:16:58.720 --> 0:17:01.280
<v Speaker 1>which is literally pushed up against the stage, which is

0:17:01.280 --> 0:17:04.720
<v Speaker 1>about a yard high. Shoot Shoot Shoot, Shoot, Go Home.

0:17:05.080 --> 0:17:08.280
<v Speaker 1>Developed the negatives, let him dry overnight, spend all day printing,

0:17:08.320 --> 0:17:10.680
<v Speaker 1>go back down, get first in line, and sell prints

0:17:10.720 --> 0:17:13.400
<v Speaker 1>to kids online. So you were obviously dedicated. You would

0:17:13.400 --> 0:17:14.920
<v Speaker 1>sell them to the sell them to the people in

0:17:15.000 --> 0:17:16.880
<v Speaker 1>the line. How much would you selve them for? Buck?

0:17:17.000 --> 0:17:18.919
<v Speaker 1>Buck and a half? Maybe? How big were the prints?

0:17:18.960 --> 0:17:21.280
<v Speaker 1>Five by seven? Eight by ten? Really? Yeah? And what

0:17:21.440 --> 0:17:24.240
<v Speaker 1>was somebody's supposed to do with the print during the show? Yeah,

0:17:24.320 --> 0:17:27.200
<v Speaker 1>you know, nobody ever seen. But then I would I

0:17:27.280 --> 0:17:30.120
<v Speaker 1>started handing them to the bands on stage. People would

0:17:30.119 --> 0:17:32.280
<v Speaker 1>come out, someone would come out and say, with the

0:17:32.359 --> 0:17:36.399
<v Speaker 1>individual who handed those photographs to Rod Stewart please come backstage?

0:17:37.040 --> 0:17:39.560
<v Speaker 1>And did you meet Rod Stewart? I did? I did?

0:17:39.640 --> 0:17:42.560
<v Speaker 1>And Ronnie Wood. It was the first Faces tour and

0:17:42.760 --> 0:17:46.640
<v Speaker 1>like like an idiot, I sold the Negatives while Rod

0:17:46.680 --> 0:17:49.520
<v Speaker 1>Stewart was so cool back then he was So those

0:17:49.520 --> 0:17:51.200
<v Speaker 1>were the first rock stars you met? Or did you

0:17:51.240 --> 0:17:55.000
<v Speaker 1>met other people? Um? I actually had um? Well, but

0:17:55.080 --> 0:17:58.000
<v Speaker 1>yeah that was them, Jeff back ten years after. I

0:17:58.080 --> 0:17:59.800
<v Speaker 1>really went after ten years after because I wanted to

0:17:59.840 --> 0:18:02.880
<v Speaker 1>be Alvin Lee and I actually got to be friends

0:18:02.920 --> 0:18:05.040
<v Speaker 1>with them because I was fifteen sixteen, but I looked

0:18:05.080 --> 0:18:08.040
<v Speaker 1>twelve my voice didn't change a lot of sixteen. So

0:18:08.760 --> 0:18:12.680
<v Speaker 1>this begs the question greatest guitarists in rock history. Ah,

0:18:12.840 --> 0:18:16.920
<v Speaker 1>that's that's a pantheon. I mean I have my favorites

0:18:16.960 --> 0:18:21.480
<v Speaker 1>for different things. George Harrison obviously, because he was the

0:18:21.520 --> 0:18:24.240
<v Speaker 1>first guitarist that had parts, he really played orchestra Ley.

0:18:24.720 --> 0:18:27.720
<v Speaker 1>Then came the Holy Trinity, Clapton, Beck, and Hendricks. Okay,

0:18:27.800 --> 0:18:30.560
<v Speaker 1>of those, how do you rank those three or the unrankable?

0:18:30.760 --> 0:18:34.160
<v Speaker 1>They're kind of unrancable, I say, technically Beck right, hands

0:18:34.200 --> 0:18:38.280
<v Speaker 1>down if you like panatonic blues, Clapton revolutionizing the guitar

0:18:38.640 --> 0:18:41.760
<v Speaker 1>as a world Hendricks. Okay, so let's go back. So

0:18:42.640 --> 0:18:45.200
<v Speaker 1>Rick Shart off to New York working for Clive, and

0:18:45.440 --> 0:18:47.600
<v Speaker 1>Rob is playing in his own band because he graduated

0:18:47.640 --> 0:18:49.880
<v Speaker 1>three years before. He and David the singer are writing.

0:18:50.080 --> 0:18:52.919
<v Speaker 1>They're just writing songs so that Rick can signed them

0:18:52.960 --> 0:18:57.439
<v Speaker 1>to Arista. Right when I'm about to graduate, they get signed, right,

0:18:57.560 --> 0:19:00.520
<v Speaker 1>that's Baby Grant. That's Baby Grant. So again it's a

0:19:00.600 --> 0:19:02.680
<v Speaker 1>keyboard player and a and a singer. They need a

0:19:02.720 --> 0:19:05.959
<v Speaker 1>guitar player. Okay, So were you in touch with them

0:19:06.000 --> 0:19:08.840
<v Speaker 1>when they called you? Yeah? I touch all through. Okay,

0:19:08.880 --> 0:19:10.560
<v Speaker 1>so you called, so you must have thought you made it.

0:19:10.800 --> 0:19:13.160
<v Speaker 1>I thought, this is it. You know, I'm gonna I'm

0:19:13.160 --> 0:19:15.600
<v Speaker 1>gonna make a lot of money right away, and you

0:19:15.640 --> 0:19:17.240
<v Speaker 1>know we're going to go on the road and all

0:19:17.320 --> 0:19:20.240
<v Speaker 1>that great stuff that goes along with it. And then

0:19:20.600 --> 0:19:23.520
<v Speaker 1>what happens, Well, well, we're still working on the songs

0:19:24.040 --> 0:19:26.480
<v Speaker 1>and and you know, Rob's playing me these songs. And

0:19:27.160 --> 0:19:29.200
<v Speaker 1>you know, the thing about meeting Rob was I met

0:19:29.240 --> 0:19:32.240
<v Speaker 1>my equal, you know. I mean, Paul, who was in

0:19:32.320 --> 0:19:36.080
<v Speaker 1>The Evil Seed was an amazing songwriter singer, but Rob,

0:19:36.440 --> 0:19:39.560
<v Speaker 1>you know, his musicality just was on another level. I

0:19:39.640 --> 0:19:41.639
<v Speaker 1>mean really it was. To me, it was like Steely

0:19:41.720 --> 0:19:44.680
<v Speaker 1>Dan on steroids, the way his his sense for chord

0:19:44.800 --> 0:19:48.879
<v Speaker 1>changes and melodies, and and David who wrote all the lyrics. Then, um,

0:19:48.960 --> 0:19:51.639
<v Speaker 1>so it really really challenged me and it made me

0:19:51.760 --> 0:19:53.960
<v Speaker 1>up my game, especially when it was time to arrange

0:19:54.000 --> 0:19:56.960
<v Speaker 1>these songs and come up with signature guitar parts, and

0:19:57.240 --> 0:19:59.359
<v Speaker 1>I would come up with like instrumental sections. I'd go

0:19:59.400 --> 0:20:01.359
<v Speaker 1>off and would it and come back with this you know,

0:20:01.440 --> 0:20:05.120
<v Speaker 1>three minute exploration and they loved it because you could

0:20:05.160 --> 0:20:07.800
<v Speaker 1>do that. Then yeah, well listen, nothing better than having

0:20:07.840 --> 0:20:10.639
<v Speaker 1>your work be loved. So you make the record who

0:20:10.680 --> 0:20:13.480
<v Speaker 1>produced that record? Rick Rick and Rob Okay and the

0:20:13.600 --> 0:20:16.040
<v Speaker 1>record comes out. I have to own that record where

0:20:16.040 --> 0:20:18.280
<v Speaker 1>you're not on the cover and you got the person

0:20:18.400 --> 0:20:20.560
<v Speaker 1>made out of vegetables. And that's the second album. Well

0:20:20.560 --> 0:20:22.239
<v Speaker 1>that's the second album. I don't know if I own

0:20:22.280 --> 0:20:24.800
<v Speaker 1>the first. First one has has a Botero painting. I

0:20:24.880 --> 0:20:26.879
<v Speaker 1>have to go back to my collection. I certainly remember

0:20:26.920 --> 0:20:29.600
<v Speaker 1>the second. So you get to make two records. But

0:20:29.760 --> 0:20:32.719
<v Speaker 1>by my standards, nothing really happens with either of those rounds. Now.

0:20:32.760 --> 0:20:34.119
<v Speaker 1>I mean, we had a couple of shows where it

0:20:34.200 --> 0:20:36.359
<v Speaker 1>really felt like it was happening, and afterwards we're going,

0:20:36.400 --> 0:20:39.880
<v Speaker 1>We're the next Beatles, But uh no, it didn't happen.

0:20:39.960 --> 0:20:42.399
<v Speaker 1>I think we were. We were ten years ahead of

0:20:42.440 --> 0:20:44.639
<v Speaker 1>our time or ten years behind. But you know, our

0:20:44.680 --> 0:20:47.879
<v Speaker 1>first album came out when Talking Heads was happening, and

0:20:48.119 --> 0:20:50.480
<v Speaker 1>it was everything was going minimal and you know, and

0:20:50.560 --> 0:20:52.760
<v Speaker 1>if you you know, if you could play really well,

0:20:52.800 --> 0:20:54.920
<v Speaker 1>you kind of had to hide it. Whereas I'm playing

0:20:54.920 --> 0:20:57.400
<v Speaker 1>like I'm getting paid by the note. But Clive is amnimal.

0:20:57.800 --> 0:21:00.400
<v Speaker 1>He's behind it, he's behind it, but you can tell

0:21:00.600 --> 0:21:03.960
<v Speaker 1>he's like Rick was his pet A and R guy,

0:21:04.040 --> 0:21:05.919
<v Speaker 1>so we'll let Rick have his fun with these guys.

0:21:06.359 --> 0:21:08.600
<v Speaker 1>But after we did the second album and we started

0:21:08.880 --> 0:21:10.879
<v Speaker 1>writing songs for the third and by this point that

0:21:11.200 --> 0:21:13.280
<v Speaker 1>Robin David had brought me in as a full member

0:21:13.280 --> 0:21:15.359
<v Speaker 1>of the band, and you know, brought me into the

0:21:15.440 --> 0:21:19.399
<v Speaker 1>songwriting process, uh, And we started writing songs and sending

0:21:19.440 --> 0:21:21.720
<v Speaker 1>them to Clive, and Clive kind of sat us down

0:21:21.840 --> 0:21:25.240
<v Speaker 1>and said, guys, you know what a hit song sounds like,

0:21:25.760 --> 0:21:28.200
<v Speaker 1>and he played us actually something that he thought was

0:21:28.240 --> 0:21:30.640
<v Speaker 1>going to be a hit song, which was really lame.

0:21:30.880 --> 0:21:33.000
<v Speaker 1>And it was not a hit. No, but you know what,

0:21:33.160 --> 0:21:36.920
<v Speaker 1>nobody nobody bats a thousand. Even Clive doesn't take away

0:21:36.960 --> 0:21:39.560
<v Speaker 1>from anything. So we sit down and and we we

0:21:39.680 --> 0:21:42.440
<v Speaker 1>just realized this is not the place for us. And

0:21:42.600 --> 0:21:46.840
<v Speaker 1>then at some point Rob and I realized that it

0:21:46.960 --> 0:21:50.040
<v Speaker 1>wasn't gonna happen the style of music we were doing. Um,

0:21:50.359 --> 0:21:54.119
<v Speaker 1>the singer wasn't a rock star. And he even told us,

0:21:54.160 --> 0:21:56.800
<v Speaker 1>he said, you know, I wasn't born to rock. So

0:21:57.040 --> 0:21:58.879
<v Speaker 1>Rob and I decided to give it one more shot.

0:21:59.000 --> 0:22:01.320
<v Speaker 1>This is seventy nine. We're gonna have We're gonna have

0:22:01.480 --> 0:22:04.240
<v Speaker 1>one more band. What are we gonna do? How are

0:22:04.280 --> 0:22:07.040
<v Speaker 1>we going to make it into something that everyone else

0:22:07.119 --> 0:22:09.120
<v Speaker 1>isn't doing because we're not gonna do punk, because we're

0:22:09.160 --> 0:22:13.640
<v Speaker 1>just way beyond that. Um. At this point, the SKA

0:22:13.920 --> 0:22:17.040
<v Speaker 1>Invasion was happening, of course, so you know, we saw madness,

0:22:17.160 --> 0:22:20.040
<v Speaker 1>we saw the Selector, we saw the Specials, the police

0:22:20.080 --> 0:22:23.320
<v Speaker 1>were happening. And Robert Rob actually grew up going to

0:22:23.400 --> 0:22:25.679
<v Speaker 1>Jamaica as a kid and he was way into reggae,

0:22:26.400 --> 0:22:28.520
<v Speaker 1>so he said, you know what, no American bands were

0:22:28.560 --> 0:22:32.399
<v Speaker 1>doing this sca thing. Let's try that. And we had

0:22:32.400 --> 0:22:35.159
<v Speaker 1>already found a drummer. When originally we were going to

0:22:35.240 --> 0:22:36.639
<v Speaker 1>do it as a three piece, I mean, Robin I

0:22:36.640 --> 0:22:38.199
<v Speaker 1>looked at each other and I said, can you sing?

0:22:38.320 --> 0:22:40.640
<v Speaker 1>I don't know? Can you I don't know? Well let's

0:22:40.640 --> 0:22:43.119
<v Speaker 1>try it. Well at least if we sing together, at

0:22:43.160 --> 0:22:46.280
<v Speaker 1>least we can cover each other's asses. And we originally

0:22:46.320 --> 0:22:47.800
<v Speaker 1>we're going to do it as a as a three piece.

0:22:47.880 --> 0:22:50.120
<v Speaker 1>Rob was going to play left hand bass like Raymond's Eric,

0:22:50.840 --> 0:22:53.760
<v Speaker 1>but then um, the drummer was was in a band

0:22:53.800 --> 0:22:57.240
<v Speaker 1>which was which was breaking up because the lead singer

0:22:57.320 --> 0:23:00.520
<v Speaker 1>and lead guitarists were leaving. So I went with them

0:23:00.800 --> 0:23:02.840
<v Speaker 1>with that band, they had a two week commitment at

0:23:02.880 --> 0:23:06.520
<v Speaker 1>this club, and I realized, here's a great drummer, a

0:23:06.560 --> 0:23:09.040
<v Speaker 1>great bass player, a great guitars will bring them in.

0:23:10.600 --> 0:23:13.240
<v Speaker 1>And that became the Hooters, the original, the original Hooters.

0:23:13.760 --> 0:23:16.639
<v Speaker 1>So this is this is at this point, it is

0:23:16.680 --> 0:23:21.800
<v Speaker 1>eighty this is living in New York. Were living in Philly, Okay,

0:23:22.040 --> 0:23:23.800
<v Speaker 1>And what's the next step with the Hooters. Next step

0:23:23.840 --> 0:23:26.720
<v Speaker 1>with the Hooters is to write some songs, get a

0:23:26.800 --> 0:23:31.080
<v Speaker 1>band name, and get some gigs. Now the band is

0:23:31.160 --> 0:23:33.840
<v Speaker 1>named after the melodica. Yeah, Well, what happened was we

0:23:33.880 --> 0:23:37.600
<v Speaker 1>went into do our first first demos and uh my,

0:23:37.840 --> 0:23:39.639
<v Speaker 1>my friend Glenn, who was actually sitting out there and

0:23:40.000 --> 0:23:43.200
<v Speaker 1>in the control room, had had a melodica. Uh. Rob

0:23:43.240 --> 0:23:45.320
<v Speaker 1>and I being into reggae, we're listening to a lot

0:23:45.400 --> 0:23:49.360
<v Speaker 1>of Augustus Pablo, you know. He would just play melodica

0:23:49.440 --> 0:23:53.560
<v Speaker 1>over over these these tracks. Um, and Rob said, how

0:23:53.600 --> 0:23:55.840
<v Speaker 1>we should try a melodica, said, well, my buddy Glenn's

0:23:55.880 --> 0:23:58.480
<v Speaker 1>got one of them. And the meantime a friend of

0:23:58.520 --> 0:24:02.399
<v Speaker 1>ours had a mandolin and he also happened to have

0:24:02.480 --> 0:24:06.240
<v Speaker 1>some recording gear, so he recorded our first demos so

0:24:06.359 --> 0:24:08.600
<v Speaker 1>we're set up setting it for the first demos. I'm

0:24:08.600 --> 0:24:16.400
<v Speaker 1>playing a mandolin better than that, but um, And then

0:24:17.240 --> 0:24:20.280
<v Speaker 1>the engineer says, give me a level on that hooter. Ah,

0:24:21.560 --> 0:24:23.640
<v Speaker 1>And we looked at each other and went, okay, well,

0:24:23.760 --> 0:24:27.000
<v Speaker 1>this is a hooter. This is a hooter. The band

0:24:27.119 --> 0:24:29.520
<v Speaker 1>name thing took a few days because we were looking.

0:24:29.600 --> 0:24:32.439
<v Speaker 1>We wanted to be a plural noun so that each one,

0:24:32.560 --> 0:24:35.359
<v Speaker 1>each guy in the band could say I am a beatle,

0:24:35.480 --> 0:24:37.600
<v Speaker 1>rolling stone, not a shoe, not a chair, and it

0:24:37.640 --> 0:24:40.760
<v Speaker 1>couldn't be a household name. And then dawned on one

0:24:40.840 --> 0:24:42.840
<v Speaker 1>of us that it could be a hooter. So you

0:24:42.920 --> 0:24:45.200
<v Speaker 1>become the Hooters. And what's the next step towards success?

0:24:45.600 --> 0:24:49.400
<v Speaker 1>Rob's girlfriend at the time had a successful record store

0:24:49.520 --> 0:24:53.280
<v Speaker 1>that like alternative punk, new wave record store, and she

0:24:54.160 --> 0:24:56.720
<v Speaker 1>took it upon herself to to manage us with with

0:24:56.960 --> 0:25:00.520
<v Speaker 1>with Rob and we had a we had a very

0:25:00.560 --> 0:25:03.520
<v Speaker 1>successful marketing campaign. We printed up, we got she made

0:25:03.560 --> 0:25:06.040
<v Speaker 1>a logo for us, and printed up a bunch of

0:25:06.160 --> 0:25:08.439
<v Speaker 1>yellow eight and a half by eleven sheets of paper

0:25:08.800 --> 0:25:12.800
<v Speaker 1>that said h oo question mark, and we papered them

0:25:12.840 --> 0:25:15.000
<v Speaker 1>all over the city. Right, that's a good campaign. I

0:25:15.000 --> 0:25:17.600
<v Speaker 1>gotta give her credit. And then a week later Hooters,

0:25:18.440 --> 0:25:21.880
<v Speaker 1>and then the the date of our first show, which

0:25:21.920 --> 0:25:24.760
<v Speaker 1>was I think June of at a bar in Levittown,

0:25:25.280 --> 0:25:27.600
<v Speaker 1>and was it successful to people show up? People showed

0:25:27.680 --> 0:25:29.960
<v Speaker 1>up well because the band that I had played in

0:25:30.040 --> 0:25:33.040
<v Speaker 1>with David, our drummer, had a following, so they knew

0:25:33.119 --> 0:25:36.879
<v Speaker 1>David and they knew me, And yeah, they came, you know,

0:25:37.160 --> 0:25:39.560
<v Speaker 1>a hundred maybe the first night, two hundred the second night,

0:25:40.359 --> 0:25:43.520
<v Speaker 1>and we ended up playing at the bar called Vernon's

0:25:43.600 --> 0:25:46.280
<v Speaker 1>five nights a week, four sets a night, so that

0:25:46.440 --> 0:25:49.800
<v Speaker 1>was like that was our Hamburg exactly. I was just thinking, so,

0:25:50.280 --> 0:25:51.960
<v Speaker 1>how do you end up getting a deal with Columbia?

0:25:52.720 --> 0:25:55.200
<v Speaker 1>That was a long road really Yeah, yeah, yeah, we

0:25:55.240 --> 0:25:57.560
<v Speaker 1>did Vernon's places like that. Then we started doing a

0:25:57.640 --> 0:26:00.640
<v Speaker 1>residency at a place called Grendel's Lair in the City

0:26:00.720 --> 0:26:04.000
<v Speaker 1>on South Street in Philly every Monday night. Again. The

0:26:04.040 --> 0:26:06.480
<v Speaker 1>first time maybe we had seventy five people, second time

0:26:07.000 --> 0:26:09.720
<v Speaker 1>and fifty and within a few months the line was

0:26:09.800 --> 0:26:14.280
<v Speaker 1>around the block. Then a very lucky thing happened. Uh

0:26:14.880 --> 0:26:17.880
<v Speaker 1>this this jockey named Michael Tearson. I hear from Michael

0:26:17.880 --> 0:26:20.440
<v Speaker 1>tears all the time of course you do, Of course

0:26:20.560 --> 0:26:22.680
<v Speaker 1>you do. He decides he's going to put the studio

0:26:22.760 --> 0:26:25.120
<v Speaker 1>on lockdown and only play the music he wants to play.

0:26:25.720 --> 0:26:29.240
<v Speaker 1>Guerilla Radio. That was the that was the original Guerilla Radio.

0:26:29.680 --> 0:26:33.000
<v Speaker 1>So Betsy the manager calls him and says, hey, we

0:26:33.119 --> 0:26:35.560
<v Speaker 1>got some demos. Should we come down and said yeah.

0:26:35.760 --> 0:26:38.399
<v Speaker 1>So he plays our our first demo. It was a

0:26:38.440 --> 0:26:42.320
<v Speaker 1>sky instrumental called Man in the Street. Um, he plays it,

0:26:42.520 --> 0:26:46.119
<v Speaker 1>and I guess the phones went wild because they started

0:26:46.160 --> 0:26:49.080
<v Speaker 1>playing it like in regular rotation. This is w MMR.

0:26:49.600 --> 0:26:52.720
<v Speaker 1>This isn't like you know, you know, cheesy little. That's

0:26:52.760 --> 0:26:56.760
<v Speaker 1>one of the original so called underground FM rock stations. Yep, yep,

0:26:56.880 --> 0:27:00.639
<v Speaker 1>it was the second one. You know, things just and

0:27:00.720 --> 0:27:03.480
<v Speaker 1>then we put out our first single. We did a

0:27:03.560 --> 0:27:07.000
<v Speaker 1>live broadcast. We opened for for the Beat, for the

0:27:07.040 --> 0:27:10.520
<v Speaker 1>English Beat, who are our heroes right mirror in the bathroom,

0:27:10.640 --> 0:27:13.639
<v Speaker 1>Oh my god? And um we opened for them, and

0:27:14.000 --> 0:27:16.600
<v Speaker 1>we did a live version of All Your Zombies, which

0:27:16.680 --> 0:27:19.000
<v Speaker 1>they started playing and started really playing it. So we

0:27:19.119 --> 0:27:23.919
<v Speaker 1>put that out as our second single. So things are

0:27:23.960 --> 0:27:26.320
<v Speaker 1>really heating up. We're really getting gigs and it's spreading

0:27:26.359 --> 0:27:29.720
<v Speaker 1>out into the you know, into Jersey into Delaware. But

0:27:30.200 --> 0:27:32.399
<v Speaker 1>what happens in Philly stays in Philly. You know, you

0:27:32.520 --> 0:27:34.240
<v Speaker 1>go to New York to try to get somebody interested,

0:27:34.280 --> 0:27:36.359
<v Speaker 1>we'll come play in New York. So you go, I

0:27:36.480 --> 0:27:39.239
<v Speaker 1>think the place was called Privates and ten people show up,

0:27:39.880 --> 0:27:41.359
<v Speaker 1>you know, the A and our genius has come out

0:27:41.359 --> 0:27:44.400
<v Speaker 1>and say, well, it wasn't electric, right, but you try

0:27:44.480 --> 0:27:50.920
<v Speaker 1>being electric in front of ten people. Hey, it's Bob

0:27:51.080 --> 0:27:53.320
<v Speaker 1>left Sets. I thank you for your time. Welcome to

0:27:53.440 --> 0:27:57.320
<v Speaker 1>my new podcast, the Bob left Sets Podcast. Remember to

0:27:57.440 --> 0:28:01.240
<v Speaker 1>subscribe on tune in iTunes or wherever you get your podcasts.

0:28:05.200 --> 0:28:10.800
<v Speaker 1>So the Cindy law Per record was before the Hooters deal. Yes, okay,

0:28:11.119 --> 0:28:13.320
<v Speaker 1>Rick calls you Ricks, the producer of that. What does

0:28:13.359 --> 0:28:15.879
<v Speaker 1>he say? He says, because she she's already come from

0:28:15.920 --> 0:28:19.479
<v Speaker 1>failure in bankruptcy, right, he says, And he was basically

0:28:19.520 --> 0:28:23.680
<v Speaker 1>assigned her. Um and he says, I got this artist

0:28:23.840 --> 0:28:28.440
<v Speaker 1>and uh, he took her to see a number of

0:28:28.560 --> 0:28:31.280
<v Speaker 1>musicians and apparently she didn't like me at first. She

0:28:31.400 --> 0:28:34.760
<v Speaker 1>liked Rob, but she wasn't nuts about me. So it

0:28:34.920 --> 0:28:37.080
<v Speaker 1>was originally going to be another guitar player. But then

0:28:37.840 --> 0:28:39.480
<v Speaker 1>I don't know if Rick talked her into it, or

0:28:39.600 --> 0:28:42.360
<v Speaker 1>she saw us again and decided I was up to snuff.

0:28:43.000 --> 0:28:45.880
<v Speaker 1>But we started hunkering down in our We had this

0:28:46.120 --> 0:28:50.080
<v Speaker 1>rehearsal studio that we called the ranch like but it

0:28:50.200 --> 0:28:52.520
<v Speaker 1>was like not a ranch. It was like here in Philadelphia.

0:28:53.520 --> 0:28:57.400
<v Speaker 1>It was really like Deliverance world around there. Um and

0:28:58.200 --> 0:29:02.320
<v Speaker 1>Rick had is his suitcase full of songs. He had

0:29:02.360 --> 0:29:04.200
<v Speaker 1>girls just want to have Fun. Well, that's a Robert

0:29:04.240 --> 0:29:08.000
<v Speaker 1>Hazard song from Philadelphia. Did you know Robert Yeah? Oh sure.

0:29:08.040 --> 0:29:10.320
<v Speaker 1>He was our competition. He was our arrival. He had

0:29:10.360 --> 0:29:11.480
<v Speaker 1>that one thing, you know, We had that song on

0:29:11.560 --> 0:29:15.440
<v Speaker 1>the Elevator of Life. Which Escalator of Life? He talked

0:29:15.440 --> 0:29:17.840
<v Speaker 1>about his taking his mas to to the supermarket. He's

0:29:17.880 --> 0:29:21.600
<v Speaker 1>dead himself at this so okay he had that. And

0:29:21.680 --> 0:29:24.640
<v Speaker 1>then where do time after time and all that stuff

0:29:24.680 --> 0:29:26.960
<v Speaker 1>come from? Time after time? It was a later rival

0:29:28.920 --> 0:29:30.920
<v Speaker 1>girls this one am I allowed to play any of girls?

0:29:30.960 --> 0:29:32.840
<v Speaker 1>Just one to happen, but keep it short. Okay, this

0:29:33.000 --> 0:29:37.280
<v Speaker 1>was how it was originally written. But come home in

0:29:37.360 --> 0:29:40.240
<v Speaker 1>the middle of the night, my father. I haven't heard

0:29:40.280 --> 0:29:43.040
<v Speaker 1>the original version, so Cindy and it was boys just

0:29:43.160 --> 0:29:45.320
<v Speaker 1>want to have fun? No, it was girls just when Western.

0:29:45.440 --> 0:29:47.840
<v Speaker 1>Yes it was, but Cindy said, I will never sing

0:29:47.960 --> 0:29:50.880
<v Speaker 1>that song as song as I don't like the music

0:29:50.960 --> 0:29:54.760
<v Speaker 1>and it's demeaning to women. So we tried doing it

0:29:54.800 --> 0:29:56.880
<v Speaker 1>as a reggae. We tried doing it as a sky

0:29:57.200 --> 0:29:59.480
<v Speaker 1>we tried doing it as like a cat Stevens. She

0:29:59.760 --> 0:30:02.160
<v Speaker 1>was not having any of it. But Rick, who was

0:30:02.360 --> 0:30:04.440
<v Speaker 1>really an a and our genius, he knew that that

0:30:04.680 --> 0:30:09.920
<v Speaker 1>voice singing that song was gold. So finally one day

0:30:10.120 --> 0:30:12.320
<v Speaker 1>we came in and Rick's like, can't we figure out

0:30:12.360 --> 0:30:14.200
<v Speaker 1>a way to do this? Now? This was when Come

0:30:14.280 --> 0:30:16.360
<v Speaker 1>On Eileen was all over the world, and who didn't

0:30:16.440 --> 0:30:19.239
<v Speaker 1>love Come On Eileen? So Cindy says, can't you make

0:30:19.320 --> 0:30:23.840
<v Speaker 1>it sound like come On Eileen? And I remember that

0:30:23.920 --> 0:30:26.320
<v Speaker 1>I have such a clear visual memory of that moment.

0:30:26.360 --> 0:30:28.040
<v Speaker 1>I had an eight to eight drum machine, that's what

0:30:28.080 --> 0:30:30.600
<v Speaker 1>we did all of the demos, of course, and I

0:30:30.720 --> 0:30:33.400
<v Speaker 1>turned it that big tempo knob down. I changed the

0:30:33.440 --> 0:30:41.640
<v Speaker 1>kick drum pattern. I picked up my guitar and I went, yeah, yeah,

0:30:41.680 --> 0:30:44.520
<v Speaker 1>that's that's what's it like when you hear that riff

0:30:44.560 --> 0:30:46.400
<v Speaker 1>that you just come off that easy. When it became

0:30:46.520 --> 0:30:50.080
<v Speaker 1>ubiquitous all over TV, and radio did that kind of

0:30:50.200 --> 0:30:52.520
<v Speaker 1>just like blow your mind. It was pretty wacky. I

0:30:52.600 --> 0:30:57.400
<v Speaker 1>mean it was yeah, yeah, I probably felt like Raphael

0:30:57.520 --> 0:31:00.720
<v Speaker 1>Ravenscroft felt when every year right Acre Street, because I

0:31:00.840 --> 0:31:02.320
<v Speaker 1>got paid about as much as he did for that.

0:31:03.640 --> 0:31:06.640
<v Speaker 1>But um uh, And you know, of course a week later,

0:31:06.800 --> 0:31:08.800
<v Speaker 1>she's saying, you know, I always wanted to sing that song.

0:31:08.880 --> 0:31:11.840
<v Speaker 1>That song is so empowering to women. Oh listen, leave,

0:31:11.840 --> 0:31:14.040
<v Speaker 1>I'll leave it in today's environment. I won't make any

0:31:14.120 --> 0:31:16.640
<v Speaker 1>comment about that. So you're making that record? How long

0:31:16.680 --> 0:31:18.600
<v Speaker 1>does it take to make that album? We spent about

0:31:18.640 --> 0:31:22.080
<v Speaker 1>six months demoing the songs that that that Rick had

0:31:22.120 --> 0:31:24.320
<v Speaker 1>brought in a couple of them Cindy had co written.

0:31:25.000 --> 0:31:27.360
<v Speaker 1>It was a Jewels sheer song. There was all through

0:31:27.400 --> 0:31:30.120
<v Speaker 1>the night, and then we went into um, we went

0:31:30.200 --> 0:31:33.000
<v Speaker 1>into the record plant and okay, you make the record.

0:31:33.120 --> 0:31:36.200
<v Speaker 1>You have any idea it's going to be this gigantic smash,

0:31:36.240 --> 0:31:39.240
<v Speaker 1>which it turns out to be. I was really sort

0:31:39.280 --> 0:31:42.960
<v Speaker 1>of running on fumes creatively at that point. Cindy is brilliant.

0:31:43.080 --> 0:31:45.600
<v Speaker 1>I love her. She's like that wacky cousin that you

0:31:45.760 --> 0:31:50.440
<v Speaker 1>like have Thanksgiving with and and and you're tired afterwards.

0:31:50.520 --> 0:31:53.880
<v Speaker 1>But but she's great. I mean, I think she's one

0:31:53.920 --> 0:31:57.800
<v Speaker 1>of the greatest singers ever and fine, fine person, but

0:31:58.600 --> 0:32:01.400
<v Speaker 1>it was it was draining. And then towards the very end,

0:32:02.240 --> 0:32:03.720
<v Speaker 1>Rick was saying, you know, we could really use a

0:32:03.800 --> 0:32:07.280
<v Speaker 1>couple more songs, and Cindy was reading TV guide looking

0:32:07.320 --> 0:32:10.440
<v Speaker 1>for titles, so she found two titles Vertigo and time

0:32:10.480 --> 0:32:14.000
<v Speaker 1>after time I got Vertigo. We tried to write a

0:32:14.040 --> 0:32:17.120
<v Speaker 1>song called Vertigo. It wasn't good. She and Rob meanwhile,

0:32:17.760 --> 0:32:19.800
<v Speaker 1>come to me a couple of days later, say hey,

0:32:19.840 --> 0:32:21.320
<v Speaker 1>we got an idea for a song. They play me

0:32:21.400 --> 0:32:24.080
<v Speaker 1>the chorus like a verse idea and the chorus, and

0:32:24.160 --> 0:32:28.000
<v Speaker 1>I just said, you've you've just written yesterday. We're gonna

0:32:28.120 --> 0:32:30.000
<v Speaker 1>We're gonna hear the song for the rest of our lives.

0:32:31.320 --> 0:32:34.240
<v Speaker 1>Who created the arrangement? That was really me and Rob

0:32:34.320 --> 0:32:37.040
<v Speaker 1>and Rick and Bill Whitman, who was the engineer and

0:32:37.160 --> 0:32:40.440
<v Speaker 1>is now Cindy's musical director for fifteen years. So, but

0:32:40.560 --> 0:32:43.560
<v Speaker 1>the album comes out and goes nuclear. Did you foresee

0:32:43.640 --> 0:32:45.760
<v Speaker 1>that at all? No? I remember when I got got

0:32:45.920 --> 0:32:48.720
<v Speaker 1>my first pressing of it. I just listened to that.

0:32:48.800 --> 0:32:51.480
<v Speaker 1>I get aside from time after time, time after time

0:32:51.600 --> 0:32:53.840
<v Speaker 1>was a slam dunk. But like I heard, girls just

0:32:53.880 --> 0:32:55.520
<v Speaker 1>want to have fun coming out of my speakers, and

0:32:55.560 --> 0:33:00.280
<v Speaker 1>I'm like, I don't know, I just don't notice. H

0:33:01.680 --> 0:33:06.680
<v Speaker 1>But obviously I was wrong. Okay, so that's a big success.

0:33:06.720 --> 0:33:08.720
<v Speaker 1>How do the Hooters get signed? A lot of it

0:33:08.800 --> 0:33:10.360
<v Speaker 1>was on the strength of that. I mean I think

0:33:10.440 --> 0:33:13.000
<v Speaker 1>that gave Rick the ammunition he needed to be able

0:33:13.000 --> 0:33:15.280
<v Speaker 1>to sign us. So you basically owe your career to

0:33:15.360 --> 0:33:19.040
<v Speaker 1>wreck absolutely and even more so as in the next chapter,

0:33:19.120 --> 0:33:22.480
<v Speaker 1>Will Will Will reveal. But um, you know, we we

0:33:22.600 --> 0:33:24.640
<v Speaker 1>got we got a deal. We made the record, and

0:33:24.920 --> 0:33:27.240
<v Speaker 1>you know, All Use Zombies was the first the first

0:33:27.640 --> 0:33:30.479
<v Speaker 1>they were now in the MTV era. Okay, so when

0:33:30.520 --> 0:33:32.760
<v Speaker 1>you started the Hooters, it was before that because August

0:33:32.840 --> 0:33:38.560
<v Speaker 1>of eighty one is MTV. So how does that affect

0:33:38.760 --> 0:33:42.880
<v Speaker 1>the creative process and what you end up doing. It

0:33:42.920 --> 0:33:45.520
<v Speaker 1>didn't affect their songwriting or record making at all. I mean,

0:33:45.640 --> 0:33:48.000
<v Speaker 1>we just figured somebody would come in and make a video.

0:33:48.520 --> 0:33:50.480
<v Speaker 1>So okay, so you do All Use Zombies, which becomes

0:33:50.480 --> 0:33:53.800
<v Speaker 1>a huge yet became it's funny. It's funny. I think

0:33:53.840 --> 0:33:56.200
<v Speaker 1>it peaked at number fifty seven. Yeah, but the numbers

0:33:56.240 --> 0:33:58.040
<v Speaker 1>are irrelevant. They played They played it all the time

0:33:58.160 --> 0:34:01.360
<v Speaker 1>on the on the video channel, and then the next

0:34:01.400 --> 0:34:03.840
<v Speaker 1>track comes and we danced, which was really was what

0:34:04.640 --> 0:34:07.960
<v Speaker 1>made us go platinum. And now you're touring and you're

0:34:08.000 --> 0:34:10.680
<v Speaker 1>living the life, living the life, and do you believe

0:34:10.880 --> 0:34:13.680
<v Speaker 1>that you've you've achieved your dream? I was too busy

0:34:13.760 --> 0:34:16.600
<v Speaker 1>to believe anything. It really you miss it the first time.

0:34:17.120 --> 0:34:19.200
<v Speaker 1>You know, we weren't we weren't that young. I mean

0:34:19.200 --> 0:34:21.760
<v Speaker 1>I was already in my early thirties when this was happening.

0:34:22.360 --> 0:34:25.160
<v Speaker 1>But you know, it's such a whirlwind. I mean, we

0:34:25.440 --> 0:34:29.000
<v Speaker 1>played live AID, live aid. You know, people ask me

0:34:29.120 --> 0:34:30.960
<v Speaker 1>what was it like? I don't know. You know, we

0:34:31.080 --> 0:34:33.040
<v Speaker 1>walked on stage, we did two songs, we were off.

0:34:33.880 --> 0:34:35.640
<v Speaker 1>Do you hang out the rest of the day? I

0:34:35.719 --> 0:34:39.759
<v Speaker 1>actually there were there were personal issues. I actually ended

0:34:39.840 --> 0:34:42.400
<v Speaker 1>up going home for for a few hours, and I

0:34:42.480 --> 0:34:46.040
<v Speaker 1>went back for the for the finale. But um, I

0:34:46.200 --> 0:34:48.360
<v Speaker 1>was there for a fair amount of it. Okay, So

0:34:48.480 --> 0:34:50.600
<v Speaker 1>the first album comes out, goes platinum, and then where

0:34:50.600 --> 0:34:53.160
<v Speaker 1>does that leave you? Um? When we toured a bunch,

0:34:53.239 --> 0:34:56.480
<v Speaker 1>we opened for Lover Boy, Turn Me Loose, YEP, and

0:34:56.600 --> 0:35:01.239
<v Speaker 1>we opened for for Squeeze. UM, Don Henley for two weeks,

0:35:01.239 --> 0:35:04.000
<v Speaker 1>Squeeze for a couple of months, and Lover Boy Um

0:35:04.520 --> 0:35:06.359
<v Speaker 1>and then we have to make another album. And then

0:35:06.440 --> 0:35:08.320
<v Speaker 1>Day by Day was the third single, which was actually

0:35:08.360 --> 0:35:11.680
<v Speaker 1>the highest charting single. But you have three hits, which

0:35:11.760 --> 0:35:14.960
<v Speaker 1>by today's standards is gargantrain, actually four Where did the

0:35:15.000 --> 0:35:17.680
<v Speaker 1>Children Go? The single didn't really do well, but the

0:35:17.800 --> 0:35:20.759
<v Speaker 1>video was number It was our highest charting video, number two,

0:35:21.320 --> 0:35:23.480
<v Speaker 1>a live video. So then we have to make another record,

0:35:23.560 --> 0:35:26.840
<v Speaker 1>and there's that, you know, sophomore. We've used you know,

0:35:26.880 --> 0:35:29.440
<v Speaker 1>we've used all of our But while we were on

0:35:29.560 --> 0:35:32.680
<v Speaker 1>the road, we stayed busy, you know, we we're we're

0:35:32.719 --> 0:35:35.600
<v Speaker 1>on a bus. I had a mandlin and um on

0:35:36.000 --> 0:35:38.840
<v Speaker 1>one day, on a drive from New Orleans to San Antonio,

0:35:39.080 --> 0:35:47.280
<v Speaker 1>I picked up a mandolin and start going, etcetera, etcetera.

0:35:47.640 --> 0:35:49.759
<v Speaker 1>It's just that easy, just comes to you. Yeah, m

0:35:50.160 --> 0:35:52.840
<v Speaker 1>the brain and the fingers become one, okay, and you

0:35:52.960 --> 0:35:56.040
<v Speaker 1>realize you've written something that's gonna go. I realized I've

0:35:56.040 --> 0:35:59.000
<v Speaker 1>written something that's gonna make me go. For a while.

0:36:00.560 --> 0:36:02.320
<v Speaker 1>The whole band was in the back lounge when we

0:36:02.440 --> 0:36:04.120
<v Speaker 1>when we did that, and you know, Rob was playing

0:36:04.200 --> 0:36:07.920
<v Speaker 1>in the melodica the hooter Um, and it actually took

0:36:07.960 --> 0:36:10.840
<v Speaker 1>us six months to write the song because you know,

0:36:10.960 --> 0:36:12.719
<v Speaker 1>a riff like that is just a riff you got right.

0:36:12.760 --> 0:36:14.239
<v Speaker 1>At some point you have to sing something, and I

0:36:14.360 --> 0:36:17.000
<v Speaker 1>never thought the song actually came up to the level

0:36:17.080 --> 0:36:18.800
<v Speaker 1>of that. I wish that we would have found a

0:36:19.120 --> 0:36:22.560
<v Speaker 1>way to sing that melody, but the words never came. Okay,

0:36:22.600 --> 0:36:24.799
<v Speaker 1>But that's the second album. Now, that's the second album,

0:36:25.000 --> 0:36:26.320
<v Speaker 1>so that we do the second time, we take a

0:36:26.360 --> 0:36:31.120
<v Speaker 1>big chance a chordion's mandolin's uh, really going going out,

0:36:31.239 --> 0:36:35.000
<v Speaker 1>going for our ethnic weirdness thing. We've left the reggae

0:36:35.080 --> 0:36:37.440
<v Speaker 1>thing behind at this point. You know, we're staying with

0:36:37.520 --> 0:36:39.560
<v Speaker 1>our God theme, you know, all you zombies as a

0:36:39.600 --> 0:36:42.360
<v Speaker 1>Bible story. And we write Satellite, which is about like

0:36:42.440 --> 0:36:47.680
<v Speaker 1>Jimmy Folwell and and that el evangelist thing. Everybody thinks

0:36:47.719 --> 0:36:50.000
<v Speaker 1>we're like a Christian band or you know know, we're

0:36:50.000 --> 0:36:52.719
<v Speaker 1>a couple of lass Hebrews right and stuff. So the

0:36:52.760 --> 0:36:55.319
<v Speaker 1>album comes out and it's Ships Gold, which they took

0:36:55.360 --> 0:36:59.000
<v Speaker 1>back from us because after the returns um Our first

0:36:59.040 --> 0:37:01.839
<v Speaker 1>single from that album was Johnny b which the video

0:37:01.880 --> 0:37:04.800
<v Speaker 1>was directed by David Fincher. Did you know he was

0:37:04.800 --> 0:37:07.440
<v Speaker 1>going to turn into David Fincher. Nobody knew who he

0:37:07.600 --> 0:37:10.040
<v Speaker 1>had to turn to David Fincher. But um, and we

0:37:10.160 --> 0:37:12.600
<v Speaker 1>toured with Bryan Adams on that album, but it never

0:37:12.800 --> 0:37:18.240
<v Speaker 1>really caught hold in the US. Meanwhile, Germany happens. Johnny

0:37:18.280 --> 0:37:22.080
<v Speaker 1>b is a smash ubiquitous in Germany. We go there

0:37:22.760 --> 0:37:27.440
<v Speaker 1>and wow, I can do this, Okay, Germany and Scandinavia.

0:37:27.800 --> 0:37:30.399
<v Speaker 1>But what does the label say? Label says, that's great,

0:37:30.440 --> 0:37:33.600
<v Speaker 1>But um, you know, we gotta do another album. So

0:37:33.719 --> 0:37:36.440
<v Speaker 1>we go back and we've come off the road and

0:37:36.520 --> 0:37:38.520
<v Speaker 1>we're a kick ass band. I mean we still are.

0:37:38.680 --> 0:37:41.040
<v Speaker 1>We're more now than ever. Really, it's a rock and

0:37:41.200 --> 0:37:44.560
<v Speaker 1>roll show and the mandolins and the accordions make it

0:37:44.680 --> 0:37:46.920
<v Speaker 1>rock even harder. We play at we play at hard

0:37:47.000 --> 0:37:49.719
<v Speaker 1>rock festivals in Europe. Now. We played between like Black

0:37:49.840 --> 0:37:52.800
<v Speaker 1>Label Society and Azzi really Yeah and Pete. When we

0:37:52.840 --> 0:37:55.000
<v Speaker 1>pull out the mandolins and the according to they go nuts,

0:37:55.360 --> 0:37:58.320
<v Speaker 1>they lose their minds. So it's the energy that appeals

0:37:58.360 --> 0:37:59.920
<v Speaker 1>to that. It's the energy. It's the energy and the

0:38:00.239 --> 0:38:03.040
<v Speaker 1>songs because we write real songs. Okay, So you're making

0:38:03.080 --> 0:38:05.319
<v Speaker 1>the third record, making the third record, I want to Rock.

0:38:05.480 --> 0:38:08.200
<v Speaker 1>I Want to Rock. We end up doing five miles,

0:38:08.280 --> 0:38:10.120
<v Speaker 1>a cover of five hundred miles, and we have Peter

0:38:10.200 --> 0:38:12.200
<v Speaker 1>Poe and Mary sing on it with us, and it's

0:38:12.239 --> 0:38:15.719
<v Speaker 1>kind of a lugubrious reggae vibe. The whole album ends

0:38:15.760 --> 0:38:19.160
<v Speaker 1>up being our folkiest album yet, and I can't blame

0:38:19.200 --> 0:38:21.840
<v Speaker 1>it when anyone I signed off on every decision that

0:38:22.040 --> 0:38:24.319
<v Speaker 1>was the album that wanted to be made. It's like saying,

0:38:24.520 --> 0:38:26.960
<v Speaker 1>I'm going to conceive and give birth to a nuclear

0:38:27.000 --> 0:38:30.439
<v Speaker 1>physicist and he turns out being a basketball player. You can't,

0:38:30.520 --> 0:38:33.839
<v Speaker 1>You just can't. You know, every song, every recording has

0:38:33.880 --> 0:38:35.960
<v Speaker 1>a life of its own, its decide. The one chooses

0:38:36.040 --> 0:38:38.920
<v Speaker 1>the wizard, chooses the Wizard. That's a good one. I've

0:38:38.960 --> 0:38:42.160
<v Speaker 1>never heard that one before. It's from Harry Potter, whose

0:38:42.200 --> 0:38:43.920
<v Speaker 1>I haven't read it. There you go. It's in the

0:38:43.960 --> 0:38:46.879
<v Speaker 1>films too. But so we do our focus album yet

0:38:47.280 --> 0:38:50.480
<v Speaker 1>and at this point Columbia basically drops us. I mean

0:38:50.520 --> 0:38:52.320
<v Speaker 1>they don't drop us, but you know, they pulled the

0:38:52.360 --> 0:38:56.720
<v Speaker 1>plug on everything. We're touring places where we were selling

0:38:56.760 --> 0:39:00.360
<v Speaker 1>out theaters, were playing at at clubs and strip malls,

0:39:00.440 --> 0:39:03.279
<v Speaker 1>nobody's coming, nobody's playing the record on the radio. We're

0:39:03.360 --> 0:39:06.200
<v Speaker 1>fighting on the bus. Then we get a call we're

0:39:06.239 --> 0:39:09.880
<v Speaker 1>going to Sweden. We're going to Stockholm. So March ninety

0:39:10.239 --> 0:39:13.240
<v Speaker 1>we played the concert house coat who said in Stockholm,

0:39:13.280 --> 0:39:16.160
<v Speaker 1>which is one of the most beautiful venues in the world,

0:39:16.360 --> 0:39:19.520
<v Speaker 1>it's sold out. Everyone knows every word to every song.

0:39:19.920 --> 0:39:22.800
<v Speaker 1>Five Miles is a number one record there, And it's like,

0:39:22.920 --> 0:39:26.000
<v Speaker 1>at this point, okay, we're a European band. We knew

0:39:26.040 --> 0:39:31.239
<v Speaker 1>even then. Okay, let's segue. Now do you becoming a songwriter?

0:39:31.800 --> 0:39:36.160
<v Speaker 1>Because was the year of Joan Osborne. Joan came a

0:39:36.239 --> 0:39:39.520
<v Speaker 1>bit later along what year was John Osborne? Joan Osborne

0:39:39.560 --> 0:39:43.000
<v Speaker 1>was um came out in God, I guess it's in

0:39:43.080 --> 0:39:45.440
<v Speaker 1>the past and it's all blending together. So at what

0:39:45.600 --> 0:39:47.919
<v Speaker 1>point do you side you're gonna write songs for other people?

0:39:48.200 --> 0:39:49.680
<v Speaker 1>Rob and I did a bit a bit of that.

0:39:49.840 --> 0:39:52.560
<v Speaker 1>We we did an album with Patty Smythe We wrote

0:39:52.600 --> 0:39:54.600
<v Speaker 1>some of the songs on that. We did Uh. We

0:39:54.719 --> 0:39:56.759
<v Speaker 1>did Cindy's third album with her and we wrote we

0:39:56.840 --> 0:40:00.400
<v Speaker 1>wrote a lot of that. But Rick and I've actually

0:40:00.400 --> 0:40:02.920
<v Speaker 1>simultaneously found Joan in ninety three, she was playing at

0:40:02.920 --> 0:40:06.400
<v Speaker 1>one of our manager's clubs in Philadelphia, and Um, we

0:40:06.520 --> 0:40:08.920
<v Speaker 1>decided to have her over and see what happened, and

0:40:09.080 --> 0:40:12.239
<v Speaker 1>we we clicked. Okay, I love that album. She's never

0:40:12.280 --> 0:40:14.200
<v Speaker 1>been able to follow it up with Ladder and all

0:40:14.239 --> 0:40:16.160
<v Speaker 1>those other songs. Get But how do you write one

0:40:16.239 --> 0:40:18.160
<v Speaker 1>of us? Okay, Well, here's how you write a one

0:40:18.239 --> 0:40:20.480
<v Speaker 1>of us. It was like a laboratory. We would go

0:40:20.600 --> 0:40:23.560
<v Speaker 1>in every day to to our our place. Anybody had

0:40:23.560 --> 0:40:25.680
<v Speaker 1>an idea, we would develop it, try to make a

0:40:25.719 --> 0:40:28.400
<v Speaker 1>real song. And the meanwhile, I've been on tour with

0:40:28.440 --> 0:40:31.520
<v Speaker 1>the Hooters. I sit down on a plane, a flight

0:40:31.640 --> 0:40:37.520
<v Speaker 1>from from JFK to Stockholm, and this beautiful, obviously Swedish

0:40:37.560 --> 0:40:40.640
<v Speaker 1>girl sits next to me. I asked her her name

0:40:40.840 --> 0:40:42.920
<v Speaker 1>in Swedish because I was already I had a feeling.

0:40:43.160 --> 0:40:44.839
<v Speaker 1>I had a feeling was gonna come in early Andy,

0:40:45.600 --> 0:40:47.520
<v Speaker 1>and um, she says, I'm a Swedish girl with the

0:40:47.560 --> 0:40:50.560
<v Speaker 1>Jewish name. Oh, Sarah, Well, I'm a Jewish boy with

0:40:50.600 --> 0:40:54.440
<v Speaker 1>a Swedish name. Um. And one thing leads to another.

0:40:55.400 --> 0:40:58.399
<v Speaker 1>That January, she she moves in with me. We're making

0:40:58.840 --> 0:41:01.719
<v Speaker 1>We're gonna make the Jonas on record. She has my car,

0:41:02.440 --> 0:41:04.759
<v Speaker 1>picks me up at one of our sessions. I have

0:41:04.840 --> 0:41:07.000
<v Speaker 1>a guitar riff. You saw, you saw the thing with

0:41:07.080 --> 0:41:09.680
<v Speaker 1>the fingers. I picked up a guitar at Rob's one

0:41:09.760 --> 0:41:16.160
<v Speaker 1>morning and I did this. It just came out that

0:41:16.840 --> 0:41:20.200
<v Speaker 1>that's what it's the riff doujor. That was the riff doujur.

0:41:21.000 --> 0:41:22.880
<v Speaker 1>So that was in my head. I was playing that

0:41:23.000 --> 0:41:25.000
<v Speaker 1>playing on the piano. In fact, when Sarah came to

0:41:25.080 --> 0:41:26.960
<v Speaker 1>pick me up from the session, I was sitting at

0:41:27.000 --> 0:41:29.600
<v Speaker 1>the piano playing it and Joan was like riffing, doing

0:41:29.640 --> 0:41:33.359
<v Speaker 1>her Joan bluesy riffing thing over it. Maybe we'll make

0:41:33.400 --> 0:41:35.400
<v Speaker 1>something out of that. So we go home, we have dinner.

0:41:35.560 --> 0:41:38.040
<v Speaker 1>We watched the Making of Sergeant Pepper. You've seen that

0:41:38.120 --> 0:41:43.279
<v Speaker 1>documentary George Martin at the flat four channel. So it

0:41:43.440 --> 0:41:46.120
<v Speaker 1>ends and Sarah says, well, four track recording. What's what's

0:41:46.160 --> 0:41:49.319
<v Speaker 1>that all about? I said, well that, well, that crap

0:41:49.440 --> 0:41:51.920
<v Speaker 1>on my dining room table. That's a four track recorder.

0:41:52.080 --> 0:41:55.640
<v Speaker 1>Oh record something for me, she says, So, okay, I've

0:41:55.680 --> 0:41:58.000
<v Speaker 1>got this guitar riff. I have a little keyboard with

0:41:58.200 --> 0:42:00.759
<v Speaker 1>you know, drum sounds. And bass sounds. So I make

0:42:00.920 --> 0:42:03.800
<v Speaker 1>a little arrangement, a little track arrangement. Okay, I'll for

0:42:03.920 --> 0:42:08.000
<v Speaker 1>the verse, I'll just apeggiated of chord changes. Yeah, and

0:42:08.239 --> 0:42:13.480
<v Speaker 1>then I'll go somewhere for the B section. Yeah. Um.

0:42:13.719 --> 0:42:16.080
<v Speaker 1>And I put together a little arrangement and recorded it,

0:42:16.360 --> 0:42:20.040
<v Speaker 1>and I thought she'd be really impressed. And she's like, oh,

0:42:20.160 --> 0:42:23.400
<v Speaker 1>that's cool. Now sing it? Like sing it? What do

0:42:23.480 --> 0:42:26.040
<v Speaker 1>you mean? You need a chorus, you need a title,

0:42:26.080 --> 0:42:28.120
<v Speaker 1>you need a concept, and you have to write verses.

0:42:28.160 --> 0:42:30.479
<v Speaker 1>And then you realize that the verses don't fit the chorus,

0:42:30.520 --> 0:42:32.120
<v Speaker 1>so you change the course. And then two weeks later

0:42:32.160 --> 0:42:34.399
<v Speaker 1>you realize you ruined the whole thing, and you start over,

0:42:34.480 --> 0:42:38.320
<v Speaker 1>and eventually you know it takes takes some time here. Meanwhile,

0:42:38.360 --> 0:42:40.960
<v Speaker 1>she falls asleep on the sofa and I hear the

0:42:41.040 --> 0:42:43.680
<v Speaker 1>voice of Brad Roberts from the Crash Test Dummies in

0:42:43.760 --> 0:42:49.239
<v Speaker 1>my head, singing, if God had a name? Right? So, yeah,

0:42:49.239 --> 0:42:52.399
<v Speaker 1>I've told you this before, so but tell everybody else, telling,

0:42:52.440 --> 0:42:55.520
<v Speaker 1>telling everybody else. I hit record and I sang the song.

0:42:57.280 --> 0:42:59.160
<v Speaker 1>I sang the whole song except the last line of

0:42:59.200 --> 0:43:02.920
<v Speaker 1>the chorus. I was stuck just the stranger on the

0:43:03.160 --> 0:43:08.359
<v Speaker 1>bus and Sarah wakes up and goes trying to get home.

0:43:09.440 --> 0:43:13.719
<v Speaker 1>Stranger on the bus trying to get trying to trying

0:43:13.800 --> 0:43:18.360
<v Speaker 1>to make his way. Thank you, go back to sleeve. Okay,

0:43:18.400 --> 0:43:20.759
<v Speaker 1>you finished the song. Finished the song. One in the morning,

0:43:20.800 --> 0:43:23.799
<v Speaker 1>my my five year old daughters asleep upstairs. Go into

0:43:23.840 --> 0:43:27.359
<v Speaker 1>our our writing session the next day, have the little

0:43:27.440 --> 0:43:29.760
<v Speaker 1>dad tape with me. Forget about the song. I forget

0:43:29.800 --> 0:43:32.480
<v Speaker 1>that I've done it. Take a break in the afternoon. Um,

0:43:32.600 --> 0:43:34.719
<v Speaker 1>there might have been some herbal component to the to

0:43:34.840 --> 0:43:37.239
<v Speaker 1>the break. Uh. And then I remember, oh, guys, I

0:43:37.360 --> 0:43:40.719
<v Speaker 1>wrote this crazy thing, popping it. Rob pops in and

0:43:40.760 --> 0:43:42.879
<v Speaker 1>it was we were at Rob's at this point. Song ends.

0:43:42.960 --> 0:43:44.640
<v Speaker 1>I look up at first I see Rob and he's

0:43:44.640 --> 0:43:47.000
<v Speaker 1>sitting there with his arms crossed with that Oh god,

0:43:47.080 --> 0:43:49.520
<v Speaker 1>here's another one of another one of Eric's weird songs.

0:43:49.960 --> 0:43:51.680
<v Speaker 1>I look at Joan and she's like, you know, okay,

0:43:51.760 --> 0:43:54.080
<v Speaker 1>when can we get back to work? And Rick is

0:43:54.160 --> 0:43:56.600
<v Speaker 1>just looking down in that deep Rick space that he

0:43:56.680 --> 0:44:00.640
<v Speaker 1>gets into. Looks up says Joan, you think you could

0:44:00.680 --> 0:44:02.719
<v Speaker 1>sing that? He didn't say do you want to sing that?

0:44:03.040 --> 0:44:06.080
<v Speaker 1>Because she probably would have said, right, do you think

0:44:06.120 --> 0:44:08.439
<v Speaker 1>you could sing that the story I tell us she said,

0:44:08.520 --> 0:44:10.520
<v Speaker 1>I can sing the phone Book right out the lyrics.

0:44:11.360 --> 0:44:13.359
<v Speaker 1>I don't think she actually said that. She did say

0:44:13.400 --> 0:44:15.920
<v Speaker 1>something about a phone book, but it wasn't in that context.

0:44:16.040 --> 0:44:18.320
<v Speaker 1>But I wrote out the lyrics. I plugged the guitar

0:44:18.400 --> 0:44:21.320
<v Speaker 1>in and we just did a live to tape version

0:44:21.600 --> 0:44:24.120
<v Speaker 1>with guitar and vocal, and we all just looked at

0:44:24.160 --> 0:44:28.480
<v Speaker 1>each other and went, okay. I got remembered. That session ended.

0:44:28.520 --> 0:44:30.920
<v Speaker 1>I got in the car, poptica set in, listened and

0:44:31.320 --> 0:44:33.560
<v Speaker 1>started writing the grammy speech I should have gotten to give.

0:44:35.080 --> 0:44:37.520
<v Speaker 1>So you knew right away. I knew. I knew that voice,

0:44:37.680 --> 0:44:39.960
<v Speaker 1>that that was the voice that was born to sing

0:44:40.080 --> 0:44:41.759
<v Speaker 1>that song, and that was the song that that voice

0:44:41.840 --> 0:44:44.600
<v Speaker 1>was born to say. Okay. Now that song became ubiquitous,

0:44:44.960 --> 0:44:48.080
<v Speaker 1>to the point there was even a backlash. Did you

0:44:48.200 --> 0:44:54.919
<v Speaker 1>experience that as the writer? No? Yeah, they protested Joan

0:44:54.960 --> 0:44:57.680
<v Speaker 1>Osborne the Catholic League, which turns out has nothing to

0:44:57.719 --> 0:45:02.359
<v Speaker 1>do with the Catholic Church. Yeah. Really, And I saw

0:45:02.440 --> 0:45:04.920
<v Speaker 1>the guy interviewed on TV and he says, I remember

0:45:05.000 --> 0:45:08.040
<v Speaker 1>him saying, yes, you know her album, there's lots of

0:45:08.080 --> 0:45:14.520
<v Speaker 1>spirituality and sexuality and it raises questions. That's what a

0:45:14.560 --> 0:45:17.240
<v Speaker 1>song does. We'll have none of that here, but okay,

0:45:17.360 --> 0:45:21.359
<v Speaker 1>you write a song of that magnitude, two opportunities come

0:45:21.400 --> 0:45:24.800
<v Speaker 1>to you. Bone starts ringing off the Desmond Child. This

0:45:24.880 --> 0:45:27.319
<v Speaker 1>is where Desmond comes in. My buddy Glenn was sitting

0:45:27.320 --> 0:45:31.680
<v Speaker 1>out there, met Desmond at a dinner in Miami, calls

0:45:31.719 --> 0:45:33.640
<v Speaker 1>me and says, can I give Desmond Child your number?

0:45:33.640 --> 0:45:37.000
<v Speaker 1>I'm like, are you kidding? Right? Right right? So Desmond

0:45:37.040 --> 0:45:39.520
<v Speaker 1>calls me and he says, I've got this artist in

0:45:39.800 --> 0:45:43.560
<v Speaker 1>uh in London that I'm gonna sign. I've got a

0:45:43.680 --> 0:45:46.520
<v Speaker 1>song title Kiss the Rain, and I want to write

0:45:46.560 --> 0:45:48.000
<v Speaker 1>that song with you, and I want you to play

0:45:48.040 --> 0:45:49.440
<v Speaker 1>your guitar like you played it on one of us,

0:45:49.480 --> 0:45:53.759
<v Speaker 1>and I want your lyrical quirkiness for this, okay. And

0:45:53.880 --> 0:45:56.480
<v Speaker 1>I said, well cool, but I'm going to France next

0:45:56.520 --> 0:46:00.840
<v Speaker 1>week for this songwriting thing at my Miles Copeland's castle. Okay,

0:46:00.960 --> 0:46:04.680
<v Speaker 1>I'll come. So he followed me there and that's okay,

0:46:04.760 --> 0:46:06.800
<v Speaker 1>and that's where we started the song. And then he

0:46:07.000 --> 0:46:09.160
<v Speaker 1>lured me to London where we finished it with Billy

0:46:09.239 --> 0:46:12.800
<v Speaker 1>and at the Houseyon Hotel. Okay, how hard is it

0:46:12.920 --> 0:46:15.440
<v Speaker 1>to write when you're giving those prescriptions as supposed to

0:46:15.520 --> 0:46:17.640
<v Speaker 1>waiting for inspiration. I'll tell you how it happened. We

0:46:17.719 --> 0:46:21.360
<v Speaker 1>were standing by a wall in the courtyard and in

0:46:21.440 --> 0:46:23.320
<v Speaker 1>the castle and I picked up the guitar and go

0:46:31.680 --> 0:46:35.040
<v Speaker 1>and Desmond says, that's the chorus. That's that you've We've

0:46:35.120 --> 0:46:38.680
<v Speaker 1>just started kiss the Rain, okay, and it's cool. And

0:46:39.200 --> 0:46:41.400
<v Speaker 1>so we went to London. I played that and Desmond,

0:46:41.560 --> 0:46:45.160
<v Speaker 1>you know, kissed all right? That was you know, you

0:46:45.239 --> 0:46:48.000
<v Speaker 1>know I I do too, in fact of what you hear,

0:46:48.040 --> 0:46:51.839
<v Speaker 1>and that we recorded on My My, um My then

0:46:51.920 --> 0:46:54.840
<v Speaker 1>State of the Art Roland vs. Eight eight in that

0:46:55.000 --> 0:46:58.040
<v Speaker 1>hotel room in London. So what are your some of

0:46:58.120 --> 0:47:01.840
<v Speaker 1>your other favorite sort of sort of songs for hire

0:47:01.920 --> 0:47:05.879
<v Speaker 1>that you've written. I still like old before I die.

0:47:06.160 --> 0:47:09.040
<v Speaker 1>Robbie Williams first single, Okay, you know we live in

0:47:09.120 --> 0:47:11.680
<v Speaker 1>America where Robbie Williams never made it. How big was

0:47:11.800 --> 0:47:15.200
<v Speaker 1>that song in the UK? Huge? Huge all over Europe

0:47:15.520 --> 0:47:17.880
<v Speaker 1>over here? Okay? So you write these songs. We hear

0:47:17.920 --> 0:47:20.880
<v Speaker 1>all these stories about the music business. Do you believe

0:47:20.960 --> 0:47:23.600
<v Speaker 1>you were a the deals were fair and you got

0:47:23.680 --> 0:47:26.920
<v Speaker 1>the money you were entitled to. I still not have

0:47:27.080 --> 0:47:29.760
<v Speaker 1>not seen a scent from from our our Sony records,

0:47:29.760 --> 0:47:33.440
<v Speaker 1>our Columbia Records were still in the red. Wow, that

0:47:33.560 --> 0:47:38.400
<v Speaker 1>was a songwriter. Um, I've always kept my publishing, so

0:47:39.280 --> 0:47:42.080
<v Speaker 1>that's yeah. That was good. That continues to be good.

0:47:42.480 --> 0:47:45.080
<v Speaker 1>You know that the balance is changing now because streaming

0:47:45.680 --> 0:47:49.560
<v Speaker 1>favors the the rights owners. So right, the songwriters are

0:47:49.600 --> 0:47:53.120
<v Speaker 1>screwed in terms of percentage wise with streaming. Draconian. Okay,

0:47:53.440 --> 0:47:56.799
<v Speaker 1>so do you now view yourself You've had these successes,

0:47:56.840 --> 0:47:59.960
<v Speaker 1>We're going back twenty years to you know yourself yourself

0:48:00.000 --> 0:48:03.000
<v Speaker 1>as a songwriter as opposed to performer. I'm a musician,

0:48:03.760 --> 0:48:07.160
<v Speaker 1>you know. I'm a guitar player. I'm a singer when

0:48:07.160 --> 0:48:10.040
<v Speaker 1>I need to be. I'm an entertainer. I love performing.

0:48:10.239 --> 0:48:12.600
<v Speaker 1>I write songs because I need something to play. And

0:48:12.719 --> 0:48:14.800
<v Speaker 1>at this point in time, do you write the song

0:48:15.000 --> 0:48:17.520
<v Speaker 1>and then find the artist or to use or is

0:48:17.560 --> 0:48:21.279
<v Speaker 1>it like with Desmond Child, Hey, here's the title, here's

0:48:21.280 --> 0:48:23.760
<v Speaker 1>the situation. Right for this, it's usually with the artist.

0:48:24.520 --> 0:48:27.520
<v Speaker 1>You know. I had a great relationship with Amanda Marshall.

0:48:27.520 --> 0:48:30.239
<v Speaker 1>I wrote almost all of her second album. She was

0:48:30.400 --> 0:48:32.319
<v Speaker 1>whatever happened to her, you know, I stay in touch

0:48:32.360 --> 0:48:35.600
<v Speaker 1>with her, and she she had a nightmare thing with

0:48:35.680 --> 0:48:38.239
<v Speaker 1>her management and with with her her record company, and

0:48:38.360 --> 0:48:42.200
<v Speaker 1>she literally couldn't make music for five years, six years.

0:48:42.239 --> 0:48:44.839
<v Speaker 1>And by then, but I even saw at the Troupe door,

0:48:44.880 --> 0:48:47.640
<v Speaker 1>I was a huge fan. I wrote eleven of the

0:48:47.680 --> 0:48:50.120
<v Speaker 1>thirteen songs on that second album and produced the singles.

0:48:50.480 --> 0:48:53.640
<v Speaker 1>I loved her. I love her as a person, her voice,

0:48:54.120 --> 0:48:57.200
<v Speaker 1>she did things that were I wept after she did

0:48:57.280 --> 0:48:59.320
<v Speaker 1>the vocal for if I Didn't Have You, which is

0:48:59.840 --> 0:49:01.760
<v Speaker 1>I think one of the best songs I've ever written.

0:49:01.960 --> 0:49:04.400
<v Speaker 1>She did a song on the Tin Cup soundtrack. We

0:49:04.560 --> 0:49:07.800
<v Speaker 1>involved in that. That was earlier. Okay, So okay, you

0:49:07.840 --> 0:49:11.799
<v Speaker 1>said you work with her and any other situations recently, Yeah, yeah,

0:49:11.800 --> 0:49:13.799
<v Speaker 1>I mean I've been writing with the Scorpions for two

0:49:13.840 --> 0:49:19.160
<v Speaker 1>thousand three. About Scorpions went on their retirement tour. I

0:49:19.320 --> 0:49:20.840
<v Speaker 1>think I know the age, and I think the retirement

0:49:20.880 --> 0:49:22.600
<v Speaker 1>tour was three and a half years ago. And then

0:49:23.040 --> 0:49:25.399
<v Speaker 1>there's been two new albums since those five years ago.

0:49:25.400 --> 0:49:27.799
<v Speaker 1>And I actually wrote the single from that album, the Bet,

0:49:27.840 --> 0:49:30.640
<v Speaker 1>which was called the Best is Yet to come? Right

0:49:30.719 --> 0:49:35.719
<v Speaker 1>have been a clue? So you know, some people would

0:49:35.760 --> 0:49:37.960
<v Speaker 1>say that's a huge journey from Joan Osborne. But I

0:49:38.000 --> 0:49:40.600
<v Speaker 1>guess if you're a guitar player, it all works. It's

0:49:40.600 --> 0:49:42.719
<v Speaker 1>all music. It's all music. You know. I've done a

0:49:42.760 --> 0:49:45.719
<v Speaker 1>lot of folky stuff I've done, I've done r and

0:49:46.200 --> 0:49:48.680
<v Speaker 1>you know, it's music. It's finding a melody in some words,

0:49:48.760 --> 0:49:50.800
<v Speaker 1>and finding a way to play it. So how do

0:49:50.880 --> 0:49:53.279
<v Speaker 1>you decide to get the Hooters back together? You get

0:49:53.320 --> 0:49:56.880
<v Speaker 1>the band back together as well. We sort of we

0:49:57.000 --> 0:49:59.359
<v Speaker 1>never broke up. The phone started ringing off the hook

0:49:59.400 --> 0:50:02.880
<v Speaker 1>for me. You know. Rick signed us again to his

0:50:03.320 --> 0:50:06.440
<v Speaker 1>his label, PolyGram, but the well had sort of run

0:50:06.520 --> 0:50:09.520
<v Speaker 1>dry for Hooters songs, uh and Rob and Rick had

0:50:09.560 --> 0:50:11.839
<v Speaker 1>this concept for an album called Largo, which was based

0:50:11.880 --> 0:50:16.520
<v Speaker 1>on the Vorjak's epic journey across America. I wasn't feeling it.

0:50:16.800 --> 0:50:20.120
<v Speaker 1>I didn't really get what the concept was. Um, but

0:50:20.360 --> 0:50:22.880
<v Speaker 1>the music was beautiful. Um. It was just it was

0:50:23.320 --> 0:50:26.239
<v Speaker 1>ironic that on on the heels of my biggest ever hit,

0:50:26.280 --> 0:50:28.600
<v Speaker 1>which was totally lyric driven, I didn't write a word

0:50:28.640 --> 0:50:31.840
<v Speaker 1>of lyric on on the Largo album and it ultimately stiffed.

0:50:32.120 --> 0:50:34.040
<v Speaker 1>It did, which is a shame because it did. It

0:50:34.160 --> 0:50:36.360
<v Speaker 1>really did deserve to be heard, but there wasn't a

0:50:36.440 --> 0:50:39.839
<v Speaker 1>real artist. You know, I didn't. I did not want

0:50:39.840 --> 0:50:41.680
<v Speaker 1>it to be called the Hooters. It to me it

0:50:41.800 --> 0:50:43.799
<v Speaker 1>was not a Hooters record. The Hooters are a rock band.

0:50:44.200 --> 0:50:47.759
<v Speaker 1>That was not supposed to be Hooter's album. Um it's

0:50:47.800 --> 0:50:50.480
<v Speaker 1>a beautiful record. In fact, we performed it at Joe's

0:50:50.520 --> 0:50:54.320
<v Speaker 1>Pub last year because Rick and Rick is on a

0:50:54.400 --> 0:50:56.640
<v Speaker 1>mission to make a musical out of it. But there's

0:50:56.680 --> 0:50:59.000
<v Speaker 1>no book. It's like it's that kind of asked backwards.

0:50:59.080 --> 0:51:04.239
<v Speaker 1>But God us and his tenacity is is noteworthy. But uh,

0:51:04.520 --> 0:51:06.560
<v Speaker 1>you know Rob wanted you know, we had kids were

0:51:06.600 --> 0:51:08.680
<v Speaker 1>do you know we're raising our families. Rob wants to

0:51:08.680 --> 0:51:12.840
<v Speaker 1>build a studio. I'm getting all these opportunities, and you

0:51:12.880 --> 0:51:14.520
<v Speaker 1>know I did just I wanted to do a solo record,

0:51:14.640 --> 0:51:16.880
<v Speaker 1>which I did. I finally released that in two thousand

0:51:17.080 --> 0:51:19.359
<v Speaker 1>to no acclaim. But it's but I enjoyed it. Thank

0:51:19.400 --> 0:51:21.000
<v Speaker 1>you you did, and you wrote a really nice thing

0:51:21.040 --> 0:51:23.520
<v Speaker 1>about it. Time just went by all of a sudden.

0:51:23.560 --> 0:51:25.600
<v Speaker 1>We hadn't you know, played in six years. And then

0:51:25.640 --> 0:51:28.040
<v Speaker 1>we get a phone call from Pierre Robert at w MMR.

0:51:28.120 --> 0:51:30.960
<v Speaker 1>He's celebrating twenty years with the Hooters get together and

0:51:31.080 --> 0:51:33.600
<v Speaker 1>play at his anniversary concerts. So we get on stage.

0:51:33.600 --> 0:51:39.240
<v Speaker 1>We played forty minutes before Fuel. So we get on stage.

0:51:39.400 --> 0:51:40.719
<v Speaker 1>You know, we re hearsed a couple of days and

0:51:40.800 --> 0:51:44.279
<v Speaker 1>we remember playing looking around. We even think this is

0:51:44.360 --> 0:51:46.600
<v Speaker 1>the best band I'll ever be in. I mean, you know,

0:51:46.680 --> 0:51:48.560
<v Speaker 1>I've played with the greatest musicians in the world, but

0:51:48.640 --> 0:51:50.400
<v Speaker 1>this is the best band I will ever be in.

0:51:50.960 --> 0:51:53.280
<v Speaker 1>And uh, you know, we all had we had commitments

0:51:53.320 --> 0:51:55.759
<v Speaker 1>through that summer. So but finally two thousand three we

0:51:55.920 --> 0:51:57.959
<v Speaker 1>went back on. We went back to Germany. We toured

0:51:58.000 --> 0:52:01.719
<v Speaker 1>all summer. And how much you work now basically it's

0:52:01.719 --> 0:52:03.719
<v Speaker 1>a it's a summer job, okay. And how many of

0:52:03.760 --> 0:52:06.400
<v Speaker 1>the people are original people? Well, our bass players only

0:52:06.480 --> 0:52:11.560
<v Speaker 1>been with us since seven and everybody else, everybody else

0:52:11.640 --> 0:52:14.399
<v Speaker 1>is originally Yeah, and we had we added a six

0:52:14.520 --> 0:52:16.680
<v Speaker 1>member in two thousand ten because I broke my shoulder.

0:52:16.719 --> 0:52:18.839
<v Speaker 1>Didn't know if I'd be able to play skiing don't

0:52:18.960 --> 0:52:20.719
<v Speaker 1>do not a bad fall, but it was a snow

0:52:21.160 --> 0:52:25.040
<v Speaker 1>uh snow ice snake under this powder snake. I landed

0:52:25.120 --> 0:52:27.480
<v Speaker 1>on my on my elbow. Snap. I didn't know if

0:52:27.480 --> 0:52:29.399
<v Speaker 1>I'd be able to play, So we added friend who

0:52:29.440 --> 0:52:31.480
<v Speaker 1>I always said, if I hurt myself, you're the call.

0:52:31.840 --> 0:52:34.279
<v Speaker 1>So can everybody make a living from their music? From

0:52:34.320 --> 0:52:39.240
<v Speaker 1>the Hooters? We we we Yeah, yeah, pretty much. Okay,

0:52:39.480 --> 0:52:42.000
<v Speaker 1>So if you achieve the dream looking at it from above,

0:52:42.040 --> 0:52:43.640
<v Speaker 1>of course, I've written a song that everyone in the

0:52:43.680 --> 0:52:46.239
<v Speaker 1>world knows and loves. I play in a band that

0:52:46.600 --> 0:52:48.680
<v Speaker 1>plays as much as we want to, when we want

0:52:48.719 --> 0:52:50.680
<v Speaker 1>to where we want to. I still feel there's a

0:52:50.719 --> 0:52:52.520
<v Speaker 1>bit of a restless thing. I feel like there's something

0:52:52.560 --> 0:52:54.840
<v Speaker 1>I still haven't done that I'm gonna do right, And

0:52:54.920 --> 0:52:57.000
<v Speaker 1>how hard are you working at it? I am working.

0:52:57.080 --> 0:53:00.080
<v Speaker 1>It's so hard. I'm working it so hard. I'm know

0:53:00.160 --> 0:53:02.160
<v Speaker 1>now that I'm living in Stockholm, I'm in the center

0:53:02.239 --> 0:53:05.800
<v Speaker 1>of the songwriting producing universe. So one day I'm writing

0:53:05.880 --> 0:53:09.360
<v Speaker 1>a pop song. Uh, the next day I'm writing with

0:53:09.400 --> 0:53:11.640
<v Speaker 1>a hard rock band. So you okay, So how does

0:53:11.680 --> 0:53:13.759
<v Speaker 1>that answer your work? There's a network or you have

0:53:13.880 --> 0:53:15.800
<v Speaker 1>to create the network for yourself. They come to me

0:53:17.440 --> 0:53:20.520
<v Speaker 1>that we have to. You have come to listen to

0:53:20.560 --> 0:53:23.759
<v Speaker 1>the Bob Left Sets podcast with Eric Basilian. We heard

0:53:23.760 --> 0:53:27.839
<v Speaker 1>amazing stories about his band Cyndi Lawper other successes. Thanks

0:53:27.880 --> 0:53:34.920
<v Speaker 1>so much, for doing this. Thank you, Bob. Always a pleasure. Hi,

0:53:35.120 --> 0:53:36.759
<v Speaker 1>this is Bob left Sets. I don't want to thank

0:53:36.800 --> 0:53:40.080
<v Speaker 1>you for being a fan of my podcast. You can

0:53:40.200 --> 0:53:43.160
<v Speaker 1>email me at Bob at left sets dot com and

0:53:43.440 --> 0:53:46.200
<v Speaker 1>let us know what you think. We're open to all ideas.

0:53:46.480 --> 0:53:50.200
<v Speaker 1>Be sure to subscribe to tune in, iTunes or your

0:53:50.520 --> 0:54:06.080
<v Speaker 1>podcast player of choice. Can think of