1 00:00:01,080 --> 00:00:03,840 Speaker 1: Hi, this is Buzz Night bringing you some sad news 2 00:00:04,680 --> 00:00:08,720 Speaker 1: about a gentleman that was a guest previously on the 3 00:00:08,760 --> 00:00:12,400 Speaker 1: Taking a Walk Podcast. Steve Morse, a dear friend of ours. 4 00:00:12,840 --> 00:00:17,360 Speaker 1: Steve was the iconic rock critic from the Boston Globe. 5 00:00:17,840 --> 00:00:20,400 Speaker 1: He was teaching it to Berkeley as well. Just an 6 00:00:20,440 --> 00:00:23,160 Speaker 1: all around great guy. Did some work for me while 7 00:00:23,200 --> 00:00:27,000 Speaker 1: I was involved with one of the Boston radio stations, 8 00:00:28,120 --> 00:00:32,960 Speaker 1: and he passed away. In memory of Steve, we bring 9 00:00:33,000 --> 00:00:36,640 Speaker 1: you back to this episode. It was back May seventeenth 10 00:00:36,680 --> 00:00:39,360 Speaker 1: of twenty twenty three. I went to visit Steve and 11 00:00:39,400 --> 00:00:43,440 Speaker 1: we took a walk around his Cambridge neighborhood. Rest in peace, 12 00:00:44,200 --> 00:00:47,680 Speaker 1: the great Steve Morse on the Taken a Walk Podcast. 13 00:00:50,760 --> 00:00:53,640 Speaker 2: Hi, Steve, so great to be with you, Buzz. That 14 00:00:53,760 --> 00:00:57,160 Speaker 2: was quite an intro. I don't get that every day. 15 00:00:58,120 --> 00:01:00,440 Speaker 3: I was going to go deeper when I figured we 16 00:01:00,520 --> 00:01:02,680 Speaker 3: got to save some of this for this episode, right, 17 00:01:02,680 --> 00:01:04,959 Speaker 3: I hope. So it's so great to be with you. 18 00:01:05,080 --> 00:01:10,040 Speaker 3: We're walking the mean streets of Cambridge, yep. And it's 19 00:01:10,040 --> 00:01:13,120 Speaker 3: a beautiful day. And to take a walk in person 20 00:01:13,280 --> 00:01:16,560 Speaker 3: is always a joint, but reconnecting with you as a 21 00:01:16,720 --> 00:01:17,440 Speaker 3: joint as well. 22 00:01:17,720 --> 00:01:19,680 Speaker 2: Yeah, we go way back, so thank you. 23 00:01:20,720 --> 00:01:23,000 Speaker 3: So do you remember the first time you walked into 24 00:01:23,080 --> 00:01:27,160 Speaker 3: the Boston Globe news room? 25 00:01:27,560 --> 00:01:36,080 Speaker 2: Oh boy, I was a terrified kid freelancer and I 26 00:01:36,280 --> 00:01:38,600 Speaker 2: just was in way over my head. I mean, the 27 00:01:38,640 --> 00:01:43,560 Speaker 2: Globe became a goliath. You know, two thousand people worked 28 00:01:43,560 --> 00:01:46,800 Speaker 2: at the Globe and it's heyday now. Of course newspapers 29 00:01:46,920 --> 00:01:49,840 Speaker 2: have a fraction of that, so you know, you were 30 00:01:49,880 --> 00:01:52,880 Speaker 2: on your heels right from the get go. And I 31 00:01:52,920 --> 00:01:55,880 Speaker 2: had an appointment with some interview with some woman who 32 00:01:56,480 --> 00:01:59,160 Speaker 2: grilled me, and all of a sudden, they said, hey, 33 00:01:59,680 --> 00:02:02,600 Speaker 2: let's let him do some freelancing. And I started freelancing 34 00:02:02,800 --> 00:02:07,960 Speaker 2: music reviews and I did a club past see David 35 00:02:08,000 --> 00:02:12,640 Speaker 2: Bromberg and Vassar Clemens and two you know legends in 36 00:02:12,680 --> 00:02:16,280 Speaker 2: their own way, Chicago blues. Ambassa was a fiddle player 37 00:02:16,320 --> 00:02:19,480 Speaker 2: from down South. And I just got turned on, you know, 38 00:02:19,520 --> 00:02:23,520 Speaker 2: by the music, turned on by the whole energy of 39 00:02:23,560 --> 00:02:26,959 Speaker 2: the Globe, and I just kept pushing and pushing and pushing. 40 00:02:26,960 --> 00:02:31,359 Speaker 2: It took me four years to get hired, but it 41 00:02:31,440 --> 00:02:34,200 Speaker 2: was well worth it. So what year did you get 42 00:02:34,240 --> 00:02:40,400 Speaker 2: hired there? Seventy eight? Started freelancing in seventy five and 43 00:02:40,760 --> 00:02:43,880 Speaker 2: hired in seventy eight. But I'd grown up around Boston. 44 00:02:44,680 --> 00:02:48,440 Speaker 2: I really had a kind of a blessed path around 45 00:02:48,480 --> 00:02:51,560 Speaker 2: here because you know, I've cut all the shows at 46 00:02:51,560 --> 00:02:55,920 Speaker 2: the old Boston tea parties ten years after you know, 47 00:02:56,040 --> 00:02:59,000 Speaker 2: Fleetwood Mac all the British bands would come to Jet 48 00:02:59,000 --> 00:03:03,720 Speaker 2: Throw Tall and then I went nineteen sixty nine, I 49 00:03:03,760 --> 00:03:07,639 Speaker 2: went over to England for the summer. I was in 50 00:03:07,720 --> 00:03:11,200 Speaker 2: an archaeological dig. I somehow conned my way into an 51 00:03:11,280 --> 00:03:14,440 Speaker 2: archaeological dig and I got free room and board, and 52 00:03:14,480 --> 00:03:17,640 Speaker 2: I saw Led Zeppelin twice, and I saw the Rolling 53 00:03:17,680 --> 00:03:22,840 Speaker 2: Stones at Hyde Park with four hundred thousand people right 54 00:03:22,919 --> 00:03:26,720 Speaker 2: after Brian Jones died in the swimming pool accident. And 55 00:03:26,760 --> 00:03:31,079 Speaker 2: it was Mick Taylor's first gig, very exciting. The Hell's 56 00:03:31,120 --> 00:03:35,080 Speaker 2: Angels did security, and of course the Hell's Angels in 57 00:03:35,120 --> 00:03:38,440 Speaker 2: England were a very tame watt compared to the Hell's 58 00:03:38,440 --> 00:03:44,680 Speaker 2: Angels in California, because later that summer Altamont happened where 59 00:03:44,720 --> 00:03:49,240 Speaker 2: the Stones hired the Hell's Angels in California, and you know, 60 00:03:49,440 --> 00:03:53,360 Speaker 2: someone was killed, you know, terrible tragedy. But I was 61 00:03:53,400 --> 00:03:56,680 Speaker 2: in the right place at the right time, and I 62 00:03:56,880 --> 00:04:00,360 Speaker 2: just worked it up from there, and I, believe it 63 00:04:00,400 --> 00:04:02,440 Speaker 2: or not, I went out to catch music two hundred 64 00:04:02,440 --> 00:04:04,360 Speaker 2: and fifty nights a year for thirty years. 65 00:04:05,600 --> 00:04:06,680 Speaker 4: You never let up. 66 00:04:06,960 --> 00:04:09,720 Speaker 3: I mean I would go to a fair amount of shows, 67 00:04:10,560 --> 00:04:14,840 Speaker 3: but I don't ever believe I went to a show 68 00:04:14,920 --> 00:04:18,400 Speaker 3: around the Boston area where I didn't see you at 69 00:04:18,400 --> 00:04:18,799 Speaker 3: the show. 70 00:04:19,760 --> 00:04:24,240 Speaker 2: Wow, Well, that's kind of scary. My ex wife would 71 00:04:24,240 --> 00:04:29,880 Speaker 2: probably agree with you. Yeah, it's a tough field in 72 00:04:30,000 --> 00:04:33,240 Speaker 2: terms of a family life and so forth, you know, 73 00:04:33,320 --> 00:04:36,279 Speaker 2: because you're just you're out at night, I mean a lot, 74 00:04:36,360 --> 00:04:38,719 Speaker 2: and I wouldn't go to bed till four thirty in 75 00:04:38,720 --> 00:04:43,200 Speaker 2: the morning usually, But you know, Willie Nelson said the 76 00:04:43,279 --> 00:04:46,600 Speaker 2: nightlife ain't no good life, but it's my life, and 77 00:04:46,600 --> 00:04:51,800 Speaker 2: that quotious resonated with me, and you know, I'd show up. 78 00:04:53,040 --> 00:04:56,520 Speaker 2: You know, it's a later marriage. We had a son, 79 00:04:56,800 --> 00:05:00,200 Speaker 2: and I'd show up at the school bus day and 80 00:05:00,400 --> 00:05:04,920 Speaker 2: whatnot wearing a Metallica T shirt and the only man there. 81 00:05:05,000 --> 00:05:08,000 Speaker 2: All the rent were women, and they looked at me 82 00:05:08,080 --> 00:05:08,960 Speaker 2: like I was from hell. 83 00:05:12,600 --> 00:05:16,400 Speaker 4: So when did you know you had this attraction with music? 84 00:05:16,560 --> 00:05:21,440 Speaker 2: At what point of your life? Well, I, you know, 85 00:05:21,520 --> 00:05:25,120 Speaker 2: played classical piano as a kid. My mother tried to 86 00:05:25,120 --> 00:05:30,039 Speaker 2: get me into that unsuccessfully, and I just gravitated towards 87 00:05:30,160 --> 00:05:33,000 Speaker 2: rock and roll instead. Saw the Beatles on the Ed 88 00:05:33,080 --> 00:05:38,159 Speaker 2: Sullivan Show and again, Right place, right time, and I 89 00:05:38,160 --> 00:05:41,440 Speaker 2: couldn't play well enough to be a professional. But I 90 00:05:41,520 --> 00:05:45,080 Speaker 2: found a way to get into the music business as 91 00:05:45,120 --> 00:05:49,800 Speaker 2: a music critic, and you know, I just just never 92 00:05:49,960 --> 00:05:53,159 Speaker 2: never looked back. I mean it was something that you know, 93 00:05:53,160 --> 00:05:55,960 Speaker 2: you don't meet a music critic every day for big 94 00:05:56,040 --> 00:05:59,479 Speaker 2: daily newspapers, so you know, I was very fortunate. And 95 00:05:59,480 --> 00:06:01,880 Speaker 2: then I got on the nominating committee of the Rock 96 00:06:01,920 --> 00:06:04,640 Speaker 2: Hall of Fame, and you got the ball rolling on 97 00:06:04,720 --> 00:06:09,440 Speaker 2: ac DC. You got them nominated. And now I teach 98 00:06:10,400 --> 00:06:15,280 Speaker 2: Berkeley College of Music. I teach the online rock history course, 99 00:06:15,320 --> 00:06:18,400 Speaker 2: which I wrote. They came to me and said, hey, 100 00:06:19,240 --> 00:06:22,279 Speaker 2: you know, we've had two guys who flopped didn't write it. 101 00:06:23,000 --> 00:06:24,520 Speaker 2: You know, it's not an easy course to ride. It 102 00:06:24,600 --> 00:06:26,160 Speaker 2: took me a year and a half to write it, 103 00:06:27,000 --> 00:06:30,600 Speaker 2: but I duckled down and it's been a big success, 104 00:06:30,680 --> 00:06:32,839 Speaker 2: and I can do it out of my home. I 105 00:06:32,920 --> 00:06:35,400 Speaker 2: just do a video chat once a week online and 106 00:06:36,160 --> 00:06:40,359 Speaker 2: got some great kids. I've got Amelia Presley this semester. 107 00:06:40,640 --> 00:06:46,719 Speaker 2: She's she's, you know, distant cousin of Elvis Presley. So 108 00:06:46,960 --> 00:06:51,440 Speaker 2: you know, Bernie Taupin's daughter took the course last semester. 109 00:06:52,320 --> 00:06:54,840 Speaker 2: So yeah, it's it's it's been very exciting. I've had 110 00:06:54,880 --> 00:06:58,640 Speaker 2: a continual kind of curve, you know, since I was 111 00:06:58,640 --> 00:06:59,080 Speaker 2: a kid. 112 00:07:01,160 --> 00:07:06,520 Speaker 3: It's like a joy to be for your work in 113 00:07:06,600 --> 00:07:09,960 Speaker 3: and around music, your life. 114 00:07:10,240 --> 00:07:14,040 Speaker 2: Well it is. I mean it's you know, I covered 115 00:07:14,200 --> 00:07:17,800 Speaker 2: live AID, I covered major events. I covered the you know, 116 00:07:17,840 --> 00:07:24,360 Speaker 2: the last two Woodstocks Woodstock two, Woodstock three, nineteen ninety four, 117 00:07:24,480 --> 00:07:29,560 Speaker 2: nineteen ninety nine, respectively, and I just you know, you're 118 00:07:29,560 --> 00:07:32,440 Speaker 2: sitting there like a live AID and it led Zeppelin 119 00:07:32,480 --> 00:07:35,760 Speaker 2: reunions going on, and I'm thirty feet away down in 120 00:07:35,760 --> 00:07:39,520 Speaker 2: Philadelphia with one hundred thousand people around me, and that 121 00:07:39,880 --> 00:07:43,480 Speaker 2: excited me. The bigger the show, the more excited I got. 122 00:07:44,240 --> 00:07:46,640 Speaker 2: And you had a press romm with about seventy five 123 00:07:46,720 --> 00:07:51,440 Speaker 2: writers from around the world, and that really fueled my 124 00:07:51,520 --> 00:07:55,320 Speaker 2: competitive instinct. I was always very competitive as a basketball 125 00:07:55,360 --> 00:07:58,360 Speaker 2: player as a kid, and I just love competing on 126 00:07:58,440 --> 00:08:02,840 Speaker 2: deadline against other writers from around the world. Well, as 127 00:08:02,880 --> 00:08:03,160 Speaker 2: you know. 128 00:08:03,240 --> 00:08:10,360 Speaker 3: On this podcast, Joel Selvin, the San Francisco Chronicle critic 129 00:08:10,400 --> 00:08:12,480 Speaker 3: of record author was on. 130 00:08:13,360 --> 00:08:18,320 Speaker 4: So you guys were friendly and also rivals as well. 131 00:08:18,120 --> 00:08:22,440 Speaker 2: And it was a spirit right we hung out. I 132 00:08:22,440 --> 00:08:27,720 Speaker 2: remember once after you two opened its PopMart tour. It 133 00:08:27,760 --> 00:08:30,480 Speaker 2: was that nineteen ninety one, I think, and that was 134 00:08:30,520 --> 00:08:34,320 Speaker 2: in Vegas and Joel and I hung out later that night. 135 00:08:35,320 --> 00:08:40,320 Speaker 2: And he's just a fun guy. I wouldn't say, you know, competitive, 136 00:08:40,480 --> 00:08:47,520 Speaker 2: just go to mutual respect. You know, he's a veteran. 137 00:08:47,600 --> 00:08:51,200 Speaker 2: I'm a veteran, So you know, you you don't meet 138 00:08:51,240 --> 00:08:53,680 Speaker 2: the every day people who kind of do your job. 139 00:08:53,760 --> 00:08:56,959 Speaker 2: As I say, it's an unusual job. And now there's 140 00:08:57,040 --> 00:09:01,840 Speaker 2: fewer music critics because everybody's a blogger. Now you know, 141 00:09:01,880 --> 00:09:07,360 Speaker 2: everybody is podcaster. Well some are better than the others, 142 00:09:07,720 --> 00:09:09,720 Speaker 2: and you're you're one of them. But so you know, 143 00:09:10,440 --> 00:09:12,480 Speaker 2: that's why people want to talk to you, because you've 144 00:09:12,520 --> 00:09:15,800 Speaker 2: got to experience in the field, and you know you're 145 00:09:15,840 --> 00:09:18,640 Speaker 2: not just kind of popping out of the woodwork. So 146 00:09:19,440 --> 00:09:22,400 Speaker 2: it's it's but yeah, you're right. I mean, the Globe 147 00:09:22,440 --> 00:09:26,280 Speaker 2: now doesn't even have a staff music critic. They just 148 00:09:26,320 --> 00:09:30,640 Speaker 2: do freely use freelance. Isn't that a good shame? It is? 149 00:09:30,960 --> 00:09:35,439 Speaker 3: I mean, look at all media right where it's changed. 150 00:09:36,040 --> 00:09:39,800 Speaker 3: You know, the way the radio business has changed, the 151 00:09:39,800 --> 00:09:43,600 Speaker 3: way television has changed, the way print journalism. 152 00:09:44,520 --> 00:09:45,520 Speaker 4: It's shifting quickly. 153 00:09:46,280 --> 00:09:50,640 Speaker 2: Yeah, well I did my radio stint. I did that 154 00:09:50,880 --> 00:09:52,880 Speaker 2: one once a week. I had to show more sun 155 00:09:53,000 --> 00:09:56,040 Speaker 2: music for w b O S. Come on and talk 156 00:09:56,080 --> 00:09:59,600 Speaker 2: about in the hallway. Do you see me in the hallway? 157 00:09:59,720 --> 00:09:59,920 Speaker 4: Right? 158 00:10:00,240 --> 00:10:04,800 Speaker 2: Occasionally a little hungover, probably had a steak and cheese 159 00:10:04,840 --> 00:10:09,080 Speaker 2: sandwich with me to perk me up. That is the magically. 160 00:10:10,720 --> 00:10:13,040 Speaker 2: But you know, Greg Alman would call in, you know, 161 00:10:13,080 --> 00:10:15,840 Speaker 2: we had a lot of fun. I called in my chips, 162 00:10:15,960 --> 00:10:18,080 Speaker 2: you know, some of the people I'd known through the years. 163 00:10:18,080 --> 00:10:23,920 Speaker 2: And I enjoyed radio. But my forte was writing. And 164 00:10:23,960 --> 00:10:27,040 Speaker 2: that's what I did. You know, I think the best 165 00:10:28,920 --> 00:10:33,480 Speaker 2: and and the Globe, you know, top ten paper, so 166 00:10:34,600 --> 00:10:36,960 Speaker 2: it's just immediate respect and a lot of the acts 167 00:10:37,000 --> 00:10:41,080 Speaker 2: would only do one interview and each market and that 168 00:10:41,080 --> 00:10:43,880 Speaker 2: would be the Globe. You know, you do the biggest paper. 169 00:10:44,000 --> 00:10:47,079 Speaker 2: So I was really writing a high. My whole life, 170 00:10:48,160 --> 00:10:52,080 Speaker 2: my professional life has been on a real high, and 171 00:10:52,679 --> 00:10:56,840 Speaker 2: personal life while that's a whole other story, whole other podcast. 172 00:10:58,240 --> 00:11:02,240 Speaker 2: But life, I just can't complain at all. 173 00:11:03,000 --> 00:11:05,199 Speaker 3: So let's talk about some of those interviews in some 174 00:11:05,240 --> 00:11:08,160 Speaker 3: of your favorite interviews that you've done through your career, 175 00:11:08,200 --> 00:11:09,839 Speaker 3: because I know you talked to pretty. 176 00:11:09,640 --> 00:11:11,240 Speaker 4: Much everybody at one point. 177 00:11:12,240 --> 00:11:16,800 Speaker 2: Well, one of my favorites was Bob Marley. I went 178 00:11:16,840 --> 00:11:21,760 Speaker 2: down to the Essex Hotel in New York, right by 179 00:11:21,800 --> 00:11:26,320 Speaker 2: the Central Park and they were on about the fourteenth floor. 180 00:11:27,280 --> 00:11:30,280 Speaker 2: It was eleven o'clock in the morning interview, and I 181 00:11:30,320 --> 00:11:32,280 Speaker 2: took the shuttle. I might even have been the Trump 182 00:11:32,320 --> 00:11:35,440 Speaker 2: shuttle in those days. Trumpmber Trump had the shuttles from 183 00:11:35,440 --> 00:11:39,000 Speaker 2: Boston to New York. And I arrived zip over there, 184 00:11:39,080 --> 00:11:43,120 Speaker 2: but at eleven couldn't find the room. And there's this lady, 185 00:11:43,440 --> 00:11:47,360 Speaker 2: you know, you know, working in the hallway, and I said, gee, 186 00:11:47,360 --> 00:11:50,440 Speaker 2: do you know where Bob Marley's room is? And she said, 187 00:11:50,520 --> 00:11:52,839 Speaker 2: go down here, take it right and follow your nose. 188 00:11:56,080 --> 00:11:58,840 Speaker 2: I go, oh, what am I getting into? So I 189 00:11:58,880 --> 00:12:02,280 Speaker 2: walk in. You know the two giant splips, you know, 190 00:12:02,360 --> 00:12:05,480 Speaker 2: king size Jamaican slips, you know the five inch jobs. Yeah, 191 00:12:05,679 --> 00:12:08,680 Speaker 2: it's just eleven in the morning. He's got Lea Scratch. 192 00:12:08,760 --> 00:12:12,679 Speaker 2: Perry's in there, the famous Jamaican producer, his band is 193 00:12:12,720 --> 00:12:15,120 Speaker 2: in there. There's a whole entourage. They're kicking the soccer 194 00:12:15,160 --> 00:12:18,480 Speaker 2: ball around the room, and and you know, nobody's paying 195 00:12:18,520 --> 00:12:21,480 Speaker 2: any attention to me. You know, I'm the Babylon, you 196 00:12:21,520 --> 00:12:24,360 Speaker 2: know what am I doing there? And Bob's in the 197 00:12:24,360 --> 00:12:27,520 Speaker 2: corner reading in a sitting on the couch, reading the 198 00:12:27,520 --> 00:12:30,840 Speaker 2: Book of Revelations, lying the Judah, you know, the home 199 00:12:30,920 --> 00:12:34,880 Speaker 2: kind of basis for us to Farianism. And occasionally people, 200 00:12:34,960 --> 00:12:37,920 Speaker 2: you know, stop the soccer ball and said, oh, brother Bob, 201 00:12:37,960 --> 00:12:41,880 Speaker 2: Brother Bob, you you know, start talking in tongues, and 202 00:12:41,960 --> 00:12:44,440 Speaker 2: I'm not quite with the program because I've got to 203 00:12:44,440 --> 00:12:47,040 Speaker 2: get an interview here. He was going to do to 204 00:12:47,080 --> 00:12:50,320 Speaker 2: play the Monola concert, which is a famous peace concert 205 00:12:50,360 --> 00:12:53,880 Speaker 2: at Harvard Stadium, you know, the next week or so. 206 00:12:53,920 --> 00:12:56,960 Speaker 2: It's a big interview for him in for me. And 207 00:12:57,040 --> 00:13:01,040 Speaker 2: I just finally erupted. I said, Bob and Globe, I 208 00:13:01,080 --> 00:13:04,319 Speaker 2: appreciate the Bible reading, but I really need to get 209 00:13:04,360 --> 00:13:06,679 Speaker 2: something on your music. And the rest of the room 210 00:13:06,679 --> 00:13:08,640 Speaker 2: wanted to kill me. The guys looking get him out 211 00:13:08,640 --> 00:13:11,160 Speaker 2: of here, and Bob looked at me, even in the eye, 212 00:13:11,200 --> 00:13:14,439 Speaker 2: and he said, you're right, mane, And he calmed down everybody, 213 00:13:14,520 --> 00:13:16,880 Speaker 2: and Henry come over, sit in the couch. Gave me 214 00:13:16,920 --> 00:13:18,960 Speaker 2: a great interview for about twenty minutes or a half 215 00:13:19,000 --> 00:13:22,679 Speaker 2: an hour, and then I was shepherded out and the 216 00:13:22,720 --> 00:13:26,440 Speaker 2: soccer balls continued, you know, banging off the windows and everything, 217 00:13:26,800 --> 00:13:31,720 Speaker 2: and the two joints continued as well, and I was gone. 218 00:13:33,240 --> 00:13:36,000 Speaker 4: Great interview, huh, amazing it must have been. 219 00:13:37,040 --> 00:13:41,000 Speaker 2: Yeah, well, you just never knew what was gonna happen. 220 00:13:41,080 --> 00:13:45,520 Speaker 2: Sometimes I love the scene, you know. Another favorite was 221 00:13:45,559 --> 00:13:48,079 Speaker 2: Dolly Parton. Boy, what a sweetie. She's like a little 222 00:13:48,720 --> 00:13:51,560 Speaker 2: tiny button. You know, she's like four foot ten and 223 00:13:51,640 --> 00:13:54,640 Speaker 2: I'm six foot five, so she got a big kick 224 00:13:54,640 --> 00:13:57,520 Speaker 2: out of that. But you know, I was just just lucky. 225 00:13:57,559 --> 00:14:01,199 Speaker 2: I mean, I was interviewed Springsteen, a bunch, the Stones, 226 00:14:01,240 --> 00:14:04,600 Speaker 2: the whole bunch. Keith Richards was probably my favorite. 227 00:14:05,080 --> 00:14:05,280 Speaker 3: You know. 228 00:14:05,360 --> 00:14:08,160 Speaker 2: He was so down to earth and you know, he'd 229 00:14:08,240 --> 00:14:12,040 Speaker 2: rather talk about you know, guitar strings or something like 230 00:14:12,080 --> 00:14:14,679 Speaker 2: that rather than some room Mick gets into. You went 231 00:14:14,720 --> 00:14:17,760 Speaker 2: to the London School of Economics, and Mick knows everything 232 00:14:17,800 --> 00:14:19,720 Speaker 2: that in the world, you know, and it would be 233 00:14:19,760 --> 00:14:25,240 Speaker 2: the first to tell you. Yeah, he was something else. 234 00:14:25,280 --> 00:14:29,280 Speaker 2: And I talked to him, you know, in succession was 235 00:14:29,360 --> 00:14:32,760 Speaker 2: it was Mick first and then Keith separate rooms at 236 00:14:32,840 --> 00:14:35,040 Speaker 2: Rolling Stone Records when they had remember they had their 237 00:14:35,040 --> 00:14:40,200 Speaker 2: subsidiary label. And Mick, you know, legs a joint and 238 00:14:40,360 --> 00:14:43,160 Speaker 2: does not you know, share make any attempt to And 239 00:14:43,200 --> 00:14:46,400 Speaker 2: he's flying after about five ten minutes, and I said, Mick, 240 00:14:47,080 --> 00:14:49,440 Speaker 2: I'm here. I had two tape recorders because I was 241 00:14:49,480 --> 00:14:53,560 Speaker 2: afraid one might break down the redundancy factor, redundancy fan. 242 00:14:53,680 --> 00:14:56,000 Speaker 2: He's laughing his ass off, look at you the two much? 243 00:14:56,640 --> 00:14:58,960 Speaker 2: And I goes sor right, If I blow this, I'm 244 00:14:58,960 --> 00:15:02,120 Speaker 2: in trouble. And and you know, I said, look, I'm 245 00:15:02,120 --> 00:15:03,920 Speaker 2: not going to ask you about your sex life. He'd 246 00:15:03,920 --> 00:15:08,040 Speaker 2: been linked to some supermodel from Thailand that week, you 247 00:15:08,080 --> 00:15:11,200 Speaker 2: know how it was, and he said, well that would 248 00:15:11,200 --> 00:15:14,520 Speaker 2: be refreshing. And five minutes later he's talking about his 249 00:15:14,560 --> 00:15:19,080 Speaker 2: sex life. And I didn't bring it up, but I figured, oh, 250 00:15:19,080 --> 00:15:21,720 Speaker 2: I'll intelligent a minute, just kind of getting through this, 251 00:15:22,280 --> 00:15:24,000 Speaker 2: and I said, well, Mick, what did you have any 252 00:15:24,040 --> 00:15:26,120 Speaker 2: mood music you put on? You know, did you play 253 00:15:26,200 --> 00:15:29,040 Speaker 2: the Stones music at all, you've got a lady and 254 00:15:30,160 --> 00:15:32,680 Speaker 2: you know, in your room, and he says, oh, no, 255 00:15:33,360 --> 00:15:35,520 Speaker 2: I never play any Stones music. I don't play any 256 00:15:35,600 --> 00:15:40,160 Speaker 2: music at all. I just cool in their ears and 257 00:15:40,400 --> 00:15:42,920 Speaker 2: that pretty much. I was cooling out the door at 258 00:15:42,920 --> 00:15:46,240 Speaker 2: that point. I love that. I just coo in there. 259 00:15:46,720 --> 00:15:47,480 Speaker 2: I love it. 260 00:15:48,440 --> 00:15:53,080 Speaker 3: Oh my god, did you get Springsteen early on? 261 00:15:54,440 --> 00:15:58,440 Speaker 2: No? No, I think it was. Well, let's see it 262 00:15:58,560 --> 00:16:00,360 Speaker 2: was it was back in the River, so yeah, I 263 00:16:00,360 --> 00:16:04,320 Speaker 2: guess that was late seventies, that's right. I was down 264 00:16:04,360 --> 00:16:10,520 Speaker 2: in Providence, Rhode Island, and Bruce kept me waiting. He's 265 00:16:10,560 --> 00:16:13,520 Speaker 2: a night owl, and I didn't get in the room 266 00:16:13,600 --> 00:16:15,880 Speaker 2: until about two in the morning. I still had to 267 00:16:15,920 --> 00:16:19,640 Speaker 2: drive back to Boston, an hour away. But we started 268 00:16:19,680 --> 00:16:22,200 Speaker 2: talking about Hank Williams because he was getting into Hank 269 00:16:22,240 --> 00:16:24,880 Speaker 2: and you know, there's the imagery from down by the 270 00:16:24,960 --> 00:16:29,440 Speaker 2: River and you know all that, and you know, he said, 271 00:16:29,720 --> 00:16:32,520 Speaker 2: I'm driving my band up a wall because all I 272 00:16:32,560 --> 00:16:34,680 Speaker 2: want to do is play Hank Williams on the bus. 273 00:16:36,320 --> 00:16:40,000 Speaker 2: But he was just a wonderful guy. And another time 274 00:16:40,600 --> 00:16:45,640 Speaker 2: I interviewed him down in Hartford, Connecticut, and you know, 275 00:16:45,680 --> 00:16:48,040 Speaker 2: again a late interview, but this time it was because 276 00:16:48,520 --> 00:16:51,440 Speaker 2: he was greeting Make a Wish kids. They were about 277 00:16:51,840 --> 00:16:55,720 Speaker 2: ten twelve, Make a Wish kids and wheelchairs and whatnot, 278 00:16:55,760 --> 00:17:01,360 Speaker 2: coming up to them backstage in the corridor there and attention. 279 00:17:01,440 --> 00:17:03,000 Speaker 2: He talked to each one of them for five to 280 00:17:03,080 --> 00:17:05,680 Speaker 2: ten minutes. It was in some meet and greet where 281 00:17:05,680 --> 00:17:09,040 Speaker 2: he just shake hands and run And I had the 282 00:17:09,200 --> 00:17:12,200 Speaker 2: utmost respect for him to do that. To see the 283 00:17:12,320 --> 00:17:15,800 Speaker 2: kids were crying and we got Bruce Springsteen's really caring 284 00:17:15,800 --> 00:17:19,320 Speaker 2: about me, asking questions about me, and you know, it 285 00:17:19,400 --> 00:17:22,560 Speaker 2: was just a lovely moment. So yeah, I have a 286 00:17:22,640 --> 00:17:30,000 Speaker 2: lot of respect for Bruce. Any beatles h McCartney a 287 00:17:30,000 --> 00:17:36,040 Speaker 2: couple of times he's he's a struggle. He's kind of 288 00:17:36,040 --> 00:17:39,320 Speaker 2: a quipster. You know, he likes to choke around with 289 00:17:39,359 --> 00:17:44,560 Speaker 2: the media. I don't have any breakthrough moments. And Ringo 290 00:17:44,760 --> 00:17:50,479 Speaker 2: is kind of ridiculous. Ringo would do phone interviews for 291 00:17:50,520 --> 00:17:55,800 Speaker 2: five minutes Max and I'm in my watch, I had 292 00:17:55,880 --> 00:17:58,880 Speaker 2: four minutes and forty five seconds. I was still trying 293 00:17:58,880 --> 00:18:02,560 Speaker 2: to cram in a and ring say, okay, last question, 294 00:18:04,400 --> 00:18:09,560 Speaker 2: you know, you know, come on covering some slack. But 295 00:18:09,680 --> 00:18:12,680 Speaker 2: he didn't have much respect for the media. At that point. 296 00:18:13,119 --> 00:18:15,360 Speaker 2: So yeah, I sometimes had to follow in the footsteps 297 00:18:15,359 --> 00:18:20,679 Speaker 2: of real asshole you know interviewers. And Emmy La Harris 298 00:18:21,160 --> 00:18:25,080 Speaker 2: was one example, a quick quick story about her at Tanglewood. 299 00:18:25,160 --> 00:18:29,040 Speaker 2: Interviewed her at Tanglewood and she had had somebody, I 300 00:18:29,080 --> 00:18:31,919 Speaker 2: think from the Washington Post come on her bus and 301 00:18:31,960 --> 00:18:35,840 Speaker 2: then turned a savager in a magazine pace. So she 302 00:18:36,000 --> 00:18:38,959 Speaker 2: was really down on the media, and I really had 303 00:18:39,000 --> 00:18:44,080 Speaker 2: to prove myself. And Phil Kaufman, her manager, who'd also 304 00:18:44,160 --> 00:18:47,560 Speaker 2: been you know, Graham Parsons manager, and he's the one 305 00:18:47,560 --> 00:18:52,240 Speaker 2: who burned Graham Parsons body in the desert and you 306 00:18:52,280 --> 00:18:56,960 Speaker 2: know California of rock rock and roll story. He comes 307 00:18:57,000 --> 00:18:59,760 Speaker 2: up to and turns around right into my face and 308 00:19:01,680 --> 00:19:04,240 Speaker 2: takes his pants down and wounds me and he goes, okay, 309 00:19:04,320 --> 00:19:08,320 Speaker 2: interview over. Oh my god, so loves laughing at the 310 00:19:08,960 --> 00:19:11,480 Speaker 2: what's going on? God? Yeah, I guess I've had a 311 00:19:11,480 --> 00:19:13,080 Speaker 2: few and eventful ones. 312 00:19:16,119 --> 00:19:21,040 Speaker 3: So Boston during that era that you describe early on 313 00:19:21,480 --> 00:19:26,240 Speaker 3: in particular, had some amazing venues that have disappeared. 314 00:19:27,240 --> 00:19:28,360 Speaker 2: Talk about maybe. 315 00:19:28,160 --> 00:19:30,439 Speaker 3: A few of those venues and maybe some shows that 316 00:19:30,480 --> 00:19:33,160 Speaker 3: you remember at some of those places. 317 00:19:33,600 --> 00:19:38,520 Speaker 2: Well, let's see Boston Tea Party is one of the legends. 318 00:19:40,320 --> 00:19:43,760 Speaker 2: You know, just sor a lot of acts there. It 319 00:19:43,880 --> 00:19:47,399 Speaker 2: was at a tabernacle down in the South End, and 320 00:19:48,320 --> 00:19:51,879 Speaker 2: you know, I was sorry to see that place go. 321 00:19:52,000 --> 00:19:55,040 Speaker 2: It was a ballroom. The early rock and roll rooms 322 00:19:55,080 --> 00:19:59,840 Speaker 2: tended to be ballrooms. And then later on there was 323 00:19:59,840 --> 00:20:04,040 Speaker 2: a called the Crosstown Bus, which hardly anyone remembers. It 324 00:20:04,119 --> 00:20:06,120 Speaker 2: was in Brighton and it was only open for two 325 00:20:06,160 --> 00:20:10,600 Speaker 2: weeks because they didn't have an entertainment license. But the 326 00:20:10,640 --> 00:20:14,120 Speaker 2: first week they had the doors. Wow, So Jim Morrison 327 00:20:14,160 --> 00:20:17,400 Speaker 2: and the doors, and they put up go go cages 328 00:20:17,440 --> 00:20:20,199 Speaker 2: for women to dance in. They tried to recreate a 329 00:20:20,280 --> 00:20:25,440 Speaker 2: sunset strip la Mystique in Brighton, which is kind of 330 00:20:25,720 --> 00:20:29,879 Speaker 2: those days, a working class you know, the city. And 331 00:20:30,119 --> 00:20:33,080 Speaker 2: you know, Morrison was chugging every bottle that was handed 332 00:20:33,080 --> 00:20:35,479 Speaker 2: to him. In those days, they didn't frisk you at 333 00:20:35,520 --> 00:20:38,439 Speaker 2: the door very well, and so he bottles coming up 334 00:20:38,480 --> 00:20:40,400 Speaker 2: and he's drinking everything. At the end of the night, 335 00:20:40,440 --> 00:20:44,239 Speaker 2: he was just completely hammered rolling around on stage and 336 00:20:44,280 --> 00:20:49,240 Speaker 2: there's Lizard King motions and everything. His nickname was Lizard King. 337 00:20:49,960 --> 00:20:54,120 Speaker 2: And afterwards, coming out of the men's room and Jim 338 00:20:54,240 --> 00:20:57,200 Speaker 2: is weaving his way towards the men's room. They didn't 339 00:20:57,200 --> 00:20:59,200 Speaker 2: have a backstage men's room. It was just a small 340 00:20:59,200 --> 00:21:02,280 Speaker 2: little place. And I just held up my hand and 341 00:21:02,520 --> 00:21:05,439 Speaker 2: and you know, I'm real tall, and he took it 342 00:21:05,480 --> 00:21:08,240 Speaker 2: as a guide and he said, oh, thank you, and 343 00:21:08,280 --> 00:21:10,560 Speaker 2: he came to he steered his way into the men's 344 00:21:10,640 --> 00:21:13,239 Speaker 2: room and we high fived each other. Oh wow, And 345 00:21:13,280 --> 00:21:15,080 Speaker 2: I said, oh my god, this is I've got to 346 00:21:15,119 --> 00:21:17,880 Speaker 2: do this as a career somehow, but a moment. Yeah. 347 00:21:18,160 --> 00:21:21,919 Speaker 3: Yeah, But two weeks the place existed two weeks and 348 00:21:22,200 --> 00:21:24,240 Speaker 3: the second week was the Jay Giles band. 349 00:21:25,160 --> 00:21:27,360 Speaker 2: And I talked to Peter Wolf later and he said, yeah, 350 00:21:27,400 --> 00:21:31,359 Speaker 2: we had to bring our amplifiers down the back fire 351 00:21:31,520 --> 00:21:34,919 Speaker 2: escape to get away as the police were closing it down. 352 00:21:36,480 --> 00:21:40,120 Speaker 2: So those are kind of wild and crazy days wow 353 00:21:40,480 --> 00:21:41,000 Speaker 2: back then. 354 00:21:41,119 --> 00:21:44,400 Speaker 4: But but then of course the old Boston Garden. 355 00:21:44,600 --> 00:21:47,880 Speaker 2: The old Boston Garden where Billy Joel had a great 356 00:21:47,920 --> 00:21:52,400 Speaker 2: comment about that. He said, Steve, even even even hockey 357 00:21:52,480 --> 00:21:57,320 Speaker 2: sounds bad at the garden. He's talking about the acoustics. 358 00:21:57,720 --> 00:22:01,480 Speaker 2: Even hockey sounds bad. And remember that a terrible coasty 359 00:22:01,600 --> 00:22:04,120 Speaker 2: oh god, yeah, terrible cost but you saw a few 360 00:22:04,119 --> 00:22:09,200 Speaker 2: shows there, many shows there. Billy Jove, he tour every year, 361 00:22:09,240 --> 00:22:11,119 Speaker 2: whether he had a new album or not. And you know, 362 00:22:11,160 --> 00:22:13,719 Speaker 2: most people only toured with an album in those days. 363 00:22:14,320 --> 00:22:19,119 Speaker 2: The labels didn't want them over you know, overplaying unless 364 00:22:19,160 --> 00:22:21,919 Speaker 2: they had product to sell. But Billy said, hell with that, 365 00:22:22,040 --> 00:22:24,520 Speaker 2: I'm going out. And every show in those days he 366 00:22:24,560 --> 00:22:27,440 Speaker 2: would end it by saying, don't let the bastards get 367 00:22:27,480 --> 00:22:30,639 Speaker 2: you down. Wow. He still does that once in a while, 368 00:22:31,280 --> 00:22:33,000 Speaker 2: I don't know how often, but in those days it 369 00:22:33,040 --> 00:22:36,240 Speaker 2: was automatic. He would say that because he had trouble 370 00:22:36,320 --> 00:22:38,440 Speaker 2: his own His own wife was his manager at one 371 00:22:38,480 --> 00:22:41,159 Speaker 2: time and they broke up and he ended up in 372 00:22:41,200 --> 00:22:44,760 Speaker 2: court with her. You know, he had bad, bad counsel. 373 00:22:44,960 --> 00:22:48,560 Speaker 2: So he was very cynical about the music business. 374 00:22:49,920 --> 00:22:52,600 Speaker 4: Do you remember the famous James Brown show at the Garden. 375 00:22:53,080 --> 00:22:57,639 Speaker 2: I was not at that show. I remember talking to 376 00:22:57,640 --> 00:23:01,280 Speaker 2: Peter Wolfe extensively about it. He and Muddy Waters couldn't 377 00:23:01,280 --> 00:23:03,800 Speaker 2: get in. He was hanging out with Muddy Waters and 378 00:23:03,840 --> 00:23:06,800 Speaker 2: the police wouldn't let him in. You know, it's because 379 00:23:06,880 --> 00:23:09,800 Speaker 2: if they were so worried about the night after Martin 380 00:23:09,880 --> 00:23:12,600 Speaker 2: Luther King died and there was going to be an eruption, 381 00:23:12,760 --> 00:23:14,960 Speaker 2: and there's a good book about that, The Night that 382 00:23:15,080 --> 00:23:18,960 Speaker 2: James Brown Saved Boston because they broadcast that. It was 383 00:23:19,000 --> 00:23:22,640 Speaker 2: on NPR. It was on the NPR channel, which never 384 00:23:22,840 --> 00:23:25,840 Speaker 2: used to broadcast live conscience. But they did it as 385 00:23:25,840 --> 00:23:29,360 Speaker 2: a community service to keep people at home. So Boston 386 00:23:29,359 --> 00:23:34,359 Speaker 2: didn't have any significant you know, rioting or burning and 387 00:23:34,400 --> 00:23:37,719 Speaker 2: looting like some of the other places other cities did so. 388 00:23:38,400 --> 00:23:40,840 Speaker 2: And James Sullivan is a writer, you know, to this. 389 00:23:41,080 --> 00:23:43,800 Speaker 2: He's around here now. He wrote the book The Knight 390 00:23:43,920 --> 00:23:47,639 Speaker 2: James Brown Save Boston, And yeah, I would talk to 391 00:23:47,760 --> 00:23:50,919 Speaker 2: James like in the phone later the years, and the 392 00:23:50,920 --> 00:23:53,359 Speaker 2: mayor at that at the time of that show with 393 00:23:53,440 --> 00:23:58,720 Speaker 2: Mayor Kevin White, and James would hop ons how's Mayor 394 00:23:58,760 --> 00:24:02,600 Speaker 2: White doing? Well, he hadn't been mayor for ten years? 395 00:24:02,800 --> 00:24:07,640 Speaker 2: How's he doing? Tell them? James says hello, because they 396 00:24:07,640 --> 00:24:08,360 Speaker 2: really bonded. 397 00:24:08,400 --> 00:24:08,600 Speaker 3: You know. 398 00:24:09,040 --> 00:24:11,560 Speaker 2: White came out and did the MZ role and you know, 399 00:24:11,600 --> 00:24:16,119 Speaker 2: he took an active, proactive, you know night. But it 400 00:24:16,160 --> 00:24:18,159 Speaker 2: was tremendous. I mean I was not there, but I 401 00:24:18,200 --> 00:24:21,359 Speaker 2: feel like I was because I've heard so much about it. 402 00:24:21,480 --> 00:24:26,080 Speaker 3: How about Dylan Moments either concert wise or ever have 403 00:24:26,240 --> 00:24:27,480 Speaker 3: a shot to interview him. 404 00:24:28,480 --> 00:24:32,359 Speaker 2: Dylan moments. Most of what I remember is people running 405 00:24:32,359 --> 00:24:36,719 Speaker 2: the opposite direction because you know, his shows would kind 406 00:24:36,760 --> 00:24:39,840 Speaker 2: of devolve into these you know, he'd do his songs, 407 00:24:39,880 --> 00:24:41,920 Speaker 2: and he do them so differently that people didn't know 408 00:24:41,960 --> 00:24:45,360 Speaker 2: what they were remember, you know, he would change the arrangements. 409 00:24:45,400 --> 00:24:48,240 Speaker 2: And I got the one show and people are literally 410 00:24:48,320 --> 00:24:51,080 Speaker 2: almost trampling me to get out. It was the Boston Garden, 411 00:24:51,560 --> 00:24:53,720 Speaker 2: almost trampling me to get out because they were so 412 00:24:53,880 --> 00:24:57,080 Speaker 2: fed up that he wasn't doing the songs the way 413 00:24:57,119 --> 00:25:00,640 Speaker 2: they wanted to hear them. But that's Dylan, you know. 414 00:25:00,720 --> 00:25:04,119 Speaker 2: And I went up to Woodstock. He lived near Woodstock 415 00:25:04,200 --> 00:25:08,880 Speaker 2: when the whole festival took place in sixty nine, and 416 00:25:08,920 --> 00:25:12,840 Speaker 2: this was about ten years ago, and they have an 417 00:25:12,880 --> 00:25:16,040 Speaker 2: amphitheater now, you know, next to the grounds of the 418 00:25:16,080 --> 00:25:19,479 Speaker 2: original Woodstock, and he was playing and he said, oh, 419 00:25:19,520 --> 00:25:22,760 Speaker 2: here's a chance for him to say something about Woodstock. 420 00:25:22,840 --> 00:25:24,960 Speaker 2: I mean, he regrets that he didn't play the festival. 421 00:25:25,000 --> 00:25:27,399 Speaker 2: He didn't say a thing. You know, Dylan, the famous 422 00:25:27,440 --> 00:25:31,000 Speaker 2: for saying nothing like the Grateful Dead rarely talks, and 423 00:25:31,080 --> 00:25:34,240 Speaker 2: Dylan barely says anything, and I was pissed. I drove 424 00:25:34,280 --> 00:25:36,640 Speaker 2: all the way up to Woodstock, thinking, oh, this could 425 00:25:36,640 --> 00:25:39,800 Speaker 2: be a cultural moment here, you know, saying I'm sorry 426 00:25:39,840 --> 00:25:44,320 Speaker 2: I miss Woodstock. But no, nothing, just the same show 427 00:25:44,400 --> 00:25:46,840 Speaker 2: of reinterpreting his hits so you didn't know what the 428 00:25:46,880 --> 00:25:49,320 Speaker 2: hell they were. I mean, I have a lot of 429 00:25:49,359 --> 00:25:51,760 Speaker 2: respect for him, don't get me wrong. He's a songwriter, 430 00:25:51,880 --> 00:25:54,639 Speaker 2: but as a performer he can be just so quirky, 431 00:25:54,840 --> 00:25:56,440 Speaker 2: up and down, up and down. 432 00:25:56,520 --> 00:25:59,840 Speaker 4: Yeah, just like this guy Van Morrison too. 433 00:26:00,119 --> 00:26:04,560 Speaker 2: Oh yeah, Van. He used to live around Cambridge and 434 00:26:05,280 --> 00:26:08,200 Speaker 2: wrote part of astral Weeks here in nineteen sixty eight. 435 00:26:09,000 --> 00:26:12,040 Speaker 2: And I interviewed him later on and I said, you know, 436 00:26:12,080 --> 00:26:13,879 Speaker 2: I asked him about Cambridge. He said, why are you 437 00:26:13,920 --> 00:26:16,159 Speaker 2: asking me that? And I said, well, I don't I 438 00:26:16,160 --> 00:26:18,880 Speaker 2: get a little local color here. You know you I'm 439 00:26:18,880 --> 00:26:23,160 Speaker 2: not good in local color. Next question. You know, he 440 00:26:23,160 --> 00:26:27,399 Speaker 2: could be so grumbly, you know, And I'm just skidding you. 441 00:26:27,480 --> 00:26:29,320 Speaker 2: By that point, I'm going, oh my Jesus. 442 00:26:29,359 --> 00:26:32,080 Speaker 4: You know, was he hanging around with Pete Wolf at 443 00:26:32,080 --> 00:26:32,600 Speaker 4: that period? 444 00:26:32,800 --> 00:26:35,280 Speaker 2: Yes? See what he still does? Yeah, yeah, he still 445 00:26:35,320 --> 00:26:38,679 Speaker 2: has stories with them. Careening through Harvard Square, you know, 446 00:26:39,720 --> 00:26:42,320 Speaker 2: hitting the bars down there. You know, they're they're good friends. 447 00:26:42,400 --> 00:26:46,159 Speaker 2: That's boys, They're that's good boys. 448 00:26:48,119 --> 00:26:49,600 Speaker 4: My god, I love it. 449 00:26:49,880 --> 00:26:51,520 Speaker 2: But yeah, he was a grateful dead I got a 450 00:26:51,520 --> 00:26:55,680 Speaker 2: classic from nineteen sixty nine. They played the Boston Tea 451 00:26:55,760 --> 00:26:59,119 Speaker 2: Party and pig Pen was with him at the time, 452 00:26:59,400 --> 00:27:02,320 Speaker 2: you know, keep player, and he fell off the stage 453 00:27:02,400 --> 00:27:06,680 Speaker 2: during Lovelight Turn on Your lovelighte big climactic song, and 454 00:27:07,760 --> 00:27:09,840 Speaker 2: just he was so drunk. He just fell off the 455 00:27:09,840 --> 00:27:13,600 Speaker 2: stage and the band continued to play. They didn't stop, 456 00:27:13,640 --> 00:27:15,600 Speaker 2: and you know, say, if what happened, you know, they 457 00:27:15,680 --> 00:27:20,520 Speaker 2: just I remember Jerry Garcia and Bob, we're exchanging glances. Oh, 458 00:27:20,560 --> 00:27:23,760 Speaker 2: he fell off stage again, Let's just keep vamping. So 459 00:27:23,760 --> 00:27:26,480 Speaker 2: they just vamped their way through the song the Road. 460 00:27:26,520 --> 00:27:30,119 Speaker 2: He's dusted, big pan off and got him back up 461 00:27:30,119 --> 00:27:32,200 Speaker 2: and he finished the song. Oh my god. 462 00:27:32,600 --> 00:27:35,679 Speaker 3: Have you seen Bob Weir's workout that he does before 463 00:27:35,760 --> 00:27:36,720 Speaker 3: shows these days? 464 00:27:36,960 --> 00:27:42,119 Speaker 4: No, Oh my goodness. It's this intense weight training. 465 00:27:42,280 --> 00:27:46,840 Speaker 3: He's swiveling weights over his head and doing various you know, 466 00:27:47,040 --> 00:27:50,000 Speaker 3: just I don't know, stretching moves, certainly, but a lot 467 00:27:50,000 --> 00:27:51,320 Speaker 3: of weight related stuff. 468 00:27:51,680 --> 00:27:54,560 Speaker 4: He looks like he's in great shape. 469 00:27:55,040 --> 00:27:57,440 Speaker 2: Yeah. Well, I got a lot of respect for him. 470 00:27:57,480 --> 00:27:59,960 Speaker 2: He's done me a lot of favors through the year. 471 00:28:01,240 --> 00:28:03,720 Speaker 2: You know, I interviewed Jerry four times. I was lucky 472 00:28:03,960 --> 00:28:08,560 Speaker 2: to do that. But I interviewed Bob Moore. You know, Jerry, 473 00:28:08,600 --> 00:28:10,399 Speaker 2: you never knew what his condition was going to be. 474 00:28:11,440 --> 00:28:15,119 Speaker 2: But Bob would back do the backup interviews, and you know, 475 00:28:15,359 --> 00:28:17,080 Speaker 2: I have a lot of He did an interview for 476 00:28:17,160 --> 00:28:21,560 Speaker 2: my course at Berkeley College of Music, Wow, and talked 477 00:28:21,640 --> 00:28:24,720 Speaker 2: all about the acid tests and the ken Casey days 478 00:28:25,480 --> 00:28:29,200 Speaker 2: doing acid up in ken Casey's ranch and just fantastic stuff. 479 00:28:29,359 --> 00:28:30,560 Speaker 2: I love that stuff. My god. 480 00:28:30,880 --> 00:28:34,080 Speaker 3: Well, let's talk about WBCN during that era two and 481 00:28:34,200 --> 00:28:38,640 Speaker 3: what integral part it was around the music scene of Boston. 482 00:28:40,040 --> 00:28:43,600 Speaker 2: Well, the BCN was the station, I mean, wasn't it 483 00:28:43,680 --> 00:28:47,360 Speaker 2: The free form rock station, one of the leading lights 484 00:28:47,400 --> 00:28:51,520 Speaker 2: of the whole new free form FM movement where DJs 485 00:28:51,520 --> 00:28:54,280 Speaker 2: could play what they wanted, you know, before the consultants 486 00:28:54,280 --> 00:28:56,840 Speaker 2: came in and sort of said here's what you've got 487 00:28:56,840 --> 00:29:00,360 Speaker 2: to play now, And it was just exciting. You know. 488 00:29:00,400 --> 00:29:04,080 Speaker 2: You listen to the radio and you'd hear about Gee 489 00:29:04,160 --> 00:29:07,560 Speaker 2: led Zeppelin's in town tonight and the bands used to 490 00:29:07,560 --> 00:29:12,400 Speaker 2: do three nights Thursday through Saturday, and the Thursday they'd 491 00:29:12,440 --> 00:29:15,080 Speaker 2: be like half a house. You know, people might not 492 00:29:15,120 --> 00:29:18,760 Speaker 2: have heard too much about them, and by Friday and 493 00:29:18,840 --> 00:29:21,440 Speaker 2: Saturday there's a lot of word of mouth. Word of 494 00:29:21,480 --> 00:29:25,280 Speaker 2: mouth was big, and you know, the smoke shops was 495 00:29:25,360 --> 00:29:28,719 Speaker 2: coming in. Some people talk about you know, he't Coacy Zeppelin, 496 00:29:28,760 --> 00:29:31,320 Speaker 2: They're really good. So by Saturday night there'd be lines 497 00:29:31,320 --> 00:29:34,120 Speaker 2: at the door to get in. But BCN was just 498 00:29:34,160 --> 00:29:36,080 Speaker 2: part of They were just another part of that whole 499 00:29:36,640 --> 00:29:40,680 Speaker 2: revolution taking place. And they were quite political in those 500 00:29:40,760 --> 00:29:44,280 Speaker 2: days too. They were involved with you know the Harvard protests, 501 00:29:44,320 --> 00:29:47,479 Speaker 2: you know, Vietnam protests, and you know they smuggled some 502 00:29:47,520 --> 00:29:50,400 Speaker 2: papers out of Harvard, remember that whole thing. Yeah, you 503 00:29:50,440 --> 00:29:54,000 Speaker 2: know Danny Schechter, the news dissector they call ye. So 504 00:29:54,200 --> 00:29:58,880 Speaker 2: you know, they were exciting, very exciting station, and you 505 00:29:58,920 --> 00:30:01,720 Speaker 2: know you listen to the just just every minute, but 506 00:30:02,080 --> 00:30:05,840 Speaker 2: you know they'd played twenty minute songs. Who does that? 507 00:30:06,000 --> 00:30:07,760 Speaker 2: You know today you don't hear that anymore. 508 00:30:07,800 --> 00:30:11,680 Speaker 3: But yeah, we had Charles Lacudera on the podcast and 509 00:30:12,080 --> 00:30:17,400 Speaker 3: Charles was talking about this one event where when he 510 00:30:17,480 --> 00:30:22,240 Speaker 3: was doing Late Nights. I guess Jerry Garcia, Dwayne Olman, 511 00:30:22,840 --> 00:30:25,760 Speaker 3: they came up and hung out there in the show, 512 00:30:26,400 --> 00:30:28,280 Speaker 3: and I think played as well. 513 00:30:28,360 --> 00:30:31,920 Speaker 4: I think somewhere, yes, yeah, yeah, exists. 514 00:30:32,240 --> 00:30:37,040 Speaker 2: That's says they did a documentary. It came out a 515 00:30:37,120 --> 00:30:39,959 Speaker 2: couple of years ago, and that's they get some footage 516 00:30:40,000 --> 00:30:42,520 Speaker 2: of that, I believe a little bit. And BC end 517 00:30:42,600 --> 00:30:45,720 Speaker 2: they had for a while the studio right behind the 518 00:30:45,800 --> 00:30:48,480 Speaker 2: tea party, right in the ballroom, so that, you know, 519 00:30:48,520 --> 00:30:50,800 Speaker 2: the guys could come off stage and go right back there. 520 00:30:50,960 --> 00:30:54,040 Speaker 2: So imagine how exciting that was in those days. Yeah, 521 00:30:54,600 --> 00:30:55,040 Speaker 2: thank god. 522 00:30:55,600 --> 00:30:57,800 Speaker 4: So what are you listening to these days? 523 00:30:58,120 --> 00:31:06,000 Speaker 2: Oh? Well, coming full circle? Stones is that? But I 524 00:31:06,040 --> 00:31:11,040 Speaker 2: still listen to Aftermath is my favorite Stones record, Painted 525 00:31:11,080 --> 00:31:13,680 Speaker 2: Black is on. It's the first album they wrote all 526 00:31:13,680 --> 00:31:17,720 Speaker 2: the material for. They didn't do covers, so I listened 527 00:31:17,720 --> 00:31:21,160 Speaker 2: to a lot of the old stuff. And to be 528 00:31:21,160 --> 00:31:24,160 Speaker 2: honest with your old Yardbirds, I've been Jeff Beck died 529 00:31:24,400 --> 00:31:27,000 Speaker 2: not long ago, so it got me back into listening 530 00:31:27,040 --> 00:31:29,880 Speaker 2: to to, you know, the Yardbirds, and I saw them 531 00:31:29,920 --> 00:31:34,480 Speaker 2: as well, So I just sort of coming full circle 532 00:31:34,480 --> 00:31:38,000 Speaker 2: a little bit to the sixties and as far as 533 00:31:38,080 --> 00:31:42,840 Speaker 2: current rock acts. I'm I'm open to suggestions. Who's really good. 534 00:31:43,040 --> 00:31:46,560 Speaker 2: I'm not, you know. I like the Susan Tedesky Tedesky 535 00:31:46,640 --> 00:31:49,440 Speaker 2: trucks and some of that Roots rocks, you know stuff. 536 00:31:49,480 --> 00:31:51,840 Speaker 2: But I'm looking for the next U two or the 537 00:31:51,920 --> 00:31:55,040 Speaker 2: next Nirvana like everybody else is. And if you have 538 00:31:55,040 --> 00:31:58,360 Speaker 2: any suggestions, let me know. I appreciate it. I appreciate 539 00:31:58,400 --> 00:32:02,360 Speaker 2: you vit on taking a walk. This is an absolute joy. Yeah. Well, 540 00:32:02,720 --> 00:32:04,960 Speaker 2: good to see you, Buzz. It means a lot to 541 00:32:05,280 --> 00:32:06,000 Speaker 2: have you talk to me. 542 00:32:06,560 --> 00:32:10,680 Speaker 3: I thank you for taking a walk with Buzznight is 543 00:32:10,720 --> 00:32:16,440 Speaker 3: available on Spotify, Apple Podcasts, or wherever you get your podcasts.