WEBVTT - Peter Rudge

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left's podcast. My

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<v Speaker 1>guest today is Uber Manager. In his tenure, he's looked

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<v Speaker 1>after the Stones, The Who, Leonard skinnerd James Peter. Good

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<v Speaker 1>to have you here. Nice to be here, Bob. Finally,

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<v Speaker 1>thank you very much for inviting me. And where exactly

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<v Speaker 1>are you right this very second? Right now, I am

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<v Speaker 1>in what is presently called Rhode Island and the plantations,

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<v Speaker 1>but it's about to be just called Rhode Island, I understand. Um.

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<v Speaker 1>I kind of moved to America in the early seventies

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<v Speaker 1>and got my green card way back in seventy three,

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<v Speaker 1>and subsequently married a young lady from a from American

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<v Speaker 1>lady who resided in Rhode Island, and we bought a

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<v Speaker 1>house up here about thirty years ago in a wonderful

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<v Speaker 1>part of the country, very very pretty. Now we've had

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<v Speaker 1>previous conversations. You've spent time in Australia. Was that just

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<v Speaker 1>when we were emailing or you all? I think that's

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<v Speaker 1>when we were emailing, Barba. I mean, I'm I'm born

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<v Speaker 1>in Britain, in the Midlands, Wolverhampton, where Slade came from.

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<v Speaker 1>Um and it's rather like the equipment of say Akron.

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<v Speaker 1>It's where Goodyear tires are made in Britain. Um And

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<v Speaker 1>I spent my early youth in Britain. And I first

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<v Speaker 1>came to America when I was twenty three and got

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<v Speaker 1>a green card shortly afterwards and have been an American

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<v Speaker 1>resident ever since, although just by some strange quirk as

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<v Speaker 1>life can present. UM, I've tended to be have most

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<v Speaker 1>of my business has been centered in the UK, so

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<v Speaker 1>I've kind of gone across the Atlantic backwards and forwards

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<v Speaker 1>for many years. Let's go back to the Midlands. What

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<v Speaker 1>did your parents do for a living? UM? My father

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<v Speaker 1>was um a farmer. He was kind of um, you know,

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<v Speaker 1>he couldn't hold a job, Bob. We moved around the

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<v Speaker 1>country frequently every two or three years. And he was

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<v Speaker 1>one of these guys who was brought in when farms

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<v Speaker 1>were kind of struggling. He would be asked to come

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<v Speaker 1>in there and try and get it in shape, you know,

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<v Speaker 1>replant the fields and etcetera. Etcenter, bring cows in instead

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<v Speaker 1>of sheep. But he he wasn't the easiest of guys. Um.

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<v Speaker 1>And we moved a lot around the country. I would think,

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<v Speaker 1>on an average every two or three years my mother,

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<v Speaker 1>bless her. Um was a wonderful woman. She actually was

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<v Speaker 1>a florist, was a gardener and of some repute, and

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<v Speaker 1>was one of the first gardeners in the fifties and

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<v Speaker 1>sixties to kind of look at Japanese flower arranging, which

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<v Speaker 1>was kind of the cutting edge world of flour arrangement

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<v Speaker 1>in those days, an event and did very well, exhibited

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<v Speaker 1>all around the country, run flower shop, and actually was

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<v Speaker 1>part of the team that did the flowers for Princess

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<v Speaker 1>Margaret's wedding in Westminster Abbey. So I had a tough

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<v Speaker 1>act to follow. That's certainly a flower in her cap.

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<v Speaker 1>Was he more of a businessman or did he get

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<v Speaker 1>his hands dirty? No, he got his hands dirty. He

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<v Speaker 1>wasn't a businessman at all. Um. He we didn't have

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<v Speaker 1>a good relationship, Bob. I mean, I'm one of those

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<v Speaker 1>guys and I think there's a lot in the music

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<v Speaker 1>business and there's must be a story there who didn't

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<v Speaker 1>have a particularly happy childhood because of him. I as

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<v Speaker 1>a result of not really getting on with him, I

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<v Speaker 1>went to I was put into this kind of boarding

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<v Speaker 1>school when I was about thirteen, and frankly after that

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<v Speaker 1>I went to university and after that I went down

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<v Speaker 1>to London and I never really lived at home after

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<v Speaker 1>I was thirteen. Um, we didn't have a good relationship

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<v Speaker 1>my father and I. Okay, so how many kids were

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<v Speaker 1>in the family. There are three of us. There's myself

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<v Speaker 1>the oldest, there's my sister who's two years younger than me,

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<v Speaker 1>and then my brother who is fifteen years younger than me.

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<v Speaker 1>Came very late when my mother was forty nine. Actually,

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<v Speaker 1>I think, um, yeah, and that my brother that lives

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<v Speaker 1>in Britain in in the UK, as does my sister,

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<v Speaker 1>up in a place called Ilkley, Yorkshire, very very nice

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<v Speaker 1>and my parents funny enough, my father passed away a

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<v Speaker 1>number of years ago at ninety six, and my mother

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<v Speaker 1>passed away only two years ago at a hundred and two.

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<v Speaker 1>So um, hopefully I've got good g right. If the

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<v Speaker 1>COVID doesn't get you, you're gonna be well. Certainly we're

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<v Speaker 1>in a bubble here, and you know, Rhode Island has

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<v Speaker 1>got just about the least kind of cases in the

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<v Speaker 1>country right now. Of course it's the smallest state, but

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<v Speaker 1>they she's done a remarkably good job, the governor here, um,

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<v Speaker 1>and people seemed to be being sensible as opposed to

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<v Speaker 1>much of the rest of the country right now. So

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<v Speaker 1>growing up traditionally the oldest child or the hopes and

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<v Speaker 1>dreams of the family or in that child, did you

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<v Speaker 1>feel that or were you so estranged from your father

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<v Speaker 1>that wasn't a factor. More of the latter. My father,

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<v Speaker 1>you know, I'm trying not to be cruel, but he

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<v Speaker 1>wasn't very successful ending he did did. Uh. He treated

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<v Speaker 1>my mother terribly. He treated me terribly. Um, he couldn't

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<v Speaker 1>hold a job down. He wasn't an educated man. He

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<v Speaker 1>came from a very very interesting family. I'm from a

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<v Speaker 1>very interesting family. I think my great great great grandfather

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<v Speaker 1>started Rudge Bicycles, which was quite an esteemed bicycle brand

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<v Speaker 1>in um in Britain and has traveled the world. And

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<v Speaker 1>you know, it was bought by Rally then brought by

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<v Speaker 1>bs A. But my great great grandfather drunk it all

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<v Speaker 1>away and so we had The family fell in very

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<v Speaker 1>tough times. My father, according to many people, and was

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<v Speaker 1>very quite jealous of me. I was, you know, fortunate,

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<v Speaker 1>and I was good at sport. UM, I was relatively bright. UM,

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<v Speaker 1>I did very well at school at Rugby. UM I

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<v Speaker 1>kind of got an England trial, and funny enough, the

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<v Speaker 1>day I got the England Under sixteen trial, Um, it

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<v Speaker 1>was in Leicester, which is not far from Wolverhampton from

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<v Speaker 1>where and where I went to school in Ludlow, the

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<v Speaker 1>boarding school, and my father didn't want to go, but

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<v Speaker 1>my mother insisted and my mother went to went to

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<v Speaker 1>see the game to watch me and my father sat

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<v Speaker 1>in the car in the parking lot. So oh god. Yeah,

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<v Speaker 1>So that has been someone of a motivating for me

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<v Speaker 1>throughout my life. Um. You know, one of the funny

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<v Speaker 1>things on the iron is of it was that I

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<v Speaker 1>didn't learn to drive till I was fifty in fact

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<v Speaker 1>when I came up here, because you know, I was

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<v Speaker 1>born into the music business. I was still a kid

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<v Speaker 1>when I was started with the who I didn't know

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<v Speaker 1>anything but Limos, I mean Limo around London or Limit

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<v Speaker 1>around New York. I mean what else was it a

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<v Speaker 1>better Limos? And I never learned to drive. And so

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<v Speaker 1>at fifty, on my mother's birthday, I passed my test.

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<v Speaker 1>So he didn't learn to drive until you were fifty

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<v Speaker 1>fifty because um, that was one the one thing my

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<v Speaker 1>father told me and my mother that he could do

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<v Speaker 1>that I couldn't do. So I thought, well, instead of

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<v Speaker 1>like learning to I won't drive. I'll prove to him

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<v Speaker 1>that I can exist quite well and be hopefully relatively

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<v Speaker 1>successful without driving. So I didn't drive until we moved

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<v Speaker 1>up to what is essentially the country. Um. One of

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<v Speaker 1>those odd circumstances in life. So he obviously played quite

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<v Speaker 1>a factor in my life. My mother I do with Bob.

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<v Speaker 1>She was a wonderfully creative, very talented. To the day

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<v Speaker 1>she died, she asked me when I was going to

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<v Speaker 1>get a proper job. She could never understand because when

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<v Speaker 1>I got in the business, it wasn't a job, It

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<v Speaker 1>wasn't an industry. It was well like a cottage industry

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<v Speaker 1>of anything. And you know, we went along, we were

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<v Speaker 1>kind of making up the rules. Um as we went along.

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<v Speaker 1>You came of age, uh in the pre Beatle era,

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<v Speaker 1>shall we say, the Beatles really kind of hitting sixty

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<v Speaker 1>two in England, sixty four in America. Were you a

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<v Speaker 1>music fan? I was. I was at this boarding school

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<v Speaker 1>and I was huge Rolling Stones fan, right and my

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<v Speaker 1>best friend was a huge Beatles fan. But I wasn't

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<v Speaker 1>a massive you know, I don't think there were music

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<v Speaker 1>fans quite like there are now who were actually like,

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<v Speaker 1>are so knowledgeable. So also was an incredible elects I

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<v Speaker 1>never came across it was. It was it was slightly

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<v Speaker 1>a different dynamic, so Peter music for and we're not

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<v Speaker 1>to seem not as knowledgeable in your era as they

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<v Speaker 1>are now. You were saying, yeah, I think so. Maybe

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<v Speaker 1>it's because music as we know it, Bob didn't exist, certainly,

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<v Speaker 1>not in the critical mass that it does now. It

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<v Speaker 1>was very early, it was, it was just beginning to evolve.

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<v Speaker 1>I mean, the first record I bought was a seven

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<v Speaker 1>inch single was by Del Shannon right run Around right

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<v Speaker 1>then I think it was le Roy Van Dyet walk

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<v Speaker 1>on By. And then I discovered Bill Haley and Rock

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<v Speaker 1>around the Clock and that was the fifth is and

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<v Speaker 1>you know, and we were at down and then the

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<v Speaker 1>Beatles and the Stones and the so called English invasion

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<v Speaker 1>kind of begun and started to kind of travel the

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<v Speaker 1>world the west, the West coast. I think American sound

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<v Speaker 1>kind of started. The birds and people, Buffalo, Springfield. That

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<v Speaker 1>was a little later. Dylan was there or there, but

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<v Speaker 1>it wasn't like on the level to any extent by

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<v Speaker 1>any comparison to now. So I and for me anyway,

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<v Speaker 1>I wasn't aware of that intensity of feeling of kids

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<v Speaker 1>of young age during at that time it was in

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<v Speaker 1>some respects it was more than ever it has been

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<v Speaker 1>ever since, and which it sadly isn't now the soundtrack

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<v Speaker 1>to a cultural movement, um a youth movement which I

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<v Speaker 1>think culminated at Woodstock. That was kind of when the

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<v Speaker 1>major which was a music a musical, sociological and political

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<v Speaker 1>statement that transcended pure music. But in those preceding ten years,

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<v Speaker 1>it was a much smaller world. I feel that from

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<v Speaker 1>what I recall now. Okay, so you were in boarding school.

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<v Speaker 1>You're obviously a uh an athlete in many different venues,

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<v Speaker 1>and you were a good athlete. Were you the kind

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<v Speaker 1>of kid who got along with everybody and a lot

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<v Speaker 1>of friends who you're of a loner or what kind

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<v Speaker 1>of kid were you? No? I think I did. I

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<v Speaker 1>think I got along with everybody. I mean I I

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<v Speaker 1>was head boy at school, captain of rugby, captain of cricket,

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<v Speaker 1>a kind of things. I was an athlete, which put

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<v Speaker 1>me in good stead. And I believe that the one

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<v Speaker 1>of the primary reasons that I got into Cambridge was

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<v Speaker 1>because I was a good athlete. And one of the

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<v Speaker 1>reason that I got into the music business was because

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<v Speaker 1>when at Cambridge after my first year, I blew my

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<v Speaker 1>knee out. Um, so, you know, I was pretty social then.

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<v Speaker 1>I think as I've got older, I've got less social.

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<v Speaker 1>I think that's part of getting older. I've noticing that myself.

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<v Speaker 1>I think you're right, Bob, I think you have less

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<v Speaker 1>patience and less everything and if everything's ground dog day,

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<v Speaker 1>you've seen everything, so you've become kind of a little

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<v Speaker 1>bit more cynical and less forgiving. But no, I was.

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<v Speaker 1>I was pretty social back in the day. I have

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<v Speaker 1>to say I felt I was. I mean I always say,

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<v Speaker 1>you know, guitarists have a guitar, singers have a microphone,

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<v Speaker 1>managed just have a mouth. So well, that's why I

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<v Speaker 1>was asking people think just people think that, you know,

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<v Speaker 1>the skill is just knowing a lot about music or

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<v Speaker 1>being able to plot a course. We're getting along with

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<v Speaker 1>people is the first criterion. But how devastating was it

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<v Speaker 1>for you that you blew out your knee? It was

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<v Speaker 1>a crushing I mean, really was. I mean, I love rugby.

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<v Speaker 1>It was you know, rugby and music. I was there

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<v Speaker 1>and but I was passionate about rugby, and it left

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<v Speaker 1>a massive void in my life obviously. And although I

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<v Speaker 1>was a music aficionado, a fan, and I bought music

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<v Speaker 1>and followed it under the bed sheets like so many

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<v Speaker 1>people in Britain with Radio Luxembourg and everything else after

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<v Speaker 1>lights out, you know, the then back in, you know,

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<v Speaker 1>all those things that kids did in those days to

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<v Speaker 1>get the kind of music, and all the imports shows

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<v Speaker 1>of the American bands. I mean, I still had that,

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<v Speaker 1>but it left a huge hole in my life because

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<v Speaker 1>I'm kind of probably already gathered pretty hyper um and

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<v Speaker 1>and you know, I need things to do, I need

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<v Speaker 1>things to occupy myself. So what we did, my friend

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<v Speaker 1>and I we said, okay, we looked around at Cambridge

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<v Speaker 1>and it's a number of independent colleges, almost like like

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<v Speaker 1>the States. Here it's it's a federal system, it's and

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<v Speaker 1>all the colleges were independent of one another and had

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<v Speaker 1>no um coordinated entertainment budgets. All the colleges booked all

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<v Speaker 1>their things separately individually. There was no kind of social

0:13:33.400 --> 0:13:37.280
<v Speaker 1>secretary or no entertainment's board or whatever they have, And

0:13:37.320 --> 0:13:39.559
<v Speaker 1>so we thought, there's a good chance it's a bit

0:13:39.600 --> 0:13:42.400
<v Speaker 1>of a good business here, and so we formed an

0:13:42.440 --> 0:13:45.560
<v Speaker 1>agency corp Mono because by that time the English folk

0:13:45.640 --> 0:13:48.959
<v Speaker 1>scene was becoming really kind of cool and the incredible

0:13:49.000 --> 0:13:52.439
<v Speaker 1>string band and bands of that nature. We started to

0:13:52.640 --> 0:13:56.080
<v Speaker 1>kind of like come, you know. We started to follow

0:13:56.120 --> 0:14:00.640
<v Speaker 1>and we started to book them around the other universities. Um,

0:14:00.679 --> 0:14:03.640
<v Speaker 1>the Pink Floyd we from Cambridge. I got friendly with Gilmore.

0:14:03.760 --> 0:14:06.360
<v Speaker 1>Gilmour was in a band called the Wall Flowers. He

0:14:06.440 --> 0:14:09.960
<v Speaker 1>wasn't even the guitarist, he was the bass player and

0:14:10.160 --> 0:14:13.440
<v Speaker 1>they played in our local public cry. So we started

0:14:13.480 --> 0:14:17.160
<v Speaker 1>to get the field for booking stuff. We also managed

0:14:17.240 --> 0:14:19.960
<v Speaker 1>the band. We put a band together. My first band

0:14:20.360 --> 0:14:24.520
<v Speaker 1>was called the Pineapple Truck and we tagged it UM

0:14:24.520 --> 0:14:27.200
<v Speaker 1>even though and back then you needed a tagline the

0:14:27.200 --> 0:14:29.680
<v Speaker 1>band with the highest I que in the world. And

0:14:31.000 --> 0:14:35.440
<v Speaker 1>we managed to get um interest. We got a story planted.

0:14:35.440 --> 0:14:37.360
<v Speaker 1>I god knows how you do it. You know, when

0:14:37.400 --> 0:14:40.720
<v Speaker 1>you're young, you don't think, you just act um. And

0:14:41.240 --> 0:14:43.160
<v Speaker 1>we we got a story plan and as a result

0:14:43.240 --> 0:14:45.240
<v Speaker 1>we got this kind of a and r rushed to

0:14:45.280 --> 0:14:47.400
<v Speaker 1>come up. They all came up to see this band,

0:14:47.480 --> 0:14:51.200
<v Speaker 1>who are terrible. Um, but I I remember and it's

0:14:51.240 --> 0:14:54.040
<v Speaker 1>a funny story. And it's quite separate from my relationship

0:14:54.200 --> 0:14:57.040
<v Speaker 1>later with Mick Jadder, but one of the things we

0:14:57.080 --> 0:14:59.200
<v Speaker 1>decided to the lead singer. We had a kid called

0:14:59.280 --> 0:15:03.840
<v Speaker 1>Ricky Hopper. Best friend at school was a Chris Jagger,

0:15:04.000 --> 0:15:06.520
<v Speaker 1>happened to be mixed young brother. We thought, let's get

0:15:06.600 --> 0:15:08.440
<v Speaker 1>him in. Let's get him in. We got a Jagger,

0:15:08.600 --> 0:15:11.280
<v Speaker 1>we got the i Q, we got everything, and we

0:15:11.400 --> 0:15:13.840
<v Speaker 1>kind of spun this story. And and a well known

0:15:14.160 --> 0:15:16.760
<v Speaker 1>he was a journalist then he came a playwright and

0:15:16.800 --> 0:15:19.920
<v Speaker 1>an author of some repute. Michael Frayne was sent up

0:15:19.960 --> 0:15:22.360
<v Speaker 1>by the Sunday Times to do this piece on on

0:15:22.360 --> 0:15:25.760
<v Speaker 1>this band of Pineapple Truck, and you know, I just

0:15:25.800 --> 0:15:30.000
<v Speaker 1>fell in love with it. I just thought, this is fantastic,

0:15:30.440 --> 0:15:35.960
<v Speaker 1>you know, orchestrating these things, tweaking, um, this is fantastic,

0:15:36.040 --> 0:15:38.800
<v Speaker 1>and you know, putting on concerts, and I just fell

0:15:38.840 --> 0:15:42.480
<v Speaker 1>in love with the business. And I think inasmuch as

0:15:42.520 --> 0:15:45.760
<v Speaker 1>the music, I fell in love with the business because

0:15:46.120 --> 0:15:48.760
<v Speaker 1>it was you could there were no rules, there was

0:15:48.800 --> 0:15:51.160
<v Speaker 1>no structure that it was like you had to follow

0:15:51.160 --> 0:15:55.040
<v Speaker 1>your instincts and it was just for me, It just

0:15:55.480 --> 0:15:58.240
<v Speaker 1>it was just hit a sweet spot and That was

0:15:58.280 --> 0:16:03.280
<v Speaker 1>the beginnings of my love, my my, my, my, my,

0:16:03.280 --> 0:16:07.680
<v Speaker 1>my involvement in music from the other side of the

0:16:07.880 --> 0:16:10.800
<v Speaker 1>of the room, as it were, the management, the business sidemen.

0:16:11.080 --> 0:16:14.480
<v Speaker 1>We promoted a lot of shows at the Cambridge Corner Exchange,

0:16:14.600 --> 0:16:16.880
<v Speaker 1>and I mean I loved all the American bands, so

0:16:16.920 --> 0:16:19.760
<v Speaker 1>we had it. We bought over It's a Beautiful Day.

0:16:20.680 --> 0:16:25.040
<v Speaker 1>I'm Butterfly. We had their um who else, We had

0:16:25.080 --> 0:16:28.840
<v Speaker 1>the Electric Prunes. We toured w all those old California

0:16:28.920 --> 0:16:31.800
<v Speaker 1>bands as well as the as well as obviously the

0:16:31.800 --> 0:16:34.960
<v Speaker 1>String Band. I remember we booked her Anosaurus Rex and

0:16:35.000 --> 0:16:37.280
<v Speaker 1>I had them at the Cambridge Corner Exchange and actually

0:16:37.280 --> 0:16:39.560
<v Speaker 1>sat there watching it. Mark Bowl and fell asleep on

0:16:39.680 --> 0:16:43.760
<v Speaker 1>stage when he was singing. I mean, you know with

0:16:43.840 --> 0:16:45.760
<v Speaker 1>me it was him and Mickey hook the two of

0:16:45.760 --> 0:16:48.160
<v Speaker 1>them before Mark wentz you know, and I hooked up

0:16:48.200 --> 0:16:52.880
<v Speaker 1>with Mark later attract records. Um but and that was it.

0:16:53.040 --> 0:16:57.320
<v Speaker 1>And so what happened was I booked the Who or

0:16:57.400 --> 0:17:02.320
<v Speaker 1>we booked the Who just for one second? Okay? Uh.

0:17:02.480 --> 0:17:05.159
<v Speaker 1>Even though it's easy to tell the story, it's not

0:17:05.240 --> 0:17:08.280
<v Speaker 1>so easy to do to start an agency in booking

0:17:08.280 --> 0:17:12.520
<v Speaker 1>at different colleges. Do you have an entrepreneurial spirit or

0:17:12.640 --> 0:17:16.720
<v Speaker 1>was it another member of the so called we. No,

0:17:16.960 --> 0:17:19.440
<v Speaker 1>I think it was me, my my, my, my mate

0:17:19.480 --> 0:17:23.760
<v Speaker 1>who did it with me? John Willis, um wonderful guy,

0:17:24.040 --> 0:17:26.600
<v Speaker 1>was still friends. He went on to the head of

0:17:26.680 --> 0:17:30.119
<v Speaker 1>Channel four. He's made documentaries, he's the head of Bathta,

0:17:30.320 --> 0:17:32.399
<v Speaker 1>he was chairman of Bathta for a number of years.

0:17:33.359 --> 0:17:36.960
<v Speaker 1>He was. I think I was probably more entrepreneur than him. Actually, Bob,

0:17:37.440 --> 0:17:40.960
<v Speaker 1>I kind of like, yeah, I had that at that point.

0:17:41.040 --> 0:17:44.720
<v Speaker 1>You have no fear, um, just no fear you just

0:17:44.800 --> 0:17:47.120
<v Speaker 1>as a young person, you kind of don't you don't

0:17:47.280 --> 0:17:49.960
<v Speaker 1>you don't think it through drilling down a little bit,

0:17:50.400 --> 0:17:53.359
<v Speaker 1>was the money to book these towards your personal money

0:17:53.480 --> 0:17:57.480
<v Speaker 1>or the school's money? Now our personal money? We actually,

0:17:57.600 --> 0:17:59.840
<v Speaker 1>we both know being a culture promoter is a like

0:18:00.640 --> 0:18:04.000
<v Speaker 1>to go broke. So how did how did you manage

0:18:04.080 --> 0:18:07.160
<v Speaker 1>to stay in business? Well? Hold on, now, then when

0:18:07.160 --> 0:18:11.720
<v Speaker 1>we booked these shows, remember hold on, no, I see

0:18:11.720 --> 0:18:15.320
<v Speaker 1>what you're saying. When we booked shows for the may balls,

0:18:15.400 --> 0:18:18.120
<v Speaker 1>which are the big kind of balls on graduation balls here,

0:18:18.600 --> 0:18:21.440
<v Speaker 1>that was the college money. We took a percentage. Okay,

0:18:21.600 --> 0:18:25.120
<v Speaker 1>when I promoted concerts at the Cambridge Town like Cambridge

0:18:25.440 --> 0:18:28.600
<v Speaker 1>Call Exchange like the Prunes, or we we did family

0:18:28.680 --> 0:18:31.119
<v Speaker 1>with Roger Chapman. That was our own money. We we

0:18:31.520 --> 0:18:35.920
<v Speaker 1>just it was again back to your point, it was relationships.

0:18:35.960 --> 0:18:39.280
<v Speaker 1>There was one agency in particular that would sell to us.

0:18:39.359 --> 0:18:43.080
<v Speaker 1>Some agencies wouldn't sell to young college kits without you know,

0:18:43.200 --> 0:18:46.200
<v Speaker 1>with bank accounts with no money in them. One agency

0:18:46.240 --> 0:18:49.240
<v Speaker 1>that sold to us, who I cultivated with John Willis,

0:18:49.320 --> 0:18:53.880
<v Speaker 1>was called the Brian Morrison Agency. I remember now one

0:18:53.920 --> 0:18:58.280
<v Speaker 1>thirty two chairing cross Road. That agency represented, amongst others,

0:18:58.320 --> 0:19:02.080
<v Speaker 1>the Pink Floyd, the Pretty Things and a number of

0:19:02.119 --> 0:19:06.280
<v Speaker 1>other bands. There was the bookers there, one being Steve

0:19:06.359 --> 0:19:09.640
<v Speaker 1>O'Rourke who went on to manage the Pink Floyd, another

0:19:09.720 --> 0:19:12.560
<v Speaker 1>Tony Howard who went on to manage the Soft Machine,

0:19:13.160 --> 0:19:16.760
<v Speaker 1>and um a guy called Brian Murray who managed actually

0:19:16.800 --> 0:19:20.560
<v Speaker 1>Mungo Jerry. You'd probably know who they are. Yeah, yeah,

0:19:20.600 --> 0:19:25.200
<v Speaker 1>you got it. Um. But they sold to us and

0:19:25.359 --> 0:19:28.840
<v Speaker 1>they taught me some lessons very early on, some big lessons.

0:19:29.320 --> 0:19:31.720
<v Speaker 1>I remember we booked a band called Jimmy James and

0:19:31.760 --> 0:19:34.840
<v Speaker 1>the Bag of Bonds into Cambridge Corn Exchange. I remember

0:19:34.880 --> 0:19:38.840
<v Speaker 1>we paid a hundred fifty thousand, hundred and fifty pounds

0:19:39.240 --> 0:19:41.199
<v Speaker 1>was the fee we paid them. No back ends in

0:19:41.200 --> 0:19:45.840
<v Speaker 1>those days. Um, And for some reason, I don't know

0:19:45.880 --> 0:19:49.439
<v Speaker 1>whether we blagged it or what, we didn't pay the

0:19:49.520 --> 0:19:54.399
<v Speaker 1>full amount of money to the agency ahead of the show.

0:19:54.880 --> 0:19:57.240
<v Speaker 1>You know, as you know, normally you have to, especially

0:19:57.280 --> 0:20:01.440
<v Speaker 1>if you're an unknown promoter. So we agree, need um

0:20:01.480 --> 0:20:04.760
<v Speaker 1>to settle with the band's manager on the night. So

0:20:04.840 --> 0:20:06.560
<v Speaker 1>we go in and I go and say, all right,

0:20:06.560 --> 0:20:09.680
<v Speaker 1>I've got I've got your money already. Here's the hundred

0:20:09.720 --> 0:20:12.240
<v Speaker 1>and fifty. And the guy said, when we're only getting

0:20:12.320 --> 0:20:15.320
<v Speaker 1>hundred and twenty five, I said, no, that here's the content.

0:20:15.480 --> 0:20:17.960
<v Speaker 1>So I learned about buying and selling very early on.

0:20:18.040 --> 0:20:20.760
<v Speaker 1>That That was Steve A raw Bless his heart, and

0:20:20.800 --> 0:20:25.040
<v Speaker 1>he became Yeah, he became a lifelong friend until he

0:20:25.240 --> 0:20:29.080
<v Speaker 1>sadly passed away. Um. Okay, just like okay, we're in

0:20:29.119 --> 0:20:32.840
<v Speaker 1>like sixty seven, sixty eight. Uh, this was I was

0:20:32.880 --> 0:20:42.160
<v Speaker 1>a camera from sixty five to sixty eight. Yes, okay,

0:20:42.960 --> 0:20:46.400
<v Speaker 1>A side question, because the Incredible String band was big

0:20:46.440 --> 0:20:50.119
<v Speaker 1>at that time, fell completely off the radar. Is that

0:20:50.240 --> 0:20:52.359
<v Speaker 1>a sound that could ever come back? Or it was

0:20:52.440 --> 0:20:55.879
<v Speaker 1>just a moment in time. It was a little bit

0:20:56.000 --> 0:20:58.399
<v Speaker 1>at a moment in time like Donovan and listen, it

0:20:58.560 --> 0:21:02.040
<v Speaker 1>was a little kind of a little hippie you know.

0:21:02.840 --> 0:21:08.240
<v Speaker 1>Um two great musicians, Mike Williams and Mike Heron, great musicians,

0:21:08.800 --> 0:21:11.680
<v Speaker 1>and there were them. Was like the Fairbook Convention. We

0:21:11.760 --> 0:21:13.560
<v Speaker 1>booked them as well. There are a number of those

0:21:13.600 --> 0:21:17.080
<v Speaker 1>man's not quite like the Incredible String Band, but they

0:21:17.160 --> 0:21:19.760
<v Speaker 1>kind of bridge the gap, I suppose in some ways Bob,

0:21:19.800 --> 0:21:24.440
<v Speaker 1>between real real folk and things like the Fairpool Convention.

0:21:24.480 --> 0:21:27.480
<v Speaker 1>Because that time you had Bertie and and John Renborne

0:21:27.800 --> 0:21:30.399
<v Speaker 1>were really doing well. There was the folk thing. There

0:21:30.440 --> 0:21:33.399
<v Speaker 1>was a girl called Julie Felix in Britain, obviously in

0:21:33.440 --> 0:21:37.440
<v Speaker 1>America because I remember my record collection at Cambridge had

0:21:37.440 --> 0:21:41.720
<v Speaker 1>things like Tim Buckley, had things like Tim Harden, had

0:21:41.760 --> 0:21:46.159
<v Speaker 1>things like um, oh God, Jesse Winchester. I remember that

0:21:46.200 --> 0:21:49.960
<v Speaker 1>was a particular I liked that music, and obviously that

0:21:50.080 --> 0:21:54.760
<v Speaker 1>you know, the Bob Dylan and co um So I

0:21:54.800 --> 0:21:57.040
<v Speaker 1>don't know whether it could come back quite in the

0:21:57.119 --> 0:22:00.520
<v Speaker 1>same incarnation, but I think there's always and for any

0:22:00.520 --> 0:22:04.040
<v Speaker 1>type of music, how big its footprint can be. I

0:22:04.080 --> 0:22:06.159
<v Speaker 1>don't know. They were great to stream and it was

0:22:06.240 --> 0:22:09.480
<v Speaker 1>quite unique, right, they certainly had a moment. Okay, so

0:22:09.520 --> 0:22:12.520
<v Speaker 1>you booked the Who, I interrupted you. Oh yeah, well,

0:22:12.560 --> 0:22:14.359
<v Speaker 1>so I booked the Who. We booked the Who for

0:22:14.400 --> 0:22:18.920
<v Speaker 1>the price mayble, and we pay them four hundred We

0:22:19.040 --> 0:22:21.959
<v Speaker 1>got them for four hundred pounds, which was like probably

0:22:22.880 --> 0:22:25.200
<v Speaker 1>four million now, four hundred pounds for the Who to

0:22:25.280 --> 0:22:30.560
<v Speaker 1>play and this was sixty eight I think sixty seven

0:22:30.600 --> 0:22:34.159
<v Speaker 1>or sixty eight um. And then on the morning of

0:22:34.359 --> 0:22:38.160
<v Speaker 1>the show I get a telegram as they were called then.

0:22:38.600 --> 0:22:42.040
<v Speaker 1>It was Cable as we've known America from Kit a

0:22:42.200 --> 0:22:46.760
<v Speaker 1>kit Lambert Um, dear Mr Rids, Mr Willis, it is

0:22:46.800 --> 0:22:49.520
<v Speaker 1>with sad, great sadness and greatest may that we're uf g.

0:22:49.720 --> 0:22:52.200
<v Speaker 1>Keith Moon has been the drummer has been taken sick

0:22:52.600 --> 0:22:56.720
<v Speaker 1>Vladi bl and we're unable to fulfill tonight's function. Bard.

0:22:57.200 --> 0:23:00.720
<v Speaker 1>Now we were like the Who were like I was

0:23:00.760 --> 0:23:04.240
<v Speaker 1>a massive hoo fan. I love the well it begs,

0:23:04.240 --> 0:23:06.919
<v Speaker 1>the begs the question were you a martyr a rocker?

0:23:07.200 --> 0:23:11.560
<v Speaker 1>Did that even apply a cambridge? It didn't really, Honestly,

0:23:11.640 --> 0:23:14.400
<v Speaker 1>I didn't really feel either way about it. In fact,

0:23:14.440 --> 0:23:16.800
<v Speaker 1>I kept away from both of them because they were

0:23:16.800 --> 0:23:21.479
<v Speaker 1>always in fight, so I didn't actually I didn't wear

0:23:21.520 --> 0:23:24.960
<v Speaker 1>any colors. It didn't that I wasn't aware of it.

0:23:25.280 --> 0:23:27.879
<v Speaker 1>When I was at Cambridge it was more mark. We

0:23:28.080 --> 0:23:30.959
<v Speaker 1>were kind of marching against the bomb and things like that.

0:23:31.000 --> 0:23:33.480
<v Speaker 1>The you know, we were more in that world in

0:23:33.520 --> 0:23:37.880
<v Speaker 1>those days, CND and everything. Um. But anyway, so I thought, well,

0:23:37.960 --> 0:23:39.560
<v Speaker 1>and they can't do that to us, what are we

0:23:39.600 --> 0:23:42.000
<v Speaker 1>going to do? This is our big moment. And as

0:23:42.040 --> 0:23:45.000
<v Speaker 1>you do when you're two, I jumped on a train

0:23:45.280 --> 0:23:46.960
<v Speaker 1>and said, I'm going down to London. I'm going to

0:23:47.000 --> 0:23:49.480
<v Speaker 1>go and talk to this guy Lambert. They can't do this.

0:23:49.480 --> 0:23:53.120
<v Speaker 1>This is day of, day of, morning of, and I said,

0:23:53.119 --> 0:23:56.639
<v Speaker 1>they can't do this. Um. And so I was just

0:23:56.720 --> 0:23:58.960
<v Speaker 1>angry because I didn't know. We I think we actually

0:23:59.040 --> 0:24:02.000
<v Speaker 1>got the family to replaced them, not for four hundred,

0:24:02.000 --> 0:24:04.040
<v Speaker 1>but we got. We knew we gotta go. I was like, yeah,

0:24:04.080 --> 0:24:05.840
<v Speaker 1>I'm going to show these people they can't mess with

0:24:05.880 --> 0:24:09.200
<v Speaker 1>this like this just not right and you do these things.

0:24:09.200 --> 0:24:10.960
<v Speaker 1>And I've gone on the train. I walked into Track

0:24:11.000 --> 0:24:14.760
<v Speaker 1>Records and there was kid Lambert and bless his heart,

0:24:14.920 --> 0:24:17.640
<v Speaker 1>because normally if someone like me came on, I wouldn't

0:24:17.680 --> 0:24:19.760
<v Speaker 1>see them. I don't as they get rid of them.

0:24:19.800 --> 0:24:23.919
<v Speaker 1>Lambert though, you know, we'll get into it later is large.

0:24:24.040 --> 0:24:28.119
<v Speaker 1>Was a larger than life character. And I walked in

0:24:28.160 --> 0:24:30.040
<v Speaker 1>there and he says, look, it's terribly sorry. And he

0:24:30.080 --> 0:24:32.680
<v Speaker 1>had this doctor's note and all these things and everything,

0:24:32.720 --> 0:24:35.359
<v Speaker 1>and I suddenly look over his shoulder. I see a

0:24:35.400 --> 0:24:37.760
<v Speaker 1>wall map. You know those kind of war maps you

0:24:37.840 --> 0:24:40.920
<v Speaker 1>do weather the whole month is left, and I see

0:24:40.960 --> 0:24:43.480
<v Speaker 1>on the day of our May the fifteenth May ball,

0:24:43.600 --> 0:24:48.359
<v Speaker 1>it says who Isle of Dogs video? Shoot for dogs.

0:24:48.400 --> 0:24:51.200
<v Speaker 1>There was a song. I said, he's not sick. They're

0:24:51.240 --> 0:24:54.359
<v Speaker 1>doing a video and he fesst up. Kid fesst up,

0:24:54.440 --> 0:24:58.359
<v Speaker 1>he said a little. And you know, I didn't do anything.

0:24:58.440 --> 0:25:01.040
<v Speaker 1>I'm as a twenty one year old kid and dad,

0:25:01.560 --> 0:25:03.639
<v Speaker 1>you know. He said, we're making up. We'll play for

0:25:03.640 --> 0:25:05.040
<v Speaker 1>you next year. I said, well, we're not going to

0:25:05.080 --> 0:25:07.399
<v Speaker 1>be a Camidge. I'm graduating. He said, don't worry. He

0:25:07.480 --> 0:25:10.119
<v Speaker 1>said whatever, whenever you need the who, whenever you want

0:25:10.119 --> 0:25:12.320
<v Speaker 1>to promote, will do it. And there was no legal

0:25:12.359 --> 0:25:15.199
<v Speaker 1>action or anything like that. It was just those I

0:25:15.200 --> 0:25:19.280
<v Speaker 1>don't know. For me, it was an adventure, but um

0:25:19.480 --> 0:25:22.880
<v Speaker 1>turn the clock forward, just a tiny tad and I'm

0:25:23.480 --> 0:25:30.840
<v Speaker 1>preparing for my um um, I'm I'm writing to people

0:25:31.200 --> 0:25:34.800
<v Speaker 1>in the music business for a summer job. Because my

0:25:34.880 --> 0:25:37.639
<v Speaker 1>ambition when I left university was not to go in

0:25:37.680 --> 0:25:40.400
<v Speaker 1>the musics. It was to go into the civil Service,

0:25:40.440 --> 0:25:43.879
<v Speaker 1>the foreigns, the Foreign Service. I wanted to be a diplomat,

0:25:43.960 --> 0:25:46.359
<v Speaker 1>and I wanted to be our Man and Havanna, and

0:25:46.440 --> 0:25:50.240
<v Speaker 1>I wanted whatever the John the Carrier Hero and so

0:25:50.280 --> 0:25:54.359
<v Speaker 1>I picked three people that I thought I would love

0:25:54.440 --> 0:25:59.440
<v Speaker 1>to spend the summer working for. One was Lambert Okay

0:26:00.080 --> 0:26:03.560
<v Speaker 1>Track because they were really doing something special those days,

0:26:03.600 --> 0:26:09.760
<v Speaker 1>obviously Hendrix, the Who Um primarily John's children, Mark Pole

0:26:09.800 --> 0:26:12.560
<v Speaker 1>and Bloody but Um. The other was Andrew Oldham at

0:26:12.560 --> 0:26:15.320
<v Speaker 1>a Media because I love them. That was The Stones

0:26:15.359 --> 0:26:19.000
<v Speaker 1>and people forget Now but the Small Faces um and

0:26:19.320 --> 0:26:22.960
<v Speaker 1>Chris Blackwell at Ireland Traffic was a big favorite band

0:26:23.000 --> 0:26:26.200
<v Speaker 1>of mine, and and I kind of new Spencer Davis

0:26:26.240 --> 0:26:30.959
<v Speaker 1>a little bit and so um that I wrote three letters.

0:26:31.640 --> 0:26:34.760
<v Speaker 1>I heard nothing back for about three or four weeks,

0:26:34.760 --> 0:26:37.960
<v Speaker 1>and one day I'm in my room at Cambridge and

0:26:38.000 --> 0:26:43.040
<v Speaker 1>there's a knock on the door. Um, and hello, Mr

0:26:43.119 --> 0:26:47.560
<v Speaker 1>Lambert sent me, and I said, yeah, Mr kill Lambert, Yeah,

0:26:47.680 --> 0:26:51.560
<v Speaker 1>and um, I said. He said, well, why why have

0:26:51.640 --> 0:26:54.600
<v Speaker 1>you coming? Well? You wrote him a letter, he said,

0:26:54.640 --> 0:26:59.040
<v Speaker 1>asking for employment, but you didn't sign it and he

0:26:59.119 --> 0:27:02.560
<v Speaker 1>didn't know how to contact you. But he guessed because

0:27:02.560 --> 0:27:04.280
<v Speaker 1>of what I had said in the letter that it

0:27:04.359 --> 0:27:08.400
<v Speaker 1>was the person at fitzwilliam College, Cambridge, who because I

0:27:08.400 --> 0:27:11.640
<v Speaker 1>I detailed, you know how we'd met in the over

0:27:11.680 --> 0:27:14.280
<v Speaker 1>the WHO booking fall and through UM. He said it

0:27:14.359 --> 0:27:17.119
<v Speaker 1>must be you, he said, but I obviously it was

0:27:17.200 --> 0:27:19.520
<v Speaker 1>so tired. I was writing these letters and four o'clock

0:27:19.680 --> 0:27:23.920
<v Speaker 1>in the morning, cramming for exams and UM. To cut

0:27:23.920 --> 0:27:28.360
<v Speaker 1>a long story short, I went down to uh London.

0:27:28.840 --> 0:27:31.240
<v Speaker 1>I met with Kit again at track and this was

0:27:31.320 --> 0:27:34.560
<v Speaker 1>kind of May June or something. He hired me and

0:27:34.600 --> 0:27:36.120
<v Speaker 1>I said, what I'd like to do, you know, take

0:27:36.160 --> 0:27:38.480
<v Speaker 1>the summer off. I want to, you know, go down

0:27:38.480 --> 0:27:41.959
<v Speaker 1>to Morocco and do what all students do. UM. And

0:27:42.000 --> 0:27:45.560
<v Speaker 1>then he said, well, let's start October. One October the

0:27:45.560 --> 0:27:51.359
<v Speaker 1>first nineteen sixty seven started track records twenty pounds a week. Either, Wow,

0:27:51.400 --> 0:27:54.200
<v Speaker 1>that's it, great, fantastic, So off we when I went away,

0:27:54.320 --> 0:27:58.880
<v Speaker 1>the summer went to Morocco, did my thing, got back

0:27:58.920 --> 0:28:02.159
<v Speaker 1>to London, went to take six, bought a snazzy white

0:28:02.240 --> 0:28:05.480
<v Speaker 1>lip jacket and everything turn up. A trap records on

0:28:05.520 --> 0:28:08.640
<v Speaker 1>October the first, at ten o'clock or nine o'clockwards something

0:28:08.640 --> 0:28:11.200
<v Speaker 1>in the morning. No one there. Of course, eventually someone

0:28:11.280 --> 0:28:14.280
<v Speaker 1>staggers in around eleven and they look at me and said,

0:28:14.280 --> 0:28:16.760
<v Speaker 1>well who here, said, well, Kit Lambert employed me. I'm

0:28:16.800 --> 0:28:19.520
<v Speaker 1>starting a trap rugglers the day. And everyone looked to

0:28:19.600 --> 0:28:22.560
<v Speaker 1>me kind of like, oh, yeah, right, and you'll have

0:28:22.600 --> 0:28:25.560
<v Speaker 1>to wait for Kris Stamp to come in. Kids in

0:28:25.800 --> 0:28:30.240
<v Speaker 1>Seattle right now with Hendrix, and that's eight hours ahead.

0:28:30.280 --> 0:28:32.399
<v Speaker 1>We won't behind, we won't be able to get him.

0:28:32.440 --> 0:28:35.119
<v Speaker 1>So Stamp comes in around lunchtime. He said, you know,

0:28:35.160 --> 0:28:37.120
<v Speaker 1>you better sit there and wait till I speak to Kit.

0:28:37.560 --> 0:28:40.480
<v Speaker 1>I I don't know. He didn't tell us, and everyone's

0:28:40.480 --> 0:28:42.400
<v Speaker 1>really weird. They look at me, really Sanath, and this

0:28:42.440 --> 0:28:46.000
<v Speaker 1>isn't very pleasant. And then eventually, at about five o'clock

0:28:46.080 --> 0:28:49.640
<v Speaker 1>that day they get Kits and kids says, oh my god,

0:28:49.720 --> 0:28:52.440
<v Speaker 1>yes I did hire him. Of course I forgot. Yes

0:28:52.480 --> 0:28:55.720
<v Speaker 1>he's fine, he's the boy from Cambridge and what I

0:28:55.960 --> 0:28:58.120
<v Speaker 1>And they said, okay, you're hired. You And what I

0:28:58.160 --> 0:29:02.840
<v Speaker 1>didn't realize that Kit was gay and the kids primary

0:29:03.000 --> 0:29:05.800
<v Speaker 1>pickup line when he went around the cruising the clubs

0:29:05.960 --> 0:29:09.680
<v Speaker 1>was I'll give you a job. So I was one

0:29:09.720 --> 0:29:12.480
<v Speaker 1>of many who had turned up saying that Kit had

0:29:12.480 --> 0:29:15.560
<v Speaker 1>promised them a job. And of course, you know, there

0:29:15.640 --> 0:29:18.120
<v Speaker 1>was no job, but I actually it was real. So

0:29:18.280 --> 0:29:20.360
<v Speaker 1>and that's it, and I that was my kind of

0:29:20.400 --> 0:29:23.160
<v Speaker 1>summer job. I started October the one, and I was

0:29:23.200 --> 0:29:26.480
<v Speaker 1>going to work through till the end of December because

0:29:26.520 --> 0:29:29.760
<v Speaker 1>the civil servicing Sam's didn't take place until January. There

0:29:29.800 --> 0:29:33.200
<v Speaker 1>was going to be a you know, just a temporary job.

0:29:33.760 --> 0:29:39.160
<v Speaker 1>So what happened? Now you're there? What do they give you? Okay, oh,

0:29:39.280 --> 0:29:42.520
<v Speaker 1>absolutely nothing to do the first day, just sending out

0:29:42.640 --> 0:29:47.680
<v Speaker 1>envelopes like every intern gets. But life is a lot

0:29:47.720 --> 0:29:51.360
<v Speaker 1>about luck and circumstance, isn't it. And so it happened

0:29:51.400 --> 0:29:56.080
<v Speaker 1>that when I was there in nine sixty eight, the

0:29:56.160 --> 0:29:59.720
<v Speaker 1>who were in IBC Studios in Portland Place recording and

0:29:59.800 --> 0:30:01.960
<v Speaker 1>our well called Tommy. I don't I don't want to

0:30:01.960 --> 0:30:04.360
<v Speaker 1>make a big deal about this, but the job you

0:30:04.440 --> 0:30:07.120
<v Speaker 1>said was October one, six seven, but really was oct

0:30:08.200 --> 0:30:12.920
<v Speaker 1>Correct sixty eight. Sorry, yes, sorry, yes, that's right. Um

0:30:13.120 --> 0:30:16.760
<v Speaker 1>so um they were doing the who were doing? To

0:30:16.760 --> 0:30:21.280
<v Speaker 1>tell me so obviously when you sit around with at

0:30:21.280 --> 0:30:25.280
<v Speaker 1>that moment, Kit Who had a lot of faults And

0:30:25.320 --> 0:30:27.880
<v Speaker 1>I know Bill went through a lot of this with

0:30:27.960 --> 0:30:31.240
<v Speaker 1>you on his podcast about Kit. But there was another

0:30:31.280 --> 0:30:34.680
<v Speaker 1>side to Kit that was pure genius. Um. He's like

0:30:34.720 --> 0:30:37.040
<v Speaker 1>many people in this world that we live in the

0:30:37.040 --> 0:30:42.160
<v Speaker 1>world of art, a tragic genius Um faults, warts and all.

0:30:43.040 --> 0:30:45.160
<v Speaker 1>I maintained that would not have been a Who without

0:30:45.240 --> 0:30:50.120
<v Speaker 1>Kid because he had the vision. He had that Z

0:30:50.360 --> 0:30:54.000
<v Speaker 1>thing that drove Pete Townsend um. And I think Pete

0:30:54.000 --> 0:30:57.280
<v Speaker 1>would acknowledge that to you now he has to me recently,

0:30:57.920 --> 0:31:00.440
<v Speaker 1>Uh that without Kick came up with so many of

0:31:00.480 --> 0:31:06.600
<v Speaker 1>the ideas, the breaking of this behind anyway, that Kit

0:31:06.760 --> 0:31:08.840
<v Speaker 1>was producing the record in the studio and he was

0:31:08.880 --> 0:31:11.400
<v Speaker 1>saying one day, and as as he would in France,

0:31:11.480 --> 0:31:13.719
<v Speaker 1>he said, would you try and check out some opera

0:31:13.760 --> 0:31:17.200
<v Speaker 1>houses for me? Um he went to Kamide. You must

0:31:17.240 --> 0:31:23.000
<v Speaker 1>know about opera um go and bok So. So I thought, right, well,

0:31:23.400 --> 0:31:26.680
<v Speaker 1>this is the who and Um, let me see what

0:31:26.760 --> 0:31:30.520
<v Speaker 1>I can do. I went around, I talked I hustle

0:31:30.600 --> 0:31:34.760
<v Speaker 1>and I checked I phone, and the end result was

0:31:34.800 --> 0:31:37.560
<v Speaker 1>that we played at the Colosseum in London, which is

0:31:37.600 --> 0:31:40.840
<v Speaker 1>home to the English National Opera, in Saint Martin's Lane,

0:31:40.880 --> 0:31:43.720
<v Speaker 1>and that was one of the first performances of Tommy ever.

0:31:44.240 --> 0:31:46.840
<v Speaker 1>We went on and played a number of concerts around

0:31:47.360 --> 0:31:52.520
<v Speaker 1>Europe and they were all successful. The concerned about in

0:31:52.640 --> 0:31:58.400
<v Speaker 1>Holland the elease a theater in Paris or prestigious non

0:31:58.920 --> 0:32:03.680
<v Speaker 1>prestigious concert tours or venues which catered more mostly to opera,

0:32:04.000 --> 0:32:06.720
<v Speaker 1>not to content, not to popular music, and it was

0:32:06.800 --> 0:32:10.480
<v Speaker 1>kind of a big deal. Um, So they said, well,

0:32:10.480 --> 0:32:13.360
<v Speaker 1>why don't you go to We'd like to send you

0:32:13.400 --> 0:32:16.880
<v Speaker 1>to America. And he said, there's two things. One is,

0:32:17.720 --> 0:32:19.360
<v Speaker 1>you know, go over there and see if you will

0:32:19.400 --> 0:32:23.080
<v Speaker 1>find an opera house in New York. And I thought yeah.

0:32:23.080 --> 0:32:26.400
<v Speaker 1>And the other thing is that we've got our contract

0:32:26.440 --> 0:32:31.240
<v Speaker 1>with our agent is over and everybody is coming around

0:32:31.240 --> 0:32:34.000
<v Speaker 1>because the who were hot, they were about to break everything.

0:32:34.200 --> 0:32:37.040
<v Speaker 1>They were kind of like, you know, they were moving

0:32:37.120 --> 0:32:39.640
<v Speaker 1>from the three thousand to the five thousand to the

0:32:39.680 --> 0:32:43.080
<v Speaker 1>eight thousand capacity venues. Everyone knew they were gonna pop

0:32:43.680 --> 0:32:46.680
<v Speaker 1>and so all the big agencies were coming to take

0:32:46.720 --> 0:32:49.400
<v Speaker 1>a look, but we were with this guy, Frank Barcelona.

0:32:49.480 --> 0:32:51.560
<v Speaker 1>He's a really good agent and he's got a small

0:32:52.120 --> 0:32:55.600
<v Speaker 1>kind of boutique agency called Premier Talent. But William Morris

0:32:55.640 --> 0:32:58.480
<v Speaker 1>wants them. This one wants and that one wants them,

0:32:58.840 --> 0:33:00.640
<v Speaker 1>and so you should take me eatings with him and

0:33:00.680 --> 0:33:03.920
<v Speaker 1>see what we can do. And so I got on

0:33:03.960 --> 0:33:06.440
<v Speaker 1>the plane of v C ten and I flew into London,

0:33:07.000 --> 0:33:10.719
<v Speaker 1>into New York and the first time I went was

0:33:10.760 --> 0:33:13.760
<v Speaker 1>to Frank Barcelona's office to meet him up at two

0:33:14.000 --> 0:33:20.040
<v Speaker 1>D West fifty seventh Street, and within like an ary

0:33:20.200 --> 0:33:23.080
<v Speaker 1>had me hooked. I just felt, you know, that this

0:33:23.160 --> 0:33:26.120
<v Speaker 1>guy was really something. He had a great act, but

0:33:26.280 --> 0:33:29.320
<v Speaker 1>you could just tell there was something special about him.

0:33:29.440 --> 0:33:32.200
<v Speaker 1>I then went and met other agents. It's funnily enough,

0:33:33.360 --> 0:33:35.920
<v Speaker 1>one of the agents I met at William Morris who

0:33:36.000 --> 0:33:38.760
<v Speaker 1>was attempting to get take the band from Frank, was

0:33:38.840 --> 0:33:43.360
<v Speaker 1>Steve Lieber. Steve Leeber was, yeah, Steve Lever was. It

0:33:43.440 --> 0:33:47.040
<v Speaker 1>was Steve Lieber and Jim Taft. Jim Taft sadly passed

0:33:47.040 --> 0:33:50.640
<v Speaker 1>away very young age, but yeah, Steve Leeber was really

0:33:50.720 --> 0:33:53.960
<v Speaker 1>hustling me. Now, you couldn't find more different people than

0:33:54.000 --> 0:33:57.200
<v Speaker 1>Steve Lieber and Frank Barcelona. But I went back and

0:33:57.240 --> 0:34:00.040
<v Speaker 1>they were offering reduced commissions and things like that, and

0:34:00.120 --> 0:34:01.840
<v Speaker 1>a t I was saying, you'll do it for this,

0:34:02.280 --> 0:34:05.120
<v Speaker 1>and I just I don't know. I had a gut film.

0:34:05.200 --> 0:34:08.520
<v Speaker 1>I called Chris back, Chris stamback because he tended to

0:34:08.560 --> 0:34:11.280
<v Speaker 1>handle that side of it more and kit the records.

0:34:11.360 --> 0:34:13.920
<v Speaker 1>I said, I think we should stay with Frank Varcelona.

0:34:14.000 --> 0:34:17.080
<v Speaker 1>He's a great agent. He really knows I got. I

0:34:17.160 --> 0:34:19.920
<v Speaker 1>just get a great feel, he really gets the who.

0:34:20.000 --> 0:34:21.960
<v Speaker 1>And I saw the rest of his roster and I

0:34:22.000 --> 0:34:23.920
<v Speaker 1>saw a little bit. I mean, I didn't know him

0:34:23.920 --> 0:34:26.160
<v Speaker 1>as well as I got to know him. And so

0:34:26.400 --> 0:34:29.160
<v Speaker 1>we stayed with Frank. And the other thing was that

0:34:29.880 --> 0:34:34.560
<v Speaker 1>I managed to get on the phone the general manager

0:34:34.680 --> 0:34:36.640
<v Speaker 1>when I was there. I was twenty three, I think

0:34:37.400 --> 0:34:39.560
<v Speaker 1>of the Metropolitan Opera House, and it was a guy

0:34:39.600 --> 0:34:44.960
<v Speaker 1>called Herman Crawitz, who later became known as being Barishnikov's manager,

0:34:45.520 --> 0:34:50.280
<v Speaker 1>and he blessed his heart, agreed to see me. The

0:34:50.360 --> 0:34:53.480
<v Speaker 1>guy who ran the met in those days was Sir Rudolph,

0:34:53.480 --> 0:34:56.640
<v Speaker 1>being an Englishman, and he was fascinated by the fact

0:34:56.680 --> 0:34:59.120
<v Speaker 1>that this guy was coming and trying to get the

0:34:59.200 --> 0:35:01.359
<v Speaker 1>Who to play the Trobln Operas. No one had played

0:35:01.400 --> 0:35:04.920
<v Speaker 1>the Metropoln Operas other than opera people in that that time.

0:35:05.000 --> 0:35:08.000
<v Speaker 1>No one even thought about who weren't the biggest when

0:35:08.120 --> 0:35:10.560
<v Speaker 1>you know, with it was Sinatra or Presley or some

0:35:10.600 --> 0:35:13.160
<v Speaker 1>of those people, you could understand there was maybe a conversation,

0:35:13.440 --> 0:35:17.000
<v Speaker 1>but no, it was it was the Who and Rudolph

0:35:17.040 --> 0:35:19.719
<v Speaker 1>being we've we we blanked it and we got it.

0:35:19.760 --> 0:35:26.040
<v Speaker 1>And on July seventh, um, you know, um that sixty nine,

0:35:26.200 --> 0:35:31.000
<v Speaker 1>I think seven seventy, July seven seventy, it was new

0:35:31.040 --> 0:35:34.360
<v Speaker 1>action that wise Bill Graham presents the Who at the

0:35:34.360 --> 0:35:37.280
<v Speaker 1>Metroboln Operas with two shows. I think it's actually says

0:35:37.320 --> 0:35:40.439
<v Speaker 1>on the post that doesn't it last performance ever of Tommy?

0:35:40.920 --> 0:35:43.680
<v Speaker 1>I think it did. I think it did. David Birds,

0:35:43.840 --> 0:35:45.960
<v Speaker 1>I saw that the previous spring they did the Spring,

0:35:46.040 --> 0:35:48.640
<v Speaker 1>and previously they did the Spring and then they did

0:35:48.680 --> 0:35:51.000
<v Speaker 1>the Fall for a week at the fillmore East at

0:35:51.000 --> 0:35:53.440
<v Speaker 1>the film. Well yeah, yeah, yeah, okay, but this this

0:35:53.520 --> 0:35:56.840
<v Speaker 1>does beg the question of something you mentioned earlier. Uh,

0:35:56.880 --> 0:36:00.600
<v Speaker 1>in August they played Woodstock. Needless to say, the movie

0:36:00.680 --> 0:36:04.879
<v Speaker 1>turns them into superstars. Did you go to Woodstock or

0:36:06.040 --> 0:36:09.160
<v Speaker 1>very interestingly, Um, one of the jobs you asked I

0:36:09.280 --> 0:36:11.319
<v Speaker 1>was given when I got there was to go through

0:36:11.320 --> 0:36:13.640
<v Speaker 1>and sort all the contracts because they were all over

0:36:13.680 --> 0:36:16.239
<v Speaker 1>the place. No one was taking looking after them at all.

0:36:17.200 --> 0:36:19.600
<v Speaker 1>And one of the first contrasts that passed my desk

0:36:19.719 --> 0:36:22.680
<v Speaker 1>was the who for Woodstock twelve and a half thousand

0:36:22.680 --> 0:36:26.560
<v Speaker 1>dollars um. That was their feet and no airfare's no

0:36:26.680 --> 0:36:29.920
<v Speaker 1>hotels twelve and a half thousand dollars um. But no,

0:36:30.120 --> 0:36:33.239
<v Speaker 1>I was not at Woodstock. No, I didn't fly over

0:36:33.640 --> 0:36:37.120
<v Speaker 1>till afterwood Stock. Okay. So now in the spring of

0:36:37.160 --> 0:36:41.279
<v Speaker 1>seventy the who were just really blowing up. And this

0:36:41.360 --> 0:36:43.680
<v Speaker 1>is it's not to the fall, I think, or maybe

0:36:43.680 --> 0:36:45.960
<v Speaker 1>this No, it's actually the late spring. It's who live

0:36:46.000 --> 0:36:48.160
<v Speaker 1>it leads. So what are your duty? What are your

0:36:48.239 --> 0:36:54.440
<v Speaker 1>duties other than selecting Barcelona making the gig? My duties

0:36:54.480 --> 0:36:58.279
<v Speaker 1>were And then this is where I just need to

0:36:58.320 --> 0:37:01.640
<v Speaker 1>step back. I mean to put it into context. And

0:37:02.400 --> 0:37:09.480
<v Speaker 1>my memory of events is slightly different than bills. Um,

0:37:09.640 --> 0:37:14.120
<v Speaker 1>what happened the track was Kit and Chris. It did

0:37:14.239 --> 0:37:18.840
<v Speaker 1>get out of control, Okay, Um, they were not on

0:37:18.920 --> 0:37:21.759
<v Speaker 1>top of it. Kit was still Kit and he was

0:37:21.760 --> 0:37:25.360
<v Speaker 1>still coming in with crazy ideas about videos with Michael

0:37:25.360 --> 0:37:29.520
<v Speaker 1>Lindsay about album covers like stamped in Fairness came up

0:37:29.560 --> 0:37:31.680
<v Speaker 1>with the live at Leeds idea for the album cover.

0:37:32.080 --> 0:37:35.000
<v Speaker 1>They still had that. There were filmmakers, That's how they

0:37:35.120 --> 0:37:37.280
<v Speaker 1>they got into the music business because they were looking

0:37:37.360 --> 0:37:43.480
<v Speaker 1>for a band to make a film about Okay to

0:37:43.200 --> 0:37:46.360
<v Speaker 1>To To To as a metaphor for hip for London

0:37:46.400 --> 0:37:49.960
<v Speaker 1>as it was in the sixties. So they were there,

0:37:50.000 --> 0:37:52.880
<v Speaker 1>but they weren't taking care of business. And I, because

0:37:52.880 --> 0:37:56.120
<v Speaker 1>of my initial kind of success with the opera houses,

0:37:56.480 --> 0:38:00.640
<v Speaker 1>my responsibilities were to a great extent, love to do

0:38:00.719 --> 0:38:03.319
<v Speaker 1>most of the live stuff. However, what happened is I

0:38:03.480 --> 0:38:06.080
<v Speaker 1>was at track, there were a few other people there.

0:38:06.120 --> 0:38:08.600
<v Speaker 1>The guy might sure that Bill talks about was there,

0:38:09.040 --> 0:38:12.359
<v Speaker 1>and then Bill joined, and then so Bill and I

0:38:12.680 --> 0:38:16.680
<v Speaker 1>basically we're kind of mucking in and doing all the

0:38:16.800 --> 0:38:21.160
<v Speaker 1>day to day stuff at the record company, the management company,

0:38:21.160 --> 0:38:24.920
<v Speaker 1>et cetera. There I went over to America in nineteen seventy.

0:38:25.120 --> 0:38:27.600
<v Speaker 1>I fell in love with it when I drove over

0:38:27.640 --> 0:38:29.799
<v Speaker 1>that tribe of Bridge the first time. I probably didn't

0:38:29.800 --> 0:38:32.799
<v Speaker 1>go to bed for ten days. I just felt I

0:38:32.960 --> 0:38:35.680
<v Speaker 1>fell in love with New York, the energy, the pace,

0:38:36.120 --> 0:38:38.759
<v Speaker 1>just everything about it. I thought this is for me.

0:38:39.239 --> 0:38:43.399
<v Speaker 1>So I kind of became the American end of it

0:38:43.800 --> 0:38:47.359
<v Speaker 1>and Bill and either which Bill doesn't mention, and I'm

0:38:47.400 --> 0:38:50.680
<v Speaker 1>not quite sure why. I feel a little bit stalinized.

0:38:51.040 --> 0:38:53.680
<v Speaker 1>We were partners. Bill and I had a pack. We

0:38:53.680 --> 0:38:57.719
<v Speaker 1>were doing things together. We kind of brought in Golden Earring.

0:38:58.080 --> 0:39:00.880
<v Speaker 1>I did Golden Earring in America. Bill did most of

0:39:00.880 --> 0:39:03.839
<v Speaker 1>it in England. The show at the Lyceum that Bill

0:39:03.960 --> 0:39:09.360
<v Speaker 1>references they were supporting Mountain. I picked up Mountain because

0:39:09.440 --> 0:39:12.400
<v Speaker 1>Frank introduced me to Gary Kirk First. I got to

0:39:12.440 --> 0:39:14.959
<v Speaker 1>know and become very friendly with Gary firsts and Bud

0:39:15.000 --> 0:39:18.160
<v Speaker 1>Praeger so and Gary was going to do things for

0:39:18.239 --> 0:39:21.680
<v Speaker 1>me with Bud in America. And we handle Mountain in

0:39:21.719 --> 0:39:24.880
<v Speaker 1>Europe and booked the tours. That's why Golden Ring were on.

0:39:25.120 --> 0:39:27.480
<v Speaker 1>And I remember being at that very same Lyceum show

0:39:27.520 --> 0:39:30.640
<v Speaker 1>the Bill Bill references, So Bill and I were kind

0:39:30.680 --> 0:39:34.959
<v Speaker 1>of partners, and I handled America. I was there during

0:39:34.960 --> 0:39:38.080
<v Speaker 1>the Tommy film premier down on the fifty seven Street

0:39:38.120 --> 0:39:42.040
<v Speaker 1>subway station and all those things. So everything that Bill

0:39:42.080 --> 0:39:44.560
<v Speaker 1>said factually is correct. That's how it was. It was

0:39:44.600 --> 0:39:47.520
<v Speaker 1>my I found the office of Steve O. Rooks. I

0:39:47.600 --> 0:39:50.879
<v Speaker 1>know this is he me. He shouldn't. I don't want

0:39:50.880 --> 0:39:52.920
<v Speaker 1>it to be like that because Steve I had been

0:39:52.960 --> 0:39:55.879
<v Speaker 1>a friend of from the very beginning. Um, so Bill

0:39:55.920 --> 0:39:57.840
<v Speaker 1>and I were doing that together. Then when Kit and

0:39:57.920 --> 0:40:01.600
<v Speaker 1>Chris kind of fine, the went THO who said Bill

0:40:01.680 --> 0:40:05.160
<v Speaker 1>and I were offered the management, we were off and

0:40:05.200 --> 0:40:06.960
<v Speaker 1>I remember it was like twelve and a half percent

0:40:06.960 --> 0:40:09.839
<v Speaker 1>commission or something, I remember distinctly, So we kind of

0:40:09.880 --> 0:40:15.240
<v Speaker 1>shared it. Now what happened was that I got headhunted

0:40:15.560 --> 0:40:19.320
<v Speaker 1>by the Stones because the American tours of The Who

0:40:19.960 --> 0:40:23.360
<v Speaker 1>they were pretty good, that Who live show, and you

0:40:23.440 --> 0:40:28.520
<v Speaker 1>saw it, Bob with Tommy I still maintains the best

0:40:28.560 --> 0:40:31.080
<v Speaker 1>live show I've ever seen. Well, it's I have three

0:40:31.120 --> 0:40:34.000
<v Speaker 1>in my mind, and that's one of the top three. Yeah,

0:40:34.040 --> 0:40:37.400
<v Speaker 1>it really was, you know, just those moments listening to

0:40:37.440 --> 0:40:40.640
<v Speaker 1>you with the with the lay everything, it just and

0:40:40.719 --> 0:40:44.719
<v Speaker 1>The Who were an incredible live band. They could play

0:40:44.719 --> 0:40:47.360
<v Speaker 1>out of tune, they could play out of time. But

0:40:47.520 --> 0:40:50.200
<v Speaker 1>that raw energy that came off that stage, much of

0:40:50.239 --> 0:40:53.280
<v Speaker 1>it driven by Mood because he kept towns and going towns,

0:40:53.280 --> 0:40:56.000
<v Speaker 1>and was never exactly I remember watching Moon when people

0:40:56.040 --> 0:40:59.040
<v Speaker 1>don't you literally couldn't believe all that sound was coming

0:40:59.080 --> 0:41:01.680
<v Speaker 1>from one guy. Credible. It's like it had to be

0:41:01.719 --> 0:41:04.520
<v Speaker 1>two people up there. Yeah, it was all over the

0:41:04.520 --> 0:41:07.200
<v Speaker 1>place too. I mean, you know, Pete often had to

0:41:07.200 --> 0:41:09.600
<v Speaker 1>play the drums on the records because Keith just I

0:41:09.640 --> 0:41:11.520
<v Speaker 1>mean he couldn't, you know, and he just had one

0:41:11.520 --> 0:41:14.360
<v Speaker 1>way of doing it. But on stage it was stunning.

0:41:15.200 --> 0:41:17.200
<v Speaker 1>They were stunning. I mean, I've seen some great bands

0:41:17.239 --> 0:41:19.840
<v Speaker 1>like you are, Pearl Jaman this, I mean, you know,

0:41:20.000 --> 0:41:21.560
<v Speaker 1>a lot of good bands. There's a lot of great

0:41:21.600 --> 0:41:25.080
<v Speaker 1>food fighters. But boy, that Who show with Tommy was something,

0:41:25.440 --> 0:41:27.800
<v Speaker 1>you know, with the with the mix of those great

0:41:27.840 --> 0:41:30.719
<v Speaker 1>Who's songs and then you know summertime blues and things

0:41:30.760 --> 0:41:33.799
<v Speaker 1>like that was just incredible shows and everything. So they

0:41:33.800 --> 0:41:37.960
<v Speaker 1>did well. So that Who were playing at the Forum. Uh,

0:41:38.000 --> 0:41:40.680
<v Speaker 1>and Jagger came to see the show, and I think

0:41:40.960 --> 0:41:44.799
<v Speaker 1>Charlie I don't know, and he kind of sidled up

0:41:44.840 --> 0:41:47.440
<v Speaker 1>to me backstage and said, oh, yeah we should talk.

0:41:47.920 --> 0:41:50.600
<v Speaker 1>This was post ultimont, remember, so they had a little

0:41:50.600 --> 0:41:55.480
<v Speaker 1>bit of uh, you know, damaged control. And I never

0:41:55.520 --> 0:41:57.520
<v Speaker 1>thought anything of it, you know, And I went out

0:41:57.520 --> 0:41:59.600
<v Speaker 1>to London didn't think anything. I can't even remember an

0:41:59.600 --> 0:42:03.080
<v Speaker 1>exact date of it, but but we'll get onto that.

0:42:03.160 --> 0:42:05.800
<v Speaker 1>To go to your story, I was really we did everything.

0:42:05.920 --> 0:42:11.560
<v Speaker 1>I remember, great story. Remember walking in with the masters

0:42:11.600 --> 0:42:14.000
<v Speaker 1>of Tommy under my arm into the m c A

0:42:14.080 --> 0:42:18.920
<v Speaker 1>offices at four or four or five Park Avenue. Tony

0:42:19.000 --> 0:42:23.319
<v Speaker 1>Martel was was working there and another guy called Jack

0:42:23.440 --> 0:42:26.280
<v Speaker 1>Lots I think was m c A in the East Coast,

0:42:26.920 --> 0:42:29.840
<v Speaker 1>and I presented Tommy to them, the record playing, and

0:42:29.840 --> 0:42:35.000
<v Speaker 1>they said, don't worry, you've come to the right record company. Absolutely,

0:42:35.280 --> 0:42:38.759
<v Speaker 1>we have just released. We have just done a great job.

0:42:38.800 --> 0:42:41.520
<v Speaker 1>What was the Richard Harris musical? Oh there was one.

0:42:41.880 --> 0:42:45.240
<v Speaker 1>It was like some corny middle of the road sound.

0:42:45.440 --> 0:42:48.120
<v Speaker 1>It was awful. And I knew there and then that

0:42:48.200 --> 0:42:50.080
<v Speaker 1>we had a problem. We had to deal with it

0:42:50.080 --> 0:42:53.640
<v Speaker 1>all ourselves. And that's when I bonded with Frank and

0:42:53.680 --> 0:42:57.640
<v Speaker 1>Frank and said, Frank, you know, these people are totally

0:42:57.719 --> 0:42:59.800
<v Speaker 1>unrelated to the Who. They have nothing in common with

0:42:59.840 --> 0:43:02.439
<v Speaker 1>the Who. And you know, these are the days, remember Bob,

0:43:02.440 --> 0:43:06.320
<v Speaker 1>when radio was was Paul Drake and the Archaeo Radio

0:43:06.800 --> 0:43:09.920
<v Speaker 1>twenty records a week, right, it was I mean, you know,

0:43:10.000 --> 0:43:12.759
<v Speaker 1>this business never changes. The words, the names changed, and

0:43:12.760 --> 0:43:15.920
<v Speaker 1>this and that change, and the roots direction may change,

0:43:15.920 --> 0:43:18.200
<v Speaker 1>but that the aim has always been the same. And

0:43:18.239 --> 0:43:21.520
<v Speaker 1>it was really really tough then to for bands like Who.

0:43:21.600 --> 0:43:24.719
<v Speaker 1>They had no home and so I did everything and

0:43:24.760 --> 0:43:26.279
<v Speaker 1>I went back to him and Bill and I but

0:43:27.280 --> 0:43:31.359
<v Speaker 1>to finish the Bill story. Um, obviously we were young.

0:43:32.520 --> 0:43:35.839
<v Speaker 1>We had the Stones, we had the Who. I had

0:43:35.880 --> 0:43:40.839
<v Speaker 1>picked up Leonard's skinnerd um, you know, because we put

0:43:40.920 --> 0:43:45.840
<v Speaker 1>them on the tour with the Who in America in

0:43:45.960 --> 0:43:49.040
<v Speaker 1>seventy three. I knew Al Cooper. I got to know

0:43:49.080 --> 0:43:51.000
<v Speaker 1>Al Cooper and a few things, and they were on

0:43:51.040 --> 0:43:54.319
<v Speaker 1>the same label, so um Skinner where there was a

0:43:54.320 --> 0:43:56.600
<v Speaker 1>lot going on, and I was young and Bill and

0:43:56.800 --> 0:43:58.759
<v Speaker 1>it was too much for me and Bill, and it

0:43:58.800 --> 0:44:02.400
<v Speaker 1>was difficult to man the Who and the Stones because

0:44:02.560 --> 0:44:06.960
<v Speaker 1>essentially you were it was like now if you had

0:44:07.040 --> 0:44:10.759
<v Speaker 1>Lady Garb, I suppose Nary and Grandy who who which

0:44:10.840 --> 0:44:12.880
<v Speaker 1>artists you give it to? It was kind of there

0:44:12.920 --> 0:44:16.400
<v Speaker 1>was a conflict, and there was there was natural jealousies,

0:44:16.480 --> 0:44:19.880
<v Speaker 1>particularly by Roger and the Who about the stones, and

0:44:19.920 --> 0:44:24.120
<v Speaker 1>the Stones always seemed to be that tad ahead in

0:44:24.280 --> 0:44:27.719
<v Speaker 1>terms of the media. Um, if Roger had taken a look,

0:44:27.719 --> 0:44:31.480
<v Speaker 1>he'd have understood maybe Mick Jandal, Roger Daltrey so Um.

0:44:31.640 --> 0:44:34.759
<v Speaker 1>But it was a difficult situation and Bill and I

0:44:34.880 --> 0:44:37.799
<v Speaker 1>kind of fell out, and we've hardly ways. So I

0:44:37.840 --> 0:44:40.320
<v Speaker 1>stayed with the Stones, He went on with the Who.

0:44:40.520 --> 0:44:43.080
<v Speaker 1>I stayed with Skinner, and obviously, because that was my band,

0:44:43.120 --> 0:44:48.600
<v Speaker 1>I signed UM and I've been in America ever since.

0:44:49.560 --> 0:44:52.000
<v Speaker 1>For all intents and purposes. Bill and I didn't talk

0:44:52.080 --> 0:44:54.640
<v Speaker 1>for a while, but then we got together and it

0:44:54.719 --> 0:44:58.239
<v Speaker 1>was all very silly. Why we didn't It was stupid

0:44:58.560 --> 0:45:02.000
<v Speaker 1>and it probably much my fault as anybody's. Um, maybe

0:45:02.040 --> 0:45:04.600
<v Speaker 1>I became a little bit of a diva in those days. Bill,

0:45:04.880 --> 0:45:09.040
<v Speaker 1>as you know, very solid, very measured, very steady. Not me.

0:45:09.239 --> 0:45:13.319
<v Speaker 1>I'm a totally different animal, and i'd probably, like you know,

0:45:13.600 --> 0:45:16.160
<v Speaker 1>it was not a very pleasant person for a while. UM,

0:45:16.920 --> 0:45:19.759
<v Speaker 1>and Bill and I drifted apart. Now we're back. We're

0:45:19.800 --> 0:45:29.439
<v Speaker 1>good friends, very good friends. Okay, So what year did

0:45:29.440 --> 0:45:33.000
<v Speaker 1>the two of you go your separate ways? If Quadrophenia

0:45:33.600 --> 0:45:39.640
<v Speaker 1>was seventy three and the Timmy Movie was seventy five. Yeah, no,

0:45:39.760 --> 0:45:43.239
<v Speaker 1>it was more like seventy seven, seventy eight. I'm trying

0:45:43.280 --> 0:45:45.480
<v Speaker 1>to think of the planet the Skin had plane crash

0:45:45.560 --> 0:45:51.800
<v Speaker 1>with seven. Yeah, uh, it must have been seventies seven.

0:45:53.239 --> 0:45:56.880
<v Speaker 1>Must have been around that bomb. Okay, custody because I

0:45:56.920 --> 0:46:01.280
<v Speaker 1>worked Quadrophene. I remember doing Quadrophenia. Boy work in that record,

0:46:01.800 --> 0:46:04.640
<v Speaker 1>and we're doing all the tours. I remember that what

0:46:04.840 --> 0:46:08.839
<v Speaker 1>album came after Quadrophenia? Who's Next? Yes? No, No, Who's

0:46:08.880 --> 0:46:12.439
<v Speaker 1>Next came before Who by Numbers? Who by Numbers? That

0:46:12.560 --> 0:46:16.880
<v Speaker 1>was the album where I shifted out. Okay, let's go

0:46:17.000 --> 0:46:21.160
<v Speaker 1>back to the Stones for a second. So you got

0:46:21.200 --> 0:46:25.560
<v Speaker 1>involved in the seventy two Stones tour. Yeah, that was

0:46:25.600 --> 0:46:28.359
<v Speaker 1>my first tour. Okay, a little bit slower you run

0:46:28.360 --> 0:46:32.480
<v Speaker 1>into Uh, we'll just go so on paper it was

0:46:32.640 --> 0:46:39.799
<v Speaker 1>you and Bill for the Stones. It was me. I'll

0:46:39.840 --> 0:46:42.040
<v Speaker 1>tell you the story. So Jagger sidals up to me

0:46:42.080 --> 0:46:45.359
<v Speaker 1>at the Forum, bladih blah blah. Develum there I hear

0:46:45.400 --> 0:46:50.480
<v Speaker 1>nothing about it. Fly back to England. Um, another guy

0:46:50.760 --> 0:46:53.960
<v Speaker 1>got involved. There was everybody was after the Stones. So

0:46:55.680 --> 0:47:00.080
<v Speaker 1>Madison Square Garden Corporation, we're in there. David get In

0:47:00.840 --> 0:47:05.040
<v Speaker 1>was in there. Um, and a group of people headed

0:47:05.120 --> 0:47:08.680
<v Speaker 1>up by a guy called John Morris, who you may

0:47:08.719 --> 0:47:11.400
<v Speaker 1>know through Woodstock was one of the guys with Michael

0:47:12.080 --> 0:47:15.880
<v Speaker 1>lang what. He was one of the original partners in Woodstock,

0:47:15.960 --> 0:47:20.000
<v Speaker 1>married to an English girl called Anne Weldon who worked

0:47:20.040 --> 0:47:23.920
<v Speaker 1>for me and Bill. So John was really really trying

0:47:24.080 --> 0:47:27.520
<v Speaker 1>to get the stones, and he was talking the talk,

0:47:28.480 --> 0:47:34.160
<v Speaker 1>and apparently there was a meeting with John Robert h.

0:47:35.080 --> 0:47:38.880
<v Speaker 1>John Morris and the Stones where my name came up.

0:47:38.960 --> 0:47:42.160
<v Speaker 1>I don't know in what context or exactly who brought

0:47:42.200 --> 0:47:46.440
<v Speaker 1>it up, but the short along the short of the

0:47:46.480 --> 0:47:51.200
<v Speaker 1>story is that John Morris called me and said, Peter, um,

0:47:51.239 --> 0:47:54.480
<v Speaker 1>you know the Stones are going with me. Would you

0:47:54.520 --> 0:47:58.520
<v Speaker 1>like to be part of it? And I thought, you know, yeah,

0:47:58.600 --> 0:48:01.040
<v Speaker 1>sure of course I would. I was in New York.

0:48:02.200 --> 0:48:07.680
<v Speaker 1>But then something happened and John Morris suddenly fell out

0:48:07.920 --> 0:48:13.520
<v Speaker 1>of the of the equation and I got a call

0:48:14.280 --> 0:48:18.399
<v Speaker 1>from Rupert Lowenstein. I'm mean, I mean, I hardly really

0:48:18.440 --> 0:48:21.240
<v Speaker 1>didn't know who he was. St Peter, would you come

0:48:21.520 --> 0:48:24.359
<v Speaker 1>the Mick and the boys would like to meet with you.

0:48:25.600 --> 0:48:28.799
<v Speaker 1>Could you be in Los Angeles and meet When they

0:48:28.840 --> 0:48:31.480
<v Speaker 1>were at the Beverly Hills Hotel, meet with us. So

0:48:32.239 --> 0:48:36.359
<v Speaker 1>I flew out. I went to Rupert's bungalow. They were

0:48:36.400 --> 0:48:42.480
<v Speaker 1>all there. We spent about two hours talking. I was

0:48:42.520 --> 0:48:48.160
<v Speaker 1>pretty irreverent. Um, but I'm kind of quickly sussed out

0:48:49.840 --> 0:48:54.880
<v Speaker 1>what the key angles were that Keith was really, we

0:48:54.960 --> 0:48:58.160
<v Speaker 1>don't want to charge more too much money. Mick wanted

0:48:58.200 --> 0:49:03.400
<v Speaker 1>to make sure that the show was spect tacular and profitable. Um.

0:49:03.440 --> 0:49:05.920
<v Speaker 1>And so they said they we we seem to have

0:49:05.920 --> 0:49:09.160
<v Speaker 1>a good conversation. And they said to me, I said,

0:49:09.160 --> 0:49:10.520
<v Speaker 1>I got to fly back to him. I went from

0:49:10.560 --> 0:49:12.439
<v Speaker 1>New York to Los Angeles and I had to fly

0:49:12.480 --> 0:49:15.160
<v Speaker 1>back to England from Los Angeles. Said, will you, um,

0:49:15.760 --> 0:49:17.840
<v Speaker 1>you know, will you make it? Will you make a prophecy?

0:49:17.920 --> 0:49:20.120
<v Speaker 1>Will you know, make an offer? Not an offer, but

0:49:20.400 --> 0:49:23.200
<v Speaker 1>how you would book the tour, how you would do it?

0:49:23.920 --> 0:49:27.400
<v Speaker 1>And um, So I flew back and on that thirteen

0:49:27.440 --> 0:49:33.400
<v Speaker 1>hour flight back, I wrote like about fifteen pages handwritten

0:49:34.640 --> 0:49:37.160
<v Speaker 1>of how I would do the tour, when I would charge,

0:49:37.320 --> 0:49:41.480
<v Speaker 1>where I would play, what I all those things. And

0:49:41.560 --> 0:49:43.279
<v Speaker 1>I sent it to them and it was full of

0:49:43.400 --> 0:49:46.919
<v Speaker 1>swear words, and it was full of it was really illiterate.

0:49:47.040 --> 0:49:50.879
<v Speaker 1>I mean, it was just a ramble and next thing

0:49:50.920 --> 0:49:53.440
<v Speaker 1>I know, I get a course saying they'd like to

0:49:53.480 --> 0:49:55.879
<v Speaker 1>have another meeting with you about you doing the tour,

0:49:56.680 --> 0:50:00.239
<v Speaker 1>and I was in America. The first tour I did

0:50:00.320 --> 0:50:04.040
<v Speaker 1>was seventy two. The set that finished on July the

0:50:04.160 --> 0:50:08.440
<v Speaker 1>twenty six, seventy two at Madison Square Garden. The next

0:50:08.480 --> 0:50:11.600
<v Speaker 1>tour they did was was Your Then we were going

0:50:11.640 --> 0:50:18.520
<v Speaker 1>to go to Japan. We couldn't because of Keith's drug No,

0:50:18.640 --> 0:50:22.759
<v Speaker 1>it was mixed. It was because of mix um, I

0:50:22.800 --> 0:50:25.799
<v Speaker 1>think the Robert Fraser thing with Mary Anne. Because of

0:50:25.840 --> 0:50:28.919
<v Speaker 1>his drug conviction. The Japanese wouldn't let us in. That's

0:50:28.920 --> 0:50:33.600
<v Speaker 1>when we did the Benefit for Nicaragua in Hawaii. But

0:50:34.080 --> 0:50:38.760
<v Speaker 1>the next European tour was seventy three. Bill was my partner,

0:50:38.960 --> 0:50:41.960
<v Speaker 1>so I said, Bill, will you handle it? Will you

0:50:42.000 --> 0:50:46.840
<v Speaker 1>book it? We're partners, And that's where it came that

0:50:46.920 --> 0:50:49.680
<v Speaker 1>it was me and Bill. So in many respects it

0:50:49.800 --> 0:50:52.920
<v Speaker 1>was both Bill and I, but Bill was the Who

0:50:52.960 --> 0:50:57.040
<v Speaker 1>and I was the Stones and all the kind of

0:50:57.280 --> 0:51:00.680
<v Speaker 1>all the key decisions and all the meetings in respect

0:51:00.719 --> 0:51:05.000
<v Speaker 1>to the Stones I attended. Bill didn't, and Bill kind

0:51:05.000 --> 0:51:07.520
<v Speaker 1>of became much closer to the Who than me and

0:51:07.560 --> 0:51:11.799
<v Speaker 1>I became much closer to the Stones, okay, a little

0:51:11.840 --> 0:51:15.760
<v Speaker 1>bit slower. Seventy two tour is in wake of Exile

0:51:15.840 --> 0:51:21.120
<v Speaker 1>on Main Street. You work with the Stones starting in

0:51:21.239 --> 0:51:23.839
<v Speaker 1>seventy two, and when did you stop working with them?

0:51:24.440 --> 0:51:27.880
<v Speaker 1>I stopped. The last tour I did with the Stones, Bob,

0:51:28.000 --> 0:51:35.439
<v Speaker 1>was the seventy eight American tour. Yeah, before tattoo you okay,

0:51:35.600 --> 0:51:39.759
<v Speaker 1>So were you only involved in the tours? Were involved

0:51:39.800 --> 0:51:43.480
<v Speaker 1>in creative strategies on the album? What were your responsibilities

0:51:45.000 --> 0:51:50.879
<v Speaker 1>everything at all things? Um? I remember very much being

0:51:51.200 --> 0:51:53.800
<v Speaker 1>not so much with Exile because that was mid recording.

0:51:54.400 --> 0:51:57.080
<v Speaker 1>That was almost kind of like out of the incubator.

0:51:57.120 --> 0:51:59.319
<v Speaker 1>When the time I got involved, they were made. That's

0:51:59.320 --> 0:52:02.400
<v Speaker 1>why they were in the recording that at Sunset. But

0:52:02.600 --> 0:52:05.920
<v Speaker 1>I was very much involved in everything after that. I

0:52:05.960 --> 0:52:09.200
<v Speaker 1>mean you were because the Stones were self managed. I mean,

0:52:09.239 --> 0:52:12.840
<v Speaker 1>Mick ultimately is the is the manager of the Stones,

0:52:13.400 --> 0:52:16.400
<v Speaker 1>and so whoever he's got his his sidekick has to

0:52:16.440 --> 0:52:19.440
<v Speaker 1>really do everything and we had to work very closely

0:52:19.440 --> 0:52:24.200
<v Speaker 1>with Atlantic in an armored and his team in kind

0:52:24.200 --> 0:52:28.200
<v Speaker 1>of coordinating everything. I remember me and Mick going to

0:52:28.360 --> 0:52:32.200
<v Speaker 1>meetings like with Jesse Jackson after some Girls you know,

0:52:32.320 --> 0:52:35.120
<v Speaker 1>because of the line black Girls like to Fuck All Night.

0:52:35.440 --> 0:52:40.439
<v Speaker 1>So I Marshall Chess run Rolling Stones Records. So he

0:52:40.840 --> 0:52:44.279
<v Speaker 1>was the guy who kind of sat inside Atlantic and

0:52:44.360 --> 0:52:47.279
<v Speaker 1>he did the Meters, you know, because the Meters got

0:52:47.320 --> 0:52:50.480
<v Speaker 1>signed to Rolling Stones Records and that, so he was involved.

0:52:50.480 --> 0:52:53.000
<v Speaker 1>But I kind of, Bob, it's a bit like with

0:52:53.160 --> 0:52:55.040
<v Speaker 1>the who you kind of do what you did in

0:52:55.040 --> 0:52:58.200
<v Speaker 1>those days what was necessary to do. And I mean

0:52:58.440 --> 0:53:04.799
<v Speaker 1>I've always said the best model for a band is

0:53:05.480 --> 0:53:08.200
<v Speaker 1>at that three sixty model, where the manager is, the

0:53:08.239 --> 0:53:11.520
<v Speaker 1>agent is, the promoter is, the publisher is the record company,

0:53:11.520 --> 0:53:14.279
<v Speaker 1>because you're only focus is the brand and what's good

0:53:14.320 --> 0:53:16.240
<v Speaker 1>for the brand is good for you. I do feel

0:53:16.239 --> 0:53:18.520
<v Speaker 1>that right one of the problems with our industry right

0:53:18.560 --> 0:53:21.960
<v Speaker 1>now it continues to be siloed, where the publishers have

0:53:22.040 --> 0:53:26.800
<v Speaker 1>an agenda that's that benefits the publisher, the labels sell product,

0:53:27.120 --> 0:53:30.760
<v Speaker 1>the promoter sell tickets, and you know, sometimes the brand

0:53:30.800 --> 0:53:33.360
<v Speaker 1>and the band get four in between. The problem with

0:53:33.560 --> 0:53:35.920
<v Speaker 1>that model and Ireland had it, and Track had it,

0:53:35.960 --> 0:53:38.120
<v Speaker 1>and a lot of people have got it and starting

0:53:38.160 --> 0:53:40.400
<v Speaker 1>to come back now. It was subject to a great

0:53:40.480 --> 0:53:45.600
<v Speaker 1>deal of abuse. Financially, there was no checks or balances.

0:53:45.640 --> 0:53:50.560
<v Speaker 1>Then remember the lawyers hadn't taken over our business. So um.

0:53:50.680 --> 0:53:54.360
<v Speaker 1>So into respect to the Stones, I did not get

0:53:54.400 --> 0:53:59.440
<v Speaker 1>paid on the record sales. I got paid on touring,

0:54:00.000 --> 0:54:03.080
<v Speaker 1>okay by the Stones, but with who I got paid

0:54:03.120 --> 0:54:07.120
<v Speaker 1>on records, publishing everything whatever a manager would get. Um.

0:54:07.160 --> 0:54:10.200
<v Speaker 1>But I got very fairly compensated by the Stones on

0:54:10.239 --> 0:54:13.799
<v Speaker 1>all the touring. But I did a lot of them.

0:54:13.840 --> 0:54:16.560
<v Speaker 1>I did a lot of stuff in respect of the Okay,

0:54:16.600 --> 0:54:19.520
<v Speaker 1>so let's go back. You fly back for thirteen hours

0:54:19.520 --> 0:54:21.080
<v Speaker 1>to u K. You say, how much are you going

0:54:21.120 --> 0:54:25.040
<v Speaker 1>to charge? Is it a flat fear into the percentage? No?

0:54:25.480 --> 0:54:28.040
<v Speaker 1>That one when I said charge, it was the ticket prices.

0:54:28.160 --> 0:54:35.360
<v Speaker 1>So the Rolling Stone was four fifty five fifty top price,

0:54:35.440 --> 0:54:40.120
<v Speaker 1>six fifty. That was the prod. That's what it was. Um.

0:54:40.280 --> 0:54:42.560
<v Speaker 1>Keith was adamant that it shouldn't be more than six

0:54:42.600 --> 0:54:46.759
<v Speaker 1>fifty top ticket. Most of them were reserved seating in

0:54:46.800 --> 0:54:49.359
<v Speaker 1>those days, except like the winter Land ball rooms and

0:54:49.400 --> 0:54:52.360
<v Speaker 1>things of that nature. So that that that that's the

0:54:52.400 --> 0:54:56.000
<v Speaker 1>ticket price that for instance applied to Madison Square. Gone.

0:54:56.680 --> 0:54:59.920
<v Speaker 1>Um that I negotiated all the deals. There was no

0:55:00.160 --> 0:55:04.280
<v Speaker 1>agent on the Stones tour I did the negotiations directly

0:55:04.320 --> 0:55:08.160
<v Speaker 1>with the Bill grahams, you know, the Don Laws, Larry

0:55:08.200 --> 0:55:13.080
<v Speaker 1>Maggid's whatever, and um. The deals we drove were tough

0:55:14.080 --> 0:55:17.640
<v Speaker 1>and they were kind of I mean this whole conversation again,

0:55:17.640 --> 0:55:19.799
<v Speaker 1>I know you had it with Bill. When did nine

0:55:20.040 --> 0:55:25.239
<v Speaker 1>ten start? Was kind of around in those days because

0:55:25.280 --> 0:55:32.640
<v Speaker 1>Jerry Weintraub was starting to put together national tours. He firstly,

0:55:32.680 --> 0:55:34.760
<v Speaker 1>I think with President you know, first thing, I believe

0:55:34.800 --> 0:55:38.000
<v Speaker 1>with Sinatra he got then he did press Lee with Parker,

0:55:38.600 --> 0:55:41.080
<v Speaker 1>and then he got into the Zeppelin and Grant and

0:55:41.120 --> 0:55:45.440
<v Speaker 1>those deals were garret, but they were predicated. They're calibrated

0:55:45.600 --> 0:55:49.160
<v Speaker 1>on net receipts rather than gross receipts. Back in the

0:55:49.239 --> 0:55:54.880
<v Speaker 1>day before then, for instance, most deals were done in

0:55:54.920 --> 0:55:59.520
<v Speaker 1>the artist favor of the gross okay less maybe applicable

0:55:59.560 --> 0:56:03.880
<v Speaker 1>taxes with a guarantee. So a typical deal for you know,

0:56:03.960 --> 0:56:08.600
<v Speaker 1>a Winterland show would be thirty thousand two dollars against

0:56:08.719 --> 0:56:10.839
<v Speaker 1>or plus. However good an agent or manager you are

0:56:11.200 --> 0:56:13.759
<v Speaker 1>s the grows. Bill Graham had a different deal to

0:56:13.800 --> 0:56:17.520
<v Speaker 1>everybody else. Bill Graham had a fifty fifty deal because

0:56:17.520 --> 0:56:19.560
<v Speaker 1>he was Bill Graham and he was brilliant. I mean

0:56:19.920 --> 0:56:23.120
<v Speaker 1>grew up one of the greatest showman of our time. Brilliant.

0:56:23.480 --> 0:56:27.719
<v Speaker 1>Not a great promoter and ticket seller, but what a producer. Um.

0:56:27.800 --> 0:56:30.040
<v Speaker 1>He used to have fifty fifty because he figured out

0:56:30.160 --> 0:56:33.960
<v Speaker 1>that every the area that promoters tried to cut costs

0:56:34.040 --> 0:56:37.600
<v Speaker 1>on was backstage, and that they did not want to

0:56:37.640 --> 0:56:41.720
<v Speaker 1>spend money on food, on drinks, on all those accessories

0:56:41.760 --> 0:56:45.480
<v Speaker 1>that the artists may ask for, that that that's just

0:56:45.520 --> 0:56:48.080
<v Speaker 1>a waste of money. Bill on the other hand, would

0:56:48.080 --> 0:56:50.719
<v Speaker 1>put up palm trees, would put up He'd find out

0:56:50.760 --> 0:56:54.000
<v Speaker 1>that bands, certain bands like table tennis tables. He'd have

0:56:54.080 --> 0:56:58.200
<v Speaker 1>table tennis, he'd have inflatable pools, even he'd have Hawaiian

0:56:58.280 --> 0:57:01.000
<v Speaker 1>cookouts and things like that. What the acts didn't know

0:57:01.160 --> 0:57:03.000
<v Speaker 1>was they were paying for it because Bill got a

0:57:03.040 --> 0:57:07.080
<v Speaker 1>fifty fifty deal and he kind of seduced the artists.

0:57:07.120 --> 0:57:09.759
<v Speaker 1>So the artists would never play San Francisco, would never

0:57:09.840 --> 0:57:12.880
<v Speaker 1>play New York, would never play where without Bill Graham

0:57:12.920 --> 0:57:15.839
<v Speaker 1>and you were stunned because Bill had a favorable deal.

0:57:15.920 --> 0:57:18.560
<v Speaker 1>So the band's made less money, but they had a

0:57:18.560 --> 0:57:22.439
<v Speaker 1>better time. But so the Stones tour was based on

0:57:23.680 --> 0:57:28.360
<v Speaker 1>a net deal Um with a guarantee, but we kind

0:57:28.400 --> 0:57:31.240
<v Speaker 1>of there was no there were no flat deals and

0:57:31.280 --> 0:57:35.360
<v Speaker 1>there were no gross deals. There weren't necessary. They're often

0:57:35.480 --> 0:57:37.960
<v Speaker 1>stepped those deals and you get x amount of this

0:57:38.080 --> 0:57:40.680
<v Speaker 1>and this and this great figure. But it was the

0:57:40.760 --> 0:57:43.600
<v Speaker 1>time when it was going from gross because you didn't

0:57:43.640 --> 0:57:46.560
<v Speaker 1>trust the promoter. So you've got what you can, which

0:57:46.600 --> 0:57:49.280
<v Speaker 1>is still the case in some markets, particularly in the

0:57:49.320 --> 0:57:52.080
<v Speaker 1>far eastern India, where you're not going to do an

0:57:52.080 --> 0:57:55.200
<v Speaker 1>audit on an Indian promoter. It's but you try getting

0:57:55.800 --> 0:57:58.280
<v Speaker 1>a real ticket count out of a Japanese promoter, you're

0:57:58.280 --> 0:58:00.200
<v Speaker 1>not going to get it um, so you take the

0:58:00.200 --> 0:58:03.480
<v Speaker 1>money and run. Mentality that that was ending in America

0:58:03.760 --> 0:58:08.080
<v Speaker 1>there was a more transparent then, and with Barcelona in particular,

0:58:09.600 --> 0:58:14.960
<v Speaker 1>because Barcelona's genius was that he didn't just represent acts.

0:58:15.000 --> 0:58:19.840
<v Speaker 1>He found promoters to represent and develop. And what he

0:58:19.920 --> 0:58:23.320
<v Speaker 1>saw was that his acts were going to be abused

0:58:23.600 --> 0:58:27.240
<v Speaker 1>and go nowhere if there wasn't a great promoter there

0:58:27.640 --> 0:58:31.920
<v Speaker 1>who was going to help develop them. So I always

0:58:32.040 --> 0:58:35.160
<v Speaker 1>used Don Laura as a classic example in the Boston area,

0:58:35.200 --> 0:58:39.880
<v Speaker 1>which I'm sure you're very familiar with. So Don, so Don, right,

0:58:40.000 --> 0:58:42.880
<v Speaker 1>is there, lovely fresh faced on Law, Buddlewood and melt

0:58:42.920 --> 0:58:47.840
<v Speaker 1>in his mouth, right, clean cut, lovely boy. Okay, Frank

0:58:47.920 --> 0:58:50.720
<v Speaker 1>goes to Don don we need clubs. You've got a

0:58:50.760 --> 0:58:55.120
<v Speaker 1>club Boston, tea party all. And this is why Live

0:58:55.320 --> 0:58:59.040
<v Speaker 1>is so it is so different from from everything else

0:58:59.080 --> 0:59:02.680
<v Speaker 1>in the business in terms of its relationship with the artist.

0:59:05.200 --> 0:59:10.000
<v Speaker 1>Done what we need here? We've only got AM radio,

0:59:10.160 --> 0:59:13.520
<v Speaker 1>Paul Drake. These bands are not catered for. There's this

0:59:13.560 --> 0:59:17.240
<v Speaker 1>guy in San Francisco called Tom Donahue who's starting something

0:59:17.280 --> 0:59:20.320
<v Speaker 1>called FM radio and Case. Then he said, we've got

0:59:20.360 --> 0:59:22.960
<v Speaker 1>to get on board list with those are the outlets

0:59:23.000 --> 0:59:28.720
<v Speaker 1>that we can promote our bands through. So Dr Frank

0:59:29.160 --> 0:59:32.480
<v Speaker 1>I BELOWD Frank was very tight with Tom Donahue and yeah,

0:59:32.560 --> 0:59:34.640
<v Speaker 1>this is an agent. But Frank had a vision. He

0:59:34.760 --> 0:59:37.640
<v Speaker 1>saw he said, I got it, I need it, he said,

0:59:37.920 --> 0:59:42.200
<v Speaker 1>he said. So Frank was very instrumental in fn X,

0:59:42.240 --> 0:59:47.160
<v Speaker 1>for instance, in Boston with Oedipus, uh MMS in Cleveland,

0:59:47.880 --> 0:59:51.760
<v Speaker 1>MMR in Philadelphia, Case, then obviously in San Francisco, m

0:59:51.760 --> 0:59:55.080
<v Speaker 1>ET in Los Angeles, and Frank made sure that his

0:59:55.200 --> 1:00:00.360
<v Speaker 1>promoters worked with those stations exclusively got the lay wars.

1:00:00.680 --> 1:00:03.440
<v Speaker 1>He was also the only agent. I know that was

1:00:03.560 --> 1:00:07.200
<v Speaker 1>really worked cleverly with record companies. He'd be very tight

1:00:07.280 --> 1:00:09.520
<v Speaker 1>with a Bob riguere at Warners, who was such a

1:00:09.600 --> 1:00:13.400
<v Speaker 1>cool label, and Moe Austin very tight with Armored and

1:00:13.440 --> 1:00:16.919
<v Speaker 1>Bob Rowlands at Atlantic. So he made sure that those

1:00:17.000 --> 1:00:20.800
<v Speaker 1>labels supported those stations. And the other thing was to

1:00:20.960 --> 1:00:25.280
<v Speaker 1>create the Internet of the seventies was we needed newsprint.

1:00:25.720 --> 1:00:28.480
<v Speaker 1>So don you've got to We've got to support this

1:00:28.600 --> 1:00:32.160
<v Speaker 1>Boston Phoenix paper. It's underground paper, it's a free newspaper,

1:00:32.320 --> 1:00:34.800
<v Speaker 1>but it's the one that kids read with the Village

1:00:34.840 --> 1:00:37.440
<v Speaker 1>Voice in the l a week. So what Frank did

1:00:37.560 --> 1:00:39.640
<v Speaker 1>was he took these young guys. They had to have

1:00:39.720 --> 1:00:42.800
<v Speaker 1>a club, they had to have scale and venues that

1:00:42.880 --> 1:00:46.080
<v Speaker 1>you could scale out. And he represented those promoters. And

1:00:46.120 --> 1:00:48.600
<v Speaker 1>god forbid you screwed or funk with one of those promoters,

1:00:48.640 --> 1:00:51.760
<v Speaker 1>or you've screwed or funk Frank because they were out okay,

1:00:52.000 --> 1:00:54.800
<v Speaker 1>And he would move promoters around. But they were all

1:00:55.120 --> 1:00:59.000
<v Speaker 1>good promoters. They were all hungry promoters. They loved music.

1:00:59.200 --> 1:01:02.280
<v Speaker 1>I remember Brian Murphy, who you'll know was I remember

1:01:02.360 --> 1:01:05.880
<v Speaker 1>the first meeting Brian Murphy. He was production manager for

1:01:05.960 --> 1:01:09.240
<v Speaker 1>Northwest release and in Seattle. Frank had a big saying

1:01:09.360 --> 1:01:12.640
<v Speaker 1>Brian coming down to l A and starting up and

1:01:12.680 --> 1:01:16.600
<v Speaker 1>working in Los Angeles Promotor. So the same with Larry

1:01:16.640 --> 1:01:19.240
<v Speaker 1>Valence a little bit so who worked when he worked

1:01:19.240 --> 1:01:22.320
<v Speaker 1>with Steve Wolf and Jim Rismiller. So I think Frank

1:01:23.320 --> 1:01:26.400
<v Speaker 1>was a genius in that sense that he had that vision,

1:01:26.640 --> 1:01:29.440
<v Speaker 1>he brought it together. That was our internet. That's the

1:01:29.440 --> 1:01:32.600
<v Speaker 1>only way we could connect with the kids. There was nothing, really,

1:01:32.680 --> 1:01:36.600
<v Speaker 1>there was no music on TV to talk of. There

1:01:36.680 --> 1:01:40.640
<v Speaker 1>was there there was. This wasn't tabloid manner. It wasn't

1:01:40.760 --> 1:01:44.520
<v Speaker 1>it wasn't kind of you know, mainstream culture. It was

1:01:44.560 --> 1:01:47.120
<v Speaker 1>a fringe. It was like, you know, I remember the

1:01:47.120 --> 1:01:49.560
<v Speaker 1>first role in Stone's tour. I did I spend as

1:01:49.640 --> 1:01:51.880
<v Speaker 1>much time trying to book a hotel as I did

1:01:51.920 --> 1:01:54.840
<v Speaker 1>a venue. They didn't want us in. They were scared

1:01:54.880 --> 1:01:58.440
<v Speaker 1>of us. We were a threat. We actually were a threat.

1:01:59.120 --> 1:02:01.600
<v Speaker 1>And that you know, it was lock up your daughters

1:02:02.120 --> 1:02:04.840
<v Speaker 1>and the police would get promoted if they bust Keith Richards.

1:02:05.120 --> 1:02:11.120
<v Speaker 1>I mean, and that there there was genuine fear and um,

1:02:11.160 --> 1:02:14.000
<v Speaker 1>I mean it leads to fascinating stories, but it was

1:02:14.040 --> 1:02:18.680
<v Speaker 1>a totally different context that rock and roll thrived in

1:02:19.000 --> 1:02:25.520
<v Speaker 1>those days, Uma, and it was wonderful. But Barcelona, I'm

1:02:25.640 --> 1:02:27.920
<v Speaker 1>so happy that I've got the opportunity to say this

1:02:28.120 --> 1:02:32.440
<v Speaker 1>to whoever's listening to this. Without him, I often wonder

1:02:32.480 --> 1:02:35.920
<v Speaker 1>would there be live Nation Because Frank was the one

1:02:35.960 --> 1:02:39.160
<v Speaker 1>who called all the promoters together when wine trout and

1:02:39.600 --> 1:02:42.680
<v Speaker 1>concerts West, We're going to do the ninety tens apline tours.

1:02:42.680 --> 1:02:45.040
<v Speaker 1>Because Frank, sorry, he's not stupid, he saw that that

1:02:45.080 --> 1:02:48.400
<v Speaker 1>would eliminate the need for an agency as well, and

1:02:48.400 --> 1:02:50.880
<v Speaker 1>and pull them together with Bill Graham in particular, and

1:02:50.920 --> 1:02:53.960
<v Speaker 1>Bill took the fight and said, look, we cannot do

1:02:54.080 --> 1:02:57.520
<v Speaker 1>national tours. Um. Of course Bill was one of the

1:02:57.520 --> 1:02:59.400
<v Speaker 1>first people to do a national tour. He did the

1:02:59.400 --> 1:03:04.200
<v Speaker 1>stuffs right after me, so you know so. But nonetheless

1:03:04.240 --> 1:03:06.920
<v Speaker 1>I do wonder, if not how the business would have

1:03:07.040 --> 1:03:10.520
<v Speaker 1>changed if Frank and Bill had lived a little longer. Um.

1:03:10.640 --> 1:03:13.520
<v Speaker 1>They both passed far too early, both of them, Bill

1:03:13.600 --> 1:03:18.600
<v Speaker 1>in particular. Of course, you know, UM fascinating times though,

1:03:18.600 --> 1:03:21.680
<v Speaker 1>because you look back now and you realize that you

1:03:21.760 --> 1:03:24.200
<v Speaker 1>were making up all these rules as you went along,

1:03:25.120 --> 1:03:30.560
<v Speaker 1>and this little cottage industry was morphing into something much bigger. Absolutely,

1:03:30.680 --> 1:03:32.720
<v Speaker 1>let's go back to seventy two because that was a

1:03:32.800 --> 1:03:36.760
<v Speaker 1>transformative tour. First, what was your deal with the Stones?

1:03:38.320 --> 1:03:43.400
<v Speaker 1>I was on a percentage of their profit. Ah Uh,

1:03:44.040 --> 1:03:48.480
<v Speaker 1>it's is pretty good. I mean I come complain and

1:03:48.520 --> 1:03:52.000
<v Speaker 1>they made good money. Uh. They were always very fair

1:03:52.040 --> 1:03:56.320
<v Speaker 1>with me. They gave me a percentage of their profit. Okay,

1:03:56.400 --> 1:04:01.720
<v Speaker 1>So let's talk seventy two. The Stones always had hit Singleste.

1:04:01.800 --> 1:04:04.480
<v Speaker 1>They have Let It Bleed. Uh, they do get your

1:04:04.560 --> 1:04:07.520
<v Speaker 1>yah yahs after that, the live album, they have Altimant.

1:04:07.960 --> 1:04:10.240
<v Speaker 1>They have a presence. But you could buy tickets for

1:04:10.280 --> 1:04:13.640
<v Speaker 1>the sur when they go to They hadn't been in

1:04:13.680 --> 1:04:18.040
<v Speaker 1>America since sixty seventy two. It's literally like the return

1:04:18.120 --> 1:04:22.760
<v Speaker 1>of God. Okay. There is press everywhere, never mind Rolling Stone,

1:04:22.800 --> 1:04:26.880
<v Speaker 1>but Life magazine. You have Princess Lee Radzewill on the tour.

1:04:27.320 --> 1:04:34.960
<v Speaker 1>You have Truman Capodi on the tour, who orchestrated all that. Um.

1:04:35.000 --> 1:04:36.920
<v Speaker 1>I don't want to sound self serving, but that was

1:04:37.000 --> 1:04:39.600
<v Speaker 1>like a lot of stuff that me and Mike did.

1:04:39.840 --> 1:04:44.640
<v Speaker 1>Um mixed brilliant at this is a maestro and he's

1:04:44.760 --> 1:04:50.720
<v Speaker 1>like be eased to the honey. I mean, people would

1:04:50.720 --> 1:04:54.400
<v Speaker 1>gravitate around him. What we did by design with that

1:04:54.400 --> 1:04:57.520
<v Speaker 1>that talk, we booked it very time. We could have

1:04:57.600 --> 1:05:01.880
<v Speaker 1>gone and played bigger venues, Bob, but there's I have

1:05:01.960 --> 1:05:07.000
<v Speaker 1>a mantra it's better to turn a hundred people away

1:05:07.040 --> 1:05:09.960
<v Speaker 1>than have one empty seat. And so it's all about

1:05:10.000 --> 1:05:19.040
<v Speaker 1>supply and demand creates perception, and we booked it particularly

1:05:19.120 --> 1:05:24.480
<v Speaker 1>strategically major markets. We booked it the right kind of venues.

1:05:25.200 --> 1:05:30.360
<v Speaker 1>We also added on elements that other people did hadn't done.

1:05:30.440 --> 1:05:34.200
<v Speaker 1>For instance, we took any leave of it's as our

1:05:34.240 --> 1:05:39.280
<v Speaker 1>tour photographer. Now, obviously at that time Rolling Stone was

1:05:39.520 --> 1:05:44.080
<v Speaker 1>by far the largest media platform for music in the world.

1:05:45.640 --> 1:05:49.640
<v Speaker 1>Annie would have we we would give. We sat with

1:05:49.760 --> 1:05:52.360
<v Speaker 1>Yan before the tour Yam Winner, and we said, look,

1:05:52.440 --> 1:05:55.560
<v Speaker 1>you can always have a Rolling Stone journalist on the

1:05:55.560 --> 1:05:59.560
<v Speaker 1>tour with us. So we had Check Flippo, Bob Greenfield,

1:05:59.640 --> 1:06:01.560
<v Speaker 1>all the guys. They were always there. I mean, who

1:06:01.560 --> 1:06:03.920
<v Speaker 1>had Dave Marsh. I think Dave Marsh was doing some

1:06:03.960 --> 1:06:06.480
<v Speaker 1>string left cream. I think he was around in the

1:06:06.560 --> 1:06:08.840
<v Speaker 1>role and stumming. I can't remember, but so we had

1:06:08.880 --> 1:06:13.080
<v Speaker 1>that embedded in the talk. We had Lisa Robinson, the

1:06:13.160 --> 1:06:15.760
<v Speaker 1>biggest mouth in the business. Then the head of Hopper

1:06:15.960 --> 1:06:19.360
<v Speaker 1>of rock and Roll embedded in the tour, traveling with us,

1:06:19.600 --> 1:06:24.360
<v Speaker 1>feeding stuff out every day to gossip columns. We thought

1:06:24.440 --> 1:06:29.280
<v Speaker 1>of all that stuff because that's the game, that's the show,

1:06:29.560 --> 1:06:32.360
<v Speaker 1>I mean. And you've got a frontman like the Stones

1:06:32.440 --> 1:06:36.000
<v Speaker 1>coming off Alter mot with an album like Exile. I

1:06:36.040 --> 1:06:37.840
<v Speaker 1>don't know, Bob, you're asking me, And when you put

1:06:37.920 --> 1:06:39.720
<v Speaker 1>it like that, I say, did we And yeah, I

1:06:39.760 --> 1:06:42.880
<v Speaker 1>suppose we did. We. Also, the production was pretty amazing.

1:06:43.440 --> 1:06:47.360
<v Speaker 1>That that mirror that the chip Right designed, that was

1:06:47.440 --> 1:06:50.480
<v Speaker 1>like pretty staggering, and it was really cool because no

1:06:50.520 --> 1:06:53.840
<v Speaker 1>one had really ever toured with seven super troopers across

1:06:53.880 --> 1:06:57.760
<v Speaker 1>the stage like that short like throw. I mean, so

1:06:57.880 --> 1:07:00.800
<v Speaker 1>everything we tried to do we tried to differently. One

1:07:00.800 --> 1:07:02.840
<v Speaker 1>of the one of the one of the things which

1:07:02.880 --> 1:07:07.840
<v Speaker 1>isn't doesn't manifest itself in the public arena, but one

1:07:07.880 --> 1:07:11.520
<v Speaker 1>of the issues we we we our anticipate we anticipated

1:07:11.560 --> 1:07:15.360
<v Speaker 1>early on. The unions were strong in all these arenas,

1:07:15.520 --> 1:07:19.000
<v Speaker 1>very very strong, and we kept hearing problems that all

1:07:19.040 --> 1:07:22.640
<v Speaker 1>these bands had, especially English bands who didn't understand the

1:07:22.680 --> 1:07:28.120
<v Speaker 1>culture of America in getting cooperation and getting fair bills

1:07:28.200 --> 1:07:32.000
<v Speaker 1>from the Union guys in the venues, so we unionized.

1:07:32.160 --> 1:07:33.600
<v Speaker 1>One of the things that I got to know the

1:07:33.600 --> 1:07:36.600
<v Speaker 1>guys at Madison Square Garden because we were competitors for

1:07:36.600 --> 1:07:40.480
<v Speaker 1>the tour, and one of the guys I bought Mike Crowley,

1:07:40.560 --> 1:07:44.400
<v Speaker 1>who was head of security at Madison Square Garden um

1:07:45.080 --> 1:07:48.040
<v Speaker 1>but he also was kind of general manager and had

1:07:48.080 --> 1:07:50.840
<v Speaker 1>contacts with all the unions. We made out tour unions,

1:07:50.880 --> 1:07:53.760
<v Speaker 1>so we were the first tour ever to do a

1:07:53.920 --> 1:07:57.560
<v Speaker 1>union trucking company bonded Clark Transfer out of Philadelphia. We

1:07:57.600 --> 1:08:00.080
<v Speaker 1>had union everything. So we walked in there they were

1:08:00.000 --> 1:08:02.800
<v Speaker 1>all old mates because these were the guys. Our crew

1:08:02.920 --> 1:08:07.080
<v Speaker 1>was essentially picked from all the ice shows and all

1:08:07.120 --> 1:08:10.040
<v Speaker 1>the circus shows, all the Tommy Collins stuff that came

1:08:10.080 --> 1:08:13.120
<v Speaker 1>out of Minneapolis. We didn't use rock and roll rhotors.

1:08:13.480 --> 1:08:18.120
<v Speaker 1>We used hardcore union guys who were on the same team,

1:08:18.240 --> 1:08:21.479
<v Speaker 1>and we had no problems, no problems at all. The

1:08:21.600 --> 1:08:25.080
<v Speaker 1>entire toy made it run very smoothly. But we we

1:08:25.080 --> 1:08:27.360
<v Speaker 1>we would always put on like we bought on a

1:08:27.360 --> 1:08:30.840
<v Speaker 1>guy called Christopher Sykes, who was kind of part of

1:08:30.880 --> 1:08:34.880
<v Speaker 1>the aristocracy in Britain, was a photographer and we let

1:08:35.000 --> 1:08:37.840
<v Speaker 1>him photograph and he did a book. We brought Terry

1:08:37.880 --> 1:08:41.479
<v Speaker 1>Southern in. Terry did a book. We brought in, Um,

1:08:42.439 --> 1:08:45.040
<v Speaker 1>who else did we bring in on the tour? Um?

1:08:45.760 --> 1:08:48.360
<v Speaker 1>Well you brought in? Uh wasn't it the Franks who

1:08:48.400 --> 1:08:53.559
<v Speaker 1>did Coxsucker Blues? Oh? Robert Frank and Danny Seymour. Yeah, yeah, yeah,

1:08:54.080 --> 1:08:57.320
<v Speaker 1>tell us about that. Oh gee, it was a night

1:08:57.360 --> 1:09:00.439
<v Speaker 1>there for me. But you know, Robert was a lovely man.

1:09:00.520 --> 1:09:02.960
<v Speaker 1>Danny was was tough. He was a heroin addict and

1:09:02.960 --> 1:09:05.080
<v Speaker 1>he was difficult. That was his kind of a Das

1:09:05.680 --> 1:09:10.240
<v Speaker 1>his cameraman, Robert was really cool. I mean he just

1:09:10.320 --> 1:09:13.160
<v Speaker 1>kept to his own world. He hung with Keith most

1:09:13.200 --> 1:09:16.400
<v Speaker 1>of the time. Um, you know, and he was a

1:09:16.479 --> 1:09:20.040
<v Speaker 1>fly on the wall wherever he could be. Um. You know,

1:09:20.120 --> 1:09:24.080
<v Speaker 1>the film never got released. Um, let's talk about that.

1:09:24.160 --> 1:09:26.720
<v Speaker 1>When the film was done, We're on the street and

1:09:26.720 --> 1:09:29.519
<v Speaker 1>you're on the inside. Is they saw it and they

1:09:29.560 --> 1:09:32.559
<v Speaker 1>said this cannot be released. It was not so much

1:09:32.560 --> 1:09:34.840
<v Speaker 1>for the sex as much it was for drugs. There

1:09:34.880 --> 1:09:37.759
<v Speaker 1>were and not one of the Stones, but other people

1:09:37.800 --> 1:09:42.679
<v Speaker 1>were seen injecting drugs. Um, it was pretty raw, Bob.

1:09:43.280 --> 1:09:47.439
<v Speaker 1>Um it may not be seen as so raw now, Um,

1:09:47.479 --> 1:09:50.479
<v Speaker 1>but I wonder whether I know, you know, they they

1:09:50.560 --> 1:09:55.240
<v Speaker 1>still have not shown it to anybody. It's a fantastic

1:09:55.280 --> 1:09:58.600
<v Speaker 1>piece of film. I mean, Robert frank it's quite a filmmaker.

1:09:59.000 --> 1:10:04.200
<v Speaker 1>M but it was pretty dark at times. Okay, let's

1:10:04.240 --> 1:10:07.960
<v Speaker 1>go to the tour. Whose idea is it to do

1:10:08.040 --> 1:10:15.720
<v Speaker 1>the open pedal stage indoors? It's often these things are

1:10:15.720 --> 1:10:19.519
<v Speaker 1>a combination of various people's input. You know, you mess around,

1:10:19.560 --> 1:10:26.880
<v Speaker 1>you go to designers. But Robin Wagner, well again we

1:10:26.920 --> 1:10:31.480
<v Speaker 1>went outside rock and roll. We went to Broadway. Um,

1:10:31.680 --> 1:10:36.920
<v Speaker 1>Jules Fisher and Robin Wagner set designers guys who wont

1:10:36.960 --> 1:10:41.560
<v Speaker 1>tones and we kind of it came out of those conversations.

1:10:41.560 --> 1:10:44.160
<v Speaker 1>But a lot of it was a bit like on

1:10:44.240 --> 1:10:47.880
<v Speaker 1>the back of pieces of paper, you know, sketches by

1:10:48.000 --> 1:10:51.439
<v Speaker 1>Charlie or Mick or Keith giving off to a designer

1:10:51.520 --> 1:10:54.360
<v Speaker 1>to see what he could come up with. Driven mostly

1:10:54.400 --> 1:10:59.360
<v Speaker 1>by Mick. It was, you know, mostly by Mick. Um.

1:10:59.479 --> 1:11:03.920
<v Speaker 1>But who had that original idea? God knows, I don't remember.

1:11:04.240 --> 1:11:06.800
<v Speaker 1>You know, these tours take about a year to set up.

1:11:07.160 --> 1:11:10.479
<v Speaker 1>Back in those days, Um, the industry didn't quite work

1:11:10.520 --> 1:11:16.440
<v Speaker 1>as efficiently or smoothly as it as it does now. Um,

1:11:16.479 --> 1:11:19.280
<v Speaker 1>it was. It was a lot more of a cottage industry.

1:11:19.680 --> 1:11:26.360
<v Speaker 1>So um, the whole thing though, I think I'm trying

1:11:26.400 --> 1:11:28.600
<v Speaker 1>to think of Chip was the lighting guy on that

1:11:29.160 --> 1:11:32.960
<v Speaker 1>or whether he gone he imploded. I'm trying to think

1:11:33.280 --> 1:11:36.720
<v Speaker 1>it was. I think the lighting essentially was designed by

1:11:36.800 --> 1:11:42.280
<v Speaker 1>Jules Fisher. Okay, so uh, Now Mick Taylor wakes up

1:11:42.320 --> 1:11:45.000
<v Speaker 1>one day he wants to leave the band. Eventually there

1:11:45.000 --> 1:11:48.080
<v Speaker 1>are people are auditioned and Ronnie Wood gets the slot.

1:11:48.080 --> 1:11:50.960
<v Speaker 1>Were you involved in that? No, I was not involved

1:11:50.960 --> 1:11:55.080
<v Speaker 1>in would he being appointed? Uh, being offered the gig?

1:11:55.640 --> 1:11:57.800
<v Speaker 1>If that's what you're asking, right, But let's go back

1:11:57.800 --> 1:12:00.760
<v Speaker 1>a step. Did you foresee Mick Taylor leaving the band?

1:12:01.320 --> 1:12:05.080
<v Speaker 1>He was he'd become a bit of a loner um,

1:12:05.640 --> 1:12:11.320
<v Speaker 1>And there was some personality issues developed, I think in

1:12:11.400 --> 1:12:15.960
<v Speaker 1>particular with Keith and him, uh, which wasn't a good

1:12:16.000 --> 1:12:19.679
<v Speaker 1>thing as they were the two guitarists. Um. I think

1:12:21.520 --> 1:12:24.920
<v Speaker 1>he wasn't enjoying it anymore. And he was a musical purist,

1:12:24.960 --> 1:12:29.400
<v Speaker 1>I mean he really was. Um. I think he saw

1:12:29.520 --> 1:12:33.640
<v Speaker 1>his role musically in the band decreasing. I think you

1:12:33.680 --> 1:12:36.760
<v Speaker 1>know that the Stones were looking musically in rather more

1:12:36.800 --> 1:12:40.599
<v Speaker 1>a different direction from his blues oriented kind of strength.

1:12:40.960 --> 1:12:43.200
<v Speaker 1>He's not he's not a rhythmicity. He's not like Wood,

1:12:43.200 --> 1:12:46.840
<v Speaker 1>he doesn't play that role. So but it was I

1:12:46.920 --> 1:12:49.559
<v Speaker 1>wasn't surprised, boll not. I was not surprised at all.

1:12:49.800 --> 1:12:53.760
<v Speaker 1>It wasn't surprised that Bill went. You know, they that

1:12:54.040 --> 1:12:56.479
<v Speaker 1>you know, both of them were kind of the core

1:12:56.560 --> 1:13:00.360
<v Speaker 1>of that band is McK keith and Charlie l is

1:13:00.400 --> 1:13:03.080
<v Speaker 1>the one who speaks to everyone. There's always one in

1:13:03.080 --> 1:13:06.000
<v Speaker 1>the band who speaks to everyone, but usually the drummer

1:13:06.080 --> 1:13:11.599
<v Speaker 1>is the business guy. Yeah, not Charlie the you know

1:13:11.720 --> 1:13:15.559
<v Speaker 1>that mixed the one who makes things happen. Keith was

1:13:15.600 --> 1:13:19.519
<v Speaker 1>the one who could make things not happen. And that's

1:13:19.520 --> 1:13:23.000
<v Speaker 1>a dinner. You know, it's a very imprecise science rock

1:13:23.040 --> 1:13:25.919
<v Speaker 1>and roll is and that that, you know, the dynamic

1:13:25.960 --> 1:13:29.200
<v Speaker 1>of a band is is quite amazing. I mean, I've

1:13:29.200 --> 1:13:31.600
<v Speaker 1>worked with Roger Waters for many years, as you know

1:13:31.680 --> 1:13:34.839
<v Speaker 1>I did, and you know I was up close and personally.

1:13:34.840 --> 1:13:36.479
<v Speaker 1>It's funny, isn't if you take a look at it.

1:13:36.800 --> 1:13:39.880
<v Speaker 1>I Mean, Jabber and Richards went through a period where

1:13:39.880 --> 1:13:43.720
<v Speaker 1>they wouldn't talk to one another, made albums without ever

1:13:43.800 --> 1:13:49.160
<v Speaker 1>meeting in the studio. Um, you've got the who Townsend

1:13:49.200 --> 1:13:54.040
<v Speaker 1>adulters animosity and then is Well chronicled the Floyd with

1:13:54.080 --> 1:13:58.840
<v Speaker 1>Gilmour and waters Well chronicled. I remember going to one

1:13:58.840 --> 1:14:02.000
<v Speaker 1>gig at Nassau Colitey him where the caravans were turned

1:14:02.040 --> 1:14:04.559
<v Speaker 1>in opposite directions so they would never have to see

1:14:04.600 --> 1:14:07.400
<v Speaker 1>each other until they actually got on the stage. Um.

1:14:08.040 --> 1:14:11.680
<v Speaker 1>And then you you know, and you've got um uh

1:14:11.840 --> 1:14:15.599
<v Speaker 1>who page and plan the same thing. It's funny yet

1:14:15.680 --> 1:14:18.280
<v Speaker 1>those bands of four of the biggest bands ever and

1:14:18.360 --> 1:14:20.360
<v Speaker 1>you've got to find bands all of each other just

1:14:20.479 --> 1:14:24.240
<v Speaker 1>die of boredom after one album uh something. You know,

1:14:24.479 --> 1:14:27.519
<v Speaker 1>it's a it's a unique blend, so unique cocktail rock

1:14:27.560 --> 1:14:29.840
<v Speaker 1>and roll bands. So how do you decide to play

1:14:29.880 --> 1:14:37.960
<v Speaker 1>stadiums in? Um? The demand was so overwhelming. The business

1:14:38.040 --> 1:14:40.439
<v Speaker 1>had got to the stage where we could figure out

1:14:40.520 --> 1:14:43.840
<v Speaker 1>where these states there weren't all stadiums. We could figure

1:14:43.880 --> 1:14:47.960
<v Speaker 1>out where the good you know, we weren't the first

1:14:48.040 --> 1:14:50.800
<v Speaker 1>in there there were. These promoters had now started to

1:14:50.840 --> 1:14:54.439
<v Speaker 1>get this down. UM. It probably was driven to some

1:14:54.560 --> 1:14:57.920
<v Speaker 1>extent by money, but it was a safe play. We

1:14:58.000 --> 1:15:01.760
<v Speaker 1>knew that these facts, these stadiums could work. We knew

1:15:01.800 --> 1:15:05.400
<v Speaker 1>that we could sell them out. That's what we weren't

1:15:05.400 --> 1:15:10.000
<v Speaker 1>sure of in seventy two. Um, you know, and you

1:15:10.040 --> 1:15:16.040
<v Speaker 1>know we'd we we kind of mixed and matched. We

1:15:16.240 --> 1:15:18.559
<v Speaker 1>knew we've got to We've got a tour that we

1:15:18.640 --> 1:15:22.000
<v Speaker 1>could extract data from which would tell us even and

1:15:22.120 --> 1:15:25.439
<v Speaker 1>it's more in its medieval way back then that we

1:15:25.439 --> 1:15:28.480
<v Speaker 1>were in pretty safe situation that we could play the JFK's,

1:15:28.520 --> 1:15:31.160
<v Speaker 1>we could play the Arrowheads, we could play the Liberty

1:15:31.200 --> 1:15:34.160
<v Speaker 1>Bowls or the Cotton Bowls. We knew what we were

1:15:34.200 --> 1:15:37.519
<v Speaker 1>doing by then. We got it down and you know,

1:15:37.760 --> 1:15:40.320
<v Speaker 1>to play in arenas, we we'd have had to play

1:15:40.320 --> 1:15:43.440
<v Speaker 1>three or four nights in each arena, and just economically,

1:15:43.439 --> 1:15:46.519
<v Speaker 1>it doesn't make sense. It just didn't make sense. It

1:15:46.560 --> 1:15:49.519
<v Speaker 1>was I didn't mean to interrupt you, It didn't make

1:15:49.560 --> 1:15:54.519
<v Speaker 1>sense of Princess Prince Rupert Lowers team. You know, he

1:15:54.600 --> 1:15:57.640
<v Speaker 1>ultimately wrote a book before he died, but he was

1:15:57.680 --> 1:16:00.840
<v Speaker 1>seen as a mysterious genius. Can you is that true?

1:16:00.880 --> 1:16:04.880
<v Speaker 1>Can you? Reflected all on print Rooper Rupert had a

1:16:04.960 --> 1:16:09.760
<v Speaker 1>unique relationship with the group, but Mick in particular he

1:16:10.160 --> 1:16:16.000
<v Speaker 1>opened the doors for mix socially in London and Europe.

1:16:16.880 --> 1:16:20.880
<v Speaker 1>Rupert didn't have a friend who didn't have a title. Um.

1:16:21.080 --> 1:16:24.720
<v Speaker 1>And he he was a director of a very very

1:16:24.800 --> 1:16:30.400
<v Speaker 1>prestigious bank, Leopold Joseph in the city of London. Um.

1:16:30.600 --> 1:16:36.120
<v Speaker 1>He was a very clever man, very disarming, very good

1:16:36.320 --> 1:16:41.800
<v Speaker 1>people's schools, very I mean typically I'm a lone still

1:16:41.880 --> 1:16:47.720
<v Speaker 1>doesn't Sundbridge, but a British aristocrat. Um. He was very

1:16:47.760 --> 1:16:51.559
<v Speaker 1>clever in advising Mike on money and the stones tag

1:16:51.640 --> 1:16:55.880
<v Speaker 1>set up, which he's you know, was sophisticated, which many

1:16:55.920 --> 1:17:01.200
<v Speaker 1>people including like now you two everybody is is in

1:17:01.280 --> 1:17:09.040
<v Speaker 1>the same scheme, very legal, um. But um. He he

1:17:09.200 --> 1:17:14.200
<v Speaker 1>kept himself very much a part for rock and roll,

1:17:14.240 --> 1:17:17.880
<v Speaker 1>I mean rock and roll. It could have been anything

1:17:17.920 --> 1:17:20.160
<v Speaker 1>for Rupert, you know, it didn't have to be music,

1:17:20.560 --> 1:17:27.800
<v Speaker 1>but he he he worked Mick very well and Mick

1:17:27.880 --> 1:17:34.519
<v Speaker 1>worked him very well. So you know when Princess Margaret

1:17:34.600 --> 1:17:37.960
<v Speaker 1>happened to come to an Earl's Court show, it was

1:17:38.040 --> 1:17:43.519
<v Speaker 1>Rupert was that she was Rupert's guest. Um. Often like

1:17:44.240 --> 1:17:47.280
<v Speaker 1>Nancy Reagan and Jerry Zipkin would come to a show

1:17:47.880 --> 1:17:53.559
<v Speaker 1>in l a Rupert's guest. Um. He kind of was

1:17:53.680 --> 1:17:58.960
<v Speaker 1>that side of helped create that side of the rolling Stones,

1:17:59.240 --> 1:18:04.240
<v Speaker 1>which Mick is a master at manipulating master, And it

1:18:04.360 --> 1:18:07.840
<v Speaker 1>was very important to Mike, very important that status, that

1:18:08.080 --> 1:18:14.639
<v Speaker 1>ability to to to associate and mix with the Hollywood elite,

1:18:15.040 --> 1:18:19.040
<v Speaker 1>the social elite. Arm It also served that purpose in

1:18:19.080 --> 1:18:21.760
<v Speaker 1>some ways for Mick. Um. It was Rupert and Mick

1:18:21.840 --> 1:18:25.280
<v Speaker 1>and Rupert and arm It were very friendly and they would,

1:18:25.439 --> 1:18:27.960
<v Speaker 1>you know, spend a lot of time together in the

1:18:27.960 --> 1:18:31.799
<v Speaker 1>Mediterranean in the summer. So but Mick kind of worked

1:18:31.840 --> 1:18:36.600
<v Speaker 1>them all extremely well. And he's Mick. He's one of

1:18:36.600 --> 1:18:39.760
<v Speaker 1>a kind. He's quite unique as Mr Jagger. So how

1:18:39.800 --> 1:18:43.759
<v Speaker 1>does it end with you in the stars, I think, Bob,

1:18:43.920 --> 1:18:48.000
<v Speaker 1>it just after the biggest crisis in my life was

1:18:48.040 --> 1:18:53.639
<v Speaker 1>the Lenin skin and plane crush. Okay, so it threw

1:18:53.680 --> 1:18:59.400
<v Speaker 1>me completely under the bus. Um some ways. I I

1:18:59.439 --> 1:19:02.160
<v Speaker 1>haven't recover of it from it. Um. I certainly haven't

1:19:02.479 --> 1:19:07.320
<v Speaker 1>got closure on it. Um. And I kind of went

1:19:07.360 --> 1:19:10.400
<v Speaker 1>off the rails and I think, you know, the stones felt.

1:19:10.560 --> 1:19:14.200
<v Speaker 1>I've done three tours of America, three tours of Europe.

1:19:14.760 --> 1:19:19.519
<v Speaker 1>Everything runs its course, you know, it's just all this

1:19:19.680 --> 1:19:22.400
<v Speaker 1>business is as much about relationships. We all basically can

1:19:22.439 --> 1:19:25.800
<v Speaker 1>do the same job. It's you know, we may color

1:19:25.880 --> 1:19:28.759
<v Speaker 1>it a little differently. It may be you know, slightly tweaked,

1:19:29.160 --> 1:19:33.040
<v Speaker 1>but essentially we you know, we were just fulfill of

1:19:33.120 --> 1:19:38.800
<v Speaker 1>function and UM it run its course. Bob, Well did

1:19:38.800 --> 1:19:42.960
<v Speaker 1>you look keep going? Did you leave good terms? Yeah? Yeah,

1:19:43.200 --> 1:19:46.439
<v Speaker 1>we left on good terms. Oh no, no, absolutely. UM.

1:19:46.520 --> 1:19:48.880
<v Speaker 1>I always got on very well with with Mi. We

1:19:48.920 --> 1:19:54.200
<v Speaker 1>went and watched a lot of cricket together, we vacationed together. UM.

1:19:54.479 --> 1:19:57.920
<v Speaker 1>I had a lot of respect for him. Um, I'm Keith,

1:19:58.160 --> 1:20:01.840
<v Speaker 1>you know, because in those days, Keith at certain lifestyle

1:20:01.880 --> 1:20:05.040
<v Speaker 1>habits that you know, I as the manager or tour manager,

1:20:05.560 --> 1:20:08.920
<v Speaker 1>you know, I had to try and combat the potential

1:20:09.040 --> 1:20:12.360
<v Speaker 1>ramifications of We never really got close, but we've been

1:20:12.400 --> 1:20:15.280
<v Speaker 1>closed since because Jane Rose as his manager, and Jane

1:20:15.360 --> 1:20:18.200
<v Speaker 1>Rose worked for me and I introduced to the key,

1:20:18.240 --> 1:20:21.880
<v Speaker 1>so she was one of my employees. Um when I

1:20:21.920 --> 1:20:26.400
<v Speaker 1>was had my offices in New York. Um, so we've

1:20:26.400 --> 1:20:29.400
<v Speaker 1>all kept pretty tight. Charlie is a lovely man. You know.

1:20:30.600 --> 1:20:32.800
<v Speaker 1>I'm not in touch with Charlie, but if I saw him,

1:20:32.800 --> 1:20:35.599
<v Speaker 1>there'd be a big hugs. Okay, So let's switch over

1:20:35.640 --> 1:20:38.919
<v Speaker 1>to Leonard Skinner. How do you actually make the decision

1:20:38.960 --> 1:20:41.280
<v Speaker 1>to manage them? As they say al Couprez sounds of

1:20:41.320 --> 1:20:43.439
<v Speaker 1>the South, which is district out of it Land and

1:20:43.520 --> 1:20:46.840
<v Speaker 1>distributed by m c A. But walk us through how

1:20:46.880 --> 1:20:51.080
<v Speaker 1>you seal the deal and then what you do with Skinner. Well,

1:20:51.120 --> 1:20:55.439
<v Speaker 1>as I mentioned, we put them on UM as support

1:20:55.520 --> 1:20:58.960
<v Speaker 1>for the WHO in that seventy three tour. And they

1:20:58.960 --> 1:21:02.800
<v Speaker 1>were managers, you just said, by Alan Walden and represented

1:21:02.800 --> 1:21:07.120
<v Speaker 1>by paragon Um, which was Alex Hodges and Terry Rhodes,

1:21:07.560 --> 1:21:11.320
<v Speaker 1>so very much embedded in the South in Macon, Georgia,

1:21:11.360 --> 1:21:16.160
<v Speaker 1>which was you know, the epicenter of Southern Rock. I

1:21:16.280 --> 1:21:20.040
<v Speaker 1>just liked them, and they were not I thought they

1:21:20.040 --> 1:21:25.800
<v Speaker 1>were phenomenal live Um. I thought Ronnie van Zandt, who

1:21:25.840 --> 1:21:28.120
<v Speaker 1>could barely read or write, was one of the smartest

1:21:28.120 --> 1:21:33.040
<v Speaker 1>guys I've ever ever met. His instincts were incredible. Um.

1:21:33.160 --> 1:21:36.200
<v Speaker 1>He was bright as attack. And we got to know

1:21:36.320 --> 1:21:41.040
<v Speaker 1>each other and they seemed to be Basically they asked me, Bob,

1:21:41.080 --> 1:21:42.800
<v Speaker 1>I suppose if it comes down to it, would you

1:21:42.840 --> 1:21:46.680
<v Speaker 1>like to managers? Remember at that time, you know, I

1:21:46.760 --> 1:21:49.320
<v Speaker 1>was jacked the ladd in a way who stones blahih

1:21:49.320 --> 1:21:51.640
<v Speaker 1>blah blah blah. They were a small band trying to

1:21:51.720 --> 1:21:55.760
<v Speaker 1>break it. I obviously shown my belief in them by

1:21:55.800 --> 1:22:00.559
<v Speaker 1>putting them on the hut or Um. They weren't getting

1:22:00.600 --> 1:22:06.000
<v Speaker 1>on very well with with Alan Um. Phil was capit corner.

1:22:06.080 --> 1:22:07.559
<v Speaker 1>They were on m c A. So there was no

1:22:07.680 --> 1:22:12.519
<v Speaker 1>love lost between anyone in macon Um Alex and Terry,

1:22:12.880 --> 1:22:16.640
<v Speaker 1>you know, they were okay um and it just it

1:22:16.800 --> 1:22:21.280
<v Speaker 1>wasn't anything extraordinary. It was just one day, Ronnie said,

1:22:21.320 --> 1:22:24.719
<v Speaker 1>I firing Alan Walden or we are will you manage

1:22:24.720 --> 1:22:28.920
<v Speaker 1>just Limy Becaus called me the Limy and and that

1:22:29.120 --> 1:22:35.240
<v Speaker 1>was it. That was a great relationship. I mean, I

1:22:35.320 --> 1:22:39.920
<v Speaker 1>loved Leonard Skinner um and I feel very proud of

1:22:39.960 --> 1:22:42.040
<v Speaker 1>what we accomplished together. I mean, a week after the

1:22:42.080 --> 1:22:45.360
<v Speaker 1>plane crash, we were going to co headline Madison Square Garden,

1:22:45.800 --> 1:22:49.320
<v Speaker 1>which right back in those days for a Southern man

1:22:49.400 --> 1:22:53.680
<v Speaker 1>to be at that point was pretty incredible. One of

1:22:53.720 --> 1:22:57.000
<v Speaker 1>the proudest moments of my life was I book Leonard

1:22:57.040 --> 1:22:59.760
<v Speaker 1>skin and we book Leonard Skinner on the Stones ned Worth,

1:23:00.000 --> 1:23:05.160
<v Speaker 1>oh in England. And I knew obviously what the stage

1:23:05.240 --> 1:23:06.960
<v Speaker 1>was going to be and I knew the stage was

1:23:07.000 --> 1:23:10.160
<v Speaker 1>going to be the tom and the tong was gonna

1:23:10.280 --> 1:23:13.840
<v Speaker 1>you know, snake out into the audience. And so I

1:23:14.120 --> 1:23:17.120
<v Speaker 1>got the three guitarists incredible because you had to have

1:23:17.240 --> 1:23:21.400
<v Speaker 1>and then long guitar leads that they could march down

1:23:21.439 --> 1:23:24.960
<v Speaker 1>that that that that that tom right into the middle

1:23:25.000 --> 1:23:27.800
<v Speaker 1>of the audience. It upset Mick a bit because that

1:23:27.920 --> 1:23:30.360
<v Speaker 1>was supposed to be saved there. But no one, no

1:23:30.400 --> 1:23:32.439
<v Speaker 1>one thought that they could get down there because everything

1:23:32.560 --> 1:23:35.240
<v Speaker 1>was like you know wide in those days, it wasn't

1:23:35.280 --> 1:23:38.200
<v Speaker 1>and there was no wireless um. And they came down

1:23:38.360 --> 1:23:41.040
<v Speaker 1>that ramp doing three give me three steps and it

1:23:41.160 --> 1:23:43.040
<v Speaker 1>was one of the great rock and roll moment. I

1:23:43.080 --> 1:23:46.479
<v Speaker 1>still visitized, and I remember McCarty sitting on the side saying, Wow,

1:23:46.479 --> 1:23:48.880
<v Speaker 1>what a man, and you kind of like I was

1:23:48.960 --> 1:23:54.400
<v Speaker 1>felt so proud, but that crash was just devastating, just

1:23:54.680 --> 1:24:01.920
<v Speaker 1>just devastating for me personally, just and for them, I mean, god, yeah,

1:24:01.960 --> 1:24:04.040
<v Speaker 1>And I've never had closure. I've never spoken to any

1:24:04.040 --> 1:24:08.400
<v Speaker 1>of them since. There were lawsuits that followed, obviously, you know,

1:24:09.800 --> 1:24:13.840
<v Speaker 1>which I understand I was sued, but it was all

1:24:13.840 --> 1:24:15.960
<v Speaker 1>settled and there was no exchange of money. It was

1:24:16.080 --> 1:24:19.680
<v Speaker 1>just you know, things against me weigh because it was

1:24:19.720 --> 1:24:25.559
<v Speaker 1>all quite you know, it was handled properly, legally. The charter,

1:24:26.000 --> 1:24:29.479
<v Speaker 1>I mean, the damn plane run out of gas. They

1:24:29.520 --> 1:24:35.759
<v Speaker 1>had a faulty fuel gauge. That's what happened. That's what happened.

1:24:35.760 --> 1:24:38.120
<v Speaker 1>And Ronnie van Zand being the cowboy that he was,

1:24:38.680 --> 1:24:40.439
<v Speaker 1>you know, when the plane was coming down, they were

1:24:40.439 --> 1:24:44.200
<v Speaker 1>looking for a clearing. He said, I'm going up with

1:24:44.240 --> 1:24:46.519
<v Speaker 1>my pilots. You know, they the stay at the back

1:24:46.560 --> 1:24:50.479
<v Speaker 1>of the plane. He lived as he may have been,

1:24:50.640 --> 1:24:54.400
<v Speaker 1>you know, physically impaired, God forbid, but everyone in the

1:24:54.439 --> 1:24:57.600
<v Speaker 1>back of the plane survived. He goes, walks up and

1:24:57.600 --> 1:25:01.479
<v Speaker 1>puts his arm around the two pilots. You know, that's Ronnick,

1:25:01.960 --> 1:25:09.360
<v Speaker 1>you know, stair awaiting whatever. Uh, pretty sobering. How did

1:25:09.439 --> 1:25:13.160
<v Speaker 1>how did you find out? Well, it's very interesting. We'd

1:25:13.200 --> 1:25:16.120
<v Speaker 1>opened the tour at the sports a Toorium, probably the

1:25:16.120 --> 1:25:20.920
<v Speaker 1>worst venue ever in Miami, Florida. And the next day

1:25:21.320 --> 1:25:28.120
<v Speaker 1>we played Asheville, North Carolina, and from Nashville, North Carolina,

1:25:28.200 --> 1:25:31.160
<v Speaker 1>the band were to fly to Baton Rouge. We're going

1:25:31.240 --> 1:25:33.479
<v Speaker 1>to shoot a video that the and they we're going

1:25:33.560 --> 1:25:38.000
<v Speaker 1>to play Baton Rouge. I was in Miami. I was

1:25:38.439 --> 1:25:40.759
<v Speaker 1>on the plane the charge of playing. We flew into Asheville,

1:25:40.800 --> 1:25:45.160
<v Speaker 1>North Carolina. I was at the gig. Next day we

1:25:45.160 --> 1:25:47.479
<v Speaker 1>were ready to go to Baton Rouge. I was kind

1:25:47.520 --> 1:25:51.639
<v Speaker 1>of on the plane. I get a phone call. One

1:25:51.720 --> 1:25:57.720
<v Speaker 1>of my non music specific ventures that I got involved

1:25:57.720 --> 1:26:03.720
<v Speaker 1>with was a soccer team in the NFL. I was

1:26:03.840 --> 1:26:06.799
<v Speaker 1>one of a group of music business people Jerry Moss,

1:26:06.920 --> 1:26:11.280
<v Speaker 1>Terry Right, Terry Ellis, Frank Barcelona Di, Anthony, Peter Frampton,

1:26:11.400 --> 1:26:19.280
<v Speaker 1>Paul Simon who applied for the Philadelphia franchise the Philadelphia Fury.

1:26:19.640 --> 1:26:22.000
<v Speaker 1>I was because I was English. I was on kind

1:26:22.000 --> 1:26:26.080
<v Speaker 1>of the management committee. And I got a call just

1:26:26.160 --> 1:26:28.920
<v Speaker 1>before the flight was supposed to take off for Baton

1:26:29.040 --> 1:26:33.560
<v Speaker 1>Rouge that I was urgently required in New York City

1:26:33.600 --> 1:26:37.800
<v Speaker 1>because the NSL Commissioner was going to hear our, you know,

1:26:38.320 --> 1:26:43.960
<v Speaker 1>hopefully approve our application for the franchise in Philadelphia. I

1:26:44.000 --> 1:26:46.680
<v Speaker 1>got off the plane. I jumped on an Eastern Airlines

1:26:46.760 --> 1:26:50.839
<v Speaker 1>flight into La Guardia Airport. I got off the plane

1:26:52.360 --> 1:26:56.679
<v Speaker 1>and I'm walking up the gangway and um, I see

1:26:56.720 --> 1:27:01.839
<v Speaker 1>at the end my attorney I know my back uh,

1:27:01.840 --> 1:27:05.599
<v Speaker 1>and Skinner's attorney and my number two Mary Beth Medley,

1:27:05.640 --> 1:27:07.920
<v Speaker 1>who worked for me in the office, and I said,

1:27:07.920 --> 1:27:09.680
<v Speaker 1>what are you doing here? Why do you come to

1:27:09.680 --> 1:27:12.840
<v Speaker 1>the headport to meet me? And they told me, uh

1:27:13.680 --> 1:27:19.479
<v Speaker 1>and uh, that's on you, okay, the way the way

1:27:19.520 --> 1:27:21.719
<v Speaker 1>you tell the story since you were on the plane,

1:27:21.720 --> 1:27:30.600
<v Speaker 1>and it off any survivors guilt, Yeah, a little, um, yeah,

1:27:30.760 --> 1:27:34.880
<v Speaker 1>a little bob, A little depends what mood of dime

1:27:34.920 --> 1:27:37.280
<v Speaker 1>in the day it is and when it is. But yeah,

1:27:37.520 --> 1:27:40.800
<v Speaker 1>I'm very, very very mixed emotions about the whole thing.

1:27:40.920 --> 1:27:46.360
<v Speaker 1>Of course, so you say, and understandably it put you

1:27:46.400 --> 1:27:50.639
<v Speaker 1>into a tail spin and you'd finished the Stones tour

1:27:51.640 --> 1:27:53.840
<v Speaker 1>needles to say, this was the end of the Skinner tour?

1:27:54.240 --> 1:27:57.439
<v Speaker 1>Where did that leave you personally? Personally, I didn't want

1:27:57.479 --> 1:28:02.479
<v Speaker 1>to be in the music business. I wanted out m Um,

1:28:02.479 --> 1:28:08.080
<v Speaker 1>you know, I had no appetite UM, and I let

1:28:08.120 --> 1:28:14.000
<v Speaker 1>things go drunk too much, took too many drugs, um,

1:28:14.240 --> 1:28:20.479
<v Speaker 1>just lost track of life. I then I pulled myself

1:28:20.520 --> 1:28:22.840
<v Speaker 1>together and a great friend of mine, Joe Cohen, who

1:28:23.160 --> 1:28:25.960
<v Speaker 1>was running Madison Square Garden at the time, had just

1:28:26.040 --> 1:28:32.280
<v Speaker 1>started up his cable television network Madison's MSG TV, and

1:28:33.080 --> 1:28:37.439
<v Speaker 1>a relationship that I had made through through the Stones

1:28:37.520 --> 1:28:41.200
<v Speaker 1>really was with Warholes Factory, and I was very friendly

1:28:41.200 --> 1:28:44.240
<v Speaker 1>with them all, in particular Vincent Fremont, who ran it,

1:28:45.040 --> 1:28:50.000
<v Speaker 1>and so I kind of got involved with producing television shows,

1:28:50.040 --> 1:28:53.000
<v Speaker 1>one of which was the Andy Warhole TV Show and

1:28:53.000 --> 1:28:56.479
<v Speaker 1>Andy hosted and don't many people know this a TV show?

1:28:56.560 --> 1:28:59.639
<v Speaker 1>We did six episodes of it. I've got them all

1:28:59.680 --> 1:29:03.040
<v Speaker 1>off old cassettes in my garage and I did that

1:29:03.400 --> 1:29:05.640
<v Speaker 1>and I messed around with that for a while, but

1:29:06.040 --> 1:29:10.120
<v Speaker 1>it did, it didn't. The drug wasn't powerful enough. I

1:29:10.479 --> 1:29:14.040
<v Speaker 1>missed music. I I I the appetite started to come back,

1:29:14.880 --> 1:29:18.200
<v Speaker 1>and you know, but I was out of touch, you know,

1:29:18.400 --> 1:29:21.960
<v Speaker 1>you know this business miss a day and everyone forgets

1:29:21.960 --> 1:29:25.439
<v Speaker 1>your phone number. So um. But then one day out

1:29:25.439 --> 1:29:31.080
<v Speaker 1>of the blue, I get a call from Roger Waters,

1:29:32.720 --> 1:29:39.920
<v Speaker 1>um partner who had known for years. Um. I first

1:29:39.920 --> 1:29:42.160
<v Speaker 1>met her when she was David Entos from his girlfriend

1:29:42.560 --> 1:29:48.320
<v Speaker 1>at the first isle of White Festival, and Roger asked it,

1:29:49.240 --> 1:29:51.120
<v Speaker 1>and I'd know I'd met him before through a roar

1:29:51.320 --> 1:29:53.519
<v Speaker 1>kind of We were friends. The Floyd Camp and I

1:29:53.600 --> 1:29:57.880
<v Speaker 1>were friends. I knew them all because I said, you know,

1:29:58.680 --> 1:30:03.400
<v Speaker 1>I would be very interested if you come and manage me. Now, yeah,

1:30:03.560 --> 1:30:05.840
<v Speaker 1>I said, right, this could be a lifeline. Back in

1:30:06.600 --> 1:30:14.599
<v Speaker 1>um Roger had left the Floyd. His partner Caroline had

1:30:14.720 --> 1:30:17.000
<v Speaker 1>turned round to him in bed one day and said, Roger,

1:30:17.880 --> 1:30:20.320
<v Speaker 1>you should leave without you there is no Pink Floyd.

1:30:20.920 --> 1:30:26.720
<v Speaker 1>Um uh. And then I looked. That taught us all

1:30:26.760 --> 1:30:31.080
<v Speaker 1>about the power of a brand. But I managed Roger.

1:30:31.720 --> 1:30:37.360
<v Speaker 1>It was pretty tough because there was a lot of

1:30:37.400 --> 1:30:43.160
<v Speaker 1>litigation going on over who owned what obviously, in particular

1:30:43.200 --> 1:30:47.519
<v Speaker 1>who owned the name now. Then the business manager for

1:30:47.720 --> 1:30:50.840
<v Speaker 1>the Pink Floyd, who are Rock and the band had

1:30:50.880 --> 1:30:54.200
<v Speaker 1>hired was Rupert Lonstein. So I had a pretty good

1:30:54.240 --> 1:30:57.080
<v Speaker 1>relationship with Rupert, which helped. I had a very long

1:30:57.200 --> 1:31:02.439
<v Speaker 1>standing relationship with Stepho and I've always been very good

1:31:02.439 --> 1:31:05.040
<v Speaker 1>friends with Dave Gilmour from the days at Cambridge and

1:31:05.080 --> 1:31:08.200
<v Speaker 1>we actually share the same birthday. So I mean I

1:31:08.400 --> 1:31:10.320
<v Speaker 1>was stuck in the middle. I've got Roger over here

1:31:10.439 --> 1:31:13.479
<v Speaker 1>and I got you know, the Floyd guys over there,

1:31:14.200 --> 1:31:18.000
<v Speaker 1>and I kind of we got stuck. I got, you know,

1:31:18.080 --> 1:31:22.439
<v Speaker 1>we got through some sort of negotiation whereby Roger couldn't

1:31:22.479 --> 1:31:25.080
<v Speaker 1>do the Wall and its entirety, but he could do

1:31:25.240 --> 1:31:28.080
<v Speaker 1>x amount of songs as long as they weren't altogether,

1:31:28.320 --> 1:31:30.640
<v Speaker 1>and the Floyd could do this. Bottom line is we

1:31:30.760 --> 1:31:34.439
<v Speaker 1>both decided to tour. Roger Waters put on an album

1:31:34.439 --> 1:31:36.800
<v Speaker 1>called Radio Chaos. You may remember it or may not.

1:31:37.600 --> 1:31:40.559
<v Speaker 1>Jim Ladd came out, played the disc jockey, brilliant show,

1:31:40.760 --> 1:31:45.479
<v Speaker 1>great you know, great production fantas Nick Pink Floyd went

1:31:45.479 --> 1:31:51.840
<v Speaker 1>out the same time. No Roger Waters um so first

1:31:51.920 --> 1:31:57.839
<v Speaker 1>dates go up Toronto, Roger's playing maple Leaf, Pink Floyder

1:31:57.920 --> 1:32:00.719
<v Speaker 1>on sale across the road at the Baseball Staying whatever.

1:32:01.200 --> 1:32:05.439
<v Speaker 1>Roger thousand tickets, Pink Floyd thirty tickets. And so it

1:32:05.600 --> 1:32:11.760
<v Speaker 1>was around America. And it was the most difficult, most depressing,

1:32:12.000 --> 1:32:16.320
<v Speaker 1>most awful thing to have to man get through with him.

1:32:16.439 --> 1:32:19.720
<v Speaker 1>His ego was crushed. We realized that you can't you know,

1:32:19.880 --> 1:32:23.479
<v Speaker 1>the Floyd were the first real brand when none of

1:32:23.520 --> 1:32:29.439
<v Speaker 1>the individuals meant more than the combination. And we got

1:32:29.479 --> 1:32:31.439
<v Speaker 1>I mean, we got through it. But it was not

1:32:31.520 --> 1:32:35.519
<v Speaker 1>a pleasant experience. Um and but he gave me my

1:32:35.640 --> 1:32:42.080
<v Speaker 1>foothold back into music and then Bills this black put

1:32:42.120 --> 1:32:46.799
<v Speaker 1>me together with Duran Duran and I started to manage

1:32:46.840 --> 1:32:51.080
<v Speaker 1>them and this is all in the eighties, um, and

1:32:52.160 --> 1:32:56.760
<v Speaker 1>that you know, that went okay. But we put out

1:32:56.800 --> 1:33:00.960
<v Speaker 1>an album. It was a dog called Liberty. Um. We

1:33:01.040 --> 1:33:04.800
<v Speaker 1>did the greatest hits, which did well. And then they

1:33:04.840 --> 1:33:09.479
<v Speaker 1>wrote this song called Ordinary World. And I took that

1:33:09.600 --> 1:33:14.920
<v Speaker 1>song around everyone I knew in the industry and said,

1:33:15.400 --> 1:33:20.519
<v Speaker 1>Duran durand new song. Roger Aimeson, forget it, Peter, you

1:33:20.560 --> 1:33:25.599
<v Speaker 1>know Duran durannor over And that's what I got everywhere Duran.

1:33:25.720 --> 1:33:28.280
<v Speaker 1>If it wasn't Dran Duran, it would be fine. And

1:33:28.360 --> 1:33:30.559
<v Speaker 1>I just sat with the guys and I said, I

1:33:30.560 --> 1:33:35.200
<v Speaker 1>can't do this anymore. Guys, It's just you know, I'm

1:33:35.600 --> 1:33:37.680
<v Speaker 1>I'm just getting knocked back. And you know, if you

1:33:37.720 --> 1:33:41.280
<v Speaker 1>can't convince the sellers, you'll they will never convince the customers.

1:33:41.760 --> 1:33:45.759
<v Speaker 1>So um it did. The rest is history. Alan Kovac

1:33:45.840 --> 1:33:47.880
<v Speaker 1>picked it up and it was the record or the

1:33:47.960 --> 1:33:52.200
<v Speaker 1>song that obviously launched the second half of their career. Fortunately,

1:33:52.200 --> 1:33:54.400
<v Speaker 1>I mean very good friends. I have a lot of

1:33:54.439 --> 1:33:56.840
<v Speaker 1>respect for Duran Duran and Nick Rhodes. They could have

1:33:56.880 --> 1:34:00.120
<v Speaker 1>easily gone under. They are the first major pop and

1:34:01.080 --> 1:34:06.519
<v Speaker 1>that really survived in many respects before we got to

1:34:06.560 --> 1:34:09.439
<v Speaker 1>the Backstreet Boys, and but they were very much a

1:34:09.520 --> 1:34:13.040
<v Speaker 1>singles band and not seen as a legitimate rock band.

1:34:13.640 --> 1:34:16.000
<v Speaker 1>UM and of course you know they were the first

1:34:16.080 --> 1:34:20.400
<v Speaker 1>video band, the first glam band. Boy or boy have

1:34:20.479 --> 1:34:22.280
<v Speaker 1>they done well? I mean they were going to headline

1:34:22.360 --> 1:34:25.080
<v Speaker 1>Isle of Wight this summer, going to headline Hyde Park

1:34:25.200 --> 1:34:29.479
<v Speaker 1>this summer. A lot of respect for how they've done it. UM,

1:34:29.520 --> 1:34:33.799
<v Speaker 1>So you walk away? I think that's nine two ordinary

1:34:33.840 --> 1:34:38.400
<v Speaker 1>world could be ninety? Are you walk just about? You

1:34:38.479 --> 1:34:42.719
<v Speaker 1>walk away from Duran? Duran? What's your next move? Next

1:34:42.760 --> 1:34:46.599
<v Speaker 1>move is that I'm living in America back and I'm

1:34:46.600 --> 1:34:53.480
<v Speaker 1>sending some time in America. And um Phonogram or Mercury

1:34:53.760 --> 1:34:57.240
<v Speaker 1>UK say, there's this great band we've got called James.

1:34:58.080 --> 1:35:01.200
<v Speaker 1>UM we think they can break them America. Would you

1:35:01.320 --> 1:35:05.880
<v Speaker 1>help us out? So I became co manager of James

1:35:06.400 --> 1:35:11.160
<v Speaker 1>with their existing manager Martin, who was the singer's girlfriend.

1:35:11.920 --> 1:35:19.880
<v Speaker 1>And this was just pre laid and um lay did

1:35:19.920 --> 1:35:26.880
<v Speaker 1>phenomenally well. UM James were always a great life band

1:35:27.280 --> 1:35:31.120
<v Speaker 1>and we really I think at one point we shipped

1:35:31.320 --> 1:35:35.920
<v Speaker 1>platinum in America. UM of the album UM and this

1:35:36.000 --> 1:35:40.200
<v Speaker 1>is before it got picked up in the American buy movies. Um,

1:35:40.880 --> 1:35:46.639
<v Speaker 1>and if we really did well Martin, the band fell

1:35:46.680 --> 1:35:50.559
<v Speaker 1>out with and I became the sole manager of them.

1:35:50.800 --> 1:35:54.400
<v Speaker 1>And it's a band that didn't make a lot of

1:35:54.400 --> 1:35:56.600
<v Speaker 1>money back in the day, had a lot of problems.

1:35:56.600 --> 1:35:59.479
<v Speaker 1>They're very dysfunctional, but their true mus I was seven

1:35:59.520 --> 1:36:04.400
<v Speaker 1>of them. Um. How they've survived is a test for

1:36:04.520 --> 1:36:08.880
<v Speaker 1>me to live. They're a great life man. They've never

1:36:08.920 --> 1:36:13.200
<v Speaker 1>been a fashionable band, but they've been very respectful of

1:36:13.240 --> 1:36:17.080
<v Speaker 1>their fans, very you know, in every respect. They have

1:36:17.120 --> 1:36:20.760
<v Speaker 1>a great connection. They do not allow any gouging of

1:36:20.800 --> 1:36:24.439
<v Speaker 1>the fans or abusing and they're selling more tickets right

1:36:24.479 --> 1:36:26.599
<v Speaker 1>now than they've ever sold. We have a tour next

1:36:26.680 --> 1:36:31.960
<v Speaker 1>year in arenas you know, oh to Manchester Arena. Primarily

1:36:32.000 --> 1:36:35.800
<v Speaker 1>one market to two or three markets actually. But I've

1:36:35.840 --> 1:36:38.360
<v Speaker 1>managed them for thirty years, Bob. They're like my kids,

1:36:40.560 --> 1:36:44.120
<v Speaker 1>you know. And every time I've told Tim Booth, the singer,

1:36:44.200 --> 1:36:47.320
<v Speaker 1>to go right, he's got left and he's often he's

1:36:47.360 --> 1:36:50.320
<v Speaker 1>beaten me there, um, you know. And they haven't had

1:36:50.360 --> 1:36:52.639
<v Speaker 1>the biggest career of anyone in the world, but they've

1:36:52.640 --> 1:36:57.800
<v Speaker 1>had a great career and that their shows are fantastic.

1:36:57.840 --> 1:37:01.160
<v Speaker 1>They just I still love going and standing in the

1:37:01.200 --> 1:37:05.120
<v Speaker 1>audience and watching them. I must have seen them five times,

1:37:05.960 --> 1:37:08.080
<v Speaker 1>and that it just gives me energy. I love them.

1:37:08.080 --> 1:37:11.960
<v Speaker 1>We're you know, I love their music, I love everything.

1:37:12.080 --> 1:37:15.880
<v Speaker 1>And they allow me to manage them. And I think

1:37:15.920 --> 1:37:18.439
<v Speaker 1>that's one of the problems I've had in my career

1:37:19.080 --> 1:37:23.160
<v Speaker 1>is I don't have a lot of patients. Um I

1:37:23.200 --> 1:37:27.200
<v Speaker 1>need to know that my role in an artist or

1:37:27.240 --> 1:37:32.679
<v Speaker 1>a client's career is respected and and and the lines

1:37:32.720 --> 1:37:36.080
<v Speaker 1>are divided, and when the artist starts telling me how

1:37:36.120 --> 1:37:41.200
<v Speaker 1>to manage the artist, it's kind of over there. I

1:37:41.240 --> 1:37:45.000
<v Speaker 1>don't care about any contract. It's like relationships, you know, uh,

1:37:45.280 --> 1:37:47.640
<v Speaker 1>you know when it's over. I mean, I've managed a

1:37:47.680 --> 1:37:50.439
<v Speaker 1>lot of that madness. I've managed this one. I managed that,

1:37:51.240 --> 1:37:55.680
<v Speaker 1>And I'd rather walk. I'd rather just go because I

1:37:55.680 --> 1:37:57.600
<v Speaker 1>don't want to be there. If I don't believe that

1:37:57.760 --> 1:38:01.599
<v Speaker 1>something's right, I'd rather walk. I think I think managers

1:38:01.600 --> 1:38:07.640
<v Speaker 1>get a raw deal actually, in terms of of of

1:38:07.760 --> 1:38:12.679
<v Speaker 1>how they're compensated. For instance, there's there's a situation where

1:38:12.880 --> 1:38:17.200
<v Speaker 1>you know, by the complete accident, there's everything we've mentioned

1:38:17.240 --> 1:38:20.880
<v Speaker 1>so far has basically been rock and roll or contemporary.

1:38:21.840 --> 1:38:24.599
<v Speaker 1>I'm looking for the next Foo Fighters, the next Leonard Skinner,

1:38:24.680 --> 1:38:28.400
<v Speaker 1>the next Stones whatever. And suddenly I get hit on

1:38:28.439 --> 1:38:30.719
<v Speaker 1>the back of the head by someone called Il Divo,

1:38:31.600 --> 1:38:36.960
<v Speaker 1>and and and and Columbia and Stringer and everybody said,

1:38:36.960 --> 1:38:38.800
<v Speaker 1>come on, you can manage, you'll deva, You'll be really

1:38:38.800 --> 1:38:42.240
<v Speaker 1>good at doing all that. And I said, oh, come on,

1:38:42.400 --> 1:38:44.360
<v Speaker 1>this is everything that I got in the business to get.

1:38:44.400 --> 1:38:50.000
<v Speaker 1>You know, I detest and I heard the song there,

1:38:50.040 --> 1:38:53.240
<v Speaker 1>you know, their operatic version of Umbrake my heart. I said, yeah,

1:38:53.280 --> 1:38:56.080
<v Speaker 1>this has got something. I can get on board with this.

1:38:57.040 --> 1:39:01.000
<v Speaker 1>And I got on board. I gone on board with it.

1:39:01.360 --> 1:39:05.360
<v Speaker 1>These are four guys who were casts rather like a movie,

1:39:06.360 --> 1:39:10.920
<v Speaker 1>beautiful voices, handsome, you know, everything you need. It was

1:39:10.960 --> 1:39:13.760
<v Speaker 1>Chippen Dail's with voices. And then they got to the

1:39:13.800 --> 1:39:15.880
<v Speaker 1>point where they were telling me they wanted to write

1:39:15.920 --> 1:39:18.360
<v Speaker 1>their own albums, do their solo albums, and this and that,

1:39:19.040 --> 1:39:22.040
<v Speaker 1>and I just said, no, you know that's not it's

1:39:22.080 --> 1:39:24.519
<v Speaker 1>a train wreck. I promise you you don't do it.

1:39:24.520 --> 1:39:27.720
<v Speaker 1>It's a trainer. You've got something that really works, you've

1:39:27.760 --> 1:39:29.840
<v Speaker 1>got a brand, you've got to you've got a fan

1:39:29.920 --> 1:39:32.960
<v Speaker 1>base that are so loyal to you. You've got, whether

1:39:32.960 --> 1:39:36.400
<v Speaker 1>you like him or not, Simon Cowell adds a great

1:39:36.439 --> 1:39:39.880
<v Speaker 1>deal of value to you, and it's he hasn't He

1:39:40.000 --> 1:39:43.000
<v Speaker 1>has a lot of leverage within the Sony hierarchy, and

1:39:43.080 --> 1:39:46.400
<v Speaker 1>he's your champion. He may disagree with him about certain

1:39:46.439 --> 1:39:50.880
<v Speaker 1>repertoire choices or certain mixes. Get over it, guys. You've

1:39:51.080 --> 1:39:56.720
<v Speaker 1>you've made millions, millions, You've sold thirty five million albums, um.

1:39:56.720 --> 1:39:59.080
<v Speaker 1>But they couldn't, you know, the ego took over this.

1:39:59.240 --> 1:40:02.519
<v Speaker 1>So we've been you know, and you walk away from it.

1:40:03.840 --> 1:40:06.240
<v Speaker 1>And then with with Ball and Bow, I took on.

1:40:06.840 --> 1:40:09.200
<v Speaker 1>After that, I became known as the kind of guy

1:40:09.240 --> 1:40:12.360
<v Speaker 1>who knows how to do these classical crossover things. So

1:40:12.520 --> 1:40:15.080
<v Speaker 1>I started to manage a guy called Alfie Bow who

1:40:15.400 --> 1:40:20.960
<v Speaker 1>uh you know, came through, Uh, came to everyone's attention.

1:40:21.040 --> 1:40:25.920
<v Speaker 1>He was in Lemits, fantastic voice, lovely guy working last night.

1:40:26.400 --> 1:40:29.639
<v Speaker 1>So I am, but his career was in the weeds.

1:40:29.800 --> 1:40:33.040
<v Speaker 1>He released an album which was unsuccessful. He released another

1:40:33.080 --> 1:40:37.680
<v Speaker 1>album under my stewardship, which was so so, but not

1:40:37.760 --> 1:40:41.519
<v Speaker 1>what it was needed in that kind of field. So

1:40:41.560 --> 1:40:44.400
<v Speaker 1>I came up with the idea with Phil boundary of

1:40:44.479 --> 1:40:50.920
<v Speaker 1>creating UH an entity called Ball and Bow. Michael Ball

1:40:51.080 --> 1:40:56.559
<v Speaker 1>is a well known West End performer, host TV shows,

1:40:56.720 --> 1:41:00.600
<v Speaker 1>very got his own radio show on Radio two. Alph is,

1:41:00.960 --> 1:41:04.080
<v Speaker 1>I thought, right, one on one makes three, let's go.

1:41:04.320 --> 1:41:06.160
<v Speaker 1>I've always believed that if you get it at one

1:41:06.160 --> 1:41:09.439
<v Speaker 1>on one makes three. Um, so we put it together.

1:41:10.479 --> 1:41:15.439
<v Speaker 1>Um number one record, biggest selling album of two thousand

1:41:15.439 --> 1:41:19.519
<v Speaker 1>and eighteen in Britain, selling out O two, selling out

1:41:19.520 --> 1:41:21.880
<v Speaker 1>all over the place. Alph. He wants to do a

1:41:21.920 --> 1:41:25.680
<v Speaker 1>solo album and he doesn't like kind of this crossover.

1:41:25.760 --> 1:41:28.200
<v Speaker 1>He wants to do a blues arm or He's not

1:41:28.280 --> 1:41:30.760
<v Speaker 1>quite sure, but he wants to do an album that

1:41:30.800 --> 1:41:33.920
<v Speaker 1>has nothing to do with the genre of music that

1:41:33.960 --> 1:41:37.160
<v Speaker 1>he's known for. And he said, so, I said, I'll

1:41:37.200 --> 1:41:39.479
<v Speaker 1>walk away from it. Then, you know, we we sit

1:41:39.560 --> 1:41:43.000
<v Speaker 1>down and we start to negotiate with the lawyer and

1:41:43.040 --> 1:41:47.200
<v Speaker 1>what we call the post term Commission. And I said,

1:41:47.320 --> 1:41:50.240
<v Speaker 1>I think I should You got it, Bob, You've got it.

1:41:50.280 --> 1:41:55.200
<v Speaker 1>I said, I think I should have a consideration on

1:41:55.280 --> 1:41:58.599
<v Speaker 1>board and both I created or was instrumental with Phil

1:41:58.640 --> 1:42:03.120
<v Speaker 1>Baodry Michael's marriage in creating that intellectual property, and I

1:42:03.160 --> 1:42:06.440
<v Speaker 1>should be compensated if I if I was the producer

1:42:06.640 --> 1:42:08.920
<v Speaker 1>of the record, I'd get an override for my three

1:42:09.000 --> 1:42:12.760
<v Speaker 1>or four points. I said, why don't managers? And it's

1:42:12.760 --> 1:42:16.679
<v Speaker 1>the thing that's bummed me a lot that I feel that.

1:42:16.760 --> 1:42:18.960
<v Speaker 1>You know, management is a monst name. I love it

1:42:18.960 --> 1:42:21.840
<v Speaker 1>because it's the only thing I've really ever done. The

1:42:21.960 --> 1:42:27.080
<v Speaker 1>lows are devastating, but the highs are phenomenal. But I

1:42:27.120 --> 1:42:30.280
<v Speaker 1>do think that we should have you know, normally that

1:42:30.439 --> 1:42:33.759
<v Speaker 1>the lawyers just cut you off after three months, three years, whatever.

1:42:34.120 --> 1:42:36.559
<v Speaker 1>But I think we should have a continuing interest in

1:42:36.640 --> 1:42:41.040
<v Speaker 1>things of that nature when we launched them. Um, because

1:42:41.080 --> 1:42:43.679
<v Speaker 1>intellectual properties, god knows. I mean, look at those struggling

1:42:43.680 --> 1:42:46.839
<v Speaker 1>photographers we used to let backstage back in the seventies

1:42:46.840 --> 1:42:49.519
<v Speaker 1>and eighties. They've now got their photographs exhibited in the

1:42:49.600 --> 1:42:52.920
<v Speaker 1>tape Museum. You know what, what what do we give them?

1:42:52.920 --> 1:42:55.960
<v Speaker 1>We gave him a PhotoPass, we got nothing. Um, So

1:42:56.040 --> 1:42:58.720
<v Speaker 1>intellectual property is many respects the name of the game,

1:42:58.720 --> 1:43:02.000
<v Speaker 1>and managers get short. I believe in that respect, I

1:43:02.040 --> 1:43:05.880
<v Speaker 1>do believe managers the management contract should be re calibrated

1:43:06.120 --> 1:43:10.599
<v Speaker 1>to acknowledge those types of things. Okay, but let's uh

1:43:10.800 --> 1:43:14.439
<v Speaker 1>forgetting this COVID era where everything's up in the air. Uh.

1:43:14.720 --> 1:43:19.600
<v Speaker 1>Live Nation first calls SFX THNK, Well clear channel is

1:43:19.720 --> 1:43:24.120
<v Speaker 1>rolled up. Starting in the frank Barcelona model starts to

1:43:24.200 --> 1:43:28.200
<v Speaker 1>die and then goes completely under. We have mass management

1:43:28.240 --> 1:43:32.439
<v Speaker 1>companies over at Live Nation in red light. What and

1:43:32.760 --> 1:43:36.200
<v Speaker 1>the businesses mature as opposed to the era you're talking

1:43:36.240 --> 1:43:39.200
<v Speaker 1>about where we were making it up and figuring it out.

1:43:39.560 --> 1:43:44.400
<v Speaker 1>What's your viewpoint on today's business? Oh boy, that's a

1:43:44.439 --> 1:43:52.519
<v Speaker 1>big question. Um. I don't enjoy it obviously like I did,

1:43:52.600 --> 1:43:57.320
<v Speaker 1>But then I'm seventy four, so i'm I am you

1:43:57.360 --> 1:43:59.679
<v Speaker 1>know everything that I got in the business during place.

1:44:00.200 --> 1:44:06.640
<v Speaker 1>Um uh an old white man. I think it works

1:44:07.200 --> 1:44:13.679
<v Speaker 1>obviously far more efficiently. I think it is far less

1:44:17.960 --> 1:44:25.240
<v Speaker 1>spiritual is the wrong word, but it's far more clinical. Um.

1:44:25.280 --> 1:44:33.760
<v Speaker 1>I believe that the star making machine is so contrived

1:44:33.880 --> 1:44:43.439
<v Speaker 1>right now it's um, it's it's unhealthy. Um. I mean

1:44:43.479 --> 1:44:46.880
<v Speaker 1>Colonel Tom pork Parker made Presley as a star. But

1:44:47.640 --> 1:44:52.240
<v Speaker 1>what we're doing now with where the visual is sometimes

1:44:52.280 --> 1:44:57.120
<v Speaker 1>more important than the audio, does bother me. I always

1:44:57.160 --> 1:45:00.679
<v Speaker 1>think that Live is healthier, but I think it's now

1:45:00.760 --> 1:45:06.840
<v Speaker 1>oversubscribed as it's become the primary income stream. UM Live

1:45:06.920 --> 1:45:09.439
<v Speaker 1>Nation is nothing but a roll up of those Larry

1:45:09.479 --> 1:45:13.840
<v Speaker 1>Maggot's Don Laws, Brian Murphers. It's the same guys with

1:45:13.920 --> 1:45:20.080
<v Speaker 1>a corporate cloak and a very astute, astute guy in charge.

1:45:20.120 --> 1:45:24.920
<v Speaker 1>Michael Rappino was some very able assistance. Cathy Willard, Joe

1:45:25.600 --> 1:45:30.679
<v Speaker 1>um and co. Arthur Friedman is still there doing his stuff.

1:45:31.640 --> 1:45:33.960
<v Speaker 1>You know, as I've said before in things, and I

1:45:34.040 --> 1:45:36.360
<v Speaker 1>think you've commented on it. You know, I've known these

1:45:36.360 --> 1:45:39.560
<v Speaker 1>promoters same Delsoner all my life in New York. He

1:45:39.600 --> 1:45:41.400
<v Speaker 1>did the first show I ever did in New York

1:45:41.560 --> 1:45:44.519
<v Speaker 1>after the met at Forest Hills. In that time, I've

1:45:44.560 --> 1:45:48.280
<v Speaker 1>met thirty or come across the dirty presidents of Columbia

1:45:48.360 --> 1:45:54.120
<v Speaker 1>Records or Atlantic Records or things like that. UM, I

1:45:54.200 --> 1:45:58.120
<v Speaker 1>don't like I'm involved with the project now. As one

1:45:58.160 --> 1:46:01.800
<v Speaker 1>project of last year, I decided basically I'm gonna like

1:46:02.040 --> 1:46:06.200
<v Speaker 1>kind of kind of step out a little bit. I

1:46:06.240 --> 1:46:09.799
<v Speaker 1>was I'm tired, okay, And I got rid of Alfie

1:46:09.840 --> 1:46:13.559
<v Speaker 1>Bow and I stayed with James because I'll always stay

1:46:13.600 --> 1:46:17.200
<v Speaker 1>with James. Another kid who you know, Stephen Wilson because

1:46:17.240 --> 1:46:19.479
<v Speaker 1>I like him because he's got his own lane, he

1:46:19.520 --> 1:46:22.800
<v Speaker 1>does his own thing. He you know, he's got this

1:46:22.880 --> 1:46:25.080
<v Speaker 1>great relation to it. I just loved the kid and

1:46:25.120 --> 1:46:29.320
<v Speaker 1>what he what he does. And I signed an unknown girl, uh,

1:46:29.560 --> 1:46:32.160
<v Speaker 1>completely unknown. She was a cover's girl. She was signed,

1:46:32.360 --> 1:46:35.439
<v Speaker 1>but she was signed to Atlantic when she was thirteen.

1:46:35.760 --> 1:46:39.160
<v Speaker 1>She's now nineteen and they're going to release her first

1:46:39.240 --> 1:46:42.519
<v Speaker 1>real record in two weeks time. And it's it was

1:46:42.600 --> 1:46:46.840
<v Speaker 1>al really, I thought, stirring example of artist development as

1:46:46.840 --> 1:46:52.559
<v Speaker 1>opposed to product placement. UM. And I'm enjoying it. It's

1:46:52.680 --> 1:46:55.040
<v Speaker 1>kind of it's like going to the first dance again.

1:46:55.080 --> 1:46:59.880
<v Speaker 1>I'm loving it, UM, but I find it so soulless, Bob.

1:47:00.320 --> 1:47:05.639
<v Speaker 1>I mean, it's really soulless UM. And you know they're

1:47:05.640 --> 1:47:09.160
<v Speaker 1>looking at nothing kind of impresses them. They sit there

1:47:09.200 --> 1:47:14.679
<v Speaker 1>like looking at numbers and looking at Gator social media influences,

1:47:14.720 --> 1:47:18.080
<v Speaker 1>and I get all that, and influencers are important. We

1:47:18.120 --> 1:47:20.760
<v Speaker 1>had our own thing of did the similar thing. I

1:47:20.840 --> 1:47:23.880
<v Speaker 1>get it, I get brands, and I get planned social media.

1:47:23.920 --> 1:47:25.920
<v Speaker 1>We're all still trying to do the same thing that

1:47:25.960 --> 1:47:28.719
<v Speaker 1>we did years ago. It's not it's the same game,

1:47:29.439 --> 1:47:34.360
<v Speaker 1>but it's too big. This The mediocrity at middle management

1:47:34.479 --> 1:47:37.040
<v Speaker 1>is appalling, and I mean, I don't have to tell

1:47:37.360 --> 1:47:40.080
<v Speaker 1>you know, I'm preaching to the church here. And top

1:47:40.120 --> 1:47:43.760
<v Speaker 1>management is just so removed from the day to day

1:47:44.080 --> 1:47:48.400
<v Speaker 1>culture of the music business now that I just I

1:47:48.400 --> 1:47:53.080
<v Speaker 1>think they've squeezed the entrepreneurs out of the business because

1:47:53.120 --> 1:47:57.559
<v Speaker 1>they're so risk adverse. Because corporations should not be in

1:47:57.600 --> 1:48:00.599
<v Speaker 1>the music business. They just shouldn't. I mean, what are

1:48:01.800 --> 1:48:06.719
<v Speaker 1>Vivendi doing running a record company, I you know, other

1:48:06.800 --> 1:48:12.080
<v Speaker 1>than to make money to sell it no other reason. Um.

1:48:12.120 --> 1:48:14.880
<v Speaker 1>I think Lucien, given the cards he's been dealt, whether

1:48:14.920 --> 1:48:17.759
<v Speaker 1>it's done, a fantastic job. But I think the whole

1:48:17.920 --> 1:48:21.920
<v Speaker 1>model is broken. Just like I feel the political system

1:48:22.000 --> 1:48:26.000
<v Speaker 1>is broken, I think the music businesses system structure is broken.

1:48:26.439 --> 1:48:30.200
<v Speaker 1>There was one meeting that I've broken about ten years ago,

1:48:30.320 --> 1:48:35.920
<v Speaker 1>maybe maybe less. I managed to get Michael Rappino and

1:48:36.040 --> 1:48:40.120
<v Speaker 1>Lucien Grange in the same room and I said, you

1:48:40.120 --> 1:48:43.959
<v Speaker 1>guys are in the same business. You should join forces

1:48:44.040 --> 1:48:47.200
<v Speaker 1>for the betterment of your artists and the business. And

1:48:47.240 --> 1:48:51.320
<v Speaker 1>my suggestion was I said both. I said, I said, Michael,

1:48:51.680 --> 1:48:53.880
<v Speaker 1>you just take bands for one night stance. We all

1:48:53.920 --> 1:48:56.960
<v Speaker 1>know that it's a cash business. You win big, you

1:48:57.080 --> 1:48:59.920
<v Speaker 1>lose big, but it's you know, you've got no really

1:49:00.000 --> 1:49:03.280
<v Speaker 1>will stake in the game. You Lucy and signed a

1:49:03.360 --> 1:49:07.120
<v Speaker 1>band for seven albums, eight albums when they start. If

1:49:07.160 --> 1:49:10.080
<v Speaker 1>they're successful, they spend the rest of their career negotiating

1:49:10.120 --> 1:49:13.800
<v Speaker 1>that contract. If they're unsuccessful. Nowadays you're drop them after

1:49:13.840 --> 1:49:17.600
<v Speaker 1>one album, or you're you're dropping after the first midweek. Okay,

1:49:17.720 --> 1:49:20.320
<v Speaker 1>I said, but why don't you get your heads together?

1:49:20.360 --> 1:49:23.360
<v Speaker 1>And I think that you Live Nation should get three

1:49:23.400 --> 1:49:27.280
<v Speaker 1>points on any artist or developed artists that you and

1:49:28.280 --> 1:49:32.639
<v Speaker 1>Universal agree on, and three points on their next record,

1:49:32.800 --> 1:49:35.040
<v Speaker 1>and you should guarantee the label that you will give

1:49:35.160 --> 1:49:39.519
<v Speaker 1>them thirty forty dates in the US. And so there's

1:49:39.520 --> 1:49:44.479
<v Speaker 1>some more scientific, more strategic play, and you both get

1:49:44.560 --> 1:49:48.240
<v Speaker 1>reports and you've Universal will get money from the gigs

1:49:48.439 --> 1:49:51.600
<v Speaker 1>in kind in a similar in kind to the to

1:49:51.720 --> 1:49:54.759
<v Speaker 1>the points that Live Nation will get on the record

1:49:54.800 --> 1:49:57.920
<v Speaker 1>of the part. I just feel that, you know, we've

1:49:57.960 --> 1:50:00.200
<v Speaker 1>just got to close ranks on all this. Why we've

1:50:00.280 --> 1:50:03.360
<v Speaker 1>got all these silos around which are running this bit

1:50:03.640 --> 1:50:06.200
<v Speaker 1>the business at the moment, I don't get it, Bob.

1:50:06.880 --> 1:50:10.720
<v Speaker 1>It doesn't to me. It's not working long term and

1:50:10.960 --> 1:50:14.760
<v Speaker 1>artists development as you well know. I mean, it's like

1:50:14.840 --> 1:50:17.040
<v Speaker 1>the checks in the mail, isn't it. It's just not

1:50:17.400 --> 1:50:22.040
<v Speaker 1>it's not there. Um, So I can't say that I

1:50:22.080 --> 1:50:26.960
<v Speaker 1>think it's wonderful, but it never was wonderful, you know.

1:50:27.439 --> 1:50:29.760
<v Speaker 1>And when you've got something successful and you kind of

1:50:29.760 --> 1:50:33.280
<v Speaker 1>think it's great, and when something is unsuccessful you blame everybody.

1:50:33.280 --> 1:50:36.960
<v Speaker 1>But I've always felt that if you've got a hit,

1:50:37.040 --> 1:50:40.120
<v Speaker 1>you stand out of the way, you just open the door.

1:50:40.120 --> 1:50:43.000
<v Speaker 1>And as a manager, all I can do is it

1:50:43.120 --> 1:50:45.519
<v Speaker 1>the six doors, and my artists has to go through one.

1:50:45.600 --> 1:50:48.360
<v Speaker 1>I point to the door that I think will serve

1:50:48.439 --> 1:50:50.680
<v Speaker 1>my arts is best in going through, and on the

1:50:50.720 --> 1:50:53.840
<v Speaker 1>other side there's something meaningful for him. Um. I think

1:50:53.880 --> 1:50:56.720
<v Speaker 1>the lawyers are far too involved with this. I think

1:50:56.720 --> 1:50:59.920
<v Speaker 1>they've become there and our dives often their first advice

1:51:00.000 --> 1:51:02.479
<v Speaker 1>to an artists, don't take an up manager because you

1:51:02.520 --> 1:51:04.760
<v Speaker 1>won't have to pay a commission on the on the

1:51:04.800 --> 1:51:07.840
<v Speaker 1>album or the publishing deal. Well that's kind of like

1:51:08.400 --> 1:51:12.559
<v Speaker 1>self defeat and it's stupid because a then no manager

1:51:12.600 --> 1:51:15.000
<v Speaker 1>wants to work, should work for two years for no

1:51:15.120 --> 1:51:18.280
<v Speaker 1>money at all. And I know that the lawyers will say, well,

1:51:18.320 --> 1:51:22.160
<v Speaker 1>I can charge you fifteen thousand pounds fifteen dollars to

1:51:22.320 --> 1:51:26.400
<v Speaker 1>do this contract, but whereas you have to pay a manager,

1:51:26.640 --> 1:51:30.040
<v Speaker 1>and I'll cost you more. No lawyer actually ever has

1:51:30.080 --> 1:51:33.160
<v Speaker 1>to live with the contracts they negotiate. Most of those

1:51:33.200 --> 1:51:38.080
<v Speaker 1>contracts are about, as you know, forty pages long, all

1:51:38.439 --> 1:51:42.759
<v Speaker 1>all obviously crafted for the event, for for when things

1:51:42.800 --> 1:51:49.800
<v Speaker 1>go wrong. It's just not right that they have such

1:51:49.800 --> 1:51:52.519
<v Speaker 1>a say so early in an artist's career. Now that's

1:51:52.520 --> 1:51:55.200
<v Speaker 1>not all the case because management now, but more and

1:51:55.240 --> 1:51:58.400
<v Speaker 1>more the lawyers of players in there live the thickest

1:51:58.400 --> 1:52:00.800
<v Speaker 1>contract live. Even if you do a over tour with

1:52:00.880 --> 1:52:06.120
<v Speaker 1>Live Nation that ten pages, often two pages, and it's

1:52:06.160 --> 1:52:10.880
<v Speaker 1>a lot more money at stake, a lot more. Okay, Um,

1:52:10.920 --> 1:52:13.439
<v Speaker 1>it's a different it's a different culture, it's a different DNA.

1:52:14.080 --> 1:52:16.720
<v Speaker 1>So I just think that you know, we've got three

1:52:16.760 --> 1:52:19.479
<v Speaker 1>record companies now, Bob, and that's not healthy. I just

1:52:19.600 --> 1:52:24.080
<v Speaker 1>don't think that's healthy. A and M's brought folded revived.

1:52:24.240 --> 1:52:26.719
<v Speaker 1>When they need to offer some new guy or poach

1:52:26.800 --> 1:52:29.000
<v Speaker 1>some guy from another label, Oh, let's give him A

1:52:29.040 --> 1:52:31.559
<v Speaker 1>and M oh, let's get in you know, let's let's all,

1:52:31.640 --> 1:52:34.160
<v Speaker 1>let's bring him my records back. Oh, let's bring it.

1:52:34.400 --> 1:52:37.599
<v Speaker 1>I mean, it's just such a game though in that sense,

1:52:38.240 --> 1:52:42.719
<v Speaker 1>um I am. I don't know when that's answered your question,

1:52:42.800 --> 1:52:45.000
<v Speaker 1>but oh, I think it's more than to answer a question.

1:52:45.000 --> 1:52:47.439
<v Speaker 1>The problem is people who were not alive in that

1:52:47.560 --> 1:52:51.479
<v Speaker 1>era are not conscious. They don't realize. As you stated earlier,

1:52:52.080 --> 1:52:54.400
<v Speaker 1>I mean that the business was being built. I used

1:52:54.400 --> 1:52:59.920
<v Speaker 1>the equivalent thing from tech. You know, there's always things changing.

1:53:00.000 --> 1:53:04.200
<v Speaker 1>It's not that way now. I think music will always exist.

1:53:04.800 --> 1:53:07.240
<v Speaker 1>There are some changes coming down the pike. We could

1:53:07.439 --> 1:53:09.840
<v Speaker 1>we could have a long discussion about this, but this

1:53:09.920 --> 1:53:12.679
<v Speaker 1>is your time. We'll do that at another time. Peter,

1:53:12.840 --> 1:53:15.200
<v Speaker 1>this has been wonderful. Thanks so much for showing up.

1:53:15.360 --> 1:53:17.400
<v Speaker 1>I hope so, I hope you're enjoying it. Oh, it's

1:53:17.479 --> 1:53:21.400
<v Speaker 1>really really great. Really, you're fantastic. Until next time. This

1:53:21.479 --> 1:53:22.479
<v Speaker 1>is Bob left sense