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Speaker 1: Welcome, Welcome, Welcome to the Bob Left Sets podcast. My

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Speaker 1: guest this week is Randy Backman, legendary musician from Canada,

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Speaker 1: founding member of the Guests Who, founding member of Bachman

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Speaker 1: Turner Overdrive, still playing music doing radio. Great to have

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Speaker 1: you here, Randy, wonderful to be here. Okay, well, thank you,

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Speaker 1: I'll take that to the bank. Get nothing, okay. So

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Speaker 1: originally from Winnipeg. So what's that like? I mean, first

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Speaker 1: of all, a lot of the funny thing is that

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Speaker 1: so much great music comes from Canada, especially now because

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Speaker 1: government supports it, whereas we get no support in the

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Speaker 1: United States. But people in the United States are really

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Speaker 1: ignorant to Canada, even though it's just across the border.

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Speaker 1: So what's growing up in Winnipeg Like, Well, I've been

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Speaker 1: on tour in Europe and you're going to a record

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Speaker 1: store in Germany or Hollander anywhere, and there's a map

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Speaker 1: on the wall of Canada. Really would be a gold

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Speaker 1: circle around Winnipeg with little arrow going Neil Young, Randy Bachman,

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Speaker 1: bt O, the Guests Who, and then around Saskatoon, Joni

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Speaker 1: Mitchell around Montreal. So this is like downstairs and the

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Speaker 1: records of the Whole Wall. So Canada is very I

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Speaker 1: mean the world is very aware of Canadian music. And

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Speaker 1: growing up in Winnipeg was amazing. It's dead center in

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Speaker 1: the middle of Canada, which is pretty much the middle

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Speaker 1: of North America. And it's also in the middle of nowhere. Okay,

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Speaker 1: just because people know nothing. If you drive south, where

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Speaker 1: do you hit In the United States? Minneapolis is five

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Speaker 1: miles south five hundred. How far north of the border

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Speaker 1: is Winnipeg about, so you drive down there. But growing

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Speaker 1: up there was like Liverpool in the sixties. The drinking

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Speaker 1: age was twenty one, so everybody from twenty one under

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Speaker 1: went to all the high school dances. So this is

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Speaker 1: you know, this is Neil Young, Sugar Mountain. You know,

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Speaker 1: I can't go to the Team club an Yeah, this

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Speaker 1: is like Neil Young and the Squire's Fred Turner and

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Speaker 1: the Rock and Devils who became the Turner of back

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Speaker 1: d Burton Cummings and the dev Brons, and I was

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Speaker 1: in called Chad Allen and the Reflections who when we

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Speaker 1: sent in the song shake on all Over, the record

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Speaker 1: label said we don't like you can't use your name.

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Speaker 1: We're gonna put guests who under it and we became guests.

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Speaker 1: Who Okay, but you're in Winnipeg. What does your father

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Speaker 1: do for a living. He's an optician. I wear I

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Speaker 1: class really and how many generations Canadian? Are you an

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Speaker 1: immigrant or his parents immiget? My dad was born in Winnipeg,

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Speaker 1: but his parents, his dad came from Germany. From Germany,

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Speaker 1: why they end up in Winnipeg. Well, there's the same

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Speaker 1: thing with my mother's side. They were Ukrainian Polish. They

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Speaker 1: landed in Canada. They went to the train station, said

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Speaker 1: this is how much money we've got and they said, oh,

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Speaker 1: you could go to thunder Bay, or you can go

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Speaker 1: to Winnipeg, or you can go you went as far

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Speaker 1: as your money. Like you see on TV a kid

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Speaker 1: running away from home. Here's eighty bucks. I got to

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Speaker 1: get out of here. Where can I go? Or you

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Speaker 1: can go to Keepsie, New York? You know what I mean?

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Speaker 1: That's what they did. So they ended up there. Okay,

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Speaker 1: so you're in Winnipeg. Actually, I've never I've been to Toronto,

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Speaker 1: I've been to Vancouver, been to Montreal into other places,

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Speaker 1: camp I've never been to Winnipeg. So what's Winnipeg like

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Speaker 1: when you're growing up. Well, when you grow up and

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Speaker 1: you're poor and all your friends are poor, and it's

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Speaker 1: an immigrant city, you're happy. Your dad works, your mother

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Speaker 1: does the house. You've got winter six or seven months

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Speaker 1: of the year. And when you get old enough to

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Speaker 1: stop playing hockey outdoors forty below because then there was

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Speaker 1: no indoor rinks. You just as a kid, you know,

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Speaker 1: to go early and shovel the rink, and you played

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Speaker 1: played hockey for a while. But I was a I

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Speaker 1: started playing violin when I was six. What was your

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Speaker 1: teacher would always say to you, don't play a sport

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Speaker 1: where they bend your fingers back. Don't you can't play hockey,

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Speaker 1: you play, can't play baseball. So consequently I started playing violin,

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Speaker 1: and I did solo things like running, swimming, riding a bike,

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Speaker 1: not with team sports where they would break my fingers

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Speaker 1: or hurt my hand. So I kind of grew up

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Speaker 1: a nerdy cissy playing violin from the age five to

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Speaker 1: fourteen until I saw Elvis on TV and I'm playing

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Speaker 1: Royal Conservatory violin classical. Then what is that? And my

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Speaker 1: mother's younger sister there and they're screaming at the TV

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Speaker 1: set and Elvis is on the bottom half as blacked

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Speaker 1: out because he's shaken. Run What is that guy doing?

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Speaker 1: And why is everyone screaming? That's Elvis Presley? Who? What?

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Speaker 1: What's that? Name? Was a weird name the first time

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Speaker 1: you heard it, Elvis Presley, that's called rock and roll?

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Speaker 1: What's that? It's a guitar? Who's that guy behind him?

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Speaker 1: Scotty Moore playing this great hybrid of Chad Atkins, Rold Travis,

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Speaker 1: Rocketbilie stuff? And I said, that's what I want to do.

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Speaker 1: Never touched my violin again. Okay, let's go back for

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Speaker 1: a second. Why did you start playing the violin to

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Speaker 1: begin with? I'm about five or six, born just after

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Speaker 1: the war. Um, my parents wanted better for me, and

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Speaker 1: they said, okay, we want we will afford to give

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Speaker 1: you music lessons. What do you want to play? Drums

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Speaker 1: too loud, too noisy, to expense, and what's your next choice?

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Speaker 1: Piano too lousy, too noisy, too expensive? Well, okay, harmonica

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Speaker 1: too little too You know, I end up with a little,

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Speaker 1: half sized violin. And you do take lessons in school

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Speaker 1: or outside. I took lessons outside Royal Conservatory of Music,

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Speaker 1: the big deal. But what my mother wanted being Polish Ukrainian,

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Speaker 1: and my dad being German, was for me to play

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Speaker 1: polkas and jigs and reels at all their house parties

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Speaker 1: and weddings and bar mitzvah's. I grew up in the

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Speaker 1: Jewish part of towns. Everybody was you might be Russian,

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Speaker 1: but you might be Russian Catholic or Russian Jewish. To us,

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Speaker 1: there was nothing. We were just a bunch of kids

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Speaker 1: growing up there. So there was these mad house parties

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Speaker 1: and weddings and bar mitzvahs and bad miss and everything

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Speaker 1: was going on. And I would go there and play

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Speaker 1: all this. I mean, I'd play all the Jewish klezmir

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Speaker 1: stuff from the violin and and all the Ukrainian policas

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Speaker 1: and stuff, and then the odd walls, and it got

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Speaker 1: pretty boring after while because all the adults are there

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Speaker 1: getting hammered and drunk and dancing like Cossacks and leaping

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Speaker 1: in the air just like you see in the movies.

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Speaker 1: And then and then I'd go and do my kids

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Speaker 1: Royal Conservatory Chopin and Tchai Kossi stuff like this is

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Speaker 1: such a weird polarization of me. Then when I saw Elvis,

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Speaker 1: it was the same thing, this weird polarization of all

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Speaker 1: coming together because he would do old Sheep are he

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Speaker 1: do a church song for his mother, and he was

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Speaker 1: trying to be like Dean Martin, like mother loved her

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Speaker 1: being Crosby. And then suddenly would outcome this you ain't

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Speaker 1: nothing but a hound dog rock And where this guy

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Speaker 1: would go from being a calm, cool, collected to this wild,

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Speaker 1: raving maniac hu Lin. Later when I said, oh, Elvis

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Speaker 1: is my favorite guy. He's like wild, and they said,

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Speaker 1: have you seen or heard the black Elvis? Well, who's that?

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Speaker 1: It's a little Richard. He wrote two dy Fruity, he

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Speaker 1: wrote Ready's Head, he wrote rip it Up, he wrote

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Speaker 1: all these Elvis songs. Let me hear little Richard. When

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Speaker 1: I heard, I just went nuts. It's actually like the Beatles.

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Speaker 1: They felt the same way exactly. Yeah, okay, just go

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Speaker 1: back in your family. How many kids in the family

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Speaker 1: for four boys? And where are you in that higher

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Speaker 1: holdest boy? All this place, all the hopes and dreams

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Speaker 1: were in you. Yes, and I was the designated babysitter.

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Speaker 1: Those were the days when your parents said we're going

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Speaker 1: out to visit your grandparents, play with your brothers in

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Speaker 1: the streets until the street lights come on. Then go

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Speaker 1: in the house, put on your pajamas, go to bed.

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Speaker 1: They were like, there's no nobody worried about kidnapping or nothing. Exactly.

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Speaker 1: I walked to school, you know, until like eighth grade,

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Speaker 1: and we'd watch to school. And then even first grade,

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Speaker 1: you were walking to school, wasn't your mother would take

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Speaker 1: you the first day. Okay, take the first day. You're

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Speaker 1: on your own. So that was that. So I grew

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Speaker 1: up with three brothers, but I was then used to

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Speaker 1: being a maker of decisions. When it's time to divide something,

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Speaker 1: I cut it up. They all get to pick one

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Speaker 1: to three, four, and I get the last piece. So

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Speaker 1: when you're cutting a pie in for you cut it

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Speaker 1: pretty damn equal. You don't kind of take the big

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Speaker 1: piece first. You wait till your little brothers take the piece.

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Speaker 1: So when I left the guests who, nobody would play

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Speaker 1: with me because I was kind of blackballed. After I

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Speaker 1: left the guest who after American Woman, I went to

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Speaker 1: my brothers who had kind of played in the family

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Speaker 1: band around the house. Okay, so when you were playing

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Speaker 1: violin at these various cases, were you're getting paid no, okay,

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Speaker 1: just a social thing. I got Christmas presents though. Okay,

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Speaker 1: So in any event, you hear Elvis, so you switched

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Speaker 1: to the guitar. Yeah, how does that happen? Gives a

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Speaker 1: little more detail. My cousins played guitar. I had an

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Speaker 1: aunt with my own, my mother, younger sister who had

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Speaker 1: blonde hair, and a boyfriend with a white Chevy convertible,

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Speaker 1: and they would take me to all the country music

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Speaker 1: fescause they wanted to see the Ray Price violins, because

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Speaker 1: violin was very big then the country music fiddle as

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Speaker 1: they called it. And but I started to notice the

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Speaker 1: guitar players who are thumbs Carlyle and you know, and

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Speaker 1: Chad Atkins and Merle Travis, and I'm noticing that. Then

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Speaker 1: I hear on one of the shows, I see Jerry

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Speaker 1: Lee Lewis, and he comes when he plays You Win

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Speaker 1: Again in Crazy Arms, the Rape Price song, and suddenly

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Speaker 1: he starts doing good, doing good, A whole lot of

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Speaker 1: shaking going on, and his hair is beautiful, it's all wavy,

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Speaker 1: and he stands up. The piano stool falls over backwards,

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Speaker 1: crashes on the stage. Everybody looks around. He starts whole

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Speaker 1: lot of shaking going on and the place goes crazy.

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Speaker 1: They go nuts. This is an outrage. What is this

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Speaker 1: guy doing to country music? The next day on the

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Speaker 1: radio at noon, we come home for lunch from school,

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Speaker 1: they play a whole lot of shaking going on twice

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Speaker 1: and go, this guy went crazy last night the Winnipeg

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Speaker 1: out a toryment iPhone and go, I was there, I

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Speaker 1: was there, was it wasn electric, It was incredible. Then

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Speaker 1: I see Elvis at the same time on He a

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Speaker 1: little bit slower because I want to make sure that

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Speaker 1: was Jerry Lee Low Jerry Lee Lewis. But at that

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Speaker 1: time he did not have any fame in Calgary. I

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Speaker 1: mean he was he was another guy. He was kind

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Speaker 1: of a country guy who played this boogie woogie piano.

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Speaker 1: Is kind of an outcast. So if you listen to

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Speaker 1: his first records, it's you win again, crazy arms. Uh,

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Speaker 1: that's when your heartaches beginning. He was doing Ray Price

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Speaker 1: kind of songs with a honky tonk, but he had

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Speaker 1: this one song shaken over them when he did it

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Speaker 1: change the world. Okay, so you call the next day

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Speaker 1: and you were there and was everybody talking about it school?

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Speaker 1: Everybody talking about at school did you see Elvis on TV? Yes?

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Speaker 1: I did. I'm gonna play guitar. I'm gonna be like Elvis.

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Speaker 1: I really wanted to be like Scotty Moore, but Elvis

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Speaker 1: made me play guitar. Okay, So how did you get

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Speaker 1: your first guitar? My cousins had a guitar. I went

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Speaker 1: to and said, I need to play guitar. The great

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Speaker 1: thing about violin is it's a lead instrument. I could

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Speaker 1: pick up a guitar and play the lead and everything, okay,

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Speaker 1: but therefore strings out a violin and there's six strings.

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Speaker 1: So they taught me a couple of chords. They said,

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Speaker 1: we're cousins, and it's a folk guitar, and acoustic is

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Speaker 1: a chuck Berry blonde single cutaway Gibson. I've seen chuck

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Speaker 1: Berry chuck Berry guitar. Are you kidding? In the same

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Speaker 1: thing Scotty Moore played with a blonde Gibson guitar. And

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Speaker 1: so they teach me three chords, and they teach me

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Speaker 1: my first song. I walked the line Johnny Cash, so

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Speaker 1: I learned. I walked the line. I go, this is

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Speaker 1: kind of like that's alright, mom. I just could have

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Speaker 1: played fastest saying, oh, it's the same three chords over Well,

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Speaker 1: this is just like hound dogs, the same three chords.

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Speaker 1: My cousins come back after a week of being away

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Speaker 1: fishing and they come to get their guitar back, and

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Speaker 1: I could play every song on the radio better than them,

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Speaker 1: going what happened? And I could play the leads. How

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Speaker 1: can you play the lead? Well, I played lead on violin.

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Speaker 1: I just found the notes on the guitar and they

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Speaker 1: go while you're incredible. So that was the beginning for me. Okay,

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Speaker 1: then how did you get a guitar? Sears catalog. I

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Speaker 1: couldn't afford to go into music, so everything was three

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Speaker 1: and four dollars. Look at hearst harmony guitar, you want electric,

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Speaker 1: it's an extra ten bucks. It's forty nine dollars. You

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Speaker 1: buy the guitar, You start to play which guitar? Did

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Speaker 1: you buy the acoustical? The election? I bought the acoustic,

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Speaker 1: which I found it was a mistake. Nobody could hear it.

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Speaker 1: I went to a drummer who was the drummer of

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Speaker 1: the guests who to this stake, Gary Peterson. I was fourteen,

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Speaker 1: he was twelve. I said, you want to be in

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Speaker 1: a band. He says, you know from school, Yes, from school.

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Speaker 1: And he also played with all the big bands when

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Speaker 1: they came to Winnipeg, when the Dorsey Band came, or

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Speaker 1: Lionel Hampton. He started playing drums when he was before

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Speaker 1: you go into a drum solo with Jean Krupa. There's

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Speaker 1: all kind of pictures on me. He was he was

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Speaker 1: four and five and eight when he's doing it. I

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Speaker 1: met him when he was twelve, and he play a

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Speaker 1: hockey bank who go to hockey banquet And here's a

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Speaker 1: solo from Gary Peterson. Okay for those people who don't

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Speaker 1: even know what is a hockey banquet, Well, you're on

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Speaker 1: hockey teams, you're playing at the end of the year.

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Speaker 1: There's a little dinner for the kids to encourage him.

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Speaker 1: And the best goalie is Canute. The best bad player

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Speaker 1: is Randy Backman, who does do anything. He's afraid to

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Speaker 1: hurt his fingers that can. The best goalie is Gary Peterson.

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Speaker 1: He's a stock little guy who plays drums and he's

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Speaker 1: got the arms and he can dive around and he

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Speaker 1: can be the goalie. So it's the little thing. And

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Speaker 1: older hockey players come there from the Winnipeg Jets or

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Speaker 1: whatever they were called in and they kind of hype

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Speaker 1: the kids up on being in the sport. But they

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Speaker 1: would also have music. They have music, and this kid

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Speaker 1: would play a drum solo, like like Jane Cooper drum solo.

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Speaker 1: You know, liked rich When you were still even playing

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Speaker 1: the violin, you were aware of them, yes, And then

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Speaker 1: I switched to guitar and said, you want to be

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Speaker 1: in a band, and he said, to do what I said.

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Speaker 1: We'll play the high school dance. Come to the dance

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Speaker 1: while they plays records. I know, I walked the line.

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Speaker 1: I know Bye Bye Love, I know all these songs.

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Speaker 1: We'll just get a mike and sing. It doesn't matter

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Speaker 1: if you can sing or not. It rock and roll,

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Speaker 1: who cares, you know, And you just play drums. And

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Speaker 1: he said, and how much will we get paid? And said, well,

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Speaker 1: we don't get paid. And he said, well, I play

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Speaker 1: in a polka band. I go and play weddings and

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Speaker 1: bar mitzvahs and all this stuff, and I get twenty

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Speaker 1: five bucks a night. And I go, you're kidding. My

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Speaker 1: dad was making thirty bucks a week as an optician.

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Speaker 1: You get twenty bucks night, So why don't you come

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Speaker 1: with me learn a few things on violin, I said,

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Speaker 1: I don't want to play violin, Okay, learn them on guitar.

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Speaker 1: So I learned rebel rouser, which is basically a polka.

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Speaker 1: You can polk at the rebel rouser to Dwaine anything.

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Speaker 1: And I learned guitar boogie and a couple other things.

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Speaker 1: And I learned sleepwalk. And I go and to play

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Speaker 1: these weddings and I come home with like fifty bucks.

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Speaker 1: I'm making more than my dad. I'm fifteen, I'm sixteen.

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Speaker 1: And then he says now. Then Gary Peterson says, now

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Speaker 1: we could play the high school that asked for nothing,

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Speaker 1: because we've got money in the bank from playing the wedding.

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Speaker 1: So one weekend we'll go to the countryside and Winnipeg

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Speaker 1: and play a wedding on a farm where they put

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Speaker 1: you up for night and news you played Friday, Saturday

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Speaker 1: and Sunday. There was a bride's party, a groom's freak

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Speaker 1: out party, and then the wedding on Sunday whatever. So

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Speaker 1: we started to play rock and roll. I got asked

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Speaker 1: to play rhythm guitar in a band in a little

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Speaker 1: bit slower So the first two. It's just the two

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Speaker 1: of you, two of us and one other guy who

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Speaker 1: knew rhythm guitar okay. He would sing the songs okay,

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Speaker 1: and you were playing on your acoustic guitar, my electric guitar.

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Speaker 1: I didn't have an app, but this guy had an app. Okay.

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Speaker 1: How did you switch? You said you ordered the Who's

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Speaker 1: the Guitar? From Sears? How did you get an electric guitar?

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Speaker 1: Same thing Sears, my electric snow gut. I sold it

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Speaker 1: the kid in my classroom. I brought it for thirty

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Speaker 1: four I sold it for twenty nine bucks. I put

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Speaker 1: that towards the electric. I got the electric, which I

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Speaker 1: still have to this day, which is the same kind

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Speaker 1: that Jimmy Page played, a little thin black down electro

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Speaker 1: or silver tone guitars that was called from the catalog

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Speaker 1: beautiful Sound. I still got it today. And then that's

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Speaker 1: like sixty years later, seventy years years later. So in

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Speaker 1: any event, you have this friend who's got an app.

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Speaker 1: He's gonna play rhythm guitar, and you can plug your

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Speaker 1: guitar in there, right, and then what are your first gigs? Weddings?

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Speaker 1: Then I got a call. We hear you can play guitar. Well, here,

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Speaker 1: you're really good. We have it. We have a band

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Speaker 1: called Ellen and the Silver Tones, who then became Chad

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Speaker 1: Allen and the Reflections, and we want you audition for

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Speaker 1: rhythm guitar. Here's an album. Here's an EP to learn

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Speaker 1: four songs, and that's the the way. Obviously, taking violin lessons,

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Speaker 1: you could read music. No, no, no, that was That's

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Speaker 1: one another reason I quit. I would go to this teacher.

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Speaker 1: She would open this thing which I called chopping. It

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Speaker 1: was chopin. I want to play chopping again. I really

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Speaker 1: like that song. My mother loves that song. It's not chopping,

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Speaker 1: its chopin. So my teacher was beautiful, a lady T shirt.

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Speaker 1: She was great. She'd put my music in front of me.

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Speaker 1: She'd put in front of her and she would play it.

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Speaker 1: And when she played it, I could play it. She said,

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Speaker 1: now you try to play it. I would played exactly

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Speaker 1: like her. You should go, well, that's amazing. Practice it

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Speaker 1: for a week. And say, why would I practice it

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Speaker 1: for a week. I already know how to play it. Okay,

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Speaker 1: here's two more, and she'd play them. I'd go and

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Speaker 1: practice them for a week, and I would look at

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Speaker 1: the notes, and I'd see that they would go up

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Speaker 1: and down. It's kind of a clue, like you're going

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Speaker 1: like louder or softer, like talking like visual clues. And

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Speaker 1: she said, I think you're good enough. I want you

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Speaker 1: to audition for the Winnipeg Junior School Symphony. It's eighty

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Speaker 1: four kids. It's at the school called Calvin I, which

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Speaker 1: is where Neil Young went to school. So go there

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Speaker 1: Saturday morning. You're gonna audition for second violin. There's the

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Speaker 1: soloist and then you're you're gonna be playing harmony to

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Speaker 1: the souls. There's four violins too, viola's a couple of

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Speaker 1: cellows and at a bass. I go there to the audition.

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Speaker 1: I'm thrilled. We start to play a song which she

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Speaker 1: has played for me, so I know the song. When

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Speaker 1: it gets to a certain part of the song, I

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Speaker 1: play the wrong note. I'm playing blues on a violin.

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Speaker 1: We're playing Chakovski or something that that that that kind

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Speaker 1: of thing right, And suddenly there's tap tap, tap tap tap,

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Speaker 1: and the whole symphony stops and the conductor says, second violin,

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Speaker 1: bar thirty two, it's an e natural, not in E flat.

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Speaker 1: Let's take it from the top. I have no idea

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Speaker 1: what this guy's talking about. He's talking Russian or Martian

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Speaker 1: to me. I have no idea what he's saying. I

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Speaker 1: don't even know what bar thirty two is. I'm playing

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Speaker 1: by here, heart and Soul and by ear. We played

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Speaker 1: again off the top. I make the same mistake. He stops.

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Speaker 1: He says, second violin, could you please play me an

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Speaker 1: E on the violin. It's an open string. I play it.

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Speaker 1: I'll play it up high. I played up high, and

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Speaker 1: I could plain E flat. I didn't know what he

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Speaker 1: was talking about, because so now there's seventy nine kids bullying,

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Speaker 1: laughing at me. In tears. I pack up my violin.

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Speaker 1: I go home. My mother goes, how did it go?

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Speaker 1: I said, I quit. I've never playing again. The next

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Speaker 1: night is when I saw Elvis on TV and said,

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Speaker 1: oh m G, what is that? That's what I wondered.

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Speaker 1: That's insane, that's well. I don't want to worry about

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Speaker 1: any or E flat. I just want to play with

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Speaker 1: like I feel and have people go nuts. I want

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Speaker 1: to go crazy when I play the music. I don't

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Speaker 1: wanna have to stand in and do this Royal Conservatory

376
00:17:23,200 --> 00:17:26,360
Speaker 1: kind of thing that was it never okay, So then

377
00:17:26,800 --> 00:17:29,520
Speaker 1: you hear about chat Allen. They want you to play rhythm,

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00:17:30,680 --> 00:17:33,119
Speaker 1: Send the the send the EP learned those songs. VP

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Speaker 1: is is the Shadows Cliff Richards backup band like the

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Speaker 1: Ventures instrumental band. So I'm learning the chords, but of

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Speaker 1: course in my head, I'm hearing the lead guitar. I

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Speaker 1: go to the rehearsal, the lead guitar player breaks a string.

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00:17:45,040 --> 00:17:48,720
Speaker 1: I finished playing the song. The whole band is looking

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Speaker 1: at me, going, you play better lead than our league tar.

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00:17:50,880 --> 00:17:52,240
Speaker 1: Do you want to be lead guitar? I said, yeah,

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Speaker 1: that's why I came. I play lead man. You know,

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00:17:55,119 --> 00:17:58,000
Speaker 1: I knew all the rhythms, um, So then I became

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Speaker 1: the lead. We got the record shake un all over

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00:18:00,119 --> 00:18:04,040
Speaker 1: a little bit slower. So chat Allen had reflections that

390
00:18:04,200 --> 00:18:07,600
Speaker 1: he made any records before you got involved. No, okay,

391
00:18:07,760 --> 00:18:09,560
Speaker 1: so how do you get that record deal? If you

392
00:18:09,560 --> 00:18:12,480
Speaker 1: even know? We had a DJ in those days, everybody

393
00:18:12,560 --> 00:18:15,000
Speaker 1: was a Dick Clark. So our local TV guy had

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Speaker 1: a local TV show called Team Dance Party. He then say,

395
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Speaker 1: we're playing at so and so Community Center tonight. I'm

396
00:18:20,359 --> 00:18:22,800
Speaker 1: bringing chat Allen. The reflections we were named like Cliff

397
00:18:22,880 --> 00:18:26,480
Speaker 1: Richard and the Shadows, chat Ellen and the Reflections, and

398
00:18:26,520 --> 00:18:28,439
Speaker 1: so we go and play this. I got asked was

399
00:18:28,480 --> 00:18:30,800
Speaker 1: his real name chat Allen. His real name was Allen

400
00:18:30,880 --> 00:18:33,879
Speaker 1: cow Bell KO w b L. So he changed it

401
00:18:33,960 --> 00:18:35,639
Speaker 1: to chat Ellen to be like Chad and Jeremy. We

402
00:18:35,680 --> 00:18:37,840
Speaker 1: want to be British. We're in Winnipeg. We want to

403
00:18:37,840 --> 00:18:40,120
Speaker 1: we want to be the British invasion of Winnipeg. There

404
00:18:40,119 --> 00:18:43,080
Speaker 1: comes chat Ellen and we become the Reflections to be

405
00:18:43,160 --> 00:18:45,479
Speaker 1: like the Shadows. Then we got a cease and assist

406
00:18:45,600 --> 00:18:48,720
Speaker 1: noticed from a lawyer who represents the Reflections, who had

407
00:18:48,760 --> 00:18:51,199
Speaker 1: a hit called just like Romeo and Juliet. Can't use

408
00:18:51,240 --> 00:18:54,960
Speaker 1: the name me too, But we go, well we can't

409
00:18:55,040 --> 00:18:57,480
Speaker 1: use the name. We send in Shake all Over, which

410
00:18:57,520 --> 00:19:00,879
Speaker 1: we recorded by Johnny KIDNAPO little bit slower, so we

411
00:19:00,960 --> 00:19:03,600
Speaker 1: got the DJ. How do you get a record deal?

412
00:19:05,400 --> 00:19:08,480
Speaker 1: We just sent it blindly to Quality Records and try.

413
00:19:08,520 --> 00:19:11,520
Speaker 1: Every record we got in Winnipeg was on Quality Records.

414
00:19:11,520 --> 00:19:14,760
Speaker 1: They were a big company Toronto who leased records from

415
00:19:14,880 --> 00:19:19,560
Speaker 1: chess um Our c A everybody, so they were Canadian

416
00:19:19,600 --> 00:19:21,560
Speaker 1: ly when they at least the national pure every record

417
00:19:21,560 --> 00:19:24,560
Speaker 1: I got was on quality records or real records. So

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00:19:24,640 --> 00:19:26,920
Speaker 1: every chess thing I got a Muddy Waters and bow Didley,

419
00:19:26,960 --> 00:19:28,880
Speaker 1: Chuck Berry. They were all in quality. So we look

420
00:19:28,920 --> 00:19:32,360
Speaker 1: up the address as eleven eighty birch Mount Road, Scarborough, Ontario.

421
00:19:32,760 --> 00:19:35,760
Speaker 1: You send in your tape. We get okay, well how

422
00:19:35,840 --> 00:19:39,760
Speaker 1: and where did you make the tape? The same guy,

423
00:19:40,040 --> 00:19:42,040
Speaker 1: the team Dance Party Guy's name is Bob Burns. He

424
00:19:42,080 --> 00:19:44,840
Speaker 1: becomes our manager. They have a recording studio just like

425
00:19:44,880 --> 00:19:47,439
Speaker 1: this with one microphone in. We get a record from

426
00:19:47,480 --> 00:19:50,520
Speaker 1: a cousin in England called shakun Over with Johnny Kidding

427
00:19:50,520 --> 00:19:53,560
Speaker 1: and the Pirates. We played It's fantastic. We played the dances.

428
00:19:53,640 --> 00:19:56,960
Speaker 1: Kids loved this. Guitar riff and bass riff. We recorded

429
00:19:57,040 --> 00:19:59,360
Speaker 1: one night. We sent it to quality records. We get

430
00:19:59,359 --> 00:20:02,240
Speaker 1: a telegram act this is before we could even afford

431
00:20:02,320 --> 00:20:04,720
Speaker 1: long this, and get a telegram back saying this is

432
00:20:04,760 --> 00:20:07,040
Speaker 1: a smash we want to release it. We need to

433
00:20:07,080 --> 00:20:09,320
Speaker 1: b side and what's the name of the band? We say,

434
00:20:09,359 --> 00:20:10,760
Speaker 1: we don't have a name. We've got to cease and

435
00:20:10,800 --> 00:20:12,879
Speaker 1: desist that we want to put this out. This is

436
00:20:12,920 --> 00:20:16,240
Speaker 1: the beginning of the British invasion. Sixty four. This sounds

437
00:20:16,320 --> 00:20:19,080
Speaker 1: very British and it sounded like Joe Meek the Tornadoes,

438
00:20:19,080 --> 00:20:21,040
Speaker 1: you know, Tellstar with all the echo on it and everything.

439
00:20:21,640 --> 00:20:25,080
Speaker 1: And so we're just gonna do fifty copies with a

440
00:20:25,080 --> 00:20:28,280
Speaker 1: white label, put Shakole over and put guests who undered.

441
00:20:28,560 --> 00:20:30,679
Speaker 1: They sent it out to fifty stations. Nobody knew we

442
00:20:30,680 --> 00:20:32,919
Speaker 1: were guys from Winnipeg. They thought it was British. They

443
00:20:32,920 --> 00:20:35,080
Speaker 1: played it was number one in Canada. Then they find

444
00:20:35,080 --> 00:20:37,959
Speaker 1: out it's the punks from Winnipeg. It's Chad Ellen. Reflections

445
00:20:38,600 --> 00:20:41,240
Speaker 1: that got least by Florence Greenberg Acceptor Records in New

446
00:20:41,280 --> 00:20:43,199
Speaker 1: York was taped twenty in Billboard and we're still in

447
00:20:43,280 --> 00:20:45,879
Speaker 1: high school. We had no idea what was happening. It

448
00:20:45,960 --> 00:20:48,400
Speaker 1: was amazing. I have to ask, did you make any

449
00:20:48,400 --> 00:20:53,240
Speaker 1: money from it? We got asked to go to New York.

450
00:20:53,359 --> 00:20:55,480
Speaker 1: The answer is yes and no. We made some money,

451
00:20:55,600 --> 00:20:58,840
Speaker 1: but it was called pacification money. What kind of money

452
00:20:58,840 --> 00:21:03,720
Speaker 1: pacified you? Past? Complete? Well, OK, we gotta go. We

453
00:21:03,760 --> 00:21:05,840
Speaker 1: get a silver record for half a million record sales

454
00:21:05,880 --> 00:21:09,920
Speaker 1: and no royalties, and um, so I'm in there on

455
00:21:09,960 --> 00:21:12,119
Speaker 1: state of Florence Greenberg, who you know, owned scepter and

456
00:21:12,200 --> 00:21:14,320
Speaker 1: she wrote Soldier Boys. She managed to sell. She managed

457
00:21:14,359 --> 00:21:16,480
Speaker 1: John Warwick, her and Paul cant with like a whole

458
00:21:16,520 --> 00:21:18,480
Speaker 1: thing there, and we got asked to do the Kingsman

459
00:21:18,520 --> 00:21:20,640
Speaker 1: Louis Louis to The Kingsmen were on her label as well.

460
00:21:20,920 --> 00:21:23,320
Speaker 1: So we're doing the Kingsman Louis Louis. But you're still

461
00:21:23,359 --> 00:21:27,080
Speaker 1: in high school. I quit. How old were you when

462
00:21:27,119 --> 00:21:30,200
Speaker 1: you quit? Nineteen twenty. I flung a couple of years

463
00:21:30,200 --> 00:21:33,120
Speaker 1: because of guitar. When I discovered guitar, was like, this

464
00:21:33,200 --> 00:21:35,159
Speaker 1: is it. I don't care about school. Okay, what do

465
00:21:35,200 --> 00:21:38,480
Speaker 1: your parents say about that? You'll never make it? Get

466
00:21:38,520 --> 00:21:40,960
Speaker 1: a backup. My backup plan might plan B was stick

467
00:21:41,000 --> 00:21:44,400
Speaker 1: to Plan A. Be a guitar player. Love that that way?

468
00:21:44,440 --> 00:21:48,000
Speaker 1: Backup plan to stick the planet. Yes exactly, So I

469
00:21:48,040 --> 00:21:49,960
Speaker 1: stuck to it no matter what people have said to me.

470
00:21:50,000 --> 00:21:52,920
Speaker 1: What would you be if you weren't a successful musician?

471
00:21:53,040 --> 00:21:56,119
Speaker 1: And I would say I would be a musician, not unsuccessful.

472
00:21:56,359 --> 00:21:58,200
Speaker 1: But this is what I did since I was like five.

473
00:21:58,280 --> 00:22:01,040
Speaker 1: I played music. I get joy out of it. It's

474
00:22:01,119 --> 00:22:02,879
Speaker 1: my whole life. I know when I hear something, I

475
00:22:02,920 --> 00:22:05,240
Speaker 1: remember I have a phonographic memory. So I'm trying to

476
00:22:05,320 --> 00:22:08,560
Speaker 1: learn guitar player Chuck Berry record Elvis or Chad Atkins.

477
00:22:08,680 --> 00:22:10,280
Speaker 1: I played through once or twice. It's in my head.

478
00:22:10,320 --> 00:22:12,040
Speaker 1: I figure out the notes. I can play it. I

479
00:22:12,080 --> 00:22:13,560
Speaker 1: don't need the notes, I just figure out where it

480
00:22:13,600 --> 00:22:15,600
Speaker 1: is on guitar. So I was very blessed that way,

481
00:22:15,600 --> 00:22:18,159
Speaker 1: to have a phonographic memory. Okay, So then you're on

482
00:22:18,240 --> 00:22:22,200
Speaker 1: tour with the Kingsman, Phenomenal Deianna, the Belmont The Kingsman,

483
00:22:22,240 --> 00:22:25,960
Speaker 1: Barbara Lewis, Sam the Sham and the Pharaoh's unbelievable whole

484
00:22:26,000 --> 00:22:30,040
Speaker 1: summer Rock and Roll tour East Coast, New York, Philadelphia,

485
00:22:30,080 --> 00:22:32,840
Speaker 1: all the beaches, all the beach So you went by bus, yeah,

486
00:22:32,840 --> 00:22:35,080
Speaker 1: and the big bus. Well, I have to ask, because

487
00:22:35,080 --> 00:22:37,760
Speaker 1: certainly by the end of the decade there were legendary

488
00:22:38,119 --> 00:22:40,679
Speaker 1: escapades on the road. So on your first tour, were

489
00:22:40,720 --> 00:22:43,400
Speaker 1: those escapades there too? They were there, but we were

490
00:22:43,480 --> 00:22:47,320
Speaker 1: very innocent kids from Winnipeg. I remember I loved being

491
00:22:47,359 --> 00:22:49,399
Speaker 1: in the back of the bus with Diana the Belmonts

492
00:22:49,720 --> 00:22:51,639
Speaker 1: because they were like do whopping in the back of

493
00:22:51,680 --> 00:22:55,000
Speaker 1: the bus. It was just like amazing. The original Belmonts

494
00:22:55,000 --> 00:22:57,560
Speaker 1: and we grew up on that and so it was

495
00:22:57,600 --> 00:23:00,480
Speaker 1: pretty amazing. And then we play a club, I think Albany,

496
00:23:00,520 --> 00:23:02,960
Speaker 1: New York, and they said, you want to come in

497
00:23:03,000 --> 00:23:04,640
Speaker 1: a club. And I don't drink or smoke or nothing,

498
00:23:04,720 --> 00:23:06,359
Speaker 1: so like, I'll go in and have a look at

499
00:23:06,359 --> 00:23:08,560
Speaker 1: a club, but like, I'm under twenty one or whatever.

500
00:23:09,119 --> 00:23:11,879
Speaker 1: So we get into this club and there's beautiful, beautiful,

501
00:23:11,920 --> 00:23:14,760
Speaker 1: beautiful women there and these guys all get a chick

502
00:23:15,200 --> 00:23:16,760
Speaker 1: and I just go back on the bus and wait,

503
00:23:16,840 --> 00:23:19,399
Speaker 1: and then they come in and they're really upset because

504
00:23:19,440 --> 00:23:22,240
Speaker 1: the chicks they've got our men. It's a tranny bar.

505
00:23:22,320 --> 00:23:26,440
Speaker 1: And the first time I see a gorgeous woman, I'm going, wow,

506
00:23:26,560 --> 00:23:29,480
Speaker 1: this is this looks like Marilyn Monroe or Jane Mansfield.

507
00:23:29,640 --> 00:23:31,080
Speaker 1: And I found it it's a guy, you know what

508
00:23:31,119 --> 00:23:33,359
Speaker 1: I mean. Like, and so Doon the Belot's guys are

509
00:23:33,320 --> 00:23:35,399
Speaker 1: there freaking out, like we got this chick, we got

510
00:23:35,440 --> 00:23:38,840
Speaker 1: our hand up her her dress and guess what a

511
00:23:38,880 --> 00:23:41,080
Speaker 1: surprise party, you know that kind of thing, like he

512
00:23:41,119 --> 00:23:44,159
Speaker 1: didn't participate, no, And then I also saw these guys

513
00:23:45,160 --> 00:23:48,320
Speaker 1: taking a cigarette with little tweets and pulling out some

514
00:23:48,359 --> 00:23:51,440
Speaker 1: of the tobacco and putting in something else, some white

515
00:23:51,480 --> 00:23:53,520
Speaker 1: powder or something, and then putting in the tobacco and

516
00:23:53,600 --> 00:23:55,639
Speaker 1: doing a whole package of cigarette then just smoking it

517
00:23:55,720 --> 00:23:57,840
Speaker 1: all that. I didn't know what this was. We're like

518
00:23:57,880 --> 00:24:02,240
Speaker 1: innocent kids from Winnipeg, you know what I mean. And uh,

519
00:24:02,600 --> 00:24:04,399
Speaker 1: that went all the time. And then we get to

520
00:24:04,440 --> 00:24:08,119
Speaker 1: New York after that tour. Because we were such a

521
00:24:08,119 --> 00:24:10,800
Speaker 1: good high school band, we played what was on the radio.

522
00:24:10,880 --> 00:24:13,159
Speaker 1: To play these high school dances, you wouldn't played what

523
00:24:13,200 --> 00:24:15,840
Speaker 1: was on the radio. So you played Ray, Charles and

524
00:24:15,840 --> 00:24:18,040
Speaker 1: and Elvis and the Beach Boys and the Beatles. You

525
00:24:18,080 --> 00:24:21,480
Speaker 1: played everything, the Charel's and everything. So Florence Greenberg managed

526
00:24:21,520 --> 00:24:25,000
Speaker 1: and wrote for the Charell's. She also had a connection

527
00:24:25,040 --> 00:24:28,720
Speaker 1: to the Crystals and the run Nets. So us white

528
00:24:28,720 --> 00:24:31,600
Speaker 1: guys got to back the Street and four black chicks

529
00:24:32,040 --> 00:24:35,359
Speaker 1: all over New York City, which was fine in New York.

530
00:24:35,600 --> 00:24:38,480
Speaker 1: When you go to Chicago summer and race riots would started.

531
00:24:38,560 --> 00:24:42,359
Speaker 1: Our dance co ops would come in with guns and

532
00:24:42,400 --> 00:24:45,000
Speaker 1: tear gas and there would be blood baths and it

533
00:24:45,080 --> 00:24:49,080
Speaker 1: was absolutely horrific. And six sixty six, the segregation. We'd

534
00:24:49,080 --> 00:24:51,760
Speaker 1: pull into a gas station down south, they come up

535
00:24:51,760 --> 00:24:53,280
Speaker 1: with the shotgun and shoot in the air. You can't

536
00:24:53,280 --> 00:24:55,639
Speaker 1: come in here, you guys with those the black girls

537
00:24:55,680 --> 00:24:57,480
Speaker 1: go to the back door. You guys come in the

538
00:24:57,520 --> 00:24:59,920
Speaker 1: front door. And we hadn't We didn't know this. And Winnipeg.

539
00:25:00,200 --> 00:25:02,159
Speaker 1: When you're in Winnipeg growing up and it's pretty much

540
00:25:02,160 --> 00:25:05,520
Speaker 1: all white and a black moose to town, you idolize them.

541
00:25:05,560 --> 00:25:08,639
Speaker 1: They are Diana Ross, they are Ray Charles, They're Jackie Robinson.

542
00:25:08,640 --> 00:25:11,320
Speaker 1: There Joe Lewis the brown Bomber. We thought black people

543
00:25:11,320 --> 00:25:13,880
Speaker 1: were like something really super duper special because we only

544
00:25:13,920 --> 00:25:16,719
Speaker 1: saw the famous ones on TV and are in our

545
00:25:16,960 --> 00:25:20,679
Speaker 1: hockey trading cards, are our basketball card, baseball cards, and

546
00:25:20,720 --> 00:25:22,159
Speaker 1: so it's like it was a real shock to us.

547
00:25:22,160 --> 00:25:24,359
Speaker 1: So that whole tour is a big eye opener for us.

548
00:25:29,119 --> 00:25:31,120
Speaker 1: We'll take a quick break and come back with more

549
00:25:31,119 --> 00:25:34,399
Speaker 1: of my conversation with Brandy Backman, recorded live at the

550
00:25:34,400 --> 00:25:42,080
Speaker 1: tune In Studios in Venice, California. I love having musicians

551
00:25:42,080 --> 00:25:45,600
Speaker 1: in the studio like Paul Rodgers of Bad Company and

552
00:25:45,720 --> 00:25:49,080
Speaker 1: Nancy Wilson of Hart. This week on the podcast, we

553
00:25:49,160 --> 00:25:53,600
Speaker 1: have Randy Backman the stories galore about his humble beginnings

554
00:25:53,640 --> 00:25:57,320
Speaker 1: playing the violin in Winnipeg to playing arenas around the

555
00:25:57,320 --> 00:25:59,920
Speaker 1: world with the guests Who and Backman, Turner over Dry.

556
00:26:00,680 --> 00:26:03,280
Speaker 1: Whether you come for the music or conversations about the

557
00:26:03,320 --> 00:26:06,200
Speaker 1: tech business, be the first to hear next week's episode

558
00:26:06,200 --> 00:26:10,199
Speaker 1: by subscribing to the podcast I'm tune in, Apple Podcast

559
00:26:10,640 --> 00:26:14,000
Speaker 1: or your podcast player of choice. While you're there, please

560
00:26:14,040 --> 00:26:18,000
Speaker 1: be sure to rate and review. Okay, let's get back

561
00:26:18,040 --> 00:26:21,880
Speaker 1: to my conversation with Randy Backman. Okay, let's go back

562
00:26:21,920 --> 00:26:25,080
Speaker 1: to Winnipeg. So what happens You said, what happened when

563
00:26:25,080 --> 00:26:27,640
Speaker 1: you saw Elvis? What happened when you saw beat the Beatles?

564
00:26:29,320 --> 00:26:35,360
Speaker 1: Similar kind of thing change, a world changing event. Um,

565
00:26:35,520 --> 00:26:40,119
Speaker 1: Suddenly every guy in every band could sing. The drummer

566
00:26:40,160 --> 00:26:43,080
Speaker 1: and the guests who, Gary Peterson sang Ringo songs. I

567
00:26:43,119 --> 00:26:47,119
Speaker 1: got to sing George Harrison songs. The other guy, Burton

568
00:26:47,160 --> 00:26:49,240
Speaker 1: Cummings or the other good chat Ellen before he left,

569
00:26:49,600 --> 00:26:51,560
Speaker 1: and then we got Burton Coummings from Chat Allen left,

570
00:26:52,040 --> 00:26:54,440
Speaker 1: Uh would sing the Paul and John songs. So all

571
00:26:54,480 --> 00:26:56,679
Speaker 1: my life I've been singing George Harrison songs. Hence my

572
00:26:56,720 --> 00:27:00,280
Speaker 1: new album by George. Okay, we'll save that for Walls

573
00:27:00,280 --> 00:27:03,440
Speaker 1: we're getting the history. Now. You talk about Winnipeg being

574
00:27:03,440 --> 00:27:07,280
Speaker 1: a little Liverpool. Did you know Neil Young, Did you

575
00:27:07,320 --> 00:27:11,159
Speaker 1: know Joni Mitchell? And how did you come to know that? Well,

576
00:27:11,440 --> 00:27:13,199
Speaker 1: when you're playing at Community Center and you have a

577
00:27:13,200 --> 00:27:15,480
Speaker 1: big gretch guitar like I had, and an echo machine

578
00:27:16,040 --> 00:27:19,640
Speaker 1: and an AMP, everybody came to see you to look

579
00:27:19,640 --> 00:27:21,560
Speaker 1: at your guitar, and your amp didn't care about you.

580
00:27:22,119 --> 00:27:24,119
Speaker 1: That was a big deal. At least. I grew fifty

581
00:27:24,119 --> 00:27:25,800
Speaker 1: miles to New York City and used to go in

582
00:27:25,800 --> 00:27:28,280
Speaker 1: your high school years go to Manny's just to look

583
00:27:28,320 --> 00:27:30,680
Speaker 1: at the start. I mean, you go to the show.

584
00:27:31,200 --> 00:27:35,399
Speaker 1: It's just amazing. We were fascinated, right, So every Saturday

585
00:27:35,480 --> 00:27:38,240
Speaker 1: I'd get on the bus, I'd go down town to Winnipeg.

586
00:27:38,440 --> 00:27:40,600
Speaker 1: There was a two blocks stretch there where there was

587
00:27:40,600 --> 00:27:42,200
Speaker 1: an Eatons which is kind of like a Sears, and

588
00:27:42,359 --> 00:27:45,160
Speaker 1: Hudson's Bay, which is like another Sears. Two blocks in between.

589
00:27:45,160 --> 00:27:47,679
Speaker 1: We're all music stores and clothing stores. We would go

590
00:27:47,720 --> 00:27:50,840
Speaker 1: to one, get chips in gravy. That's all we can't afford.

591
00:27:50,840 --> 00:27:53,800
Speaker 1: Meet Neil Young, meet Burton Cummings, walked down the street,

592
00:27:54,080 --> 00:27:56,520
Speaker 1: stand at the window and stare at the Fender guitar

593
00:27:56,880 --> 00:27:59,239
Speaker 1: that Buddy Holly played on Ed Sullivan last week. They

594
00:27:59,240 --> 00:28:00,760
Speaker 1: wouldn't let us play if they knew we didn't have

595
00:28:00,800 --> 00:28:03,119
Speaker 1: any money. Who we could even go and try. We

596
00:28:03,359 --> 00:28:05,720
Speaker 1: just look at the guitar and dream, look at it sideways,

597
00:28:05,760 --> 00:28:07,240
Speaker 1: look at it this way, look at it that way.

598
00:28:07,359 --> 00:28:10,040
Speaker 1: Look at the orange gretch that Eddie played on Bandstand

599
00:28:10,280 --> 00:28:12,439
Speaker 1: and Chad Acts played in Eddie Cochran played, and just

600
00:28:12,480 --> 00:28:15,439
Speaker 1: look and dream with the guitars. Finally you can afford

601
00:28:15,480 --> 00:28:17,920
Speaker 1: a guitar. So so I got an orange gretch. Newly

602
00:28:18,000 --> 00:28:19,720
Speaker 1: On would come to see me playing my orange gretch,

603
00:28:19,760 --> 00:28:22,000
Speaker 1: and he bought an orange gretch. When he did a

604
00:28:22,000 --> 00:28:24,040
Speaker 1: gig with the Squires, he had to call us and say,

605
00:28:24,200 --> 00:28:26,200
Speaker 1: I don't have an amp. Are you guys playing next Friday?

606
00:28:26,200 --> 00:28:27,760
Speaker 1: Can I brow the amp? Yeah, we'll bring it down.

607
00:28:27,800 --> 00:28:29,720
Speaker 1: We'll watch you play. We'd go watch Neil and the

608
00:28:29,760 --> 00:28:32,400
Speaker 1: Squire's play all through Jim Kale's with a bass player

609
00:28:32,440 --> 00:28:34,600
Speaker 1: in the guests who his concert amp, which was two

610
00:28:34,720 --> 00:28:37,439
Speaker 1: channels and two inputs, so it had four infuts. So

611
00:28:37,480 --> 00:28:40,160
Speaker 1: you plugged your microphone in the singers sang into one.

612
00:28:40,400 --> 00:28:42,040
Speaker 1: You put the bass on the other the guitar and

613
00:28:42,120 --> 00:28:43,720
Speaker 1: the other and you had a set of drums with

614
00:28:43,720 --> 00:28:45,080
Speaker 1: no mics, and you would and played a high school

615
00:28:45,120 --> 00:28:47,880
Speaker 1: dance one am on one amp. Well, how big a

616
00:28:47,880 --> 00:28:52,000
Speaker 1: speaker was here? There's four tens and ender concert AMPKF.

617
00:28:52,000 --> 00:28:53,720
Speaker 1: You turned it just right to sound it pretty good.

618
00:28:53,840 --> 00:28:56,040
Speaker 1: There was no stereo then, this was like the sixties.

619
00:28:56,040 --> 00:28:58,040
Speaker 1: Everything was mono. When it was a record player, they

620
00:28:58,040 --> 00:29:01,480
Speaker 1: had one speaker on the stage. So then did you?

621
00:29:02,040 --> 00:29:05,480
Speaker 1: Was Neil Young singing? Then he sang a song called

622
00:29:05,520 --> 00:29:09,040
Speaker 1: I Wonder which was horrific, And I sig song called

623
00:29:09,080 --> 00:29:11,680
Speaker 1: Stop Teasing Me, which was horrific. But his forte was

624
00:29:11,720 --> 00:29:14,400
Speaker 1: guitar playing, and he copied Hank Marvin's from the Shadows.

625
00:29:14,440 --> 00:29:16,640
Speaker 1: He had a song called Sultan and Aurora. I wrote

626
00:29:16,680 --> 00:29:18,840
Speaker 1: a song called Maiden Lingoland, the same gratch, guitar, the

627
00:29:18,840 --> 00:29:21,760
Speaker 1: same echo. We were like parallel twins. They're doing each

628
00:29:22,320 --> 00:29:23,760
Speaker 1: the same kind of thing. But he was on one

629
00:29:23,760 --> 00:29:25,520
Speaker 1: side of town. I was on the other side of town.

630
00:29:25,800 --> 00:29:29,280
Speaker 1: And then what about Joni Mitchell. She came to Winnipeg

631
00:29:29,400 --> 00:29:32,400
Speaker 1: quite a few times. When Chad Allen, after we finished

632
00:29:32,400 --> 00:29:35,000
Speaker 1: the Kingsman tour, went back to Winnipeg. We weren't the

633
00:29:35,040 --> 00:29:37,600
Speaker 1: top band anymore. We have been gone two months. There's

634
00:29:37,640 --> 00:29:39,840
Speaker 1: all kind of high school dances, all the lakes around

635
00:29:39,840 --> 00:29:43,000
Speaker 1: Winnipeg and resorts. The next bands up. We're tied for

636
00:29:43,200 --> 00:29:46,360
Speaker 1: number one spot. Burton Cummings and the Devrons, Neil Young

637
00:29:46,400 --> 00:29:49,880
Speaker 1: and the Squires. Okay, what do we do? We're dethroned.

638
00:29:50,320 --> 00:29:52,200
Speaker 1: Chad Allen says, nobody knows who I am. I'm not

639
00:29:52,280 --> 00:29:54,720
Speaker 1: Chad Allen and wore everybody called me guess who. I'm

640
00:29:54,720 --> 00:29:56,280
Speaker 1: sick of the name. I'm going back to college. He

641
00:29:56,320 --> 00:29:59,760
Speaker 1: goes back to University of Manitoba. And where's he today?

642
00:30:00,320 --> 00:30:04,440
Speaker 1: In an old folks home? Wow? Yeah, uh? He goes back.

643
00:30:04,560 --> 00:30:07,560
Speaker 1: Could we eliminate the competition? I know how? I call

644
00:30:07,640 --> 00:30:09,240
Speaker 1: Burton c Commings his mother who went to school with

645
00:30:09,240 --> 00:30:11,160
Speaker 1: my dad. Hello, Rhoda and Burton come to our meeting.

646
00:30:11,200 --> 00:30:13,719
Speaker 1: Shirt I asked him to join the Bandy breaks up

647
00:30:13,720 --> 00:30:16,000
Speaker 1: to den runs. He joins the guests. Who we go

648
00:30:16,080 --> 00:30:19,000
Speaker 1: to We go to Regina to play a gig. Johnny

649
00:30:19,040 --> 00:30:21,479
Speaker 1: Mitchell's playing the new Prairie Princess, the new Gordon Lightfoot,

650
00:30:21,520 --> 00:30:25,000
Speaker 1: the new Leonard Cohen, the new Bob Dylan, female blonde hair,

651
00:30:25,080 --> 00:30:27,720
Speaker 1: big blue eyes, great guitar, great voice. To go to

652
00:30:27,760 --> 00:30:31,600
Speaker 1: see her at that gig, and Regina meet Jonnie Mitchell there. Okay,

653
00:30:31,640 --> 00:30:36,880
Speaker 1: anybody else I'm missing who made it from Winnipeg. Well

654
00:30:36,880 --> 00:30:39,000
Speaker 1: since then there's been a lot of Laurie mckinnets come

655
00:30:39,040 --> 00:30:42,320
Speaker 1: through there. Tom cochrane came from clear Lake through Winnipeg.

656
00:30:42,560 --> 00:30:44,600
Speaker 1: Just like you say they come through London, they really don't.

657
00:30:44,640 --> 00:30:47,320
Speaker 1: They come from Birmingham or or Brighton or something or

658
00:30:47,520 --> 00:30:51,200
Speaker 1: in Tranti say they come to Toronto. But Timmins, can

659
00:30:51,320 --> 00:30:53,560
Speaker 1: you come to a little town to the big twe

660
00:30:55,160 --> 00:30:58,320
Speaker 1: I think it was the end of the train, Like

661
00:30:58,360 --> 00:31:01,000
Speaker 1: I said, when your parents are Grant came was immigrants

662
00:31:01,160 --> 00:31:04,000
Speaker 1: and they had forty bucks. This will get you to Winnipeg.

663
00:31:04,040 --> 00:31:05,520
Speaker 1: And by the way, if you're in Winnipeg, if you're

664
00:31:05,600 --> 00:31:08,200
Speaker 1: Ukrainian or Jewish, go to that end of town. We

665
00:31:08,240 --> 00:31:11,560
Speaker 1: don't like you guys. You're dirt. All the British people

666
00:31:11,600 --> 00:31:13,240
Speaker 1: you go here. This is the uppity party town with

667
00:31:13,240 --> 00:31:15,360
Speaker 1: all the nice trees. You guys are way out there.

668
00:31:15,360 --> 00:31:17,400
Speaker 1: So we all we we went out there. But I said,

669
00:31:17,440 --> 00:31:20,520
Speaker 1: we grew up eating dirt. And parogies and things like

670
00:31:20,560 --> 00:31:24,080
Speaker 1: that and borshed and all that stuff, and we were happy. Okay,

671
00:31:24,120 --> 00:31:27,240
Speaker 1: So what music is? What kept it all together? The

672
00:31:27,240 --> 00:31:30,240
Speaker 1: house parties? Like I said, the barn miss was the weddings,

673
00:31:30,280 --> 00:31:32,280
Speaker 1: all this stuff. What the kids? Twelve? And this is

674
00:31:32,240 --> 00:31:34,800
Speaker 1: his birthday party and he gets thousands of dollars. I

675
00:31:34,840 --> 00:31:36,480
Speaker 1: want to be Jewish, you know that kind of thing,

676
00:31:37,000 --> 00:31:39,720
Speaker 1: like wow, okay, by getting a yo yo in a

677
00:31:39,760 --> 00:31:42,080
Speaker 1: Superman comic and this kid's getting a thousand bucks to

678
00:31:42,200 --> 00:31:44,240
Speaker 1: start a business when he's nineteen, you know what I mean.

679
00:31:44,600 --> 00:31:46,840
Speaker 1: So you convinced Burton to be part of your band,

680
00:31:47,160 --> 00:31:50,440
Speaker 1: and you've decided to continue under the Moniker guests, and

681
00:31:50,520 --> 00:31:55,040
Speaker 1: so then what happens? Um we do a song called

682
00:31:55,120 --> 00:32:00,240
Speaker 1: His Girl, We get a call from England. We like

683
00:32:00,360 --> 00:32:04,560
Speaker 1: this record a lot. It's getting played in Canada. We

684
00:32:04,600 --> 00:32:07,680
Speaker 1: want to sweeten it. What does that mean? We recorded

685
00:32:07,720 --> 00:32:10,800
Speaker 1: in three tracks in Minneapolis. It means we'll put it

686
00:32:10,840 --> 00:32:13,640
Speaker 1: on three tracks on a four track. We want to

687
00:32:13,640 --> 00:32:15,880
Speaker 1: add a fourth track of a foogle horn and strings.

688
00:32:16,440 --> 00:32:19,040
Speaker 1: What we're rough? And well? The Beatles are doing us,

689
00:32:19,040 --> 00:32:20,880
Speaker 1: so are the Fortunes. Remember you got your troubles. I

690
00:32:20,920 --> 00:32:23,440
Speaker 1: got mine and had the bird background, Google hornet and

691
00:32:23,440 --> 00:32:26,120
Speaker 1: stuff like that. Well, okay, we'll do anything for a hit.

692
00:32:26,600 --> 00:32:28,880
Speaker 1: Thinking about a little bit slower. You had that deal

693
00:32:29,000 --> 00:32:32,920
Speaker 1: with the label in Toronto. So now when you're recording

694
00:32:32,920 --> 00:32:35,160
Speaker 1: in Minnesota, who's paying and what label is it? We're

695
00:32:35,160 --> 00:32:38,200
Speaker 1: still paying? We have no idea about royalties. O. We

696
00:32:38,240 --> 00:32:39,920
Speaker 1: went to Florence, agreement said we've had a hit. Was

697
00:32:39,960 --> 00:32:42,000
Speaker 1: shaken all over. They said, here's four dred bucks a

698
00:32:42,040 --> 00:32:45,000
Speaker 1: hundred bucks each. That was it. Okay, but who when

699
00:32:45,000 --> 00:32:47,920
Speaker 1: you made this second record was getting played in Canada?

700
00:32:48,480 --> 00:32:52,160
Speaker 1: Who released it? Same label? Quality record? But they sent

701
00:32:52,240 --> 00:32:55,280
Speaker 1: it to guys just said we're gonna call you. Guess who.

702
00:32:55,640 --> 00:32:58,440
Speaker 1: They sent it to England, Philip Solomon, who owns part

703
00:32:58,440 --> 00:33:01,160
Speaker 1: of Pirate Radio. He owns King Wreck. It's we also

704
00:33:01,200 --> 00:33:03,040
Speaker 1: know he's part of a what can I say, a

705
00:33:03,120 --> 00:33:06,080
Speaker 1: family syndicate kind of thing. And so we go to

706
00:33:06,080 --> 00:33:08,280
Speaker 1: England without a contract and we're so excited. We get

707
00:33:08,320 --> 00:33:10,560
Speaker 1: on a plane. I don't even sign a contract. We're

708
00:33:10,560 --> 00:33:13,360
Speaker 1: gonna be the new Beatles were from Winnipeg. Blah blah blah.

709
00:33:13,440 --> 00:33:16,000
Speaker 1: Well he sends a check, so you can go no, no,

710
00:33:16,480 --> 00:33:18,520
Speaker 1: So you're going on your own money, going our own money.

711
00:33:19,040 --> 00:33:21,960
Speaker 1: We buy new clothes, suits to look like the Beatles.

712
00:33:21,960 --> 00:33:23,920
Speaker 1: Remember they had the beat of follow the suits and

713
00:33:23,960 --> 00:33:26,240
Speaker 1: all this stuff. We buy new gear. We're forty granted

714
00:33:26,280 --> 00:33:28,920
Speaker 1: the Holy Fly to England. Our first day there, we

715
00:33:29,040 --> 00:33:32,320
Speaker 1: go to meet Philip Solomon at King Records. We find

716
00:33:32,320 --> 00:33:35,600
Speaker 1: out he's part of the Pirate Radio station. I'm pirate radio.

717
00:33:35,720 --> 00:33:38,480
Speaker 1: Was very blatant. We don't need to play your record,

718
00:33:38,920 --> 00:33:41,640
Speaker 1: but we'll sell you commercial time. Our commercial time is

719
00:33:41,640 --> 00:33:45,960
Speaker 1: a pound a second. You one hundred seconds played of

720
00:33:45,960 --> 00:33:48,320
Speaker 1: your record. That's why records they were all two minutes long,

721
00:33:50,280 --> 00:33:52,280
Speaker 1: seconds played. Give us a hundred twenty pounds, will play

722
00:33:52,280 --> 00:33:54,280
Speaker 1: your record between four and six. They played it like

723
00:33:54,320 --> 00:33:56,920
Speaker 1: a commercial. They're playing it off shore and everybody England

724
00:33:56,960 --> 00:33:59,120
Speaker 1: listening to it because BBC is not playing nothing. They're

725
00:33:59,160 --> 00:34:03,200
Speaker 1: fifty home grown talent and it's all Frankie Vaughan and

726
00:34:03,240 --> 00:34:05,280
Speaker 1: all this weird stuff, and you know, Cliff Richard getting

727
00:34:05,280 --> 00:34:09,200
Speaker 1: played and all that stuff. Britain has a whereas Canada

728
00:34:09,239 --> 00:34:11,759
Speaker 1: has Ken Conner Britt calls you want to call it,

729
00:34:11,760 --> 00:34:15,080
Speaker 1: Germany has Germ con So it helps the local talents.

730
00:34:15,640 --> 00:34:17,879
Speaker 1: So we paid money through Philip Solomon and we owed

731
00:34:17,960 --> 00:34:20,279
Speaker 1: him money. Then we go there said, okay, we want

732
00:34:20,280 --> 00:34:23,040
Speaker 1: you guys to sign a contract. You get four hundred

733
00:34:23,080 --> 00:34:26,839
Speaker 1: pounds a week each? What eight? What do you mean

734
00:34:26,960 --> 00:34:30,799
Speaker 1: each for the band? Four pounds? What? I'm gonna put

735
00:34:30,800 --> 00:34:32,400
Speaker 1: you on tour in Australia. This I'm gonna send this

736
00:34:32,440 --> 00:34:34,239
Speaker 1: record to Australia, abill. This is a long called his

737
00:34:34,320 --> 00:34:40,440
Speaker 1: Girl and um so when do we get royalties? What

738
00:34:40,560 --> 00:34:44,040
Speaker 1: don't you understand about four hundred pounds a week? What

739
00:34:44,120 --> 00:34:47,120
Speaker 1: do you mean? How long is this contract? Three years?

740
00:34:47,800 --> 00:34:49,640
Speaker 1: You get four hundred pounds a week for three years.

741
00:34:49,960 --> 00:34:51,560
Speaker 1: Where does all the other money go? It goes to

742
00:34:51,600 --> 00:34:55,520
Speaker 1: pay the machine, the expenses to this that that really

743
00:34:56,680 --> 00:34:58,440
Speaker 1: take or leave it? You don't have a contract. You're

744
00:34:58,440 --> 00:35:00,440
Speaker 1: here in England, you're in the whole. We looked at

745
00:35:00,480 --> 00:35:02,160
Speaker 1: each other. We've been through enough by then we just

746
00:35:02,239 --> 00:35:05,960
Speaker 1: walked out. We didn't sign the contract. We had nothing.

747
00:35:06,400 --> 00:35:09,000
Speaker 1: On the way out, we meet a guy named Jerry

748
00:35:09,040 --> 00:35:12,960
Speaker 1: Dorsey who's also desperate. We're standing outside. We don't know

749
00:35:13,000 --> 00:35:14,640
Speaker 1: what to do. We're in Soho and his outside of

750
00:35:14,640 --> 00:35:18,720
Speaker 1: his offices. Twenty minutes later, Jerry Dorsey comes out and

751
00:35:18,719 --> 00:35:21,160
Speaker 1: we go what happened? He said, I took the deal?

752
00:35:21,760 --> 00:35:24,400
Speaker 1: What certainly for three years they're changing my name to

753
00:35:24,440 --> 00:35:30,439
Speaker 1: Angelbert Humperdink. Okay, we're in England. We're in the whole

754
00:35:30,480 --> 00:35:33,240
Speaker 1: forty grand We've got rooms at the Regent Palace Hotel

755
00:35:33,280 --> 00:35:35,680
Speaker 1: and Piccadilly. I say to the band, Okay, I've got

756
00:35:35,719 --> 00:35:37,400
Speaker 1: a few bucks saved in my own money. How much

757
00:35:37,440 --> 00:35:39,120
Speaker 1: money have you got? We just don't want to go

758
00:35:39,160 --> 00:35:41,480
Speaker 1: home with our tails. But when we left Winnipeg, you

759
00:35:41,480 --> 00:35:43,640
Speaker 1: can see this in a video. Guess who are leaving

760
00:35:43,640 --> 00:35:46,440
Speaker 1: for England. The whole cities are waving. It's like the

761
00:35:46,440 --> 00:35:48,440
Speaker 1: Beatles landing in Winnipeg. They're waving good bye to us.

762
00:35:48,440 --> 00:35:49,880
Speaker 1: You're gonna make it in England, the guests who are

763
00:35:49,920 --> 00:35:52,600
Speaker 1: gonna be big the whole city. See the radio stations there,

764
00:35:52,680 --> 00:35:55,040
Speaker 1: the TV and everything. We can't go back a week later,

765
00:35:55,080 --> 00:35:58,560
Speaker 1: going we got shafted, we got screwed, blah blah blah.

766
00:35:58,719 --> 00:36:02,120
Speaker 1: So we call up Tony Hiller, who runs meals music

767
00:36:02,200 --> 00:36:05,759
Speaker 1: that published shaken all over Hi. We're the guests who

768
00:36:05,800 --> 00:36:07,839
Speaker 1: and he goes, oh, we know you guys are the

769
00:36:08,080 --> 00:36:10,480
Speaker 1: a lot of ny Kid. Families very happy over you guys,

770
00:36:10,520 --> 00:36:12,080
Speaker 1: because then after that that who did the song and

771
00:36:12,080 --> 00:36:14,719
Speaker 1: everybody redid that song over and over again, and you

772
00:36:14,760 --> 00:36:16,520
Speaker 1: were the first guys to do it after Johnny kidding

773
00:36:16,520 --> 00:36:18,440
Speaker 1: the Pirates. What do you do in England? Well, we

774
00:36:18,520 --> 00:36:20,640
Speaker 1: just met Philip Solomon and we've got shaft he said, Oh,

775
00:36:20,640 --> 00:36:22,319
Speaker 1: I know Philip used to work for him. I know

776
00:36:22,400 --> 00:36:25,239
Speaker 1: you got shafted. Why don't you come in and be

777
00:36:25,560 --> 00:36:27,279
Speaker 1: I've heard your stof Why don't you be a demo band?

778
00:36:27,280 --> 00:36:30,080
Speaker 1: I've got to cut some songs by two of my songwriters.

779
00:36:30,800 --> 00:36:32,840
Speaker 1: You cut these two songs. I won't pay you, but

780
00:36:32,920 --> 00:36:35,360
Speaker 1: bring two of your own and you can record. They

781
00:36:35,400 --> 00:36:37,160
Speaker 1: can go home and say you record in England, So

782
00:36:37,200 --> 00:36:40,120
Speaker 1: go to Regent Sound. We don't have any to record.

783
00:36:40,160 --> 00:36:42,440
Speaker 1: Neil Young has given me his demo from Buffalo Springfield.

784
00:36:42,560 --> 00:36:44,719
Speaker 1: We record Flying on the Ground is wrong for Neil.

785
00:36:45,000 --> 00:36:47,600
Speaker 1: We're the first band ever recorded Neil Young song outside

786
00:36:47,600 --> 00:36:50,520
Speaker 1: of him. Recorded a silly song I wrote called There's

787
00:36:50,520 --> 00:36:52,280
Speaker 1: No Getting Way for You that never makes it anywhere.

788
00:36:52,480 --> 00:36:55,000
Speaker 1: We record the song called this Time Long Ago. There's

789
00:36:55,120 --> 00:36:57,520
Speaker 1: very much like the fortunes you got, your troubles I

790
00:36:57,600 --> 00:36:59,719
Speaker 1: got mine, got the flugal horning in the strings and

791
00:36:59,760 --> 00:37:02,520
Speaker 1: every thing, and we can go home with a master.

792
00:37:02,600 --> 00:37:04,120
Speaker 1: We go home and send it to Quality Records and

793
00:37:04,160 --> 00:37:06,520
Speaker 1: they go fabulous, great, they put it out. We have

794
00:37:06,560 --> 00:37:09,080
Speaker 1: a hit record in Canada. So we turned this defeat

795
00:37:09,120 --> 00:37:12,040
Speaker 1: into a triumph. We've we've recorded Regent Sound where the

796
00:37:12,040 --> 00:37:14,520
Speaker 1: Beatles just recorded. We got this song this time long ago.

797
00:37:14,920 --> 00:37:16,759
Speaker 1: We've done a Neil Young song flying on the Ground

798
00:37:16,840 --> 00:37:19,520
Speaker 1: as our follow up single. Quality Records doesn't know what

799
00:37:19,560 --> 00:37:22,600
Speaker 1: to do with it. Our contract expires. We're a free band.

800
00:37:22,880 --> 00:37:25,359
Speaker 1: We're forty grand in the whole. We come back. We're

801
00:37:25,360 --> 00:37:30,920
Speaker 1: gonna break up. Their Canada needs their money. Low's Music

802
00:37:30,920 --> 00:37:33,080
Speaker 1: Store needs their money because we've gotten stuff on credit.

803
00:37:33,440 --> 00:37:35,880
Speaker 1: We have no money. I get a call from a

804
00:37:35,960 --> 00:37:39,439
Speaker 1: friend saying, Hey, I'm the producer of a television show

805
00:37:39,520 --> 00:37:42,000
Speaker 1: called Let's Go, and all you gotta do is play

806
00:37:42,000 --> 00:37:44,440
Speaker 1: the Top threty music is a half an hour Long's

807
00:37:44,480 --> 00:37:46,920
Speaker 1: gonna play the Top fifty and Billboard the Top one.

808
00:37:47,000 --> 00:37:49,000
Speaker 1: We'll pick the songs each week. Can you read music?

809
00:37:49,480 --> 00:37:52,120
Speaker 1: And of course I say yes, even though we can't.

810
00:37:53,680 --> 00:37:56,000
Speaker 1: And I say, who's writing the charts? He goes, Bob mcmallan.

811
00:37:56,000 --> 00:37:58,160
Speaker 1: And I knew Bob mcmall and he was like Winnipeg's

812
00:37:58,160 --> 00:37:59,880
Speaker 1: George and Martin. He helped all the bands, but he

813
00:38:00,000 --> 00:38:03,080
Speaker 1: wrote little charts for string string quartets and everything. So

814
00:38:03,120 --> 00:38:04,799
Speaker 1: I get his phone number and I call him, say, Bob,

815
00:38:04,800 --> 00:38:07,279
Speaker 1: have you written the charts? This is like on Thursday night.

816
00:38:07,520 --> 00:38:09,480
Speaker 1: We got to go on Friday and play five or

817
00:38:09,520 --> 00:38:11,440
Speaker 1: six songs for Larry Brown? Have you done the charts?

818
00:38:11,800 --> 00:38:13,360
Speaker 1: And he doesn't know. He's not supposed to tell me.

819
00:38:13,360 --> 00:38:15,840
Speaker 1: We're supposed to show up cold and play the charts.

820
00:38:17,600 --> 00:38:19,319
Speaker 1: He says, well, I've got this one done and that

821
00:38:19,360 --> 00:38:21,359
Speaker 1: one done, and I got last train to Clarksville down.

822
00:38:21,440 --> 00:38:23,319
Speaker 1: I got this downe I'm going okay, I'm writing them down.

823
00:38:23,880 --> 00:38:25,880
Speaker 1: I run out and buy the six records Burton, and

824
00:38:25,880 --> 00:38:27,840
Speaker 1: I learned them write out the courts. We practice Sturday

825
00:38:27,880 --> 00:38:29,960
Speaker 1: and Sunday we go in. They put the music in

826
00:38:29,960 --> 00:38:32,919
Speaker 1: front of us. We played the songs. Larry Brown comes

827
00:38:32,920 --> 00:38:35,920
Speaker 1: and goes, wow, not only can you read play these songs,

828
00:38:35,960 --> 00:38:37,719
Speaker 1: you sound like the records. And he goes to me,

829
00:38:38,280 --> 00:38:41,279
Speaker 1: you can't really read a damn thing. You're right, he said,

830
00:38:41,320 --> 00:38:44,360
Speaker 1: But you got the job. So that paid us eighteen

831
00:38:44,400 --> 00:38:47,400
Speaker 1: hundred bucks a week as a band. And then we

832
00:38:47,520 --> 00:38:49,839
Speaker 1: come back and we're now the Kings of Winnipeg again.

833
00:38:49,840 --> 00:38:51,960
Speaker 1: We get all the high school dances. So besides getting

834
00:38:52,120 --> 00:38:54,360
Speaker 1: eighteen hundred bucks, can you getting two and fifty night

835
00:38:54,400 --> 00:38:56,520
Speaker 1: for high school dance? We're still making two or three

836
00:38:56,560 --> 00:38:58,839
Speaker 1: or four hundred on the weekend. We pay off our debt.

837
00:38:58,880 --> 00:39:00,719
Speaker 1: We get out a hole. We get a call from

838
00:39:00,760 --> 00:39:04,000
Speaker 1: Jack Richardson, who's producing things Go Bad Or with Coca

839
00:39:04,040 --> 00:39:06,680
Speaker 1: called these co commercials, the Ray Charles and other people singing.

840
00:39:07,760 --> 00:39:10,440
Speaker 1: He's in Toronto working for McCann, Erickson and ad Agency,

841
00:39:10,480 --> 00:39:14,160
Speaker 1: but he's the music producer. He calls it and and

842
00:39:14,200 --> 00:39:16,160
Speaker 1: he says, will you guys do a thing for Coca Cola?

843
00:39:16,160 --> 00:39:17,720
Speaker 1: And go yeah, we want to do a coke commercial.

844
00:39:17,760 --> 00:39:19,239
Speaker 1: He says, no, No, I want you to do a

845
00:39:19,280 --> 00:39:21,480
Speaker 1: whole album. I want you to do one side of

846
00:39:21,480 --> 00:39:23,960
Speaker 1: an album. And I want the other band called the

847
00:39:24,080 --> 00:39:27,279
Speaker 1: Stacados who later became the five Man electrical band who

848
00:39:27,280 --> 00:39:30,279
Speaker 1: wrote signs of those great hits. They're Canadian, yes, they're

849
00:39:30,320 --> 00:39:32,880
Speaker 1: from Ottawa. So we want to do an album that

850
00:39:32,960 --> 00:39:36,160
Speaker 1: you can only buy with ten coke caps from Coca

851
00:39:36,200 --> 00:39:39,080
Speaker 1: Cola and a dollar, so it will be ten cod caps.

852
00:39:39,280 --> 00:39:41,919
Speaker 1: We'll call it a wild pair. So you're half the pair.

853
00:39:42,239 --> 00:39:44,279
Speaker 1: The other half of the pairs the Staccatos. You and

854
00:39:44,360 --> 00:39:46,400
Speaker 1: Burton write five or six songs, and I'm gonna get

855
00:39:46,440 --> 00:39:49,080
Speaker 1: less Simerson in that band to write five or six songs. Well,

856
00:39:49,200 --> 00:39:52,319
Speaker 1: they put it out. It sells eighty thou copies. He goes,

857
00:39:52,320 --> 00:39:53,719
Speaker 1: this is like a gold album. We couldn't get a

858
00:39:53,719 --> 00:39:56,120
Speaker 1: gold album because it wasn't sold through record stores or

859
00:39:56,400 --> 00:39:59,200
Speaker 1: Canadian Record Association or anything, but we had to hit record.

860
00:39:59,400 --> 00:40:01,359
Speaker 1: Then Jack interest and calls us up and goes, your

861
00:40:01,360 --> 00:40:03,640
Speaker 1: stuff is pretty good. I watch you every Thursday on

862
00:40:04,080 --> 00:40:06,720
Speaker 1: Let's Go on CBC. We're just kind of like the BBC.

863
00:40:06,840 --> 00:40:09,480
Speaker 1: There's We had the show for two full years where

864
00:40:09,480 --> 00:40:11,239
Speaker 1: our producer comes to us and goes, it's getting a

865
00:40:11,239 --> 00:40:14,040
Speaker 1: little redundant. The charts then were very slow. Now you're

866
00:40:14,040 --> 00:40:15,960
Speaker 1: on the charts. It's gone in two weeks. They're your

867
00:40:16,000 --> 00:40:17,600
Speaker 1: song with the last two or three or four months

868
00:40:17,640 --> 00:40:19,520
Speaker 1: and we're playing the same songs over and he said,

869
00:40:19,520 --> 00:40:21,600
Speaker 1: why don't you write your own? But they've got to

870
00:40:21,600 --> 00:40:24,480
Speaker 1: be good enough. To fit in between Vanilla Fudge doing

871
00:40:24,520 --> 00:40:26,840
Speaker 1: You Got Me Hanging On and Heye Jude and the

872
00:40:26,880 --> 00:40:30,160
Speaker 1: Supremes doing you know, Stopping the Name of Love. It's

873
00:40:30,160 --> 00:40:31,399
Speaker 1: got to be good enough to fit on. I won't

874
00:40:31,440 --> 00:40:33,280
Speaker 1: put it in the show. So comings and our start writing.

875
00:40:33,680 --> 00:40:38,200
Speaker 1: Jack Richardson, here's a song, These Eyes, and he goes, wow,

876
00:40:38,560 --> 00:40:40,040
Speaker 1: I'm going to mortgage my house and I don't want

877
00:40:40,080 --> 00:40:42,120
Speaker 1: you guys to come to Toronto and record this album.

878
00:40:42,320 --> 00:40:44,120
Speaker 1: So keep sending me all your demos, and we got

879
00:40:44,120 --> 00:40:46,960
Speaker 1: the demos are recorded on TV. We're just pulling on TV,

880
00:40:47,000 --> 00:40:50,360
Speaker 1: sending him real toy reels. He compiles an album. We

881
00:40:50,440 --> 00:40:52,960
Speaker 1: go to Toronto record and he says, I've got a

882
00:40:53,000 --> 00:40:55,480
Speaker 1: guy with ears to mix your album. I said, we

883
00:40:55,520 --> 00:40:57,120
Speaker 1: all have ears. What are you talking about? It said,

884
00:40:57,320 --> 00:40:59,600
Speaker 1: this guy has ears. Man, you don't know what I

885
00:40:59,640 --> 00:41:02,160
Speaker 1: mean by years. Well, who's this guy. Well he's twentiesy genius.

886
00:41:02,200 --> 00:41:05,000
Speaker 1: His name is Phil Ramon. So we said, okay, we've

887
00:41:05,000 --> 00:41:08,000
Speaker 1: never heard of this guy. He mixes the album. It's great.

888
00:41:08,520 --> 00:41:10,279
Speaker 1: We go to his studio A and our studios in

889
00:41:10,320 --> 00:41:13,040
Speaker 1: New York. We record These Eyes. That thing you're here

890
00:41:13,080 --> 00:41:15,839
Speaker 1: with Phil Ramon doing that that song still sounds great

891
00:41:15,880 --> 00:41:18,000
Speaker 1: in the radio. Phormon is amazing. And I met him

892
00:41:18,000 --> 00:41:20,680
Speaker 1: earlier when I was at with Florence Greenberg, because he

893
00:41:20,680 --> 00:41:23,520
Speaker 1: did all John Warwick songs with Bert back Iraq. Once

894
00:41:23,560 --> 00:41:25,359
Speaker 1: the demos are to inccepted, he took him over to him.

895
00:41:25,360 --> 00:41:27,720
Speaker 1: He transferred them over and Bert's they're leading the orchestra

896
00:41:27,760 --> 00:41:29,600
Speaker 1: and doing all that stuff with John Warwick. So I

897
00:41:29,680 --> 00:41:31,880
Speaker 1: knew Phil and he was really a great guy. That

898
00:41:32,040 --> 00:41:35,000
Speaker 1: we had to hit these eyes and then a little

899
00:41:35,000 --> 00:41:38,760
Speaker 1: bit how'd you write it? Um? At the Joni Mitchell

900
00:41:38,960 --> 00:41:42,200
Speaker 1: concert in Regina, do you know these stories? Because you're

901
00:41:42,239 --> 00:41:45,800
Speaker 1: asking me the right questions. At the Joni Mitchell's story

902
00:41:46,560 --> 00:41:49,759
Speaker 1: the Joni Mitchell gig at their four Dan Regina, it's

903
00:41:49,760 --> 00:41:53,000
Speaker 1: sold out. Everybody's coming to see this Prairie princess because

904
00:41:53,040 --> 00:41:55,160
Speaker 1: she's headed to l A. She's signed to Asylum Records

905
00:41:55,239 --> 00:41:58,440
Speaker 1: or something, and she's under the wing of Elliott Robertson,

906
00:41:58,520 --> 00:42:01,680
Speaker 1: David Geffen and Neil Young Brodby Stills the National Little Thing.

907
00:42:02,800 --> 00:42:04,680
Speaker 1: The place is sold out and I'm there with the band.

908
00:42:04,920 --> 00:42:08,760
Speaker 1: Burton Commings is there. There's an empty table with reserved

909
00:42:08,800 --> 00:42:11,400
Speaker 1: on it and in walks. These two gorgeous chicks are

910
00:42:11,400 --> 00:42:14,239
Speaker 1: blonde and brunette, and everybody goes, wow, they're clearly not

911
00:42:14,320 --> 00:42:17,080
Speaker 1: from Regina. They got t shirts on at the University

912
00:42:17,080 --> 00:42:20,000
Speaker 1: of Arizona, University of Utah, and they look American and

913
00:42:20,040 --> 00:42:22,600
Speaker 1: they're wearing shorts and they're beautiful ones, blonde, ones, brunette.

914
00:42:23,160 --> 00:42:25,360
Speaker 1: I'm a very shy guy. My dad had five brothers.

915
00:42:25,400 --> 00:42:28,040
Speaker 1: I have three brothers. I didn't even know how to

916
00:42:28,080 --> 00:42:30,760
Speaker 1: talk to a girl. So I say to our road manager,

917
00:42:30,840 --> 00:42:32,720
Speaker 1: Jim Martin, who we called Jumbo. He's a big Guy's

918
00:42:32,719 --> 00:42:34,640
Speaker 1: also our balancer, but he drove our truck and lifted

919
00:42:34,640 --> 00:42:36,920
Speaker 1: our gear. Jumbo, can you go over to that table

920
00:42:37,400 --> 00:42:39,719
Speaker 1: see those two chicks. See if you can sit at

921
00:42:39,719 --> 00:42:43,920
Speaker 1: the table, talk to the blonde and not the brunette,

922
00:42:44,360 --> 00:42:45,880
Speaker 1: and if you get lucky, call me over to the

923
00:42:45,880 --> 00:42:47,880
Speaker 1: table and introduced me to the two of them, and

924
00:42:47,920 --> 00:42:52,040
Speaker 1: then get away from the table. He calls me over.

925
00:42:52,640 --> 00:42:54,920
Speaker 1: Joni's up there singing. She's just got married to Chuck Mitch.

926
00:42:54,960 --> 00:42:56,960
Speaker 1: Or my name is Jonny Anderson. He's got married Jonie

927
00:42:56,960 --> 00:43:00,399
Speaker 1: and Chuck Mitchell. Sheefter singing these great songs. I said

928
00:43:00,400 --> 00:43:02,480
Speaker 1: at the table. Jim Martin leaves the table and I

929
00:43:02,560 --> 00:43:05,120
Speaker 1: say are you together? And said, yeah, we're sisters. What

930
00:43:05,200 --> 00:43:06,840
Speaker 1: can I take you home? Yeah? Our dad dropped this

931
00:43:06,920 --> 00:43:09,080
Speaker 1: off and you could take us home. So I got

932
00:43:09,160 --> 00:43:10,840
Speaker 1: enough guts driving them home to night to say to

933
00:43:10,840 --> 00:43:12,800
Speaker 1: the burnette, I have tomorrow night off? Can I do

934
00:43:12,840 --> 00:43:14,040
Speaker 1: you want to go to the movies? I have a

935
00:43:14,120 --> 00:43:16,640
Speaker 1: night off? Sure? Okay, what do you do? I play

936
00:43:16,640 --> 00:43:20,399
Speaker 1: in the band. I go to pick her up. I'm early,

937
00:43:20,440 --> 00:43:24,399
Speaker 1: it's my first date. She's late. I get ushered into

938
00:43:24,400 --> 00:43:26,480
Speaker 1: a room. It's like this. There's a piano, a plant,

939
00:43:26,800 --> 00:43:30,200
Speaker 1: a little piano, and a couch. I've had no train

940
00:43:30,239 --> 00:43:32,080
Speaker 1: and there's the piano. I've had no training on the piano.

941
00:43:32,360 --> 00:43:34,400
Speaker 1: But when I got to be seven or eight, playing

942
00:43:34,480 --> 00:43:37,280
Speaker 1: violin was a drag. My parents brought my next brother

943
00:43:37,360 --> 00:43:41,160
Speaker 1: the ultimate polka instrument that Lawrence Welk accordion. So my

944
00:43:41,160 --> 00:43:43,520
Speaker 1: brother's playing accordion and he hated it because we're a

945
00:43:43,520 --> 00:43:45,279
Speaker 1: little in your five and they put an accordion on you.

946
00:43:45,560 --> 00:43:48,799
Speaker 1: You look down, you can't see it. See there's keys there,

947
00:43:49,160 --> 00:43:51,160
Speaker 1: and there's oompap buttons here, and you got to move

948
00:43:51,239 --> 00:43:53,279
Speaker 1: his left hand to Pump. He hated it. I used

949
00:43:53,280 --> 00:43:54,960
Speaker 1: to get him to lay down, put the according side

950
00:43:55,000 --> 00:43:57,120
Speaker 1: with Neil Pump and he'd pull it this way. I'd

951
00:43:57,160 --> 00:43:58,480
Speaker 1: sit in front of him and I learned to play

952
00:43:58,480 --> 00:44:01,560
Speaker 1: in the key of C. So, with nothing to do

953
00:44:01,600 --> 00:44:03,480
Speaker 1: in this room, there's no TV, there's no radio, I

954
00:44:03,520 --> 00:44:07,080
Speaker 1: go over to the piano and go boom boom boom

955
00:44:07,120 --> 00:44:13,120
Speaker 1: boom that KFC boom boom boom boom, and I sing

956
00:44:13,480 --> 00:44:17,480
Speaker 1: these arms are waiting to hold you. She comes down.

957
00:44:17,520 --> 00:44:19,200
Speaker 1: We go on the date I showed it. The Britany goes, well,

958
00:44:19,280 --> 00:44:21,040
Speaker 1: we can't start it with these arms. I'll start with

959
00:44:21,120 --> 00:44:23,600
Speaker 1: these ice car every night and make these arms long

960
00:44:23,640 --> 00:44:26,239
Speaker 1: to hold you again as the second line, and we

961
00:44:26,280 --> 00:44:28,600
Speaker 1: write the song in fifteen minutes. And I've got all

962
00:44:28,600 --> 00:44:30,880
Speaker 1: these jazz cards I've learned from this jazz guitar player.

963
00:44:31,120 --> 00:44:33,520
Speaker 1: When you get into these eyes, there's a lot, a lot,

964
00:44:33,560 --> 00:44:35,600
Speaker 1: a lot of chords in there, with weird bass notes

965
00:44:35,600 --> 00:44:37,759
Speaker 1: that are jazz based notes and stuff that I never

966
00:44:37,840 --> 00:44:40,160
Speaker 1: ever thought of would be in a pop song. Because

967
00:44:40,160 --> 00:44:42,799
Speaker 1: pop song there was like three songs. It was Louie

968
00:44:42,880 --> 00:44:45,439
Speaker 1: Louis and hang On Sloopy kind of thing. These eyes

969
00:44:45,480 --> 00:44:48,080
Speaker 1: has a lot of incredible jazz cards and modulations where

970
00:44:48,080 --> 00:44:50,560
Speaker 1: it changes. And we wrote that in fifteen or twenty minutes.

971
00:44:50,560 --> 00:44:53,200
Speaker 1: And when Phil Ramon heard that they did the strings

972
00:44:53,239 --> 00:44:56,120
Speaker 1: that came out. It was like a million selling record

973
00:44:56,200 --> 00:45:00,239
Speaker 1: and we got our gold record from the g soon

974
00:45:00,320 --> 00:45:02,440
Speaker 1: was on our c A. Yes, how'd you end up

975
00:45:02,440 --> 00:45:05,040
Speaker 1: on our CIA? What? Jack Richardson started his own little

976
00:45:05,120 --> 00:45:07,760
Speaker 1: label in Toronto called Nimbus nine, named after the Clouds,

977
00:45:08,280 --> 00:45:10,640
Speaker 1: and we had a hit in Canada and then he

978
00:45:10,680 --> 00:45:12,920
Speaker 1: sent it around, just like quality that sending it to England,

979
00:45:12,960 --> 00:45:15,920
Speaker 1: he sent it to the States and Don Berkheimer Rocco

980
00:45:16,000 --> 00:45:18,120
Speaker 1: like an extra New York heard and said, while this

981
00:45:18,160 --> 00:45:21,080
Speaker 1: is number two in Canada and in Detroit, Rosalie is

982
00:45:21,080 --> 00:45:23,279
Speaker 1: playing in Detroit. She was a legend. And who would

983
00:45:23,280 --> 00:45:25,719
Speaker 1: play in Detroit and I mean Windsor and they'd hear

984
00:45:25,719 --> 00:45:28,120
Speaker 1: it in Detroit, then Cleveland that he would get played

985
00:45:28,120 --> 00:45:31,839
Speaker 1: in the whole Ohio area, and then Pittsburgh, I mean

986
00:45:31,960 --> 00:45:34,600
Speaker 1: you know, Pennsylvania, Philadelphia, and then played in New York

987
00:45:35,320 --> 00:45:37,439
Speaker 1: and so let's sign this band. So we went down

988
00:45:37,440 --> 00:45:39,839
Speaker 1: there and we signed with our CIA And what about

989
00:45:39,840 --> 00:45:45,239
Speaker 1: a manager? Um? I pretty much managed the band at

990
00:45:45,239 --> 00:45:47,239
Speaker 1: the time, being the oldest guy, the oldest brother and

991
00:45:47,280 --> 00:45:50,680
Speaker 1: looking after the band um before I quit to go

992
00:45:50,800 --> 00:45:53,400
Speaker 1: on the Kingsman Louis to Louis Louis Tour. I didn't

993
00:45:53,400 --> 00:45:55,839
Speaker 1: want to get a job my dad. And I'm playing

994
00:45:55,880 --> 00:45:57,480
Speaker 1: in a band and making a h fifty bucks a week.

995
00:45:57,520 --> 00:46:02,960
Speaker 1: My dad's still making sixty fifty week optometrist. And he'd say, Son,

996
00:46:03,040 --> 00:46:06,040
Speaker 1: I got you a real job. Oh really, Dad, what

997
00:46:06,160 --> 00:46:09,840
Speaker 1: is it. You're gonna sell shoes at bad at shoes Okay,

998
00:46:10,320 --> 00:46:12,640
Speaker 1: show up at four thirty and you gotta work till nine.

999
00:46:12,680 --> 00:46:14,680
Speaker 1: I said, I have a gig at nine, So I'd

1000
00:46:14,680 --> 00:46:16,400
Speaker 1: go there and work because my dad sat up with

1001
00:46:16,440 --> 00:46:19,160
Speaker 1: his friend, which is next door to his optometrist shop

1002
00:46:19,160 --> 00:46:23,120
Speaker 1: where he's selling eyeglasses. And uh, I'd go there and

1003
00:46:23,120 --> 00:46:27,160
Speaker 1: work till my break, which was seven fift And when

1004
00:46:27,160 --> 00:46:28,920
Speaker 1: I got my break, I would take it and it

1005
00:46:28,960 --> 00:46:32,440
Speaker 1: would not go back. I'd go to the gig. How

1006
00:46:32,480 --> 00:46:36,319
Speaker 1: long did that last? One night at best? Exactly two

1007
00:46:36,320 --> 00:46:38,360
Speaker 1: weeks later, Son, I got you another gig. I know

1008
00:46:38,400 --> 00:46:41,560
Speaker 1: you didn't like the selling shoes one. And the reason

1009
00:46:41,600 --> 00:46:43,200
Speaker 1: I didn't like selling shoes one it was like it

1010
00:46:43,239 --> 00:46:46,919
Speaker 1: was boring. It was like three dollars an hour. When

1011
00:46:46,920 --> 00:46:49,040
Speaker 1: you're a new kid, they give you all the worst people.

1012
00:46:49,040 --> 00:46:51,440
Speaker 1: So I would get this bomba that would be two

1013
00:46:52,080 --> 00:46:54,919
Speaker 1: pound woman from the farm with Bunyan's on her feet,

1014
00:46:54,960 --> 00:46:56,480
Speaker 1: and all of a sudden, I'd have to measure her

1015
00:46:56,520 --> 00:46:58,080
Speaker 1: feet and put her on. I ASTOK, give you a

1016
00:46:58,080 --> 00:47:00,759
Speaker 1: great looking chick. And when you're seventeen or eighteen and

1017
00:47:00,840 --> 00:47:02,279
Speaker 1: a good looking chick sits in front of with a

1018
00:47:02,280 --> 00:47:04,320
Speaker 1: short dress and you gotta measure her defeat and legs,

1019
00:47:04,760 --> 00:47:08,400
Speaker 1: you get a a thing happening in the crotch right

1020
00:47:08,400 --> 00:47:11,200
Speaker 1: and you gotta stand up right. And so I had

1021
00:47:11,320 --> 00:47:14,279
Speaker 1: enough for that job. And so the next next one

1022
00:47:14,360 --> 00:47:19,480
Speaker 1: is at Simpsons Sears men's wear suits. So they trying

1023
00:47:19,520 --> 00:47:21,120
Speaker 1: to teach me to upsell, and I hate doing that.

1024
00:47:21,120 --> 00:47:23,239
Speaker 1: I hate that to this day. When the guy comes

1025
00:47:23,239 --> 00:47:24,600
Speaker 1: in for a tie, tell him it looks good and

1026
00:47:24,600 --> 00:47:27,040
Speaker 1: then show him a suit. Sell the guy a suit,

1027
00:47:27,120 --> 00:47:28,719
Speaker 1: then sell him a pair of shoes and her shirt.

1028
00:47:28,760 --> 00:47:33,000
Speaker 1: I hate doing that. Um So that lasted until the

1029
00:47:33,040 --> 00:47:37,319
Speaker 1: break and then we gotta shake over becomes a hit.

1030
00:47:37,400 --> 00:47:40,279
Speaker 1: I quit school, Okay, I go back at your later

1031
00:47:40,320 --> 00:47:43,359
Speaker 1: payoff my parents house, buy my dad a car. He says,

1032
00:47:43,400 --> 00:47:44,960
Speaker 1: you don't. You don't need a backup plan. I said,

1033
00:47:45,000 --> 00:47:47,200
Speaker 1: my backup planets. Stick to Plan A, Plan B, stick

1034
00:47:47,280 --> 00:47:54,319
Speaker 1: to Plan A. That's what I'm doing. You're listening to

1035
00:47:54,360 --> 00:47:57,239
Speaker 1: my conversation with Mandy Backman, recorded live at the tune

1036
00:47:57,280 --> 00:48:02,560
Speaker 1: In Studios in Venice, California. I hope you're enjoying this

1037
00:48:02,640 --> 00:48:05,799
Speaker 1: episode of the Bob Left Sets podcast. If you want

1038
00:48:05,800 --> 00:48:09,800
Speaker 1: to see Randy and me in the studio, we post videos, photos,

1039
00:48:09,800 --> 00:48:12,879
Speaker 1: and sound bites from our guests as they joined me here.

1040
00:48:13,480 --> 00:48:18,080
Speaker 1: Visit apt tune in on Twitter, Facebook, and Instagram. Now

1041
00:48:18,239 --> 00:48:20,800
Speaker 1: more of my chat with Randy Bachman on The Bob

1042
00:48:20,880 --> 00:48:27,760
Speaker 1: Left Sets Podcast. Okay, so now Phil Ramon mixes the record.

1043
00:48:28,040 --> 00:48:29,600
Speaker 1: You have a hit in Canada ends up being a

1044
00:48:29,680 --> 00:48:31,840
Speaker 1: huge hit in America. I remember these eyes. I was

1045
00:48:31,840 --> 00:48:35,480
Speaker 1: taking geometry. They have imaginary numbers, we say, these eyes,

1046
00:48:36,040 --> 00:48:42,399
Speaker 1: but in any of them. Uh so, what happens? It's weird.

1047
00:48:42,440 --> 00:48:45,960
Speaker 1: We signed with our c A Records. They say to us,

1048
00:48:46,000 --> 00:48:49,480
Speaker 1: you can't use A in our studios anymore. Phil Ramon Studios,

1049
00:48:49,719 --> 00:48:52,160
Speaker 1: which is amazing. I mean, Simon Garfunkel did all this

1050
00:48:52,239 --> 00:48:54,359
Speaker 1: stuff that you're now with. Our CEO got to use

1051
00:48:54,480 --> 00:48:57,359
Speaker 1: r c A Studios And guess what studio we got

1052
00:48:57,400 --> 00:49:00,640
Speaker 1: for you, the one bing cross as we cut White

1053
00:49:00,680 --> 00:49:06,279
Speaker 1: Christmas just from Are you kidding? Yeah, but you're gonna

1054
00:49:06,320 --> 00:49:09,200
Speaker 1: love it being cut their brother. We're going we can't

1055
00:49:09,239 --> 00:49:11,560
Speaker 1: get a drum sound. This is for the whole first

1056
00:49:11,600 --> 00:49:13,120
Speaker 1: album of the Guests, who was done at A in

1057
00:49:13,160 --> 00:49:16,879
Speaker 1: our studios with Phil Ramon. Every song sounds wonderful. It's

1058
00:49:17,080 --> 00:49:20,120
Speaker 1: it's not dated, everything's wet. The room had a great sound.

1059
00:49:20,160 --> 00:49:22,040
Speaker 1: He had a great reverb and all that kind of stuff.

1060
00:49:22,320 --> 00:49:25,000
Speaker 1: Great machines, great ears, you like, Jack said, this guy's

1061
00:49:25,040 --> 00:49:28,440
Speaker 1: got ears. We start to cut the canned Weet, our

1062
00:49:28,480 --> 00:49:31,560
Speaker 1: second album, and the reason we was Wheat was from Wheat,

1063
00:49:31,560 --> 00:49:33,839
Speaker 1: sweet country and candical like prairies worthy girl the Wheat

1064
00:49:34,280 --> 00:49:36,719
Speaker 1: and so our song our album is called Candyheat. The

1065
00:49:36,760 --> 00:49:39,560
Speaker 1: album sounds terrible and we say to Jack, we can't

1066
00:49:39,560 --> 00:49:41,279
Speaker 1: even get a drum sound in here. It's dry, it's

1067
00:49:41,280 --> 00:49:44,439
Speaker 1: an an okaic chambers like. It's terrible, and he says,

1068
00:49:44,560 --> 00:49:47,000
Speaker 1: I have a plan because I know we're not going

1069
00:49:47,040 --> 00:49:49,279
Speaker 1: to get a hit record out of this studio. The

1070
00:49:49,360 --> 00:49:51,319
Speaker 1: sound isn't right. Radio is gonna want to hear the

1071
00:49:51,360 --> 00:49:54,719
Speaker 1: same thing. So let's tell everybody at our c A.

1072
00:49:55,080 --> 00:49:57,799
Speaker 1: I've never told this story before. By the way, let's

1073
00:49:57,800 --> 00:50:00,839
Speaker 1: tell everybody. Say, you have a gig this weekend at

1074
00:50:00,920 --> 00:50:03,880
Speaker 1: something beach out in Long Island. I forget what it's called,

1075
00:50:04,600 --> 00:50:07,200
Speaker 1: Jones Beach. You gotta get get Jones which you're gonna

1076
00:50:07,239 --> 00:50:09,759
Speaker 1: pack up your gear Friday night at two o'clock, get

1077
00:50:09,800 --> 00:50:11,640
Speaker 1: in the car, drive to Jones Beach, will come back

1078
00:50:11,640 --> 00:50:15,000
Speaker 1: Sunday afternoon. Just start recording here Monday morning. He has

1079
00:50:15,040 --> 00:50:17,880
Speaker 1: booked a in our studios. He has picked two songs

1080
00:50:17,960 --> 00:50:20,480
Speaker 1: from Canned Wheat that we're gonna do with throw Ramon.

1081
00:50:20,800 --> 00:50:22,359
Speaker 1: We go in there and set up fiel Ramon gets

1082
00:50:22,400 --> 00:50:24,040
Speaker 1: a song but a boom but a being, and Anari

1083
00:50:24,160 --> 00:50:26,720
Speaker 1: gets a song we called Laughing and she's come undone.

1084
00:50:27,200 --> 00:50:30,560
Speaker 1: They go on Canned Wheat. If you listen to cann

1085
00:50:30,560 --> 00:50:33,600
Speaker 1: Wheat today, the whole album sucks. It's very, very, very

1086
00:50:33,719 --> 00:50:36,840
Speaker 1: very dry, and these songs jump off the turn the

1087
00:50:36,960 --> 00:50:39,719
Speaker 1: off the vinyl. It's undone and laughing. They got this

1088
00:50:40,280 --> 00:50:43,520
Speaker 1: sound that was there. We also had a song on

1089
00:50:43,560 --> 00:50:47,880
Speaker 1: there called No Time that was so terrible. We recorded

1090
00:50:47,920 --> 00:50:49,960
Speaker 1: again for the American Woman album with a with a

1091
00:50:49,960 --> 00:50:52,680
Speaker 1: better sound, and it was a hit for us. Okay,

1092
00:50:52,680 --> 00:50:56,000
Speaker 1: so then obviously Laughing is a hit and she's come undone.

1093
00:50:56,000 --> 00:50:59,719
Speaker 1: It's kind of a you know, underground classic in America.

1094
00:51:00,000 --> 00:51:04,360
Speaker 1: And then what happens with the third album, We well,

1095
00:51:04,520 --> 00:51:07,080
Speaker 1: we caused a strike at our. They found out the

1096
00:51:07,120 --> 00:51:09,239
Speaker 1: engineers played the album they're mastering at our c A

1097
00:51:09,760 --> 00:51:12,879
Speaker 1: what are these two songs? This isn't our sound. They

1098
00:51:12,920 --> 00:51:14,800
Speaker 1: find out that we snuck into A and our studios.

1099
00:51:14,840 --> 00:51:17,319
Speaker 1: We have what's called the NABAT strike National Association or

1100
00:51:17,320 --> 00:51:20,600
Speaker 1: Broadcast Engineers Technicians. There's a strike. It's called the guests

1101
00:51:20,600 --> 00:51:23,440
Speaker 1: who strike. These guys won't work in the studio. So

1102
00:51:23,480 --> 00:51:25,200
Speaker 1: we have to settle the strike. We gotta go talk

1103
00:51:25,200 --> 00:51:28,040
Speaker 1: with union leaders and all this stuff. So we say

1104
00:51:28,080 --> 00:51:29,799
Speaker 1: to our say, we can't record here anymore. We need

1105
00:51:29,840 --> 00:51:30,880
Speaker 1: to go at A and or. You can't go to

1106
00:51:30,960 --> 00:51:32,319
Speaker 1: A and R. It's got to be our c Okay,

1107
00:51:32,320 --> 00:51:35,520
Speaker 1: build us a studio. So they go to Chicago and

1108
00:51:35,560 --> 00:51:37,800
Speaker 1: they build us a studio. Because we're still living in Winnipeg.

1109
00:51:38,080 --> 00:51:39,520
Speaker 1: We're driving all the way to New York, is three

1110
00:51:39,560 --> 00:51:41,760
Speaker 1: thousand miles to record and then driving home on weekends.

1111
00:51:42,000 --> 00:51:45,200
Speaker 1: I mean, it's crazy. And so they build us a

1112
00:51:45,200 --> 00:51:47,440
Speaker 1: studio in Chicago to our spects and to Jack Richards

1113
00:51:47,480 --> 00:51:50,080
Speaker 1: and Specs. We got a great engineer, they're called Brian Christiansen,

1114
00:51:50,520 --> 00:51:52,200
Speaker 1: and we record there and that's the sound of the

1115
00:51:52,200 --> 00:51:55,919
Speaker 1: American Woman album. Okay, so the album after ken Weed

1116
00:51:56,040 --> 00:51:59,399
Speaker 1: is an American American woman. Okay, how do you write

1117
00:51:59,400 --> 00:52:04,480
Speaker 1: American him in? We are still living in Winnipeg. We're

1118
00:52:04,480 --> 00:52:07,319
Speaker 1: crossing the border where gas is cheaper. We always go

1119
00:52:07,360 --> 00:52:09,759
Speaker 1: to the same gas station, which in the old days,

1120
00:52:10,200 --> 00:52:13,360
Speaker 1: the gas station was a glass tube with the leaders

1121
00:52:13,360 --> 00:52:14,759
Speaker 1: in it. You can see the gas going down. It

1122
00:52:14,800 --> 00:52:16,920
Speaker 1: wasn't a digital kind of thing. And so would we

1123
00:52:16,960 --> 00:52:19,160
Speaker 1: sit there watching the gas go on, filling up our vehicle,

1124
00:52:19,440 --> 00:52:21,840
Speaker 1: and this farmer who would always fill up his tractor

1125
00:52:21,880 --> 00:52:24,560
Speaker 1: there and his thrashing machine, would say to us, where

1126
00:52:24,560 --> 00:52:26,719
Speaker 1: are you guys going now? And I say, we're going

1127
00:52:26,760 --> 00:52:29,120
Speaker 1: to Boston. We're playing a plotfest with Joan Bayaz and

1128
00:52:29,200 --> 00:52:31,920
Speaker 1: Richie Havens and next time where you going San Francisco

1129
00:52:31,960 --> 00:52:33,840
Speaker 1: to play with Frank Zapp and the Mothers? Where are

1130
00:52:33,840 --> 00:52:36,000
Speaker 1: you going? This time, we're going to Texas to play

1131
00:52:36,040 --> 00:52:39,520
Speaker 1: a gig. And I said, but before we go down there,

1132
00:52:40,680 --> 00:52:42,759
Speaker 1: the guy at the border, I couldn't understand you talked

1133
00:52:42,800 --> 00:52:45,200
Speaker 1: like boss hog On because I had a big fat

1134
00:52:45,280 --> 00:52:48,160
Speaker 1: guy Boord, a guy with a real Southern drawl, Like

1135
00:52:48,280 --> 00:52:50,440
Speaker 1: I'm saying, hey, boy, before you go down to Texas, boy,

1136
00:52:50,440 --> 00:52:51,799
Speaker 1: you got to go in this building over there, boy,

1137
00:52:51,800 --> 00:52:53,480
Speaker 1: and make sure you're going too that building. Boy, I said,

1138
00:52:53,480 --> 00:52:55,080
Speaker 1: I didn't understand the guy. He said, We've got to

1139
00:52:55,080 --> 00:52:57,520
Speaker 1: go into some sort of service building. And I don't

1140
00:52:57,520 --> 00:53:00,440
Speaker 1: know what he meant. And the guy filling the gas

1141
00:53:00,440 --> 00:53:04,239
Speaker 1: tanks did he did? He say selective service, and I said,

1142
00:53:04,239 --> 00:53:06,319
Speaker 1: maybe that's it. It's a white building with an American flag.

1143
00:53:06,360 --> 00:53:08,600
Speaker 1: He said that selective service. Do you know what that is?

1144
00:53:08,680 --> 00:53:11,359
Speaker 1: I said, I have no idea. Is it's the draft board.

1145
00:53:12,040 --> 00:53:16,480
Speaker 1: They drafted Vietnam War. They drafted my son a year ago.

1146
00:53:16,480 --> 00:53:20,040
Speaker 1: He's dead. My nephew turned eighteen last week. They got him.

1147
00:53:20,040 --> 00:53:22,400
Speaker 1: The next day. He's in fred Bragg to training him

1148
00:53:22,400 --> 00:53:24,000
Speaker 1: to go fight in his Vietnam and drawing. They're gonna

1149
00:53:24,040 --> 00:53:27,279
Speaker 1: get you, guys. You're between twenty and thirty. You're healthy Canadians.

1150
00:53:27,480 --> 00:53:29,279
Speaker 1: You've got green cards. That means you can work in

1151
00:53:29,320 --> 00:53:31,400
Speaker 1: the state's pay tack in the states and be drafted

1152
00:53:31,640 --> 00:53:35,120
Speaker 1: and fight for the States. What do yourself a favor.

1153
00:53:35,200 --> 00:53:37,280
Speaker 1: Go into town here and pretend you're getting some chips

1154
00:53:37,280 --> 00:53:40,120
Speaker 1: and drinks for the road. You already got your gas.

1155
00:53:40,640 --> 00:53:43,239
Speaker 1: Keep driving. When you get to this highway, turn left,

1156
00:53:43,239 --> 00:53:46,000
Speaker 1: go up through Duluth, Go back to Minnesota and Louth, Minnesota.

1157
00:53:46,160 --> 00:53:48,839
Speaker 1: Get into Canada, turning to green cards. Don't come back

1158
00:53:48,880 --> 00:53:51,239
Speaker 1: to the States of the wars over. Everybody's protesting the war.

1159
00:53:51,280 --> 00:53:54,719
Speaker 1: It might be over soon. Wow. I call Texas. We

1160
00:53:54,760 --> 00:53:57,480
Speaker 1: don't go to Texas. We want to go to Texas

1161
00:53:57,520 --> 00:53:59,040
Speaker 1: to see Buddy hally as if he's going to be

1162
00:53:59,040 --> 00:54:02,200
Speaker 1: there waiting for us, right, or Roy Orbison or somebody

1163
00:54:02,200 --> 00:54:04,440
Speaker 1: like that. We get to this place in Toronto, I

1164
00:54:04,480 --> 00:54:06,680
Speaker 1: call an agency. This is Valentine's Day. We're gonna play

1165
00:54:06,719 --> 00:54:11,760
Speaker 1: Valentine's Day dance in Texas February. We get to Toronto

1166
00:54:12,200 --> 00:54:13,840
Speaker 1: early in the morning and I say, I call the

1167
00:54:13,840 --> 00:54:15,719
Speaker 1: agency and I say, do you have any gigs? This

1168
00:54:15,760 --> 00:54:17,960
Speaker 1: is Randy Backman from the Guests who and we're we

1169
00:54:18,040 --> 00:54:19,719
Speaker 1: need some gigs. In Torontesse. Guys. So, yeah, when do

1170
00:54:19,719 --> 00:54:22,560
Speaker 1: you need gigs? I said, tonight? What we're in town?

1171
00:54:22,600 --> 00:54:26,279
Speaker 1: We we we're draft dodging from the States. Really these

1172
00:54:26,360 --> 00:54:29,640
Speaker 1: West Valentine's Everything's book. But we just had a consulate cancelation.

1173
00:54:30,040 --> 00:54:31,719
Speaker 1: One guy's got laryng right, it's the middle of the

1174
00:54:31,719 --> 00:54:33,759
Speaker 1: winter in Canada and he can't sing to you. Go

1175
00:54:33,840 --> 00:54:36,680
Speaker 1: can you go play a curling rink tonight in Kitchen

1176
00:54:36,760 --> 00:54:38,919
Speaker 1: or Waterloo? And I say, how much does it paints?

1177
00:54:38,960 --> 00:54:40,520
Speaker 1: Is four bucks? And that's what we're gonna get in

1178
00:54:40,520 --> 00:54:43,919
Speaker 1: Texas anyways, So I say, okay, we go and play

1179
00:54:43,960 --> 00:54:46,719
Speaker 1: this curling rink. You know what curling is the worst?

1180
00:54:46,719 --> 00:54:49,960
Speaker 1: Everybody knows. That was Resolve of the Olympics. Yes, they

1181
00:54:49,960 --> 00:54:53,239
Speaker 1: put plywood on the ice. It's freezing in there. It's

1182
00:54:53,280 --> 00:54:57,480
Speaker 1: like it's minus ten um. Plywood's on the everybody's there

1183
00:54:57,480 --> 00:54:59,840
Speaker 1: in Tucson Park because we're playing a three hour dance.

1184
00:55:00,239 --> 00:55:02,480
Speaker 1: We're playing beach Boys and Beatles and all that stuff.

1185
00:55:02,560 --> 00:55:05,040
Speaker 1: And I break a string. I didn't have a tech,

1186
00:55:05,320 --> 00:55:08,000
Speaker 1: a tuner, a spare guitar, a roadie. I had nothing.

1187
00:55:08,520 --> 00:55:11,000
Speaker 1: You broke a string, Burton coming, says Randy broke a string.

1188
00:55:11,000 --> 00:55:13,359
Speaker 1: We're gonna take a break, talks among yourself. There's pot

1189
00:55:13,400 --> 00:55:16,400
Speaker 1: free pop run over there, DJ playing records. Randy's changing

1190
00:55:16,400 --> 00:55:18,359
Speaker 1: a string. So I'm changing my string on the guitar

1191
00:55:19,080 --> 00:55:20,840
Speaker 1: less Paul, and I'm tuning it up, tuning it up.

1192
00:55:20,840 --> 00:55:22,600
Speaker 1: As I'm tuning it up, I'm going down. Don't then

1193
00:55:23,160 --> 00:55:27,760
Speaker 1: don't don't, don't, don't, don't, don't, don't, don't, don't do that.

1194
00:55:29,000 --> 00:55:34,120
Speaker 1: The whole audience stops talking and I go, wow, I

1195
00:55:34,239 --> 00:55:37,000
Speaker 1: gotta remember this riff, and I keep playing. I'm on stage.

1196
00:55:37,000 --> 00:55:39,520
Speaker 1: I'm on my knees in front of Burton's piano, tuning

1197
00:55:39,520 --> 00:55:41,120
Speaker 1: to the piano. Didn't even have a tuner. You tune

1198
00:55:41,120 --> 00:55:42,480
Speaker 1: to a piano when you had a piano player in

1199
00:55:42,520 --> 00:55:46,000
Speaker 1: those days. So I see Gary Peters in her drummer.

1200
00:55:46,000 --> 00:55:47,840
Speaker 1: I get on stage. He starts playing the riff. I

1201
00:55:47,840 --> 00:55:50,480
Speaker 1: see Jim Kale. Burton finally comes on the stage and goes,

1202
00:55:50,680 --> 00:55:53,480
Speaker 1: what is this? I said, I'm making it up, but

1203
00:55:53,600 --> 00:55:56,840
Speaker 1: just sing anything. And there's something about when you don't

1204
00:55:56,840 --> 00:56:00,279
Speaker 1: write music, I can't are The way to remembers thing

1205
00:56:00,560 --> 00:56:03,000
Speaker 1: is to put something silly to it, like when Paul

1206
00:56:03,040 --> 00:56:06,440
Speaker 1: McCartney wrote, yesterday, he called scrambled eggs. The next day

1207
00:56:06,480 --> 00:56:09,520
Speaker 1: he had to find syllables that fitted scrambled eggs. Baby,

1208
00:56:09,560 --> 00:56:11,040
Speaker 1: how I love your legs. If you ever saw him

1209
00:56:11,040 --> 00:56:14,080
Speaker 1: and Jimmy fallon, do it, it's hilarious skit. They also

1210
00:56:14,120 --> 00:56:16,640
Speaker 1: writes the second verse, which was never done. So he

1211
00:56:16,719 --> 00:56:19,640
Speaker 1: got scrambled eggs and said yesterday. So Britain is singing

1212
00:56:19,680 --> 00:56:21,400
Speaker 1: the first thing that comes to his mind, which is

1213
00:56:21,960 --> 00:56:24,720
Speaker 1: American Woman, stay away from me. It's a statue of liberty.

1214
00:56:25,000 --> 00:56:27,600
Speaker 1: It's that Uncle Sam and the stars and stripes. Uncle

1215
00:56:27,640 --> 00:56:31,239
Speaker 1: Sam wants you. That's when we were terrified. So he

1216
00:56:31,280 --> 00:56:34,320
Speaker 1: sings American Woman stay away from Me four times. I solo,

1217
00:56:34,400 --> 00:56:36,719
Speaker 1: he sings it again. We go to play it the

1218
00:56:36,719 --> 00:56:40,840
Speaker 1: next night. We can't remember it. I started out tuning

1219
00:56:40,880 --> 00:56:43,640
Speaker 1: my guitar again until I fall into dunt dhunt and

1220
00:56:43,680 --> 00:56:46,840
Speaker 1: we do it again. Then somebody records it. We played

1221
00:56:46,840 --> 00:56:49,320
Speaker 1: for Jack Richards and he goes crazy. This number one record.

1222
00:56:50,160 --> 00:56:52,160
Speaker 1: Do you realize when you say we don't want your

1223
00:56:52,160 --> 00:56:56,000
Speaker 1: war machines? It's an anti war song. Radio has been

1224
00:56:56,040 --> 00:56:57,600
Speaker 1: told not to play in the ant. They won't play

1225
00:56:57,600 --> 00:56:59,480
Speaker 1: Country Joe one two or three. What are we fighting for?

1226
00:56:59,680 --> 00:57:04,440
Speaker 1: All the playing is Gary Sense, Sergeant Barry Sounded, Fighting Men,

1227
00:57:04,840 --> 00:57:07,160
Speaker 1: the Green Ray, all that kind of stuff. They're only

1228
00:57:07,200 --> 00:57:10,200
Speaker 1: playing war songs, not anti war song. And this is

1229
00:57:10,200 --> 00:57:11,480
Speaker 1: going to be number one. It gets to be a

1230
00:57:11,560 --> 00:57:14,600
Speaker 1: number one album and single, and then the DJs realize

1231
00:57:14,680 --> 00:57:16,520
Speaker 1: it's an anti war song. It's too late. They can't

1232
00:57:16,560 --> 00:57:19,920
Speaker 1: not play it. Okay, that's a monster ship. I remember

1233
00:57:19,960 --> 00:57:21,800
Speaker 1: listening to it to the first night. I got stoned.

1234
00:57:22,200 --> 00:57:25,920
Speaker 1: That leads upland too so. But then the band breaks up.

1235
00:57:26,640 --> 00:57:30,200
Speaker 1: Well I leave why I had been with him at

1236
00:57:30,200 --> 00:57:33,960
Speaker 1: that point nine years the drug culture came in. I

1237
00:57:34,240 --> 00:57:36,920
Speaker 1: didn't smoke, drink or do drugs. I also had to

1238
00:57:36,920 --> 00:57:39,840
Speaker 1: think all the gallbladder problem that every night I'd have

1239
00:57:40,000 --> 00:57:41,920
Speaker 1: a gallbladder attack and I didn't know what it was.

1240
00:57:42,000 --> 00:57:44,200
Speaker 1: You're on a ninety day tour and you go to

1241
00:57:44,240 --> 00:57:45,720
Speaker 1: the hospital at night. They said, coming in the morning,

1242
00:57:45,760 --> 00:57:47,240
Speaker 1: we're gonna give you the stuff to drink and take

1243
00:57:47,240 --> 00:57:49,560
Speaker 1: an X ray. Well, I'm in Philadelphia to more, then

1244
00:57:49,560 --> 00:57:52,640
Speaker 1: I'm in Pittsburgh, then I'm in Boston. Well, you you

1245
00:57:52,680 --> 00:57:54,880
Speaker 1: need to start stand still and go and see a doctor,

1246
00:57:54,920 --> 00:57:58,200
Speaker 1: because every night I have blood both ends in the bathroom.

1247
00:57:58,560 --> 00:58:00,760
Speaker 1: Incredible pain. We have gall black, just like somebody putting

1248
00:58:00,800 --> 00:58:02,720
Speaker 1: knife in you and just turning it and turning. And

1249
00:58:02,760 --> 00:58:05,480
Speaker 1: this last two or three hours. And my roady Jumbo,

1250
00:58:05,600 --> 00:58:08,040
Speaker 1: the same guy would take me to a hospital and

1251
00:58:08,080 --> 00:58:10,080
Speaker 1: they say, you've got to keep this guy in here,

1252
00:58:10,120 --> 00:58:11,800
Speaker 1: or you gotta send them home. So I just called

1253
00:58:11,800 --> 00:58:14,560
Speaker 1: my doctor who birthed me into the world in Winnipeg

1254
00:58:14,560 --> 00:58:17,320
Speaker 1: and said, I'm coming home. I need some tests. The

1255
00:58:17,360 --> 00:58:19,840
Speaker 1: band had a week off. This is an amazing happenstance.

1256
00:58:20,160 --> 00:58:22,880
Speaker 1: The band had a week off. We're playing west Chester, Pennsylvania,

1257
00:58:23,400 --> 00:58:25,920
Speaker 1: playing in a church. In a church, the stage is

1258
00:58:25,960 --> 00:58:28,680
Speaker 1: like this high the low ceiling, so you can walk

1259
00:58:28,760 --> 00:58:32,040
Speaker 1: right up to the stage. We're playing on stage. This band.

1260
00:58:32,280 --> 00:58:34,400
Speaker 1: You can tell it's a band. The five guys come in.

1261
00:58:34,840 --> 00:58:36,800
Speaker 1: They look as weird as us. They're not the normal

1262
00:58:36,880 --> 00:58:38,920
Speaker 1: guys in the suits and ties dancing with girls at

1263
00:58:38,960 --> 00:58:42,600
Speaker 1: the church, dance their whackle. Weird new musicians. So they're

1264
00:58:42,600 --> 00:58:44,560
Speaker 1: standing right in front of they're watching every note we're playing.

1265
00:58:44,560 --> 00:58:46,600
Speaker 1: When we're all done, this guy comes says, Hi, my

1266
00:58:46,680 --> 00:58:50,560
Speaker 1: name is Bob Sabellico. Um, this is my band, and

1267
00:58:50,600 --> 00:58:52,280
Speaker 1: we play all year stuff. All the guest is, we

1268
00:58:52,400 --> 00:58:55,200
Speaker 1: love your your music. It's great, but I can't figure

1269
00:58:55,200 --> 00:58:57,560
Speaker 1: out she's come undone. All the jazz chords and some

1270
00:58:57,640 --> 00:58:59,560
Speaker 1: of the chords in these eyes, I can't figure them out.

1271
00:58:59,600 --> 00:59:01,520
Speaker 1: We show to me, I said sure, he said, come

1272
00:59:01,520 --> 00:59:04,320
Speaker 1: to our house later. My dad's a rich contractor. Our

1273
00:59:04,360 --> 00:59:06,160
Speaker 1: whole band practices in our base. We have a p

1274
00:59:06,320 --> 00:59:08,240
Speaker 1: A a hammered to be three. All the apps are there.

1275
00:59:08,640 --> 00:59:10,200
Speaker 1: Go to a party in his house. I teach them

1276
00:59:10,200 --> 00:59:12,880
Speaker 1: the songs that night to go home. Have a gallbladder attack.

1277
00:59:12,960 --> 00:59:15,480
Speaker 1: They say, you got to go home. The band has

1278
00:59:15,480 --> 00:59:17,080
Speaker 1: a week off, five days off, and then they pick

1279
00:59:17,160 --> 00:59:18,360
Speaker 1: up again, and then we've got to go play the

1280
00:59:18,360 --> 00:59:21,120
Speaker 1: film or east closing of the film work which I

1281
00:59:21,160 --> 00:59:23,240
Speaker 1: want to play. I go into my doctors, so you

1282
00:59:23,240 --> 00:59:27,520
Speaker 1: have a gallbladder problem. Will schedule your your surgery for them.

1283
00:59:27,560 --> 00:59:31,320
Speaker 1: But all you can eat until then is skim milk, saltine, crackers,

1284
00:59:31,760 --> 00:59:35,040
Speaker 1: and jello without sugar, like gelatin. That'll fill you up.

1285
00:59:35,160 --> 00:59:37,600
Speaker 1: Don't need anything else because it's got fat or sugar.

1286
00:59:37,680 --> 00:59:39,520
Speaker 1: Your goal better. So you've got a bunch of gall stones.

1287
00:59:40,400 --> 00:59:41,560
Speaker 1: So I go to the band and say, look, I

1288
00:59:41,560 --> 00:59:43,240
Speaker 1: gotta stay home. I gotta stay on this diet. But

1289
00:59:43,800 --> 00:59:45,120
Speaker 1: if I stay on this diet and I don't have

1290
00:59:45,120 --> 00:59:47,480
Speaker 1: any attacks, I want to come and play the film

1291
00:59:47,480 --> 00:59:50,640
Speaker 1: wre And the band says, well, we've got gigs. We've

1292
00:59:50,640 --> 00:59:52,920
Speaker 1: now gone from seven and fifty bucks a night to

1293
00:59:53,120 --> 00:59:55,280
Speaker 1: ten and twelve and fifteen thousand a night because of

1294
00:59:55,280 --> 00:59:58,120
Speaker 1: American woman hitting number one. We've now gone from opening

1295
00:59:58,160 --> 01:00:00,680
Speaker 1: the show to catching. We're closing show like the Beatles

1296
01:00:00,720 --> 01:00:03,240
Speaker 1: when they were like opening for Roy Orbison or somebody else.

1297
01:00:03,280 --> 01:00:06,200
Speaker 1: Do you go to headlining the show? So I say

1298
01:00:06,240 --> 01:00:10,120
Speaker 1: to the band, out of my own pocket, I'll pay

1299
01:00:10,160 --> 01:00:14,760
Speaker 1: Bob sabella coo, because you know he knows all the

1300
01:00:14,800 --> 01:00:16,760
Speaker 1: songs he went to his party. I taught him undone

1301
01:00:16,760 --> 01:00:19,280
Speaker 1: in these Eyes. So rehearse with him for friendings, go

1302
01:00:19,280 --> 01:00:20,760
Speaker 1: to his base. When you stay here, I'm flying home

1303
01:00:20,800 --> 01:00:24,480
Speaker 1: to Winnipeg. Bob Sabellico plays with the guests who for

1304
01:00:24,520 --> 01:00:27,840
Speaker 1: ten days he's famous. He plays for ten days, then

1305
01:00:27,880 --> 01:00:30,280
Speaker 1: he goes back to his band. They come back to Winnipeg.

1306
01:00:30,640 --> 01:00:32,200
Speaker 1: They got a couple of guys to take my place,

1307
01:00:32,240 --> 01:00:34,560
Speaker 1: Kurt Winters and Greg Glasgogo. I knew really well. I

1308
01:00:34,640 --> 01:00:36,440
Speaker 1: go black and play the film, or gig with them

1309
01:00:36,440 --> 01:00:38,320
Speaker 1: the film or researchers. My last gig with the guests

1310
01:00:38,360 --> 01:00:41,520
Speaker 1: who and I said goodbye. But on the airplane there,

1311
01:00:41,520 --> 01:00:44,120
Speaker 1: I'm so hungry. I take a drink that the stewardess

1312
01:00:44,120 --> 01:00:46,360
Speaker 1: gives me of apple juice. I get to the film,

1313
01:00:46,360 --> 01:00:47,800
Speaker 1: are going and play. We're doing two sets of the

1314
01:00:47,800 --> 01:00:50,720
Speaker 1: film in between the sets of the film. Or I

1315
01:00:50,800 --> 01:00:53,040
Speaker 1: go in and I have a gallbladder attack in the bathroom,

1316
01:00:53,080 --> 01:00:55,280
Speaker 1: which is the most disgusting thing you'll ever see in

1317
01:00:55,320 --> 01:00:58,080
Speaker 1: your life, like the worst gas station of all time.

1318
01:00:58,320 --> 01:01:00,840
Speaker 1: This is at the film Wore. There's stuff all over

1319
01:01:00,880 --> 01:01:03,280
Speaker 1: the floor. I mean everything's all over the floor in there.

1320
01:01:04,160 --> 01:01:06,280
Speaker 1: So but when you have a gallbladder attack, it's like

1321
01:01:06,320 --> 01:01:08,400
Speaker 1: breaking your leg or something, or getting a burn or

1322
01:01:08,440 --> 01:01:11,560
Speaker 1: getting punched in the face. Your body suddenly kicks in

1323
01:01:11,560 --> 01:01:15,880
Speaker 1: this adrenaline and everything feels wonderful for a while. So

1324
01:01:15,920 --> 01:01:18,120
Speaker 1: the second set of the film, Or I go out there,

1325
01:01:18,120 --> 01:01:20,640
Speaker 1: my gall blighter attacks over. I wiped, I'm cleaned up,

1326
01:01:20,840 --> 01:01:23,480
Speaker 1: and I'm on adrenaline, and I am rocking like Clapton

1327
01:01:23,520 --> 01:01:25,720
Speaker 1: in the Free World or Hendrix and everyone looking at

1328
01:01:25,760 --> 01:01:27,800
Speaker 1: me the band that we already had the meeting that

1329
01:01:27,880 --> 01:01:30,680
Speaker 1: this is my last gig. I'm out. I am playing

1330
01:01:30,720 --> 01:01:33,080
Speaker 1: my ass off. It's incredible, and it's the film More.

1331
01:01:33,480 --> 01:01:35,200
Speaker 1: It was just incredible. Okay. So do you have your

1332
01:01:35,200 --> 01:01:39,760
Speaker 1: gallbladder removed? No? Okay, do you still have your gallbladder? Yes?

1333
01:01:40,360 --> 01:01:43,360
Speaker 1: What do they do? Well, I'll tell you the story.

1334
01:01:43,760 --> 01:01:47,720
Speaker 1: I finished the film More, I go home. The word

1335
01:01:47,800 --> 01:01:49,439
Speaker 1: is out that I'm leaving the guests who my house

1336
01:01:49,520 --> 01:01:52,960
Speaker 1: is getting egged and toilet papered. Okay, just to be clear,

1337
01:01:53,440 --> 01:01:55,920
Speaker 1: other than the gall bladder, what did your motivation for

1338
01:01:56,040 --> 01:02:01,080
Speaker 1: leaving the band? I had a son tell him, I

1339
01:02:01,120 --> 01:02:02,680
Speaker 1: had a baby daughter on the way. I've been on

1340
01:02:02,720 --> 01:02:05,320
Speaker 1: the road ninety days and we're facing another ninety day tour.

1341
01:02:05,840 --> 01:02:08,920
Speaker 1: I married a very, very beautiful woman from Regina that

1342
01:02:08,960 --> 01:02:11,920
Speaker 1: I met at the Joni Mitchell concert and it was

1343
01:02:11,960 --> 01:02:13,920
Speaker 1: one of those two girls. Yeah, I'm married her. We

1344
01:02:13,960 --> 01:02:16,320
Speaker 1: had six kids or lists. Tell who had to hit

1345
01:02:16,400 --> 01:02:17,920
Speaker 1: she saw hid. He's now in my band playing with

1346
01:02:17,960 --> 01:02:21,040
Speaker 1: me every night. So are you still married to her? No? No,

1347
01:02:21,120 --> 01:02:25,240
Speaker 1: we got divorced and live happily ever after. Okay, but

1348
01:02:26,000 --> 01:02:28,320
Speaker 1: so you say and what do you plan to do

1349
01:02:28,440 --> 01:02:30,560
Speaker 1: now that you're out of the band. I just planned,

1350
01:02:30,560 --> 01:02:33,520
Speaker 1: that's it. I all I got is get healthy. So

1351
01:02:33,560 --> 01:02:35,720
Speaker 1: a couple of months and we leave Winnipeg because my

1352
01:02:35,760 --> 01:02:38,200
Speaker 1: house is getting egged and toilet paper and everything, it's

1353
01:02:38,240 --> 01:02:41,720
Speaker 1: all everywhere. People are bringing their garbage on my lawn

1354
01:02:41,720 --> 01:02:44,000
Speaker 1: and lighting it on fire and it's stinking, and so

1355
01:02:44,160 --> 01:02:47,000
Speaker 1: we got to get out of town. My renette, her

1356
01:02:47,040 --> 01:02:49,880
Speaker 1: name was Lorraine. Her family has moved to Saskatoon, which

1357
01:02:49,880 --> 01:02:52,960
Speaker 1: is where Joni Mitchell's from. I get an offer from

1358
01:02:52,960 --> 01:02:56,200
Speaker 1: a band at Saskatoon to produce them. Why not, I'm

1359
01:02:56,240 --> 01:02:58,840
Speaker 1: not doing anything. I've learned how to produce from Jack

1360
01:02:58,920 --> 01:03:00,960
Speaker 1: Richards in the phil Ramona kidding. These are the best

1361
01:03:01,000 --> 01:03:03,080
Speaker 1: guys in Canada and the States. So I'm go and

1362
01:03:03,120 --> 01:03:06,880
Speaker 1: start working with this band and were really strange thing

1363
01:03:06,960 --> 01:03:10,800
Speaker 1: happened to me. I had a gall bladder attack again.

1364
01:03:12,120 --> 01:03:14,560
Speaker 1: Unthinking LYE took a sip of orange crush that you get,

1365
01:03:14,600 --> 01:03:17,560
Speaker 1: you know, that's all that syrup, and it started up again.

1366
01:03:18,520 --> 01:03:21,720
Speaker 1: And UM, I don't know if you're into this or

1367
01:03:21,760 --> 01:03:23,439
Speaker 1: your readers are into it, but and I've never told

1368
01:03:23,520 --> 01:03:25,800
Speaker 1: this story. I don't know why I'm telling you this.

1369
01:03:26,400 --> 01:03:31,360
Speaker 1: I got faith field. So these guys come in, their

1370
01:03:31,400 --> 01:03:38,000
Speaker 1: missionaries and my brother in law who's also a missionary.

1371
01:03:38,480 --> 01:03:40,880
Speaker 1: They anoint my head with oil. They put their hands

1372
01:03:40,880 --> 01:03:44,240
Speaker 1: on me and they say, you're you're healed, You're fine.

1373
01:03:44,840 --> 01:03:46,560
Speaker 1: This is the Friday night I've had the gold. I'm

1374
01:03:46,560 --> 01:03:48,320
Speaker 1: set to go in the next morning. I go on

1375
01:03:48,400 --> 01:03:52,360
Speaker 1: Saturday morning. The doctor says, blah blah blah. It's a

1376
01:03:52,400 --> 01:03:54,720
Speaker 1: long weekend. I said, look, I've had actually, i've got

1377
01:03:54,720 --> 01:03:57,280
Speaker 1: sixteen gall stones. It's killing me. You gotta take the money.

1378
01:03:57,280 --> 01:03:58,480
Speaker 1: So I don't want to take him on less I

1379
01:03:58,480 --> 01:04:00,640
Speaker 1: can see your x race. So trying to call my

1380
01:04:00,720 --> 01:04:03,080
Speaker 1: doctor on a long weekend. It Saturday morning, there's nothing

1381
01:04:03,120 --> 01:04:06,160
Speaker 1: shaken until Tuesday morning, the Monday's holiday. Because I've called

1382
01:04:06,200 --> 01:04:08,400
Speaker 1: your doctor. They're gonna send your X rays. There was

1383
01:04:08,440 --> 01:04:10,120
Speaker 1: no fat accent, and they can send your extrays on

1384
01:04:10,160 --> 01:04:12,000
Speaker 1: air can on the airplane. I'll send somebody to get

1385
01:04:12,000 --> 01:04:14,760
Speaker 1: them with like a messenger service. Meanwhile, I'm gonna take

1386
01:04:14,760 --> 01:04:17,440
Speaker 1: my own X rays. So I drink this barriam junk

1387
01:04:17,920 --> 01:04:19,840
Speaker 1: gets in, goes in me. I go and get my

1388
01:04:19,880 --> 01:04:21,760
Speaker 1: extras taken. He said, you don't have any goal stones.

1389
01:04:22,360 --> 01:04:25,160
Speaker 1: What do you mean you don't have any goals? Maybe

1390
01:04:25,160 --> 01:04:27,640
Speaker 1: you've passed them, maybe they're stuck somewhere else. So we're

1391
01:04:27,680 --> 01:04:29,120
Speaker 1: gonna give you more stuff to drink. It might be

1392
01:04:29,160 --> 01:04:32,840
Speaker 1: in your intestines or somewhere else. I stayed there for

1393
01:04:32,880 --> 01:04:35,840
Speaker 1: two days drinking the stuff. There's nothing in me. My

1394
01:04:36,040 --> 01:04:38,400
Speaker 1: x rays come Tuesday morning. He looks at them, and

1395
01:04:38,400 --> 01:04:40,919
Speaker 1: he looks at the X rays taking He says, you're fine.

1396
01:04:40,960 --> 01:04:42,960
Speaker 1: You can leave the hospital. You don't have any goal stones.

1397
01:04:43,240 --> 01:04:46,800
Speaker 1: What happened, I said, I was given a blessing. I

1398
01:04:46,800 --> 01:04:49,640
Speaker 1: I guess I was faith field. I was in such

1399
01:04:49,680 --> 01:04:52,040
Speaker 1: a pain when these guys said it. I believed it

1400
01:04:52,080 --> 01:04:54,640
Speaker 1: in my brain. Are their brain or something or I

1401
01:04:54,680 --> 01:04:58,120
Speaker 1: did feel some incredible power when this was happening to me.

1402
01:04:58,600 --> 01:05:00,560
Speaker 1: I've seen it happen on TV. I did believe it.

1403
01:05:02,440 --> 01:05:05,960
Speaker 1: I'm healthy. I go back home at eight o'clock every night,

1404
01:05:06,480 --> 01:05:09,439
Speaker 1: I'm downstairs playing guitar. I've done this for like fifteen years,

1405
01:05:09,480 --> 01:05:11,520
Speaker 1: playing guitar. My wife says to me, you gotta start

1406
01:05:11,520 --> 01:05:13,800
Speaker 1: another band. You're driving me cuckoo. I wake up three

1407
01:05:13,840 --> 01:05:16,080
Speaker 1: in the morning. You're not in bed you're downstairs with

1408
01:05:16,120 --> 01:05:18,840
Speaker 1: the headphones on playing guitar. So I started another band.

1409
01:05:18,920 --> 01:05:21,840
Speaker 1: Neil Young comes home plays says, I've broken up with Crosbie, Sales,

1410
01:05:21,920 --> 01:05:24,960
Speaker 1: Nash and Young. I'm on my own. Well, actually, I've

1411
01:05:25,000 --> 01:05:27,120
Speaker 1: broken up the Sprinkle. They want me to join Crosbie,

1412
01:05:27,120 --> 01:05:29,040
Speaker 1: Szells and Nash. I'm trying to get my name at it,

1413
01:05:29,080 --> 01:05:31,400
Speaker 1: so I'll be Crosby, Seals Nash and Young plays me

1414
01:05:31,440 --> 01:05:32,960
Speaker 1: a couple of tracks. He helps me get a deal.

1415
01:05:33,000 --> 01:05:35,919
Speaker 1: I started country band like Poco, like Buffalo Sprinkle, called

1416
01:05:35,920 --> 01:05:38,200
Speaker 1: Brave Belt. Neil gets me a deal for PRIs. I

1417
01:05:38,240 --> 01:05:40,080
Speaker 1: go down there and do two albums with the PRIs.

1418
01:05:40,120 --> 01:05:42,280
Speaker 1: It doesn't sell. It's at the tail end of the

1419
01:05:42,320 --> 01:05:45,920
Speaker 1: country rocking, just before the Eagles burst out. I get

1420
01:05:45,920 --> 01:05:47,560
Speaker 1: Fred Turner in the band I know from the early

1421
01:05:47,600 --> 01:05:51,400
Speaker 1: Winnipeg days. We changed Great Belt three becomes back when

1422
01:05:51,440 --> 01:05:56,840
Speaker 1: Turner Overdrive one. Okay, but Brave Belt is on Reprieve. Yes,

1423
01:05:57,120 --> 01:06:02,280
Speaker 1: why do you think it wasn't successful? Um? I didn't

1424
01:06:02,400 --> 01:06:07,680
Speaker 1: want to be a second rate guest who Burton comings

1425
01:06:07,720 --> 01:06:09,680
Speaker 1: is one of the greatest voices in rock and roll,

1426
01:06:10,600 --> 01:06:13,400
Speaker 1: like Elton John an operatic voice. Stree and a half

1427
01:06:13,400 --> 01:06:15,600
Speaker 1: four octaves. He can sing a ballad. You can sing

1428
01:06:15,600 --> 01:06:17,400
Speaker 1: Old Danny Boy and make you cry like true to

1429
01:06:17,480 --> 01:06:20,280
Speaker 1: his Irish roots. He could scream like Eric Burton, we

1430
01:06:20,400 --> 01:06:21,920
Speaker 1: got to get out of this place. He could scream

1431
01:06:21,960 --> 01:06:24,600
Speaker 1: like Robert Plant. He's got a great voice. What could

1432
01:06:24,640 --> 01:06:26,840
Speaker 1: I do? I had a Neil Young voice. I sang

1433
01:06:26,880 --> 01:06:29,640
Speaker 1: Brian Wilson parts, I get around, I sang the high Thing.

1434
01:06:29,680 --> 01:06:35,320
Speaker 1: I wasn't a singer, and so rather than be a

1435
01:06:35,400 --> 01:06:37,439
Speaker 1: second rate guests who, I'd rather be a tenth rate

1436
01:06:37,480 --> 01:06:40,280
Speaker 1: guests who and not even compete in the pop market.

1437
01:06:40,560 --> 01:06:42,960
Speaker 1: Do country music, get a pedal steel, be like Poco,

1438
01:06:43,080 --> 01:06:45,480
Speaker 1: Richie far Ray and Polka who left Buffalo Spring, Be

1439
01:06:45,600 --> 01:06:48,040
Speaker 1: like Neil and Steven Stills and Manassas and whatever they

1440
01:06:48,040 --> 01:06:50,120
Speaker 1: were doing. Do what you're wanted to sing harmony, play

1441
01:06:50,160 --> 01:06:53,160
Speaker 1: blazing rock and roll guitar. Nobody would work with me.

1442
01:06:53,200 --> 01:06:54,880
Speaker 1: I was blackballed after I left the guests who I

1443
01:06:54,880 --> 01:06:57,360
Speaker 1: had to produce myself, pay for my own sessions with

1444
01:06:57,440 --> 01:06:59,960
Speaker 1: my royalties that were coming very meager royalties from the

1445
01:07:00,160 --> 01:07:02,800
Speaker 1: eyes and laughing and undone and all this stuff, and

1446
01:07:04,640 --> 01:07:08,160
Speaker 1: produced myself. Neil Young got me the deal came to

1447
01:07:08,240 --> 01:07:10,880
Speaker 1: Brave Belt three more. Auston and Don Schmissli called me

1448
01:07:10,960 --> 01:07:13,040
Speaker 1: and said, we can't keep you on the label anymore.

1449
01:07:13,120 --> 01:07:15,160
Speaker 1: It would be too much of a favorite. To Neil,

1450
01:07:15,200 --> 01:07:17,320
Speaker 1: We've already done you a favor. You're not meeting our

1451
01:07:17,360 --> 01:07:20,080
Speaker 1: bottom line. We're gonna go with America on Gordon Lightfoot,

1452
01:07:20,120 --> 01:07:23,240
Speaker 1: who we just signed a Canadian and you can't produce

1453
01:07:23,280 --> 01:07:26,280
Speaker 1: yourself like Gordon Lightfoot's taking Lenny warrenk Or if you

1454
01:07:26,360 --> 01:07:30,080
Speaker 1: take Lenny, we'll keep on the label our templement. I said, no,

1455
01:07:30,120 --> 01:07:32,240
Speaker 1: I'm producing myself. Nobody knows what I'm doing. I don't

1456
01:07:32,240 --> 01:07:34,280
Speaker 1: even know what I'm doing. I'm just I'm floundering here.

1457
01:07:34,280 --> 01:07:36,360
Speaker 1: I'll find it. They said, we're sure you'll find it.

1458
01:07:37,720 --> 01:07:39,320
Speaker 1: I find it when I get Turner in the band,

1459
01:07:39,360 --> 01:07:41,360
Speaker 1: chat out and leaves again. He left the Guess Who

1460
01:07:41,680 --> 01:07:43,520
Speaker 1: and then he leaves the Brave Belt and he started

1461
01:07:43,560 --> 01:07:44,800
Speaker 1: with him is the only guy would play with me

1462
01:07:44,800 --> 01:07:48,480
Speaker 1: in Winnipeg. He leaves the band. Fred Turner comes in. Suddenly,

1463
01:07:48,520 --> 01:07:51,919
Speaker 1: Fred Turner has got this Harley Davidson, John Forgerty voice.

1464
01:07:51,960 --> 01:07:54,400
Speaker 1: We started doing Creed this clear water. Everybody's up dancing

1465
01:07:54,600 --> 01:07:57,360
Speaker 1: our country music. Everybody's yawning, like when's the next rocket?

1466
01:07:57,400 --> 01:07:59,440
Speaker 1: When you're gonna play American Woman. I didn't want to

1467
01:07:59,440 --> 01:08:02,160
Speaker 1: play any guest who stuff. I wanted to start from scratch.

1468
01:08:03,240 --> 01:08:05,240
Speaker 1: So Fred turners in the band, and we get heavier

1469
01:08:05,240 --> 01:08:07,840
Speaker 1: and heavier and heavy and heavier. And there was a

1470
01:08:07,880 --> 01:08:10,800
Speaker 1: revolution music at that time. We go to a club

1471
01:08:10,800 --> 01:08:13,360
Speaker 1: and the guy say, okay, coffee houses are over. People

1472
01:08:13,360 --> 01:08:16,080
Speaker 1: aren't sitting listening to lyrics anymore. They're up dancing to

1473
01:08:16,160 --> 01:08:19,080
Speaker 1: Proud Mary and and jumping Jack flashes off. You got

1474
01:08:19,080 --> 01:08:21,280
Speaker 1: to write stuff like that, so I started writing like

1475
01:08:21,320 --> 01:08:24,080
Speaker 1: The Who and the Stones and Creans clear Water. Fred

1476
01:08:24,120 --> 01:08:26,760
Speaker 1: has this big voice. I sing relief for Fred. Every

1477
01:08:26,800 --> 01:08:29,360
Speaker 1: once in a while, I sing like David Crosby Neil

1478
01:08:29,400 --> 01:08:31,479
Speaker 1: Young song. You don't need a big, powerful voice, you

1479
01:08:31,560 --> 01:08:33,599
Speaker 1: just need kind of a cool voice that gives the

1480
01:08:33,600 --> 01:08:35,840
Speaker 1: other guy ar rescue or relief. Picture a relief hitter.

1481
01:08:36,560 --> 01:08:39,160
Speaker 1: And we've become back and turn over drive. Now you

1482
01:08:39,200 --> 01:08:43,920
Speaker 1: switch to mercury, right? Yes? How does that happen? When

1483
01:08:44,040 --> 01:08:47,400
Speaker 1: more Austen let me go? I had the album cut

1484
01:08:47,439 --> 01:08:49,599
Speaker 1: on my own dime. I had no money from her priest.

1485
01:08:51,280 --> 01:08:55,160
Speaker 1: I'm paying the band a salary out of my royalties,

1486
01:08:55,200 --> 01:08:57,160
Speaker 1: and I'm paying my own corn flakes and gas bill

1487
01:08:57,240 --> 01:08:59,559
Speaker 1: and my rent. And now I've got two kids and

1488
01:08:59,600 --> 01:09:03,519
Speaker 1: a wife. We're getting near the end. I'm sending out

1489
01:09:03,600 --> 01:09:09,000
Speaker 1: real to real tapes. I have twenty six refusals, beautiful letterheads.

1490
01:09:09,520 --> 01:09:13,879
Speaker 1: Jack Holtzman Electric with the butterfly, Herb Belfort with the trumpet,

1491
01:09:13,880 --> 01:09:15,800
Speaker 1: the silver trumpet of A and M. We passed. We

1492
01:09:15,840 --> 01:09:19,800
Speaker 1: passed passes from everybody passes a pass from Mercury Records.

1493
01:09:19,840 --> 01:09:23,160
Speaker 1: In January. Before that, I had met Charlie Fatch, who

1494
01:09:23,200 --> 01:09:25,479
Speaker 1: was the guy who signed us, and he said, you've

1495
01:09:25,479 --> 01:09:27,760
Speaker 1: got to put your name on the record. Every mighty

1496
01:09:27,760 --> 01:09:29,760
Speaker 1: trying to hide out be calling Brave Bell. Put your

1497
01:09:29,800 --> 01:09:32,120
Speaker 1: name in their radio. Guys are recognize your name and

1498
01:09:32,120 --> 01:09:34,240
Speaker 1: he might get a spin. They might play it because

1499
01:09:34,280 --> 01:09:37,800
Speaker 1: they recognize that you've written hit songs. So I'm trying

1500
01:09:37,800 --> 01:09:39,759
Speaker 1: to find put my name on there. We call ourselves

1501
01:09:39,800 --> 01:09:41,840
Speaker 1: back Main Turning. There's me and my brothers and Fred Turner.

1502
01:09:42,000 --> 01:09:44,479
Speaker 1: We're called back Fin Turner. For a while, people think

1503
01:09:44,479 --> 01:09:46,920
Speaker 1: we're like seals and crops, or Brewer and Shipley. A

1504
01:09:46,960 --> 01:09:49,240
Speaker 1: guitar and a mandolin singing one toke over the line.

1505
01:09:49,439 --> 01:09:51,640
Speaker 1: We're blowing coffee mugs off the table. We're playing this

1506
01:09:51,640 --> 01:09:56,800
Speaker 1: powerful rock and roll, so um we cut the the

1507
01:09:57,000 --> 01:10:00,360
Speaker 1: I send bt O three again to Charlie Fatch and

1508
01:10:00,400 --> 01:10:03,040
Speaker 1: he calls me up and I hear side one cut one,

1509
01:10:03,400 --> 01:10:05,880
Speaker 1: give me your money please. It's a Saturday morning for you.

1510
01:10:06,080 --> 01:10:09,200
Speaker 1: You're working Saturday morning. Yeah, I'm listening to your record.

1511
01:10:09,840 --> 01:10:11,600
Speaker 1: I just got back from met him and can and

1512
01:10:11,640 --> 01:10:15,519
Speaker 1: that whole thing, and um, my desk is cleared off

1513
01:10:15,520 --> 01:10:17,320
Speaker 1: at the end of January, and I look at all

1514
01:10:17,320 --> 01:10:19,880
Speaker 1: the new stuff and a guy named Bud Scopa, who

1515
01:10:19,920 --> 01:10:24,000
Speaker 1: you might not know, was his assistant clearing off my desk.

1516
01:10:24,040 --> 01:10:25,599
Speaker 1: And when you put everything in the trash can from

1517
01:10:25,640 --> 01:10:27,519
Speaker 1: last year because I'm coming back with a new budget,

1518
01:10:28,280 --> 01:10:31,559
Speaker 1: one tape Never Fail into the trash can and written

1519
01:10:31,560 --> 01:10:33,960
Speaker 1: on it was your name back when in red Sharpie.

1520
01:10:34,200 --> 01:10:36,840
Speaker 1: So I'm playing it now. Is the whole album like this?

1521
01:10:36,920 --> 01:10:38,680
Speaker 1: He's playing side one cut one to go, Charlie. The

1522
01:10:38,680 --> 01:10:41,000
Speaker 1: whole album like that. It's in your face four and

1523
01:10:41,040 --> 01:10:43,000
Speaker 1: a half minute rock and roll. Listened to Fred Turner

1524
01:10:43,080 --> 01:10:46,160
Speaker 1: sing and he says, I'm flying Toto l A right

1525
01:10:46,200 --> 01:10:48,400
Speaker 1: now to play stuff for Erwin Steinberg and all the

1526
01:10:48,439 --> 01:10:50,240
Speaker 1: guys in l A on who we're gonna sign. We

1527
01:10:50,400 --> 01:10:52,600
Speaker 1: just got Rod Stewart who had like Maggie made and

1528
01:10:52,680 --> 01:10:55,080
Speaker 1: came out and because we've lost your Rye, heap for

1529
01:10:55,200 --> 01:10:57,599
Speaker 1: some other band. We need like a rock, heavy rock band.

1530
01:10:58,400 --> 01:11:00,120
Speaker 1: And he said how much you got into the album?

1531
01:11:00,120 --> 01:11:02,200
Speaker 1: And I said, man, I've got like ninety eight thousand

1532
01:11:02,240 --> 01:11:04,639
Speaker 1: dollars and money in salary and studio costs, and I've

1533
01:11:04,640 --> 01:11:06,720
Speaker 1: been flying all over trying to get this mixed with

1534
01:11:06,760 --> 01:11:08,439
Speaker 1: Phil Ramone who then was out of the game. And

1535
01:11:08,479 --> 01:11:12,960
Speaker 1: I had Shelley Yatkison and Elliott Shiner who were Phil's

1536
01:11:12,960 --> 01:11:16,920
Speaker 1: assistant then. Who are no big dude producers working on

1537
01:11:16,920 --> 01:11:20,120
Speaker 1: that with me? Um Charlie says, I want to sign it,

1538
01:11:20,160 --> 01:11:22,120
Speaker 1: but I can't give you all your money back, but

1539
01:11:22,120 --> 01:11:23,639
Speaker 1: I'll give you a five album deal. So you've got

1540
01:11:23,640 --> 01:11:25,160
Speaker 1: to recoup a little bit, and recoup a little bit

1541
01:11:25,160 --> 01:11:28,519
Speaker 1: and recoup a little bit. And so we're gonna ask

1542
01:11:28,560 --> 01:11:31,120
Speaker 1: you for another album in eighteen months. We're gonna put

1543
01:11:31,120 --> 01:11:33,479
Speaker 1: this one out. So he puts it out and it

1544
01:11:33,479 --> 01:11:36,519
Speaker 1: gets a modicum of air play. We get a call

1545
01:11:36,560 --> 01:11:38,479
Speaker 1: from a guy named Scott Shannon, who you might know,

1546
01:11:39,840 --> 01:11:43,280
Speaker 1: who's down south in St. Louis, and he says, we

1547
01:11:43,360 --> 01:11:45,360
Speaker 1: have a big thing planned at a drive in theater

1548
01:11:46,080 --> 01:11:48,679
Speaker 1: where at night, when it's dark, they play Girl Can't

1549
01:11:48,680 --> 01:11:50,880
Speaker 1: Help It and rock around the clock. But at from

1550
01:11:50,920 --> 01:11:53,639
Speaker 1: six o'clock on, we're serving hot ducks and pizza. There's

1551
01:11:53,640 --> 01:11:56,200
Speaker 1: a stage in front of the drive in theater projected

1552
01:11:56,240 --> 01:11:58,800
Speaker 1: the screen, and we're having bands play live. And we

1553
01:11:58,840 --> 01:12:00,479
Speaker 1: had so and so booked, but so and so has

1554
01:12:00,520 --> 01:12:03,280
Speaker 1: been in a car accident and he's dead. I think

1555
01:12:03,280 --> 01:12:06,960
Speaker 1: it's Dwayne Alman. Can you come and play? Well, we

1556
01:12:06,960 --> 01:12:08,719
Speaker 1: don't have anything to play, but I've got your new album,

1557
01:12:08,800 --> 01:12:10,120
Speaker 1: and if you agree to come and play for k

1558
01:12:10,520 --> 01:12:13,559
Speaker 1: K s C with a pig on it um, I'll

1559
01:12:13,560 --> 01:12:15,920
Speaker 1: play one of your tracks from bt O one every hour.

1560
01:12:16,560 --> 01:12:18,479
Speaker 1: So when you get here in three and a half weeks,

1561
01:12:19,040 --> 01:12:21,120
Speaker 1: you won't you won't have a hit song. You'll have

1562
01:12:21,120 --> 01:12:24,360
Speaker 1: a twelve hit songs. Everybody will know every song, really okay,

1563
01:12:24,439 --> 01:12:26,639
Speaker 1: And by the way, you're playing for nothing. We don't care.

1564
01:12:27,479 --> 01:12:29,760
Speaker 1: We drive in there, we play, everybody knows every song

1565
01:12:30,160 --> 01:12:33,200
Speaker 1: we're and then the next station in the chain played

1566
01:12:33,240 --> 01:12:36,160
Speaker 1: next station, the Chain play next Charlie Fashion. Irwin Steimer

1567
01:12:36,200 --> 01:12:38,479
Speaker 1: called me saying, we're getting airplay, we're selling album. You're

1568
01:12:38,479 --> 01:12:40,680
Speaker 1: not hit a million albums. What's going on? You've had

1569
01:12:40,720 --> 01:12:43,840
Speaker 1: two million albums. Guess what? We want another album? And

1570
01:12:43,920 --> 01:12:48,400
Speaker 1: that first eighteen months. Instead of one album, we did

1571
01:12:48,400 --> 01:12:50,519
Speaker 1: a third album. It was number one, not Fragile with

1572
01:12:50,560 --> 01:12:52,040
Speaker 1: the Ain't Seen Nothing You Know on as a number

1573
01:12:52,040 --> 01:12:54,640
Speaker 1: one single. B t O two with Letter Ride and

1574
01:12:54,680 --> 01:12:56,840
Speaker 1: taking Care of Business on it was number eighteen, and

1575
01:12:56,920 --> 01:12:58,800
Speaker 1: b t O one was number forty eight. We had

1576
01:12:58,840 --> 01:13:01,680
Speaker 1: three albums in the top fifty. Three songs in the

1577
01:13:01,720 --> 01:13:05,120
Speaker 1: top fifty is like what happened like two years suddenly,

1578
01:13:05,360 --> 01:13:07,360
Speaker 1: But we went on the road ninety days at a time,

1579
01:13:07,720 --> 01:13:10,080
Speaker 1: took a week off, cut the album ninety days took

1580
01:13:10,439 --> 01:13:12,880
Speaker 1: and obviously Lorraine fell out of love with me and

1581
01:13:12,920 --> 01:13:18,960
Speaker 1: I didn't know my kids and I got divorced. We'll

1582
01:13:19,000 --> 01:13:21,280
Speaker 1: pause here for a brief moment and get right back

1583
01:13:21,320 --> 01:13:26,440
Speaker 1: to Randy Backman. For those who don't know, I'm primarily

1584
01:13:26,479 --> 01:13:29,479
Speaker 1: a writer, go to left sets dot com. We can

1585
01:13:29,520 --> 01:13:32,840
Speaker 1: catch up with my daily squeeds in addition to reading

1586
01:13:32,840 --> 01:13:35,320
Speaker 1: my commentary on music tech in the world at large.

1587
01:13:35,720 --> 01:13:38,000
Speaker 1: They'll be the first to find out when we've published

1588
01:13:38,000 --> 01:13:40,840
Speaker 1: a new podcast. Go to left sets dot com and

1589
01:13:40,880 --> 01:13:44,880
Speaker 1: sign up for the newsletter. More with guitar legend Randy Backman,

1590
01:13:45,000 --> 01:13:49,800
Speaker 1: recorded live at the tune In Studios in Venice, California.

1591
01:13:50,720 --> 01:13:55,519
Speaker 1: Let's uh go a little bit slower. First album with Turner.

1592
01:13:55,800 --> 01:13:58,479
Speaker 1: You get some action, but there's no national hit. No.

1593
01:13:59,000 --> 01:14:00,519
Speaker 1: And then Charlie says to me, you know how to

1594
01:14:00,600 --> 01:14:03,479
Speaker 1: write hits. Write a hit, don't write these album cuts

1595
01:14:03,479 --> 01:14:06,559
Speaker 1: with two solos and five verses. Enough of this stuff.

1596
01:14:06,600 --> 01:14:08,920
Speaker 1: I'm having this problem with Rod Stewart. He didn't want

1597
01:14:08,920 --> 01:14:11,200
Speaker 1: a single. Let Zeppelin. They don't want to single. They

1598
01:14:11,200 --> 01:14:13,880
Speaker 1: want to sell albums. Guess what you can sell albums

1599
01:14:14,040 --> 01:14:16,840
Speaker 1: and singles. I know what that means more tickets at

1600
01:14:16,880 --> 01:14:21,800
Speaker 1: the box office. Is playing auditoriums, you're playing twentyeder hockey

1601
01:14:21,840 --> 01:14:24,679
Speaker 1: arenas and stadiums. That's the difference between the hits. Okay,

1602
01:14:24,680 --> 01:14:28,519
Speaker 1: So the second al BT O two is the breakthrough record.

1603
01:14:28,720 --> 01:14:33,160
Speaker 1: Singles it has we ain't seen nothing one, it has

1604
01:14:33,240 --> 01:14:37,400
Speaker 1: let it ride and taking care of Business? Okay, So

1605
01:14:37,439 --> 01:14:41,400
Speaker 1: how do you write taking gear of Business? That starts

1606
01:14:41,400 --> 01:14:47,759
Speaker 1: in seven in Scepter Studios in New York. We're recording

1607
01:14:48,120 --> 01:14:51,599
Speaker 1: Excepter for Laurence Greenberg is the boss there. Her son,

1608
01:14:51,720 --> 01:14:57,000
Speaker 1: Stanley Greenberg is the engineer. He's blind, so he's twiddling

1609
01:14:57,000 --> 01:14:59,280
Speaker 1: these knobs, getting a great son of darn works demos

1610
01:14:59,280 --> 01:15:01,960
Speaker 1: and we're cutting records there. John's doing your demos with

1611
01:15:02,000 --> 01:15:04,599
Speaker 1: Bert Backrock and Hell David, Ashford and Simpson were also

1612
01:15:04,640 --> 01:15:07,479
Speaker 1: pitching songs and everybody. This is the the alternative to

1613
01:15:07,479 --> 01:15:13,320
Speaker 1: the brill building there. So Paperback Writer comes out. We

1614
01:15:13,479 --> 01:15:16,960
Speaker 1: love it, but it's pretty much a copy of Johnny

1615
01:15:17,000 --> 01:15:19,200
Speaker 1: be Good The day in the life of an average

1616
01:15:19,200 --> 01:15:21,599
Speaker 1: guy who learned to play guitar in a cabin made

1617
01:15:21,600 --> 01:15:24,280
Speaker 1: of earthen would Johnny be Good? And I'm a sorry maddim.

1618
01:15:24,280 --> 01:15:25,720
Speaker 1: When you read my book to a year to write,

1619
01:15:25,720 --> 01:15:27,519
Speaker 1: when you take a look, I want to write a

1620
01:15:27,560 --> 01:15:31,200
Speaker 1: thing about Stanley Greenberg, who's a blind engineer who comes

1621
01:15:31,200 --> 01:15:35,040
Speaker 1: to work every day with a white button down shirt,

1622
01:15:35,640 --> 01:15:38,840
Speaker 1: a tweet tie, a tweet jacket with patches on the el,

1623
01:15:39,080 --> 01:15:42,640
Speaker 1: little leather patches, tweet pants, and brogue shoes. This is

1624
01:15:42,680 --> 01:15:46,240
Speaker 1: August in New York. It's ninety with ninety humidity. We're

1625
01:15:46,240 --> 01:15:49,000
Speaker 1: all wearing cutoff and flip flops. Stanley comes to work

1626
01:15:49,040 --> 01:15:52,160
Speaker 1: every drade draft. Stanley, why do you dress this way?

1627
01:15:52,200 --> 01:15:54,080
Speaker 1: Because I want to look like George Martin. He's the

1628
01:15:54,120 --> 01:15:55,720
Speaker 1: best producer in world. Get he's right, and you do

1629
01:15:55,800 --> 01:15:59,280
Speaker 1: look like him. I've met him. That's exactly what he wears. Okay,

1630
01:15:59,479 --> 01:16:02,920
Speaker 1: I'm writing a song that George Martin should produce, and

1631
01:16:02,960 --> 01:16:04,719
Speaker 1: I'm gonna call it white Collar Work. And I'm gonna

1632
01:16:04,720 --> 01:16:07,200
Speaker 1: write it about you, Stanley Greenbrig because you always wear

1633
01:16:07,240 --> 01:16:08,800
Speaker 1: a white button on call. I'm gonna call it white

1634
01:16:08,800 --> 01:16:12,360
Speaker 1: collar Worker. It's going to be exact copy of paperback writer.

1635
01:16:13,000 --> 01:16:14,800
Speaker 1: So when you when you leave the studio every night

1636
01:16:14,800 --> 01:16:17,839
Speaker 1: at ten o'clock, why do you leave at ten o'clock?

1637
01:16:18,120 --> 01:16:20,400
Speaker 1: Because we're just getting rolling a musician coming at noon.

1638
01:16:20,680 --> 01:16:22,519
Speaker 1: We're used to playing from nine to midnight. That's when

1639
01:16:22,640 --> 01:16:26,240
Speaker 1: musicians are really juiced up. Is I take the train home.

1640
01:16:26,280 --> 01:16:27,760
Speaker 1: I don't live in New York. I can't afford to

1641
01:16:27,800 --> 01:16:29,720
Speaker 1: live in New York. I'm taking the train. I go

1642
01:16:29,760 --> 01:16:32,160
Speaker 1: to Grand Central station. I go, you're kidding? Can I

1643
01:16:32,200 --> 01:16:34,080
Speaker 1: come with you? I want to write a song about you.

1644
01:16:34,080 --> 01:16:36,240
Speaker 1: I need to see what you do. He says, Okay,

1645
01:16:36,240 --> 01:16:38,160
Speaker 1: don't try to help me. I've been blind all my life.

1646
01:16:38,200 --> 01:16:40,200
Speaker 1: I have a white cane. So how do you get

1647
01:16:40,200 --> 01:16:44,080
Speaker 1: to Grand Central from here there on West fifty four? Um?

1648
01:16:44,120 --> 01:16:47,080
Speaker 1: Because I count steps, I go your kidding, this is

1649
01:16:47,120 --> 01:16:50,840
Speaker 1: my first experience with the vision impaired person. And he said,

1650
01:16:50,880 --> 01:16:52,680
Speaker 1: don't try to help me. So I go out and

1651
01:16:52,680 --> 01:16:55,280
Speaker 1: sits turned right here, and I count five hund and

1652
01:16:55,280 --> 01:16:58,200
Speaker 1: eighty five steps. Really do listed for the tweets, and

1653
01:16:58,280 --> 01:17:01,679
Speaker 1: you're the cross wall. Then I walked creator and eighty

1654
01:17:01,760 --> 01:17:03,759
Speaker 1: five steps that way. Then I listen for the tweet tweet.

1655
01:17:03,920 --> 01:17:07,320
Speaker 1: Then I walk eight steps that way. It's Grand Central station.

1656
01:17:07,680 --> 01:17:10,680
Speaker 1: I am amazed. This is a quarter after ten. The

1657
01:17:10,720 --> 01:17:13,479
Speaker 1: streets are empty. It's like Vanilla Scott, you know they're

1658
01:17:13,479 --> 01:17:17,719
Speaker 1: tom The streets are empty. Everyone's in the Madison Square

1659
01:17:17,760 --> 01:17:20,320
Speaker 1: Garden still a quarter to eleven, or they're in the

1660
01:17:20,320 --> 01:17:22,639
Speaker 1: theaters till ten thirty or eleven. So the streets are empty.

1661
01:17:22,680 --> 01:17:25,200
Speaker 1: So we get there and I say, very disappointed, standing

1662
01:17:25,280 --> 01:17:28,040
Speaker 1: nothing to write about. I have no fodder. I have

1663
01:17:28,040 --> 01:17:30,960
Speaker 1: no not even a hook line except white collar worker.

1664
01:17:31,000 --> 01:17:34,120
Speaker 1: That's gonna be white collar worker, just like paperback writer.

1665
01:17:35,320 --> 01:17:36,840
Speaker 1: I said, when do you come in? He said, I

1666
01:17:36,880 --> 01:17:40,000
Speaker 1: take the eight fifteen into the city. I go, oh,

1667
01:17:40,320 --> 01:17:42,840
Speaker 1: you get up in the morning from your alarm clocks.

1668
01:17:42,880 --> 01:17:45,080
Speaker 1: Weren't you take the eight fifteen into the city. When

1669
01:17:45,160 --> 01:17:46,680
Speaker 1: you get here, he says, I get here about quarter

1670
01:17:46,800 --> 01:17:50,960
Speaker 1: to nine, and the train smells incredible because all these

1671
01:17:50,960 --> 01:17:53,120
Speaker 1: women are putting on makeup and proof. You can't see

1672
01:17:53,120 --> 01:17:55,720
Speaker 1: what they're doing. You get here a quarter to nine,

1673
01:17:55,720 --> 01:17:57,960
Speaker 1: he said, Yeah, I walked to work to start my

1674
01:17:58,000 --> 01:18:01,080
Speaker 1: slaving job to get my pay. Like there's the first line.

1675
01:18:01,080 --> 01:18:02,559
Speaker 1: You get up in the morning from the alarm clocks.

1676
01:18:02,560 --> 01:18:04,240
Speaker 1: We're going to take the eight fifteen to the city.

1677
01:18:04,479 --> 01:18:07,800
Speaker 1: There's a whistle up above, people pushing, people's shoving, and

1678
01:18:07,840 --> 01:18:10,320
Speaker 1: the girls trying to look pretty. If your trains on time,

1679
01:18:10,360 --> 01:18:11,880
Speaker 1: you get to work by and I start to slave

1680
01:18:11,920 --> 01:18:14,320
Speaker 1: a job to get your pay. You ever get annoyed?

1681
01:18:14,360 --> 01:18:16,040
Speaker 1: Look at me. I'm self employed. I like to work

1682
01:18:16,040 --> 01:18:18,280
Speaker 1: at nothing. Like my father would keep saying, son, you

1683
01:18:18,320 --> 01:18:20,240
Speaker 1: work at nothing all day. What is that music business?

1684
01:18:20,280 --> 01:18:22,400
Speaker 1: You don't do anything, I say, Dad, you would understand

1685
01:18:22,439 --> 01:18:23,840
Speaker 1: it's all in my head. I'm writing songs and we

1686
01:18:23,840 --> 01:18:26,519
Speaker 1: had and doing RIfS in my head, so I play

1687
01:18:26,600 --> 01:18:30,519
Speaker 1: that verse, but my it stops after that verse and

1688
01:18:30,600 --> 01:18:35,120
Speaker 1: we go wide call the worker, white calor worker, and

1689
01:18:35,200 --> 01:18:37,120
Speaker 1: I played for the band and they gag on the song.

1690
01:18:37,160 --> 01:18:39,080
Speaker 1: And so your verses are great, they're great, Johnny, be

1691
01:18:39,160 --> 01:18:41,360
Speaker 1: good versus. But you've got to get rid of this

1692
01:18:41,400 --> 01:18:43,800
Speaker 1: white collar worker thing. So it never makes it on

1693
01:18:44,600 --> 01:18:47,320
Speaker 1: We'd Feel Soul, Canned Weed, or American Woman. It never

1694
01:18:47,360 --> 01:18:49,400
Speaker 1: makes it on Brave Belt one or a Brave Belt two.

1695
01:18:50,600 --> 01:18:52,640
Speaker 1: It never makes it on bt O one, which is

1696
01:18:52,680 --> 01:18:55,720
Speaker 1: Brave Belt three. We're playing a club in Vancouver now,

1697
01:18:55,800 --> 01:18:59,920
Speaker 1: Fred Turners, our lead singer. The first album is a

1698
01:19:00,080 --> 01:19:02,799
Speaker 1: success as far as an album goes. It's gold headed

1699
01:19:02,840 --> 01:19:05,599
Speaker 1: for platinum, and we're headed to play a club. And

1700
01:19:05,680 --> 01:19:07,559
Speaker 1: people think you're really rich when you have an album

1701
01:19:07,560 --> 01:19:09,599
Speaker 1: on the charts, but you're paying off all your studio

1702
01:19:09,680 --> 01:19:11,559
Speaker 1: bills and all your loans. You're paying back your father

1703
01:19:11,600 --> 01:19:14,000
Speaker 1: and your grandmother and everyone who gave you twenty bucks

1704
01:19:14,040 --> 01:19:17,639
Speaker 1: or whatever. So we're playing six nights a week, five

1705
01:19:17,960 --> 01:19:19,960
Speaker 1: fifty minutes sets a night with ten minutes. So I've

1706
01:19:19,960 --> 01:19:23,360
Speaker 1: started seven ended one. I guests a Saturday night. Fred

1707
01:19:23,400 --> 01:19:26,719
Speaker 1: Turner says, I can't sing anymore. My voice is shot.

1708
01:19:27,280 --> 01:19:29,680
Speaker 1: You gotta sing the last set. I go what I

1709
01:19:29,720 --> 01:19:31,920
Speaker 1: gotta sing the last All I sing is like the

1710
01:19:32,000 --> 01:19:35,240
Speaker 1: high part. And I get around and I can sing.

1711
01:19:35,320 --> 01:19:43,120
Speaker 1: Bob Dylan so um, I say, okay um. Bob Dylan

1712
01:19:43,160 --> 01:19:44,640
Speaker 1: has a song goed She belongs to Me, But I'm

1713
01:19:44,680 --> 01:19:46,840
Speaker 1: not gonna do it that way. But Rick Nelson had

1714
01:19:46,880 --> 01:19:49,080
Speaker 1: a much better version, and I'll do that. And the

1715
01:19:49,080 --> 01:19:52,200
Speaker 1: club owners going last set Saturday night, I turn up

1716
01:19:52,200 --> 01:19:54,599
Speaker 1: the heat. I gave everyone free pretzels and popcorn. They

1717
01:19:54,600 --> 01:19:57,000
Speaker 1: gotta buy booze. I'm selling this is the last round.

1718
01:19:57,320 --> 01:19:59,840
Speaker 1: Get them up dancing. I start, she belongs to me.

1719
01:20:00,000 --> 01:20:03,720
Speaker 1: It's really bad. Nobody's dancing. Santana had a song without

1720
01:20:03,720 --> 01:20:06,640
Speaker 1: them called Oya como Va. I don't know any Spanish,

1721
01:20:06,720 --> 01:20:11,479
Speaker 1: I know Ukrainian. I start to play don don don

1722
01:20:11,720 --> 01:20:13,679
Speaker 1: the minute start that. Everybody's up dancing, and I saying,

1723
01:20:13,680 --> 01:20:19,560
Speaker 1: ohya como va, Farogue's way, Obama's a bowl abortioned or

1724
01:20:19,640 --> 01:20:21,800
Speaker 1: the commo ba hold off. I'm doing all these lyrics.

1725
01:20:21,880 --> 01:20:24,000
Speaker 1: Everyone's laughing, you understand me. The rest of people are

1726
01:20:24,080 --> 01:20:27,559
Speaker 1: drunk dancing. They don't care, and I'm warning, what am

1727
01:20:27,600 --> 01:20:29,760
Speaker 1: I gonna do next? They're up dancing and the club

1728
01:20:29,840 --> 01:20:33,120
Speaker 1: gowners going okay, okay, and he's going like this, keep

1729
01:20:33,160 --> 01:20:35,360
Speaker 1: it rolling TV talk for keep doing it, don't cut it,

1730
01:20:35,520 --> 01:20:37,800
Speaker 1: keep it rolling, keep them once they sit down at

1731
01:20:37,840 --> 01:20:40,599
Speaker 1: the battle to get them up again. Keep them dancing.

1732
01:20:40,680 --> 01:20:42,600
Speaker 1: So a light goes on in my head. On the

1733
01:20:42,640 --> 01:20:44,920
Speaker 1: way to the gig that night, a DJs on there

1734
01:20:44,960 --> 01:20:46,920
Speaker 1: and he says, there's this Darryl B on C FUND

1735
01:20:47,040 --> 01:20:48,880
Speaker 1: Radio and we're taking care of business, and I go,

1736
01:20:49,560 --> 01:20:51,640
Speaker 1: what a song title? And I write it down. I

1737
01:20:51,680 --> 01:20:54,800
Speaker 1: have a songwriting kit in my car, McDonald's napkin and

1738
01:20:54,880 --> 01:20:57,880
Speaker 1: a smash crayon left over from one of my kids,

1739
01:20:57,920 --> 01:20:59,519
Speaker 1: and I write down, taking care of this. You've got

1740
01:20:59,600 --> 01:21:01,920
Speaker 1: to write these things down or you forget them. The

1741
01:21:02,080 --> 01:21:04,120
Speaker 1: simple like I wrote down, Let it write. I wrote down,

1742
01:21:04,120 --> 01:21:06,080
Speaker 1: you ain't seen nothing yet, because like the great dream

1743
01:21:06,120 --> 01:21:07,960
Speaker 1: you had last time, when you say, Randy, I gotta

1744
01:21:07,960 --> 01:21:09,240
Speaker 1: tell you about this dream I had, and I said,

1745
01:21:09,280 --> 01:21:10,880
Speaker 1: what is it? G I kind of forget it's it's

1746
01:21:10,960 --> 01:21:13,559
Speaker 1: gotten faded away. So I write it down. It goes

1747
01:21:13,760 --> 01:21:15,640
Speaker 1: on the shelf next to my heart. Of a few

1748
01:21:15,680 --> 01:21:18,320
Speaker 1: of my favorite things, which are the lyrics to White

1749
01:21:18,360 --> 01:21:20,880
Speaker 1: Collar Worker. And in the middle of a coma vault

1750
01:21:20,920 --> 01:21:23,000
Speaker 1: with everyone dancing and me wondering what am I going

1751
01:21:23,040 --> 01:21:24,840
Speaker 1: to do next? Is light bulb comes on and goes

1752
01:21:25,640 --> 01:21:29,639
Speaker 1: the band is your hostage. They're on stage. They've said

1753
01:21:29,720 --> 01:21:33,439
Speaker 1: no to this song for four albums. All you gotta

1754
01:21:33,479 --> 01:21:35,479
Speaker 1: do is turn around and say to them, play this song.

1755
01:21:36,320 --> 01:21:41,760
Speaker 1: You're on stage, there's three people dancing. I stopped. Where

1756
01:21:41,840 --> 01:21:45,120
Speaker 1: goes do do do? Boy? I turned around, go follow me,

1757
01:21:45,200 --> 01:21:46,920
Speaker 1: play these three cards? They go what And I start

1758
01:21:47,000 --> 01:21:50,000
Speaker 1: to and I sing my verses. They get up in

1759
01:21:50,000 --> 01:21:51,360
Speaker 1: the morning. When I get to the hook, I don't

1760
01:21:51,360 --> 01:21:54,080
Speaker 1: stop and do white Collar Worker. I think taking care

1761
01:21:54,160 --> 01:21:57,599
Speaker 1: of business. It fits taking and got to the next

1762
01:21:57,640 --> 01:21:59,280
Speaker 1: time I say the band singing, They sing it and

1763
01:21:59,360 --> 01:22:02,760
Speaker 1: I answered them every way every day it's all mine

1764
01:22:02,800 --> 01:22:05,320
Speaker 1: and working over time and I go, oh my god,

1765
01:22:05,479 --> 01:22:10,160
Speaker 1: thank you. The angel song has shot another arrow in me,

1766
01:22:10,320 --> 01:22:12,080
Speaker 1: just like when I did an American woman on the stage.

1767
01:22:12,080 --> 01:22:14,640
Speaker 1: And you get that feeling of energy. And here's a

1768
01:22:14,680 --> 01:22:16,679
Speaker 1: gift from the gods. You poor sawd You've been working

1769
01:22:17,080 --> 01:22:19,800
Speaker 1: eight years on the song. Guess what here's the final

1770
01:22:19,880 --> 01:22:22,080
Speaker 1: piece of this puzzle. And we did that song for

1771
01:22:22,160 --> 01:22:25,240
Speaker 1: thirty minutes. It ended the set. We'd stopped the song,

1772
01:22:25,360 --> 01:22:27,559
Speaker 1: the audience would sing, they felt the energy on stage.

1773
01:22:27,640 --> 01:22:29,840
Speaker 1: My brother keep the kick drum going, and the song

1774
01:22:29,960 --> 01:22:31,960
Speaker 1: goes and goes and goes. We go to record it

1775
01:22:31,960 --> 01:22:34,559
Speaker 1: a couple of weeks later, all Vancouver studios who book

1776
01:22:34,560 --> 01:22:36,880
Speaker 1: We go down to Seattle. There's a brand new theater.

1777
01:22:36,920 --> 01:22:39,519
Speaker 1: They're started by Danny Kay, the actor, and Lester Still,

1778
01:22:39,520 --> 01:22:43,320
Speaker 1: who wants about six radio stations, Lester Smith, so it's

1779
01:22:43,360 --> 01:22:46,800
Speaker 1: a less Case Smith Studios. And so we go in

1780
01:22:46,880 --> 01:22:49,160
Speaker 1: there and we're recording the album and Spread says he

1781
01:22:49,200 --> 01:22:51,280
Speaker 1: wants me to sing taking Care of Business as a

1782
01:22:51,320 --> 01:22:54,320
Speaker 1: good relief song for him and stop doing the Santana

1783
01:22:54,400 --> 01:22:56,479
Speaker 1: Parogie song and the bad Bob Dylan actually sing a

1784
01:22:56,520 --> 01:22:58,760
Speaker 1: song that's on our album. So I sing taking Care

1785
01:22:58,800 --> 01:23:01,760
Speaker 1: of Business. So the studio just like this. We've been

1786
01:23:01,760 --> 01:23:03,360
Speaker 1: in there since about eleven in the morning. It's not

1787
01:23:03,439 --> 01:23:05,000
Speaker 1: one o'clock. The next morning, we've been in there like

1788
01:23:05,080 --> 01:23:07,360
Speaker 1: fourteen hours. There's a knock at the door. We're set

1789
01:23:07,400 --> 01:23:10,679
Speaker 1: to go home. I've sang the song once it speeds

1790
01:23:10,720 --> 01:23:12,639
Speaker 1: up and slows down. We don't care. It's a release song.

1791
01:23:12,960 --> 01:23:15,080
Speaker 1: I hide it on side two near the last cut

1792
01:23:15,200 --> 01:23:17,360
Speaker 1: on side too, so nobody will here until the end

1793
01:23:17,400 --> 01:23:19,519
Speaker 1: of the album. There's a knock at the door. Open

1794
01:23:19,560 --> 01:23:21,439
Speaker 1: the door. There's a guy standing there with three pizzas,

1795
01:23:22,360 --> 01:23:24,960
Speaker 1: big Frizzy black Beard, frizzy black hair, and army cap

1796
01:23:25,000 --> 01:23:28,840
Speaker 1: fatigue cap, army suit on. Since you guys order the pizza.

1797
01:23:28,840 --> 01:23:30,920
Speaker 1: The guys about six ft four, six ft five. I

1798
01:23:31,000 --> 01:23:34,120
Speaker 1: say no. Tried on the hall. Steve Miller's cutting file

1799
01:23:34,200 --> 01:23:36,040
Speaker 1: like an Eagle album there and then Warris cutting why

1800
01:23:36,080 --> 01:23:38,280
Speaker 1: can't we be friends? On? Everyone's using this new studio

1801
01:23:38,560 --> 01:23:41,559
Speaker 1: because Lester Smith owns six radio stations. And if you're

1802
01:23:41,560 --> 01:23:44,679
Speaker 1: cutting his studio, guess what you got played on six stations?

1803
01:23:44,720 --> 01:23:46,960
Speaker 1: The paddle day with the big DJ there. You gotta

1804
01:23:46,960 --> 01:23:50,799
Speaker 1: played in Seattle, Tacoma, Bellevue, all the way down to Portland, everything.

1805
01:23:52,320 --> 01:23:54,759
Speaker 1: So he goes down the hall, gets rid of the pizza,

1806
01:23:54,840 --> 01:23:57,080
Speaker 1: comes back, knocks on the door and I say, yeah,

1807
01:23:57,360 --> 01:24:00,080
Speaker 1: pizza's gone. He said yeah. I said, what kind do

1808
01:24:00,240 --> 01:24:02,439
Speaker 1: for you? You look like you wants something, He said,

1809
01:24:02,479 --> 01:24:04,360
Speaker 1: I've been listening to this song you've been playing for

1810
01:24:04,400 --> 01:24:07,160
Speaker 1: the last twenty minutes, taking care of business, and it

1811
01:24:07,240 --> 01:24:10,880
Speaker 1: sounds like I could really use a piano. And I said, yeah,

1812
01:24:11,040 --> 01:24:12,960
Speaker 1: I know Elton and I know Little Richard, and they're

1813
01:24:12,960 --> 01:24:14,800
Speaker 1: in l A right now at a big party. I'd

1814
01:24:14,840 --> 01:24:17,040
Speaker 1: love to get them. Money said, I'm a keyboard player.

1815
01:24:17,080 --> 01:24:18,479
Speaker 1: I don't deliver pizza to the end of the month

1816
01:24:18,479 --> 01:24:20,280
Speaker 1: when I can't pay my rent. Would you give me

1817
01:24:20,360 --> 01:24:22,920
Speaker 1: a shot? I go, what, We've been here fourteen hours

1818
01:24:22,960 --> 01:24:24,320
Speaker 1: when the pianos not even too And he said, I

1819
01:24:24,360 --> 01:24:26,639
Speaker 1: don't care. I said, okay, I'll give you a shot.

1820
01:24:26,640 --> 01:24:28,000
Speaker 1: Who am I not to give a guy a shot?

1821
01:24:28,040 --> 01:24:30,160
Speaker 1: I don't mind what somebody gives me a shot. Okay,

1822
01:24:30,200 --> 01:24:32,519
Speaker 1: here's your shot. Throwing the mike clothes the lid. He said,

1823
01:24:32,560 --> 01:24:34,200
Speaker 1: what do you want? It said, give me some Elton Johnson,

1824
01:24:34,360 --> 01:24:37,280
Speaker 1: Dr Johnson, Little Richard, like making a pot pourri. Then

1825
01:24:37,360 --> 01:24:40,360
Speaker 1: maybe we'll pick a style needed the whole song and

1826
01:24:40,640 --> 01:24:42,200
Speaker 1: cell he plays it once. I said, good enough, go

1827
01:24:42,320 --> 01:24:45,920
Speaker 1: I'm gonna wipe it out. The next day he goes home.

1828
01:24:45,960 --> 01:24:48,679
Speaker 1: He goes delivering pizza. We go back to sleep. Charlie Fatch,

1829
01:24:48,760 --> 01:24:50,639
Speaker 1: the guy who signed us, flies in a day early,

1830
01:24:50,720 --> 01:24:53,120
Speaker 1: supposed to come a day later, comes in a day early.

1831
01:24:53,520 --> 01:24:54,960
Speaker 1: What do you Why are you here daily? Because I'm

1832
01:24:54,960 --> 01:24:56,479
Speaker 1: going to LA to play them your new album. Well,

1833
01:24:56,479 --> 01:24:59,080
Speaker 1: we're not even done. Play me the album. I want

1834
01:24:59,120 --> 01:25:01,200
Speaker 1: to hear the single playing letter right, it goes great,

1835
01:25:01,320 --> 01:25:05,759
Speaker 1: wonderful single, the guitars, the harmonies, that's great, guts taking

1836
01:25:05,760 --> 01:25:07,400
Speaker 1: care of his Let's say to the engineer, don't play

1837
01:25:07,439 --> 01:25:09,760
Speaker 1: the piano track. We haven't even heard it back. So

1838
01:25:09,880 --> 01:25:11,800
Speaker 1: we listened to the whole side one. Here's let it ride.

1839
01:25:11,800 --> 01:25:13,439
Speaker 1: He's happy because you've got to do an edit that

1840
01:25:13,439 --> 01:25:15,200
Speaker 1: because it's very long. There's a breakdown, and said, yeah,

1841
01:25:15,240 --> 01:25:17,040
Speaker 1: I can edit that because if you didn't do it edit,

1842
01:25:17,080 --> 01:25:19,920
Speaker 1: then radio did the wrong. You had different singles everywhere

1843
01:25:19,960 --> 01:25:24,880
Speaker 1: you went. Um. So halfway through the song, the engineer

1844
01:25:24,920 --> 01:25:27,760
Speaker 1: pushes up the fader and incomes to the piano and

1845
01:25:27,880 --> 01:25:30,400
Speaker 1: Charlie leaps out of his chair and goes, what on

1846
01:25:30,600 --> 01:25:34,680
Speaker 1: earth is that bt O with the piano? That is

1847
01:25:34,840 --> 01:25:38,120
Speaker 1: amazing because none of you guys will listen to me.

1848
01:25:39,640 --> 01:25:43,559
Speaker 1: You are guitar bassed and drums ZZ top guitar, bass

1849
01:25:43,640 --> 01:25:47,960
Speaker 1: and drums. Do be brothers guitar, bass and drums. Almond

1850
01:25:47,960 --> 01:25:50,439
Speaker 1: Brothers guitar. You know everybody's guitar based and drums. You

1851
01:25:50,520 --> 01:25:53,599
Speaker 1: want to be different. Elton owns real estate on Top

1852
01:25:53,680 --> 01:25:57,400
Speaker 1: forty radio and AM Radio. Elton is everywhere. Let me

1853
01:25:57,520 --> 01:25:59,640
Speaker 1: hear the whole track. We're back up. We playing the

1854
01:25:59,640 --> 01:26:01,360
Speaker 1: whole track. Could go that's amazing. That will get you

1855
01:26:01,400 --> 01:26:03,880
Speaker 1: top for the airplane that and let it ride? Are

1856
01:26:03,920 --> 01:26:06,040
Speaker 1: you kidding? Let it ride? Starting with harmonies with you

1857
01:26:06,160 --> 01:26:08,960
Speaker 1: guys and the jangling beat and heavy guitar and like guitar,

1858
01:26:09,680 --> 01:26:11,760
Speaker 1: and then this comes out as a party track. TC

1859
01:26:11,960 --> 01:26:15,519
Speaker 1: be taking care of business? Amazing. Who's playing the piano?

1860
01:26:16,960 --> 01:26:20,960
Speaker 1: And I say a pizza delivery guy and he said, no, seriously,

1861
01:26:21,040 --> 01:26:23,720
Speaker 1: who's playing the piano? I'd say, Charlie. A guy brought

1862
01:26:23,720 --> 01:26:25,360
Speaker 1: pizza here last night. He asked to play piano. And

1863
01:26:25,439 --> 01:26:27,240
Speaker 1: let him play piano. He's gone, I have no idea

1864
01:26:27,240 --> 01:26:29,439
Speaker 1: who he is. Where'd you get the pizza from? I said,

1865
01:26:29,439 --> 01:26:32,160
Speaker 1: I didn't know. We didn't order the pizza. So he says,

1866
01:26:32,320 --> 01:26:34,280
Speaker 1: so I go down and knock under our Steve Miller steball,

1867
01:26:34,280 --> 01:26:36,400
Speaker 1: where'd you get the pizza? I don't know. I didn't.

1868
01:26:36,400 --> 01:26:38,000
Speaker 1: We didn't get to go down to wars thing. It's

1869
01:26:38,040 --> 01:26:40,880
Speaker 1: like walking to Cheech and Chunk's basement. There's a cloud

1870
01:26:40,960 --> 01:26:43,599
Speaker 1: of smoking there. I can't even see these guys. Where'd

1871
01:26:43,600 --> 01:26:45,240
Speaker 1: you get the pizza from last night? They say it

1872
01:26:45,360 --> 01:26:48,120
Speaker 1: is last night, Man, it's still last night. Nobody knows

1873
01:26:48,120 --> 01:26:49,720
Speaker 1: where the pizza came from. The I may just come

1874
01:26:49,760 --> 01:26:51,360
Speaker 1: and cleaned up the studio, right, because when you're a

1875
01:26:51,360 --> 01:26:53,760
Speaker 1: studio basically ordered Chinese and pizza all the time, or

1876
01:26:54,000 --> 01:26:55,920
Speaker 1: Greek or something, or spaghetti, and you eat and you

1877
01:26:56,280 --> 01:26:58,080
Speaker 1: don't have to wait to be served. The food comes in,

1878
01:26:58,200 --> 01:26:59,800
Speaker 1: you eat it in like five minutes. The wolf pack

1879
01:27:00,000 --> 01:27:03,240
Speaker 1: eat and then you're back to recording again. So I

1880
01:27:03,320 --> 01:27:04,960
Speaker 1: go to the lady at the front of the studio

1881
01:27:04,960 --> 01:27:07,840
Speaker 1: and say, here's the yellow pages where you started Antonio's.

1882
01:27:07,880 --> 01:27:10,439
Speaker 1: I'll go halfway to at Mario's for on every pizza

1883
01:27:10,520 --> 01:27:13,040
Speaker 1: place within two blocks of the studio and see if

1884
01:27:13,040 --> 01:27:15,200
Speaker 1: they have a pizza to every guy that looks like

1885
01:27:15,280 --> 01:27:17,880
Speaker 1: Fidel Castro. He had a big, frizzy black beard and

1886
01:27:17,920 --> 01:27:20,640
Speaker 1: hair and wearing an army out fatigue off it. I

1887
01:27:20,680 --> 01:27:23,439
Speaker 1: get lucky in my third phone call. Yeah, we have

1888
01:27:23,520 --> 01:27:25,800
Speaker 1: a guy like that looks like that. Can you tell

1889
01:27:25,840 --> 01:27:27,880
Speaker 1: me his name? No, we can't give employees names over

1890
01:27:27,960 --> 01:27:30,000
Speaker 1: the phone home. How do I get this guy? Would

1891
01:27:30,000 --> 01:27:32,680
Speaker 1: you want a pizza? Yeah? Yeah, we'll take When does

1892
01:27:32,680 --> 01:27:34,880
Speaker 1: he start works six o'clock? Okay, send him with a pizza.

1893
01:27:34,920 --> 01:27:37,040
Speaker 1: What do you want? Send yesterday's pizza. We don't care.

1894
01:27:37,080 --> 01:27:39,600
Speaker 1: We just want to meet the guy. He comes in.

1895
01:27:39,680 --> 01:27:43,040
Speaker 1: His name is Norman Dirkey. That's the piano here and

1896
01:27:43,120 --> 01:27:45,800
Speaker 1: taking care one take by the piano. That's why one

1897
01:27:45,920 --> 01:27:48,240
Speaker 1: versus like Dr John, the next one like Elton John actor,

1898
01:27:48,280 --> 01:27:50,720
Speaker 1: the next one like Little Richard. It's all this potpourria

1899
01:27:50,800 --> 01:27:54,200
Speaker 1: piano style. Norman Dirky did do work at that studio.

1900
01:27:54,240 --> 01:27:55,920
Speaker 1: I didn't know, but he did commercial work there because

1901
01:27:55,920 --> 01:27:58,800
Speaker 1: he was a musician. He work wherever he got gigs. Um,

1902
01:27:59,360 --> 01:28:01,160
Speaker 1: so we find out his name. He was in the Union.

1903
01:28:01,240 --> 01:28:03,160
Speaker 1: We give him credit on the album that's the piano

1904
01:28:03,240 --> 01:28:05,360
Speaker 1: you hear. He then went on to be Bett Miller's

1905
01:28:05,479 --> 01:28:08,040
Speaker 1: musical director on your first North American tour. And when

1906
01:28:08,040 --> 01:28:10,880
Speaker 1: I played with Ringle Star Lstar band, we toured the

1907
01:28:10,920 --> 01:28:12,560
Speaker 1: world and came back. We ended here in l A

1908
01:28:12,600 --> 01:28:16,160
Speaker 1: at the at the Greek Theater and the l A

1909
01:28:16,200 --> 01:28:21,679
Speaker 1: Philharmonic plays there, and the pianist was Dorman Turkey. Really yeah, okay,

1910
01:28:21,920 --> 01:28:25,200
Speaker 1: and then that's a long story, but that's a great story.

1911
01:28:25,200 --> 01:28:27,400
Speaker 1: I love the story and it's amazing. So how about

1912
01:28:27,439 --> 01:28:30,360
Speaker 1: you Ain't seen Nothing yet? That is a reject song

1913
01:28:30,520 --> 01:28:33,160
Speaker 1: I'm producing bt O. I always had what was called

1914
01:28:33,200 --> 01:28:35,320
Speaker 1: the work song. We'd go in and I'd want to

1915
01:28:35,320 --> 01:28:37,120
Speaker 1: get a really good kick drum, then a good snare,

1916
01:28:37,120 --> 01:28:39,120
Speaker 1: and you'd move the mics around, crawl around, get a

1917
01:28:39,160 --> 01:28:40,679
Speaker 1: good bass on. Then I'd go and add a nice

1918
01:28:41,160 --> 01:28:44,160
Speaker 1: clean guitar track and nice jangly rhythm track and then

1919
01:28:44,240 --> 01:28:47,680
Speaker 1: this powerful sledgehammer in the face, powerful guitar thing. That's

1920
01:28:47,680 --> 01:28:50,839
Speaker 1: what heavy rock was, basically pop music with heavier courses,

1921
01:28:50,960 --> 01:28:53,479
Speaker 1: like bigger, heavier things like I could make Sugar Sugar

1922
01:28:53,520 --> 01:28:56,040
Speaker 1: into a heavy rock song just with guitar sounds. So

1923
01:28:56,160 --> 01:28:59,400
Speaker 1: I have this work track one of my brothers, the

1924
01:28:59,439 --> 01:29:02,519
Speaker 1: one who played a kordion that I got to burn

1925
01:29:02,600 --> 01:29:06,360
Speaker 1: these eyes on stutters. So I don't know if you've

1926
01:29:06,360 --> 01:29:08,240
Speaker 1: got any brothers, even if you've got sisters, actually only

1927
01:29:08,280 --> 01:29:11,639
Speaker 1: have two sisters. You tease each other, you put each

1928
01:29:11,680 --> 01:29:13,960
Speaker 1: other on your short seet. Each other's bad. You tire

1929
01:29:13,960 --> 01:29:16,160
Speaker 1: your laces and not so the kids can't put on

1930
01:29:16,240 --> 01:29:18,160
Speaker 1: their shots, you know that kind of thing. So me

1931
01:29:18,200 --> 01:29:20,240
Speaker 1: and my brother has always played pranks on each other.

1932
01:29:20,960 --> 01:29:22,760
Speaker 1: So my brother who started. I think I'm gonna take

1933
01:29:22,800 --> 01:29:25,920
Speaker 1: this work track where the guitars out of tune, and

1934
01:29:26,040 --> 01:29:28,400
Speaker 1: it's totally a wreckage of a track. But it's got

1935
01:29:28,439 --> 01:29:30,800
Speaker 1: the heavy, powerful guitar and at you see that, it's

1936
01:29:30,840 --> 01:29:33,560
Speaker 1: got the nice jangly thing copying Dave Mason, only you

1937
01:29:33,640 --> 01:29:36,000
Speaker 1: know and I know in the verse of course, and um,

1938
01:29:37,680 --> 01:29:40,040
Speaker 1: I stutter over it. We mix one cassette and put

1939
01:29:40,080 --> 01:29:42,879
Speaker 1: it aside. Charlie comes to hear the album. It's not fragile,

1940
01:29:42,920 --> 01:29:44,759
Speaker 1: here's not that fragic, goes well, this is the beginning

1941
01:29:44,760 --> 01:29:47,160
Speaker 1: of something new. This isn't heavy rock. You can call

1942
01:29:47,200 --> 01:29:49,840
Speaker 1: this heavy metal. This is incredible. And here's Rolling down

1943
01:29:49,840 --> 01:29:51,400
Speaker 1: the Highway and a couple of other songs deal though

1944
01:29:51,400 --> 01:29:53,559
Speaker 1: they are pretty good. Are looking for a song now

1945
01:29:53,960 --> 01:29:57,719
Speaker 1: to be in the top three on Top forty. Taking

1946
01:29:57,760 --> 01:29:59,880
Speaker 1: care of Business was great, it's like top ten. You eight,

1947
01:30:00,200 --> 01:30:03,000
Speaker 1: um let it ride number four. I want to get

1948
01:30:03,040 --> 01:30:04,599
Speaker 1: you up to in the top one or two or three.

1949
01:30:04,800 --> 01:30:07,040
Speaker 1: That would be really amazing. I said, that's the album.

1950
01:30:07,080 --> 01:30:09,599
Speaker 1: We've been on road for ninety days. We have we're

1951
01:30:09,760 --> 01:30:11,560
Speaker 1: in here for five days. We cut our albums in

1952
01:30:11,640 --> 01:30:13,200
Speaker 1: five days and beat you and mixed it on the

1953
01:30:13,280 --> 01:30:15,800
Speaker 1: sixth just balancing the tracks on the sixth day. It

1954
01:30:15,920 --> 01:30:18,800
Speaker 1: wasn't rocket science with this band. Once you got the sounds,

1955
01:30:19,120 --> 01:30:22,640
Speaker 1: we played everything over and over and over, and so

1956
01:30:22,760 --> 01:30:25,040
Speaker 1: we play the album. He goes, I need more stuff,

1957
01:30:25,040 --> 01:30:26,880
Speaker 1: and the engineers and wanted to play him the work track,

1958
01:30:27,680 --> 01:30:29,760
Speaker 1: the throwaway track, and Charlie jumps out of his chair

1959
01:30:29,800 --> 01:30:33,280
Speaker 1: again and he says, what, there's another track, And I say, Charlie,

1960
01:30:33,360 --> 01:30:35,719
Speaker 1: it's a train wreck. I haven't even tuned my guitars

1961
01:30:35,720 --> 01:30:38,519
Speaker 1: out of tune. Okay, all our instruments are put away.

1962
01:30:38,520 --> 01:30:40,519
Speaker 1: I can't even redo the guitar and it we're done,

1963
01:30:41,360 --> 01:30:43,719
Speaker 1: and I played for me, go that is really charming.

1964
01:30:44,280 --> 01:30:46,960
Speaker 1: When you hear the jangly rhythm, it lifts, it's right,

1965
01:30:47,280 --> 01:30:49,360
Speaker 1: it's a foot above the vinyl. When you hear that back,

1966
01:30:50,040 --> 01:30:52,360
Speaker 1: it's magical. Radio radio is gonna love this. You put

1967
01:30:52,400 --> 01:30:54,360
Speaker 1: it on it. It's a it's a morning track for

1968
01:30:54,479 --> 01:30:57,120
Speaker 1: morning drive. It's a sunshiny day and you ain't seen

1969
01:30:57,200 --> 01:30:59,680
Speaker 1: nothing yet. I go, okay, let me re sing it

1970
01:31:00,200 --> 01:31:01,960
Speaker 1: because there's a Michael. I try to resing it. It

1971
01:31:02,000 --> 01:31:05,519
Speaker 1: doesn't work. It's like it's like Tony Bennett, baby bad

1972
01:31:05,600 --> 01:31:09,320
Speaker 1: Michael Boom. You ain't see nothing yet. It doesn't fit.

1973
01:31:09,400 --> 01:31:11,080
Speaker 1: He said, leave it the way the charming, it's never

1974
01:31:11,200 --> 01:31:13,000
Speaker 1: the same. I said, well, I'm copying the way my

1975
01:31:13,080 --> 01:31:16,800
Speaker 1: brother talks that you're never gonna four get four get

1976
01:31:16,960 --> 01:31:19,479
Speaker 1: that kind of thing because you just leave it. I say, okay,

1977
01:31:19,560 --> 01:31:23,240
Speaker 1: it's terrible. I'm gonna remix out of remixing and Sound

1978
01:31:23,280 --> 01:31:26,080
Speaker 1: City in l A. So I go to Sound City

1979
01:31:26,240 --> 01:31:28,000
Speaker 1: and I'm there and if the sun City is in

1980
01:31:28,040 --> 01:31:31,439
Speaker 1: its heyday, right, that's in the mid seventies and bucking

1981
01:31:31,479 --> 01:31:33,519
Speaker 1: am Nicks have been in there there auditioning for Fleetwood

1982
01:31:33,560 --> 01:31:36,799
Speaker 1: mac Lindsey Buckingham's put his guitar through a Leslie speaker.

1983
01:31:37,160 --> 01:31:39,120
Speaker 1: He's blown the speaker on the Leslie, which is a

1984
01:31:39,200 --> 01:31:41,799
Speaker 1: little triangular horn. There's a big one in the bottom.

1985
01:31:41,800 --> 01:31:44,200
Speaker 1: There's a little triangular horn that spins around. The speakers

1986
01:31:44,240 --> 01:31:47,599
Speaker 1: are being fixed. So I said to my engineer, Mark Smith,

1987
01:31:48,040 --> 01:31:50,080
Speaker 1: I need to disguise my guitar. There's no such thing

1988
01:31:50,120 --> 01:31:52,519
Speaker 1: as a harmonizer or to retune your guitar, and there's

1989
01:31:52,520 --> 01:31:55,200
Speaker 1: no guitars there mixing like for three days. So I

1990
01:31:55,240 --> 01:31:58,280
Speaker 1: want to disguise my lead guitar. So can we run

1991
01:31:58,320 --> 01:32:01,200
Speaker 1: it through the leslie and give it the swishing sound

1992
01:32:01,320 --> 01:32:03,320
Speaker 1: and we'll put an echo repeat on it, so you

1993
01:32:03,439 --> 01:32:05,120
Speaker 1: hear the repeat and you won't listen to that the

1994
01:32:05,160 --> 01:32:09,479
Speaker 1: guitars out of tune. We go out there and the

1995
01:32:09,640 --> 01:32:12,200
Speaker 1: top speaker's gone, and I said, what can we use

1996
01:32:12,240 --> 01:32:14,240
Speaker 1: as a speaker? He said, all the speakers as a cone.

1997
01:32:14,680 --> 01:32:17,320
Speaker 1: Let's use this. It takes a cola Coca Cola cup,

1998
01:32:18,240 --> 01:32:20,080
Speaker 1: jams it on the top of these wires with this

1999
01:32:20,200 --> 01:32:22,360
Speaker 1: little thing, and it's spinning your own the mic on it.

2000
01:32:22,479 --> 01:32:25,120
Speaker 1: That's my lead guitar. And you ain't seen nothing yet.

2001
01:32:25,640 --> 01:32:27,640
Speaker 1: Out of tune with a cocaco And we have a

2002
01:32:27,720 --> 01:32:29,600
Speaker 1: picture of this and like a true story with a

2003
01:32:29,640 --> 01:32:31,760
Speaker 1: slap echo and someone who goes to dad, who da

2004
01:32:32,240 --> 01:32:34,760
Speaker 1: da da dada. It repeats itself, so you're listening to

2005
01:32:34,840 --> 01:32:37,640
Speaker 1: more than just the guitar. Sol and I started my

2006
01:32:37,680 --> 01:32:39,960
Speaker 1: way through it. There's bad van Morrison impression that I'm

2007
01:32:40,000 --> 01:32:42,519
Speaker 1: going shall a lot, just like Brown Eyed Girl and

2008
01:32:42,560 --> 01:32:45,840
Speaker 1: I'm having fun. It's a stupid party track. Charlie says,

2009
01:32:46,280 --> 01:32:48,679
Speaker 1: this is a career song, just like taking care of Business.

2010
01:32:49,160 --> 01:32:50,760
Speaker 1: This is gonna go on the album. That's the first

2011
01:32:50,800 --> 01:32:53,400
Speaker 1: B two album that had the extra song, the ninth song.

2012
01:32:53,520 --> 01:32:55,920
Speaker 1: We only worked with four side to get about twenty

2013
01:32:56,000 --> 01:32:57,720
Speaker 1: to twenty two minutes because it was violent. Both sides

2014
01:32:57,760 --> 01:32:59,880
Speaker 1: have to be the same amount of volume. The more

2015
01:33:00,280 --> 01:33:02,640
Speaker 1: time you had, the volume went down here dividing the

2016
01:33:02,720 --> 01:33:07,280
Speaker 1: space between more grooves and uh so we put the

2017
01:33:07,320 --> 01:33:09,560
Speaker 1: five shorter songs on one side. He releases it, it

2018
01:33:09,640 --> 01:33:11,840
Speaker 1: comes out as a single. It goes to number one

2019
01:33:11,880 --> 01:33:14,320
Speaker 1: and twenty two countries. It's a gold single. It's a

2020
01:33:14,360 --> 01:33:19,200
Speaker 1: platinum single for us, and it wants an award five

2021
01:33:19,280 --> 01:33:21,960
Speaker 1: or six years ago from the Stuttering Association of North America,

2022
01:33:22,479 --> 01:33:24,240
Speaker 1: that was the best stuttering song of all because but

2023
01:33:24,320 --> 01:33:27,360
Speaker 1: a real guy and was done in loving fun. Do

2024
01:33:27,439 --> 01:33:28,720
Speaker 1: you know what I mean? That kind of thing? So

2025
01:33:29,400 --> 01:33:33,240
Speaker 1: that's some of my greatest hits are our train wreck

2026
01:33:33,320 --> 01:33:36,599
Speaker 1: accidents right okay, which brings us the four wheel drive.

2027
01:33:36,880 --> 01:33:40,040
Speaker 1: You're so big and people are anticipating that, and although

2028
01:33:40,080 --> 01:33:43,519
Speaker 1: it's successful, it is not seen. What is the league

2029
01:33:43,600 --> 01:33:45,840
Speaker 1: of the two previous recreence? Do you see it that way?

2030
01:33:46,160 --> 01:33:50,479
Speaker 1: It came out too soon. We we are me the band,

2031
01:33:50,520 --> 01:33:53,880
Speaker 1: are caught in this bubble of one album in eighteen months,

2032
01:33:53,880 --> 01:33:55,840
Speaker 1: and suddenly we've got three and eighteen months and they're

2033
01:33:55,840 --> 01:33:58,639
Speaker 1: on the top fifty and you want another one? Oh,

2034
01:33:59,000 --> 01:34:01,919
Speaker 1: who can we copy? That's good? Oh, let's copy ourselves.

2035
01:34:02,920 --> 01:34:05,599
Speaker 1: Let's make hey you like you ain't seen nothing yet

2036
01:34:05,720 --> 01:34:08,160
Speaker 1: a guitar intro. If that would have come out nine

2037
01:34:08,200 --> 01:34:10,599
Speaker 1: months later, it would have been solid four wheel drive,

2038
01:34:10,680 --> 01:34:13,559
Speaker 1: big powerful song. Every trucker lies in, every four wheel

2039
01:34:13,640 --> 01:34:16,519
Speaker 1: driver and loves that song. Four wheel drive, four wheel rides,

2040
01:34:16,560 --> 01:34:19,400
Speaker 1: side by side, four wheel drive. It's like amazing song.

2041
01:34:20,160 --> 01:34:22,840
Speaker 1: It just came out too soon. We flooded our own market,

2042
01:34:23,200 --> 01:34:26,040
Speaker 1: We burst our own bubble. It's sold millions of copies,

2043
01:34:26,320 --> 01:34:28,080
Speaker 1: but we were into like Bato two and three, like

2044
01:34:28,200 --> 01:34:31,000
Speaker 1: eight million, nine million, a million in England, a million

2045
01:34:31,040 --> 01:34:33,439
Speaker 1: in Australia. We're selling tens and twelves and fifteen million

2046
01:34:33,479 --> 01:34:37,439
Speaker 1: albums around the world. Suddenly we just we ran out

2047
01:34:37,479 --> 01:34:41,920
Speaker 1: of steam. And again I don't know my wife and kids.

2048
01:34:41,960 --> 01:34:44,040
Speaker 1: I go home, my kids cry when I picked them up.

2049
01:34:44,040 --> 01:34:47,479
Speaker 1: I'm a strange guy. But had you got remarried at

2050
01:34:47,560 --> 01:34:49,599
Speaker 1: this point? No, I was still with my first wife,

2051
01:34:49,640 --> 01:34:52,719
Speaker 1: had six kids with her. Okay, so how does bt

2052
01:34:52,880 --> 01:34:58,240
Speaker 1: O end? It ends with a dreaded five letter word

2053
01:34:58,280 --> 01:35:00,680
Speaker 1: called disco or is that four letter d I S

2054
01:35:00,760 --> 01:35:02,960
Speaker 1: C O five other words? It was pretty much the

2055
01:35:03,080 --> 01:35:07,000
Speaker 1: end of every rock band. No longer between gigs, between tours,

2056
01:35:07,280 --> 01:35:09,160
Speaker 1: could you go home and play a club and get

2057
01:35:09,240 --> 01:35:11,760
Speaker 1: maybe two grand five guy for for the week when

2058
01:35:11,800 --> 01:35:13,680
Speaker 1: you're home, because you gotta work in your home or

2059
01:35:13,680 --> 01:35:16,439
Speaker 1: you're spending your rothies. You're burning your your fuel, right,

2060
01:35:16,479 --> 01:35:19,160
Speaker 1: you gotta keep adding to the pile of fuel. And

2061
01:35:19,360 --> 01:35:21,639
Speaker 1: so they would hire like a Donna Summer or somebody

2062
01:35:22,320 --> 01:35:25,000
Speaker 1: with a dat or you know, player or a cassette

2063
01:35:25,000 --> 01:35:26,599
Speaker 1: and they would go and look good or a chick

2064
01:35:26,720 --> 01:35:29,559
Speaker 1: usually doing disco singing uh and sing three or four

2065
01:35:29,640 --> 01:35:31,760
Speaker 1: song and hire three of those a night, pay them

2066
01:35:31,800 --> 01:35:33,920
Speaker 1: fifty bucks each and everyone's happy. But they weren't playing

2067
01:35:34,000 --> 01:35:37,439
Speaker 1: rock bands. So you try to do something different. So

2068
01:35:37,600 --> 01:35:39,960
Speaker 1: you the Doobie Brothers, they've got Michael McDonald they had

2069
01:35:40,000 --> 01:35:42,080
Speaker 1: taken to the street, the horn section, all that kind

2070
01:35:42,120 --> 01:35:46,560
Speaker 1: of stuff. Um, a lot of guys rolling stones that

2071
01:35:46,640 --> 01:35:49,760
Speaker 1: I miss you, disco kind of beat which you know

2072
01:35:50,320 --> 01:35:52,519
Speaker 1: did it, which kind of cool. And I thought, well,

2073
01:35:52,520 --> 01:35:54,519
Speaker 1: I'm gonna go back to my Ben McPeak days, my

2074
01:35:54,720 --> 01:35:57,240
Speaker 1: bill Ramon days. Get to get a horn section. I'm

2075
01:35:57,240 --> 01:35:59,400
Speaker 1: gonna do my wheels, won't turn instead of going done, don't,

2076
01:35:59,680 --> 01:36:01,400
Speaker 1: I'll be like Fats Domin I have a horn section,

2077
01:36:01,439 --> 01:36:06,200
Speaker 1: going to do do do do, reinforcing our stuff. The

2078
01:36:06,280 --> 01:36:10,240
Speaker 1: band hated it. It just didn't work. And pretty much

2079
01:36:10,439 --> 01:36:13,439
Speaker 1: radio had played at that point so much bt O

2080
01:36:14,200 --> 01:36:17,240
Speaker 1: literally so much. Even now they play a lot, uh,

2081
01:36:17,479 --> 01:36:21,240
Speaker 1: which is great. I'm thrilled all these mistakes get played

2082
01:36:21,320 --> 01:36:25,280
Speaker 1: over and over again. I still play the mistakes on stage. Okay,

2083
01:36:25,600 --> 01:36:28,280
Speaker 1: So the band ends, and do you feel at this point, Well,

2084
01:36:28,320 --> 01:36:30,320
Speaker 1: I've been on the road for fifteen years. I just

2085
01:36:30,400 --> 01:36:33,400
Speaker 1: want to stay home and you then start my own

2086
01:36:33,520 --> 01:36:35,519
Speaker 1: I have my own studio, And did you have any

2087
01:36:35,680 --> 01:36:38,360
Speaker 1: desire to make it back to the top of it?

2088
01:36:38,680 --> 01:36:41,519
Speaker 1: Of course that's my big desire to this day start

2089
01:36:41,600 --> 01:36:43,920
Speaker 1: a band called Iron Horse. We have a hit on

2090
01:36:43,920 --> 01:36:45,960
Speaker 1: Scotti Brothers Records. Goes to the number one in Italy.

2091
01:36:46,040 --> 01:36:48,080
Speaker 1: I go into Italy with the number one record I

2092
01:36:48,160 --> 01:36:52,080
Speaker 1: Am Elvis and Italy it's incredible, number one record with

2093
01:36:52,200 --> 01:36:56,280
Speaker 1: stuttering with sweet Louis Louise with a big hit. I

2094
01:36:56,400 --> 01:37:01,559
Speaker 1: come back Um. Fred Turner wants to join the band.

2095
01:37:02,280 --> 01:37:04,120
Speaker 1: We just want to be called Iron Ours, so we

2096
01:37:04,240 --> 01:37:07,800
Speaker 1: call herself Union. We meet Lenny Pizza, who's just done.

2097
01:37:08,200 --> 01:37:12,719
Speaker 1: Girls just want to have fun with So Lenny Pizza.

2098
01:37:12,760 --> 01:37:14,960
Speaker 1: Here's what I've done. I've got my own studio. Here's why.

2099
01:37:15,200 --> 01:37:17,960
Speaker 1: He says, great, I'll sign you guys. We put out

2100
01:37:19,080 --> 01:37:22,519
Speaker 1: a double A side. My song is called main Street USA.

2101
01:37:22,640 --> 01:37:25,120
Speaker 1: That's kind of a rap record, rock and roll rap record.

2102
01:37:25,439 --> 01:37:27,840
Speaker 1: Fred puts out a song called on Strike by Union.

2103
01:37:28,560 --> 01:37:31,280
Speaker 1: The Yankees are on strike or baseballs on strike and

2104
01:37:31,320 --> 01:37:33,760
Speaker 1: New York. Lenny Pizzas flaves New York this song is

2105
01:37:33,760 --> 01:37:37,400
Speaker 1: gonna rock your face off playing it on New York radio.

2106
01:37:37,479 --> 01:37:39,280
Speaker 1: This is on strike and the Yankees are on Psyche

2107
01:37:39,320 --> 01:37:41,000
Speaker 1: are somebody's on strike. I don't know who's on Some

2108
01:37:41,080 --> 01:37:44,640
Speaker 1: baseball guys are on strike. It comes out on a

2109
01:37:44,760 --> 01:37:48,759
Speaker 1: long weekend, so the guys who normally meet every Monday

2110
01:37:48,800 --> 01:37:51,240
Speaker 1: morning who pick what records are gonna get played. They

2111
01:37:51,280 --> 01:37:55,800
Speaker 1: aren't there. The substitutes are there, and they liked the record,

2112
01:37:55,840 --> 01:37:57,960
Speaker 1: and they start to play it. At the end of

2113
01:37:58,000 --> 01:38:00,680
Speaker 1: the week, we're on a d forty stations. I get

2114
01:38:00,720 --> 01:38:03,320
Speaker 1: a call from CBS Portrait. You've got to come here

2115
01:38:03,320 --> 01:38:04,960
Speaker 1: to New York. We're celebrating and being on the thing,

2116
01:38:05,040 --> 01:38:07,559
Speaker 1: but we need to have a business meeting. What kind

2117
01:38:07,600 --> 01:38:09,680
Speaker 1: of business meeting? So I go into this meeting and

2118
01:38:09,720 --> 01:38:13,439
Speaker 1: they say to me, Um, we use indie promotion guys,

2119
01:38:14,400 --> 01:38:18,400
Speaker 1: and somehow you bypass these guys and you're on the radio.

2120
01:38:19,320 --> 01:38:21,720
Speaker 1: So we usually pay these guys some money and the

2121
01:38:21,800 --> 01:38:24,240
Speaker 1: band pays them half the money. So unless you come

2122
01:38:24,320 --> 01:38:27,080
Speaker 1: up with the money, you're going to be taken off

2123
01:38:27,120 --> 01:38:29,720
Speaker 1: the playlist. And I go, what are you kidding? Is

2124
01:38:29,760 --> 01:38:31,840
Speaker 1: this like extortion pay all that kind of stuff. No,

2125
01:38:32,000 --> 01:38:34,760
Speaker 1: it's not. It's high level radio promotion. These guys help

2126
01:38:34,840 --> 01:38:36,680
Speaker 1: us with programming or whatever they want to call it.

2127
01:38:37,120 --> 01:38:40,320
Speaker 1: And I said, look, I don't have any money. I'm

2128
01:38:40,320 --> 01:38:41,960
Speaker 1: going to call their bluff. I called their bluff. The

2129
01:38:42,000 --> 01:38:45,560
Speaker 1: record vanished, gone, went from hundred forty station in the

2130
01:38:45,600 --> 01:38:49,280
Speaker 1: first four days, does nothing zero. So I was off.

2131
01:38:50,600 --> 01:38:54,160
Speaker 1: I've had some great adventures. So then where does that

2132
01:38:54,320 --> 01:38:56,960
Speaker 1: leave you? Well, it leads people still with a dream

2133
01:38:57,000 --> 01:39:00,160
Speaker 1: of writing a hit song. Um. It leads me to

2134
01:39:00,400 --> 01:39:04,640
Speaker 1: right now. UM. A few years ago got offered a

2135
01:39:04,760 --> 01:39:06,720
Speaker 1: record deal which is really weird, out of the blue

2136
01:39:06,720 --> 01:39:08,519
Speaker 1: by a friend of mine who brought Two North Records

2137
01:39:08,880 --> 01:39:10,720
Speaker 1: up in Canada, which is really a great label. They've

2138
01:39:10,720 --> 01:39:13,040
Speaker 1: had Bruce Colburn forever and a couple of other really

2139
01:39:13,080 --> 01:39:15,400
Speaker 1: good acts that when you call heritage acts, they just

2140
01:39:15,479 --> 01:39:18,679
Speaker 1: keep recording and touring for for decades. And Buffy, Satan,

2141
01:39:18,680 --> 01:39:21,280
Speaker 1: Marie and other friends of mine are on there. And

2142
01:39:21,400 --> 01:39:23,679
Speaker 1: so he offers me a record deal. I get inducted

2143
01:39:23,680 --> 01:39:26,080
Speaker 1: into Nashville Musicians Hall of Fame. I go down their

2144
01:39:26,120 --> 01:39:28,360
Speaker 1: new Young's there because Ben Keith has pedaled steel players

2145
01:39:28,720 --> 01:39:31,479
Speaker 1: being duck. I'm there with Kenny Wayne Shepherds, who's fitting

2146
01:39:31,479 --> 01:39:34,040
Speaker 1: in for Stevie a Van because Step Round, Double Trouble

2147
01:39:34,240 --> 01:39:37,599
Speaker 1: are inducted. I'm inducted. Frampton's inducted, Billy Gibbons is there.

2148
01:39:37,640 --> 01:39:40,200
Speaker 1: It's phenomenal. We'll leaves their playing bass. It's I'm in

2149
01:39:40,360 --> 01:39:42,720
Speaker 1: like my element of rock and roll guitar, and I said,

2150
01:39:43,000 --> 01:39:44,599
Speaker 1: I guess what. I just got offered a record deal,

2151
01:39:45,120 --> 01:39:46,920
Speaker 1: and he says, do yourself a favor. Don't do the

2152
01:39:46,960 --> 01:39:49,160
Speaker 1: same old Randy Backman ship. So what do you mean.

2153
01:39:50,000 --> 01:39:52,080
Speaker 1: Don't do the same stuff. Do something totally different. Be

2154
01:39:52,200 --> 01:39:55,080
Speaker 1: like me, reinvent yourself. Shock everybody. You lose some fans,

2155
01:39:55,160 --> 01:39:57,479
Speaker 1: but you get some new fans and your real diehard

2156
01:39:57,520 --> 01:39:59,920
Speaker 1: fans will love this little ride. You're going, this little deeptour.

2157
01:40:00,800 --> 01:40:03,960
Speaker 1: So I go back to Canada again, invite to see

2158
01:40:04,000 --> 01:40:06,559
Speaker 1: Tommy out and Stratford we have the Stratford Shakespeare Festival,

2159
01:40:06,640 --> 01:40:08,880
Speaker 1: but every year like a jazzer. So they have Stevie

2160
01:40:08,880 --> 01:40:11,000
Speaker 1: Wonder at a jazz festival, or Michael McDonald or Steve

2161
01:40:11,040 --> 01:40:14,800
Speaker 1: Winwood or something. They're having Tommy. So they invite me

2162
01:40:14,880 --> 01:40:18,879
Speaker 1: to Tommy. I'm sitting behind keep Pete Townsend and desk mechanics.

2163
01:40:18,920 --> 01:40:22,000
Speaker 1: Who's the guy who produced Tommy? And I'm knowing Pete

2164
01:40:22,040 --> 01:40:23,519
Speaker 1: for a long time. We argued over the name of

2165
01:40:23,520 --> 01:40:24,960
Speaker 1: the guests who and the who wait back in the

2166
01:40:25,040 --> 01:40:28,160
Speaker 1: sixties and he leans back and he goes the drummer

2167
01:40:28,200 --> 01:40:32,160
Speaker 1: is incredible. I've got to meet this drummer. Drummer is incredible.

2168
01:40:32,200 --> 01:40:34,200
Speaker 1: It plays every note like Keith Moon and Keith in

2169
01:40:34,640 --> 01:40:37,760
Speaker 1: Pinball Wizard. I've got to meet this drummer Dale, I said.

2170
01:40:38,160 --> 01:40:41,120
Speaker 1: Dale is a girl. Dale is a woman. What I said?

2171
01:40:41,200 --> 01:40:43,880
Speaker 1: The program says Dale Brendon, it's Dale and Brandon. I

2172
01:40:44,000 --> 01:40:46,400
Speaker 1: know this girl. She drums in a country Banner, written

2173
01:40:46,400 --> 01:40:48,200
Speaker 1: songs with them. I've done gigs with her, he said.

2174
01:40:48,240 --> 01:40:50,240
Speaker 1: It can't be that she has her own drums. Call

2175
01:40:50,280 --> 01:40:52,439
Speaker 1: she drumm Me says she's eight, She's got a hundred students.

2176
01:40:53,120 --> 01:40:55,160
Speaker 1: We go back, stay, she meets her. It's her, I

2177
01:40:55,200 --> 01:40:56,760
Speaker 1: said her. A man, I want I want to do

2178
01:40:56,800 --> 01:40:58,640
Speaker 1: an album with you. The drums who played were so

2179
01:40:58,840 --> 01:41:01,200
Speaker 1: Keith Moon. She's got exact kit. She's in her own

2180
01:41:01,240 --> 01:41:03,320
Speaker 1: room with Mike's. She got a monitor. She's watching the

2181
01:41:03,360 --> 01:41:05,920
Speaker 1: guy she's playing. It's amazing. And so I say to

2182
01:41:06,040 --> 01:41:08,160
Speaker 1: my manager, I want to do an album like Black

2183
01:41:08,240 --> 01:41:11,680
Speaker 1: Keys or The White Stripes. Me on guitar told the

2184
01:41:11,760 --> 01:41:14,000
Speaker 1: Rock and Blues I want to honor the British invasion

2185
01:41:14,040 --> 01:41:16,719
Speaker 1: of Clapton and Hendricks Cream and the who power guitar

2186
01:41:16,800 --> 01:41:19,679
Speaker 1: and drums is that you can't do what you're jumping

2187
01:41:19,720 --> 01:41:22,960
Speaker 1: on the Bandwagon, get somebody else. I see a bass player,

2188
01:41:23,040 --> 01:41:25,719
Speaker 1: a tall, beautiful chick playing with Ladies of the Canyon,

2189
01:41:26,000 --> 01:41:30,000
Speaker 1: which is like Canadians crazy Horse for knewing, But it's

2190
01:41:30,040 --> 01:41:33,519
Speaker 1: four chicks, beautiful, long hair and there blazing playing rock

2191
01:41:33,600 --> 01:41:35,519
Speaker 1: and country rock. So I asked the bass player she

2192
01:41:35,640 --> 01:41:37,280
Speaker 1: wanted to just do with this one project with me?

2193
01:41:37,840 --> 01:41:39,880
Speaker 1: And she's wearing a John in Twistle t shirt and

2194
01:41:39,960 --> 01:41:42,600
Speaker 1: she studied at McGill. She's, you know, standard based and

2195
01:41:42,640 --> 01:41:45,200
Speaker 1: reads notes, but she loves rocking out like John Entwistle.

2196
01:41:45,880 --> 01:41:47,120
Speaker 1: So I say, do you want to do an album

2197
01:41:47,160 --> 01:41:49,000
Speaker 1: with me? We'll just set up, we'll do it live

2198
01:41:49,080 --> 01:41:50,920
Speaker 1: in like four or five days, Power Tree. I'll show

2199
01:41:50,920 --> 01:41:52,800
Speaker 1: you the song we learned it once. It's blues. It

2200
01:41:52,840 --> 01:41:55,639
Speaker 1: ain't rocket science, it's all feel out of the blue.

2201
01:41:55,640 --> 01:41:57,560
Speaker 1: I call a friend of mine, Kevin Shirley, who I

2202
01:41:57,640 --> 01:41:59,519
Speaker 1: helped out twenty years ago, and he was stuck in Canada,

2203
01:41:59,560 --> 01:42:01,639
Speaker 1: came to Deuce Rush, couldn't get back into the States.

2204
01:42:02,040 --> 01:42:03,479
Speaker 1: I get him through to a radio show for me.

2205
01:42:03,479 --> 01:42:05,080
Speaker 1: I said, Kevin, you wow me a favor. He said, yeah,

2206
01:42:05,080 --> 01:42:07,400
Speaker 1: I do, and um, I see what are you doing?

2207
01:42:07,439 --> 01:42:09,760
Speaker 1: So I'm doing the led Zeppelin, Box said, ac DC

2208
01:42:09,920 --> 01:42:12,360
Speaker 1: Box said, I'm doing I don't know who he's doing

2209
01:42:12,400 --> 01:42:15,560
Speaker 1: all the Scorpions or something last year. He said, but

2210
01:42:15,640 --> 01:42:17,080
Speaker 1: I do your favor. I have a week off. I'll

2211
01:42:17,080 --> 01:42:18,639
Speaker 1: come to Toronto. Can you record an album in a week?

2212
01:42:18,680 --> 01:42:21,080
Speaker 1: I said, no problem. He flies in, I have these songs.

2213
01:42:21,080 --> 01:42:23,600
Speaker 1: I do an album called Heavy Blues. He takes it

2214
01:42:23,680 --> 01:42:25,559
Speaker 1: back to and mixes. Its incredible, he said, I got

2215
01:42:25,640 --> 01:42:28,719
Speaker 1: my next door neighbor to play on a track. Who's

2216
01:42:28,760 --> 01:42:31,240
Speaker 1: that Joe Bonamasa, Oh cool. I listen to it. I

2217
01:42:31,280 --> 01:42:33,720
Speaker 1: go wow, Maybe I should have some guests. So I

2218
01:42:33,800 --> 01:42:37,680
Speaker 1: get Neil Young, Peter Frampton, Robert Randolph Scott Holiday from

2219
01:42:37,720 --> 01:42:39,960
Speaker 1: the rival Sons and get all these guns. And Jeff

2220
01:42:40,000 --> 01:42:42,519
Speaker 1: Healey from the grave his wife. Let's me get an

2221
01:42:42,560 --> 01:42:44,880
Speaker 1: old track of him, this his guitar off and put

2222
01:42:44,920 --> 01:42:46,880
Speaker 1: it on a tribute to him. I have these seven

2223
01:42:46,920 --> 01:42:48,920
Speaker 1: guest guitar players. I mean, that's one of the best

2224
01:42:49,000 --> 01:42:51,880
Speaker 1: albums I did. Then the next better one is getting

2225
01:42:51,920 --> 01:42:54,040
Speaker 1: this idea to do my new album by George, the

2226
01:42:54,080 --> 01:42:57,920
Speaker 1: George Harrison Album. It's the most spiritual thing that I've

2227
01:42:57,960 --> 01:43:01,200
Speaker 1: ever done that I feel. That's the ratists working. Put

2228
01:43:01,240 --> 01:43:04,200
Speaker 1: the American Woman alb up there They're not fragile album,

2229
01:43:04,439 --> 01:43:06,760
Speaker 1: and put up the by George album. Though that's my

2230
01:43:06,960 --> 01:43:09,920
Speaker 1: triad of greatness in my life, honestly. So this is

2231
01:43:10,800 --> 01:43:15,640
Speaker 1: George Harrison covers using the words, but the riffs and

2232
01:43:15,680 --> 01:43:19,120
Speaker 1: the melodies are different, absolutely different. When it starts out,

2233
01:43:19,160 --> 01:43:22,040
Speaker 1: you have no idea what song it is. People play games,

2234
01:43:22,120 --> 01:43:24,040
Speaker 1: they have party games. Now they put on this record

2235
01:43:24,280 --> 01:43:26,280
Speaker 1: and they sit there betting I can name that in

2236
01:43:26,400 --> 01:43:28,479
Speaker 1: eight seconds. I can name that song in ten seconds

2237
01:43:28,600 --> 01:43:30,679
Speaker 1: or twelve words or whatever. And then when I start singing,

2238
01:43:30,720 --> 01:43:32,840
Speaker 1: everybody sings along. They all know the words every George

2239
01:43:32,840 --> 01:43:37,160
Speaker 1: Harrison song, and even the guitar solos in the songs

2240
01:43:37,240 --> 01:43:39,800
Speaker 1: are taken from other Beatle solos and put in a

2241
01:43:39,880 --> 01:43:43,240
Speaker 1: different song. So in and then then I wrote the

2242
01:43:43,280 --> 01:43:46,000
Speaker 1: first song between Two Mountains, which I said what I felt,

2243
01:43:46,200 --> 01:43:50,400
Speaker 1: how George felt. Going to a session with mont Lennon

2244
01:43:50,640 --> 01:43:53,400
Speaker 1: and Martin McCartney with thirty gems each, and then they

2245
01:43:53,479 --> 01:43:55,760
Speaker 1: call write maybe twenty each, and after they're all done

2246
01:43:55,800 --> 01:43:59,040
Speaker 1: and tired out, George, do you have a song? Oh? Yeah,

2247
01:43:59,080 --> 01:44:00,640
Speaker 1: I got a song called ACX Man. I got a

2248
01:44:00,680 --> 01:44:03,080
Speaker 1: song called something. I got a song you know, called

2249
01:44:03,160 --> 01:44:07,240
Speaker 1: Piggies or something, so I wrote between two Mountains. I

2250
01:44:07,320 --> 01:44:09,240
Speaker 1: wrote it in a daze, in a haze one night,

2251
01:44:09,439 --> 01:44:12,680
Speaker 1: in a weird psychedelic dream. I don't take psychedelics, but

2252
01:44:12,800 --> 01:44:15,880
Speaker 1: it was a really weird dream. If you've got kids,

2253
01:44:17,280 --> 01:44:20,160
Speaker 1: our little brothers or sisters, and you're asleep, you know

2254
01:44:20,280 --> 01:44:22,000
Speaker 1: when they walk in the room, even though you're asleep,

2255
01:44:22,680 --> 01:44:24,400
Speaker 1: you sent the presence in the room where you're doing

2256
01:44:24,479 --> 01:44:26,840
Speaker 1: your father and you wake up your little kids there

2257
01:44:26,880 --> 01:44:28,280
Speaker 1: with a Teddy Bearer blanket. Oh, if you had a

2258
01:44:28,320 --> 01:44:30,519
Speaker 1: bad dream coming to bed with daddy, they fall aslee.

2259
01:44:30,560 --> 01:44:32,360
Speaker 1: If you take them back to the crib, you sent

2260
01:44:32,479 --> 01:44:35,040
Speaker 1: somebody's in the room. So this happened like two years ago.

2261
01:44:35,320 --> 01:44:37,000
Speaker 1: The whole album is done. I want to get one

2262
01:44:37,040 --> 01:44:40,360
Speaker 1: of my songs on there because I've been George all

2263
01:44:40,439 --> 01:44:42,679
Speaker 1: my life and every band I've sung George Yarrison side.

2264
01:44:42,960 --> 01:44:45,559
Speaker 1: I bought his book, I've got his paintings. I phoned

2265
01:44:45,600 --> 01:44:47,160
Speaker 1: his house at Friar Park when I left the guests

2266
01:44:47,160 --> 01:44:49,040
Speaker 1: who to see if I could join his band, which

2267
01:44:49,200 --> 01:44:51,080
Speaker 1: was Clapton was in his band. There's no way I

2268
01:44:51,120 --> 01:44:52,960
Speaker 1: was going to get in his band, but I talked

2269
01:44:53,000 --> 01:44:56,360
Speaker 1: to him and I love the guy left his peacefulness

2270
01:44:56,360 --> 01:44:58,120
Speaker 1: in quietness, and I left how he dedicated the last

2271
01:44:58,120 --> 01:45:00,960
Speaker 1: part of his life too, really gin and spirituality and

2272
01:45:01,000 --> 01:45:02,760
Speaker 1: saying with John Lennon, war is over. You can have

2273
01:45:02,840 --> 01:45:04,720
Speaker 1: peace and put their career on the line and don't

2274
01:45:04,760 --> 01:45:08,000
Speaker 1: do commercial stuff anymore. Do songs that really means something.

2275
01:45:08,040 --> 01:45:09,880
Speaker 1: And when the Beatles came to New York and met

2276
01:45:09,920 --> 01:45:11,679
Speaker 1: Bob Dylan, he said, now that you have the attention

2277
01:45:11,720 --> 01:45:14,800
Speaker 1: of the world, say something. And they started to say something.

2278
01:45:15,439 --> 01:45:18,560
Speaker 1: So I have this feeling in mind, and I have

2279
01:45:18,680 --> 01:45:20,880
Speaker 1: this presence in the room. And I get up out

2280
01:45:20,920 --> 01:45:23,040
Speaker 1: of my bed this two o'clock in the morning, and

2281
01:45:23,200 --> 01:45:25,599
Speaker 1: I go next door and I said at my computer,

2282
01:45:25,720 --> 01:45:30,840
Speaker 1: I start to type, there's peace within. Just close your eyes,

2283
01:45:31,400 --> 01:45:34,920
Speaker 1: breathe in the power, and just realize. I learned to wait.

2284
01:45:35,320 --> 01:45:37,439
Speaker 1: My time would come. I'd celebrate because I was the

2285
01:45:37,520 --> 01:45:41,360
Speaker 1: one between two mountains. And I go, WHOA, this isn't me.

2286
01:45:41,400 --> 01:45:43,040
Speaker 1: And I feel these school I feel the goose bumps.

2287
01:45:43,080 --> 01:45:46,000
Speaker 1: Now saying that to you, I feel this weird thing

2288
01:45:46,520 --> 01:45:49,680
Speaker 1: that George wasn't piste off between these guys. He was

2289
01:45:49,840 --> 01:45:53,040
Speaker 1: grateful because they made a greatness of two mountains. And

2290
01:45:53,120 --> 01:45:54,880
Speaker 1: it's just like us being on the TV show. We

2291
01:45:54,920 --> 01:45:56,960
Speaker 1: had to write songs. Original song Burton Night have fit

2292
01:45:57,040 --> 01:46:00,320
Speaker 1: in between the Beatles and the Stones and the Beach Boys.

2293
01:46:00,560 --> 01:46:02,240
Speaker 1: George had to write a song that when it came

2294
01:46:02,280 --> 01:46:04,200
Speaker 1: time to play the song, it had to fit in

2295
01:46:04,320 --> 01:46:06,920
Speaker 1: there between Lennon McCartney's best and maybe one of the

2296
01:46:07,000 --> 01:46:09,200
Speaker 1: worst that got bombed Thumb and George has got in there.

2297
01:46:09,720 --> 01:46:11,080
Speaker 1: So I had this feet and then I wrote the

2298
01:46:11,120 --> 01:46:14,240
Speaker 1: second verse more about us in life, the mountain of

2299
01:46:14,280 --> 01:46:17,080
Speaker 1: good in the mountain and evil were between two mountains.

2300
01:46:17,560 --> 01:46:19,280
Speaker 1: And then I had a three. I've never written an

2301
01:46:19,280 --> 01:46:23,840
Speaker 1: ABC song that's ABC and then repeats ABC always on

2302
01:46:23,920 --> 01:46:25,320
Speaker 1: the of course on a hook, and of course on

2303
01:46:25,400 --> 01:46:27,800
Speaker 1: hook and a B A B A B and so something.

2304
01:46:27,840 --> 01:46:30,040
Speaker 1: I write this different kind of song, and I'm gonna

2305
01:46:30,080 --> 01:46:32,280
Speaker 1: put three pieces of music behind us that are very distinct.

2306
01:46:32,320 --> 01:46:35,720
Speaker 1: I'm going to borrow from George's Beatles stuff, and I

2307
01:46:35,840 --> 01:46:38,400
Speaker 1: start to bore some Indians cuitar stuff from some tablet,

2308
01:46:38,800 --> 01:46:40,519
Speaker 1: and I write the song and the solo in the

2309
01:46:40,600 --> 01:46:44,200
Speaker 1: middle is his greatest solo I think from and I

2310
01:46:44,320 --> 01:46:46,759
Speaker 1: love her. Doo Do dooe. So when you play between

2311
01:46:46,800 --> 01:46:48,479
Speaker 1: two mons in the middle of here too do Doo

2312
01:46:48,600 --> 01:46:51,719
Speaker 1: Do Do Do, and you go, where is that from? Wow?

2313
01:46:52,360 --> 01:46:54,160
Speaker 1: That's from man I love Her? And then you listen

2314
01:46:54,200 --> 01:46:56,200
Speaker 1: to Don't Bother Me, the solo from tax Man's and

2315
01:46:56,280 --> 01:46:58,800
Speaker 1: Don't Bother Me the solo from My Sweet Lords is

2316
01:46:58,880 --> 01:47:01,360
Speaker 1: in a different and song, and so if you're a

2317
01:47:01,400 --> 01:47:03,920
Speaker 1: guitar freak, and then listen to this album, going wow,

2318
01:47:04,320 --> 01:47:06,920
Speaker 1: I'm playing Georges solo in a different song, and so

2319
01:47:07,040 --> 01:47:08,760
Speaker 1: it's really cool. I had a lot of fun. We

2320
01:47:08,840 --> 01:47:10,120
Speaker 1: had a lot of fun. You listened to the album

2321
01:47:10,120 --> 01:47:12,760
Speaker 1: in entirety, it should be listened to. It's entirely like

2322
01:47:12,800 --> 01:47:16,519
Speaker 1: a Beatles album because it's book ended with between two

2323
01:47:16,600 --> 01:47:19,320
Speaker 1: mountains and the other one's done with backwards loops and

2324
01:47:19,360 --> 01:47:21,880
Speaker 1: all kinds of noises and tape flipping around like film

2325
01:47:21,920 --> 01:47:23,160
Speaker 1: at the end of a film, and all these two

2326
01:47:23,240 --> 01:47:25,800
Speaker 1: d dude like Strawberry Fields Forever. We just had great

2327
01:47:25,840 --> 01:47:27,479
Speaker 1: fun and figure, I'm not going to get any airplay.

2328
01:47:27,960 --> 01:47:30,559
Speaker 1: Miles Ago nuts I was invited to England for John

2329
01:47:30,640 --> 01:47:34,000
Speaker 1: lennon seventy fifth birthday about four years ago. Went to Liverpool.

2330
01:47:34,400 --> 01:47:37,559
Speaker 1: His sister Julia Broadis brownies, which was John's favorite birthday cake,

2331
01:47:37,600 --> 01:47:40,120
Speaker 1: gave us John Lennon glasses. I go to see Beatle

2332
01:47:40,720 --> 01:47:42,360
Speaker 1: the Beatles show there. Let it be a friend of

2333
01:47:42,400 --> 01:47:44,840
Speaker 1: mine was putting it on there. I'm really immersed in Beatles.

2334
01:47:44,880 --> 01:47:46,519
Speaker 1: I ride the bus, I get my haircut at Penny

2335
01:47:46,600 --> 01:47:49,120
Speaker 1: Lane barber shop and all that. I come back and go, wow,

2336
01:47:49,240 --> 01:47:51,479
Speaker 1: that was great. John Lennon. Me at John Lennons birthday. Yeah,

2337
01:47:51,479 --> 01:47:53,320
Speaker 1: I'm there with a bunch of Canadian lawyers and stuff

2338
01:47:53,320 --> 01:47:56,080
Speaker 1: and guys, what kind of George with the youngest Beatle?

2339
01:47:56,120 --> 01:48:00,320
Speaker 1: Whence heat? Whence Heat seventy five? Great? Whence the birthday?

2340
01:48:00,320 --> 01:48:02,760
Speaker 1: For well, I got an excuse to do an album,

2341
01:48:02,800 --> 01:48:04,599
Speaker 1: so I do something weird and different, like Neil Young said,

2342
01:48:04,600 --> 01:48:06,800
Speaker 1: don't do the same old stuff. Get a reason for

2343
01:48:06,960 --> 01:48:09,719
Speaker 1: doing it. And the first one was the sixties blues

2344
01:48:09,800 --> 01:48:11,680
Speaker 1: with these two girls and we totally rocked out. And

2345
01:48:11,760 --> 01:48:14,320
Speaker 1: then doing this George Yarrison thing with my band who've

2346
01:48:14,360 --> 01:48:17,839
Speaker 1: been together thirty years, who know every Beatles song backers,

2347
01:48:17,840 --> 01:48:19,479
Speaker 1: and my son Tell who grew up on the Beatles.

2348
01:48:19,520 --> 01:48:21,000
Speaker 1: I'd go on the road and come home all my

2349
01:48:21,080 --> 01:48:23,800
Speaker 1: Beatle records would be all over the house, laid out,

2350
01:48:23,840 --> 01:48:26,400
Speaker 1: not in their not in their sleeves or jackets. I'm

2351
01:48:26,400 --> 01:48:27,880
Speaker 1: about to tear a strip off of you. Of my

2352
01:48:27,960 --> 01:48:31,320
Speaker 1: best friend says to me, Are you nuts? Your son

2353
01:48:31,520 --> 01:48:34,680
Speaker 1: is steadying the Beatles? Do you understand what that is?

2354
01:48:35,360 --> 01:48:38,360
Speaker 1: These guys took the word from a yeah yeah yeah,

2355
01:48:38,920 --> 01:48:42,800
Speaker 1: to z to zed in Canada, to z with marmalade

2356
01:48:42,840 --> 01:48:45,400
Speaker 1: skies and relax your mind and float down screen. These

2357
01:48:45,439 --> 01:48:49,280
Speaker 1: guys took the world through bubblegum pop abba heavy metal

2358
01:48:49,400 --> 01:48:52,000
Speaker 1: like She's so heavy. These guys did everything your son

2359
01:48:52,120 --> 01:48:54,360
Speaker 1: setting leave them alone by you, by yourself, a set

2360
01:48:54,400 --> 01:48:56,439
Speaker 1: of Beatle stuff. Let your son have these and listen

2361
01:48:56,479 --> 01:48:58,559
Speaker 1: to them. So we're all really to the Beatles stuff.

2362
01:48:58,600 --> 01:49:00,600
Speaker 1: So to get these guys together saying we're gonna do

2363
01:49:00,720 --> 01:49:03,599
Speaker 1: ten George ten or twelve George songs and by the way,

2364
01:49:03,640 --> 01:49:06,920
Speaker 1: we're gonna make them unrecognizable. I've got these groups from

2365
01:49:06,960 --> 01:49:09,679
Speaker 1: the tax Man I do like in a fast Chicago

2366
01:49:09,800 --> 01:49:12,559
Speaker 1: likes easy top dude, do do do and we stopped.

2367
01:49:12,640 --> 01:49:14,240
Speaker 1: Let me tell you how it will be to do

2368
01:49:14,439 --> 01:49:16,880
Speaker 1: do Do Do? And it's like when we do that

2369
01:49:17,000 --> 01:49:18,640
Speaker 1: live the crowd goes nuts and they don't know what

2370
01:49:18,800 --> 01:49:21,080
Speaker 1: is because we solo for the first two minutes. Okay,

2371
01:49:21,240 --> 01:49:23,120
Speaker 1: so at this late date, how much how many live

2372
01:49:23,240 --> 01:49:26,559
Speaker 1: dates are you doing? Well? We started George's birthday febr

2373
01:49:28,000 --> 01:49:30,240
Speaker 1: Kings in New York. We went to Canada luckily. Now

2374
01:49:30,360 --> 01:49:32,599
Speaker 1: things are staggered. Things came out first as a download.

2375
01:49:32,920 --> 01:49:35,080
Speaker 1: Then see these now the vinyls of the vinyls this big.

2376
01:49:36,320 --> 01:49:40,280
Speaker 1: I went through a transition on the date of the eclipse.

2377
01:49:40,840 --> 01:49:42,320
Speaker 1: So I have a picture of the eclipse. That's the

2378
01:49:42,360 --> 01:49:43,840
Speaker 1: cover of my album. That's me going in though my

2379
01:49:43,880 --> 01:49:46,679
Speaker 1: new phase of life with moving to a new city.

2380
01:49:47,000 --> 01:49:48,760
Speaker 1: I'm gonna get a new woman in my life. I've

2381
01:49:48,760 --> 01:49:51,439
Speaker 1: got a new album, I've got did you did you

2382
01:49:51,520 --> 01:49:53,559
Speaker 1: do all those things? Did you move to? In the middle.

2383
01:49:53,720 --> 01:49:55,680
Speaker 1: I'm going home to say goodbye to my house. I'm

2384
01:49:55,720 --> 01:49:58,439
Speaker 1: flying to my new house in Victoria next Friday. I

2385
01:49:58,680 --> 01:50:01,360
Speaker 1: have a couple of women waiting to both partner. You

2386
01:50:01,439 --> 01:50:04,759
Speaker 1: are so alive, it's unbelievable. How about the old days

2387
01:50:04,800 --> 01:50:08,160
Speaker 1: to the royalty still come in? Yes, and a wonderful

2388
01:50:08,200 --> 01:50:10,840
Speaker 1: things happening in the world to me and everybody else.

2389
01:50:11,400 --> 01:50:14,760
Speaker 1: It's called reversion of copyrights. They expire after a while

2390
01:50:14,760 --> 01:50:17,240
Speaker 1: and the original creators can apply to get them back.

2391
01:50:17,280 --> 01:50:19,960
Speaker 1: So we're working on that. But things got really really

2392
01:50:20,040 --> 01:50:23,639
Speaker 1: good in the nineties when classic rock radio came out

2393
01:50:23,640 --> 01:50:25,600
Speaker 1: as a format. Could before that they only play a

2394
01:50:25,720 --> 01:50:28,240
Speaker 1: Golden Old or a Graveyard groovy or some old thing,

2395
01:50:28,320 --> 01:50:31,160
Speaker 1: and they play Monster Mash or something like that on Halloween.

2396
01:50:31,720 --> 01:50:34,880
Speaker 1: Now it's like a whole format. And then everything came

2397
01:50:34,920 --> 01:50:36,519
Speaker 1: out and c D and every goon that brought our

2398
01:50:36,600 --> 01:50:39,240
Speaker 1: album and vinyl and bought it in c D and

2399
01:50:39,320 --> 01:50:41,040
Speaker 1: now those are gone, the other by him and Vinyl

2400
01:50:41,080 --> 01:50:44,599
Speaker 1: again there. I just remastered eight BTO albums that's coming

2401
01:50:44,640 --> 01:50:48,960
Speaker 1: out as a box set in November with outtakes, and

2402
01:50:49,040 --> 01:50:50,960
Speaker 1: they all sound similar, no, because they're all mastered by

2403
01:50:51,000 --> 01:50:55,360
Speaker 1: the same guy. And for and preparing the Monster Bto

2404
01:50:55,439 --> 01:50:59,639
Speaker 1: Truckload it's called that will be remixes of everything without

2405
01:50:59,720 --> 01:51:02,439
Speaker 1: take and intakes and other solos because you could try

2406
01:51:02,520 --> 01:51:04,600
Speaker 1: one or two solos. Now you just linked in the

2407
01:51:04,640 --> 01:51:06,519
Speaker 1: song because you got protos. You make the solo twice

2408
01:51:06,520 --> 01:51:08,880
Speaker 1: as long you're bringing your other solo that nobody's heard

2409
01:51:08,920 --> 01:51:11,479
Speaker 1: before that might even have a mistake and what's wrong

2410
01:51:11,520 --> 01:51:13,720
Speaker 1: with the stakes? Neil Young plays them all the time,

2411
01:51:13,760 --> 01:51:15,000
Speaker 1: you know what I mean, and so do I like

2412
01:51:15,200 --> 01:51:17,360
Speaker 1: They're part of being the mistakes and what makes something

2413
01:51:17,479 --> 01:51:22,240
Speaker 1: great human exact exactly. So I've got Japanese recordings of

2414
01:51:22,320 --> 01:51:24,639
Speaker 1: the Beatles when when they got them to master in Japan,

2415
01:51:25,680 --> 01:51:28,360
Speaker 1: they couldn't read the mastering notes. So the end of

2416
01:51:28,439 --> 01:51:30,479
Speaker 1: tax Man or the end of my Guitar, generally, we've

2417
01:51:30,840 --> 01:51:33,840
Speaker 1: Paul Party makes twelve based mistakes. I played that for

2418
01:51:33,880 --> 01:51:36,440
Speaker 1: all my friends and they go nuts Paul making mistakes.

2419
01:51:37,240 --> 01:51:39,559
Speaker 1: They love it, so it's great to have those mistakes

2420
01:51:39,600 --> 01:51:44,360
Speaker 1: in there. Okay, So what's the dream? Presently? The dream

2421
01:51:44,479 --> 01:51:47,519
Speaker 1: is to have the George album be a success, to

2422
01:51:47,640 --> 01:51:51,120
Speaker 1: play one song called You Liked Me Too Much, which

2423
01:51:51,160 --> 01:51:52,800
Speaker 1: I did in Gypsy Kings sound, to play it on

2424
01:51:52,880 --> 01:51:55,479
Speaker 1: the Grammys with the Gypsy Kings, who I saw last

2425
01:51:55,520 --> 01:51:59,280
Speaker 1: week in London and they were just great. So I

2426
01:51:59,320 --> 01:52:00,880
Speaker 1: gotta tell you, can you listen to You Like Me

2427
01:52:00,960 --> 01:52:03,880
Speaker 1: Too Much? It's to change la la la la. And

2428
01:52:03,960 --> 01:52:06,200
Speaker 1: we're singing in Gypsy and my son sings in Spanish,

2429
01:52:06,760 --> 01:52:08,680
Speaker 1: so if I can do that song anywhere with the

2430
01:52:08,720 --> 01:52:11,320
Speaker 1: Gypsy Kings, it would be I've seen them ten times.

2431
01:52:11,360 --> 01:52:14,120
Speaker 1: I love these guys well. The amazing thing talking to

2432
01:52:14,280 --> 01:52:17,720
Speaker 1: someone of your generation, which is my generation, who is

2433
01:52:17,720 --> 01:52:21,320
Speaker 1: a musician, I must say I have not encountered someone

2434
01:52:21,800 --> 01:52:26,479
Speaker 1: as optimistic and enthusiastic about music at this late date.

2435
01:52:27,000 --> 01:52:31,360
Speaker 1: You're really excited and it's infectious. Thank you. While I'm

2436
01:52:31,439 --> 01:52:33,800
Speaker 1: still a fan. I am on my own radio show

2437
01:52:33,840 --> 01:52:36,040
Speaker 1: and canic called Randy's Vinyl Tap, and I play all

2438
01:52:36,120 --> 01:52:38,160
Speaker 1: my old vinyl and I tell my stories like I've

2439
01:52:38,200 --> 01:52:41,400
Speaker 1: told you about Brian Wilson or Paul McCartney touring the

2440
01:52:41,479 --> 01:52:44,080
Speaker 1: ringo stary that nobody knows these stories. So I will

2441
01:52:44,120 --> 01:52:46,479
Speaker 1: do a two hour show. It's o Saturday Night on CBC,

2442
01:52:48,080 --> 01:52:50,200
Speaker 1: and I tell the story. I'm in my thirteenth year,

2443
01:52:50,920 --> 01:52:52,720
Speaker 1: so to do the show, it's like a two hour

2444
01:52:52,840 --> 01:52:55,280
Speaker 1: theme one. One thing will be girls names, and next

2445
01:52:55,280 --> 01:52:56,800
Speaker 1: thing will be boys names. The next one would be

2446
01:52:56,840 --> 01:53:00,240
Speaker 1: summer songs, driving songs, songs about hope, songs about love,

2447
01:53:00,680 --> 01:53:02,800
Speaker 1: songs about the Earth for the Earth Day. And that

2448
01:53:02,880 --> 01:53:06,000
Speaker 1: allows me to play fifty or sixty years of rock

2449
01:53:06,040 --> 01:53:09,000
Speaker 1: and roll, from Little Richard right to Lady Gaga. Do

2450
01:53:09,080 --> 01:53:11,439
Speaker 1: you know what are you Are you a hip hop fan?

2451
01:53:11,560 --> 01:53:14,719
Speaker 1: Are you play everything? Yeah? If it fits my theme,

2452
01:53:14,760 --> 01:53:17,280
Speaker 1: and that's why people love my show. It's like old radio.

2453
01:53:17,600 --> 01:53:20,840
Speaker 1: You were. Old radio is with cousin Brucey or Latman Jack.

2454
01:53:21,080 --> 01:53:24,040
Speaker 1: They played the Ames Brothers and then they played Johnny

2455
01:53:24,080 --> 01:53:26,160
Speaker 1: Horton North to Alaska. Then they played Elvis, and they

2456
01:53:26,200 --> 01:53:29,160
Speaker 1: played the Stones Can't get a Satisfaction. Then it played

2457
01:53:29,200 --> 01:53:32,360
Speaker 1: Steven IVI gour may blame it on the Boston Nova,

2458
01:53:32,400 --> 01:53:33,439
Speaker 1: you know what I mean. And then they played the

2459
01:53:33,520 --> 01:53:36,320
Speaker 1: Ventures and they played everything. Radio was exciting. You never

2460
01:53:36,479 --> 01:53:40,120
Speaker 1: changed the channel. When you listen to radio every Saturday,

2461
01:53:40,120 --> 01:53:42,720
Speaker 1: you listen to the Top fifty, you listen fifty nine,

2462
01:53:42,760 --> 01:53:45,160
Speaker 1: you listen what's number one? You listen all day long.

2463
01:53:45,960 --> 01:53:48,599
Speaker 1: Now everybody's changing. You can hear the same song every

2464
01:53:48,680 --> 01:53:51,040
Speaker 1: day at ten on all these radio stations. I know

2465
01:53:51,160 --> 01:53:53,080
Speaker 1: it's it's certainly not what it once was, but you

2466
01:53:53,240 --> 01:53:56,599
Speaker 1: are still what you once were. You're very but as

2467
01:53:56,640 --> 01:54:00,599
Speaker 1: I said earlier, exciting and enthusiastic and Rhan, you're listening

2468
01:54:00,600 --> 01:54:03,280
Speaker 1: to Randy Backman on the Bob Left Sets podcast. Ready,

2469
01:54:03,320 --> 01:54:04,920
Speaker 1: thanks so much for doing this. Thanks you are a

2470
01:54:05,000 --> 01:54:07,519
Speaker 1: legend and it's a thrilled to talk to you than

2471
01:54:07,600 --> 01:54:09,080
Speaker 1: what I thought, Well, what did you think it was?

2472
01:54:09,080 --> 01:54:11,280
Speaker 1: Because you're gonna slam me, You're why would you think

2473
01:54:11,280 --> 01:54:15,599
Speaker 1: I'm gonna slam you? Because you're very opinionated, which is good, right,

2474
01:54:16,200 --> 01:54:19,120
Speaker 1: And my son saying, don't talk about to politics. My

2475
01:54:19,240 --> 01:54:21,680
Speaker 1: manager just saying, talking about vitamins bumps into health and

2476
01:54:21,720 --> 01:54:24,400
Speaker 1: I'm met to health and all. But what you did

2477
01:54:24,560 --> 01:54:27,160
Speaker 1: was really great, was really a nice ride for me

2478
01:54:27,280 --> 01:54:31,240
Speaker 1: through mytory of my life. I can all the records

2479
01:54:31,280 --> 01:54:34,440
Speaker 1: you're mentioning. I have my own specific stories where I

2480
01:54:34,640 --> 01:54:37,160
Speaker 1: was when I heard those and off the first b

2481
01:54:37,320 --> 01:54:39,800
Speaker 1: t O album, I had my one of my too

2482
01:54:39,840 --> 01:54:43,040
Speaker 1: closest friends from college, he's from Kansas City, and they

2483
01:54:43,240 --> 01:54:46,120
Speaker 1: played it there. We just played Kansas City, Okay, they

2484
01:54:46,680 --> 01:54:50,440
Speaker 1: they played it there, and I was unaware of the

2485
01:54:50,560 --> 01:54:54,160
Speaker 1: record with the New York City radio market. And then

2486
01:54:54,200 --> 01:54:56,480
Speaker 1: of course bt O two comes up and it's the

2487
01:54:56,520 --> 01:54:59,240
Speaker 1: biggest band in the land. As I say, I literally have.

2488
01:54:59,560 --> 01:55:01,040
Speaker 1: I can tell you you know this is about you,

2489
01:55:01,160 --> 01:55:03,000
Speaker 1: but I can tell you where I heard four Wheel

2490
01:55:03,080 --> 01:55:05,800
Speaker 1: Drive in Mammoth, California the first time. I can tell

2491
01:55:05,840 --> 01:55:09,400
Speaker 1: you being slipping some golfers around hearing you know you

2492
01:55:09,440 --> 01:55:12,440
Speaker 1: ain't seen nothing yet. It's like these songs are part

2493
01:55:12,480 --> 01:55:15,280
Speaker 1: of the American in the world fabric. That's my stage show.

2494
01:55:15,440 --> 01:55:17,480
Speaker 1: Is this just what I told you? From shaking over on?

2495
01:55:17,880 --> 01:55:19,760
Speaker 1: I tell every story of every song. I tell George

2496
01:55:19,800 --> 01:55:22,240
Speaker 1: Harrison's stories. So I started with three George, and this

2497
01:55:22,240 --> 01:55:23,440
Speaker 1: is We did the true of our a couple of

2498
01:55:23,520 --> 01:55:26,120
Speaker 1: nights ago, and then last night in Palomino Club and

2499
01:55:26,160 --> 01:55:28,680
Speaker 1: the night before in Kansas City. People are sitting down,

2500
01:55:29,080 --> 01:55:30,760
Speaker 1: they don't want to stand up and dance. They danced.

2501
01:55:30,800 --> 01:55:32,560
Speaker 1: Near the end. We come up with a tax man

2502
01:55:32,640 --> 01:55:35,240
Speaker 1: and taking care of business. And by the way, Elvis,

2503
01:55:35,320 --> 01:55:37,640
Speaker 1: she was taking care of business as his logo, his motto.

2504
01:55:38,320 --> 01:55:40,960
Speaker 1: Elvis made me start to play guitar. I wrote, tc B,

2505
01:55:41,320 --> 01:55:44,920
Speaker 1: it's on his tombstone TCB. I've seen Priscilla saying Elvis

2506
01:55:44,960 --> 01:55:47,320
Speaker 1: heard a Canadian band singing that song and said, that's

2507
01:55:47,360 --> 01:55:50,919
Speaker 1: my logo. So tc B, my connection with Elvis is complete.

2508
01:55:51,160 --> 01:55:55,080
Speaker 1: You have now come full circle above left. I was

2509
01:55:55,080 --> 01:55:57,600
Speaker 1: gonna ask another question, but this full circle we should

2510
01:55:57,680 --> 01:56:05,360
Speaker 1: end there. Thanks again so much. City. That wraps up

2511
01:56:05,440 --> 01:56:08,680
Speaker 1: this week's episode of The Bob left Sets podcast recorded

2512
01:56:08,760 --> 01:56:12,400
Speaker 1: live at the tune In studios in Venice, California. It's

2513
01:56:12,400 --> 01:56:15,640
Speaker 1: a mepic stories and a bunch of fun. Email me

2514
01:56:15,720 --> 01:56:18,520
Speaker 1: at Bob left sets dot com if you want to

2515
01:56:18,560 --> 01:56:21,680
Speaker 1: tell me what you thought. Until next time, it's Bob

2516
01:56:21,840 --> 01:56:41,040
Speaker 1: left Sets. Think me reas don't know exactly