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Speaker 1: Welcome, Welcome, Welcome to the Bob Left Sets podcast, recorded

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Speaker 1: live here at the tune In Studios in Venice, California.

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Speaker 1: My guest this week is really your treat. I mean,

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Speaker 1: hard time acting normal in the presence of vocalist extraordinary

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Speaker 1: Paul Rogers. Paul, good to have you here. It's good

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Speaker 1: to be here. Bub. For those people who don't know,

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Speaker 1: I distinctly remember hearing All Right Now on the Merritt

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Speaker 1: Parkway with that riff. It just blasted out of the stereo.

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Speaker 1: And then, of course I was a huge Bad Company fan.

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Speaker 1: But the first album when it came out in the

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Speaker 1: summer seventy four, just after I graduated from college, I

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Speaker 1: saw you at the Arms show with Jimmy Page. I

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Speaker 1: have a big history. So this is great, thank you, Okay,

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Speaker 1: so great to be here. So now this summer you're

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Speaker 1: on tour with Jeff Beck and Ann Wilson. That's right.

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Speaker 1: How did that come together? Well, it's actually came together. Um.

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Speaker 1: I did a tour in the UK reliving Free that

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Speaker 1: the band had played All Right Now originally, and I

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Speaker 1: called it Free Spirit because I was playing with this band. Um,

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Speaker 1: I should back up a little bit. We did um

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Speaker 1: some charity shows myself and Pete Bull Expand and they

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Speaker 1: played the free materials so very well that I said

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Speaker 1: to them, like, what, one day we should take this

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Speaker 1: on tour. It was it's such a great feeling, and

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Speaker 1: so we did. Every year we did for about three years.

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Speaker 1: We did a charity show there for Willows, which is

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Speaker 1: um an animal sanctuary, and all the proceeds went up

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Speaker 1: to Willows and Cynthia, my dear wife, Cynthia will tell

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Speaker 1: you all about Willows if if she's sitting in the

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Speaker 1: control room right now, you know. And um, so we

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Speaker 1: did that and then the club closed down. The club

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Speaker 1: we're playing closed down, so everybody was a bit side,

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Speaker 1: and I said, well, we'll tour it, wonder, We'll take

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Speaker 1: this whole thing out. We'll do it entirely free material

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Speaker 1: And we did that last year in the UK and

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Speaker 1: it was so warmly received that, um, I said to

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Speaker 1: to Pete, you know and the guys, let's take it

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Speaker 1: to America. Let's let's going to America with it. We

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Speaker 1: were initially just going to do a small clubs, small

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Speaker 1: theaters actually, and uh, it's kind of the way we

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Speaker 1: did in the UK. It's but it's kind of grown

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Speaker 1: a little bit since Jeff Beck and Ann Wilson were

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Speaker 1: you know, came on board. And I've worked with Jeff before,

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Speaker 1: I've worked with and before, and uh, it's going to

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Speaker 1: be great. Okay. Howard Lee's originally from Hard He's in

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Speaker 1: your band, correct, He's in my solo band and he

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Speaker 1: also depths for Mick Rals when we do when we

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Speaker 1: go out as Bad Company. Is that how you know

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Speaker 1: Ann Wilson or is that just serendipitous? Well, I know

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Speaker 1: we sort of cross paths over the years. I met

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Speaker 1: her when I first I can't remember when I first

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Speaker 1: met her, but I know that she really touched my heart.

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Speaker 1: One day I was doing a recording in Seattle and

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Speaker 1: she was next door. I was recording the Beatles. I

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Speaker 1: once said a girl, Oh, should I say one of

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Speaker 1: the amazing things? You know? I went to see you

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Speaker 1: at the Yell County Fear almost two summers ago, and

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Speaker 1: the legend about you is, unlike everybody else, you still

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Speaker 1: have your voice, you can still sin is there? You're

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Speaker 1: also known as being an incredible health Is there a

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Speaker 1: reason for that? Is there something or is this just genetics? Well?

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Speaker 1: I think part of it I mean a huge part

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Speaker 1: of it is my wife, Cynthia. She's she had a

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Speaker 1: fitness show and she's very, very fit person. And when

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Speaker 1: I met her, I had to get my act together

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Speaker 1: a little bit, you know, But I do, I mean,

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Speaker 1: I I do value. I mean a lot of people

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Speaker 1: do and value as being as fit as you can.

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Speaker 1: I think it's it's uh, it's a big plus for

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Speaker 1: whatever you do. And in my case for singing, it

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Speaker 1: really does help, you know, because it's it's grueling on

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Speaker 1: the road. And so anyway to finish that story, no,

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Speaker 1: we're getting back. I'm big. We're in the studio in

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Speaker 1: Seattle and Ann Wilson his next door. I did not

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Speaker 1: forget that she did. I mean, she popped her head

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Speaker 1: and she said, oh, that sounds nice. And I said, oh,

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Speaker 1: come in, and she said, do you want me to

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Speaker 1: put a harmony on that? And I said yes, and

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Speaker 1: she she went walked straight into the mic and did

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Speaker 1: a beautiful harmony on it. And she came back she said,

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Speaker 1: was that okay? I said it was absolutely fantastic, and

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Speaker 1: and she said okay, and she waved, she walked out.

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Speaker 1: She was gone, just like that, and it was so

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Speaker 1: nice of her just to give her something. How long

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Speaker 1: ago was this, Oh man, this was probably fifteen years ago,

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Speaker 1: a long time back. And I just love her. I

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Speaker 1: think she's great. I think she's a great artist, and

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Speaker 1: she's a lovely person. Yeah, and you know Jeffrey, I

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Speaker 1: mean we all, But how do you have a personal

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Speaker 1: relationship with them? Well, Jeff Beck, I mean Jeff Beck

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Speaker 1: first touched me actually when I heard the Truth album

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Speaker 1: what it's called the Truth Album and the Star first

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Speaker 1: solo album. Yes, and it's ships, yeah, shame yes, ship

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Speaker 1: I know. And and there is a song and I

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Speaker 1: don't like the title, but they called it rock my

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Speaker 1: plim Soul. I think it's actually rock me baby. But

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Speaker 1: it's the best version of that I ever heard. You

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Speaker 1: can't rock Me. I mean, they really rip it up.

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Speaker 1: And this was before Zeppelin, before Cream, before Hendricks Broke

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Speaker 1: in England and any of those fantastic acts. Um, and

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Speaker 1: they really set the bar I think for the next

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Speaker 1: fifty years of rock and roll. They don't even know it.

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Speaker 1: I mean they probably go, uh huh, we did, but

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Speaker 1: I don't. But they really did. I mean they certainly

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Speaker 1: did for me, because that's Rod Stewart singing and Jeff's guitar,

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Speaker 1: and I think it was Mickey Waller on the drums,

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Speaker 1: and I do believe it is the guitarist with Robby

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Speaker 1: wood Play on bass and the bassis do Do Do

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Speaker 1: Do Do Do? Do? You know they're like right in sync?

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Speaker 1: Do Do Do? And Uh, it was just so great

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Speaker 1: And I always wanted to sing. That's been such an

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Speaker 1: inspiration for me for years. And we've done things together,

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Speaker 1: Jeff and I. He was I did a tribute to

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Speaker 1: Muddy Waters and give him a call and and he

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Speaker 1: he played three tracks and he was absolutely fantastic. So yeah,

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Speaker 1: we go way back. Okay, So best guitarist of all time,

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Speaker 1: best rock guitarist, Well, you know my favorite that my

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Speaker 1: soul mate really was Paul Kossof with Free. That's when

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Speaker 1: I first met him. I was playing at a little

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Speaker 1: blues club in Finsbury Park and he came up and said,

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Speaker 1: I've got a guitar in the in the car. Can

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Speaker 1: I get up on stage and jam? And I said,

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Speaker 1: I absolutely bring it in, let's go. And uh. He

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Speaker 1: was this long HAIRD had hair down to like past

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Speaker 1: his you know, past his butt really and he had

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Speaker 1: the most amazing levies on for the day. Levi's didn't

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Speaker 1: make flares, but he bought two pairs and had a

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Speaker 1: tailor put a little V and each side, each leg,

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Speaker 1: and he looked it was and handmade boots. It was

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Speaker 1: just so cool, and and he got up and we

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Speaker 1: played bb King. We played every day I have the blues.

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Speaker 1: I think we played Stormy Monday, and he just at

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Speaker 1: times stood still for everybody in the place. And I

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Speaker 1: said to him afterwards, we must form a band. We

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Speaker 1: got to get something together. And that's how Free was born. Okay,

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Speaker 1: let's let's go sideways, then go back to the beginning.

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Speaker 1: So Paul dies on a flight back to the UK,

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Speaker 1: I mean not Paul podcast of yes, and uh, you know,

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Speaker 1: I hear varying things. I hear that he odd Al

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Speaker 1: Cooper is a big friend of his, says, you didn't

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Speaker 1: really odd g his heart gave out, which I would

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Speaker 1: think of drugs. Can you gu any insight on that?

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Speaker 1: You know? I understood him to have aldi. That's that's

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Speaker 1: actually all I know. But I might be wrong. But

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Speaker 1: for me, um, he was always a very together guy.

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Speaker 1: He was never into heavy drugs. And one gets the

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Speaker 1: impression from a distance that oh, you know, there goes

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Speaker 1: another one. He was just typical of the you know,

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Speaker 1: the genre, but not really. When we first got together,

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Speaker 1: he did all the driving. He drove the band up

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Speaker 1: and down the country, you know, eight hours here, I

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Speaker 1: was there to the shore. On top of that, our

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Speaker 1: three shows actually, and he was really really together. We

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Speaker 1: we didn't dabble in drugs. We smoked a bit of weed,

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Speaker 1: quite a bit of weed, I must admit, and um,

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Speaker 1: that's as far as we went. We didn't do the

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Speaker 1: chemical thing. I was very much against putting anything of

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Speaker 1: of of that nature into my body, you know, but

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Speaker 1: I didn't mind a little weed, as it were, because

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Speaker 1: I thought that was kind of you know, banding your mind, right,

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Speaker 1: That's what we all thought in those days. And that's

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Speaker 1: that's I think that's how come the the drugs, the

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Speaker 1: the chemical drugs got consumed because because it was like

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Speaker 1: it was like, oh, if that expands your mind, then

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Speaker 1: you know, heroin and cocaine must really expand your mind. Well,

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Speaker 1: you know, it doesn't really. And he got into all

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Speaker 1: that stuff after Free had split up, which was a

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Speaker 1: very very sad thing. We did a couple of sessions

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Speaker 1: together and he put the track he should listen to. Really,

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Speaker 1: if you want to hear the heart and soul of podcast,

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Speaker 1: offer a song we did called come Together in the Morning.

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Speaker 1: Um and do did a little. I mean, he plays

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Speaker 1: his heart and soul. It's just amazing. It is so good.

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Speaker 1: I'm a huge fan. I was always a fan. I

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Speaker 1: bought fire and Water. But about twenty years ago in

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Speaker 1: Him put out a anthology two c ds of molten gold,

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Speaker 1: old whatever. And you listen to the work, I'm them

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Speaker 1: and I I'll be creeping. I always love but the

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Speaker 1: sound on the steeler, just the way the guitar sounds unbelievable.

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Speaker 1: But let's go back. So you're from where in the UK?

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Speaker 1: I'm from Middlesbrough, which is a town in the northeast,

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Speaker 1: an industrial, heavy industrial town, steel mills and shipbuilding. Uh.

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Speaker 1: And I came down before you. What did your father do?

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Speaker 1: What did your father do? Father worked in the steel mills.

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Speaker 1: And you have siblings? I s I'm of one of seven,

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Speaker 1: one of seven. Where are you in the hierarchy? I'm

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Speaker 1: I'm right in the middle. Actually have three older sisters, uh,

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Speaker 1: two younger brothers and a younger sister. So I'm right

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Speaker 1: in the middle. Of seven. Now. Ray Davis always talks

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Speaker 1: about being turned on to music by his older sisters.

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Speaker 1: Was that the case with you? Yeah, I mean they

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Speaker 1: were teenages when I was still a toddler as you were,

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Speaker 1: So I mean, you know, they loved Elvis Presley and

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Speaker 1: I used to like, wonder what it is about this guy?

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Speaker 1: And I'm still wonder ring, although at a good time

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Speaker 1: it gracely, and I'm still wondering on the music. Yeah,

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Speaker 1: well he did, you know. I mean guys like that,

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Speaker 1: they have something special. I think they do. The Beetle

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Speaker 1: had something special to and there are very many people

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Speaker 1: that give to the world themselves through their music. I

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Speaker 1: don't know, you know, it comes from it comes from

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Speaker 1: like I don't know, the universe or something, and they

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Speaker 1: are conduit. They are a conduit for change in many ways.

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Speaker 1: And I think Elvis was one of those people. You know.

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Speaker 1: I never saw a bad photograph of Elvis. He always

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Speaker 1: looked amazing, although that in Vegas the bloated Elvis. But

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Speaker 1: before that, I agree with you. Yeah, I mean, yeah, yeah, definitely.

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Speaker 1: And I'm sure you've been to Memphis and you go

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Speaker 1: to like the tailor that he used. It was like

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Speaker 1: you know, we live in the modern era. We figure

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Speaker 1: everyone's using the best people. It was kind of backwoodsie

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Speaker 1: and they all surprisingly so yes, yeah, yeah, And he

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Speaker 1: was influenced by a lot of the soul music and

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Speaker 1: the blues that was going on, although the kernel I

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Speaker 1: think kept that separate, you know. I mean, he's the

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Speaker 1: white guy and they they, and he was like they.

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Speaker 1: He was one of a kind, one of just one

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Speaker 1: of a kind. But I think he was definitely I've

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Speaker 1: got a photograph of him with BB King, and I

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Speaker 1: never saw that throughout his years, never saw that connection.

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Speaker 1: That's an interesting point. Never thought. We never saw him

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Speaker 1: mixing with the African Americans and he was really it

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Speaker 1: was really right in the center of it, and it

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Speaker 1: couldn't help but be influenced by it, I think. And

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Speaker 1: so there it is, and it's a beautiful thing. Okay,

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Speaker 1: so you're in the northeast of UK. How do you

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Speaker 1: get interested in music? Well, um, I I the radio

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Speaker 1: was on an awful lot of the time. When I

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Speaker 1: was growing up. We had something called Ready Fusion. You

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Speaker 1: get TV and you get free radio. So the radio,

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Speaker 1: because it was free, it was on all the time

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Speaker 1: and I listened to Frank Sinatra growing up, because it

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Speaker 1: was just there on the radio. Then marriage, you know,

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Speaker 1: and I was I was always amazed at the quality

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Speaker 1: of the vocals in those days, Andy Williams, you know

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Speaker 1: Frank of course. And and although it's only looking back

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Speaker 1: that I was amazed, I just accepted it at the time.

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Speaker 1: But one day, when I was about thirteen, my father

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Speaker 1: bought me a guitar. Became only But what was the inspiration?

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Speaker 1: Had you asked for a good time right out of

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Speaker 1: the blue. And I didn't quite know what to do

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Speaker 1: with this thing. I mean, I thought, well, it's got

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Speaker 1: it's going to be easy to play. Well it wasn't.

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Speaker 1: And um so I switched to the bass because bass

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Speaker 1: has four strings and therefore is easy to play. And

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Speaker 1: did you play four Did you get a base or

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Speaker 1: was it four strings on the guitar he brought I

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Speaker 1: got a base? Yeah. Well, actually what happened was because

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Speaker 1: I had the guitar, that made me eligible to join

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Speaker 1: the class band. There was a band in the in

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Speaker 1: the class and this was something that was organized by

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Speaker 1: the school or just the people who were the school

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Speaker 1: was not interested in rock and roll at all, you know,

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Speaker 1: in those it's very strict. I mean, so no, this

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Speaker 1: was entirely outside of the school curriculum. And so we

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Speaker 1: all got together in in Mick Moody his kitchen and

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Speaker 1: banged pots and pants if I had a hammer and

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Speaker 1: hammer in the morning, you know, and all that we

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Speaker 1: thought we did good, you know, And and so but

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Speaker 1: I switched to base and we got we kept at it,

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Speaker 1: we got more and more professional, and and one, you know,

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Speaker 1: in our mind, we didn't. Mike had an A C

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Speaker 1: thirty which we all plugged into. Explained to my audience

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Speaker 1: that is, oh, it's a it's an Vox. A C

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Speaker 1: thirty is an amplifier. The Beatles used them, actually, Vox's

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Speaker 1: AC thirties, and it had a lot of inputs. So

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Speaker 1: in theory you could plug everybody into it, but of

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Speaker 1: course you are overloading it quite a bit. But anyway,

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Speaker 1: we didn't worry about that. We just plugged in and

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Speaker 1: away we went. And we did this kind of privately,

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Speaker 1: apart from driving his parents up the wall. Actually, imagine

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Speaker 1: until one day at a very nosy neighbors said, oh, oh,

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Speaker 1: you've got a bandon, have you go, and then plays

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Speaker 1: a song and we looked at each other. We never

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Speaker 1: played to anybody before, and this was our big chance,

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Speaker 1: I think in a way. And so we played whatever

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Speaker 1: it was and she clapped at the end of it,

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Speaker 1: and we thought, oh, this is good, and so that

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Speaker 1: broke the ice a little bit. Then we started to

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Speaker 1: do shows, and you know, you just stay with it

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Speaker 1: and you're playing shows, playing what material. Well, we played

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Speaker 1: a mixture of what was in the charts at the

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Speaker 1: time until we discovered soul music and blues music. Actually,

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Speaker 1: um I remember we we played at one place which

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Speaker 1: was right next to it was a youth club, was

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Speaker 1: right next door to the pub. And the pub closed

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Speaker 1: and there's only a few kids and a little younger

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Speaker 1: kids and a great The doors at the back burst open,

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Speaker 1: and all these drunken youngsters from the pub came in

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Speaker 1: looking for a fight, looking for trouble, just as we

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Speaker 1: were going to I know you want to leave me

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Speaker 1: to let you, and they all like stopped at the

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Speaker 1: door just the music actually stopped them in their tracks,

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Speaker 1: and they also and then they all started dancing, and

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Speaker 1: we looked at each of them. We thought, Wow, the

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Speaker 1: power of music, because you know, they looked like trouble

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Speaker 1: and and uh, it was great and there was a

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Speaker 1: great night. You learn things like that, you know. Okay,

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Speaker 1: So at what point did you realize you could sing? Actually? Uh,

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Speaker 1: I'm still learning, to be honest, but I mean I

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Speaker 1: love to listen to Hollan Wolf. I was a very

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Speaker 1: When I think back, it's very unusual to think of

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Speaker 1: a thirteen year old boy sitting up in his room

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Speaker 1: listening to listening to I Have had my fun, you know,

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Speaker 1: Helen Wolf. If I don't get well no more, you know,

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Speaker 1: talking about he's dying. All those lyrics we listened to

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Speaker 1: a kid, I understand them. I just saying them that

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Speaker 1: I didn't understand. Well, no I didn't. I mean, you know,

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Speaker 1: she must be tired of living. I'll put us sick

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Speaker 1: feed in her grave. I mean, this is tough stuff. Man.

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Speaker 1: You know, those guys lived a heck of a life,

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Speaker 1: and yeah, you do you just kind of like, oh,

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Speaker 1: that's the lyrics, right, you know, But that was the

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Speaker 1: reflection of their life and how life was for them,

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Speaker 1: and it just no matter what they were singing about though,

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Speaker 1: there was a real deep spirit to the music, a

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Speaker 1: real passion, and they didn't they didn't take any prisoners musically.

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Speaker 1: They just would do in this because they wanted to

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Speaker 1: do it UM and I guess they they had their

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Speaker 1: own scene going down there in Memphis and around there,

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Speaker 1: and the bars and the chicks and the booze and

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Speaker 1: just everything. The whole life style. It to me. It

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Speaker 1: it opened my eyes to another world, you know. But

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Speaker 1: the music itself was something that I really wanted to do.

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Speaker 1: I wanted to do that for some reason, I thought.

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Speaker 1: I so it as a career at that young age. Well,

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Speaker 1: I wasn't thinking about careers, but I just wanted to

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Speaker 1: do that. I want to do that, you know, somehow

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Speaker 1: wherever it takes me. And I think that's kind of

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Speaker 1: the story of my life in there. Okay, but you

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Speaker 1: but you relate those guys you leave and go to

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Speaker 1: London at age fifteen, you said, age seventeen. I was

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Speaker 1: an old guy by the time. Okay, so it's seventeen.

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Speaker 1: You finished, you finished what we call high school. Yeah,

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Speaker 1: I finished school. I graduated at sixteen actually in those days.

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Speaker 1: And then I worked at a paint store in the

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Speaker 1: in the in the back of the planet, and we

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Speaker 1: do did gigs around town. But it was always UM

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Speaker 1: the music that was number one for me. I only

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Speaker 1: worked there because to have a job, I had to

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Speaker 1: put food on it to oh, I mean I had

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Speaker 1: to pay my mom and stuff. So I but music

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Speaker 1: was the thing and we were all but by this point,

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Speaker 1: before you left home, the Beatles it hit right. Yeah,

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Speaker 1: the Beatles were everything in the world, because they certainly

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Speaker 1: were in America. Yeah, and okay, so how do you

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Speaker 1: decide to go to London? We just did, Actually we

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Speaker 1: just said it was we at this point, well it

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Speaker 1: was me. It was me, Mick Moody, Bruce Thomas, and

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Speaker 1: Dave Usher. Davosher was the drummer Thomas who ultimately played

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Speaker 1: with the Carstello. Yes, actually, yes he did. He went

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Speaker 1: on to play with him, I understand. And uh, Dave

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Speaker 1: Asha was wild and crazy guy, big head of ginger hair.

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Speaker 1: It gave me a lot of blues records. He gave

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Speaker 1: me some of the Howling Wolf I had as well. Uh,

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Speaker 1: singles very hard to find nowadays. Um, and we just

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Speaker 1: already said, well let's go to I I remember actually

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Speaker 1: said to my mom I'm thinking of going We're thinking

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Speaker 1: of going down to London and like making the big time.

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Speaker 1: And I was surprised because I thought she'd say, you're

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Speaker 1: not going, not going down to London, and that would

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Speaker 1: have been the end of it. To be honest with you,

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Speaker 1: I wouldn't have gone. If she just said no, I

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Speaker 1: would not have gone. But she said, okay, well my

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Speaker 1: now you go. I'm like, huh, that's permission? Oh my god.

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Speaker 1: So I went back to the to the rest of

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Speaker 1: the guy said well, I'm on, are you on? And

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Speaker 1: so it was like if we did, dare we did? We?

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Speaker 1: And we went down and promptly were very, very hungry

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Speaker 1: for a long time. What was the first break or

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Speaker 1: with the first change that put you on the right

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Speaker 1: path in London. Well, what happened for me was that,

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Speaker 1: you know, the rest of the guys, they they didn't

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Speaker 1: like being hungry, they didn't want to continue, and they

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Speaker 1: went back home. Actually, and I stayed down there and

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Speaker 1: I met Paul us Off at the Blues club I

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Speaker 1: mentioned earlier, and really we put that bend together in

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Speaker 1: the space of a few months. And then Andy Fraser

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Speaker 1: came along. He knew um Alexis Corner. Alexis Corner put

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Speaker 1: us in touch with a couple of it. We tried

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Speaker 1: a couple of people actually, but we eventually found Island

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Speaker 1: Records and Chris Blackwell, and they were along with Chrysalis.

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Speaker 1: They were in Oxford Street that they were sharing offices

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Speaker 1: at the same time. I mean they became very Chrystalis,

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Speaker 1: jethro Tell and Joe Cocker and all these people that

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Speaker 1: later became stars. So everybody was becoming a star of

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Speaker 1: and I everybody who were bumping into in the street.

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Speaker 1: It was, you know, one day you were at the

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Speaker 1: Marquee and the next day they were in the charts,

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Speaker 1: and it was it was just that was the time,

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Speaker 1: that was the period of that was what it was

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Speaker 1: like in those days. And everywhere you went there was

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Speaker 1: music it seemed coming out of the windows. Uh and

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Speaker 1: and there was suddenly there was Hendrix and there was

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Speaker 1: Cream and all this music was really happening. So we

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Speaker 1: were in the midst of all that. We'll take a

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Speaker 1: quick break and come back with more of my conversation

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Speaker 1: with legendary vocalist Paul Rogers, recorded live at the tune

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Speaker 1: In Studios in Venice, California. This podcast is brought to

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Speaker 1: you by tune In, which brings together all the live sports, music,

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00:22:32,400 --> 00:22:36,600
Speaker 1: news and podcast you learn, original, live and on demand audio,

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00:22:36,720 --> 00:22:39,160
Speaker 1: all in one place. Go to tune in dot com

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Speaker 1: slash left sets to download and listen. Okay, let's get

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Speaker 1: back to my conversation with Paul Rogers. So you get

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Speaker 1: a record deal now. In the US, Free flew under

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Speaker 1: the radar until all right, Now, what was the level

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Speaker 1: of success in the UK? Well, we were what they

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Speaker 1: call an underground by and we we weren't commercially successful,

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Speaker 1: but word of mouth was enough. We would fill out

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Speaker 1: all the clubs in the in the UK wherever we played,

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Speaker 1: and we played everywhere. We went over to Germany too,

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Speaker 1: and we played in France sometimes, and we played in

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Speaker 1: countries in Europe. Um wherever we went. We it was

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Speaker 1: kind of we were bubbling under. And uh yeah, so

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Speaker 1: now at this point you're singing but you're also writing.

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Speaker 1: When did you become a writer? Yes, well, just about

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Speaker 1: the time I met Paul Klassof, I had written. I

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Speaker 1: thought about songwriting and I thought, well, now, how do

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Speaker 1: you write a song? And we would would. I've been

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Speaker 1: playing a lot of blues and there's a thing called

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Speaker 1: the twelve bar blues, which is a great structure and

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Speaker 1: there are so many variations of it, and it's a

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Speaker 1: it's a brilliant structure. Whoever wherever that evolved from it.

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Speaker 1: I think it came from God himself, because it's a

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Speaker 1: structure upon which you can hang your soul. You can

426
00:24:01,720 --> 00:24:05,320
Speaker 1: put any kind of lyric that anything you want to say.

427
00:24:05,520 --> 00:24:08,400
Speaker 1: The first line, then the second line repeats that. Then

428
00:24:08,440 --> 00:24:11,240
Speaker 1: it's the killer line. My throat is dry, my knee

429
00:24:11,280 --> 00:24:13,760
Speaker 1: is a week it's so damn hard I can't even speak.

430
00:24:13,960 --> 00:24:17,560
Speaker 1: Welcome my shadow. And we I wrote a song. I thought, well,

431
00:24:17,680 --> 00:24:20,080
Speaker 1: if you write a rift do dink dink do the

432
00:24:20,160 --> 00:24:22,800
Speaker 1: link do in the twelve hour structure and then you

433
00:24:23,040 --> 00:24:25,080
Speaker 1: put your own lyrics on it, you've written the song,

434
00:24:25,160 --> 00:24:28,479
Speaker 1: haven't you. And so that was my first song. And

435
00:24:28,520 --> 00:24:35,000
Speaker 1: then uh m, Paul kastof, give me some music, piece

436
00:24:35,040 --> 00:24:38,199
Speaker 1: of music. Do Do Do Do Down Do Doom doo doo,

437
00:24:38,520 --> 00:24:40,720
Speaker 1: and I wrote, He said, can you write lyrics to

438
00:24:40,800 --> 00:24:43,520
Speaker 1: that for me? An ideas? And that became Moonshine. So

439
00:24:44,040 --> 00:24:47,240
Speaker 1: we were now we were songwriters, and it was it

440
00:24:47,320 --> 00:24:50,959
Speaker 1: was a natural step. I was going to say that

441
00:24:51,000 --> 00:24:54,359
Speaker 1: we we had about three or four of our own

442
00:24:54,400 --> 00:24:58,760
Speaker 1: songs freed in initially, and uh why was it named free?

443
00:24:58,920 --> 00:25:03,439
Speaker 1: And it was named free because during the when about

444
00:25:03,480 --> 00:25:06,800
Speaker 1: the first time. We got together at the Nag's Head,

445
00:25:07,680 --> 00:25:10,680
Speaker 1: which is a pub in Bartrassy, and there was a

446
00:25:10,760 --> 00:25:13,320
Speaker 1: room above it the bands rehearsed and were We had

447
00:25:13,320 --> 00:25:18,280
Speaker 1: our first rehearsal there and we were playing Moonshine, the

448
00:25:18,359 --> 00:25:20,680
Speaker 1: song that Cost had given me to write the lyrics

449
00:25:20,760 --> 00:25:25,080
Speaker 1: to when Sit Here Alone in Crime and it was

450
00:25:25,119 --> 00:25:31,040
Speaker 1: a big climax thing and um yeah, and then Alexis

451
00:25:31,080 --> 00:25:33,240
Speaker 1: Corner came in. We walked in at that moment with

452
00:25:33,359 --> 00:25:37,560
Speaker 1: his family, his wife and kids, and sat down and

453
00:25:37,560 --> 00:25:39,520
Speaker 1: we all took a break and we sat down and

454
00:25:39,520 --> 00:25:43,040
Speaker 1: he said, well, I've been listening outside the door, and

455
00:25:43,800 --> 00:25:46,080
Speaker 1: you are a band. And we looked at each other

456
00:25:46,119 --> 00:25:48,000
Speaker 1: because when we when we walked into that room, we

457
00:25:48,040 --> 00:25:51,240
Speaker 1: were four separate people. But because we could say, well,

458
00:25:51,280 --> 00:25:53,040
Speaker 1: do you know spoonfuls? You know every day have the

459
00:25:53,040 --> 00:25:56,520
Speaker 1: blues And we all played a lot of blues songs

460
00:25:56,520 --> 00:25:59,720
Speaker 1: because they're very good to jam on. That's the beauty

461
00:25:59,720 --> 00:26:02,800
Speaker 1: of it, actually, uh, And we were a band by

462
00:26:02,800 --> 00:26:06,560
Speaker 1: the time we'd finished rehearsing, and he said, okay, you

463
00:26:06,640 --> 00:26:09,440
Speaker 1: sound like a band. All you need now is a name,

464
00:26:10,440 --> 00:26:14,359
Speaker 1: and where everybody sat pensively thinking my name, yeah, and

465
00:26:14,359 --> 00:26:16,159
Speaker 1: he said, well, if it helps you. I used to

466
00:26:16,200 --> 00:26:20,560
Speaker 1: have a band with Cyril Davis harmonica Player when we

467
00:26:20,600 --> 00:26:23,720
Speaker 1: called it Free at Last, and everybody sat from it

468
00:26:23,880 --> 00:26:26,760
Speaker 1: and it seemed to be like a group decision and said,

469
00:26:27,440 --> 00:26:29,959
Speaker 1: well it's got to be free, hasn't it free? And

470
00:26:30,000 --> 00:26:34,200
Speaker 1: that was that was it, without a word. It was

471
00:26:34,240 --> 00:26:37,080
Speaker 1: like a cosmic decision, you know. And how do you write?

472
00:26:37,240 --> 00:26:41,199
Speaker 1: All right? Now? Well, Andy and I Andy Fraser and

473
00:26:41,240 --> 00:26:45,520
Speaker 1: I started to get into seriously writing when I moved

474
00:26:45,520 --> 00:26:48,560
Speaker 1: into his house actually because I had no where to stay,

475
00:26:48,560 --> 00:26:50,280
Speaker 1: and his mom said, well, you can sleep on the couch,

476
00:26:50,480 --> 00:26:53,080
Speaker 1: so I'll sleep on the couch. And and of course

477
00:26:53,280 --> 00:26:56,080
Speaker 1: we was music, right, we get the base out and

478
00:26:56,240 --> 00:26:59,720
Speaker 1: and he wrote music, and I wrote lyrics, and I

479
00:27:00,160 --> 00:27:03,359
Speaker 1: lyrics and at our music and Hero lyrics. So we

480
00:27:03,359 --> 00:27:05,679
Speaker 1: we just wrote songs and that's all we did. And

481
00:27:05,720 --> 00:27:08,800
Speaker 1: it was amazing discovery actually to find that, you know,

482
00:27:08,800 --> 00:27:10,919
Speaker 1: you could go and enter a room with nothing really

483
00:27:11,200 --> 00:27:13,520
Speaker 1: and come out with a song or two or three.

484
00:27:14,400 --> 00:27:16,159
Speaker 1: And this was going on, and we were just we

485
00:27:16,160 --> 00:27:18,159
Speaker 1: were Lennon and McCartney all of a sudden, and it

486
00:27:18,240 --> 00:27:22,120
Speaker 1: was it was a very creative time. So all right,

487
00:27:22,160 --> 00:27:26,000
Speaker 1: now was. We got to a point where we were

488
00:27:26,040 --> 00:27:29,680
Speaker 1: playing about half and half half of our own songs

489
00:27:30,200 --> 00:27:33,639
Speaker 1: and half the blues that we had originally set out playing.

490
00:27:34,400 --> 00:27:37,240
Speaker 1: And uh, I just thought, like, you know, if we

491
00:27:37,280 --> 00:27:39,800
Speaker 1: want to be different and unique and have our own voice,

492
00:27:40,080 --> 00:27:43,160
Speaker 1: we need to write when all the songs our set

493
00:27:43,240 --> 00:27:45,760
Speaker 1: need to be our own songs. So we said about

494
00:27:46,320 --> 00:27:50,120
Speaker 1: doing that and dropping the blues out of our set. Um.

495
00:27:50,240 --> 00:27:52,920
Speaker 1: We could never drop a song called The Hunter, which

496
00:27:52,960 --> 00:27:56,560
Speaker 1: is an Albert King's song, which is just so great.

497
00:27:57,040 --> 00:28:00,919
Speaker 1: I think the definitive version, thank you, you know, it's

498
00:28:00,960 --> 00:28:03,400
Speaker 1: It's interesting actually when we played that song, we thought

499
00:28:03,440 --> 00:28:08,120
Speaker 1: we were very close to the record. And years after

500
00:28:08,200 --> 00:28:10,000
Speaker 1: a year went by us something, we've been playing The

501
00:28:10,080 --> 00:28:12,200
Speaker 1: Hunter and I put the original back on. It were

502
00:28:12,320 --> 00:28:15,480
Speaker 1: so different from it. I couldn't believe it. Because you

503
00:28:15,560 --> 00:28:18,080
Speaker 1: just play at night after night, it becomes your own song,

504
00:28:18,280 --> 00:28:21,720
Speaker 1: you know, And you played that slightly differently. So anyway,

505
00:28:21,840 --> 00:28:24,480
Speaker 1: we had a full set of all our own material,

506
00:28:24,520 --> 00:28:28,480
Speaker 1: but we could not drop The Hunter with we could

507
00:28:28,480 --> 00:28:31,280
Speaker 1: not get off the stage in Sunderland, and I did

508
00:28:31,359 --> 00:28:34,360
Speaker 1: you not you could not leave the stage until you've

509
00:28:34,359 --> 00:28:36,760
Speaker 1: done the Hunter. They would have torn the place apart,

510
00:28:37,280 --> 00:28:39,280
Speaker 1: and so I said, man, we've got to come up

511
00:28:39,320 --> 00:28:42,240
Speaker 1: with a song that's at least as good as the Hunter.

512
00:28:42,800 --> 00:28:45,560
Speaker 1: We still haven't dropped it actually, to be honest, um,

513
00:28:46,160 --> 00:28:48,400
Speaker 1: and so I said, it could be something very simple,

514
00:28:48,560 --> 00:28:51,640
Speaker 1: very something that the audience can sing like like like

515
00:28:51,800 --> 00:28:56,240
Speaker 1: oh right now. And I said, actually, give me a talk.

516
00:28:56,280 --> 00:28:58,680
Speaker 1: That's it, and did the cause and that was that

517
00:28:58,760 --> 00:29:01,200
Speaker 1: was the chorus. Okay, so you came up with it.

518
00:29:01,240 --> 00:29:03,000
Speaker 1: You said, it's gonna be something like all right now.

519
00:29:03,080 --> 00:29:06,080
Speaker 1: And it was started right there, right there, right there.

520
00:29:06,080 --> 00:29:08,480
Speaker 1: And then Andy took that home and and worked out

521
00:29:08,520 --> 00:29:12,080
Speaker 1: the verse chords, which was which of course our dad dodact.

522
00:29:12,720 --> 00:29:15,080
Speaker 1: So he gave that to me and I he said,

523
00:29:15,320 --> 00:29:19,400
Speaker 1: So I worked backwards from the chorus. Whatever the verse

524
00:29:20,120 --> 00:29:23,160
Speaker 1: was going to be, it had to climax with it's

525
00:29:23,200 --> 00:29:26,440
Speaker 1: all right now? So what was going to happen? And

526
00:29:26,680 --> 00:29:29,440
Speaker 1: I thought of a scenario, and I actually Ringle Star

527
00:29:29,520 --> 00:29:33,680
Speaker 1: had said, I'd read an interview basically the Beatles. Well,

528
00:29:33,760 --> 00:29:37,080
Speaker 1: you know, whenever a boy meets a girl, it's a

529
00:29:37,240 --> 00:29:40,800
Speaker 1: it's a brand new story. You know, every love affair,

530
00:29:41,400 --> 00:29:44,320
Speaker 1: he's a brand new story because two people come together

531
00:29:44,360 --> 00:29:48,640
Speaker 1: and they have their own story and you know, and

532
00:29:48,720 --> 00:29:50,800
Speaker 1: it means something to everybody. I thought, well, that's a

533
00:29:50,800 --> 00:29:54,840
Speaker 1: good theme for a song. Boy meets girl, what happens? Okay?

534
00:29:55,040 --> 00:29:58,360
Speaker 1: And that's the song just flowed out there she stood

535
00:29:58,680 --> 00:30:00,480
Speaker 1: in the street. What was she doing? And well she

536
00:30:00,640 --> 00:30:03,320
Speaker 1: was smiling from her head to her feet. Oh that's good.

537
00:30:03,800 --> 00:30:06,360
Speaker 1: I said, Hey, what's this? Maybe she needs season, needs

538
00:30:06,360 --> 00:30:09,320
Speaker 1: a kiss and all that, and it just like flowed out.

539
00:30:09,560 --> 00:30:13,440
Speaker 1: And I was writing this. When I had finished. I

540
00:30:13,480 --> 00:30:16,440
Speaker 1: was in my my little flat in London and I

541
00:30:16,480 --> 00:30:19,240
Speaker 1: was finishing up when the when I hit a beep outside,

542
00:30:19,240 --> 00:30:21,000
Speaker 1: b baby, come on, let's go, and they picked me

543
00:30:21,120 --> 00:30:23,160
Speaker 1: up to go over the show and I had the lyrics.

544
00:30:23,640 --> 00:30:26,320
Speaker 1: So we did it that night and we used to

545
00:30:26,360 --> 00:30:29,680
Speaker 1: do uh to forty five minutes sets. In those that

546
00:30:29,760 --> 00:30:32,120
Speaker 1: we'd played forty five minutes, take a break, and then

547
00:30:32,160 --> 00:30:35,480
Speaker 1: do another forty five minutes. Well, when we first started,

548
00:30:36,120 --> 00:30:40,720
Speaker 1: when we kicked off that evening, um we played we

549
00:30:40,800 --> 00:30:43,560
Speaker 1: opened with all right now and it went down to storm.

550
00:30:43,600 --> 00:30:46,000
Speaker 1: There was only like about fifteen people in the crowd,

551
00:30:46,160 --> 00:30:48,520
Speaker 1: but they all went nuts for it right. So three

552
00:30:48,560 --> 00:30:50,880
Speaker 1: hours later, by the time we come to the second

553
00:30:50,920 --> 00:30:54,600
Speaker 1: set of forty five, I said, and it was full

554
00:30:54,640 --> 00:30:57,840
Speaker 1: by that time. I said, it's request time, and anybody

555
00:30:57,840 --> 00:31:01,280
Speaker 1: got new requests. And these fifteen people play that first

556
00:31:01,320 --> 00:31:04,000
Speaker 1: song you started with. So I knew we had something

557
00:31:04,080 --> 00:31:07,000
Speaker 1: special right then. Okay, But cost Off was not one

558
00:31:07,000 --> 00:31:09,400
Speaker 1: of the writers from the beginning. Did he have that

559
00:31:09,480 --> 00:31:14,360
Speaker 1: definitive guitar part? Oh, well, it's his sound, definitely his sound,

560
00:31:14,360 --> 00:31:16,760
Speaker 1: the les Paul through the marshal, the fifty eight les

561
00:31:16,800 --> 00:31:22,000
Speaker 1: Paul through the start. When you and Andy were writing it,

562
00:31:22,040 --> 00:31:26,120
Speaker 1: did you envision that? Well, that's that's what we were doing.

563
00:31:26,200 --> 00:31:31,280
Speaker 1: That was um, Andy and I how can I put

564
00:31:31,320 --> 00:31:34,320
Speaker 1: it after? Think back? Actually? But costs a cost as

565
00:31:34,320 --> 00:31:36,400
Speaker 1: a way of playing the A code, and he had

566
00:31:36,480 --> 00:31:40,360
Speaker 1: such strong, long fingers. He could hit the um on

567
00:31:40,440 --> 00:31:42,840
Speaker 1: the fifth threat they could get an extra double A

568
00:31:43,000 --> 00:31:45,960
Speaker 1: out of it. He could hit the eastring on the

569
00:31:46,000 --> 00:31:48,080
Speaker 1: fifth threat and give himself an extra A. That's what

570
00:31:48,200 --> 00:31:53,600
Speaker 1: gives a lot of low end and plus the the

571
00:31:53,760 --> 00:31:58,400
Speaker 1: his guitar. You know it had the sound. Okay, So

572
00:31:58,440 --> 00:32:03,960
Speaker 1: how long after you write it do you re ord it? Oh?

573
00:32:04,000 --> 00:32:06,280
Speaker 1: I don't think it would have been very long. I

574
00:32:06,320 --> 00:32:10,240
Speaker 1: don't know. Okay, you finished recording it. Do you know

575
00:32:10,560 --> 00:32:12,880
Speaker 1: it's a monster hit or we don't know it's a

576
00:32:12,960 --> 00:32:15,920
Speaker 1: monster hit. We feel it's a good live song and

577
00:32:15,960 --> 00:32:18,480
Speaker 1: it's what I was looking for. In terms of The Hunter,

578
00:32:18,520 --> 00:32:21,240
Speaker 1: it was. It matched the Hunter still not I mean

579
00:32:21,560 --> 00:32:26,000
Speaker 1: still the Hunter is still a great, great song, but

580
00:32:26,400 --> 00:32:29,000
Speaker 1: it was up there and it had the big plus

581
00:32:29,000 --> 00:32:33,680
Speaker 1: of being having the audience participation aspect of it, which

582
00:32:33,800 --> 00:32:37,280
Speaker 1: was good. Um, when when do we recorded? We recorded

583
00:32:37,320 --> 00:32:42,200
Speaker 1: it downstairs in Basing Street. Chris Blackwell Alan Records had

584
00:32:42,200 --> 00:32:45,600
Speaker 1: bought a church by then and downstairs there was what

585
00:32:45,640 --> 00:32:49,000
Speaker 1: we called the crypt. The cat crept into the crypt,

586
00:32:49,120 --> 00:32:52,040
Speaker 1: crapped and crept out again what we used to say.

587
00:32:53,080 --> 00:32:57,320
Speaker 1: We were down there and we recorded. Uh and um.

588
00:32:57,440 --> 00:33:01,600
Speaker 1: We recorded in the small, small studio downstairs as we

589
00:33:01,600 --> 00:33:03,480
Speaker 1: were doing a lot of shows then, so we were

590
00:33:03,560 --> 00:33:06,440
Speaker 1: very much alive band and everything we wanted to play,

591
00:33:06,640 --> 00:33:10,320
Speaker 1: even recording wise, we had to be able to reproduce

592
00:33:10,360 --> 00:33:13,360
Speaker 1: on stage. So everything was very very simple. Wasn't a

593
00:33:13,440 --> 00:33:15,720
Speaker 1: lot of production, was no big strings on it or

594
00:33:15,720 --> 00:33:18,440
Speaker 1: extra piano or anything like that. It was gonna be

595
00:33:18,560 --> 00:33:20,680
Speaker 1: the four guys playing it. So it had to be

596
00:33:21,480 --> 00:33:23,760
Speaker 1: something that we could but you could listen to on

597
00:33:23,800 --> 00:33:25,480
Speaker 1: the record and we could walk out on stage and

598
00:33:25,520 --> 00:33:28,320
Speaker 1: play it just like that. Although we did we did

599
00:33:28,360 --> 00:33:32,280
Speaker 1: actually double track the the guitar part. I'm sure we

600
00:33:32,400 --> 00:33:35,640
Speaker 1: probably did underneath the soul particularly, but we used to

601
00:33:35,720 --> 00:33:40,320
Speaker 1: just wing that on stage. Okay, But you recorded, you say, oh,

602
00:33:40,360 --> 00:33:41,960
Speaker 1: this is a great live track. You don't see it

603
00:33:41,960 --> 00:33:43,760
Speaker 1: as a big radio track, you don't see it as

604
00:33:43,760 --> 00:33:48,240
Speaker 1: a big hit. Well, we didn't think in those terms. Uh,

605
00:33:48,280 --> 00:33:51,000
Speaker 1: I mean no, we didn't really think in those terms.

606
00:33:51,160 --> 00:33:54,479
Speaker 1: Actually no, and then it becomes a big hit. So

607
00:33:54,520 --> 00:33:56,240
Speaker 1: what do you think? Because through your mind when it

608
00:33:56,280 --> 00:34:00,240
Speaker 1: becomes the biggest track of the summer nineteen seventy, it

609
00:34:00,280 --> 00:34:03,880
Speaker 1: was incredible. It really was incredible. Actually, you you sort

610
00:34:03,920 --> 00:34:06,520
Speaker 1: of walked on air, you know, we'd actually done it

611
00:34:06,640 --> 00:34:12,880
Speaker 1: without even um knowing what we were doing. Actually, yeah,

612
00:34:13,040 --> 00:34:15,360
Speaker 1: how do you follow that? I don't know. We we

613
00:34:15,360 --> 00:34:18,720
Speaker 1: we wanted to release The Steeler. Actually mentioned The Steeler earlier.

614
00:34:19,080 --> 00:34:22,600
Speaker 1: That was our follow up tour right now in our minds,

615
00:34:22,719 --> 00:34:26,440
Speaker 1: because all of the band partook in the songwriting of

616
00:34:26,520 --> 00:34:29,520
Speaker 1: that and we just felt strongly about it. But Chris

617
00:34:29,520 --> 00:34:32,680
Speaker 1: Blackwell wanted to release right on Pony which is still

618
00:34:32,680 --> 00:34:35,880
Speaker 1: a good track, I think, um. But we wanted to

619
00:34:35,880 --> 00:34:38,360
Speaker 1: release the Steeler, and the Steeler was released, but it

620
00:34:38,400 --> 00:34:40,680
Speaker 1: did not do as well. It didn't it didn't rock

621
00:34:40,760 --> 00:34:43,640
Speaker 1: the streets the way. All right, now, let's go back

622
00:34:43,680 --> 00:34:46,480
Speaker 1: to all right. Now, you're a co writer. It's an

623
00:34:46,640 --> 00:34:50,080
Speaker 1: iconic song almost fifty years old. Did you get paid

624
00:34:50,120 --> 00:34:54,560
Speaker 1: on it? Oh? Yes, yes we did. I mean we were.

625
00:34:54,719 --> 00:34:58,000
Speaker 1: We actually signed away our publishing rights, a lot of

626
00:34:58,040 --> 00:35:00,719
Speaker 1: them to Island Records. We were very, very green. I

627
00:35:00,760 --> 00:35:03,000
Speaker 1: was so green. I remember when I signed a contract.

628
00:35:03,400 --> 00:35:05,960
Speaker 1: I said it said one it said something or other

629
00:35:06,000 --> 00:35:09,480
Speaker 1: than it said one thousand ninety eight, And I went,

630
00:35:09,960 --> 00:35:12,120
Speaker 1: is that how much I owe you? Guys? They went, no,

631
00:35:12,280 --> 00:35:16,680
Speaker 1: that's the date. That's that's how I contracts, you know.

632
00:35:17,080 --> 00:35:20,759
Speaker 1: So we we did sign it pretty much away. But

633
00:35:20,920 --> 00:35:23,200
Speaker 1: we're not complaining. No, but if it's late deep, do

634
00:35:23,239 --> 00:35:25,120
Speaker 1: you still get paid on all right? Now? We still

635
00:35:25,160 --> 00:35:29,160
Speaker 1: get paid, Yeah, but it's not it's not it's not

636
00:35:29,200 --> 00:35:34,759
Speaker 1: what you would call um industry industry level, that's what

637
00:35:34,800 --> 00:35:38,120
Speaker 1: it is. Okay. Now, shortly after the hit, the BM

638
00:35:38,160 --> 00:35:44,560
Speaker 1: breaks up. Yes, yes, sadly. What was going on there? Well,

639
00:35:44,600 --> 00:35:46,919
Speaker 1: we were so I've thought about it a lot. And

640
00:35:47,160 --> 00:35:50,840
Speaker 1: we were so tight was we We were We lived together,

641
00:35:51,320 --> 00:35:54,920
Speaker 1: we ate, slept in and drank. Really the band and

642
00:35:54,960 --> 00:35:57,680
Speaker 1: everything was to do with the band, and well, I

643
00:35:57,719 --> 00:36:00,120
Speaker 1: just think it got very very intense. I think we

644
00:36:00,280 --> 00:36:03,160
Speaker 1: felt we owned each other to some extent, and I

645
00:36:03,160 --> 00:36:06,000
Speaker 1: I kind of needed to get away from the band

646
00:36:06,040 --> 00:36:09,760
Speaker 1: and find out who I was and defined myself because

647
00:36:10,960 --> 00:36:12,960
Speaker 1: I was such a member of the band. I wanted

648
00:36:13,000 --> 00:36:16,120
Speaker 1: to find out where the band stopped and I began,

649
00:36:16,480 --> 00:36:18,440
Speaker 1: or I began in the band stopped. If like, we

650
00:36:18,440 --> 00:36:21,399
Speaker 1: were just so like this one thing, and we had

651
00:36:21,400 --> 00:36:26,000
Speaker 1: our we had Andy and I had our differences about commerciality.

652
00:36:26,120 --> 00:36:29,960
Speaker 1: That that was one of the things that I I

653
00:36:29,960 --> 00:36:35,240
Speaker 1: I'm still I still shy away from um flat out commerciality.

654
00:36:35,280 --> 00:36:37,279
Speaker 1: You know. I think if it happens to be commercial,

655
00:36:37,760 --> 00:36:41,279
Speaker 1: all all to the good, but only incidentally. The thing

656
00:36:41,320 --> 00:36:43,319
Speaker 1: about it is is that it has to have sort

657
00:36:43,320 --> 00:36:46,080
Speaker 1: of I don't know it's under how to define what

658
00:36:46,160 --> 00:36:50,040
Speaker 1: credibility is, but it needs to have that feeling of credibility.

659
00:36:50,440 --> 00:36:54,160
Speaker 1: And we got a lot of the that, really that

660
00:36:54,280 --> 00:36:58,080
Speaker 1: feeling from the blues. Fun enough, because the blues were

661
00:36:58,280 --> 00:37:01,279
Speaker 1: the blues people are playing. The early blues guys were

662
00:37:01,520 --> 00:37:05,520
Speaker 1: people that lived the life and they expressed their life

663
00:37:05,920 --> 00:37:08,920
Speaker 1: through their music, and I think it has to For me,

664
00:37:09,000 --> 00:37:12,880
Speaker 1: it had to have that element, and we were perhaps

665
00:37:13,000 --> 00:37:15,399
Speaker 1: I felt that we were getting away from that at

666
00:37:15,400 --> 00:37:18,080
Speaker 1: this late date. How do you feel about credibility the

667
00:37:18,160 --> 00:37:20,920
Speaker 1: same way? Actually, So if someone wants to use the

668
00:37:20,960 --> 00:37:24,600
Speaker 1: song you've written for a commercial, you say, what, well,

669
00:37:24,640 --> 00:37:28,439
Speaker 1: it depends. I mean I know that all right now

670
00:37:28,640 --> 00:37:33,319
Speaker 1: was used on a foot order advertisement. So that and

671
00:37:33,360 --> 00:37:35,520
Speaker 1: what what it was was that now you use this

672
00:37:35,560 --> 00:37:38,319
Speaker 1: foot part of your foot don't smell, and it's there's

673
00:37:38,360 --> 00:37:40,480
Speaker 1: the song. I phoned Black all up and I said,

674
00:37:40,840 --> 00:37:43,600
Speaker 1: you've got to take that off right now because that

675
00:37:43,640 --> 00:37:47,400
Speaker 1: has no credibility whatsoever. Did he Yeah, he did, in

676
00:37:47,480 --> 00:37:49,439
Speaker 1: fairness to him, they did. It came right off there.

677
00:37:50,560 --> 00:37:54,560
Speaker 1: And so that's the sort of thing. You know, you

678
00:37:54,560 --> 00:37:56,799
Speaker 1: you have to protect it to some extent. So it's

679
00:37:56,840 --> 00:38:00,200
Speaker 1: not just doing everything as much as you can it, sir.

680
00:38:00,719 --> 00:38:03,280
Speaker 1: It's not always easy to get things that you don't

681
00:38:03,320 --> 00:38:06,240
Speaker 1: like your music being used in stopped if you don't

682
00:38:06,400 --> 00:38:09,200
Speaker 1: have full control, right, Okay, So then the band gets

683
00:38:09,239 --> 00:38:13,360
Speaker 1: back together. What's thinking is going on there. Well, you know,

684
00:38:13,440 --> 00:38:17,040
Speaker 1: we were all doing our different things to minimal success actually,

685
00:38:17,080 --> 00:38:21,040
Speaker 1: to be honest, and Costs was getting into a state

686
00:38:21,120 --> 00:38:23,640
Speaker 1: we felt. I mean we've heard that. You know. He'd

687
00:38:23,680 --> 00:38:26,680
Speaker 1: moved apartments and he was living in a place in

688
00:38:27,120 --> 00:38:30,680
Speaker 1: in Portobello Road, which was at the time notorious for

689
00:38:30,760 --> 00:38:32,759
Speaker 1: the drug scene that there was there, you know, a

690
00:38:32,800 --> 00:38:34,680
Speaker 1: lot of it. And there's people knocking on his door,

691
00:38:35,600 --> 00:38:37,839
Speaker 1: you know, and I said, hey, man, try this, try

692
00:38:37,880 --> 00:38:40,680
Speaker 1: why don't you try this? And he was experimenting with

693
00:38:40,760 --> 00:38:43,439
Speaker 1: a lot of stuff and that was his downfall, I think,

694
00:38:44,400 --> 00:38:46,719
Speaker 1: and with the fact that the band had split up,

695
00:38:46,760 --> 00:38:51,680
Speaker 1: it became a crutch. This is what you know, amateur psychology.

696
00:38:52,280 --> 00:38:55,759
Speaker 1: And he got into a bad state with it. You know.

697
00:38:56,280 --> 00:39:00,360
Speaker 1: He did an album with cost of Kirk, Tetsu and Rabbit,

698
00:39:00,640 --> 00:39:03,640
Speaker 1: which they are great musicians, all of them, and they

699
00:39:03,680 --> 00:39:06,880
Speaker 1: did some good stuff, but he got into bad shape.

700
00:39:07,440 --> 00:39:09,880
Speaker 1: When I went down there, I visited them in the

701
00:39:10,040 --> 00:39:14,919
Speaker 1: studio and he fell asleep during during a solo. I'm like, God,

702
00:39:15,040 --> 00:39:18,440
Speaker 1: what's going on? Man? And so really and Andy actually

703
00:39:18,480 --> 00:39:21,640
Speaker 1: came to my session I was doing. I had a

704
00:39:21,640 --> 00:39:24,560
Speaker 1: band called Peace during this time, because that's what I

705
00:39:24,600 --> 00:39:28,319
Speaker 1: wanted a bit of peace, I think, and he said, look,

706
00:39:28,320 --> 00:39:31,200
Speaker 1: you know, courses in such a bad way. Shall we

707
00:39:31,239 --> 00:39:33,480
Speaker 1: put the band together and get around him? And I

708
00:39:33,520 --> 00:39:35,759
Speaker 1: went straight away, I said let's do it. So we

709
00:39:35,840 --> 00:39:41,960
Speaker 1: got back together and we tried, but you know, he

710
00:39:42,040 --> 00:39:45,400
Speaker 1: was gripped with with the stuff that he was taking. You.

711
00:39:45,520 --> 00:39:49,640
Speaker 1: We'd we'd we'd go to somewhere where like Newcastle City Hall.

712
00:39:49,680 --> 00:39:51,520
Speaker 1: We always had gone down there. I mean, it's just

713
00:39:51,760 --> 00:39:56,399
Speaker 1: amazing crowd and you'd look around. We'd go and we'd

714
00:39:56,400 --> 00:39:59,160
Speaker 1: walk on stage. I'd look around and I'd see him

715
00:39:59,800 --> 00:40:03,200
Speaker 1: like looking for the switch on his amp and not

716
00:40:03,280 --> 00:40:05,520
Speaker 1: being able to focus where it was, and I thought,

717
00:40:05,680 --> 00:40:08,440
Speaker 1: oh dear, we're in for a night here. And then

718
00:40:08,440 --> 00:40:11,360
Speaker 1: he finally found it and it was just an audience

719
00:40:11,440 --> 00:40:15,160
Speaker 1: was but very sympathetic. They were beautiful, the crowd. They

720
00:40:15,160 --> 00:40:19,440
Speaker 1: were like, come on course, you can do it, but really, um,

721
00:40:19,560 --> 00:40:22,080
Speaker 1: he'd taken something I don't know, some kind of down here,

722
00:40:22,120 --> 00:40:25,880
Speaker 1: and it was, you know, it was sad. It was

723
00:40:26,000 --> 00:40:29,799
Speaker 1: very sad. We were all very sad, and so eventually

724
00:40:29,840 --> 00:40:33,600
Speaker 1: we we had to move on. It's unfortunate too that

725
00:40:33,719 --> 00:40:36,880
Speaker 1: in those days there was not the psychological help that

726
00:40:36,920 --> 00:40:40,080
Speaker 1: there is now for people with addictions, and we didn't

727
00:40:40,080 --> 00:40:41,600
Speaker 1: know what to do. We didn't know what to do.

728
00:40:41,640 --> 00:40:43,960
Speaker 1: I think Andy kidnapped him out of his house one day,

729
00:40:43,960 --> 00:40:47,399
Speaker 1: and he was completely ir because he tried to get

730
00:40:47,440 --> 00:40:50,080
Speaker 1: him off this stuff and away from the crowd he

731
00:40:50,120 --> 00:40:53,399
Speaker 1: was running with at the time. Um, but I could

732
00:40:53,400 --> 00:40:55,360
Speaker 1: have got arrested for that, I suppose, of course, was

733
00:40:55,600 --> 00:40:58,640
Speaker 1: not very pleased she kidnapped me out of my house.

734
00:40:59,440 --> 00:41:03,680
Speaker 1: Um but uh yeah, So eventually we had to leave

735
00:41:03,680 --> 00:41:07,439
Speaker 1: it and move on, you know. And how did free ended?

736
00:41:07,520 --> 00:41:10,239
Speaker 1: Free end just by itself? Or you already had bad

737
00:41:10,280 --> 00:41:12,600
Speaker 1: company cooking in the back? Oh no, I didn't. I

738
00:41:12,640 --> 00:41:14,680
Speaker 1: didn't have a bad company cooking in the background. I

739
00:41:15,120 --> 00:41:18,239
Speaker 1: um no, I would. I was. I wanted to see

740
00:41:18,280 --> 00:41:22,000
Speaker 1: costs right, But I didn't know what to do about him,

741
00:41:22,080 --> 00:41:25,040
Speaker 1: or with him or for him. We tried, we put

742
00:41:25,080 --> 00:41:26,759
Speaker 1: the band back together around him, and we did a

743
00:41:27,120 --> 00:41:30,000
Speaker 1: we sort of limped through a tour and it just

744
00:41:30,239 --> 00:41:33,440
Speaker 1: wasn't it wasn't working, you know, we couldn't get him

745
00:41:33,440 --> 00:41:38,000
Speaker 1: off this stuff. Um. I had met mc ralph's when

746
00:41:38,040 --> 00:41:40,680
Speaker 1: I was touring together with Matt the Hoople. I had

747
00:41:40,680 --> 00:41:43,319
Speaker 1: a band called peace. This is the piece I was

748
00:41:43,320 --> 00:41:45,160
Speaker 1: telling you about just now. It was just a three,

749
00:41:45,400 --> 00:41:49,239
Speaker 1: three man outfit. And that's when I hooked up with Mick.

750
00:41:49,320 --> 00:41:51,200
Speaker 1: We sat in the band room and he played me

751
00:41:51,239 --> 00:41:54,799
Speaker 1: Can't Get Enough of Your Love and I said, wow, man,

752
00:41:54,840 --> 00:41:57,640
Speaker 1: that is a hit, you know, he said, I said,

753
00:41:57,920 --> 00:41:59,920
Speaker 1: are you going to do that with Mott? The hoople

754
00:42:00,040 --> 00:42:04,080
Speaker 1: goes no, they're not really interested and he and don't

755
00:42:04,080 --> 00:42:06,440
Speaker 1: want to sing that. I said, well, you know, aucing it,

756
00:42:06,600 --> 00:42:08,719
Speaker 1: give it to me. And so that was the start

757
00:42:08,760 --> 00:42:12,040
Speaker 1: of our sort of interest in each other. I guess

758
00:42:12,040 --> 00:42:15,239
Speaker 1: for songwriting and I played him I don't know, rock

759
00:42:15,239 --> 00:42:19,879
Speaker 1: steady or something, and and we we found a very

760
00:42:19,920 --> 00:42:22,719
Speaker 1: common We had a lot in common musically, you know,

761
00:42:22,880 --> 00:42:26,439
Speaker 1: songwriting wise, and influence wise and what we wanted to do.

762
00:42:27,280 --> 00:42:30,880
Speaker 1: And yeah, so that's we hooked up. Okay, so you

763
00:42:30,960 --> 00:42:37,040
Speaker 1: hook up? How do you hook up with Peter Grant? Well? Um,

764
00:42:37,200 --> 00:42:40,879
Speaker 1: I we I looked around and we had this great

765
00:42:40,920 --> 00:42:42,920
Speaker 1: band and okay, so how do you flesh out the

766
00:42:42,920 --> 00:42:45,600
Speaker 1: rest of the band? Oh? Well, I called Kirky up

767
00:42:46,200 --> 00:42:50,640
Speaker 1: and I knew that he would love to play with

768
00:42:50,680 --> 00:42:53,520
Speaker 1: making myself because he's he's always said said you know,

769
00:42:53,800 --> 00:42:56,880
Speaker 1: let me know what you're doing. And then we auditioned

770
00:42:56,880 --> 00:43:01,360
Speaker 1: a lot of bass players and a lot of base players.

771
00:43:01,360 --> 00:43:04,120
Speaker 1: I mean we must have auditioned about twelve until we

772
00:43:04,200 --> 00:43:10,440
Speaker 1: found Bosh. And when I loved bars because when um

773
00:43:10,560 --> 00:43:16,640
Speaker 1: who's no longer with us, no, no, no, when he

774
00:43:16,760 --> 00:43:20,120
Speaker 1: played when I played bad the song Bad Company on

775
00:43:20,160 --> 00:43:24,040
Speaker 1: the piano, he was very very lyrical on the base

776
00:43:24,080 --> 00:43:27,000
Speaker 1: he did. It wasn't a dump the dump. It was

777
00:43:27,080 --> 00:43:29,040
Speaker 1: very he sang on the base, you know. And he

778
00:43:29,200 --> 00:43:32,920
Speaker 1: had been a singer, so he understood melody and but

779
00:43:33,040 --> 00:43:36,120
Speaker 1: he was based player and he brought that melody melodic

780
00:43:36,760 --> 00:43:39,960
Speaker 1: field to the base and it was really good at

781
00:43:39,960 --> 00:43:44,040
Speaker 1: Doo Doo Doo doo Doobe you know a company and

782
00:43:44,320 --> 00:43:47,480
Speaker 1: it was just very moody, and it was the song

783
00:43:47,680 --> 00:43:50,879
Speaker 1: is very much a mood song. It's a very few

784
00:43:50,920 --> 00:43:53,200
Speaker 1: cars in it, but it's a it's a mood song

785
00:43:53,320 --> 00:43:55,720
Speaker 1: that sets the mood and then has impact that grabs

786
00:43:55,760 --> 00:43:59,080
Speaker 1: you you know. Uh yeah, he's good based on them

787
00:43:59,400 --> 00:44:03,759
Speaker 1: and that's that was the band. How you hook up

788
00:44:03,760 --> 00:44:07,040
Speaker 1: with Peter Graham? Right? Well, I had I knew a

789
00:44:07,120 --> 00:44:11,120
Speaker 1: guy called Peter Grant, he sorry called Clive Coolson, who

790
00:44:11,239 --> 00:44:15,560
Speaker 1: had worked with Zeppelin led Zeppelin and with Peter Grant,

791
00:44:16,280 --> 00:44:19,239
Speaker 1: and he came around to my cottage and and he said,

792
00:44:19,280 --> 00:44:21,919
Speaker 1: you know, you should call Peter up. And I said, oh, yeah, yeah,

793
00:44:22,719 --> 00:44:24,960
Speaker 1: And now I said, no, really you should, because he's

794
00:44:25,000 --> 00:44:27,880
Speaker 1: told me he's interested, so you should call him up.

795
00:44:28,360 --> 00:44:31,799
Speaker 1: And he said, I want a job too, so call

796
00:44:31,920 --> 00:44:37,239
Speaker 1: him up. So I called. I called Peter up, and uh,

797
00:44:37,640 --> 00:44:40,239
Speaker 1: it was great. Actually, he said. I said, you know,

798
00:44:41,440 --> 00:44:43,800
Speaker 1: Clive asked me to call you and you said you

799
00:44:43,840 --> 00:44:46,080
Speaker 1: were interested in He said, yeah, I'm interested in you.

800
00:44:46,200 --> 00:44:48,239
Speaker 1: And I said, well, I come with a band, Peter,

801
00:44:48,320 --> 00:44:50,000
Speaker 1: and we're going to call it bad Company. He goes,

802
00:44:50,600 --> 00:44:54,640
Speaker 1: bad Company. You're gonna call it that? Well, I said, yeah,

803
00:44:54,680 --> 00:44:58,880
Speaker 1: we are, because Mick and I had already you know,

804
00:44:59,640 --> 00:45:02,080
Speaker 1: led out down as in Stone. It was set that

805
00:45:02,160 --> 00:45:05,000
Speaker 1: down in Stone because we were looking for names. We

806
00:45:05,280 --> 00:45:08,000
Speaker 1: we we'd call each other up and say, how about

807
00:45:08,480 --> 00:45:12,279
Speaker 1: the four millionaire bubbles? No I don't think so, and

808
00:45:12,400 --> 00:45:14,360
Speaker 1: all the silly names. And then I called him up

809
00:45:14,400 --> 00:45:16,759
Speaker 1: one day and I said, I said, he said, well,

810
00:45:16,800 --> 00:45:21,320
Speaker 1: I'll make it. I went bad Company and he went that.

811
00:45:21,400 --> 00:45:23,520
Speaker 1: The legend was it came from the movie the same

812
00:45:23,760 --> 00:45:27,480
Speaker 1: I did. Well, I saw the I saw an advertisement

813
00:45:27,560 --> 00:45:29,640
Speaker 1: for the movie and I thought, oh, that just I

814
00:45:29,840 --> 00:45:31,520
Speaker 1: love that. I'm going to write a song right now,

815
00:45:31,760 --> 00:45:34,080
Speaker 1: and it's got one into it. And actually Simon came with.

816
00:45:34,160 --> 00:45:36,360
Speaker 1: Simon came around a little bit later and helped me

817
00:45:36,400 --> 00:45:39,080
Speaker 1: with a few of the lyrics and uh, and it

818
00:45:39,239 --> 00:45:41,320
Speaker 1: was just such a mood. So I called me and

819
00:45:41,440 --> 00:45:43,200
Speaker 1: we were in this period of like, what we're going

820
00:45:43,280 --> 00:45:46,200
Speaker 1: to call the man? I said, and there was a

821
00:45:46,239 --> 00:45:49,960
Speaker 1: scrabbling noise on the end of the line. He said,

822
00:45:50,480 --> 00:45:54,160
Speaker 1: that's cool. Man. I dropped the phone and uh, you know,

823
00:45:54,320 --> 00:45:57,479
Speaker 1: he was so excited to drop the phone. So yeah,

824
00:45:57,640 --> 00:45:59,440
Speaker 1: and that was that was set in stone for But

825
00:45:59,560 --> 00:46:02,200
Speaker 1: we did. We did come up against I mean, this

826
00:46:02,360 --> 00:46:05,680
Speaker 1: is this has happened before, record companies and managers and

827
00:46:05,760 --> 00:46:08,160
Speaker 1: people wanting to change the name. I mean, with Free

828
00:46:08,640 --> 00:46:11,680
Speaker 1: they wanted to call us the heavy metal kids, and

829
00:46:12,320 --> 00:46:17,160
Speaker 1: you just hated that. Of course, talk about like credibility. No, no,

830
00:46:17,360 --> 00:46:19,360
Speaker 1: it's just not there. But anyway, we did have a

831
00:46:19,400 --> 00:46:22,800
Speaker 1: similar problem with with the name Bad Company because Peter

832
00:46:22,920 --> 00:46:27,120
Speaker 1: thought it was uh, just too heavy, you know, but

833
00:46:27,239 --> 00:46:29,480
Speaker 1: I said, no, it's not man. People will love it.

834
00:46:29,560 --> 00:46:31,680
Speaker 1: It's good and it gives an identity and stuff, and

835
00:46:31,760 --> 00:46:35,600
Speaker 1: so we uh, we stuck with They actually their record

836
00:46:35,640 --> 00:46:38,440
Speaker 1: company wanted to release that as the first single, but

837
00:46:38,560 --> 00:46:41,680
Speaker 1: I really loved Cantor Enough mixed songs. My favorite track

838
00:46:41,920 --> 00:46:44,000
Speaker 1: and that was a you Chip my favorite track us

839
00:46:44,080 --> 00:46:47,600
Speaker 1: Bad Company. The sound the way you described it, it's

840
00:46:47,600 --> 00:46:50,640
Speaker 1: exactly the way it starts quietly that it built. It

841
00:46:50,920 --> 00:46:53,480
Speaker 1: gets you in your soul in a way that music doesn't.

842
00:46:53,520 --> 00:47:02,280
Speaker 1: Today you're listening to my conversation with legendary rock musician

843
00:47:02,400 --> 00:47:06,560
Speaker 1: Wall Rock, recorded live to the tune In studios in Venice, California.

844
00:47:10,440 --> 00:47:12,719
Speaker 1: I hope you're enjoying listening to this episode of the

845
00:47:12,760 --> 00:47:15,320
Speaker 1: Bob left Sex Podcast. If you want to see my

846
00:47:15,440 --> 00:47:19,520
Speaker 1: guests as they joined me, visit at tune in on Twitter, Facebook,

847
00:47:19,600 --> 00:47:23,480
Speaker 1: and Instagram. Now more of my conversation with Paul Rodgers

848
00:47:23,560 --> 00:47:28,120
Speaker 1: on The Bob left Sex Podcast. So you make a deal.

849
00:47:28,239 --> 00:47:31,080
Speaker 1: How do you end up on Swan Song Records? Well

850
00:47:31,160 --> 00:47:35,320
Speaker 1: that was because which was led up. Yeah. Led Zeppelin

851
00:47:35,960 --> 00:47:38,160
Speaker 1: had come to a point in their career where they

852
00:47:38,200 --> 00:47:40,960
Speaker 1: wanted to have their own record company, their own company, Yeah,

853
00:47:41,400 --> 00:47:43,839
Speaker 1: and to nurture talent, which was really great of them,

854
00:47:43,880 --> 00:47:48,719
Speaker 1: I thought, and um, we we were just in the

855
00:47:48,840 --> 00:47:51,080
Speaker 1: right place at the right time because Peter wanted to

856
00:47:51,760 --> 00:47:54,200
Speaker 1: manage us when he came around. When he came to

857
00:47:54,280 --> 00:47:57,680
Speaker 1: the first rehearsal, we thought he hadn't turned up. Actually

858
00:47:57,760 --> 00:48:00,040
Speaker 1: we were playing away and stuff. This is before we

859
00:48:00,120 --> 00:48:04,600
Speaker 1: had bos. We had a bass player from from Wales.

860
00:48:04,719 --> 00:48:06,520
Speaker 1: It was a really good bass player. I actually offered

861
00:48:06,560 --> 00:48:08,600
Speaker 1: him the job, but he didn't want to do it.

862
00:48:08,640 --> 00:48:11,920
Speaker 1: I said, well, what he's turned up for, you know,

863
00:48:12,440 --> 00:48:14,600
Speaker 1: audition for but anyway, you know, but he was a

864
00:48:14,600 --> 00:48:17,000
Speaker 1: good base player. But anyway, but he was the guy

865
00:48:17,120 --> 00:48:20,600
Speaker 1: that was there outside the rehearsal room. We rehearsed in

866
00:48:20,600 --> 00:48:25,839
Speaker 1: a little village hall in Albrey and in Surrey, and Peter,

867
00:48:26,080 --> 00:48:29,040
Speaker 1: Peter had sat outside and listened through the doors. A

868
00:48:29,080 --> 00:48:30,799
Speaker 1: lot of that goes on, doesn't it, come to think

869
00:48:30,800 --> 00:48:34,680
Speaker 1: of it, because that's certainly an unmissable guy in person, right.

870
00:48:35,000 --> 00:48:37,759
Speaker 1: So he so he sat outside and then he came

871
00:48:37,800 --> 00:48:40,239
Speaker 1: in at the end of the rehearsal and we're like, well,

872
00:48:40,480 --> 00:48:42,880
Speaker 1: you're a bit late. We've you've you've missed us, mate, Well,

873
00:48:43,640 --> 00:48:46,319
Speaker 1: he said, no, I've hearned you. I listened and listened

874
00:48:46,360 --> 00:48:48,920
Speaker 1: outside the nom and then it's good. I like it.

875
00:48:49,040 --> 00:48:53,600
Speaker 1: You all that? You know? So um, he said to me,

876
00:48:54,080 --> 00:48:56,279
Speaker 1: He said, look, I don't know about contracts and all that.

877
00:48:57,640 --> 00:49:00,400
Speaker 1: I don't really want to do a contract first. Initially,

878
00:49:01,000 --> 00:49:03,440
Speaker 1: you don't know me, I don't know you guys. So

879
00:49:03,640 --> 00:49:07,480
Speaker 1: we're going to just work together on a handshake. And

880
00:49:07,600 --> 00:49:09,399
Speaker 1: I thought about that for a second, and I just went,

881
00:49:09,640 --> 00:49:12,040
Speaker 1: let's do it, you know. And so there wasn't a

882
00:49:12,120 --> 00:49:14,480
Speaker 1: contract until a little bit. I don't even know how

883
00:49:14,560 --> 00:49:19,279
Speaker 1: long later, maybe a year. Um. And he took how much? Oh?

884
00:49:22,000 --> 00:49:24,400
Speaker 1: Now he was he came from wrestling. Did he know

885
00:49:24,520 --> 00:49:30,520
Speaker 1: anything about music? Uh, I don't know that he did really.

886
00:49:31,120 --> 00:49:35,400
Speaker 1: Actually no, maybe he didn't, but he sure know how

887
00:49:35,480 --> 00:49:37,520
Speaker 1: to take care of the musicians. Well that's a question

888
00:49:37,600 --> 00:49:41,879
Speaker 1: I had next. So he was known as an artist advocate. Yes,

889
00:49:42,239 --> 00:49:46,520
Speaker 1: Ultimately financially was he Was it beneficial for you or

890
00:49:46,560 --> 00:49:49,920
Speaker 1: did he take too much money? It was fantastic for us.

891
00:49:50,040 --> 00:49:52,480
Speaker 1: I mean it was unbelievable because we went from a

892
00:49:52,600 --> 00:49:58,120
Speaker 1: small rehearsal room to doing stadiums in America overnight. Almost

893
00:49:58,160 --> 00:50:02,160
Speaker 1: it seemed. It was absolutely be fantastic and the organization

894
00:50:02,280 --> 00:50:06,680
Speaker 1: behind that was superb. Because we flew in a Vickers

895
00:50:06,840 --> 00:50:10,480
Speaker 1: Viscount four les Royce engine. All the seats have been

896
00:50:10,480 --> 00:50:13,960
Speaker 1: taken out and been refurbished. This was what Zeppelin used,

897
00:50:14,000 --> 00:50:16,160
Speaker 1: so we got what they used very much, you know.

898
00:50:16,640 --> 00:50:19,080
Speaker 1: And there was limousines and the time whipp us to

899
00:50:19,120 --> 00:50:20,919
Speaker 1: the gig, whip us back to the from the gig,

900
00:50:21,320 --> 00:50:23,600
Speaker 1: and we were taking off going to the next show

901
00:50:24,200 --> 00:50:27,160
Speaker 1: before the audience had left was Elvis has left the building,

902
00:50:27,239 --> 00:50:29,200
Speaker 1: you know. But when it's all said and done, how

903
00:50:29,239 --> 00:50:32,680
Speaker 1: did it work out financially? Oh? Pretty good. The only

904
00:50:32,719 --> 00:50:36,520
Speaker 1: reason you ask is one the time and two if

905
00:50:36,520 --> 00:50:39,359
Speaker 1: you put on your business hat. If it's on their

906
00:50:39,400 --> 00:50:42,839
Speaker 1: own label and it's distributed by Atlantic, they would take

907
00:50:42,840 --> 00:50:45,160
Speaker 1: an extra cut. That wouldn't have happened that you were

908
00:50:45,200 --> 00:50:48,560
Speaker 1: signed directly to Atlantic. That's true, but then again we

909
00:50:48,640 --> 00:50:51,040
Speaker 1: would not have had that personal touch. But he would

910
00:50:51,080 --> 00:50:53,440
Speaker 1: not have had that success. Okay, so he says, i'll

911
00:50:53,480 --> 00:50:55,560
Speaker 1: do it, I'll do it on a handshake. What's the

912
00:50:55,680 --> 00:50:59,960
Speaker 1: next step, Uh, huge success. We've got not a little

913
00:51:00,000 --> 00:51:02,719
Speaker 1: it slow. You're making that first album, so you have

914
00:51:04,680 --> 00:51:07,600
Speaker 1: Well what happened was Peter called me. We were in

915
00:51:07,680 --> 00:51:13,720
Speaker 1: rehearsal and he said, you know, um U led Zeppelin

916
00:51:13,760 --> 00:51:16,239
Speaker 1: have got a house set up in Headley Grange and

917
00:51:16,320 --> 00:51:18,880
Speaker 1: that's where they record that they're set to do their

918
00:51:18,960 --> 00:51:22,920
Speaker 1: next album, and there's a mobile studio outside. It was

919
00:51:23,000 --> 00:51:26,960
Speaker 1: Ronnie Lane's mobile studio. It's the twenty phone track and

920
00:51:28,600 --> 00:51:31,040
Speaker 1: they're delayed and the whole thing is set up there,

921
00:51:31,120 --> 00:51:33,680
Speaker 1: just sitting there doing nothing. If you guys want to

922
00:51:33,719 --> 00:51:35,560
Speaker 1: go in now, you can put a couple of tracks down.

923
00:51:35,640 --> 00:51:39,320
Speaker 1: You've got like ten days. We were like yeah, because

924
00:51:39,360 --> 00:51:41,120
Speaker 1: we were just bursting at the seams to put all

925
00:51:41,160 --> 00:51:44,080
Speaker 1: this music down. And so it's out in the country,

926
00:51:44,200 --> 00:51:47,520
Speaker 1: no distractions, lockout as only as there. You drive up,

927
00:51:47,600 --> 00:51:49,600
Speaker 1: you get out of your car. There's no problem parking.

928
00:51:49,680 --> 00:51:52,279
Speaker 1: You know. It's in the country. And everybody had their

929
00:51:52,320 --> 00:51:55,480
Speaker 1: own room, and we all cooked for each other, our

930
00:51:55,600 --> 00:51:58,040
Speaker 1: wives at the time, and somebody got up. We made

931
00:51:58,560 --> 00:52:00,880
Speaker 1: we made the wood fire us in the place and

932
00:52:00,960 --> 00:52:04,440
Speaker 1: all that and it was very organic, very very you know,

933
00:52:05,120 --> 00:52:07,440
Speaker 1: hippie heaven if you like. So we're all in there

934
00:52:07,480 --> 00:52:11,960
Speaker 1: in a bunch and we just put everything we had down.

935
00:52:12,160 --> 00:52:16,799
Speaker 1: How did you decide who to work with they. Ron

936
00:52:16,920 --> 00:52:21,200
Speaker 1: Nevison was brought forward by Zepp by Zapp. They recommended

937
00:52:21,320 --> 00:52:24,880
Speaker 1: him and he was very good. And then okay, how

938
00:52:24,920 --> 00:52:26,759
Speaker 1: many of the songs were written when you went to

939
00:52:26,800 --> 00:52:32,759
Speaker 1: Headley Grenge Oh h most of them. I hadn't quite

940
00:52:32,800 --> 00:52:38,040
Speaker 1: finished rock Steady. We actually I actually taught them, uh,

941
00:52:38,880 --> 00:52:42,799
Speaker 1: rock steady while we were recording it, because I had

942
00:52:42,840 --> 00:52:45,719
Speaker 1: the guitar. Turn on your lights there with me and

943
00:52:45,960 --> 00:52:50,480
Speaker 1: rock steady bomb actually because Simon didn't even get that.

944
00:52:50,640 --> 00:52:52,719
Speaker 1: You know is you'll hear a mistake on that, but

945
00:52:52,840 --> 00:52:57,480
Speaker 1: we we let it run because um sometimes mistakes have

946
00:52:57,920 --> 00:53:00,359
Speaker 1: a kind of charm to them, you know about That's

947
00:53:00,360 --> 00:53:02,759
Speaker 1: one of the problems with today's music, but they can

948
00:53:02,840 --> 00:53:05,439
Speaker 1: make it so perfectly used the soul. What's the back

949
00:53:05,719 --> 00:53:10,160
Speaker 1: what's the backstory on Seagull? Well, Seagull I went to

950
00:53:10,760 --> 00:53:16,440
Speaker 1: I drove out with my family, my wife at the time,

951
00:53:16,600 --> 00:53:19,880
Speaker 1: and was it my kids, I don't think I had

952
00:53:19,960 --> 00:53:23,000
Speaker 1: kids by then. No, and some friends with an acoustic

953
00:53:23,040 --> 00:53:24,799
Speaker 1: guitar and we were going to Portsmouth and we pulled

954
00:53:24,840 --> 00:53:28,719
Speaker 1: off at Hailing Island as an island, and we sat

955
00:53:28,760 --> 00:53:31,560
Speaker 1: on the beach. I had the guitar and went to

956
00:53:31,640 --> 00:53:34,279
Speaker 1: get fish and chips, and I watched the seagulls and

957
00:53:34,320 --> 00:53:36,600
Speaker 1: you could just look at the horizon and the song

958
00:53:36,760 --> 00:53:38,360
Speaker 1: just came to me like that, and I played. I

959
00:53:38,480 --> 00:53:41,480
Speaker 1: didn't finish it. Then I played it to make played

960
00:53:41,520 --> 00:53:44,080
Speaker 1: what I had of it to make and he uh,

961
00:53:44,840 --> 00:53:47,200
Speaker 1: he came up with now you Fly through the Guy

962
00:53:47,800 --> 00:53:51,879
Speaker 1: Reever asking why Yeah, the middle eight, which really made

963
00:53:51,920 --> 00:53:57,640
Speaker 1: the song, and it it nearly didn't make it on

964
00:53:57,680 --> 00:54:01,200
Speaker 1: the album because it us it's an acoustic song and

965
00:54:02,160 --> 00:54:05,600
Speaker 1: we weren't really going to be known for for acoustic things.

966
00:54:05,640 --> 00:54:08,040
Speaker 1: But I thought, well, you know, it's different, and you know,

967
00:54:08,160 --> 00:54:12,640
Speaker 1: I actually led Zeppelin did a lot of a bunch

968
00:54:12,680 --> 00:54:14,919
Speaker 1: of acoustic songs. They did an acoustic set in the middle,

969
00:54:14,920 --> 00:54:17,440
Speaker 1: which I was always impressed with because it gave you

970
00:54:17,600 --> 00:54:21,000
Speaker 1: light and shade, and it gave you, uh, it wasn't

971
00:54:21,040 --> 00:54:23,840
Speaker 1: wall to wall dad, dad dadad. It was you know,

972
00:54:24,080 --> 00:54:27,000
Speaker 1: some something different which when you would which made the

973
00:54:27,080 --> 00:54:30,040
Speaker 1: heaviest stuff sound heavier when you went back to it.

974
00:54:30,520 --> 00:54:32,640
Speaker 1: So I thought it was a nice contrast. And I

975
00:54:33,080 --> 00:54:35,680
Speaker 1: played all the instruments on that song instant. They played

976
00:54:35,719 --> 00:54:37,880
Speaker 1: the bass and the tambourine and whatever else. Is on

977
00:54:37,960 --> 00:54:43,200
Speaker 1: there and just captured again. It's a mood song. You know,

978
00:54:43,280 --> 00:54:45,600
Speaker 1: you have to be sitting on a beach watching the

979
00:54:45,680 --> 00:54:48,319
Speaker 1: misty horizon. The great thing is, you know, is when

980
00:54:48,360 --> 00:54:51,120
Speaker 1: you hear it, it takes you to the beach. It

981
00:54:51,239 --> 00:54:53,319
Speaker 1: takes you to that environment. That's what's great. That's why

982
00:54:53,360 --> 00:54:55,960
Speaker 1: it's such a great song. Wow wow, Okay, so the

983
00:54:56,120 --> 00:54:59,759
Speaker 1: album comes out from the perspective of being in America.

984
00:55:00,120 --> 00:55:04,080
Speaker 1: It's an instant hit. Yeah, yeah, I mean it took

985
00:55:04,160 --> 00:55:06,680
Speaker 1: us by surprise, it really. It was a complete whirlwind

986
00:55:07,000 --> 00:55:09,600
Speaker 1: and all of a sudden with the with the led

987
00:55:09,719 --> 00:55:12,920
Speaker 1: Zeppelin machinery, if you like, behind us, the airplanes and

988
00:55:12,960 --> 00:55:16,960
Speaker 1: the limos, and the security and and everything, and all

989
00:55:17,000 --> 00:55:21,160
Speaker 1: the places to stay there houses and Malibu Beach and

990
00:55:21,239 --> 00:55:24,840
Speaker 1: all those kinds of um. We it was a whirlwind.

991
00:55:25,080 --> 00:55:26,960
Speaker 1: And at the end of it, when we got back,

992
00:55:27,440 --> 00:55:31,239
Speaker 1: we all sat down. I looked at me, What just happened? Man?

993
00:55:31,640 --> 00:55:33,440
Speaker 1: What did we do? How did we do that? You know,

994
00:55:33,760 --> 00:55:36,120
Speaker 1: because it was it was just a thing that evolved

995
00:55:36,200 --> 00:55:39,120
Speaker 1: for us. It was just natural. But the second album

996
00:55:39,280 --> 00:55:43,160
Speaker 1: was bigger straight shooter than the first album. Yeah. Well,

997
00:55:43,280 --> 00:55:45,880
Speaker 1: to some extent, we tried to recreate. We looked at

998
00:55:45,920 --> 00:55:49,160
Speaker 1: it said, well, we were were in a lockout situation.

999
00:55:49,360 --> 00:55:52,919
Speaker 1: We're in the country, there was no distractions, so let's

1000
00:55:53,000 --> 00:55:55,360
Speaker 1: find a castle or something. So we found a castle

1001
00:55:55,480 --> 00:55:58,400
Speaker 1: or something, right, and that's what we did. And this

1002
00:55:58,560 --> 00:56:01,719
Speaker 1: castle was clear world cast. It was interesting in that

1003
00:56:01,920 --> 00:56:06,320
Speaker 1: they also had um they had medieval dinners there in

1004
00:56:06,440 --> 00:56:08,759
Speaker 1: another part of the castle because the big place and

1005
00:56:08,800 --> 00:56:11,880
Speaker 1: they're the studio in one second, and I used to

1006
00:56:11,920 --> 00:56:14,240
Speaker 1: have to go into and all these there's big parties

1007
00:56:14,280 --> 00:56:15,839
Speaker 1: and all these people got dressed up in the old

1008
00:56:15,880 --> 00:56:18,759
Speaker 1: English costumes and armor suits of armorslf and and it

1009
00:56:19,000 --> 00:56:22,360
Speaker 1: roast pig and it chuck sided down them and I

1010
00:56:22,520 --> 00:56:26,760
Speaker 1: used to have to go in and find bos boss,

1011
00:56:26,880 --> 00:56:28,960
Speaker 1: where are you? And if you're under a table somewhere

1012
00:56:29,040 --> 00:56:33,480
Speaker 1: knocking back the the booze and the roast big or

1013
00:56:33,600 --> 00:56:37,040
Speaker 1: dancing on it. It depended really, And I suppose we

1014
00:56:37,120 --> 00:56:41,040
Speaker 1: need you in the studio, come on now. And that

1015
00:56:41,280 --> 00:56:43,839
Speaker 1: was one aspect of it wasn't exactly as private as

1016
00:56:43,880 --> 00:56:47,600
Speaker 1: the Headly Grange one. Now, but the second the second album,

1017
00:56:48,000 --> 00:56:50,440
Speaker 1: did you write those songs on the road or when

1018
00:56:50,480 --> 00:56:52,879
Speaker 1: you got back? Some of them are on the road

1019
00:56:53,000 --> 00:56:57,320
Speaker 1: Shooting Star. I feel like making um actually feel like

1020
00:56:57,440 --> 00:57:00,120
Speaker 1: making love was a song that I had started in

1021
00:57:00,360 --> 00:57:03,560
Speaker 1: nineteen sixty eight, which is way before that when we

1022
00:57:03,640 --> 00:57:07,640
Speaker 1: first came out with with Free Uh, and I hooked

1023
00:57:07,719 --> 00:57:10,080
Speaker 1: up with a bunch of a bunch of beautiful people

1024
00:57:10,160 --> 00:57:13,440
Speaker 1: that were called we like to call ourselves hippies in

1025
00:57:13,480 --> 00:57:16,920
Speaker 1: those days, and we hitch hiked out to Rheon Needle,

1026
00:57:17,360 --> 00:57:20,160
Speaker 1: which is north of San Francisco, I believe, and we

1027
00:57:20,280 --> 00:57:22,920
Speaker 1: went out there and slept in the woods and stuff,

1028
00:57:22,960 --> 00:57:26,960
Speaker 1: and I I had written that song. I started that

1029
00:57:27,040 --> 00:57:30,600
Speaker 1: song that baby when I Think About You, and we

1030
00:57:31,040 --> 00:57:33,200
Speaker 1: there was a lot of peyalty about thoses, which was

1031
00:57:33,560 --> 00:57:35,480
Speaker 1: which is not the chemical one, and it was really

1032
00:57:35,680 --> 00:57:37,480
Speaker 1: it was a really quiet thing and not that I'm

1033
00:57:37,480 --> 00:57:41,440
Speaker 1: recommending it, but that's what we were doing. And I

1034
00:57:42,040 --> 00:57:47,920
Speaker 1: when we came to the the album there I makes it.

1035
00:57:48,400 --> 00:57:49,960
Speaker 1: What have you got And I said, well, I've got

1036
00:57:50,160 --> 00:57:53,280
Speaker 1: this idea of baby when I think about you, I

1037
00:57:53,360 --> 00:57:56,320
Speaker 1: think about and I said, oh yeah, I like that,

1038
00:57:56,440 --> 00:57:59,120
Speaker 1: yeah going, Yeah, you're going. He said, oh, what you

1039
00:57:59,240 --> 00:58:04,720
Speaker 1: need is this, baba, and I went, when I feel

1040
00:58:04,800 --> 00:58:07,920
Speaker 1: like making It's okay, that's good, we'll do that. And

1041
00:58:07,960 --> 00:58:10,440
Speaker 1: then we missed moved on, you know, and it became

1042
00:58:10,480 --> 00:58:13,080
Speaker 1: one of our biggest songs, but you don't know at

1043
00:58:13,080 --> 00:58:15,200
Speaker 1: the time, it just was like, Okay, that's good, Yeah,

1044
00:58:15,240 --> 00:58:17,760
Speaker 1: we'll do that. Last spring, I was on a cruise

1045
00:58:17,800 --> 00:58:20,600
Speaker 1: to Alaska and we went to the karaoke room and

1046
00:58:20,720 --> 00:58:23,320
Speaker 1: I pulled off this midnight I feel Like making Love

1047
00:58:23,400 --> 00:58:26,200
Speaker 1: and me and the two forty something girls were singing

1048
00:58:26,280 --> 00:58:28,920
Speaker 1: at the top of our lungs. It's funny how that resonated.

1049
00:58:29,000 --> 00:58:31,760
Speaker 1: I think that was think the interesting thing about bad companies.

1050
00:58:31,840 --> 00:58:34,400
Speaker 1: It was both men and women. It wasn't like Rush,

1051
00:58:34,720 --> 00:58:38,800
Speaker 1: which was been only women were certainly in the amor too. Yes,

1052
00:58:39,000 --> 00:58:41,840
Speaker 1: good good, well, I mean we like to please, okay,

1053
00:58:42,120 --> 00:58:45,760
Speaker 1: And then what's the backstory? I'm shooting star? Well, shooting

1054
00:58:45,960 --> 00:58:49,720
Speaker 1: star um was. I was at my cottage in England

1055
00:58:50,440 --> 00:58:53,960
Speaker 1: and I was walking down the garden and actually I've

1056
00:58:54,000 --> 00:58:57,760
Speaker 1: been thinking that. I went, well, HENDRICKX has died and

1057
00:58:57,880 --> 00:59:01,120
Speaker 1: we lost cost and me as many people and Jim

1058
00:59:01,200 --> 00:59:06,520
Speaker 1: Morrison and um uh help me, um what's her name again?

1059
00:59:06,800 --> 00:59:10,120
Speaker 1: Janis Josh Janis Joplin. You know, I know those people

1060
00:59:10,160 --> 00:59:12,560
Speaker 1: are like, wow, it's not a war zone. This is entertainment.

1061
00:59:12,640 --> 00:59:15,600
Speaker 1: Why are we? Why are so many people? So that

1062
00:59:15,800 --> 00:59:19,120
Speaker 1: was what my thoughts had been. And I was walking

1063
00:59:19,160 --> 00:59:22,080
Speaker 1: down my own garden, pat and I thought, don't you know?

1064
00:59:22,520 --> 00:59:25,360
Speaker 1: And I thought, oh, where have I heard that before?

1065
00:59:25,600 --> 00:59:29,080
Speaker 1: That you are is shooting Star? And I thought, wow,

1066
00:59:29,480 --> 00:59:31,240
Speaker 1: I must have heard that on the radio. And then

1067
00:59:31,280 --> 00:59:33,800
Speaker 1: I thought, well, I don't remember where. And I ran

1068
00:59:33,840 --> 00:59:35,640
Speaker 1: in the college and got the guitar and started to

1069
00:59:35,760 --> 00:59:39,000
Speaker 1: work the cords out. And I actually finished it on

1070
00:59:39,320 --> 00:59:42,880
Speaker 1: an airplane in with the boys when we were somewhere

1071
00:59:42,960 --> 00:59:48,000
Speaker 1: or that in America. Yeah, So it started life thinking

1072
00:59:48,480 --> 00:59:52,400
Speaker 1: about all the casualties of rock. Well, it's interesting because

1073
00:59:52,440 --> 00:59:54,360
Speaker 1: that's a gargantuan album, but there and a couple of

1074
00:59:54,440 --> 00:59:58,280
Speaker 1: albums after. There's some songs that I sing to myself

1075
00:59:58,320 --> 01:00:00,680
Speaker 1: all the time. Some people say I'm no good late

1076
01:00:00,760 --> 01:00:02,920
Speaker 1: in my bed all day. Yeah, it's a mixed song.

1077
01:00:03,040 --> 01:00:05,720
Speaker 1: I love that, you know, But the nighttime comes, I'm

1078
01:00:05,760 --> 01:00:08,200
Speaker 1: ready to rock and roll my toes away. I mean

1079
01:00:08,520 --> 01:00:10,280
Speaker 1: that's how I feel, you know. I feel like, uh,

1080
01:00:10,720 --> 01:00:12,520
Speaker 1: kind of like Yogi beer. I may sleep till noon,

1081
01:00:12,680 --> 01:00:14,760
Speaker 1: but before it starts, I'll get a you picnic basket

1082
01:00:14,880 --> 01:00:18,200
Speaker 1: and that's in Jellystone Park, and then another mixed song,

1083
01:00:18,640 --> 01:00:21,960
Speaker 1: simple Man, which is just one of my absolute favorites.

1084
01:00:22,080 --> 01:00:24,880
Speaker 1: You know, I think about that because music is about

1085
01:00:24,920 --> 01:00:27,560
Speaker 1: freedom and I want to be free. But then you

1086
01:00:27,680 --> 01:00:30,200
Speaker 1: do Rough Diamonds and it's kind of going in the

1087
01:00:30,280 --> 01:00:34,400
Speaker 1: wrong direction. It's kind of getting defleated. Okay, Yeah, yeah,

1088
01:00:34,680 --> 01:00:36,600
Speaker 1: yeah I did. We did run out of steam a

1089
01:00:36,640 --> 01:00:40,520
Speaker 1: little bit. Uh who are you gonna blame? I don't know.

1090
01:00:42,040 --> 01:00:44,200
Speaker 1: I could point fingers, but I'm not going to. Really.

1091
01:00:44,680 --> 01:00:47,160
Speaker 1: We we had been hammering it for a number of

1092
01:00:47,280 --> 01:00:49,400
Speaker 1: years and I think we did. It was just it

1093
01:00:49,480 --> 01:00:51,520
Speaker 1: all got a little bit tired and a little bit

1094
01:00:51,760 --> 01:00:54,520
Speaker 1: we lost focus. I do think now, did you actually

1095
01:00:54,600 --> 01:01:01,120
Speaker 1: break up before Desolation Angels? Or the the album was

1096
01:01:01,240 --> 01:01:04,960
Speaker 1: so on together. I just felt, wow, you know, I

1097
01:01:05,600 --> 01:01:09,320
Speaker 1: wanted to leave throughout the album actually, but Rough Yeah,

1098
01:01:09,640 --> 01:01:12,400
Speaker 1: I was committed. We were doing it. We were there,

1099
01:01:12,720 --> 01:01:16,960
Speaker 1: let's do what we can, and um, I think in

1100
01:01:17,080 --> 01:01:20,240
Speaker 1: my mind I had left already. Actually, yeah, And how

1101
01:01:20,280 --> 01:01:23,080
Speaker 1: do you come to do Desolation Angels, which is just

1102
01:01:23,240 --> 01:01:26,720
Speaker 1: an unbelievable comeback with a different sound but with actually

1103
01:01:27,080 --> 01:01:31,320
Speaker 1: songs of stick in your head from start to finish. Um,

1104
01:01:33,640 --> 01:01:36,000
Speaker 1: you've got me now, I don't remember. Well, you know,

1105
01:01:36,400 --> 01:01:38,800
Speaker 1: so in anything, that's a completely different sound from what

1106
01:01:38,960 --> 01:01:42,600
Speaker 1: came before. How did that happen? I'd have to get

1107
01:01:42,760 --> 01:01:45,360
Speaker 1: you know what, I've lost track of the sequence of

1108
01:01:45,400 --> 01:01:48,680
Speaker 1: the album. Well, you know there's there's electric Land, no no,

1109
01:01:48,880 --> 01:01:53,400
Speaker 1: if there's Lonely for Your Love. Uh, there's yeah on

1110
01:01:53,600 --> 01:01:59,200
Speaker 1: one of them. Um, Um, Cindy this can I talk

1111
01:01:59,240 --> 01:02:02,840
Speaker 1: to Cindy? We can take a break? Yes, let's everybody. Yeah,

1112
01:02:02,880 --> 01:02:09,959
Speaker 1: that's a good idea. Well pause here for a brief

1113
01:02:10,040 --> 01:02:16,800
Speaker 1: moment and get right back to Paul Rock. Most of

1114
01:02:16,880 --> 01:02:19,440
Speaker 1: you know that I'm also a writer, but for those

1115
01:02:19,480 --> 01:02:21,600
Speaker 1: who think I'm just the host of this podcast, you

1116
01:02:21,640 --> 01:02:24,439
Speaker 1: can check out my archive at left sets dot com

1117
01:02:24,920 --> 01:02:27,560
Speaker 1: in addition of reading my commentary on music tech in

1118
01:02:27,600 --> 01:02:29,880
Speaker 1: the world at large. You'll be the first to find

1119
01:02:29,960 --> 01:02:34,240
Speaker 1: out when we've published a new conversation now More with

1120
01:02:34,400 --> 01:02:37,640
Speaker 1: legendary rock musician Paul Rodgers, recorded at the tune In

1121
01:02:37,760 --> 01:02:42,440
Speaker 1: Studios in Venice, California. Okay, you're coming back to us

1122
01:02:42,520 --> 01:02:44,840
Speaker 1: after a break where we had to go to the discography.

1123
01:02:45,360 --> 01:02:48,640
Speaker 1: You know, at first I thought that Paul was a

1124
01:02:48,680 --> 01:02:50,960
Speaker 1: little lost, which is always funny that fans are more

1125
01:02:51,040 --> 01:02:54,760
Speaker 1: accurate than the act. But I was also at fault

1126
01:02:54,880 --> 01:02:57,600
Speaker 1: here and that I had the order wrong. I'm playing.

1127
01:02:58,520 --> 01:03:00,720
Speaker 1: I'm such a bad Bad Company fan that, for some

1128
01:03:00,840 --> 01:03:03,600
Speaker 1: reason doing research last night, stuck in my head that

1129
01:03:03,720 --> 01:03:08,000
Speaker 1: Rough Diamonds was before Desolation Angels. But let's just recap.

1130
01:03:08,600 --> 01:03:12,200
Speaker 1: So after Burning Sky, which certainly has some great tracks

1131
01:03:12,280 --> 01:03:14,760
Speaker 1: on it, but doesn't get as good reviews or have

1132
01:03:14,880 --> 01:03:17,680
Speaker 1: as much success as Run with the Pack and Straight Shooter,

1133
01:03:18,120 --> 01:03:21,800
Speaker 1: you do Desolation Angels. But Desolation Angels two years later,

1134
01:03:21,840 --> 01:03:24,120
Speaker 1: as opposed to an album every year, has a completely

1135
01:03:24,160 --> 01:03:28,439
Speaker 1: different sound from what came before. Yeah, yeah, you know, actually, Bob,

1136
01:03:28,480 --> 01:03:30,880
Speaker 1: you know, it is true that some of the fans

1137
01:03:31,000 --> 01:03:33,640
Speaker 1: know more about me than I don't. You know. Um

1138
01:03:34,040 --> 01:03:36,880
Speaker 1: Lucy Pillar, for instance, knows more. She goes further back

1139
01:03:36,920 --> 01:03:39,840
Speaker 1: than I do. It's incredible. Um so, but but a

1140
01:03:39,920 --> 01:03:44,800
Speaker 1: Desolation Angel, actually, let's go to a Burning Sky, Burning Sky.

1141
01:03:45,240 --> 01:03:48,440
Speaker 1: We were a little burned around the edges on that one, actually,

1142
01:03:48,920 --> 01:03:50,520
Speaker 1: but we did pull it out of the bag. But

1143
01:03:50,560 --> 01:03:53,120
Speaker 1: I remember saying to make that, sending to make that

1144
01:03:54,360 --> 01:03:56,000
Speaker 1: you know, if we if we make this album and

1145
01:03:56,080 --> 01:03:57,760
Speaker 1: we don't like it, We're not going to put it out,

1146
01:03:57,760 --> 01:04:01,080
Speaker 1: and he said, yes, yes, yes, but the wheels were

1147
01:04:01,200 --> 01:04:02,800
Speaker 1: rolling and it went out, and you know, it's not

1148
01:04:03,000 --> 01:04:05,120
Speaker 1: it's a good album. I think the track Burning Sky

1149
01:04:05,600 --> 01:04:09,240
Speaker 1: is pretty strong, absolutely. I wrote that the night before

1150
01:04:09,320 --> 01:04:13,040
Speaker 1: we recorded it, and we were scrabbling for me for

1151
01:04:13,360 --> 01:04:15,840
Speaker 1: songs actually, you know, and I had the chorus and

1152
01:04:15,960 --> 01:04:18,960
Speaker 1: I had the verse chords, and I showed the the

1153
01:04:19,360 --> 01:04:23,440
Speaker 1: the the guys the the guy is burning and I

1154
01:04:23,480 --> 01:04:25,800
Speaker 1: showed him the verse cause and we went. We pushed

1155
01:04:25,840 --> 01:04:28,160
Speaker 1: the red button and I made the whole thing up

1156
01:04:28,360 --> 01:04:31,400
Speaker 1: right there on the spot, pretty much waiting for the

1157
01:04:31,400 --> 01:04:34,560
Speaker 1: events here and the prisoners and all that the story

1158
01:04:35,480 --> 01:04:38,280
Speaker 1: right there, so you know, we were it was sort

1159
01:04:38,320 --> 01:04:40,480
Speaker 1: of a jam, but it was. It was pretty strong,

1160
01:04:40,560 --> 01:04:43,160
Speaker 1: I thought, But well, but there's one other track on

1161
01:04:43,240 --> 01:04:45,880
Speaker 1: that though. It was also the guitar sound in your delivery.

1162
01:04:46,320 --> 01:04:51,640
Speaker 1: Leaving You was a great track, deadly, wasn't it. Yeah? Okay,

1163
01:04:51,680 --> 01:04:54,400
Speaker 1: So how did you decide? Why were there two years

1164
01:04:54,600 --> 01:04:59,480
Speaker 1: between Burning Sky and Desolation Angels? We were we did

1165
01:04:59,640 --> 01:05:01,439
Speaker 1: need a rake, but I did think that we would.

1166
01:05:01,920 --> 01:05:05,320
Speaker 1: We were energized again for Desolation Angels at Rock and

1167
01:05:05,400 --> 01:05:11,320
Speaker 1: roll Fantasy, Gone Gone Gone was Boz's first attempt at songwriting.

1168
01:05:11,360 --> 01:05:14,000
Speaker 1: But it was actually good. It was great. I mean

1169
01:05:14,200 --> 01:05:16,160
Speaker 1: I I like to include it in a set now.

1170
01:05:16,640 --> 01:05:20,200
Speaker 1: And Crazy Circles was was Well who wrote the guitar

1171
01:05:20,280 --> 01:05:24,439
Speaker 1: part on that, which makes it that the guitar part

1172
01:05:24,520 --> 01:05:26,640
Speaker 1: like the acoustic guitar and the solo that was Mick.

1173
01:05:27,040 --> 01:05:29,000
Speaker 1: It was lovely, wasn't it right? Well, you were talking

1174
01:05:29,000 --> 01:05:31,919
Speaker 1: about acoustic on Seagull I wondered if you wrote that. Well,

1175
01:05:31,960 --> 01:05:36,600
Speaker 1: I played acoustic on Crazy Circles. The acoustic rhythm you know,

1176
01:05:36,720 --> 01:05:39,960
Speaker 1: don't don't don't, but the the Spanish type of solo

1177
01:05:40,160 --> 01:05:41,800
Speaker 1: thing that goes on there, that was Mick and it

1178
01:05:41,960 --> 01:05:44,480
Speaker 1: was just beautiful. I remember he just went out to

1179
01:05:44,560 --> 01:05:46,960
Speaker 1: the into the studio and got his sound and just

1180
01:05:47,080 --> 01:05:49,680
Speaker 1: went into that and I just was, yes, that is

1181
01:05:49,840 --> 01:05:53,080
Speaker 1: so beautiful. Nice one man. But the other thing is,

1182
01:05:53,240 --> 01:05:55,280
Speaker 1: even though you did not write it, one of your

1183
01:05:55,360 --> 01:05:57,520
Speaker 1: best vocals of all time is the opening track on

1184
01:05:57,600 --> 01:06:02,439
Speaker 1: the second side, Lonely for Your Love. Oh let's Mike, Yeah. Yeah.

1185
01:06:03,280 --> 01:06:05,840
Speaker 1: But the way you have a way of digging down

1186
01:06:05,920 --> 01:06:08,080
Speaker 1: deep in your soul and pushing right up the limit

1187
01:06:08,320 --> 01:06:10,040
Speaker 1: without going over and we live in an era of

1188
01:06:10,120 --> 01:06:13,160
Speaker 1: vocal history onics. That's what all these TV shows are about,

1189
01:06:13,440 --> 01:06:15,880
Speaker 1: the malise of the Mariah Carey. But you have a

1190
01:06:15,960 --> 01:06:19,240
Speaker 1: way of emoting where there's still emotion, which the same

1191
01:06:19,240 --> 01:06:22,240
Speaker 1: as emoting underneath and just pushing it, which is the

1192
01:06:22,480 --> 01:06:24,200
Speaker 1: essence of rock and roll. That's why I'm talking about

1193
01:06:24,200 --> 01:06:27,280
Speaker 1: simple Man earlier. You want to feel free, you know,

1194
01:06:27,800 --> 01:06:30,560
Speaker 1: and the lyrics on Lonely for Your Love, the way

1195
01:06:30,560 --> 01:06:32,880
Speaker 1: you're saying it just blows my mind. Well, that's very

1196
01:06:32,960 --> 01:06:35,200
Speaker 1: interesting that you should notice that, because that's a really

1197
01:06:35,280 --> 01:06:39,200
Speaker 1: good point. Sam Moura has a way of doing that

1198
01:06:39,360 --> 01:06:42,080
Speaker 1: same thing. He puts a little gravel there, but not

1199
01:06:42,320 --> 01:06:46,720
Speaker 1: too much exactly, Samuel, Sam and Dave Yes, and it

1200
01:06:46,840 --> 01:06:52,560
Speaker 1: just takes you to where the emotion is just rasping,

1201
01:06:52,640 --> 01:06:55,280
Speaker 1: you know, it just it just exactly exactly gives you

1202
01:06:55,320 --> 01:06:57,800
Speaker 1: that edge. I love that, right, Okay, So but then

1203
01:06:57,880 --> 01:07:00,520
Speaker 1: you do make not getting the order correct, I was wrong.

1204
01:07:00,960 --> 01:07:04,200
Speaker 1: You do make rough diamonds, which is seen by disappointment

1205
01:07:04,240 --> 01:07:06,880
Speaker 1: as there by everyone. Yeah, well, you know it's funny

1206
01:07:06,920 --> 01:07:09,520
Speaker 1: the title for that I I wanted to band, I

1207
01:07:09,560 --> 01:07:11,440
Speaker 1: wanted us to get back to our roots, and I

1208
01:07:11,680 --> 01:07:16,080
Speaker 1: organized a gig, a show at a village hall near

1209
01:07:16,160 --> 01:07:18,960
Speaker 1: where I lived, and we were just going to play

1210
01:07:19,760 --> 01:07:22,480
Speaker 1: what we wanted to a local crowd and that's it.

1211
01:07:22,560 --> 01:07:25,120
Speaker 1: And I just wanted to do that. And I called

1212
01:07:25,200 --> 01:07:26,840
Speaker 1: it Rough Diamonds because I didn't want to say this

1213
01:07:26,880 --> 01:07:29,080
Speaker 1: as a bad company planning in the local village hall.

1214
01:07:29,120 --> 01:07:31,000
Speaker 1: It would have been insane, you know, So I just

1215
01:07:31,280 --> 01:07:34,840
Speaker 1: pretended we were a local band called Rough Diamonds, but

1216
01:07:34,920 --> 01:07:36,760
Speaker 1: they lifted We lifted that and used it for the

1217
01:07:36,800 --> 01:07:41,120
Speaker 1: album title. But but really they're not Rough Diamonds. They're

1218
01:07:41,200 --> 01:07:44,400
Speaker 1: they're kind of like it's a it is a little

1219
01:07:44,520 --> 01:07:47,640
Speaker 1: tired of some good good things. That is the album

1220
01:07:47,680 --> 01:07:53,160
Speaker 1: with electrically which was but electric Land. Yes, I think, yeah, okay,

1221
01:07:53,240 --> 01:07:55,440
Speaker 1: So then how does the BM break up or go

1222
01:07:55,520 --> 01:08:00,320
Speaker 1: on hiatus? Well, you know, I think that, as I

1223
01:08:00,440 --> 01:08:03,120
Speaker 1: said earlier, I think I was driven. This is the

1224
01:08:03,160 --> 01:08:05,640
Speaker 1: album I was referring to when I we'd all got

1225
01:08:05,680 --> 01:08:08,240
Speaker 1: a little tired of each other, I think, and it

1226
01:08:08,360 --> 01:08:11,080
Speaker 1: was time to move on, and it was felt very strongly,

1227
01:08:11,760 --> 01:08:15,760
Speaker 1: but we did. We did all these tracks, and you know,

1228
01:08:16,360 --> 01:08:18,320
Speaker 1: we were committed to make an album. And I think

1229
01:08:18,439 --> 01:08:21,519
Speaker 1: what that's what we did. Now after a short period

1230
01:08:21,560 --> 01:08:25,880
Speaker 1: of time, the band reforms with another lead singer, Brian Howe.

1231
01:08:27,040 --> 01:08:30,200
Speaker 1: What's your view point on that? I actually don't have one.

1232
01:08:32,800 --> 01:08:34,639
Speaker 1: You don't have a view? Well, that sounds like someone

1233
01:08:34,640 --> 01:08:39,760
Speaker 1: who's been through a lot of litigation. Yeah, would that

1234
01:08:39,840 --> 01:08:41,599
Speaker 1: be an act and I'm not gonna pull something out

1235
01:08:41,600 --> 01:08:46,280
Speaker 1: of it. Yes, you can certainly say no comment. Of course.

1236
01:08:46,880 --> 01:08:49,760
Speaker 1: You know, it turned into the manager they had is

1237
01:08:49,840 --> 01:08:53,080
Speaker 1: no longer with us himself. He turned it into he

1238
01:08:53,240 --> 01:08:55,760
Speaker 1: managed a band called Giant and it actually had a

1239
01:08:55,800 --> 01:08:58,200
Speaker 1: completely different sound, but they did have a couple of hits,

1240
01:08:58,920 --> 01:09:01,160
Speaker 1: and then all to it. Ly, you reform, but much

1241
01:09:01,240 --> 01:09:03,920
Speaker 1: longer down the line, but next you end up working

1242
01:09:04,240 --> 01:09:07,880
Speaker 1: with Jimmy Page in the firm. Can I just say

1243
01:09:07,960 --> 01:09:11,200
Speaker 1: this before we go on? Absolutely? Um, I do have

1244
01:09:11,400 --> 01:09:13,639
Speaker 1: something to say, and that is that I felt after

1245
01:09:13,760 --> 01:09:17,519
Speaker 1: I left it, the band's reputation for musical reputation went

1246
01:09:17,880 --> 01:09:23,080
Speaker 1: down the toilely and and and there the respect was gone,

1247
01:09:23,680 --> 01:09:25,880
Speaker 1: and I didn't like it. That's when I came back.

1248
01:09:26,040 --> 01:09:29,280
Speaker 1: I came back to re establish what we were and

1249
01:09:29,439 --> 01:09:32,080
Speaker 1: I think that's what we're doing now is re establishing

1250
01:09:32,200 --> 01:09:34,800
Speaker 1: the credibility again. You know, let's stay on this topic

1251
01:09:34,840 --> 01:09:38,280
Speaker 1: for one second. I saw you perform with Bad Company

1252
01:09:39,280 --> 01:09:43,719
Speaker 1: almost two summers ago. You go out with Free Spirit,

1253
01:09:43,880 --> 01:09:46,519
Speaker 1: You're going out solo with Beck. When do you do

1254
01:09:46,720 --> 01:09:50,040
Speaker 1: bad Company gigs? And what is the thinking there? Um?

1255
01:09:51,800 --> 01:09:54,800
Speaker 1: I do? I sort of do about twenty or thirty

1256
01:09:54,840 --> 01:09:57,439
Speaker 1: shows a year because I try to keep I want

1257
01:09:57,479 --> 01:10:01,960
Speaker 1: to keep the energy, the enthusiasm and the the interest

1258
01:10:02,080 --> 01:10:05,400
Speaker 1: really for me and for for the band and the listeners.

1259
01:10:06,560 --> 01:10:10,640
Speaker 1: So I do different, different things whatever comes to me.

1260
01:10:11,000 --> 01:10:14,800
Speaker 1: The Free Spirit thing, if you like, has evolved and

1261
01:10:15,240 --> 01:10:17,719
Speaker 1: we've evolved from doing it in England and then wanting

1262
01:10:17,800 --> 01:10:19,920
Speaker 1: to bring it here, so we made space for it

1263
01:10:20,000 --> 01:10:24,360
Speaker 1: in the itinerary to do the tour here with Jeff Beck,

1264
01:10:24,439 --> 01:10:27,120
Speaker 1: with Ann Wilson and Deborah Bonham. I should mention as well,

1265
01:10:27,280 --> 01:10:32,439
Speaker 1: she's opening and she's a beautiful singer. Um So what

1266
01:10:32,560 --> 01:10:36,000
Speaker 1: we I do bad do Bad Company shows? In between?

1267
01:10:36,080 --> 01:10:38,439
Speaker 1: When the offers come in, we we look at them

1268
01:10:38,479 --> 01:10:43,240
Speaker 1: and we now mcgralph's health. What is the status of that, Uh,

1269
01:10:43,560 --> 01:10:46,879
Speaker 1: Mick is you know as well as can be expected

1270
01:10:47,000 --> 01:10:51,160
Speaker 1: for a guy who's had a stroke and he can't

1271
01:10:51,479 --> 01:10:54,200
Speaker 1: you know it's not really. He's still got his sense

1272
01:10:54,280 --> 01:10:58,400
Speaker 1: of humor, but he's having trouble with his right hand.

1273
01:10:58,439 --> 01:11:02,200
Speaker 1: I do believe it is uh. And we took him

1274
01:11:02,200 --> 01:11:05,240
Speaker 1: a small guitar so he could make some noise, some

1275
01:11:05,439 --> 01:11:09,880
Speaker 1: musical noise. It's it's not great though, it's not great

1276
01:11:09,880 --> 01:11:12,080
Speaker 1: where Okay, But let's go back to the narratives. You

1277
01:11:12,160 --> 01:11:14,400
Speaker 1: end up working with Jimmy Page. How does that come together?

1278
01:11:15,520 --> 01:11:19,160
Speaker 1: Oh right, let's see how did that come together? I

1279
01:11:19,240 --> 01:11:22,960
Speaker 1: had a student when I left Bad Company. I had

1280
01:11:23,080 --> 01:11:25,479
Speaker 1: I put a studio together in my house in the

1281
01:11:25,560 --> 01:11:29,519
Speaker 1: attic in Kingston, not Kingston, Jamaica, Kingston and the UK,

1282
01:11:30,160 --> 01:11:34,320
Speaker 1: excuse me. And I was making I was recording and

1283
01:11:34,439 --> 01:11:38,080
Speaker 1: doing a solo album, etcetera, etcetera, and Jimmy Page popped

1284
01:11:38,160 --> 01:11:40,840
Speaker 1: over and I kept popping over. Actually come over a

1285
01:11:40,880 --> 01:11:42,559
Speaker 1: couple of times just to check me out and see

1286
01:11:42,560 --> 01:11:46,000
Speaker 1: what you're doing. Hey, And were you friends with him

1287
01:11:46,080 --> 01:11:48,680
Speaker 1: since you had the same manager here. Absolutely, we'd all

1288
01:11:48,880 --> 01:11:51,559
Speaker 1: see each other in their office, and we Bad Company

1289
01:11:51,640 --> 01:11:53,560
Speaker 1: and led Zeppelin would go to each other's shows and

1290
01:11:53,680 --> 01:11:58,599
Speaker 1: stand backstage, you know, cat calling each other and rubbish,

1291
01:11:58,800 --> 01:12:00,320
Speaker 1: you know, and stuff like that. But we're it's all

1292
01:12:00,400 --> 01:12:05,040
Speaker 1: friendly and uh we so Jimmy, Yeah, Jimmy came around

1293
01:12:05,040 --> 01:12:08,080
Speaker 1: and he brought this cassette because cassette in those days

1294
01:12:08,680 --> 01:12:11,880
Speaker 1: of music, and it was a beautiful piece of music

1295
01:12:11,960 --> 01:12:13,760
Speaker 1: and he said, can you write some lyrics to this?

1296
01:12:14,479 --> 01:12:17,720
Speaker 1: And I give it a go and it was. It

1297
01:12:17,840 --> 01:12:21,000
Speaker 1: turned out to be Midnight Moonlight Lady, which is a

1298
01:12:21,080 --> 01:12:24,679
Speaker 1: beautiful piece of music that that he created and added

1299
01:12:24,680 --> 01:12:28,200
Speaker 1: the lyrics on um And that was the start of

1300
01:12:28,920 --> 01:12:32,559
Speaker 1: us working together and writing together. And then we got

1301
01:12:32,680 --> 01:12:35,559
Speaker 1: a call from the people that were running the Arms

1302
01:12:35,640 --> 01:12:39,400
Speaker 1: tour and they said, we need another act, if you like,

1303
01:12:40,080 --> 01:12:44,280
Speaker 1: for the American leg of the touring we're doing. And

1304
01:12:44,400 --> 01:12:46,519
Speaker 1: we heard that you and Jimmy were in the studio.

1305
01:12:47,280 --> 01:12:49,400
Speaker 1: Would you like to do a half hour spot? And

1306
01:12:49,520 --> 01:12:53,920
Speaker 1: I looked at Jimmy and and he I said, well

1307
01:12:54,200 --> 01:12:56,960
Speaker 1: we we what was it? Oh? No, They said, would

1308
01:12:56,960 --> 01:12:59,200
Speaker 1: you like to do a spot? And I said, well,

1309
01:12:59,280 --> 01:13:02,160
Speaker 1: we only have a like about twenty minutes half an

1310
01:13:02,200 --> 01:13:06,000
Speaker 1: hour of music, that's all we need. And so we

1311
01:13:06,040 --> 01:13:08,080
Speaker 1: didn't have any excuses, so we went out. I said

1312
01:13:08,080 --> 01:13:09,920
Speaker 1: we didn't have a rhythm section either. Then we got

1313
01:13:09,960 --> 01:13:13,880
Speaker 1: your rhythm section, and so we went and we did

1314
01:13:13,960 --> 01:13:18,680
Speaker 1: that and that became the firm because Jimmy was m

1315
01:13:18,880 --> 01:13:21,280
Speaker 1: M mattel loos, and I do think he wouldn't mind

1316
01:13:21,360 --> 01:13:26,120
Speaker 1: me saying after after John had died, you know, they

1317
01:13:26,160 --> 01:13:29,120
Speaker 1: were all everybody was just so upset, and he hadn't

1318
01:13:29,160 --> 01:13:32,320
Speaker 1: touched a guitar in a couple of years. When he

1319
01:13:32,400 --> 01:13:36,240
Speaker 1: came around to see me and um everybody around him

1320
01:13:36,280 --> 01:13:39,120
Speaker 1: and said, well, whatever you do, don't ask him to

1321
01:13:39,160 --> 01:13:42,280
Speaker 1: play the guitar, because that's a no, no, no, He's

1322
01:13:42,320 --> 01:13:44,360
Speaker 1: not going to touch the guitar. And I thought, oh,

1323
01:13:44,960 --> 01:13:47,200
Speaker 1: how am I gonna So he walked into the studio

1324
01:13:47,240 --> 01:13:48,880
Speaker 1: and said, hey, Jimmy, how are you doing? Did you

1325
01:13:48,960 --> 01:13:52,280
Speaker 1: bring your guitar? And everybody like digged under the table,

1326
01:13:52,320 --> 01:13:56,080
Speaker 1: but you said it to taboo thing. But by the

1327
01:13:56,200 --> 01:13:58,680
Speaker 1: end of the evening he had restrung his guitar and

1328
01:13:58,840 --> 01:14:01,439
Speaker 1: was playing and we would and stuff, and it was

1329
01:14:01,520 --> 01:14:03,920
Speaker 1: wonderful to see him because I thought, you know, if

1330
01:14:04,160 --> 01:14:07,240
Speaker 1: guys depressed, what you need to do is play music,

1331
01:14:07,400 --> 01:14:10,720
Speaker 1: any music at all. And so we were just we

1332
01:14:10,800 --> 01:14:12,479
Speaker 1: were jamming by the end of the evening, and that's

1333
01:14:12,520 --> 01:14:15,040
Speaker 1: when afterwards he brought me that piece of music, and

1334
01:14:15,240 --> 01:14:20,320
Speaker 1: we did. We composed together Midnight Moonlight Lady, and went

1335
01:14:20,360 --> 01:14:22,760
Speaker 1: on from there and the end up the first album

1336
01:14:22,840 --> 01:14:25,640
Speaker 1: comes out, there a couple of successful tracks. There's a

1337
01:14:25,920 --> 01:14:30,479
Speaker 1: radioactive and satisfaction guaranteed. And does it live up to

1338
01:14:30,520 --> 01:14:35,080
Speaker 1: your expectations and Jimmy's I don't think it did, really.

1339
01:14:35,240 --> 01:14:38,800
Speaker 1: I think I think no. I think we did what

1340
01:14:38,920 --> 01:14:48,000
Speaker 1: we could under the circumstances um were there. Music is No,

1341
01:14:48,080 --> 01:14:49,559
Speaker 1: I don't think it did, to be honest, But there

1342
01:14:49,600 --> 01:14:53,120
Speaker 1: was a second album. I think Jimmy played great though. Yeah,

1343
01:14:53,200 --> 01:14:55,800
Speaker 1: we tried. Yeah, we had Chris Laid on the drums,

1344
01:14:55,840 --> 01:14:59,120
Speaker 1: he's a great drummer, and Tony Franklin on bass, great

1345
01:14:59,120 --> 01:15:02,680
Speaker 1: bass player. We were going to have Pino Palladino, but

1346
01:15:03,040 --> 01:15:07,200
Speaker 1: he he didn't. He didn't make it, He didn't do

1347
01:15:07,320 --> 01:15:10,080
Speaker 1: the tour in the end, so we settled on Tony

1348
01:15:10,120 --> 01:15:12,280
Speaker 1: Franklin because he'd done all the rehearsals with us and

1349
01:15:12,320 --> 01:15:16,240
Speaker 1: he knew all the songs. Um. So yeah, but and

1350
01:15:16,360 --> 01:15:24,600
Speaker 1: he and he thought why it didn't work? Um, I

1351
01:15:24,920 --> 01:15:27,439
Speaker 1: you know, I was a little burned at that point myself.

1352
01:15:27,560 --> 01:15:29,360
Speaker 1: I did not want to go on the road and

1353
01:15:29,560 --> 01:15:33,720
Speaker 1: that's why, that's why we met an agreement between us.

1354
01:15:33,760 --> 01:15:38,160
Speaker 1: Jimmy said, let's go on tour. And I said, well,

1355
01:15:38,200 --> 01:15:39,560
Speaker 1: I don't know if I really want to have just

1356
01:15:39,600 --> 01:15:41,840
Speaker 1: come out of Bad Company, because I'm just burned and

1357
01:15:41,920 --> 01:15:43,640
Speaker 1: I just want to stay home and make music in

1358
01:15:43,760 --> 01:15:47,960
Speaker 1: my little studio here and regroup myself. But he said, well,

1359
01:15:48,360 --> 01:15:50,280
Speaker 1: but he really wanted to go, and I really wanted

1360
01:15:50,360 --> 01:15:52,439
Speaker 1: him to be happy, so I said, well, let's go.

1361
01:15:52,560 --> 01:15:54,559
Speaker 1: And he said, I'll tell you what we'll do. We'll

1362
01:15:54,600 --> 01:16:00,519
Speaker 1: do two albums and two tours supporting those albums, and

1363
01:16:00,560 --> 01:16:01,720
Speaker 1: that will be it. And there was again it was

1364
01:16:01,760 --> 01:16:05,280
Speaker 1: a handshake, and that's what we did. That's that's as

1365
01:16:05,320 --> 01:16:07,519
Speaker 1: far as we took it. That's as far as it went.

1366
01:16:08,040 --> 01:16:09,960
Speaker 1: And had you end up working with Kenny Jones and

1367
01:16:10,000 --> 01:16:14,920
Speaker 1: the Law, Well, I was looking around for for the

1368
01:16:15,000 --> 01:16:19,560
Speaker 1: next thing, you know, and I met I met. I

1369
01:16:19,640 --> 01:16:23,080
Speaker 1: met him in a club and we talked about music,

1370
01:16:23,160 --> 01:16:25,360
Speaker 1: and I said, you know, I never I never really

1371
01:16:25,439 --> 01:16:27,519
Speaker 1: know which which which direction I want to go into,

1372
01:16:27,560 --> 01:16:31,160
Speaker 1: whether I want to go into soul or blues or

1373
01:16:31,840 --> 01:16:34,320
Speaker 1: flat out rock, you know, because I do all of

1374
01:16:34,400 --> 01:16:37,479
Speaker 1: those things, and I'm interested in doing all of those things.

1375
01:16:37,560 --> 01:16:39,840
Speaker 1: But he said, he said, why don't you just the

1376
01:16:39,920 --> 01:16:42,720
Speaker 1: two of us get together and we'll we'll do a

1377
01:16:42,840 --> 01:16:44,800
Speaker 1: rock album, we'll do a blues album, we'll do a

1378
01:16:44,880 --> 01:16:47,600
Speaker 1: soul album, and we'll do and all we'll do. You

1379
01:16:47,720 --> 01:16:49,720
Speaker 1: and I will be the center of it, and we'll

1380
01:16:49,800 --> 01:16:53,400
Speaker 1: just change other musicians around us, you know, we'll put

1381
01:16:53,439 --> 01:16:55,920
Speaker 1: a brass section in or this of that. And I thought,

1382
01:16:55,920 --> 01:16:57,560
Speaker 1: I want it's a good idea. I was trying to.

1383
01:16:58,120 --> 01:17:01,600
Speaker 1: So that's what that was the initial thing with with

1384
01:17:01,800 --> 01:17:05,320
Speaker 1: The Law. Now that had a title track which was

1385
01:17:05,439 --> 01:17:07,800
Speaker 1: the Hint, which of course for those were fans they

1386
01:17:07,840 --> 01:17:10,439
Speaker 1: think of Bad Company in the title track, and then

1387
01:17:10,560 --> 01:17:13,639
Speaker 1: Laying down the Law and the band was called The Law. Yeah,

1388
01:17:13,680 --> 01:17:16,160
Speaker 1: I think to some extent I was trying to recreate

1389
01:17:16,240 --> 01:17:22,080
Speaker 1: what I've done with Bad Company, because um um Kenny

1390
01:17:22,520 --> 01:17:24,920
Speaker 1: said to me, how about a title for a song

1391
01:17:25,080 --> 01:17:27,840
Speaker 1: laying down the Law? And I went, I'll have it

1392
01:17:27,880 --> 01:17:32,000
Speaker 1: ready by Thursday, And I actually did because I give

1393
01:17:32,080 --> 01:17:36,160
Speaker 1: myself and Dad Da Dad Dan Da Da on the piano,

1394
01:17:36,240 --> 01:17:38,160
Speaker 1: and I thought, well, you know it were you know

1395
01:17:38,280 --> 01:17:42,479
Speaker 1: it worked before. We maybe to have a theme tune

1396
01:17:42,680 --> 01:17:46,280
Speaker 1: around the name is good you know, so those of

1397
01:17:46,400 --> 01:17:47,960
Speaker 1: us at home saw it that way, that was the

1398
01:17:48,000 --> 01:17:50,840
Speaker 1: real way. It sort of was okay. So that that

1399
01:17:51,000 --> 01:17:54,200
Speaker 1: plays out, and then you go out with the remain

1400
01:17:54,360 --> 01:17:57,560
Speaker 1: remnants of Queen Queen and Paul Rogers. Were you a

1401
01:17:57,680 --> 01:18:01,519
Speaker 1: Queen fan? I loved the music. I can't say that

1402
01:18:01,600 --> 01:18:04,960
Speaker 1: I ever bought went out and bought their singles, their records,

1403
01:18:05,760 --> 01:18:07,800
Speaker 1: but I loved it when I heard it on the radio.

1404
01:18:07,880 --> 01:18:11,000
Speaker 1: I want to Break Free, you know. I mean, I

1405
01:18:11,080 --> 01:18:13,639
Speaker 1: thought that the guitar plane was great. I thought Freddie

1406
01:18:13,720 --> 01:18:16,160
Speaker 1: was fantastic. I went in with a lot of respect

1407
01:18:16,200 --> 01:18:18,360
Speaker 1: for Freddy and I came out from that with a

1408
01:18:18,479 --> 01:18:21,320
Speaker 1: ton of respect. He was such a great guy, such

1409
01:18:21,360 --> 01:18:25,559
Speaker 1: a great musician, and so many great songs he had written,

1410
01:18:25,600 --> 01:18:28,120
Speaker 1: and so many influences, and I think, you know, he

1411
01:18:28,280 --> 01:18:30,560
Speaker 1: was influenced by the right people in many ways, like

1412
01:18:30,640 --> 01:18:34,680
Speaker 1: a wreath of Franklin, you know, even says that on

1413
01:18:34,800 --> 01:18:38,040
Speaker 1: one of his life I think when you got the

1414
01:18:38,080 --> 01:18:40,000
Speaker 1: audience singing, you guys sound like a wreatha, you know.

1415
01:18:40,840 --> 01:18:46,640
Speaker 1: Um So that started out with let's see I was

1416
01:18:46,760 --> 01:18:50,400
Speaker 1: asked by Chris Blackwell. Actually they were doing a TV

1417
01:18:50,560 --> 01:18:53,599
Speaker 1: show and they said, would you come on and we're

1418
01:18:53,640 --> 01:18:56,840
Speaker 1: gonna honor Chris Blackwell and would you finish the show

1419
01:18:56,920 --> 01:18:59,599
Speaker 1: with all right now? And the Queen or the rennents

1420
01:18:59,640 --> 01:19:02,439
Speaker 1: of Queen will be on there. So Brian called me

1421
01:19:02,520 --> 01:19:07,400
Speaker 1: and said, look, Brian may Uh, if you will be

1422
01:19:07,520 --> 01:19:10,400
Speaker 1: our singer for we will rock you and we are

1423
01:19:10,439 --> 01:19:13,960
Speaker 1: the champions, we will be your backing band for all

1424
01:19:14,080 --> 01:19:16,680
Speaker 1: right now. And I went, oh, Queen, my man, that

1425
01:19:16,760 --> 01:19:18,800
Speaker 1: sounds good. So we actually we did that and it

1426
01:19:19,040 --> 01:19:22,000
Speaker 1: was it was great, and I didn't think we had

1427
01:19:22,240 --> 01:19:25,479
Speaker 1: much in common, but when we put those three songs together,

1428
01:19:25,520 --> 01:19:28,120
Speaker 1: they were in the same ballpark somehow. You know, we

1429
01:19:28,200 --> 01:19:30,200
Speaker 1: will rock you, we are the champions and all right now.

1430
01:19:30,360 --> 01:19:32,839
Speaker 1: It's just sort of out there in that arena space,

1431
01:19:33,040 --> 01:19:35,920
Speaker 1: you know. And I thought, well, you know maybe, And

1432
01:19:36,000 --> 01:19:38,439
Speaker 1: then he called me up and asked me would I

1433
01:19:38,640 --> 01:19:41,519
Speaker 1: like to do just two or three shows for fun?

1434
01:19:42,640 --> 01:19:44,840
Speaker 1: And I said, well, yeah, well let's do that. We

1435
01:19:44,920 --> 01:19:48,320
Speaker 1: can do that. But it turned into like two world

1436
01:19:48,360 --> 01:19:51,320
Speaker 1: tours and the studio album. It's just the way things are,

1437
01:19:51,439 --> 01:19:54,560
Speaker 1: you know, you you you get involved, and it's you

1438
01:19:54,640 --> 01:19:58,920
Speaker 1: can't just walk away. So uh, it turned into I

1439
01:19:59,000 --> 01:20:01,559
Speaker 1: think four years and at the end of that four years,

1440
01:20:01,640 --> 01:20:04,559
Speaker 1: I was like, well, I this is not the rest

1441
01:20:04,640 --> 01:20:07,240
Speaker 1: of my life here with Queen blessed them. I love

1442
01:20:07,320 --> 01:20:10,639
Speaker 1: them to pieces, but I have to do my own things.

1443
01:20:10,640 --> 01:20:14,040
Speaker 1: So it was your decision to move on. Oh totally. Yeah. Yeah.

1444
01:20:14,439 --> 01:20:16,920
Speaker 1: And they're still working now with the American idols. Well

1445
01:20:17,080 --> 01:20:21,439
Speaker 1: you've got to remember that before after Freddie, they didn't tour.

1446
01:20:22,160 --> 01:20:24,479
Speaker 1: They did an odd gig, they did Wembley. They did

1447
01:20:24,560 --> 01:20:27,400
Speaker 1: some great gigs, but not touring. They had David Boy

1448
01:20:27,520 --> 01:20:35,280
Speaker 1: with them, they had Michael Um Michael help me, Michael

1449
01:20:35,320 --> 01:20:41,840
Speaker 1: from One Band, Um, George Michael, George Michael, George Michael,

1450
01:20:42,080 --> 01:20:44,320
Speaker 1: thank you. And they had some great singative boy and

1451
01:20:44,680 --> 01:20:47,320
Speaker 1: all these great singers. I thought George Michael was great

1452
01:20:47,360 --> 01:20:49,240
Speaker 1: on that as well, but they didn't and that Elton

1453
01:20:49,320 --> 01:20:50,960
Speaker 1: John too. There are a lot of things. But they

1454
01:20:51,720 --> 01:20:56,000
Speaker 1: and I got together with them and I showed them, look, hey,

1455
01:20:56,240 --> 01:20:58,160
Speaker 1: you've got all these these great songs, you've got this

1456
01:20:58,280 --> 01:21:01,720
Speaker 1: great organization behind you, a lot of fans. All you

1457
01:21:01,800 --> 01:21:04,519
Speaker 1: need is the right singer up front. I will do

1458
01:21:04,720 --> 01:21:08,519
Speaker 1: that and hopefully we can make it work. And we toured.

1459
01:21:08,840 --> 01:21:10,880
Speaker 1: So I told her I've taught them they could tour,

1460
01:21:11,880 --> 01:21:15,880
Speaker 1: and they are now touring, So that's good. Okay, So

1461
01:21:16,080 --> 01:21:24,280
Speaker 1: what do you think of today's music scene? Uh? I

1462
01:21:24,439 --> 01:21:28,240
Speaker 1: think technology has gone on in leaps and bounds, but

1463
01:21:28,400 --> 01:21:31,160
Speaker 1: we're kind of in danger of overdoing it. And one

1464
01:21:31,240 --> 01:21:34,080
Speaker 1: thing that does not change is that it has to

1465
01:21:34,200 --> 01:21:37,040
Speaker 1: come from here, no matter what the technology is, that

1466
01:21:37,160 --> 01:21:39,960
Speaker 1: the technology is a bit of cat got on a

1467
01:21:40,320 --> 01:21:44,360
Speaker 1: on a broom, they've still got to come from here.

1468
01:21:44,439 --> 01:21:51,520
Speaker 1: Or if it's a fantastic, you know, gizmo, a technological wonderment,

1469
01:21:52,200 --> 01:21:54,639
Speaker 1: you have to it has to come from here, whatever

1470
01:21:54,720 --> 01:21:57,439
Speaker 1: the instrument is. And we might be missing that a bit.

1471
01:21:57,520 --> 01:21:59,479
Speaker 1: We we might be getting into. We used to say

1472
01:21:59,520 --> 01:22:01,439
Speaker 1: that you can mix the balls right out of a

1473
01:22:01,520 --> 01:22:05,120
Speaker 1: track if you're not careful. You've got to keep that essence.

1474
01:22:05,640 --> 01:22:09,599
Speaker 1: You know, it's so perfect that it loses its essence.

1475
01:22:10,280 --> 01:22:12,200
Speaker 1: You've got to stop before you get that. I think

1476
01:22:12,280 --> 01:22:14,719
Speaker 1: you've got to keep You've got to keep the essence.

1477
01:22:15,080 --> 01:22:17,639
Speaker 1: And you get that playing live. I think you get

1478
01:22:17,680 --> 01:22:20,479
Speaker 1: that imagining you playing live. But it's frustrating if you

1479
01:22:20,560 --> 01:22:24,479
Speaker 1: talk to superstars from your era, if you make new music,

1480
01:22:24,960 --> 01:22:26,680
Speaker 1: it's not like it used to be used to be

1481
01:22:27,200 --> 01:22:30,000
Speaker 1: everybody was aware it came out. Everybody was listening to

1482
01:22:30,080 --> 01:22:33,320
Speaker 1: the same radio stations, and you could make or break

1483
01:22:33,360 --> 01:22:35,880
Speaker 1: depending on the quality of the song. Whereas you can

1484
01:22:35,920 --> 01:22:38,320
Speaker 1: make a great song today and almost no one hears it.

1485
01:22:39,040 --> 01:22:44,160
Speaker 1: What's it like being on the creative end of that. Well,

1486
01:22:45,600 --> 01:22:49,680
Speaker 1: you look around and and people. People have impact when

1487
01:22:49,760 --> 01:22:54,720
Speaker 1: they when they break and they Hendrix, for instance, when

1488
01:22:54,760 --> 01:22:57,559
Speaker 1: I saw Hendrix, I remember the DJ said, oh, we've

1489
01:22:57,560 --> 01:23:01,320
Speaker 1: got to young man for young band from America. It

1490
01:23:01,439 --> 01:23:03,960
Speaker 1: was Pete Murray. He was a DJ, young band here

1491
01:23:03,960 --> 01:23:06,720
Speaker 1: from America, and here they are Jimmy Hendrix. And he

1492
01:23:06,760 --> 01:23:09,200
Speaker 1: put his arm up like this, and then Jimmy Hendrix

1493
01:23:09,280 --> 01:23:12,720
Speaker 1: comes on with the hair with the hey Joe, where

1494
01:23:12,720 --> 01:23:14,560
Speaker 1: are you going with that gun in your hand? And

1495
01:23:14,880 --> 01:23:17,360
Speaker 1: then he picks his guitar up and plays it with

1496
01:23:17,439 --> 01:23:20,320
Speaker 1: his teeth and it was just so wild. He put

1497
01:23:20,360 --> 01:23:22,960
Speaker 1: the guitar on, and when the camera cut back to

1498
01:23:23,240 --> 01:23:26,519
Speaker 1: Pete Murray, he still got his arm out announcing them

1499
01:23:26,600 --> 01:23:30,880
Speaker 1: like he hadn't stopped going like that. It was it

1500
01:23:31,040 --> 01:23:33,200
Speaker 1: was amazed and horrified, I think at the same time.

1501
01:23:33,520 --> 01:23:35,680
Speaker 1: But I mean the rest of us, just like we

1502
01:23:35,840 --> 01:23:37,200
Speaker 1: woke up the next day I went to school and

1503
01:23:37,479 --> 01:23:42,160
Speaker 1: Jimmy Hendricks was like it, um, but they there are

1504
01:23:42,200 --> 01:23:46,040
Speaker 1: certain people that have that sort of impact when it's real.

1505
01:23:46,200 --> 01:23:48,200
Speaker 1: I think, you know, I don't know what what that

1506
01:23:48,479 --> 01:23:51,639
Speaker 1: what that means, exactly what that real is, but it's

1507
01:23:51,680 --> 01:23:55,719
Speaker 1: something that touches a nerve and it catches fire throughout

1508
01:23:55,800 --> 01:23:59,479
Speaker 1: the Have you heard that young band grettavan Fleet? Yes,

1509
01:23:59,720 --> 01:24:03,040
Speaker 1: I have. For those of who don't know, uh, certainly

1510
01:24:03,080 --> 01:24:06,680
Speaker 1: the tracks have been released so far are very Zeppelin like.

1511
01:24:07,200 --> 01:24:09,080
Speaker 1: What do you think of Greta van Fleet? I think

1512
01:24:09,080 --> 01:24:11,800
Speaker 1: they're great, Actually I do. I do hear a lot

1513
01:24:11,840 --> 01:24:15,080
Speaker 1: of the influences from Zeppelin and perhaps even as you know,

1514
01:24:15,720 --> 01:24:19,160
Speaker 1: but it's also the good Well, it's interesting because people

1515
01:24:19,240 --> 01:24:22,600
Speaker 1: from our era were influenced by blues tracks from the

1516
01:24:22,760 --> 01:24:26,080
Speaker 1: thirties forties, which was only thirty or forty years after

1517
01:24:26,560 --> 01:24:29,719
Speaker 1: the renaissance of rock in the UK late sixties early seventies,

1518
01:24:30,000 --> 01:24:33,000
Speaker 1: where it's already been almost fifty years since that sound,

1519
01:24:33,240 --> 01:24:36,800
Speaker 1: so it's ready for that sound to come back. Yeah. Well,

1520
01:24:36,800 --> 01:24:39,160
Speaker 1: I mean I still I can put Holland Wolf on

1521
01:24:39,840 --> 01:24:42,559
Speaker 1: playing Backdoor Man and still get a real kick out

1522
01:24:42,600 --> 01:24:47,840
Speaker 1: of it. I still get you try. I don't know

1523
01:24:47,880 --> 01:24:50,439
Speaker 1: who's drumming on that, but it's just the laziest, coolest

1524
01:24:50,520 --> 01:24:54,280
Speaker 1: drums you ever heard. Do you still play music at home? Yes,

1525
01:24:54,360 --> 01:24:56,680
Speaker 1: I do. I play blues, I play some classical. I

1526
01:24:56,760 --> 01:25:02,679
Speaker 1: like Holtz Planet Sweet I love of that. Actually I play.

1527
01:25:03,400 --> 01:25:05,720
Speaker 1: I like to collect a bit of vinyl nowadays. I

1528
01:25:05,960 --> 01:25:09,960
Speaker 1: still listened to oldest reading Um and I still listened

1529
01:25:09,960 --> 01:25:15,120
Speaker 1: to Junior Wells. So the stuff you're collecting is not is,

1530
01:25:15,240 --> 01:25:17,760
Speaker 1: you know, the old blue stuff, not the big hit

1531
01:25:17,840 --> 01:25:22,320
Speaker 1: stuff on vinyl. No, actually it's not. Very very few

1532
01:25:22,400 --> 01:25:26,559
Speaker 1: of very little actually hits me hard like it did

1533
01:25:26,600 --> 01:25:28,960
Speaker 1: in the past, like when I first heard by With

1534
01:25:29,280 --> 01:25:32,920
Speaker 1: Help from my Friends by Joe Cocker, you know, back

1535
01:25:32,960 --> 01:25:34,760
Speaker 1: in the day. I mean those songs, the songs that

1536
01:25:34,840 --> 01:25:39,080
Speaker 1: hit me then Midnight Hour by Will They still they

1537
01:25:39,160 --> 01:25:40,680
Speaker 1: give you a tingle in the back of your neck.

1538
01:25:40,760 --> 01:25:43,280
Speaker 1: Well they still do that for me, and it's very

1539
01:25:43,320 --> 01:25:47,160
Speaker 1: hard for me to find that with new stuff. I'm sorry,

1540
01:25:47,200 --> 01:25:49,760
Speaker 1: but it is. No. I mean I feel the same way.

1541
01:25:49,800 --> 01:25:50,960
Speaker 1: You know, there's a lot of people who want to

1542
01:25:50,960 --> 01:25:53,760
Speaker 1: appear young, so they say today's music as good as

1543
01:25:53,800 --> 01:25:56,320
Speaker 1: it was. I mean, the people don't understand it was

1544
01:25:56,600 --> 01:25:59,759
Speaker 1: music was all we had. We were addicted to the radio,

1545
01:26:00,280 --> 01:26:01,880
Speaker 1: and growing up in the UK grow up in the

1546
01:26:02,000 --> 01:26:05,760
Speaker 1: United States, it's not exactly identical, but we were addicted

1547
01:26:05,800 --> 01:26:08,160
Speaker 1: to the radio, especially after the Beatles came out. Before that,

1548
01:26:08,240 --> 01:26:11,240
Speaker 1: we were listening to sports in the four seasons, and

1549
01:26:11,320 --> 01:26:14,120
Speaker 1: it was everything. And when the band made a statement,

1550
01:26:14,160 --> 01:26:18,160
Speaker 1: whether it be musical or sociological, you really paid attention.

1551
01:26:18,720 --> 01:26:21,880
Speaker 1: Whereas now you talk about credibility. So many acts today

1552
01:26:22,240 --> 01:26:25,800
Speaker 1: are seeing the end goal of fame and riches as

1553
01:26:25,840 --> 01:26:29,560
Speaker 1: opposed to the music itself. I think that's true. I

1554
01:26:29,640 --> 01:26:33,200
Speaker 1: think that's possibly quite true. Yeah. To me, like the

1555
01:26:33,400 --> 01:26:37,160
Speaker 1: fame and fortune, the show based aspect of it was

1556
01:26:37,320 --> 01:26:41,040
Speaker 1: never really it at all. And I think I probably

1557
01:26:41,080 --> 01:26:44,800
Speaker 1: got that from listening to those black guys because they

1558
01:26:44,880 --> 01:26:48,000
Speaker 1: were just telling their story. They weren't seeking fame, seeking

1559
01:26:48,080 --> 01:26:52,040
Speaker 1: fortune or any of it. Um the guitar ships, swinging

1560
01:26:52,040 --> 01:26:54,040
Speaker 1: pools or any of that. They were. They were just

1561
01:26:54,360 --> 01:26:58,160
Speaker 1: doing their thing and and as it happened, people like

1562
01:26:58,320 --> 01:27:01,679
Speaker 1: me I loved it, you know, And so also back

1563
01:27:01,720 --> 01:27:04,760
Speaker 1: in the rock here are sixty four to eighty or

1564
01:27:04,840 --> 01:27:09,120
Speaker 1: so or certainly empty. Vira, you mentioned Joe Cocker. You

1565
01:27:09,200 --> 01:27:13,040
Speaker 1: mentioned notice reading anybody else? Any other records to stand out?

1566
01:27:14,360 --> 01:27:17,200
Speaker 1: Oh yeah, there'll be so many. Have to think of

1567
01:27:17,280 --> 01:27:21,519
Speaker 1: for a minute, though, Um there are let's see, well,

1568
01:27:22,439 --> 01:27:26,320
Speaker 1: the Temptations, the Four Tops, you know, I mentioned that one.

1569
01:27:27,280 --> 01:27:29,599
Speaker 1: What you ever? What do you ever think of the Stones?

1570
01:27:29,720 --> 01:27:32,080
Speaker 1: Cover of being too proud to beg It's all right,

1571
01:27:32,080 --> 01:27:34,320
Speaker 1: I mean they were good. One of the great things

1572
01:27:34,360 --> 01:27:36,639
Speaker 1: about the Stones is they Yeah, they did these Arms

1573
01:27:36,680 --> 01:27:39,360
Speaker 1: of Mine as well, but uh, well they're going to

1574
01:27:39,600 --> 01:27:43,040
Speaker 1: They introduced me to a lot of music that you know,

1575
01:27:43,200 --> 01:27:45,760
Speaker 1: Soloman Burke, I'm so glad to be here tonight. Now,

1576
01:27:45,920 --> 01:27:48,400
Speaker 1: so I'm glad to be home, and I believe that

1577
01:27:48,400 --> 01:27:50,200
Speaker 1: I've got a message for every man and every woman

1578
01:27:50,280 --> 01:27:53,680
Speaker 1: here tonight that seven needed someone to love, someone to

1579
01:27:53,720 --> 01:27:55,599
Speaker 1: stay with all the time when you help, but when

1580
01:27:55,640 --> 01:27:58,519
Speaker 1: you're down. I love all that, you know. So they

1581
01:27:58,920 --> 01:28:02,880
Speaker 1: introduced me to a lot of uh, a lot of

1582
01:28:03,040 --> 01:28:07,000
Speaker 1: quite obscure blues. Actually, you know, Um, it might be

1583
01:28:07,160 --> 01:28:10,639
Speaker 1: one o'clock and it might be three time, don't mean

1584
01:28:11,040 --> 01:28:15,479
Speaker 1: that much to me. I've got my plans. I don't

1585
01:28:15,520 --> 01:28:20,160
Speaker 1: know about you. I'll tell you exactly what I'm gonna do,

1586
01:28:21,560 --> 01:28:24,040
Speaker 1: get in the group and let the good time rule.

1587
01:28:25,200 --> 01:28:27,640
Speaker 1: I mean, that's a great, great sound, great lyrics, your

1588
01:28:27,680 --> 01:28:30,880
Speaker 1: rendition right there. We should print that on Spotify right now.

1589
01:28:32,640 --> 01:28:35,240
Speaker 1: I thank you. They they well, you're saying it in

1590
01:28:35,320 --> 01:28:37,120
Speaker 1: such a soulful way. But it was sort of votes.

1591
01:28:37,320 --> 01:28:40,479
Speaker 1: I mean, it wasn't full belting, but but it's an

1592
01:28:40,520 --> 01:28:44,240
Speaker 1: example of lyrics that just flow. You know, they're not forced.

1593
01:28:44,280 --> 01:28:46,719
Speaker 1: You know, what should I do next day? Just somebody

1594
01:28:46,840 --> 01:28:49,800
Speaker 1: is there and it just like it came out. That's

1595
01:28:49,880 --> 01:28:51,400
Speaker 1: Those are the kind of lyrics. Do you have any

1596
01:28:51,520 --> 01:28:55,519
Speaker 1: tricks you used to make sure that you get what

1597
01:28:55,640 --> 01:29:00,720
Speaker 1: you want down? Oh? True? As far as song right now,

1598
01:29:00,880 --> 01:29:03,800
Speaker 1: you've got to You've got to listen to If somebody

1599
01:29:03,840 --> 01:29:06,400
Speaker 1: gives me a piece of music to write songs on,

1600
01:29:07,160 --> 01:29:10,559
Speaker 1: I say, I go, uh, what is this music saying?

1601
01:29:10,640 --> 01:29:12,920
Speaker 1: What can I What do I hear it saying to me?

1602
01:29:13,000 --> 01:29:17,320
Speaker 1: And I try to get in tune with the music,

1603
01:29:18,120 --> 01:29:20,720
Speaker 1: but lyrically, you know, so that you can express what

1604
01:29:20,840 --> 01:29:23,439
Speaker 1: the music seems to be saying to you. I might

1605
01:29:23,479 --> 01:29:26,479
Speaker 1: be wrong and I might be right. Might be one

1606
01:29:26,520 --> 01:29:31,360
Speaker 1: o'clock and it might be three, you know, but you

1607
01:29:31,520 --> 01:29:33,479
Speaker 1: kind of get in tune with what do you think

1608
01:29:33,600 --> 01:29:35,920
Speaker 1: it's what it's saying to you. Okay, So at this

1609
01:29:36,120 --> 01:29:39,559
Speaker 1: late date, you're still standing, you can still sing, You've

1610
01:29:39,600 --> 01:29:43,160
Speaker 1: had gargantuan success with multiple acts. What's left for you

1611
01:29:43,240 --> 01:29:46,519
Speaker 1: to accomplish? Well, the next two is the uppermost in

1612
01:29:46,600 --> 01:29:49,000
Speaker 1: my mind. I've done some I've just done some some

1613
01:29:49,160 --> 01:29:52,320
Speaker 1: bad company shows with Leonard Skinner and it were just amazing.

1614
01:29:53,320 --> 01:29:57,560
Speaker 1: Leonard Skinner's last to Yes, Yes, theoretically. I mean, I

1615
01:29:57,800 --> 01:30:01,000
Speaker 1: don't know if one can ever really retire, you know,

1616
01:30:01,160 --> 01:30:03,479
Speaker 1: I think you never get too far away from I've

1617
01:30:03,520 --> 01:30:05,960
Speaker 1: tried to, you know, sit back at least, but I

1618
01:30:06,080 --> 01:30:09,599
Speaker 1: just couldn't. I mean, things happen, you know, things evolved.

1619
01:30:10,160 --> 01:30:11,880
Speaker 1: How much of it is the energy from the crowd

1620
01:30:11,960 --> 01:30:15,080
Speaker 1: that you miss? Well, the energy from the crowd was

1621
01:30:15,320 --> 01:30:18,920
Speaker 1: just fantastic. It's a crackling electricity. You know. It's just

1622
01:30:19,040 --> 01:30:22,479
Speaker 1: one thing to listen to, like sift with with Leonard

1623
01:30:22,520 --> 01:30:25,120
Speaker 1: skin It is one thing to listen to simple Man.

1624
01:30:25,200 --> 01:30:27,280
Speaker 1: They're simple man. They have a simple man, of course,

1625
01:30:28,479 --> 01:30:30,080
Speaker 1: and it's a good thing to listen to the record.

1626
01:30:30,160 --> 01:30:33,280
Speaker 1: But it's quite another to sit under the stars with

1627
01:30:33,479 --> 01:30:36,479
Speaker 1: thirty thousand other people and hear those opening cards and

1628
01:30:36,640 --> 01:30:40,200
Speaker 1: know that it's coming, you know, under the moonlight, it

1629
01:30:40,439 --> 01:30:44,360
Speaker 1: is just magical, and the actual air there just crackles.

1630
01:30:44,800 --> 01:30:47,880
Speaker 1: There's a lot of soul in the atmosphere, and I

1631
01:30:47,920 --> 01:30:51,040
Speaker 1: think that's what people love about live concerts. It's a

1632
01:30:51,160 --> 01:30:54,880
Speaker 1: coming together at a meeting of the tribe, and uh

1633
01:30:55,040 --> 01:30:58,160
Speaker 1: a focal point instead of a campfire, it's the lights

1634
01:30:58,200 --> 01:31:01,879
Speaker 1: of the stage. So this point his live superseded recording

1635
01:31:02,000 --> 01:31:07,479
Speaker 1: for you. Oh, it's a good question. Recording is still

1636
01:31:07,560 --> 01:31:09,479
Speaker 1: important to me though. I mean, I do like to

1637
01:31:09,560 --> 01:31:13,280
Speaker 1: make a good record, but I I love playing live. Yeah.

1638
01:31:13,400 --> 01:31:16,200
Speaker 1: Probably probably it has, Maybe it has. So what have

1639
01:31:16,360 --> 01:31:19,439
Speaker 1: you not accomplished that you still want to accomplish? If anything,

1640
01:31:20,520 --> 01:31:23,040
Speaker 1: I'm still learning, I really am. And I love to

1641
01:31:23,160 --> 01:31:26,800
Speaker 1: put you know, a set of music. I love what

1642
01:31:26,920 --> 01:31:30,599
Speaker 1: I'm doing, taking Bad Company, looking at all the catalog

1643
01:31:30,640 --> 01:31:35,120
Speaker 1: and making a show that works cohesively and starts and

1644
01:31:35,360 --> 01:31:38,320
Speaker 1: moves through and keeps your attention right the way through,

1645
01:31:38,479 --> 01:31:40,000
Speaker 1: so that at the end of it you've been on

1646
01:31:40,080 --> 01:31:43,720
Speaker 1: a magic carpet ride and you're happy. And I want

1647
01:31:43,800 --> 01:31:46,600
Speaker 1: us to do the same thing with Free Spirit, you know,

1648
01:31:46,880 --> 01:31:48,960
Speaker 1: which we were doing in the States in the UK,

1649
01:31:49,320 --> 01:31:52,280
Speaker 1: and we do here. But I also will add some

1650
01:31:52,880 --> 01:31:56,400
Speaker 1: bad Company material in with the Free Spirit, because I

1651
01:31:56,439 --> 01:31:58,840
Speaker 1: think people expect me to do that. They'll be disappointed.

1652
01:31:59,080 --> 01:32:02,000
Speaker 1: They don't get feel like making love and conciden for that. Unfortunately,

1653
01:32:02,120 --> 01:32:03,519
Speaker 1: that's true. You don't want it to be that way.

1654
01:32:03,560 --> 01:32:06,160
Speaker 1: But people don't get the memo. Well, you know, they

1655
01:32:06,760 --> 01:32:09,200
Speaker 1: they paid their money. That takes the choice. I mean,

1656
01:32:09,240 --> 01:32:11,519
Speaker 1: I think they have a right to expect. You know,

1657
01:32:11,560 --> 01:32:13,000
Speaker 1: if you go see a shore, you have a right

1658
01:32:13,040 --> 01:32:15,840
Speaker 1: to expect a certain amount. You know. I don't think

1659
01:32:15,880 --> 01:32:19,960
Speaker 1: you can stand too much on your your musical inteket

1660
01:32:20,080 --> 01:32:21,840
Speaker 1: or whatever it might be that you I'm not going

1661
01:32:21,880 --> 01:32:24,880
Speaker 1: to play this because because everybody wants it, you know.

1662
01:32:25,800 --> 01:32:27,760
Speaker 1: I like to see a happy crowd. I'd love to

1663
01:32:27,800 --> 01:32:30,200
Speaker 1: see that. So when you're singing those hits which you

1664
01:32:30,280 --> 01:32:33,080
Speaker 1: sung so many times before, are you thinking about doing

1665
01:32:33,120 --> 01:32:35,720
Speaker 1: your laundry and where you get to the hotel on

1666
01:32:35,760 --> 01:32:38,840
Speaker 1: the right time or are you still present? Yeah? I'm

1667
01:32:38,960 --> 01:32:42,479
Speaker 1: very much present. You know, you have to be present. Uh.

1668
01:32:43,040 --> 01:32:45,360
Speaker 1: And that's one of the things about live it is

1669
01:32:45,560 --> 01:32:49,559
Speaker 1: it's it's live and you are there. You get one

1670
01:32:49,640 --> 01:32:51,960
Speaker 1: shot at it. You know, you get the one shot.

1671
01:32:52,080 --> 01:32:54,840
Speaker 1: So you I and I'm listening to the guitar player

1672
01:32:54,840 --> 01:32:56,720
Speaker 1: and listening to the drums. We all are aware of

1673
01:32:56,800 --> 01:33:00,960
Speaker 1: each other. We're speaking to each other musically and then

1674
01:33:01,080 --> 01:33:03,519
Speaker 1: to the crowd. So we're all in this together. It's

1675
01:33:03,600 --> 01:33:06,759
Speaker 1: like a great unity. It's a great sense of unity

1676
01:33:06,840 --> 01:33:10,519
Speaker 1: unity playing music, and so you you're leaning on each

1677
01:33:10,560 --> 01:33:12,320
Speaker 1: other and you're depending on each other, and you don't

1678
01:33:12,400 --> 01:33:15,479
Speaker 1: want to let each other down by by not being focused.

1679
01:33:15,880 --> 01:33:18,840
Speaker 1: Now with this late deep if you were walking, ironically

1680
01:33:18,920 --> 01:33:21,839
Speaker 1: without the internet, if you were walking through an airport,

1681
01:33:21,920 --> 01:33:23,759
Speaker 1: or you in town at the height of the success

1682
01:33:23,920 --> 01:33:29,120
Speaker 1: of Bad Company, you were recognized by everybody. And what's

1683
01:33:29,120 --> 01:33:35,080
Speaker 1: it like walking the street today? Uh, it's pretty good,

1684
01:33:35,200 --> 01:33:38,439
Speaker 1: you know. I don't get bothered too much at all. Really,

1685
01:33:38,520 --> 01:33:41,200
Speaker 1: I don't think people are people know me in the

1686
01:33:41,240 --> 01:33:43,040
Speaker 1: supermarket or anything like that. I mean they know me

1687
01:33:43,240 --> 01:33:47,080
Speaker 1: in my hometown. Oh you've been you know. But is

1688
01:33:47,120 --> 01:33:49,960
Speaker 1: that a good thing or a bad thing for you? Well,

1689
01:33:50,640 --> 01:33:53,400
Speaker 1: a bit of it's nice. It's lovely to be recognized

1690
01:33:53,439 --> 01:33:55,720
Speaker 1: and just people to be excited. Yeah, it's it's it's

1691
01:33:55,760 --> 01:33:57,960
Speaker 1: a nice thing. But I can understand, you know, I

1692
01:33:58,000 --> 01:34:01,920
Speaker 1: mean I when I it with with with Queen, the

1693
01:34:02,000 --> 01:34:04,920
Speaker 1: other fans were absolutely nuts. Really, I've got to tell

1694
01:34:04,960 --> 01:34:08,560
Speaker 1: you you were nuts. And but they were lovely. But

1695
01:34:08,680 --> 01:34:11,080
Speaker 1: I mean, I I finished, I did my last show

1696
01:34:11,120 --> 01:34:14,000
Speaker 1: in Rio de Janeiro, and I said to Cynthia, were really,

1697
01:34:14,080 --> 01:34:18,680
Speaker 1: did janiro, Let's go and walk along the beach and

1698
01:34:18,760 --> 01:34:20,880
Speaker 1: we've done, We're finished, We're out of here. We'll go

1699
01:34:21,040 --> 01:34:24,080
Speaker 1: home tomorrow. So we thought we're a nice peaceful book.

1700
01:34:24,600 --> 01:34:28,000
Speaker 1: And we walked outside and all these people just mobbed us,

1701
01:34:28,320 --> 01:34:32,400
Speaker 1: and I thought, what's happened? And they were like crazy,

1702
01:34:32,520 --> 01:34:34,439
Speaker 1: They just wanted oh, sign us, sign us, and that

1703
01:34:34,560 --> 01:34:38,800
Speaker 1: It was like a It was essentially any time that

1704
01:34:38,880 --> 01:34:41,760
Speaker 1: you're looking for that recognition, you can get it by

1705
01:34:41,840 --> 01:34:45,160
Speaker 1: going back to work with Queen or something like that. Oh,

1706
01:34:45,240 --> 01:34:49,040
Speaker 1: I don't know, I suppose so maybe I don't know.

1707
01:34:49,439 --> 01:34:51,120
Speaker 1: It's not what it's about though to me. I mean,

1708
01:34:51,160 --> 01:34:55,200
Speaker 1: I like to meet people and be and be gracious

1709
01:34:55,240 --> 01:34:57,720
Speaker 1: if they if they love the music, that's what it's

1710
01:34:57,720 --> 01:35:00,439
Speaker 1: all about for me. It's not it's not of show

1711
01:35:00,520 --> 01:35:03,880
Speaker 1: biz fame. I'm not into that. And are your kids

1712
01:35:03,920 --> 01:35:08,000
Speaker 1: into music? They are actually I didn't really encourage them,

1713
01:35:08,040 --> 01:35:10,680
Speaker 1: but they were surrounded by it, and so they was

1714
01:35:11,320 --> 01:35:14,040
Speaker 1: writing songs on the piano when they were four years old.

1715
01:35:14,160 --> 01:35:17,479
Speaker 1: You know, so uh and you know, you get Bill

1716
01:35:17,520 --> 01:35:19,400
Speaker 1: Wyman would pop around for a cup of tea, and

1717
01:35:19,760 --> 01:35:28,400
Speaker 1: they were incredibly unimpressed, you know, they they Yeah, they're great.

1718
01:35:28,479 --> 01:35:30,479
Speaker 1: I love my kids. I've got grandkids now, and I

1719
01:35:30,720 --> 01:35:34,120
Speaker 1: love them to pieces to you know. Okay, Well, we've

1720
01:35:34,160 --> 01:35:38,840
Speaker 1: been here with Paul Rodgers, vocalists extraordinaire from all the

1721
01:35:38,880 --> 01:35:41,560
Speaker 1: bands we just talked about, from Queen to Free and

1722
01:35:41,720 --> 01:35:44,640
Speaker 1: Bad Company and Jimmy Page in between. We have to

1723
01:35:44,720 --> 01:35:46,960
Speaker 1: do a whole nother session where we don't talk about you.

1724
01:35:47,560 --> 01:35:49,600
Speaker 1: We just talked about music because there's a lot of

1725
01:35:49,680 --> 01:35:52,560
Speaker 1: insight here which is so fascinating to me. You know,

1726
01:35:52,680 --> 01:35:55,560
Speaker 1: the way the way you talked about the mood, etcetera.

1727
01:35:55,800 --> 01:35:57,920
Speaker 1: A lot of people don't talk about because the creative

1728
01:35:58,000 --> 01:36:00,800
Speaker 1: process as opposed to you know, because specially when it

1729
01:36:00,880 --> 01:36:03,719
Speaker 1: comes to music, it's not something you can really learn

1730
01:36:04,120 --> 01:36:05,559
Speaker 1: what I'm trying to say, it's not you you can

1731
01:36:05,680 --> 01:36:08,400
Speaker 1: open a book and say A B. C. D. You

1732
01:36:08,560 --> 01:36:11,200
Speaker 1: have to go on your own journey, stumble on your

1733
01:36:11,240 --> 01:36:13,640
Speaker 1: own feelings, and you've obviously done that, and thanks so

1734
01:36:13,800 --> 01:36:16,360
Speaker 1: much for sharing your thoughts today. It's my pleasure both.

1735
01:36:16,479 --> 01:36:23,559
Speaker 1: Thanks for having me. Don't turn off your podcast player.

1736
01:36:23,880 --> 01:36:27,320
Speaker 1: Stop really hold your fingers back at this moment, because

1737
01:36:27,360 --> 01:36:30,000
Speaker 1: after the podcast ended, Paul and I engage in a

1738
01:36:30,040 --> 01:36:33,040
Speaker 1: conversation about music and politics. I know you'd love to

1739
01:36:33,120 --> 01:36:36,800
Speaker 1: hear it here it is, but you know, on that,

1740
01:36:37,000 --> 01:36:39,040
Speaker 1: on that line, on what you were saying, that the

1741
01:36:41,800 --> 01:36:43,800
Speaker 1: the idea of mood. You know, if you want to

1742
01:36:43,960 --> 01:36:50,000
Speaker 1: write about missed in the trees in the full moon,

1743
01:36:50,520 --> 01:36:52,600
Speaker 1: you got to go and sit out in that and

1744
01:36:52,680 --> 01:36:54,519
Speaker 1: then you will get the feeling of it, and you'll

1745
01:36:54,520 --> 01:36:56,720
Speaker 1: get the feeling into the music. And something that you

1746
01:36:56,960 --> 01:37:00,120
Speaker 1: would not occur to you technically like will occur to

1747
01:37:00,160 --> 01:37:02,599
Speaker 1: you emotionally. That will expo There's a couple of things there.

1748
01:37:02,880 --> 01:37:05,160
Speaker 1: In order to be creative, you have to live a life,

1749
01:37:05,920 --> 01:37:08,519
Speaker 1: which is hard when you're working so hard. Yeah, and

1750
01:37:08,600 --> 01:37:10,439
Speaker 1: the other things I find my best ideas come in

1751
01:37:10,479 --> 01:37:14,080
Speaker 1: the shower. It's like, when I'm doing nothing else, I

1752
01:37:14,160 --> 01:37:16,680
Speaker 1: will remember that and then I'll have to run to

1753
01:37:16,760 --> 01:37:20,080
Speaker 1: the computer whatever to write about it. But it's also

1754
01:37:20,240 --> 01:37:23,400
Speaker 1: frustrating me. What I always found fascinating with bands from

1755
01:37:23,439 --> 01:37:26,719
Speaker 1: the seventies is, you know, okay, we did an album,

1756
01:37:26,800 --> 01:37:29,280
Speaker 1: we're going on the road, throught it. Now we have

1757
01:37:29,560 --> 01:37:33,080
Speaker 1: to write another album. Okay, we have to actually turn

1758
01:37:33,200 --> 01:37:35,240
Speaker 1: it on. I know. Well, you know, I said to

1759
01:37:35,320 --> 01:37:36,840
Speaker 1: him and earth again, I said, you know, you get

1760
01:37:36,880 --> 01:37:40,320
Speaker 1: your whole life to write the first album, and then

1761
01:37:40,360 --> 01:37:41,960
Speaker 1: you've got like a year between it. And he looked

1762
01:37:42,000 --> 01:37:43,840
Speaker 1: at me and said, what are you saying? I said, well,

1763
01:37:44,320 --> 01:37:47,160
Speaker 1: that's what it is. You know, you're working towards your

1764
01:37:47,240 --> 01:37:51,080
Speaker 1: first album, your whole life, you know, and then all

1765
01:37:51,120 --> 01:37:53,120
Speaker 1: of a sudden it's successful, and you've got to think

1766
01:37:53,400 --> 01:37:55,519
Speaker 1: what did I do? And can I do it again?

1767
01:37:55,800 --> 01:37:59,320
Speaker 1: Naturally gets complicated. Well, the other thing is, you know,

1768
01:37:59,400 --> 01:38:00,720
Speaker 1: it's one thing to right on to me, and it's

1769
01:38:00,720 --> 01:38:02,160
Speaker 1: another thing that when you're writing that first album, you

1770
01:38:02,200 --> 01:38:04,720
Speaker 1: have the inspiration and you say, oh, yeah, you know

1771
01:38:04,920 --> 01:38:07,000
Speaker 1: you have all these times. Next time, I said, we

1772
01:38:07,080 --> 01:38:09,320
Speaker 1: have two weeks I have to write ten songs. Yeah,

1773
01:38:09,600 --> 01:38:13,839
Speaker 1: It's like, how does one do that well with difficulty?

1774
01:38:14,439 --> 01:38:17,439
Speaker 1: I don't know, you know, I wish I had a

1775
01:38:17,560 --> 01:38:20,519
Speaker 1: pat answer, but there probably isn't one. Really okay. But

1776
01:38:20,600 --> 01:38:23,680
Speaker 1: one other things, You've written some iconic songs, and we

1777
01:38:23,800 --> 01:38:27,519
Speaker 1: covered this, but did you know they were iconic when

1778
01:38:27,600 --> 01:38:34,960
Speaker 1: you wrote any of them? You know, you feel that

1779
01:38:35,400 --> 01:38:37,880
Speaker 1: this has got something. You do feel that little whisper

1780
01:38:37,960 --> 01:38:40,280
Speaker 1: that you know this has got something, and that that

1781
01:38:40,560 --> 01:38:43,200
Speaker 1: that isn't a lot of words saying this has got something,

1782
01:38:43,240 --> 01:38:46,200
Speaker 1: but you mean, I mean that special something. You kind

1783
01:38:46,200 --> 01:38:48,519
Speaker 1: of do know that on some level. I think I

1784
01:38:48,640 --> 01:38:50,400
Speaker 1: think you do. I remember, you know, we're talking about

1785
01:38:50,400 --> 01:38:53,519
Speaker 1: Al Cooper recently in the podcast, but you know he

1786
01:38:53,640 --> 01:38:56,320
Speaker 1: produced the first couple of Leonard Skinner albums, and after

1787
01:38:56,439 --> 01:38:59,599
Speaker 1: the first one came out before Freebird was even a hit.

1788
01:38:59,720 --> 01:39:03,000
Speaker 1: This is summer seventy three. He's living in Atlanta and

1789
01:39:03,120 --> 01:39:04,720
Speaker 1: they call him and say, we got a new song

1790
01:39:05,000 --> 01:39:07,320
Speaker 1: we want to record. Can we come in on Monday.

1791
01:39:07,760 --> 01:39:12,080
Speaker 1: They come up and they record Sweet Home Alabama, which

1792
01:39:12,120 --> 01:39:15,599
Speaker 1: doesn't come out for a year. Okay, So I say, al,

1793
01:39:16,560 --> 01:39:18,439
Speaker 1: did you know it was hitting? Goes it was sweet

1794
01:39:18,479 --> 01:39:24,240
Speaker 1: Old Alabama. It's like there's some stuffs in I guess

1795
01:39:24,360 --> 01:39:28,479
Speaker 1: to me when on some level there's the old Hollywood outage,

1796
01:39:28,560 --> 01:39:31,120
Speaker 1: no one knows anything, but sometimes you know when you

1797
01:39:31,200 --> 01:39:34,240
Speaker 1: hit in the leven you know, Yeah, you hit the

1798
01:39:34,240 --> 01:39:37,439
Speaker 1: sweet spot. There's a feeling right, goes right up your

1799
01:39:37,520 --> 01:39:40,360
Speaker 1: arms exactly, and you wish you could do that all

1800
01:39:40,360 --> 01:39:45,840
Speaker 1: the time, exactly, that sweet about it, right, exactly if

1801
01:39:45,880 --> 01:39:47,880
Speaker 1: you could do it every time. Of course, the old

1802
01:39:47,920 --> 01:39:50,400
Speaker 1: cliche is after you do it, you think you'll never

1803
01:39:50,520 --> 01:39:53,200
Speaker 1: do it again, it will never happen. And then what

1804
01:39:53,280 --> 01:39:56,640
Speaker 1: it does, go, Oh, that fights in between. There's some

1805
01:39:56,760 --> 01:39:59,400
Speaker 1: kind of alignment of the stars happens as well, you know,

1806
01:39:59,479 --> 01:40:02,439
Speaker 1: there is. There's something cosmic, and we are we're all

1807
01:40:02,560 --> 01:40:05,439
Speaker 1: in touch with that all the time. I think it's

1808
01:40:05,479 --> 01:40:09,120
Speaker 1: it's just we we block it out. I don't know

1809
01:40:09,360 --> 01:40:12,400
Speaker 1: what it is. I don't know if I've been described

1810
01:40:12,479 --> 01:40:14,960
Speaker 1: in some way. You have to get you have to live.

1811
01:40:15,520 --> 01:40:17,800
Speaker 1: Something has to happen. I say, you cannot sit down

1812
01:40:17,880 --> 01:40:22,880
Speaker 1: and do it. Yeah, you know. The interesting thing that

1813
01:40:23,040 --> 01:40:25,519
Speaker 1: I find is that you you have to be shooting

1814
01:40:25,640 --> 01:40:30,559
Speaker 1: for the moon to hit the moon. But you you see,

1815
01:40:30,560 --> 01:40:32,840
Speaker 1: if you're not shooting for the moon, you'll never hit it, right.

1816
01:40:33,320 --> 01:40:35,080
Speaker 1: But if you're shooting for it and you you you

1817
01:40:35,240 --> 01:40:39,080
Speaker 1: hit all the time, there will come a day when

1818
01:40:39,120 --> 01:40:41,720
Speaker 1: you hit it. But if you're not even trying, well,

1819
01:40:41,840 --> 01:40:45,280
Speaker 1: then you definitely won't. Well that goes to another thing.

1820
01:40:45,360 --> 01:40:47,519
Speaker 1: I mean you talk about you know, you moved to

1821
01:40:47,600 --> 01:40:51,439
Speaker 1: London and the guys went back home. Yeah. People don't understand.

1822
01:40:51,560 --> 01:40:56,120
Speaker 1: It is so hard to make it, and when you're hungry, man,

1823
01:40:56,360 --> 01:40:58,840
Speaker 1: it gets really hard. And being all. The other thing

1824
01:40:59,000 --> 01:41:01,280
Speaker 1: is the longer you get down that path, you see

1825
01:41:01,320 --> 01:41:03,760
Speaker 1: other people going down a different path, And are you

1826
01:41:03,920 --> 01:41:06,360
Speaker 1: getting married, have houses and stuff like that and you're

1827
01:41:06,360 --> 01:41:12,320
Speaker 1: still hungry. I think you had success relatively soon. Yeah,

1828
01:41:12,479 --> 01:41:15,280
Speaker 1: I mean I did. It didn't seem soon. It seemed

1829
01:41:15,320 --> 01:41:17,960
Speaker 1: like an eternity force. But looking back, it was a

1830
01:41:18,000 --> 01:41:20,760
Speaker 1: matter of months, you know, from from there to the

1831
01:41:21,040 --> 01:41:23,519
Speaker 1: the from meeting costs. It was a matter of months

1832
01:41:23,560 --> 01:41:28,840
Speaker 1: before boom, we were making records and zooming up. Uh.

1833
01:41:29,760 --> 01:41:33,360
Speaker 1: She was behind it. She she was oh you know

1834
01:41:33,439 --> 01:41:36,360
Speaker 1: what she did say? She said to me, you shouldn't

1835
01:41:36,400 --> 01:41:39,519
Speaker 1: let it get into your blood. Son. I said, Mom,

1836
01:41:40,240 --> 01:41:46,160
Speaker 1: it's too late for that now. And then, of course, okay,

1837
01:41:46,400 --> 01:41:48,000
Speaker 1: I don't know if you know, remember this old manager

1838
01:41:48,080 --> 01:41:52,120
Speaker 1: David Krebs, Yeah, okay, he says that the music from

1839
01:41:52,160 --> 01:41:55,240
Speaker 1: that era we couldn't even make today. Like he managed

1840
01:41:55,360 --> 01:41:57,840
Speaker 1: Errol Smith. He said, he knows one of my favorite

1841
01:41:57,960 --> 01:42:00,479
Speaker 1: Errol Smith songs called Lord of the Thighs. Say, you

1842
01:42:00,520 --> 01:42:05,479
Speaker 1: couldn't put that out to that, so it's interesting. And

1843
01:42:05,560 --> 01:42:08,120
Speaker 1: the other thing is, I'm sure you went on the

1844
01:42:08,200 --> 01:42:11,800
Speaker 1: road and had a good time, okay, whereas today with

1845
01:42:11,960 --> 01:42:15,679
Speaker 1: cell phone can it's not even the same experience life, isn't.

1846
01:42:15,960 --> 01:42:19,920
Speaker 1: I mean it changed the whole life experience. Uh. People

1847
01:42:20,040 --> 01:42:23,040
Speaker 1: can't can't get away from their pace. I don't have one.

1848
01:42:23,600 --> 01:42:26,320
Speaker 1: I'm think I'm the only person in the world without one.

1849
01:42:27,120 --> 01:42:29,880
Speaker 1: So you don't have a you have a you don't

1850
01:42:29,920 --> 01:42:31,160
Speaker 1: have a smart phone, or you don't have a phone

1851
01:42:31,200 --> 01:42:34,560
Speaker 1: at all. Well I have one of these, right, You

1852
01:42:34,600 --> 01:42:36,960
Speaker 1: don't have a mobile phone? No, I don't. And you

1853
01:42:37,360 --> 01:42:39,240
Speaker 1: had one and gave it up, or you don't want

1854
01:42:39,280 --> 01:42:41,360
Speaker 1: to have it. Well I've had them for for the

1855
01:42:41,439 --> 01:42:43,400
Speaker 1: length of a tour, and then when they run out

1856
01:42:43,400 --> 01:42:47,240
Speaker 1: of money, I haven't renewed them, and so they've got

1857
01:42:47,400 --> 01:42:50,320
Speaker 1: become defunct something. At this point, I never talked on

1858
01:42:50,400 --> 01:42:52,479
Speaker 1: the phone. I mean, if somebody's calling me for a

1859
01:42:52,600 --> 01:42:55,400
Speaker 1: doctor's appointment, whatever, other than I won't talk on the phone.

1860
01:42:55,760 --> 01:42:58,519
Speaker 1: And I have reasons for that, because usually people want

1861
01:42:58,640 --> 01:43:00,559
Speaker 1: something and it takes them a long time to get

1862
01:43:00,600 --> 01:43:02,840
Speaker 1: to what they want. Yes, oh, is it a beautiful day?

1863
01:43:02,840 --> 01:43:06,800
Speaker 1: What you mean, what is it you want? But I

1864
01:43:07,000 --> 01:43:10,120
Speaker 1: do find it good to have information at my fingertips,

1865
01:43:10,520 --> 01:43:15,040
Speaker 1: and I do like having songs. You know. You know

1866
01:43:15,160 --> 01:43:19,800
Speaker 1: your wife said, you're heavily into the political thing. I'm

1867
01:43:19,920 --> 01:43:23,080
Speaker 1: concerned for the world just as everybody else is, you know.

1868
01:43:23,200 --> 01:43:28,000
Speaker 1: I mean I I one minute we're at each other's

1869
01:43:28,040 --> 01:43:30,840
Speaker 1: throats and it's almost a nuclear war, and next minute

1870
01:43:30,840 --> 01:43:34,400
Speaker 1: we're all pals. I mean it is literally next minute,

1871
01:43:34,680 --> 01:43:38,880
Speaker 1: the North Korean guy what's his name? I mean, just

1872
01:43:39,280 --> 01:43:42,080
Speaker 1: what a month ago they were talking about nuclear war

1873
01:43:42,200 --> 01:43:45,599
Speaker 1: like it was like, yeah, nuk war. Yeah. I mean

1874
01:43:45,680 --> 01:43:48,960
Speaker 1: even to discuss that a year ago was not not cool.

1875
01:43:50,000 --> 01:43:53,000
Speaker 1: But there's two, it's two. It's not a light subject

1876
01:43:53,040 --> 01:43:56,720
Speaker 1: at all at all. I mean, I worry for my grandkids,

1877
01:43:56,960 --> 01:44:02,120
Speaker 1: actually mostly not for me. But well, do you feel

1878
01:44:02,200 --> 01:44:08,400
Speaker 1: that there's anything musicians can do. I think we can

1879
01:44:08,479 --> 01:44:11,280
Speaker 1: deliver a message of love, and that's what we can

1880
01:44:11,360 --> 01:44:16,200
Speaker 1: do strongly, and that's what we should be doing. Yeahs.

1881
01:44:16,600 --> 01:44:22,639
Speaker 1: Generally speaking, musicians are promoting a message of commerciality. Oh yeah,

1882
01:44:22,760 --> 01:44:30,160
Speaker 1: it isn't that sickening? Now? Is that amazing? Or what?

1883
01:44:30,479 --> 01:44:33,240
Speaker 1: Like I said on the podcast, I can remember specifically

1884
01:44:33,520 --> 01:44:36,559
Speaker 1: on the Merritt Parkway hearing all right now. I remember

1885
01:44:36,640 --> 01:44:41,519
Speaker 1: skiing at Snowbird singing simple Man to myself, dancing around

1886
01:44:41,520 --> 01:44:45,200
Speaker 1: in my underwear, long before Risky Business with Live for

1887
01:44:45,280 --> 01:44:48,720
Speaker 1: the Music, Paul had amazing stories. I can't believe we

1888
01:44:48,800 --> 01:44:51,840
Speaker 1: talked to him. I hope you enjoyed it. Until next time,

1889
01:44:52,080 --> 01:45:03,120
Speaker 1: I'm bob left us make any reason. I don't know

1890
01:45:03,800 --> 01:45:11,320
Speaker 1: exactly why must be its out of the season filling