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Speaker 1: Welcome, Welcome, Welcome back to the Bob Leftstats Podcast. My

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Speaker 1: guest today is writer and music historian Harvey Kubernick. Harvey,

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Speaker 1: good to have you on the podcast.

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Speaker 2: Delighted to be here, Bob or Robert.

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Speaker 1: Okay, you've written nineteen books. Which one is your favorite?

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Speaker 2: It's I'm not one of those people. Oh the songs

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Speaker 2: are like my children. No, there's one book that has

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Speaker 2: penetrated the difference deep into me, and it's the one

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Speaker 2: I'm asked the most about. It's a book called Turn

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Speaker 2: Up the Radio Rock pop ' Roll in Los Angeles

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Speaker 2: nineteen fifty six to nineteen seventy two, partially because it's

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Speaker 2: a big coffee table book with color, black and white

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Speaker 2: and illustrations. And it was the book that was the

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Speaker 2: most joyous to do because the publisher and the editor

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Speaker 2: at Santa Monica Press said, do what you want. And

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Speaker 2: I think there were two or three emails or a

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Speaker 2: couple of notes, but no intrusion. And it helped that

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Speaker 2: he was an LA native as well. And it really

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Speaker 2: speaks deep to me because I got to stretch back

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Speaker 2: and really chronicle something from nineteen fifty six to nineteen

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Speaker 2: seventy two. Kind of my wingspan from like age six

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Speaker 2: to twenty one. I mean, that's a pretty seminal time

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Speaker 2: period for all of us, and it's still remains my

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Speaker 2: most potent title and the one that people ask me

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Speaker 2: to autograph the most about.

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Speaker 1: Okay, you're born in fifty one, so you're five or

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Speaker 1: six years old. Were you listening to the radio at

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Speaker 1: that point? Oh? Yeah.

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Speaker 2: By nineteen fifty six, I'm like almost six, the radio

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Speaker 2: was blaring. I mean there wasn't even a transistor radio then.

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Speaker 2: It was on my parents' kitchen table in downtown Los Angeles.

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Speaker 2: I was going to Colisseum Street Elementary School and we

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Speaker 2: had a black and white Philco television, but the radio

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Speaker 2: was always on stations like KMPC and a lot of

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Speaker 2: the rhythm and blues stations and some jazz stations. I

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Speaker 2: didn't know who the people were, but my parents were

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Speaker 2: so sinatraed out and Tommy dorseyed out and into Julie London.

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Speaker 2: It was always on because there were middle of the

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Speaker 2: road radio stations in this town with big wattage, and

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Speaker 2: so I just heard this music. But I was drawn

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Speaker 2: to kind of the R and B music because it

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Speaker 2: was loud and raucous, and there were horns. I didn't

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Speaker 2: know what brass or horns meant, but I recognized after

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Speaker 2: three four five there were rotation songs. I didn't know

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Speaker 2: you could play a song more than once on the

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Speaker 2: radio back then. I didn't know there were playlists or whatever.

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Speaker 2: But it it was very It was de penetration.

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Speaker 1: Okay. I remember my own introduction, and I'm two years

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Speaker 1: younger than you, not that we're both not old at

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Speaker 1: this particular point in time, however, young at heart. And

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Speaker 1: first I remember buying cartoon records like Rough and Ready,

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Speaker 1: who were on the television. Then at the turn of

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Speaker 1: the decade to the sixties, that's when the folk boom

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Speaker 1: was happening. I remember my mother buying if I had

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Speaker 1: a hammer, Peter, Paul and Mary, I would listen to

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Speaker 1: the baseball games. At this point there were transistors. But

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Speaker 1: I certainly remember becoming addicted when the Beatles broke really

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Speaker 1: in January of sixty four. So what was your experience.

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Speaker 2: I have to tell you, the two years that i'm

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Speaker 2: older than you on feels like ten years as far

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Speaker 2: as you know, legacy archive, catalog and just library action.

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Speaker 2: Because I knew a world of the Beatles for five,

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Speaker 2: six or seven years. I mean I went with my

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Speaker 2: parents at about age nine to the Pomona Affair to see

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Speaker 2: Spike Jones, which well eventually led me to Zappa. But

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Speaker 2: you know, I did see Elvis on the ed Selvan Show.

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Speaker 2: Oh you got to see this wacky guy Harvey. I

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Speaker 2: didn't really know what was going on, but I saw

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Speaker 2: that my parents embraced rock and roll in music. They

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Speaker 2: didn't keep me away from it. But the fifties, and

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Speaker 2: this is the other thing you mentioned baseball. Initially the

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Speaker 2: middle of the road radio stations were on places like

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Speaker 2: MPC or KFI, which stands for Farmer Information, so you'd

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Speaker 2: listen to baseball. And then there weren't pregame and postgame

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Speaker 2: shows back then that much, so you'd have that station

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Speaker 2: on waiting for baseball, vinskull A, Jerry Doggett, but you'd

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Speaker 2: have two hours before and two hours after, and the

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Speaker 2: disc jockeys were sometimes in the booth or at the games,

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Speaker 2: so it all kind of collided. But I mean I

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Speaker 2: started collecting records. I started looking at records at Wallack's

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Speaker 2: Music City in nineteen fifty eight and fifty nine. I

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Speaker 2: didn't have funds to buy them at age eight or nine.

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Speaker 2: But I did buy for sixty nine cents Hailey mails

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Speaker 2: Let's Get Together because I saw the parent trap. Now,

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Speaker 2: did I know it was done at Sunset Sound with

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Speaker 2: Twoty Camarada. Did I know any of that stuff? No?

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Speaker 2: All I know is she was a pretty girl. She

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Speaker 2: didn't look like the girls in my school. She also

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Speaker 2: talked funny. But on the record Let's Get Together, I

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Speaker 2: thought it was an American girl with blonde hair and that.

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Speaker 2: But it wasn't hitting me as hard as buying the Coasters.

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Speaker 2: At the same time shopping for clothes search and I

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Speaker 2: bought the Coasters. There were no albums then. Really I

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Speaker 2: bought the Coasters records literally the same time, and I decided, well,

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Speaker 2: why don't I have one foot in pop and R

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Speaker 2: and B. Then they had this thing called race music

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Speaker 2: that they kept mentioning, here's something from the race department.

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Speaker 2: I didn't even know what it meant. But the music

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Speaker 2: had comedy and tension and drama and multi voices. I

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Speaker 2: couldn't quite grasp all the lyrics the way I grabbed

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Speaker 2: now and somehow that devotional art that I put my

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Speaker 2: shelf self through brought me to people like Meaningly and Stoller.

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Speaker 2: This was unfathomable to me, So it was planted early.

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Speaker 2: And then, by the way, in late sixty I heard

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Speaker 2: Jane Deine and the Beach Boys on the radio because

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Speaker 2: they're on the AM Ray, They're on KFWB, they're on

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Speaker 2: car La. And then I went to see the Beach

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Speaker 2: Boys in nineteen sixty two in Culver City at a

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Speaker 2: record store. It was kind of a SOCCP. I now

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Speaker 2: realized they were lip syncing, there were no amps, they

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Speaker 2: were holding the guitars wearing penaltons. I just thought, wow,

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Speaker 2: this is really cool. So I was already in the

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Speaker 2: rock and roll scheme dream before the Beatles showed up

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Speaker 2: and then the big bang. My parents were devoted. And

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Speaker 2: I'm sure you watched it to the Jack Parr Show.

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Speaker 1: Of course.

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Speaker 3: Wait, you're just gonna tell me that on that Friday night. Yeah,

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Speaker 3: got the video. Most people don't even know that exists.

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Speaker 3: You're talking to Harvey Kybrinic. I got two witnesses. We

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Speaker 3: didn't call them on the phone right now. Bob Kushner

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Speaker 3: is one of them. So I was watching Jack Parr

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Speaker 3: because I liked, you know, Arthur Treacher and I like

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Speaker 3: seeing Judy Garland and Morgan Mason and all these people on,

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Speaker 3: and James Mason, and I liked his demeanor and he'd

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Speaker 3: been in World War Two, where my father was in

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Speaker 3: World War two. I kind of felt, this is really good.

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Speaker 3: And remember I was also hooked on the Oscar Levant show.

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Speaker 3: But Oscar Levant, which was filmed out here, he didn't

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Speaker 3: have rock and roll music people on. But I remember

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Speaker 3: I was so beach boyed out. And yes I did surf,

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Speaker 3: but I had a five foot limit and a nine

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Speaker 3: to six con board. We have at My daughter Randy

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Speaker 3: saw this music, this group attracting a lot of attention

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Speaker 3: in London on our trip there. I'd like you to

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Speaker 3: see it or something like that. I saw that clip. Now,

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Speaker 3: I didn't know it was called some other guy. I didn't,

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Speaker 3: but I saw that, and I'm eleven. I walked downstairs.

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Speaker 2: And I threw out my brill cream and I combed

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Speaker 2: my hair down, and my mother said, you're going to

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Speaker 2: the barber tomorrow. I said, it's the same hair. I

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Speaker 2: just comed it down. She said, what happened to you?

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Speaker 2: Are you hanging out with hood libs or something? I

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Speaker 2: said no, And there's no VCR there's no repeat. I said,

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Speaker 2: I just I heard a new music. I something happened

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Speaker 2: on And we also we were all pretty bummed out

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Speaker 2: in the winter of nineteen sixty three because of the

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Speaker 2: John F. Kennedy murder. It was just a good light.

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Speaker 2: And what I did is I took my Beach Boy

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Speaker 2: fan club button and I put it in a safe

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Speaker 2: and I sort of defected to the Beatles temporarily. Then

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Speaker 2: in February sixty four, I heard they were coming to town.

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Speaker 2: It's not the Ed Sullivan Show. I read that there

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Speaker 2: was some kind of they were going to be in

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Speaker 2: town or some television event. I couldn't get it.

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Speaker 1: And my bar.

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Speaker 2: Mitzvah was end of February nineteen sixty four. And I

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Speaker 2: got some early bonds earlier or some gifts, and my

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Speaker 2: parents said, well, some mails arrived for you. There was

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Speaker 2: like money there and I said, I'm taking some of

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Speaker 2: that money and I'm buying a ticket to go to

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Speaker 2: the Wilshure Theater on Wiltshire in Losi, Aanaga because the

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Speaker 2: Beatles are going to be there. They're not going to

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Speaker 2: be there, Harvey, I said, they're going to be there.

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Speaker 2: He said, oh, it's probably something that they're doing in

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Speaker 2: a studio. Go ahead, just be home by eight o'clock

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Speaker 2: at night. You know, there was always the deal. You

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Speaker 2: can stay up till eight, and you could stay up

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Speaker 2: till ten when you're sixteen, and you could stay out

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Speaker 2: till midnight when you were eighteen. I saw that show,

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Speaker 2: I thought they were there in person. First of all,

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Speaker 2: it's the longest Beatle set that they ever did. Did

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Speaker 2: I know that the Beach Boys and Leslie Gore taped

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Speaker 2: their segments? I believe in a studio in Burbank. No,

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Speaker 2: there was Leslie Gore, there was the Beach Boys, but

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Speaker 2: the Beatle thing. And then I went to a department

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Speaker 2: store and I bought the album on VJ, and I

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Speaker 2: went to Walllex Music City and there were people lined up.

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Speaker 2: We waited till they cracked the thing up because there

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Speaker 2: were shipments coming up the street from Capitol Records.

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Speaker 1: I don't know.

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Speaker 2: That's one of the reasons I'm here today.

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Speaker 1: Okay, let's go back to Wallicks Music City. I grew

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Speaker 1: up on the East Coast. I didn't come to l

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Speaker 1: permanently until I was twenty one. The story was always

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Speaker 1: you could preview the Records in a booth. Was that true?

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Speaker 2: It's so true. I was talking to Rus Titelman, who

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Speaker 2: you know obviously about this. I'm living in West Hollywood,

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Speaker 2: going to Junior High, and of course sixty six to

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Speaker 2: sixty nine, I'm going to Fairfax High School. You notice

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Speaker 2: I never hide my age or do any of that stuff.

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Speaker 2: I will tell you specific stuff. So I am in

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Speaker 2: Hollywood sixty six to sixty nine, but I'm also in

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Speaker 2: Junior High in the area. I made a bike ride

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Speaker 2: and a skateboard ride from Wallax Music City. But I

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Speaker 2: had gone to Wallax Music City in the late fifties.

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Speaker 2: They had six or eight preview booths. You could take

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Speaker 2: a record that had demonstration marked on it, a white label,

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Speaker 2: not an acetate. The labels would have testers. You could

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Speaker 2: go into a listening booth and you could play a record.

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Speaker 2: And I remember playing albums not forty fives. My brother

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Speaker 2: and I heard Jan and Dean's Command Performance album my record.

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Speaker 2: Well there it blew my fucking mind. Like Jannandeine. I mean,

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Speaker 2: these guys that I that were on like something called

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Speaker 2: Liberty Records, or they were on this Story label. Because

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Speaker 2: I was kind of I knew it I was reading

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Speaker 2: the kif WB hitline the Carely Beat. I was on it,

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Speaker 2: which is why I never could even get through the

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Speaker 2: law school application. It just didn't work for me. So

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Speaker 2: Wallax Music City, you'd go up there with your friends.

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Speaker 2: I was talking to Mickey Dolans about this because he

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Speaker 2: worked for a summer in sixty three behind the counter

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Speaker 2: at Wallax Music City.

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Speaker 1: After he was already circus boy.

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Speaker 2: No yeah, yeah, yeah, but it's before Monkeys and before

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Speaker 2: he did episodic television. And I said, you were behind

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Speaker 2: the counter, but I know you. I didn't really know him,

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Speaker 2: but he said yeah. Bobby Darren came in and I said,

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Speaker 2: what about those listening booths, Mackey, wasn't it cool to

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Speaker 2: play the records? He said, well, you're to buy them

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Speaker 2: after and I said, yeah, but my friend Peter Piper,

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Speaker 2: who I still talk to, longboarder surfer. This is a

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Speaker 2: little later, when the Hair album came out and the

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Speaker 2: Vanilla Fudgie album came out, with the Psychedelic and some

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Speaker 2: Hendrix albums came out. He would go to the listening

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Speaker 2: booths because he was going to Hollywood Professional School pretty

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Speaker 2: much down the street. Because I knew the Hollywood professional people,

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Speaker 2: Peggy lipped in the guys from the sun Rays. Peter

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Speaker 2: would do a one hitter. I'm outing you, Peter. He'd

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Speaker 2: have a joint, he'd take a big hit and he'd

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Speaker 2: hold it for like three minutes because he was a

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Speaker 2: surfer with good lung power. And then he'd put on

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Speaker 2: our experience and then he would just inhale. We'd look

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Speaker 2: at the booth and you'd see this smoke in his booth,

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Speaker 2: and then he'd quickly opened it up, you know, and

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Speaker 2: it was it was you would go there. Well, I

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Speaker 2: was going there once a week for twenty five thirty years,

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Speaker 2: not every day and every night.

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Speaker 1: Okay. One thing you've informed me of that I never

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Speaker 1: knew previously is these were not records from the stock.

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Speaker 1: They were demonstration records. How long could you listen? And

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Speaker 1: how many records could you listen to before a clerk

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Speaker 1: said get the hell out of here?

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Speaker 2: I do know one thing. There was some sign that

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Speaker 2: said three or six albums limit. I remember that you

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Speaker 2: could spend an hour if you wanted, but there were

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Speaker 2: people lined up to also listen. And sometimes I mean

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Speaker 2: I remember when the Beatles album shipped and I'm talking

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Speaker 2: about the Beatles story some double interview album. Yeah yeah,

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Speaker 2: yeah yeah. Gary Usher was involved putting that together. Every

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Speaker 2: booth was stacked. All of a sudden, girls started showing

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Speaker 2: up in the listening booths. You know, it was kind

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Speaker 2: of a male That's not true. There were women listening

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Speaker 2: to Bobby Rydell and all that stuff, but when the

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Speaker 2: Beatles showed up, we couldn't get near the listening booths

255
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Speaker 2: anymore because there were three or four girls in five

256
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Speaker 2: or six both booths listening to the Beatles Interview album,

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Speaker 2: which were press conferences being mashed together. The world had changed.

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Speaker 1: Okay, let's go back generally, pull the lens back, because

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Speaker 1: I know the New York radio market and I know

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Speaker 1: certain things about LA, but I didn't experience You talked

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Speaker 1: about KRLA. Okay, and then you there's KHJ, there's b

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Speaker 1: Mitchell Reid. What was Top forty radio like and how

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Speaker 1: did it evolve into the FMSUND.

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Speaker 2: Because I had the luxury we'll call it, of listening

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Speaker 2: to the radio in the late fifties. I even think

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Speaker 2: Tennessee Ernie Ford was on camp See when I first

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Speaker 2: heard it, or he had just departed. But there were

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Speaker 2: some big disc jockeys Johnny Magnus, Dick Whittington. You heard this.

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Speaker 2: I mean FWB was a jazz station at about nineteen

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Speaker 2: teen fifty eight. B Mitchell Reid was on U. B

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Speaker 2: Mitchell Reed was a jazz teja for well, first of all,

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Speaker 2: he was a better, more jazz guy than people. He

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Speaker 2: was there at KIWB.

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Speaker 1: It was.

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Speaker 2: It was a jazz station with some Mr. Laning Sinatra

276
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Speaker 2: gave him a watch one time, thanking him for playing Weathers.

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Speaker 2: I remember him showing me that, and then he departed us.

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Speaker 2: I was almost gonna sit shiva. What do you mean

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Speaker 2: he's not on there? Where's b Mitchell Red? I didn't

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Speaker 2: know he flew the coop and went back to WMCA

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Speaker 2: with that good guy stuff and all that. And you know,

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Speaker 2: because I was reading sixteen magazine when Glorias S. Davers

283
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Speaker 2: jumped in, you could kind of track Dick beyond you DJ.

284
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Speaker 2: You could hear about b Milcha Reid and the good guys.

285
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Speaker 2: I regret I never heard this guy that my New

286
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Speaker 2: York friends that have all moved here told me, Boy

287
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Speaker 2: you had really did? Was his name Dan Ingram?

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Speaker 1: Yeah?

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Speaker 2: Of course was he good?

290
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Speaker 1: He was good? But you have to know that it

291
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Speaker 1: was really a superstar lineup on WAB Scott Scott Muni's No.

292
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Speaker 1: It went from dann Ingrams in the morning. Suddenly I

293
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Speaker 1: forgot it was in the afternoon. Then came cousin Brucey,

294
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Speaker 1: then came Scott Muni. Okay, so it was a murderer's row.

295
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Speaker 1: There was ten ten wins in WMCA for those who

296
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Speaker 1: were really hip, but most of the listening was done

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Speaker 1: on WABC to the flip format.

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Speaker 2: In the seventies, I'll tell you when things really changed

299
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Speaker 2: this town. So car La KFWV went kind of color

300
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Speaker 2: radio with Chuck Lord sixty they were playing the Richie

301
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Speaker 2: Vallens people. Wink Martindale was on the channel that was

302
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Speaker 2: rock and roll. But then Cara La, I think they

303
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Speaker 2: were birthed in nineteen sixty, but they were actually involved

304
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Speaker 2: putting on teen dances, and I'll use the word they

305
00:18:58,240 --> 00:19:02,639
Speaker 2: had a slightly more adventurous playlist. Now they were playing

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Speaker 2: deep cuts or albums.

307
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Speaker 3: Well.

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Speaker 2: KIFWB, I think was really pretty rotation oriented. Top forty.

309
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Speaker 2: You heard a lot of the same records over and over.

310
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Speaker 2: But Caro La had hit bound stuff or just sneak peets.

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Speaker 2: It Peaks. Something was happening there, but the Big Bang happened.

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Speaker 2: Maybe it was April nineteen sixty five. Bill Drake decides

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Speaker 2: or it gets involved with changing kh J into this

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Speaker 2: top thirty outlet. And kg J had had broadcast The

315
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Speaker 2: Lakers from like sixty one to sixty five. The Lakers

316
00:19:47,000 --> 00:19:49,080
Speaker 2: when they came to town in sixty sixty one did

317
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Speaker 2: not have a radio or a TV deal. And then

318
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Speaker 2: Bill Drake comes to town and also on that channel

319
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Speaker 2: was Michael of Michael Scotland Yard, Mikechael Jackson, who you

320
00:20:01,160 --> 00:20:03,440
Speaker 2: probably knew, and he was like k Sea for years.

321
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Speaker 2: He was he he had a South African accent. I

322
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Speaker 2: don't think he was English. But all of a sudden

323
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Speaker 2: he's kind of gone, and Chick Hern is gone, and

324
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Speaker 2: all of a sudden we're unveiling Boss Radio, and then

325
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Speaker 2: all of a sudden there's there's Don Steele, real Don Steele.

326
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Speaker 2: There's Sam Riddle. There's eighteen songs being played in the

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Speaker 2: hour with such fluidity and copper tone ads and teen

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Speaker 2: dances and no interviews that and you're thirteen, fourteen years old.

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Speaker 2: Kg J was sort of like the Sea Party because

330
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Speaker 2: it had great black I mean, there were billboards of

331
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Speaker 2: the original jocks. That's what they look like. It was

332
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Speaker 2: like always six white guys were like pompadours, but the

333
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Speaker 2: music and they also kh Jane Carrolla did this. Dick

334
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Speaker 2: Mortland was the program director there. They had an alliance

335
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Speaker 2: with the regional music. They were in bed with them,

336
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Speaker 2: maybe promoting shows or doing exclusives, or people from gold

337
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Speaker 2: Star Recording Studios who were running up there with acetates

338
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Speaker 2: of a morning session of Sunny and chare to break

339
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Speaker 2: it worldwide or have the first debut. And so you

340
00:21:23,000 --> 00:21:28,080
Speaker 2: were surrounded by carle KFWB. I of course had two

341
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Speaker 2: transistor radios on my bike. It was a schwin stingray.

342
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Speaker 2: I'd want an each dial, but I didn't have a

343
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Speaker 2: third radio to go hear KGFJ or KD or the

344
00:21:39,960 --> 00:21:42,679
Speaker 2: R and B stuff. So that's what I listened to

345
00:21:42,920 --> 00:21:45,879
Speaker 2: late at night. And then around sixty five or sixty six,

346
00:21:47,240 --> 00:21:53,400
Speaker 2: Wolfman Jack arrives through XCRB. That's a border radio thing,

347
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Speaker 2: but I had fifty thousand watts from chew La Vista,

348
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Speaker 2: San Diego area. He was playing different music than everybody.

349
00:22:01,760 --> 00:22:06,399
Speaker 2: Plus it was a shtick when there was howling and

350
00:22:06,440 --> 00:22:09,880
Speaker 2: nobody had headphones. You were just trapped by this stuff.

351
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Speaker 1: But you know it was not.

352
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Speaker 2: It just felt that they were our guides or they

353
00:22:15,359 --> 00:22:18,639
Speaker 2: got us through our homework. And then, of course you

354
00:22:18,680 --> 00:22:22,800
Speaker 2: always had the Dodgers, and then the Angels had come

355
00:22:22,840 --> 00:22:26,760
Speaker 2: to town in nineteen sixty one. And also it's an era

356
00:22:26,960 --> 00:22:30,720
Speaker 2: in the sixties. And when I bring this up, New

357
00:22:30,800 --> 00:22:34,720
Speaker 2: Yorkers just shake their heads and go, you're right. What

358
00:22:34,880 --> 00:22:39,320
Speaker 2: happens is the Lakers come to town in sixty the

359
00:22:39,440 --> 00:22:43,960
Speaker 2: Dodgers come to town in nineteen fifty eight. UCLA wins

360
00:22:44,000 --> 00:22:48,280
Speaker 2: their first ten championships of twelve starting in the sixty

361
00:22:48,320 --> 00:22:51,760
Speaker 2: two to sixty three seasons. The Rams are here, The

362
00:22:51,800 --> 00:22:57,119
Speaker 2: Olympic Auditorium is buzzing. We're watching teams like the Lakers

363
00:22:57,240 --> 00:23:00,840
Speaker 2: play the Boston Celtics and the finals. And even though

364
00:23:00,840 --> 00:23:03,120
Speaker 2: you don't only see one game a week on television,

365
00:23:03,800 --> 00:23:06,720
Speaker 2: LA is getting all this attention that used to be

366
00:23:06,720 --> 00:23:09,760
Speaker 2: pretty New York and East Coast centric. And then the

367
00:23:09,800 --> 00:23:14,359
Speaker 2: whole enchilada busted open. The Dodgers win the championship in

368
00:23:14,440 --> 00:23:17,520
Speaker 2: fifty nine against the Chicago White Sox. It just brings

369
00:23:17,600 --> 00:23:21,160
Speaker 2: media attention. When you're a local team, and they're playing

370
00:23:21,400 --> 00:23:23,760
Speaker 2: rock and roll songs at rallies and all that. But

371
00:23:23,840 --> 00:23:26,680
Speaker 2: in sixty three the Dodgers swept the Yankees in the

372
00:23:26,720 --> 00:23:29,760
Speaker 2: World Series, and all of a sudden, LA is really

373
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Speaker 2: under the microscope. So I think all kinds of disc

374
00:23:33,720 --> 00:23:40,960
Speaker 2: jockeys then start transferring here, relocating. There's English accents, there's

375
00:23:41,040 --> 00:23:43,919
Speaker 2: Lord Tim and Tommy Vance. There's like British people on

376
00:23:43,960 --> 00:23:46,440
Speaker 2: the radio. What do you mean Sam Riddle has gone

377
00:23:46,440 --> 00:23:50,120
Speaker 2: to another station? B Mitchell Reid is, Where's he? After

378
00:23:50,240 --> 00:23:53,919
Speaker 2: kV BB, he goes on to KPBCEE. All of a sudden,

379
00:23:53,920 --> 00:23:58,240
Speaker 2: there's so many new outlets and voices. I lost track

380
00:23:58,280 --> 00:23:59,840
Speaker 2: of some of this stuff, but I was in and

381
00:24:00,400 --> 00:24:04,760
Speaker 2: with it. It was you know, it was it was deep.

382
00:24:11,440 --> 00:24:16,719
Speaker 1: Okay, certainly I lived through this era California was everything?

383
00:24:17,440 --> 00:24:20,679
Speaker 1: Was this just your environment or did you feel that

384
00:24:20,720 --> 00:24:22,159
Speaker 1: it was all happening around you?

385
00:24:24,440 --> 00:24:27,159
Speaker 2: I knew one thing I had advantage over some people.

386
00:24:27,200 --> 00:24:29,760
Speaker 2: I think because my parents moved here from Chicago in

387
00:24:29,840 --> 00:24:36,600
Speaker 2: nineteen forty seven. They're from the Midwest. I met New

388
00:24:36,680 --> 00:24:39,840
Speaker 2: Yorkers and people from Chicago or relatives coming from out

389
00:24:39,840 --> 00:24:42,760
Speaker 2: of town. I knew there was other worlds out there,

390
00:24:43,320 --> 00:24:47,520
Speaker 2: But I knew what the power of this music. I mean,

391
00:24:47,560 --> 00:24:50,000
Speaker 2: I met you maybe in two thousand and four. Didn't

392
00:24:50,000 --> 00:24:51,800
Speaker 2: you tell me the Beach Boys were one of the

393
00:24:51,800 --> 00:24:53,119
Speaker 2: reasons you moved here.

394
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Speaker 1: I wouldn't say one of the reasons. I would say

395
00:24:56,240 --> 00:24:57,320
Speaker 1: the reason.

396
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Speaker 2: I remember you telling me, and you weren't hiding your

397
00:25:00,560 --> 00:25:03,880
Speaker 2: loyalty and devotion to them. And I also know you're

398
00:25:03,920 --> 00:25:07,120
Speaker 2: one of those guys who obviously probably went to law

399
00:25:07,160 --> 00:25:09,640
Speaker 2: school here instead of the deal back east, and then

400
00:25:09,680 --> 00:25:12,240
Speaker 2: you move out here to make a living or something. Right,

401
00:25:12,280 --> 00:25:13,520
Speaker 2: Did you go to law school out here?

402
00:25:13,840 --> 00:25:15,399
Speaker 1: Absolutely? Okay.

403
00:25:15,480 --> 00:25:18,239
Speaker 2: So the thing is, you were so proud of the

404
00:25:18,280 --> 00:25:21,720
Speaker 2: magnetic pool of I get around and stuff. I remember

405
00:25:21,800 --> 00:25:30,160
Speaker 2: that conversation, you know, because you were just so upfront

406
00:25:30,720 --> 00:25:33,240
Speaker 2: of what the pool of that music did to you.

407
00:25:33,480 --> 00:25:37,520
Speaker 2: And I didn't know it would start that kind of migration,

408
00:25:38,320 --> 00:25:42,600
Speaker 2: but I just knew something was happening. And I can't

409
00:25:42,640 --> 00:25:44,679
Speaker 2: avoid this. But you also need to know this a

410
00:25:44,720 --> 00:25:50,080
Speaker 2: slight backstory. From nineteen sixty two to nineteen seventy two,

411
00:25:51,640 --> 00:25:55,560
Speaker 2: my mother worked for Columbia Pictures in Gower Gulch as

412
00:25:55,560 --> 00:26:00,400
Speaker 2: a secretary stenographer, but in sixty five to sixty eight.

413
00:26:00,560 --> 00:26:02,320
Speaker 2: She worked for Raybert Productions.

414
00:26:02,440 --> 00:26:03,720
Speaker 1: Wow, I didn't know that.

415
00:26:04,160 --> 00:26:06,280
Speaker 2: Well, if I ever got a chance to write some

416
00:26:06,400 --> 00:26:08,840
Speaker 2: winer notes on Monkeys' albums, I'd roll that all out.

417
00:26:08,880 --> 00:26:12,600
Speaker 2: But you know, I asked a couple times and somebody said, well,

418
00:26:12,640 --> 00:26:15,679
Speaker 2: you know, you don't really know the monkeys. I said, okay,

419
00:26:15,800 --> 00:26:19,240
Speaker 2: I just did write a Monkey's Book of five hundred

420
00:26:19,280 --> 00:26:23,400
Speaker 2: pages with my brother Kenneth, Gary Strobel and Henry Doltson's photograph.

421
00:26:23,480 --> 00:26:26,040
Speaker 2: So I met sixty seven. So my mother worked for

422
00:26:26,119 --> 00:26:31,159
Speaker 2: Raybert Productions. I was at the Monkey's press conference, and

423
00:26:31,200 --> 00:26:36,159
Speaker 2: she also typed some of the scripts. I'm at the

424
00:26:36,280 --> 00:26:40,440
Speaker 2: two press conferences, and sixty five sixty six. Really I'm

425
00:26:40,440 --> 00:26:43,200
Speaker 2: at the preview house with my family seeing the pilot,

426
00:26:43,240 --> 00:26:46,199
Speaker 2: which wasn't very funny. They had to recut it and

427
00:26:46,240 --> 00:26:51,280
Speaker 2: do some dances. But you know, I'm meeting people sixty six,

428
00:26:51,400 --> 00:26:54,399
Speaker 2: sixty seven, sixty eight in the commissary. And remember I

429
00:26:54,400 --> 00:26:57,240
Speaker 2: had an after school job in junior high and especially

430
00:26:57,320 --> 00:27:00,880
Speaker 2: high school, so I couldn't go every day and hang out.

431
00:27:01,040 --> 00:27:04,119
Speaker 2: I even couldn't go weekly. But I it was also

432
00:27:04,200 --> 00:27:08,040
Speaker 2: about one hundred yards from Wallax Music City. So my

433
00:27:08,200 --> 00:27:10,720
Speaker 2: deal was I'm going to Wallax Music City. Then I'm

434
00:27:10,720 --> 00:27:12,879
Speaker 2: doing a four hour hang to watch a few episodes

435
00:27:12,960 --> 00:27:15,479
Speaker 2: or an episode, and then three weeks later maybe something.

436
00:27:15,920 --> 00:27:19,359
Speaker 2: But you're running into Dennis Hopper and Jack Nicholson pre

437
00:27:19,720 --> 00:27:22,800
Speaker 2: easy writer, Hey kid, how you doing? Have a milkshake?

438
00:27:22,840 --> 00:27:25,680
Speaker 2: In the It was I can't even call it a commissary,

439
00:27:25,720 --> 00:27:29,600
Speaker 2: it was a canteen. And I can't say I remain

440
00:27:29,640 --> 00:27:32,240
Speaker 2: friends with them, but for decades I say, kid, hey,

441
00:27:32,280 --> 00:27:33,600
Speaker 2: hell does s I mean you?

442
00:27:33,600 --> 00:27:33,840
Speaker 1: You know?

443
00:27:34,400 --> 00:27:38,360
Speaker 2: It was just fascinating watching the phonetic energy of the monkeys.

444
00:27:39,240 --> 00:27:41,440
Speaker 2: And I also got to peek in or bring some

445
00:27:41,480 --> 00:27:45,200
Speaker 2: sheet music up the RCA studio where they recorded right

446
00:27:45,400 --> 00:27:50,040
Speaker 2: adjacent to Walllex Music City. I didn't know all the specifics,

447
00:27:50,119 --> 00:27:53,720
Speaker 2: but it was just great to kind of not learn

448
00:27:53,760 --> 00:27:56,600
Speaker 2: about the business, but to hold an acetate or could

449
00:27:56,640 --> 00:27:59,159
Speaker 2: you use the Xerox machine for the sheet music of

450
00:27:59,640 --> 00:28:03,119
Speaker 2: I'm a Believer. All this stuff is happening, which is

451
00:28:03,160 --> 00:28:05,800
Speaker 2: why the monkeys, especially turn up the radio and you

452
00:28:05,880 --> 00:28:11,960
Speaker 2: name it. They're prominently displayed in my adventures. I just

453
00:28:12,000 --> 00:28:14,720
Speaker 2: thought the music was fantastic, and then you get to

454
00:28:14,720 --> 00:28:19,080
Speaker 2: meet Paul Williams a songwriter, or Harry Nilsen maybe he

455
00:28:19,160 --> 00:28:22,800
Speaker 2: was still working at the bank. I'm not sure, but

456
00:28:22,960 --> 00:28:25,480
Speaker 2: you get to meet these people because I didn't do

457
00:28:25,560 --> 00:28:28,320
Speaker 2: the math, but I know there were all kinds of

458
00:28:28,400 --> 00:28:31,639
Speaker 2: people involved in these records. It just wasn't like I

459
00:28:31,640 --> 00:28:35,160
Speaker 2: thought the Beatles did it all with mel Evans turning

460
00:28:35,760 --> 00:28:40,520
Speaker 2: the drum set around. So it was very important hanging

461
00:28:40,520 --> 00:28:43,240
Speaker 2: out beyond the monkeys, being able to say hello to

462
00:28:43,280 --> 00:28:45,840
Speaker 2: Kerry Grant and this kind of stuff. I wasn't starstrupp.

463
00:28:45,920 --> 00:28:49,400
Speaker 2: I didn't ask for autographs, but I just felt I

464
00:28:49,520 --> 00:28:52,640
Speaker 2: was in Hollywood when the studio system is kind of

465
00:28:52,640 --> 00:28:55,920
Speaker 2: breaking up and rock and rolling soundtracks. I went to

466
00:28:55,960 --> 00:28:59,840
Speaker 2: the head premiere. I remember that Elliot Mintz was there too,

467
00:29:00,040 --> 00:29:04,760
Speaker 2: broadcasting or something. But it was just it was what

468
00:29:04,800 --> 00:29:08,880
Speaker 2: we did. Plus everything was so collaborative. Then people from

469
00:29:08,880 --> 00:29:11,600
Speaker 2: other studios would send you a soundtrack of the sound

470
00:29:11,600 --> 00:29:14,600
Speaker 2: of music or something like that. Everybody seemed to be

471
00:29:14,680 --> 00:29:16,959
Speaker 2: in this game. There seemed to be about three hundred

472
00:29:16,960 --> 00:29:20,480
Speaker 2: people in the trip instead of three thousand or thirty

473
00:29:20,560 --> 00:29:24,480
Speaker 2: thousand or three hundred thousand like now Small World. A

474
00:29:24,480 --> 00:29:27,840
Speaker 2: lot of gnashing together and there weren't a lot of

475
00:29:27,920 --> 00:29:33,920
Speaker 2: twenty four hour restaurants. There was the Hollywood Ranch Market,

476
00:29:33,960 --> 00:29:38,200
Speaker 2: which was our savior, where you could get oh god,

477
00:29:38,320 --> 00:29:42,880
Speaker 2: Jan Henderson used to eat chicken gizzards there that I

478
00:29:42,920 --> 00:29:46,600
Speaker 2: couldn't do that. I like the turkey leg stuff. But

479
00:29:46,800 --> 00:29:49,200
Speaker 2: you'd go there after rock and roll concerts, like at

480
00:29:49,200 --> 00:29:52,600
Speaker 2: the Kaleidoscope, which was our short lived kind of Fillmore

481
00:29:52,680 --> 00:29:57,000
Speaker 2: East and sixty seven to sixty eight. It's all there,

482
00:29:57,080 --> 00:29:59,320
Speaker 2: and then you'd hitch hik homb nobody had a car.

483
00:30:00,080 --> 00:30:05,960
Speaker 2: Everybody was cool. It was just wonderful. And then, thank god,

484
00:30:06,080 --> 00:30:11,680
Speaker 2: things like age restrictions started lifting. I could go to

485
00:30:11,720 --> 00:30:15,520
Speaker 2: the Whiskey Go Go in nineteen sixty seven or sixty eight.

486
00:30:15,600 --> 00:30:19,760
Speaker 2: Really it was eighteen instead of twenty one. I didn't

487
00:30:19,800 --> 00:30:22,680
Speaker 2: drink liquor, and I also looked fourteen. I think I

488
00:30:22,720 --> 00:30:25,200
Speaker 2: was the only person at Fairfax Hi without a fake ID.

489
00:30:26,040 --> 00:30:29,440
Speaker 2: My mother said, no smoking, no fake ID, no beer drinking.

490
00:30:29,960 --> 00:30:33,000
Speaker 2: I said, okay, I'm with it. I think I told

491
00:30:33,000 --> 00:30:39,880
Speaker 2: her I smoked pot in nineteen sixty nine, and you're

492
00:30:39,920 --> 00:30:40,880
Speaker 2: allowed to do it once.

493
00:30:43,160 --> 00:30:48,760
Speaker 1: Okay, you're in high school, your mother's working for ray Bert,

494
00:30:49,120 --> 00:30:52,880
Speaker 1: you go to Wallack's Music City. Has music taken over

495
00:30:52,920 --> 00:30:56,040
Speaker 1: your life? Or you know, are you a regular high

496
00:30:56,080 --> 00:30:59,240
Speaker 1: school student and this is just your interest and are

497
00:30:59,280 --> 00:31:01,480
Speaker 1: you going to shows?

498
00:31:01,520 --> 00:31:06,320
Speaker 2: At this point, I was a little bit possessed, but

499
00:31:06,400 --> 00:31:11,040
Speaker 2: I wasn't obsessed because I had a twenty hour a

500
00:31:11,040 --> 00:31:14,920
Speaker 2: week after school job Monday, Wednesday and Friday at Clinton

501
00:31:15,040 --> 00:31:20,800
Speaker 2: laboratories like Lebryan and Pico. So I was diligent that

502
00:31:20,840 --> 00:31:24,479
Speaker 2: I had to go to high school and have this job,

503
00:31:24,560 --> 00:31:28,680
Speaker 2: but I had income for shows and records. I had

504
00:31:28,760 --> 00:31:32,040
Speaker 2: sixty had eighty dollars. I could go to the Frigate

505
00:31:32,080 --> 00:31:36,480
Speaker 2: Record store on Third and Crescent Heights, and then friends

506
00:31:36,520 --> 00:31:38,920
Speaker 2: of mine that had a car would occasionally take me

507
00:31:39,000 --> 00:31:43,400
Speaker 2: down to downtown La almost Watts to Dolphins of Hollywood

508
00:31:43,440 --> 00:31:47,080
Speaker 2: record store or Flash Records, and they had all this

509
00:31:47,400 --> 00:31:50,360
Speaker 2: interesting what we now call ll R and B and

510
00:31:50,440 --> 00:31:56,040
Speaker 2: soul music. I was going to two concerts or clubs

511
00:31:56,040 --> 00:32:04,560
Speaker 2: a week from sixty five to seventy to eighty twice

512
00:32:04,600 --> 00:32:10,560
Speaker 2: a week concerts. They were affordable three dollars and fifty cents.

513
00:32:10,640 --> 00:32:14,160
Speaker 2: I went to six of the thirteen Shrine Exhibition Hall

514
00:32:14,240 --> 00:32:18,920
Speaker 2: concerts that Pinnacle Productions put on sixty late sixty seven

515
00:32:18,960 --> 00:32:23,560
Speaker 2: to sixty eight into early sixty nine maybe, and you

516
00:32:23,840 --> 00:32:26,680
Speaker 2: spent three and a half dollars. The girl gave you

517
00:32:26,800 --> 00:32:28,880
Speaker 2: change out of the cigar box, and you'd walk in

518
00:32:28,920 --> 00:32:33,160
Speaker 2: there and another grover hand you a piece of bazooka bubblegum.

519
00:32:33,600 --> 00:32:38,080
Speaker 2: You'd see the Vanilla five, you'd see Richie Havens. So,

520
00:32:38,520 --> 00:32:41,640
Speaker 2: but I also was going to baseball games and sporting events.

521
00:32:41,640 --> 00:32:44,480
Speaker 2: So I had the budget for maybe two concerts or

522
00:32:44,520 --> 00:32:48,080
Speaker 2: club things, and maybe a sports event. But I should

523
00:32:48,120 --> 00:32:52,600
Speaker 2: also say three hundred yards from Fairfax High which was

524
00:32:52,640 --> 00:32:59,840
Speaker 2: on Melrows and Fairfax was the Ashgrove Club, So that

525
00:33:00,200 --> 00:33:03,640
Speaker 2: was sometimes two dollars and fifty cents plus. We had

526
00:33:03,720 --> 00:33:06,560
Speaker 2: hip school teachers for field trips. They would take us

527
00:33:06,560 --> 00:33:09,880
Speaker 2: into the ash Grove and it had no there was

528
00:33:09,880 --> 00:33:14,479
Speaker 2: no age limit, and you could see Muddy Waters, you

529
00:33:14,480 --> 00:33:17,440
Speaker 2: could see Albert King, you could say hello to them.

530
00:33:17,640 --> 00:33:20,400
Speaker 2: It was mostly folk and blues stuff. Occasionally there was

531
00:33:20,440 --> 00:33:23,719
Speaker 2: a rock deck. I saw Taj Mahall with Jesse Davis

532
00:33:23,800 --> 00:33:28,200
Speaker 2: in sixty eight or nine. But that was quite an education.

533
00:33:28,520 --> 00:33:31,040
Speaker 2: I mean, I never knew there was an ethno musicology

534
00:33:31,080 --> 00:33:33,400
Speaker 2: department at UCLA. I probably had have majored in it.

535
00:33:34,320 --> 00:33:37,560
Speaker 2: I never even thought about those things, but it was

536
00:33:37,600 --> 00:33:40,520
Speaker 2: certainly in my dna. I didn't want to be in

537
00:33:40,560 --> 00:33:43,040
Speaker 2: a band. I was in a band for three weeks

538
00:33:43,040 --> 00:33:45,600
Speaker 2: in nineteen sixty five as a drummer and a surf

539
00:33:45,640 --> 00:33:49,640
Speaker 2: group called the Riptides. It just didn't work out. The

540
00:33:49,680 --> 00:33:52,040
Speaker 2: guitar player had a big ego or something. I said,

541
00:33:52,080 --> 00:33:55,640
Speaker 2: I'll just be a librarian and a collector and groove

542
00:33:55,680 --> 00:33:58,800
Speaker 2: on the music in the back of my mind. A

543
00:33:58,840 --> 00:34:01,240
Speaker 2: couple of girls of email me recently and said, why

544
00:34:01,240 --> 00:34:03,680
Speaker 2: didn't you ever become the DG that we wanted.

545
00:34:03,360 --> 00:34:03,840
Speaker 1: You to be?

546
00:34:04,480 --> 00:34:07,120
Speaker 2: And I said, I didn't know the right people. I

547
00:34:07,160 --> 00:34:09,960
Speaker 2: didn't even have the funds for audition tapes. I didn't

548
00:34:10,000 --> 00:34:13,880
Speaker 2: know anything. But here I am now, so thank you.

549
00:34:14,719 --> 00:34:18,560
Speaker 1: Okay, how did you end up going to San Diego

550
00:34:18,640 --> 00:34:22,200
Speaker 1: for school? And for those of us who live in

551
00:34:22,239 --> 00:34:26,719
Speaker 1: southern California, it's really a different mentality, even though it's

552
00:34:26,760 --> 00:34:27,840
Speaker 1: not that far away.

553
00:34:29,600 --> 00:34:35,040
Speaker 2: There was one requirement regarding college. Harvey Kubernick, with a

554
00:34:35,080 --> 00:34:40,960
Speaker 2: two point one GPA, with the Vietnam War raging on,

555
00:34:42,480 --> 00:34:45,200
Speaker 2: has to make a decision, Oh, I can get a

556
00:34:45,239 --> 00:34:47,319
Speaker 2: student to ferm it. If I go to West La

557
00:34:47,440 --> 00:34:52,440
Speaker 2: Junior College or LACC. I went to both. Okay, you

558
00:34:52,480 --> 00:34:55,760
Speaker 2: can go to school for six dollars and fifty cents.

559
00:34:56,800 --> 00:34:59,239
Speaker 2: And if I go to West La College, I'm five

560
00:34:59,320 --> 00:35:03,120
Speaker 2: miles away from the Santa Monica Civic Auditorium and there's concerts.

561
00:35:04,440 --> 00:35:08,279
Speaker 2: But it meant a lot to me up to it's important.

562
00:35:08,360 --> 00:35:11,880
Speaker 2: I remember when they were building West La College and

563
00:35:11,920 --> 00:35:13,520
Speaker 2: I walked in there and I said, I want to

564
00:35:13,520 --> 00:35:16,239
Speaker 2: go here when you're finished. Well, all you have to

565
00:35:16,239 --> 00:35:18,040
Speaker 2: do is I have a two point OGPA or be

566
00:35:18,160 --> 00:35:21,640
Speaker 2: age eighteen and you can enroll. And I said, well,

567
00:35:21,680 --> 00:35:24,200
Speaker 2: I want to enroll right now. But it was just

568
00:35:24,239 --> 00:35:27,719
Speaker 2: about six bungalows and I said, I want to go here,

569
00:35:27,719 --> 00:35:30,680
Speaker 2: but also I need to find a job. I need

570
00:35:30,719 --> 00:35:34,560
Speaker 2: to go see concerts and buy records. Well, they're building

571
00:35:34,600 --> 00:35:36,680
Speaker 2: a library over here. Why don't you go talk to

572
00:35:36,760 --> 00:35:39,920
Speaker 2: the construction site. I walked in there and said, I'm

573
00:35:39,960 --> 00:35:42,520
Speaker 2: going to go to this school. I want to work

574
00:35:42,520 --> 00:35:46,920
Speaker 2: at this library. And they said, we're actually looking for

575
00:35:46,960 --> 00:35:50,240
Speaker 2: a student for the library. Would you like a job.

576
00:35:51,239 --> 00:35:55,480
Speaker 2: Myself and my friend Bob Sherman from Fairfax High each

577
00:35:55,520 --> 00:35:58,400
Speaker 2: got fifteen or twenty hour jobs, so you can go

578
00:35:58,400 --> 00:36:02,279
Speaker 2: to class, go to the library. But I was like

579
00:36:02,360 --> 00:36:06,560
Speaker 2: stocking shelf. But I was making sure Downbeat rolling Stone

580
00:36:07,120 --> 00:36:12,719
Speaker 2: Ebony ramparts were stocked in the magazine section. And then

581
00:36:12,760 --> 00:36:16,560
Speaker 2: i'm I have a student afirment. I graduate with an

582
00:36:16,600 --> 00:36:20,200
Speaker 2: AA degree. Well, you got to go to college, you

583
00:36:20,200 --> 00:36:23,239
Speaker 2: got to finish up what There was one requirement. I

584
00:36:23,280 --> 00:36:25,640
Speaker 2: had to find a school where I could still hear

585
00:36:26,440 --> 00:36:29,920
Speaker 2: KOs FM or the FM radio or some of the

586
00:36:29,960 --> 00:36:33,600
Speaker 2: AM radio stations at night. San Diego was one hundred

587
00:36:33,600 --> 00:36:35,560
Speaker 2: and thirty miles and some of the you could still

588
00:36:35,600 --> 00:36:39,200
Speaker 2: pick up some of the radio stations. And I followed

589
00:36:39,200 --> 00:36:42,920
Speaker 2: the San Diego State football team, and I said, you know,

590
00:36:43,320 --> 00:36:47,440
Speaker 2: just maybe I should go down to San Diego. I

591
00:36:47,480 --> 00:36:51,879
Speaker 2: have a surfboard. I could have gone to Valley State.

592
00:36:52,080 --> 00:36:55,719
Speaker 2: You could even have gone to UCLA. They welcomed you then.

593
00:36:56,360 --> 00:36:58,839
Speaker 2: So I went to San Diego State. It was a

594
00:36:58,880 --> 00:37:04,000
Speaker 2: fantastic path horrible experience because every weekend I would hitchhike

595
00:37:04,120 --> 00:37:06,640
Speaker 2: back or if I got a car or something, and

596
00:37:06,719 --> 00:37:10,200
Speaker 2: come back home Friday afternoon till Sunday night. It just

597
00:37:10,320 --> 00:37:13,440
Speaker 2: wasn't working for me. But I graduated. That's how I

598
00:37:13,480 --> 00:37:15,320
Speaker 2: ended up in San Diego, and I would listen to

599
00:37:15,440 --> 00:37:18,799
Speaker 2: kpe HE or IFM and see some great concerts down there,

600
00:37:18,840 --> 00:37:22,520
Speaker 2: because luckily I didn't know the routing of rock and

601
00:37:22,640 --> 00:37:26,040
Speaker 2: roll then that if you played in Santa Monica or

602
00:37:26,080 --> 00:37:29,880
Speaker 2: the Fabulous Forum, you would include a San Diego date.

603
00:37:30,840 --> 00:37:33,839
Speaker 2: So I got to see traffic at Fairport Convention in

604
00:37:33,880 --> 00:37:37,200
Speaker 2: Mose Allison at Funky Quarters, or Mark Allman on the

605
00:37:37,239 --> 00:37:43,080
Speaker 2: campus at San Diego State. It made my world operational.

606
00:37:44,080 --> 00:37:46,200
Speaker 1: Okay, so you graduate from college, then what.

607
00:37:47,800 --> 00:37:51,440
Speaker 2: Well. I got a degree in health, literature and sociology,

608
00:37:51,520 --> 00:37:54,839
Speaker 2: some cock and Amy experimental thing which was sort of

609
00:37:55,000 --> 00:37:58,399
Speaker 2: evolved out of the Hero experiment or something. You could

610
00:37:58,440 --> 00:38:01,200
Speaker 2: pick three upper division things and it's your own major.

611
00:38:03,320 --> 00:38:07,360
Speaker 2: And I said, okay, I wanted I was. My major

612
00:38:07,440 --> 00:38:11,360
Speaker 2: was library science, but I didn't get accepted to the

613
00:38:11,400 --> 00:38:13,600
Speaker 2: library science program, so they said, why don't you be

614
00:38:13,600 --> 00:38:15,239
Speaker 2: a special major. It's going to be the hip thing

615
00:38:15,280 --> 00:38:17,960
Speaker 2: in the future. I think it was discontinued after a

616
00:38:18,040 --> 00:38:22,200
Speaker 2: year and a half. So I have this degree in

617
00:38:22,239 --> 00:38:27,759
Speaker 2: sociology and health and literature, and I thought, well, maybe

618
00:38:27,760 --> 00:38:30,720
Speaker 2: I'll think about being a probation officer or something. Maybe

619
00:38:31,840 --> 00:38:33,719
Speaker 2: I'll do something like that. I didn't want to be

620
00:38:33,760 --> 00:38:36,960
Speaker 2: a teacher. There was always this little thing in the

621
00:38:37,000 --> 00:38:40,600
Speaker 2: back of my mind. I didn't even know what a

622
00:38:40,640 --> 00:38:46,319
Speaker 2: record label really was until seventy one. Maybe I'll do

623
00:38:46,400 --> 00:38:48,880
Speaker 2: this and it'll lead to something else. Well what happened

624
00:38:48,920 --> 00:38:53,279
Speaker 2: in nineteen seventy two, under the direction of doctor James L.

625
00:38:53,320 --> 00:38:53,760
Speaker 1: Wheeler.

626
00:38:56,920 --> 00:38:59,600
Speaker 2: He started I was almost like the teaching assistant who

627
00:38:59,640 --> 00:39:03,480
Speaker 2: I was. I helped build the curriculum. I had a

628
00:39:03,520 --> 00:39:05,960
Speaker 2: conversation with him and I said, this rock and roll.

629
00:39:06,120 --> 00:39:09,799
Speaker 2: He was a Dylan fanatic and a lyric freak. I said,

630
00:39:10,400 --> 00:39:14,000
Speaker 2: we dialogue. He said, let's start an upper division, fully

631
00:39:14,040 --> 00:39:19,759
Speaker 2: accredited rock and roll literature class for full credits. And

632
00:39:20,080 --> 00:39:23,960
Speaker 2: the paperwork was done and all that, and all of

633
00:39:24,000 --> 00:39:28,319
Speaker 2: a sudden, Okay, it's been sanctioned. A story ran in

634
00:39:28,440 --> 00:39:32,960
Speaker 2: Billboard on it. All of a sudden, Okay, what are

635
00:39:32,960 --> 00:39:37,240
Speaker 2: we gonna do? Well, may invite Iggy Pop or Danny Sugarman,

636
00:39:37,239 --> 00:39:41,239
Speaker 2: who knew some of the doors, or Carolyn Hester who

637
00:39:41,840 --> 00:39:44,640
Speaker 2: records out. I picked her up at a Greyhound station.

638
00:39:44,760 --> 00:39:48,760
Speaker 2: I remember that Sharon Lawrence, who worked with Al Cooper

639
00:39:48,840 --> 00:39:51,600
Speaker 2: Sounds at the South label and Elton John for many years.

640
00:39:52,120 --> 00:39:55,759
Speaker 2: People in the industry I would like they would find

641
00:39:55,840 --> 00:40:00,440
Speaker 2: us initially, but the game changer was a guy named Grayland,

642
00:40:00,560 --> 00:40:04,840
Speaker 2: landed at RCA Records at seventy two, called me in

643
00:40:04,920 --> 00:40:10,160
Speaker 2: the dorm at Sarah Hall. I was probably listening to

644
00:40:10,200 --> 00:40:14,320
Speaker 2: the doors and said, I'm very I went to USC.

645
00:40:14,440 --> 00:40:16,880
Speaker 2: I'm very proud of what you're doing. On the seriousness

646
00:40:16,920 --> 00:40:20,080
Speaker 2: of what you're doing. You have a librarian aspect, and

647
00:40:20,280 --> 00:40:22,600
Speaker 2: you know you're looking at this the future of the

648
00:40:22,719 --> 00:40:27,040
Speaker 2: music being preserved. We're going to start doing a series

649
00:40:27,080 --> 00:40:32,120
Speaker 2: of monthly students and people being involved in seminars at

650
00:40:32,239 --> 00:40:37,120
Speaker 2: RCA studio. Why don't you come. There's also tuna sandwich

651
00:40:37,200 --> 00:40:41,400
Speaker 2: lunches on Saturday, and you go there and this I

652
00:40:41,440 --> 00:40:44,000
Speaker 2: mean you'll like the irony. Of course, there are no accidents.

653
00:40:44,040 --> 00:40:47,400
Speaker 2: As Andrew lou Goldham says, I walk in there and

654
00:40:47,440 --> 00:40:52,560
Speaker 2: there's Henry Mancini, who I practiced. Leland lived at the

655
00:40:52,640 --> 00:40:55,920
Speaker 2: rc studio. Must have done twenty albums for the label. Harvey,

656
00:40:56,120 --> 00:41:01,080
Speaker 2: this is Henry Mancini. Hello, Henry, call me hand. Are

657
00:41:01,120 --> 00:41:04,600
Speaker 2: you a musician? Not really, he said, we'll stick around.

658
00:41:04,760 --> 00:41:07,279
Speaker 2: I'm going to be here and jose Felisano's gonna come

659
00:41:07,280 --> 00:41:10,600
Speaker 2: by next month. You mean you could fucking meet these people?

660
00:41:11,600 --> 00:41:11,839
Speaker 1: What?

661
00:41:13,040 --> 00:41:18,279
Speaker 2: But it was it showed me I should be involved.

662
00:41:18,560 --> 00:41:21,600
Speaker 2: I wanted to be maybe a writer. I didn't want

663
00:41:21,640 --> 00:41:24,120
Speaker 2: to be a music critic. I didn't want to write

664
00:41:24,200 --> 00:41:28,560
Speaker 2: record reviews. I wanted to see how the music was made.

665
00:41:29,320 --> 00:41:31,920
Speaker 2: And instead of focusing on the lead singer or the

666
00:41:31,920 --> 00:41:35,320
Speaker 2: pretty girl in a band, I'd seek out the engineer

667
00:41:35,320 --> 00:41:38,520
Speaker 2: in the back room people. I inherit because I learned

668
00:41:38,560 --> 00:41:41,880
Speaker 2: that from my mother watching her type monkey scripts. She

669
00:41:41,920 --> 00:41:47,080
Speaker 2: also typed monkey scripts for Banyan, a TV show. Robert Forrester,

670
00:41:48,360 --> 00:41:51,440
Speaker 2: I said, there's a lot of people involved. Since everybody

671
00:41:51,440 --> 00:41:53,640
Speaker 2: wants to talk to those same people, I'm going to

672
00:41:53,719 --> 00:41:56,760
Speaker 2: go into areas where the people are always sitting alone

673
00:41:56,840 --> 00:41:59,640
Speaker 2: or nobody wants to talk to them. It's like talking

674
00:41:59,680 --> 00:42:02,360
Speaker 2: to the eighth laker off the bench instead of the stars.

675
00:42:03,000 --> 00:42:06,080
Speaker 2: So the RC seminars were very important, and I said,

676
00:42:06,120 --> 00:42:08,040
Speaker 2: I think I can do some writing. I know I

677
00:42:08,080 --> 00:42:11,960
Speaker 2: can talk to people. And it all kind of started there.

678
00:42:12,280 --> 00:42:15,919
Speaker 2: Then I have to tell you in nineteen seventy four, February,

679
00:42:16,719 --> 00:42:18,759
Speaker 2: I go to see Bob Dylan and the Band at

680
00:42:18,800 --> 00:42:23,479
Speaker 2: the Forum. Bob Sherman's with me. We are seated next

681
00:42:23,480 --> 00:42:28,000
Speaker 2: to Henry Mancini. I don't think Chris Man singing at

682
00:42:28,080 --> 00:42:34,120
Speaker 2: the show. Hi, mister Mancini called me, Hank, I met you, Yeah, yeah,

683
00:42:34,239 --> 00:42:38,440
Speaker 2: and but would have. And I said, you know, I

684
00:42:38,480 --> 00:42:40,160
Speaker 2: want to say something to you. I mean, never see

685
00:42:40,160 --> 00:42:42,879
Speaker 2: you again anytime I see you do. Some of these

686
00:42:42,960 --> 00:42:47,160
Speaker 2: interviews in Life magazine or Downbeat, you talk about how

687
00:42:47,200 --> 00:42:50,320
Speaker 2: you love the group Cream and some of this music.

688
00:42:50,360 --> 00:42:55,560
Speaker 2: You're the only guy over forty that doesn't say weird

689
00:42:55,600 --> 00:42:58,640
Speaker 2: stuff about long haired people. You like rock. He said, well,

690
00:42:58,760 --> 00:43:02,040
Speaker 2: I got my kids tickets for the Monoli Pop Festival.

691
00:43:03,160 --> 00:43:06,680
Speaker 2: You were there. I got them tickets and I said wow.

692
00:43:06,920 --> 00:43:09,360
Speaker 2: And he said do you like classical music? And I said,

693
00:43:09,400 --> 00:43:13,160
Speaker 2: oh no, I don't do that. He said, well why not?

694
00:43:14,640 --> 00:43:17,120
Speaker 2: I said, I think part of it was in junior high.

695
00:43:17,160 --> 00:43:21,239
Speaker 2: Miss Molloy used to say, young man Andre Previn used

696
00:43:21,239 --> 00:43:25,840
Speaker 2: to sit where you sat are sitting. I just couldn't

697
00:43:26,360 --> 00:43:30,359
Speaker 2: groove with it. And then he said, well, maybe one

698
00:43:30,480 --> 00:43:35,200
Speaker 2: decade you'll get into classical music. But it was a

699
00:43:35,239 --> 00:43:40,880
Speaker 2: big lens. It was a tunnel that you could go

700
00:43:40,960 --> 00:43:44,799
Speaker 2: to record companies. They'd hand you albums. And then I

701
00:43:44,840 --> 00:43:48,200
Speaker 2: started writing for things like the Hollywood Press fifteen dollars,

702
00:43:48,640 --> 00:43:52,120
Speaker 2: thank you, Justin Pierce. Then I'd call up the La

703
00:43:52,200 --> 00:43:54,200
Speaker 2: Free Press John Carpenter.

704
00:43:53,960 --> 00:43:58,040
Speaker 1: Oh, I'm just personally interested. What was Justin Pierce doing? Then?

705
00:43:58,800 --> 00:44:02,160
Speaker 2: Justin Pierce was the amusing editor of the Hollywood Press

706
00:44:03,600 --> 00:44:06,440
Speaker 2: before he went to work for Norman Winner for about

707
00:44:06,480 --> 00:44:10,040
Speaker 2: eight years, and then he went to law school after that.

708
00:44:10,840 --> 00:44:14,160
Speaker 2: In fact, to this day, he's serving as an advisor

709
00:44:14,239 --> 00:44:19,320
Speaker 2: for me. It just I keep friends a long time.

710
00:44:19,840 --> 00:44:22,759
Speaker 2: I'm still friends with four people from elementary school, three

711
00:44:22,800 --> 00:44:27,560
Speaker 2: from junior high, five from high school, but nobody from

712
00:44:27,560 --> 00:44:28,359
Speaker 2: San Diego State.

713
00:44:35,200 --> 00:44:37,120
Speaker 1: So how do you end up getting a job as

714
00:44:37,160 --> 00:44:38,560
Speaker 1: an A and R guide? MCA.

715
00:44:40,360 --> 00:44:42,600
Speaker 2: I don't think the world works this way anymore.

716
00:44:43,280 --> 00:44:43,600
Speaker 1: I was.

717
00:44:43,960 --> 00:44:46,480
Speaker 2: I was writing for Melody Maker. I went to England

718
00:44:46,520 --> 00:44:51,920
Speaker 2: in seventy five and said I want to write, and

719
00:44:51,960 --> 00:44:54,120
Speaker 2: I was constantly hearing you can't write, you have no

720
00:44:54,200 --> 00:44:58,640
Speaker 2: communication skills. I never used that energy as revenge or

721
00:44:58,680 --> 00:45:02,200
Speaker 2: any of that stuff. Mother said, revenge is a wasted emotion.

722
00:45:03,200 --> 00:45:05,840
Speaker 2: You can kind of do a lot of things. You

723
00:45:05,920 --> 00:45:10,080
Speaker 2: know how to talk, you're fucking yenta, but you know

724
00:45:10,320 --> 00:45:12,160
Speaker 2: you have to be able to put that stuff on

725
00:45:12,200 --> 00:45:14,840
Speaker 2: the page. And I said, well, I never got a

726
00:45:14,920 --> 00:45:20,279
Speaker 2: journalism career. I never could write for the school newspaper.

727
00:45:20,280 --> 00:45:23,279
Speaker 2: I got rejected from the San Diego State Daily AZTEC.

728
00:45:23,920 --> 00:45:27,640
Speaker 2: Of course, now they're sending letters asking for you know, money,

729
00:45:27,680 --> 00:45:30,920
Speaker 2: with Marion Ross and Art Linkoln and all their extinct

730
00:45:30,920 --> 00:45:33,840
Speaker 2: you know alumni. I'm now like listed, you know, like

731
00:45:33,960 --> 00:45:37,640
Speaker 2: distinguished alumni. You weren't very helpful people. You're not getting

732
00:45:37,680 --> 00:45:41,640
Speaker 2: a check. But I realized, I think I can talk

733
00:45:41,680 --> 00:45:44,960
Speaker 2: to musicians, even though I can't really play an instrument.

734
00:45:46,320 --> 00:45:50,840
Speaker 2: Interviewed Brian Auger for LA Free Press. Went to England

735
00:45:50,880 --> 00:45:53,719
Speaker 2: in seventy five, and I said I'd like to do

736
00:45:53,800 --> 00:45:56,400
Speaker 2: some articles for Melody Maker, which had a readership of

737
00:45:56,440 --> 00:46:00,400
Speaker 2: a million a week. And Ray Coleman and some sequently

738
00:46:00,440 --> 00:46:04,040
Speaker 2: and editor Richard Williams, who I still dialogue with, said

739
00:46:04,160 --> 00:46:06,920
Speaker 2: send us some stuff. And I was writing weekly the

740
00:46:07,120 --> 00:46:12,799
Speaker 2: LA column in Melody Makers seventy five to eighty one

741
00:46:13,640 --> 00:46:20,799
Speaker 2: in nineteen seventy into seventy seven. The phone rings, It's

742
00:46:20,880 --> 00:46:29,799
Speaker 2: Denny Rosenkrantz working at MCA Records. I really like the

743
00:46:29,840 --> 00:46:35,239
Speaker 2: way you've scouted bands because I went to see like

744
00:46:35,400 --> 00:46:39,320
Speaker 2: the Dickies at the Whiskey wrote about it, and Derek

745
00:46:39,360 --> 00:46:41,319
Speaker 2: Green from the A and M label, I think, flew

746
00:46:41,360 --> 00:46:44,880
Speaker 2: in and signed them. And Danny Rosenkrantz was noticing that

747
00:46:45,000 --> 00:46:49,759
Speaker 2: I was touting people before it was fashionable. I just

748
00:46:49,840 --> 00:46:51,080
Speaker 2: would catch them.

749
00:46:51,920 --> 00:46:52,400
Speaker 1: Come on, I.

750
00:46:54,120 --> 00:46:57,480
Speaker 2: Could be a talent scout. I never knocked on a door.

751
00:46:57,520 --> 00:46:59,719
Speaker 2: And he said, how would you like to work for

752
00:46:59,800 --> 00:47:06,080
Speaker 2: him Records? And I said, yes, what do I do?

753
00:47:06,160 --> 00:47:11,640
Speaker 2: He said, find people to sign. I said, I think

754
00:47:11,719 --> 00:47:16,560
Speaker 2: I can do that. He said, well, let's give you

755
00:47:16,600 --> 00:47:21,800
Speaker 2: a year to see what you can do. So kids,

756
00:47:22,640 --> 00:47:26,319
Speaker 2: you used to be able to get jobs without connections,

757
00:47:26,360 --> 00:47:29,480
Speaker 2: nepotism and all the cronyism and all the other stuff.

758
00:47:29,520 --> 00:47:32,319
Speaker 2: This thing, honestly. I also ran into Denny at a

759
00:47:32,360 --> 00:47:34,480
Speaker 2: Bob Marley and the Whalers show. I'm sorry they were

760
00:47:34,520 --> 00:47:37,359
Speaker 2: called the Whalers then. I don't want any emails. I

761
00:47:37,400 --> 00:47:41,960
Speaker 2: saw Denny at the Roxy. I kind of was introduced

762
00:47:42,000 --> 00:47:44,560
Speaker 2: to him when Springsteen played the rox Syne at seventy five,

763
00:47:44,600 --> 00:47:46,719
Speaker 2: and then we went to the I saw him at

764
00:47:46,719 --> 00:47:51,239
Speaker 2: the Santa Monica Civy show Springsteen in seventy six, and

765
00:47:51,760 --> 00:47:53,520
Speaker 2: I didn't really know well, but I would run into

766
00:47:53,600 --> 00:47:56,200
Speaker 2: him and our mutual friend Russ Reagan at a restaurant

767
00:47:56,239 --> 00:47:59,640
Speaker 2: called ting Ho which was on Hollywood in Highland, and

768
00:47:59,680 --> 00:48:03,280
Speaker 2: he said said, why don't you come join the label?

769
00:48:03,560 --> 00:48:05,960
Speaker 2: I said, I'm there and I did eleven and a

770
00:48:05,960 --> 00:48:09,600
Speaker 2: half months there and I think I really delivered. Their

771
00:48:09,719 --> 00:48:10,839
Speaker 2: history has proven me right.

772
00:48:11,640 --> 00:48:13,840
Speaker 1: Oh who did you sign or what'd you do? That

773
00:48:14,440 --> 00:48:17,200
Speaker 1: history has proven you were correct. Well.

774
00:48:17,239 --> 00:48:20,839
Speaker 2: In nineteen seventy five, I met a young engineer named

775
00:48:20,920 --> 00:48:24,200
Speaker 2: Jimmy Iveen and did a full page story on him

776
00:48:24,200 --> 00:48:28,400
Speaker 2: and Melody Maker, and he was he wanted to be

777
00:48:28,440 --> 00:48:32,480
Speaker 2: a record producer, not just an engineer, and he invited

778
00:48:32,480 --> 00:48:36,080
Speaker 2: me to actually it was the Springsteen people invited me

779
00:48:36,120 --> 00:48:38,640
Speaker 2: to see all the shows that the Roxy show. Jimmy

780
00:48:38,719 --> 00:48:41,640
Speaker 2: was in the booth of the truck. I knew he

781
00:48:41,680 --> 00:48:46,120
Speaker 2: had talent, and so in seventy eight I get a

782
00:48:46,120 --> 00:48:48,520
Speaker 2: call from Jimmy Iveen and he said, I've just done

783
00:48:48,560 --> 00:48:52,200
Speaker 2: the south Side Johnny album with Stephen van Zant. We

784
00:48:52,320 --> 00:48:54,600
Speaker 2: thanked you on the album. I go thank you, because

785
00:48:54,640 --> 00:48:58,600
Speaker 2: I was giving some initial early print to some of

786
00:48:58,600 --> 00:49:03,440
Speaker 2: these people. I said, listen, he had done a Golden

787
00:49:03,480 --> 00:49:06,040
Speaker 2: Earring record for MCA, and he maybe had worked on

788
00:49:06,120 --> 00:49:09,560
Speaker 2: a Returner Forever record. And he said, I'm a record producer.

789
00:49:10,000 --> 00:49:13,719
Speaker 2: I've just seen Tom Pitty at the bottom Line. I

790
00:49:13,760 --> 00:49:16,640
Speaker 2: need to work with him. And I said, it's funny.

791
00:49:16,719 --> 00:49:19,200
Speaker 2: I'm having a meeting this week with all the people

792
00:49:19,200 --> 00:49:24,400
Speaker 2: at MCA because MCA has bought ABC Records, and I

793
00:49:24,520 --> 00:49:27,759
Speaker 2: was doing some interesting concepts about bringing in people to

794
00:49:27,800 --> 00:49:30,200
Speaker 2: write some liner notes. I did a little bit of

795
00:49:30,200 --> 00:49:33,719
Speaker 2: work with John Hyatt on the Slugline album. I brought

796
00:49:33,760 --> 00:49:36,600
Speaker 2: in a drummer. My friend Andy Bruce produced it. John

797
00:49:36,680 --> 00:49:41,279
Speaker 2: Van Hamersfield did the front cover, and I lobbied for

798
00:49:41,400 --> 00:49:45,840
Speaker 2: Jimmy to be considered to be a producer. Obviously the

799
00:49:45,880 --> 00:49:50,600
Speaker 2: engineer comes with it. For Tom Pitty, who was looking

800
00:49:51,040 --> 00:49:54,080
Speaker 2: actually with his manager, Tony Demicciatti's who I knew as

801
00:49:54,120 --> 00:49:57,440
Speaker 2: early as nineteen seventy five when he worked for Conk

802
00:49:57,600 --> 00:50:02,000
Speaker 2: Records and he'd come to town and I knew him, and

803
00:50:02,640 --> 00:50:05,000
Speaker 2: I dialogue with him, and then I said to him,

804
00:50:05,120 --> 00:50:08,080
Speaker 2: I went up to his house in Nichols Canyon. I said,

805
00:50:08,120 --> 00:50:13,120
Speaker 2: I'd like to recommend you need to really meet and

806
00:50:13,160 --> 00:50:16,400
Speaker 2: work with Jimmy Ivan. He gets a really crisp sound.

807
00:50:17,440 --> 00:50:22,080
Speaker 2: Listen to the Southside Johnny Record. I flew to New

808
00:50:22,160 --> 00:50:25,440
Speaker 2: York to Jimmy's apartment. I was introduced to the DJ,

809
00:50:25,560 --> 00:50:29,240
Speaker 2: Carrol Miller was her name. Then I had a meeting

810
00:50:29,280 --> 00:50:33,680
Speaker 2: with Jimmy at the Sunset Marquee and I was initially

811
00:50:33,800 --> 00:50:38,560
Speaker 2: greeted by some of my fellow workers. Oh, Harvey, he's

812
00:50:38,719 --> 00:50:42,560
Speaker 2: just an engineer, I said, But the engineers are now

813
00:50:42,600 --> 00:50:50,360
Speaker 2: becoming producers too, I you know. Denny Rosenkrantz liked the idea.

814
00:50:50,520 --> 00:50:54,360
Speaker 2: Tony Demitchari thought it was interesting. I never heard anything

815
00:50:54,440 --> 00:50:58,040
Speaker 2: after that. I was let go by MCA at the

816
00:50:58,080 --> 00:51:00,439
Speaker 2: eleven and a month mark, not just me, a big

817
00:51:00,440 --> 00:51:04,000
Speaker 2: one hundred people layoff. And then three weeks later I

818
00:51:04,040 --> 00:51:06,800
Speaker 2: open up Record World or cash box and I see

819
00:51:06,800 --> 00:51:09,640
Speaker 2: like a signing photo of like Tom Petty MCA. Maybe

820
00:51:09,760 --> 00:51:14,919
Speaker 2: Jimmy's in the photo were mentioned. Okay, that felt good.

821
00:51:14,920 --> 00:51:19,799
Speaker 2: But also at MCA, because I knew Tom Petty not

822
00:51:20,000 --> 00:51:23,680
Speaker 2: just from singing at clubs, I invited him to a

823
00:51:23,800 --> 00:51:27,200
Speaker 2: Carl Perkins party I put together for Jet Records when

824
00:51:27,200 --> 00:51:31,240
Speaker 2: I was doing some work for Jet Records and interested

825
00:51:31,320 --> 00:51:34,680
Speaker 2: him to Carl Perkins and realized what a record nut

826
00:51:34,719 --> 00:51:37,799
Speaker 2: he was and how much he loved Los Angeles, And

827
00:51:37,880 --> 00:51:40,840
Speaker 2: I said, you know, I'm going to meet Del Shannon.

828
00:51:42,239 --> 00:51:45,160
Speaker 2: I think there has to be something where the new

829
00:51:45,200 --> 00:51:46,880
Speaker 2: people work with the old people.

830
00:51:47,040 --> 00:51:48,960
Speaker 1: I have this I.

831
00:51:48,880 --> 00:51:50,799
Speaker 2: Don't even want to say vision or idea. It wasn't

832
00:51:50,840 --> 00:51:53,400
Speaker 2: like that. I love Del Shannon. I saw him at

833
00:51:53,400 --> 00:51:56,000
Speaker 2: the Roxy in seventy five with the Robs backing him.

834
00:51:56,239 --> 00:51:58,640
Speaker 2: He can still deliver, he can still sing. He just

835
00:51:58,719 --> 00:52:01,520
Speaker 2: needs some songs and people to work with. And he

836
00:52:01,680 --> 00:52:04,160
Speaker 2: still can go to the Philippines in Ireland and do

837
00:52:04,280 --> 00:52:07,960
Speaker 2: all of it. And I set up a meeting at

838
00:52:08,000 --> 00:52:11,640
Speaker 2: Bug Music on Hollywood to Highland with Dan Burgoye, who

839
00:52:11,680 --> 00:52:18,160
Speaker 2: was Dell's manager, And there's Tom meet Dell, and that

840
00:52:18,239 --> 00:52:22,799
Speaker 2: deal got put together. It came out subsequently, subsequently on

841
00:52:22,880 --> 00:52:26,919
Speaker 2: Al Corey's Network Records label. By credit on the back

842
00:52:26,960 --> 00:52:31,239
Speaker 2: of it is Organic Catalyst. So I think I was

843
00:52:31,280 --> 00:52:33,600
Speaker 2: doing some very Oh let me tell you another thing.

844
00:52:33,960 --> 00:52:38,520
Speaker 2: If it means something. The first person, Russ Reagan said

845
00:52:38,520 --> 00:52:44,560
Speaker 2: to me, don't sign your friends. Okay. He had run

846
00:52:44,719 --> 00:52:48,600
Speaker 2: UNI Records that became MCA Records. Don't give your friends

847
00:52:48,640 --> 00:52:51,880
Speaker 2: record deals your last three weeks. But I have a

848
00:52:51,920 --> 00:52:55,160
Speaker 2: friend who's in a really good band named the Nac

849
00:52:55,320 --> 00:52:58,440
Speaker 2: Bruce Gary. I hang out with him. He went to

850
00:52:58,480 --> 00:53:02,040
Speaker 2: taft t Hi. This band. I've just seen them at

851
00:53:02,080 --> 00:53:06,239
Speaker 2: the Starwood. I've seen them in Redondo Beach, at Sweetwater

852
00:53:06,360 --> 00:53:11,160
Speaker 2: In you want to hit records, I've got the group.

853
00:53:12,880 --> 00:53:18,239
Speaker 2: Quit trying to sign your friends, Okay. So I kind

854
00:53:18,239 --> 00:53:20,279
Speaker 2: of watched the next thing happen. But I will say

855
00:53:20,320 --> 00:53:24,120
Speaker 2: Doug Figer and Bruce invited me to the My Sharona

856
00:53:24,360 --> 00:53:30,359
Speaker 2: recording session ironically at MCA Whitney Studios, and I watched

857
00:53:30,400 --> 00:53:32,400
Speaker 2: my showIn ar I was given a platinum album by

858
00:53:32,440 --> 00:53:36,879
Speaker 2: the group for My Sharona, and I wrote about them

859
00:53:36,880 --> 00:53:39,720
Speaker 2: a bit a melody maker, but I just thought hits

860
00:53:40,239 --> 00:53:45,239
Speaker 2: well done. So I look back at that world of MCA,

861
00:53:45,719 --> 00:53:47,799
Speaker 2: I just kind of thought, well, somebody will hire me

862
00:53:47,880 --> 00:53:49,840
Speaker 2: again at record labels to do the same thing, and

863
00:53:49,880 --> 00:53:53,280
Speaker 2: it just didn't quite work out, and so the writing

864
00:53:53,320 --> 00:53:56,400
Speaker 2: thing became maybe the priority. So when I see Jimmy

865
00:53:56,440 --> 00:53:58,239
Speaker 2: Ivy in Every three four or five years at a

866
00:53:58,280 --> 00:54:03,240
Speaker 2: function or some you know, screening or something. He's always

867
00:54:03,280 --> 00:54:07,320
Speaker 2: very accommodating, hugs great. I saw him at Patty Smith

868
00:54:07,360 --> 00:54:11,600
Speaker 2: at the Roxy and he said, I'm really happy you're

869
00:54:11,600 --> 00:54:14,680
Speaker 2: doing these books. My daughter would like to really get

870
00:54:14,680 --> 00:54:16,680
Speaker 2: a copy of your Lennard Cohen books. I sent it

871
00:54:16,680 --> 00:54:21,040
Speaker 2: to him at Apple, and you know I take pride

872
00:54:21,040 --> 00:54:24,440
Speaker 2: in that. And I will say one thing. Until Warren

873
00:54:24,560 --> 00:54:27,160
Speaker 2: Zanes put out his book on Tom Petty, which I

874
00:54:27,200 --> 00:54:33,200
Speaker 2: was interviewed for, you don't really see the Harvey Kubernick

875
00:54:33,360 --> 00:54:37,480
Speaker 2: small connection in the in the parade. But I will

876
00:54:37,520 --> 00:54:42,200
Speaker 2: say in twenty fourteen, when I was doing Turn Up

877
00:54:42,200 --> 00:54:46,000
Speaker 2: the Radio, I said to Tony Demitriotti's who I remained

878
00:54:46,000 --> 00:54:51,400
Speaker 2: in contact with, will Tom write the forward.

879
00:54:51,080 --> 00:54:51,920
Speaker 1: To my book?

880
00:54:53,080 --> 00:54:56,319
Speaker 2: I know what shin dig and all these TV shows

881
00:54:56,360 --> 00:54:59,080
Speaker 2: means to him. He said, I'll run up by Tom.

882
00:55:00,160 --> 00:55:04,920
Speaker 2: Days later. Tom would love to do it, huge intro,

883
00:55:05,120 --> 00:55:11,680
Speaker 2: name on the front cover, gorgeous essay. And that's meant

884
00:55:11,719 --> 00:55:15,600
Speaker 2: a lot to me, because books get discovered over decades

885
00:55:15,640 --> 00:55:18,800
Speaker 2: and years. I need to know you knew Tom Petty,

886
00:55:19,360 --> 00:55:22,000
Speaker 2: and so the pity people start buying the book just

887
00:55:22,080 --> 00:55:26,200
Speaker 2: because Tom wrote an intro in website. People we call them.

888
00:55:26,840 --> 00:55:32,800
Speaker 2: So that is my connection to Tom and Jimmy and Del Shannon.

889
00:55:33,200 --> 00:55:38,560
Speaker 2: And it continues today because forty years later, Dan Burgoyce

890
00:55:38,719 --> 00:55:41,239
Speaker 2: calls me and said, this looks like there's a Del

891
00:55:41,320 --> 00:55:44,960
Speaker 2: Shannon documentary that's going to be done. It won't be

892
00:55:45,080 --> 00:55:48,759
Speaker 2: done until you're involved. And I said, oh, you know,

893
00:55:49,080 --> 00:55:51,759
Speaker 2: meet my quote, I'll go on screen. He said, oh no, no,

894
00:55:51,880 --> 00:55:55,040
Speaker 2: you are needed to be in production. Can you be

895
00:55:55,160 --> 00:55:58,640
Speaker 2: the consulting producer and help out on the writing? I said,

896
00:55:58,719 --> 00:56:02,800
Speaker 2: I'm in. So these things have paid some dividends later.

897
00:56:02,880 --> 00:56:07,399
Speaker 2: But I will say my dad was a stockbroker from

898
00:56:07,440 --> 00:56:11,480
Speaker 2: age forty to eighty six, and I knew that seeds

899
00:56:11,920 --> 00:56:16,120
Speaker 2: and plantation sometimes take a long time to come to fruition.

900
00:56:16,719 --> 00:56:20,759
Speaker 2: So that's my MCA story. I could bore you with

901
00:56:20,840 --> 00:56:23,799
Speaker 2: bands I tried to sign or brought them tails up there.

902
00:56:23,840 --> 00:56:27,799
Speaker 2: I thought Martha was magical. It just, you know, the

903
00:56:27,840 --> 00:56:31,680
Speaker 2: company wasn't set up. I think for me and some

904
00:56:31,719 --> 00:56:33,080
Speaker 2: of the things I wanted to do. I want to

905
00:56:33,160 --> 00:56:35,920
Speaker 2: have Fagan and Becker write liner notes on the Jazz

906
00:56:35,960 --> 00:56:37,280
Speaker 2: Impulse stuff.

907
00:56:38,160 --> 00:56:38,640
Speaker 1: Did I know?

908
00:56:38,840 --> 00:56:41,480
Speaker 2: I said, it makes sense. They're on ABC Records. They're

909
00:56:41,520 --> 00:56:44,920
Speaker 2: jazz people. All jazz doesn't sell, Okay, it won't happen.

910
00:56:45,480 --> 00:56:48,800
Speaker 2: So that's the MCA world pre ume.

911
00:56:49,560 --> 00:56:54,240
Speaker 1: Okay. So prior to MCA, you're writing for Melody Maker.

912
00:56:54,760 --> 00:56:57,120
Speaker 1: Is writing your only job or do you have to

913
00:56:57,120 --> 00:56:59,080
Speaker 1: have a day job to support yourself?

914
00:57:01,120 --> 00:57:05,680
Speaker 2: I was writing. I was writing for Crowdaddy magazine. I

915
00:57:05,719 --> 00:57:08,800
Speaker 2: did a cover story in seventy six on Robbie Robertson

916
00:57:08,840 --> 00:57:12,000
Speaker 2: and I went to the Last Waltz. I started writing

917
00:57:12,040 --> 00:57:16,200
Speaker 2: for Sounds magazine. Anywhere there was ten, fifteen or twenty

918
00:57:16,240 --> 00:57:20,480
Speaker 2: five dollars to be made. I don't I never got

919
00:57:20,480 --> 00:57:25,720
Speaker 2: in Rolling Stone, that's been fifty years, not interesting, not interested.

920
00:57:26,280 --> 00:57:32,040
Speaker 2: Enough money could trickle in because I think rent, and

921
00:57:32,040 --> 00:57:35,040
Speaker 2: we're going back to the mid seventies might have been

922
00:57:35,080 --> 00:57:38,240
Speaker 2: three hundred dollars a month or something. You could kind

923
00:57:38,240 --> 00:57:40,520
Speaker 2: of live there. Plus I also want to say another thing,

924
00:57:41,240 --> 00:57:46,840
Speaker 2: the luxury of nineteen seventy two to nineteen eighty of

925
00:57:47,000 --> 00:57:50,480
Speaker 2: press parties. There were at least two or three a week.

926
00:57:50,960 --> 00:57:53,880
Speaker 2: There was food at Chasin's, there was food at the

927
00:57:53,920 --> 00:57:57,800
Speaker 2: brad Scaler. There was nash you could eat and I'd

928
00:57:57,840 --> 00:58:01,520
Speaker 2: have to eat the next day, so I wasn't co

929
00:58:01,720 --> 00:58:05,920
Speaker 2: dependent on fast food and stuff like that. And the

930
00:58:06,120 --> 00:58:08,360
Speaker 2: RCATH went on for about a year and a half

931
00:58:09,160 --> 00:58:12,880
Speaker 2: and grayland Landon, I never knew what the word mentor met.

932
00:58:13,440 --> 00:58:18,000
Speaker 2: He just saw something in me that I had. Again,

933
00:58:18,040 --> 00:58:22,000
Speaker 2: I'm coming from a library record collector world. But the

934
00:58:22,080 --> 00:58:25,720
Speaker 2: writing was kind of run on sentences and sloppy. But

935
00:58:25,800 --> 00:58:29,080
Speaker 2: he knew the information was so different. He said, one time,

936
00:58:30,320 --> 00:58:33,560
Speaker 2: meet jose Feliciano. Justin and I and Pierce came to

937
00:58:33,600 --> 00:58:37,880
Speaker 2: the recording session. You need to know that George Tipton,

938
00:58:38,040 --> 00:58:40,720
Speaker 2: or Rick Gerard or Al Schmid or Richie Schmidt. Who

939
00:58:40,720 --> 00:58:43,640
Speaker 2: are these people? They're the engineers. Make sure to meet

940
00:58:43,680 --> 00:58:47,600
Speaker 2: the engineers. They're really important. Try to get their name

941
00:58:47,640 --> 00:58:50,360
Speaker 2: out there. And I will say, for the first five

942
00:58:50,480 --> 00:58:54,120
Speaker 2: or ten years of my journalism career, if you didn't

943
00:58:54,200 --> 00:58:57,680
Speaker 2: call it career, it was just an expedition. The exception

944
00:58:57,760 --> 00:59:02,200
Speaker 2: of the Jimmy ive In feature. When I would quote engineers,

945
00:59:03,040 --> 00:59:05,600
Speaker 2: nine out of ten times the editors would cut the

946
00:59:05,640 --> 00:59:08,760
Speaker 2: engineers out of the article. Sometimes there was word counts,

947
00:59:09,200 --> 00:59:15,040
Speaker 2: space problems. They weren't sexy. I was told that, But

948
00:59:15,160 --> 00:59:18,360
Speaker 2: there's no really vibe about them. I just went I

949
00:59:18,520 --> 00:59:22,720
Speaker 2: went deeper into engineer stuff, and so the RC seminars

950
00:59:22,720 --> 00:59:26,400
Speaker 2: were very important because you could hear god. I went

951
00:59:26,440 --> 00:59:29,800
Speaker 2: to a press party there the company playback of the

952
00:59:29,840 --> 00:59:37,120
Speaker 2: Elvis and Hawaii show Wow, and then Graylan, somebody from

953
00:59:37,160 --> 00:59:41,040
Speaker 2: a record company, bad Mouth made a Graylan, and Graylan

954
00:59:41,160 --> 00:59:43,320
Speaker 2: called me at home. He said, I'm beginning to know

955
00:59:43,440 --> 00:59:46,160
Speaker 2: you. You you're not the kind of guy that would take

956
00:59:46,160 --> 00:59:49,480
Speaker 2: somebody's girlfriend. I said, no, I'm just happy if there's

957
00:59:49,520 --> 00:59:53,800
Speaker 2: a girl near me. And he said, I've got two

958
00:59:53,800 --> 00:59:58,280
Speaker 2: tickets for you and Justin Pierce for Elvis Presley seventy two.

959
01:00:00,240 --> 01:00:02,760
Speaker 2: I said wow. My parents went to Vegas to see him,

960
01:00:03,240 --> 01:00:05,840
Speaker 2: and my mother said, take down that Mick Jagger poster.

961
01:00:06,000 --> 01:00:08,720
Speaker 2: Elvis Presley is the most handsome devill I've ever seen.

962
01:00:09,400 --> 01:00:10,240
Speaker 1: My parents love.

963
01:00:10,320 --> 01:00:12,520
Speaker 2: I said, well, I saw it was Presley in nineteen

964
01:00:12,600 --> 01:00:15,000
Speaker 2: seventy at the Forum. I took three buses to get there,

965
01:00:15,600 --> 01:00:19,160
Speaker 2: and he said, I knew you love Elvis Presley. Pick

966
01:00:19,240 --> 01:00:23,080
Speaker 2: up your tickets. Don't tell anybody, but if you come

967
01:00:23,120 --> 01:00:26,760
Speaker 2: around five point thirty, you'll be able to say hello

968
01:00:26,880 --> 01:00:32,200
Speaker 2: to Colonel Parker. I said, really, you mean, there's like

969
01:00:32,600 --> 01:00:39,200
Speaker 2: his manager, right, yeah, I wait there, the Colonel comes

970
01:00:39,200 --> 01:00:41,360
Speaker 2: out of the elevator in a cane. Hello, we made

971
01:00:41,400 --> 01:00:44,400
Speaker 2: him blah blah blah. He was going to the ranch market.

972
01:00:44,480 --> 01:00:47,520
Speaker 2: I remember that. And every word out of Colonel was

973
01:00:47,560 --> 01:00:52,520
Speaker 2: the word promotion, marketing, and merchandise. I was hearing these

974
01:00:52,600 --> 01:00:59,360
Speaker 2: terms marketing and merchandise and standalone items and billboards. I

975
01:00:59,400 --> 01:01:01,640
Speaker 2: didn't know what was going on, but I was grasping.

976
01:01:01,760 --> 01:01:09,720
Speaker 2: There's machines behind the music people. There's teams. I knew

977
01:01:09,760 --> 01:01:12,960
Speaker 2: there was William Morris, Marshall Burrell, who I knew started

978
01:01:12,960 --> 01:01:16,200
Speaker 2: the rock division at William Morris and signed the Beach Boys.

979
01:01:17,320 --> 01:01:20,240
Speaker 2: I knew about agents. I didn't know there were all

980
01:01:20,280 --> 01:01:24,080
Speaker 2: these other people int of alignments had my mind blown

981
01:01:24,120 --> 01:01:27,120
Speaker 2: in seventy two on the Elvis Show, Sam in seventy

982
01:01:27,120 --> 01:01:34,000
Speaker 2: three saw five or six times and Graylon really he

983
01:01:34,200 --> 01:01:39,640
Speaker 2: just helped out because as this guy was bad mouthing

984
01:01:39,680 --> 01:01:43,360
Speaker 2: me comically, I should say, some of the record label

985
01:01:43,440 --> 01:01:46,560
Speaker 2: publicists weren't calling me back anymore. Or I wasn't getting

986
01:01:46,600 --> 01:01:51,000
Speaker 2: the I wasn't getting the records in the mail. Wow,

987
01:01:51,080 --> 01:01:54,920
Speaker 2: what's going on here? But he said, let's have lunch

988
01:01:54,920 --> 01:01:58,280
Speaker 2: every six months. I think you're going to be around

989
01:01:58,320 --> 01:02:02,000
Speaker 2: for a while. He ever, I didn't really need that

990
01:02:02,120 --> 01:02:05,200
Speaker 2: big push. Looking back, I did need that big push.

991
01:02:05,960 --> 01:02:08,960
Speaker 2: It was Tim Harden. I look for a reason to believe,

992
01:02:09,880 --> 01:02:12,240
Speaker 2: and he said, you got to work on the writing.

993
01:02:12,920 --> 01:02:16,000
Speaker 2: But what you get out of our artists is so different.

994
01:02:16,400 --> 01:02:18,800
Speaker 2: I said. He said, you know what's good about you.

995
01:02:18,800 --> 01:02:22,600
Speaker 2: You don't hate disco music. I said no. He said,

996
01:02:22,600 --> 01:02:25,520
Speaker 2: would you like to interview the Hughes Corporation who have

997
01:02:25,520 --> 01:02:28,520
Speaker 2: a hit with Rock the Boat. Nobody will talk to

998
01:02:28,600 --> 01:02:32,520
Speaker 2: them because your other rock people don't want something to

999
01:02:32,560 --> 01:02:35,720
Speaker 2: do with disco. They think it's phony and mechanical. I said,

1000
01:02:35,800 --> 01:02:40,520
Speaker 2: I'm there and I just liked. And then I got

1001
01:02:40,560 --> 01:02:45,280
Speaker 2: invited to Donna Summers. Neil Bogart's people called. I went

1002
01:02:45,320 --> 01:02:48,640
Speaker 2: to the Donna Summers listening party where she was introduced

1003
01:02:49,760 --> 01:02:54,840
Speaker 2: in Beverly Hills, and then I got an assignment from

1004
01:02:54,920 --> 01:03:00,960
Speaker 2: melody maker Barry White was going to England. This is

1005
01:03:01,000 --> 01:03:06,520
Speaker 2: maybe seventy six. Do you want to meet Barry White? Yes.

1006
01:03:08,200 --> 01:03:11,120
Speaker 2: I didn't have a problem with women wearing spandis dance.

1007
01:03:11,200 --> 01:03:14,080
Speaker 2: I didn't never try to colude my Disco World is

1008
01:03:14,120 --> 01:03:17,160
Speaker 2: I love the thraw Vicky Sue Robinson. I love the

1009
01:03:17,400 --> 01:03:20,680
Speaker 2: I just liked the music because it was loud and

1010
01:03:20,720 --> 01:03:25,480
Speaker 2: it could bring me to studios like RCA United Sunset,

1011
01:03:25,800 --> 01:03:27,720
Speaker 2: and you could also talk to the engineers and the

1012
01:03:27,760 --> 01:03:30,760
Speaker 2: producers about well. Elvis was just in two days ago

1013
01:03:30,880 --> 01:03:35,480
Speaker 2: doing pre records on a you know what. PAINK Crawford

1014
01:03:35,520 --> 01:03:39,040
Speaker 2: was the guy's name, and engineer Leslie Crawford was his daughter.

1015
01:03:39,120 --> 01:03:39,600
Speaker 1: Remember that.

1016
01:03:40,760 --> 01:03:45,000
Speaker 2: And I go to meet Barry White. You know, there's

1017
01:03:45,000 --> 01:03:47,160
Speaker 2: some people you connect with and like Arry White is

1018
01:03:47,160 --> 01:03:50,240
Speaker 2: the closing chapter, and I turn up the radio book again.

1019
01:03:50,480 --> 01:03:53,880
Speaker 2: I wasn't in competition with people. I was in collaboration.

1020
01:03:54,440 --> 01:03:58,760
Speaker 2: That's why if you investigate my work or books. I'm

1021
01:03:58,800 --> 01:04:02,160
Speaker 2: a big believer in the multi voice narrative, other people

1022
01:04:02,280 --> 01:04:05,560
Speaker 2: coming in. I'm like John Ford with his stock company.

1023
01:04:05,720 --> 01:04:09,920
Speaker 2: Plus I like bringing people into the action. I realize,

1024
01:04:09,960 --> 01:04:11,960
Speaker 2: you know, I'm writing for Melody Maker, that's a million

1025
01:04:12,000 --> 01:04:16,600
Speaker 2: people a week, Crowdaddy magazine, it's really respected. There are

1026
01:04:16,720 --> 01:04:20,640
Speaker 2: people that are going to invest in me. I'm going

1027
01:04:20,720 --> 01:04:24,439
Speaker 2: to bring them into my own world and not care

1028
01:04:24,480 --> 01:04:28,240
Speaker 2: about fawning over somebody or meeting somebody or why does

1029
01:04:28,240 --> 01:04:32,920
Speaker 2: this lead to? And I met Barry White. There's some

1030
01:04:33,040 --> 01:04:35,479
Speaker 2: people in life where you meet and you feel you've

1031
01:04:35,480 --> 01:04:39,920
Speaker 2: known them your whole life. And I said, I know

1032
01:04:40,000 --> 01:04:43,960
Speaker 2: a lot about you Berry White. Well, what do you know?

1033
01:04:44,760 --> 01:04:48,240
Speaker 2: I said, Oh, I know that because I read a

1034
01:04:48,280 --> 01:04:53,160
Speaker 2: couple articles. I know that you were involved with Bob

1035
01:04:53,200 --> 01:04:56,960
Speaker 2: and Earl's Harlem Shuffle and Arranging. I know you were

1036
01:04:57,000 --> 01:05:00,000
Speaker 2: the drummer of Jackie Lee's do the Duck at least

1037
01:05:00,080 --> 01:05:03,600
Speaker 2: the road Drummer. I know that you made an album

1038
01:05:03,760 --> 01:05:07,600
Speaker 2: on Delphi Records and you did an amazing version of

1039
01:05:07,720 --> 01:05:13,680
Speaker 2: in the Ghetto. He said, let's do this interview at

1040
01:05:13,680 --> 01:05:18,160
Speaker 2: my home in Encino, and uh, I've got a movie

1041
01:05:18,280 --> 01:05:22,800
Speaker 2: theater there. He said, really? He said, do you like

1042
01:05:22,880 --> 01:05:25,960
Speaker 2: science fiction movies? I said, I'm the King of the

1043
01:05:26,000 --> 01:05:30,480
Speaker 2: Twilight Zone. He said, oh, I'm going to be playing

1044
01:05:30,480 --> 01:05:34,920
Speaker 2: Invaders from Mars today. Will you watch Invaders from Mars?

1045
01:05:35,520 --> 01:05:38,360
Speaker 2: He said, I know you dig Hillary Brook in that movie.

1046
01:05:38,560 --> 01:05:41,120
Speaker 2: I said, I know that movie backwards and forward. But

1047
01:05:41,200 --> 01:05:44,360
Speaker 2: can we do an interview for Melody Baker? After? He

1048
01:05:44,480 --> 01:05:48,400
Speaker 2: said yeah, but will you also come to my recording session?

1049
01:05:49,400 --> 01:05:54,920
Speaker 2: Can't get enough of your love at MCA, Whitney, I said, what,

1050
01:05:55,520 --> 01:05:59,680
Speaker 2: I don't even have to think about this stuff. I

1051
01:05:59,760 --> 01:06:03,440
Speaker 2: walked there and I recognize a guy named Don Peak

1052
01:06:05,320 --> 01:06:08,720
Speaker 2: kind of knew who he was from the Hollywood Ranch Market. Wait,

1053
01:06:08,760 --> 01:06:11,320
Speaker 2: that's the guy from the Hollywood Ranch Market. He's actually

1054
01:06:11,360 --> 01:06:16,560
Speaker 2: a guitar player. Harvey, do you know wal Wall Watson? No? Wow.

1055
01:06:17,760 --> 01:06:22,680
Speaker 2: I watched that session and I remember they ordered ribs

1056
01:06:22,760 --> 01:06:26,479
Speaker 2: in and had so much sauce on it you could

1057
01:06:26,520 --> 01:06:28,920
Speaker 2: like carve your initials at the back of the ribs

1058
01:06:29,000 --> 01:06:35,040
Speaker 2: on the sauce because Barry like Nash and it was incredible.

1059
01:06:35,200 --> 01:06:39,680
Speaker 2: So Barry, I was so thankful for the introduction to

1060
01:06:39,760 --> 01:06:42,560
Speaker 2: him and a few other hangs over ten years, because

1061
01:06:42,600 --> 01:06:48,160
Speaker 2: he had quote struggled for maybe ten years to cut

1062
01:06:48,200 --> 01:06:50,919
Speaker 2: a record under his own name, or get his work

1063
01:06:50,960 --> 01:06:53,240
Speaker 2: out there, or done little things for indie labels under

1064
01:06:53,280 --> 01:06:57,600
Speaker 2: other names. But he was Barry White. And even though

1065
01:06:57,640 --> 01:07:01,160
Speaker 2: my friends, oh, it's just disco music, Don Peaks said,

1066
01:07:01,200 --> 01:07:03,920
Speaker 2: you know, it's love music. It's not disco music.

1067
01:07:04,560 --> 01:07:08,040
Speaker 4: Listen to Gene Page's charts.

1068
01:07:08,120 --> 01:07:11,800
Speaker 2: Charts. Harvey, you think you're cool because you know the

1069
01:07:11,880 --> 01:07:15,280
Speaker 2: name of an engineer. You need to know about the

1070
01:07:15,400 --> 01:07:19,360
Speaker 2: role of the arranger, well, I know, you know Don

1071
01:07:19,440 --> 01:07:23,120
Speaker 2: Costa and Gordon Jenkins that Sinatra. He said, the arrangers

1072
01:07:23,120 --> 01:07:26,320
Speaker 2: are the secret sauce. So I kind of watched this

1073
01:07:26,520 --> 01:07:31,160
Speaker 2: session and I said, I'm sticking in this business. I

1074
01:07:31,160 --> 01:07:33,760
Speaker 2: don't know where it's gonna go. I'm going to keep

1075
01:07:34,000 --> 01:07:37,680
Speaker 2: writing and if nobody else wants to talk to these people,

1076
01:07:38,640 --> 01:07:42,160
Speaker 2: I'm going to talk to these people. Now. The disco

1077
01:07:42,240 --> 01:07:47,160
Speaker 2: thing dried up pretty quick and your punk rock came in.

1078
01:07:47,200 --> 01:07:49,280
Speaker 2: We were both at the Whiskey and seventy seven for

1079
01:07:49,440 --> 01:07:56,360
Speaker 2: Elvis Costello's debut and did Johnny Cougar open? No, okay,

1080
01:07:56,920 --> 01:08:00,680
Speaker 2: there was a local band I forgot who opened, so

1081
01:08:00,800 --> 01:08:04,800
Speaker 2: that was good, and I said, what can I really

1082
01:08:04,880 --> 01:08:07,600
Speaker 2: like this Elvis Costello. I'm aware of all that energy

1083
01:08:07,600 --> 01:08:11,560
Speaker 2: at Stiff Records. I have to give this guy an album.

1084
01:08:12,360 --> 01:08:16,640
Speaker 2: I have a feeling he really likes the International Submarine

1085
01:08:16,680 --> 01:08:19,679
Speaker 2: Band and stuff like that. I handed him a rare

1086
01:08:19,840 --> 01:08:23,879
Speaker 2: vinyl of that album, which he could never find in England.

1087
01:08:24,320 --> 01:08:28,280
Speaker 2: He was so thankful he ended up writing a liner

1088
01:08:28,320 --> 01:08:31,600
Speaker 2: notes for I think a double gram Parsons reissue on Reprise,

1089
01:08:32,360 --> 01:08:34,160
Speaker 2: And over the years I've got to talk to him

1090
01:08:34,160 --> 01:08:38,000
Speaker 2: and interviewed him for Musician magazine. So some of this

1091
01:08:38,240 --> 01:08:42,240
Speaker 2: journey starts not because I'm determined I'm going to do it.

1092
01:08:43,560 --> 01:08:46,280
Speaker 2: I often will eat the food nobody else wanted to taste.

1093
01:08:46,720 --> 01:08:49,920
Speaker 2: And I also wanted to bring the people, the readers.

1094
01:08:50,240 --> 01:08:53,759
Speaker 2: This is pre Internet. I wanted to bring the people

1095
01:08:53,880 --> 01:08:58,479
Speaker 2: with me. I just thought there was a little bit

1096
01:08:58,720 --> 01:09:01,559
Speaker 2: of obligation. Springsten talks about we're all in this together

1097
01:09:01,600 --> 01:09:05,080
Speaker 2: and not free until everybody's free. But I knew, because

1098
01:09:05,120 --> 01:09:08,720
Speaker 2: I developed a friendship with Steve van zandt going back

1099
01:09:08,720 --> 01:09:13,960
Speaker 2: to seventy five, that you just don't report. You have

1100
01:09:14,040 --> 01:09:18,320
Speaker 2: to bring people into the action and bring something different

1101
01:09:18,360 --> 01:09:22,120
Speaker 2: and new. And I think I do that either with

1102
01:09:22,240 --> 01:09:26,120
Speaker 2: other people's interviews or visuals or finding the photos. Again,

1103
01:09:26,200 --> 01:09:30,120
Speaker 2: it's my librarian skills that I have access to collect

1104
01:09:30,200 --> 01:09:35,160
Speaker 2: pictures and tune DEXes that augment the narrative that I

1105
01:09:35,200 --> 01:09:35,880
Speaker 2: put out there.

1106
01:09:42,840 --> 01:09:49,880
Speaker 1: Okay, in your fifty year career other than MCA, did

1107
01:09:49,920 --> 01:09:53,960
Speaker 1: you ever have to get a day job? Also, how

1108
01:09:53,960 --> 01:09:58,080
Speaker 1: did the economics work? The last time we discussed this,

1109
01:09:58,160 --> 01:10:00,559
Speaker 1: which is not recently, you were living in the San

1110
01:10:00,640 --> 01:10:03,839
Speaker 1: Fernando Valley. You did not own a car, you rented

1111
01:10:03,840 --> 01:10:05,320
Speaker 1: a car when you needed one.

1112
01:10:05,439 --> 01:10:09,520
Speaker 2: Yeah, I started renting cars for rite off purposes and transportation.

1113
01:10:10,600 --> 01:10:13,880
Speaker 2: Part of that was I was either on the cusp

1114
01:10:13,960 --> 01:10:17,080
Speaker 2: of always getting a company car from a company or

1115
01:10:17,120 --> 01:10:20,240
Speaker 2: something that would fall through. So I said, well, I

1116
01:10:20,280 --> 01:10:22,680
Speaker 2: fix this car. In three weeks, I'm going to have

1117
01:10:23,720 --> 01:10:27,559
Speaker 2: a new job with the company car. And so I

1118
01:10:27,680 --> 01:10:31,920
Speaker 2: made myself do a lot of walking and not be

1119
01:10:32,080 --> 01:10:37,920
Speaker 2: car dependent. This is even pre pandemic. And I like

1120
01:10:38,040 --> 01:10:42,120
Speaker 2: the idea of renting a car for a weekend and

1121
01:10:42,160 --> 01:10:46,639
Speaker 2: then being landlocked during the week and doing the twenty

1122
01:10:46,720 --> 01:10:52,920
Speaker 2: hours of writing, revision editing, phone interviews. It just it

1123
01:10:53,120 --> 01:10:56,719
Speaker 2: was the best way to get my action out there.

1124
01:10:57,240 --> 01:11:01,040
Speaker 1: Okay, you talk about these jobs, potential jobs with a

1125
01:11:01,080 --> 01:11:05,760
Speaker 1: company car. So have you survived all these years since

1126
01:11:05,880 --> 01:11:10,559
Speaker 1: MCA on your writing alone or have you had to

1127
01:11:10,600 --> 01:11:12,479
Speaker 1: supplement it with outside income.

1128
01:11:13,600 --> 01:11:17,120
Speaker 2: I've had to do some outside income income streams, but

1129
01:11:17,439 --> 01:11:21,160
Speaker 2: ninety five percent of them are music related. For example,

1130
01:11:22,120 --> 01:11:29,880
Speaker 2: I started I started writing bios for record labels and bands,

1131
01:11:30,400 --> 01:11:33,639
Speaker 2: and I would get a fee because they liked my writing.

1132
01:11:34,720 --> 01:11:39,720
Speaker 2: It was music related, and I got to also veer

1133
01:11:39,880 --> 01:11:44,559
Speaker 2: away from the oldies music in the classic rock world.

1134
01:11:45,160 --> 01:11:48,559
Speaker 2: I got to new bands that grew up reading me,

1135
01:11:48,640 --> 01:11:51,400
Speaker 2: say hey, I have a band, will you work with us?

1136
01:11:52,280 --> 01:11:54,280
Speaker 2: Will you write a press release or you write a bio?

1137
01:11:54,320 --> 01:11:56,800
Speaker 2: Will you come to the show, And I'd say no

1138
01:11:56,920 --> 01:12:00,920
Speaker 2: more freebies? No, no, well you want to hire you.

1139
01:12:02,080 --> 01:12:06,320
Speaker 2: The world changed when the Internet arrived in the late nineties.

1140
01:12:07,680 --> 01:12:12,320
Speaker 2: Why did it change my old catalog from all my

1141
01:12:12,479 --> 01:12:17,040
Speaker 2: articles seventy three to ninety eight, all of a sudden

1142
01:12:17,120 --> 01:12:22,719
Speaker 2: are available, people are and all of a sudden box sets.

1143
01:12:23,200 --> 01:12:29,439
Speaker 2: It's post CD reissues. These all these new products are

1144
01:12:29,439 --> 01:12:33,160
Speaker 2: coming out of old music. But new bands would seek

1145
01:12:33,240 --> 01:12:37,280
Speaker 2: me out or an R consultancy. I did some of

1146
01:12:37,280 --> 01:12:42,439
Speaker 2: that because the MCA credit was on my resume. I'm

1147
01:12:42,479 --> 01:12:46,120
Speaker 2: not even in LinkedIn. I It's just people find me.

1148
01:12:46,400 --> 01:12:49,839
Speaker 2: Or I was still going to music or book events

1149
01:12:50,040 --> 01:12:53,400
Speaker 2: or still I was always on record company and film

1150
01:12:53,439 --> 01:12:57,800
Speaker 2: and TV lists, and a lot of the work was organic.

1151
01:12:58,680 --> 01:13:02,400
Speaker 2: The first book deal was in two thousand and four,

1152
01:13:04,160 --> 01:13:10,160
Speaker 2: thirty five hundred dollars advance. Wow, you mean a real

1153
01:13:10,200 --> 01:13:12,479
Speaker 2: book here, Yeah, we want to do a book with you,

1154
01:13:12,800 --> 01:13:16,080
Speaker 2: University of Mexico Press. We want to do a second

1155
01:13:16,080 --> 01:13:21,519
Speaker 2: book with you. I think I can. I could keep

1156
01:13:21,600 --> 01:13:25,920
Speaker 2: this going because I saw the Internet, and I saw

1157
01:13:25,960 --> 01:13:30,880
Speaker 2: the music that that people thought didn't have longevity maybe

1158
01:13:30,960 --> 01:13:33,760
Speaker 2: a decade or two. It was going to have a

1159
01:13:33,800 --> 01:13:37,519
Speaker 2: fifty year career. I didn't know it would turn into

1160
01:13:37,560 --> 01:13:41,200
Speaker 2: what it's turned into. But Russ Reagan said in the eighties,

1161
01:13:41,840 --> 01:13:43,919
Speaker 2: one day you'll be able to go to a concert

1162
01:13:44,000 --> 01:13:47,280
Speaker 2: and leave with a recording from it. And I had

1163
01:13:47,280 --> 01:13:50,000
Speaker 2: people like Russ Reagan and a few other people that

1164
01:13:50,040 --> 01:13:53,280
Speaker 2: would check in with me and said stick with it, kid.

1165
01:13:53,640 --> 01:13:56,320
Speaker 2: I said, well, I'm fifty years old. Now there's no

1166
01:13:56,360 --> 01:14:00,760
Speaker 2: book deal, but I can't get an agent. But I'm

1167
01:14:00,760 --> 01:14:02,840
Speaker 2: not going to be And then Patty Smith and I

1168
01:14:02,840 --> 01:14:07,560
Speaker 2: did an interview. She said, don't give anybody a sob story. Said, no,

1169
01:14:07,640 --> 01:14:09,639
Speaker 2: I'm not going to bitch. How the way things work out,

1170
01:14:09,680 --> 01:14:14,959
Speaker 2: it could be better. I believe I'm doing a service.

1171
01:14:15,920 --> 01:14:21,960
Speaker 2: I believe something is it's devotional art, and that maybe

1172
01:14:22,600 --> 01:14:26,800
Speaker 2: what I write might introduce five, ten, fifty, or one

1173
01:14:26,880 --> 01:14:31,559
Speaker 2: hundred people to the Mamas and Papas, or the music

1174
01:14:31,600 --> 01:14:35,280
Speaker 2: of East La or the group's spirit or God forbid,

1175
01:14:36,000 --> 01:14:39,280
Speaker 2: will you find out about Lauren Nero already and I

1176
01:14:39,400 --> 01:14:44,639
Speaker 2: realized that was happening when I would meet people. Oh

1177
01:14:44,680 --> 01:14:46,840
Speaker 2: my god. Me and my boyfriend bought this out by

1178
01:14:47,160 --> 01:14:49,320
Speaker 2: Blah Batye Black because we read it about something you

1179
01:14:49,360 --> 01:14:54,680
Speaker 2: did years ago. Thank you. That stuff was just it

1180
01:14:54,720 --> 01:14:57,519
Speaker 2: was like getting a booster shot. It's some saying. It

1181
01:14:57,640 --> 01:15:01,920
Speaker 2: really pushed me forward. The book started happening.

1182
01:15:02,000 --> 01:15:05,880
Speaker 1: Yeah, you're in your seventies. You could die tomorrow, you

1183
01:15:05,880 --> 01:15:09,120
Speaker 1: could live another thirty years. How do you plan to

1184
01:15:09,160 --> 01:15:12,080
Speaker 1: support yourself as you continue? If you have any savings,

1185
01:15:12,080 --> 01:15:13,519
Speaker 1: you've inherited any money.

1186
01:15:14,200 --> 01:15:18,960
Speaker 2: Well, what has happened in the last twelve or fourteen years.

1187
01:15:19,479 --> 01:15:23,920
Speaker 2: The world of music documentaries has really happened, and I've

1188
01:15:23,960 --> 01:15:27,040
Speaker 2: been asked to be in them, and not just on screen,

1189
01:15:27,880 --> 01:15:35,280
Speaker 2: but actually production consultancy. Money comes in the mail, direct deposit.

1190
01:15:37,120 --> 01:15:40,960
Speaker 2: Working on documentaries all the time. You also about to

1191
01:15:40,960 --> 01:15:44,880
Speaker 2: sign another book deal for a book on the photographer

1192
01:15:45,040 --> 01:15:48,000
Speaker 2: Ed Carriff. My brother Kenneth and I did a book

1193
01:15:48,040 --> 01:15:53,080
Speaker 2: on Guy Webster, the photographer, and I'm currently involved in

1194
01:15:53,240 --> 01:15:57,200
Speaker 2: a music documentary on the history of LA recording studios

1195
01:15:57,240 --> 01:16:00,479
Speaker 2: with the focus on gold Star Studios, where I'm like

1196
01:16:00,520 --> 01:16:04,160
Speaker 2: a writer involved in the interviews, writing the questions, and

1197
01:16:04,200 --> 01:16:12,439
Speaker 2: co producing. These are fee based jobs. It's all working.

1198
01:16:13,320 --> 01:16:15,439
Speaker 2: And yes, I have a car, you know.

1199
01:16:15,720 --> 01:16:18,120
Speaker 1: So yeah, wait, you'll have a car. You have a

1200
01:16:18,160 --> 01:16:20,479
Speaker 1: car now, yeah yeah, so when did you get a car?

1201
01:16:20,880 --> 01:16:25,240
Speaker 2: Very recently? And it's just but the walking. I got

1202
01:16:25,240 --> 01:16:27,639
Speaker 2: to lose thirty five pounds over a couple of years,

1203
01:16:28,160 --> 01:16:32,040
Speaker 2: and I do my editing in my head walking and

1204
01:16:32,080 --> 01:16:35,720
Speaker 2: then I come back and it gets done. This is

1205
01:16:35,920 --> 01:16:40,200
Speaker 2: twenty hour a day stuff for me because I'm not

1206
01:16:40,520 --> 01:16:45,920
Speaker 2: a natural writer, but I somehow feel the cloud or

1207
01:16:45,960 --> 01:16:50,360
Speaker 2: the endorsement of many people around me that check in

1208
01:16:50,400 --> 01:16:55,679
Speaker 2: with me or want me to continue. And it's just really,

1209
01:16:57,280 --> 01:17:00,719
Speaker 2: you know, it just really feels like and my writing's

1210
01:17:00,760 --> 01:17:05,040
Speaker 2: getting better. That's I'm not on an oldies tour doing

1211
01:17:05,120 --> 01:17:08,840
Speaker 2: Medley's and fifty five minutes sets. I'm doing three hour

1212
01:17:08,920 --> 01:17:13,160
Speaker 2: shows now better than ever. Read what's out there? Now?

1213
01:17:13,680 --> 01:17:16,960
Speaker 2: I know it. But I say to myself, well, maybe

1214
01:17:17,000 --> 01:17:20,519
Speaker 2: I have a story coming out in Ugly Things magazine.

1215
01:17:20,720 --> 01:17:23,160
Speaker 2: I'm not getting paid for it, but it's a group

1216
01:17:23,760 --> 01:17:28,479
Speaker 2: I want people to know about Spirit Okay, But I

1217
01:17:28,560 --> 01:17:33,400
Speaker 2: know that my byline might generate some ads to the magazine.

1218
01:17:33,640 --> 01:17:35,720
Speaker 2: Like my work with Record Collector News, which I'm on

1219
01:17:35,840 --> 01:17:39,599
Speaker 2: retainer and I head of editorial. I know that I'm

1220
01:17:39,680 --> 01:17:44,800
Speaker 2: supporting outlets. It does come back to you and Da

1221
01:17:44,960 --> 01:17:48,839
Speaker 2: Penny Baker told me many years ago when I interviewed

1222
01:17:48,920 --> 01:17:51,960
Speaker 2: him for Monterey Pop Monera International Pop Book that Lou

1223
01:17:52,000 --> 01:17:54,920
Speaker 2: Adler and I were involved with with my brother, he said,

1224
01:17:54,960 --> 01:17:58,040
Speaker 2: magical thing happened. Magical things happen when you take the

1225
01:17:58,080 --> 01:18:00,800
Speaker 2: money off the table. He was talking about Binoie Pop

1226
01:18:00,840 --> 01:18:06,680
Speaker 2: becoming nonprofit. So not all the writing gigs are fee based. Endeavors.

1227
01:18:07,800 --> 01:18:11,040
Speaker 2: The karma and the dividends come back when somebody says

1228
01:18:11,760 --> 01:18:17,960
Speaker 2: I it happened. Last week an email from France just

1229
01:18:18,080 --> 01:18:21,320
Speaker 2: read something about the Mamas and Papa's. You danced on

1230
01:18:21,360 --> 01:18:22,920
Speaker 2: American Bandstand when.

1231
01:18:22,800 --> 01:18:23,240
Speaker 1: They were there?

1232
01:18:23,320 --> 01:18:27,120
Speaker 2: Yes, I was, Yes I did. We're doing a documentary

1233
01:18:27,200 --> 01:18:31,400
Speaker 2: for Rarte Television France and Germany on the Mamas and

1234
01:18:31,439 --> 01:18:35,120
Speaker 2: Papa's We fly to town. I said, what's the fee,

1235
01:18:35,280 --> 01:18:39,679
Speaker 2: what's the credit? I'm there. It's happening weekly and every

1236
01:18:39,760 --> 01:18:42,000
Speaker 2: other week the last couple of years.

1237
01:18:42,280 --> 01:18:46,080
Speaker 1: Okay, Harvey. One other thing we've talked about romance, But

1238
01:18:46,200 --> 01:18:49,599
Speaker 1: now we're the public. You know, you've lived seventy odd years.

1239
01:18:50,120 --> 01:18:52,000
Speaker 1: What about romance in your own life?

1240
01:18:54,520 --> 01:19:00,759
Speaker 2: Very interesting question, I'm and I hope this asn't saden.

1241
01:19:00,880 --> 01:19:04,040
Speaker 2: You didn't you just lose your mother recently.

1242
01:19:03,880 --> 01:19:06,040
Speaker 1: Well about fifteen months ago? Whatever?

1243
01:19:06,160 --> 01:19:10,840
Speaker 2: Right, Okay, I am blessed to have a ninety nine

1244
01:19:10,920 --> 01:19:13,040
Speaker 2: year old Alta Cocker Jewish mother.

1245
01:19:13,360 --> 01:19:13,719
Speaker 1: Wow.

1246
01:19:14,439 --> 01:19:18,200
Speaker 2: Okay, so let's start there. Let's just say that Harvey

1247
01:19:18,240 --> 01:19:20,880
Speaker 2: and Kenneth Kubernick have kind of been in al To

1248
01:19:21,040 --> 01:19:25,519
Speaker 2: Cocker daycare when my dad made it to ninety two

1249
01:19:25,560 --> 01:19:25,920
Speaker 2: and a half.

1250
01:19:26,000 --> 01:19:29,240
Speaker 1: He died in two thousand and your parents always stuck.

1251
01:19:29,000 --> 01:19:33,719
Speaker 2: Together, sixty eight years together, there's no My parents started

1252
01:19:33,760 --> 01:19:37,080
Speaker 2: in nineteen forty seven to nineteen fifty two owning a

1253
01:19:37,200 --> 01:19:41,240
Speaker 2: dry cleaner in downtown LA, where laundry was fifteen cents

1254
01:19:41,320 --> 01:19:46,439
Speaker 2: a pound. My dad sold encyclopedia, sold swimming pools, and

1255
01:19:46,479 --> 01:19:49,080
Speaker 2: at age forty he took a test to be a stockbroker.

1256
01:19:49,200 --> 01:19:53,000
Speaker 2: Then the thing really popped. But what I'm saying is

1257
01:19:53,680 --> 01:19:58,000
Speaker 2: the last few years, when you have a widowed mother

1258
01:19:58,439 --> 01:20:06,439
Speaker 2: at ninety three, all hands on deck. She's in great health. Still,

1259
01:20:06,640 --> 01:20:10,920
Speaker 2: it's a daily check in it's babysitting. You can't you know,

1260
01:20:11,080 --> 01:20:13,880
Speaker 2: I said. I said this to Chris Daro. I said,

1261
01:20:14,720 --> 01:20:18,040
Speaker 2: there's no dating this summer. My brother's going to China.

1262
01:20:18,560 --> 01:20:22,479
Speaker 2: I have to monitor my mother. And he said, you're

1263
01:20:22,560 --> 01:20:25,840
Speaker 2: so lucky. My dad made ninety eight. I said, she's

1264
01:20:26,000 --> 01:20:29,760
Speaker 2: my Jewish girlfriend for a while. I got it. So

1265
01:20:29,880 --> 01:20:37,520
Speaker 2: she's doing well until three months ago, not feeling well. Subsequently,

1266
01:20:37,600 --> 01:20:41,000
Speaker 2: there's been there were two hard they go, they rush

1267
01:20:41,040 --> 01:20:44,200
Speaker 2: her to UCLA. They go, hey, kids, here's the story.

1268
01:20:45,120 --> 01:20:47,960
Speaker 2: There's no word. Thread on her tires, in her heart,

1269
01:20:48,600 --> 01:20:54,000
Speaker 2: calcium deposits. She's all, she's ninety nine. You can do

1270
01:20:54,080 --> 01:20:57,680
Speaker 2: nothing and see where it goes. Or we could get

1271
01:20:57,680 --> 01:21:01,760
Speaker 2: her a valve. He huddled. My mother said, let's go

1272
01:21:01,840 --> 01:21:07,920
Speaker 2: for it. Valve operation, then complications, then pacemaker put in

1273
01:21:09,080 --> 01:21:12,160
Speaker 2: works fine, here are A month later, she went to

1274
01:21:13,240 --> 01:21:15,759
Speaker 2: Ross dress for lesson, got her hair done last week.

1275
01:21:16,200 --> 01:21:22,320
Speaker 2: So what has happened? All energy is to help my

1276
01:21:22,439 --> 01:21:26,280
Speaker 2: brother and her and be on call twenty four hours.

1277
01:21:26,520 --> 01:21:29,200
Speaker 2: I may sound like a small excuse, but it's the

1278
01:21:29,240 --> 01:21:30,240
Speaker 2: super priority.

1279
01:21:30,400 --> 01:21:32,960
Speaker 1: Well, I guess what I'm really asking is, I know

1280
01:21:33,080 --> 01:21:37,120
Speaker 1: you haven't been married. Does the nature of the work

1281
01:21:37,720 --> 01:21:42,639
Speaker 1: or the nature of the economics of the work make

1282
01:21:42,720 --> 01:21:46,960
Speaker 1: it that you never got married, you know, because we

1283
01:21:47,040 --> 01:21:49,400
Speaker 1: all know we sacrifice it all for rock and roll.

1284
01:21:49,600 --> 01:21:50,960
Speaker 1: So what's it been like for you?

1285
01:21:51,880 --> 01:21:57,720
Speaker 2: I really like women. I have a date I think

1286
01:21:57,760 --> 01:22:02,120
Speaker 2: for the Ringo concert at the Greek Theater, and maybe

1287
01:22:02,160 --> 01:22:05,479
Speaker 2: another woman for the Elvis Costello concert, because I tell

1288
01:22:05,520 --> 01:22:08,880
Speaker 2: everybody I need to have some fun in June. It's

1289
01:22:08,880 --> 01:22:11,960
Speaker 2: all cleared, got back up, people to monitor. My mother

1290
01:22:12,479 --> 01:22:18,639
Speaker 2: have to produce this stuff six weeks in advance, and

1291
01:22:19,040 --> 01:22:23,160
Speaker 2: no alimony, no child's support. Would people say, why are

1292
01:22:23,160 --> 01:22:27,639
Speaker 2: you still doing this? I saw my parents have such

1293
01:22:27,720 --> 01:22:32,760
Speaker 2: a strong marriage. I just kind of I saw the

1294
01:22:32,920 --> 01:22:38,439
Speaker 2: team work involved, what it takes. I don't know if

1295
01:22:38,479 --> 01:22:45,360
Speaker 2: I was capable of going there, but you know, there's

1296
01:22:45,400 --> 01:22:50,600
Speaker 2: opportunities out there. But right now, I never thought this

1297
01:22:50,800 --> 01:22:53,400
Speaker 2: avalanche of work would show up. In the last four

1298
01:22:53,479 --> 01:22:56,880
Speaker 2: or five years. I planned on none of this. So

1299
01:22:57,280 --> 01:22:59,719
Speaker 2: it's like every day. I'm sure you get these emails.

1300
01:22:59,720 --> 01:23:01,680
Speaker 2: If they meet you your quote. You might go to

1301
01:23:01,760 --> 01:23:04,880
Speaker 2: France and here it is. It's not every day, but

1302
01:23:05,000 --> 01:23:09,400
Speaker 2: there's a request every day. Because what's happened. People are

1303
01:23:09,479 --> 01:23:15,800
Speaker 2: discovering well, Vinyose outsold Mono records. People are finding my work.

1304
01:23:15,920 --> 01:23:17,800
Speaker 2: The funny thing about this, and I don't know if

1305
01:23:17,800 --> 01:23:20,840
Speaker 2: this has ever happened to you on your podcast. I

1306
01:23:20,880 --> 01:23:25,320
Speaker 2: got a few comical, disturbing emails saying, mister Kubernick, you're

1307
01:23:25,360 --> 01:23:27,599
Speaker 2: such a good writer, why do you steal other people's

1308
01:23:27,640 --> 01:23:32,120
Speaker 2: interviews from other places? And I didn't answer, they do

1309
01:23:32,200 --> 01:23:34,800
Speaker 2: not happen a second or third time. But there was

1310
01:23:34,840 --> 01:23:39,240
Speaker 2: a contact number, and I emailed this person who actually

1311
01:23:39,320 --> 01:23:41,200
Speaker 2: saw me read the Rock and Roll Hall of Fame

1312
01:23:41,200 --> 01:23:46,040
Speaker 2: in Cleveland, and I said, I don't steal anybody's stuff.

1313
01:23:46,080 --> 01:23:49,840
Speaker 2: You said, well, it's impossible for you to have quote

1314
01:23:49,880 --> 01:23:52,719
Speaker 2: Johnny Cash from nineteen seventy five. I just read something

1315
01:23:52,720 --> 01:23:56,080
Speaker 2: you write about Johnny Cash. I said, I did those interviews,

1316
01:23:57,920 --> 01:24:01,840
Speaker 2: and I was, what, No, that's not true. They're my interviews.

1317
01:24:02,400 --> 01:24:04,519
Speaker 2: So I had a dialogue. I had a meeting with

1318
01:24:04,560 --> 01:24:08,000
Speaker 2: a couple of poets, Jim Doctor, James Cushing and Harry Northup.

1319
01:24:08,680 --> 01:24:11,200
Speaker 2: And then I emailed a journalist you might know him,

1320
01:24:11,520 --> 01:24:16,240
Speaker 2: author Mark Myers from the Wall Street Journal. Yeah, fantastic guy,

1321
01:24:16,320 --> 01:24:17,880
Speaker 2: great author, bio books.

1322
01:24:18,840 --> 01:24:23,519
Speaker 1: And I said, Mark Myers, the brother and he's from Canada.

1323
01:24:23,760 --> 01:24:24,599
Speaker 1: Of Mike Myer.

1324
01:24:25,600 --> 01:24:29,680
Speaker 2: No, now this is Mark. Mark Myers just writes a

1325
01:24:29,960 --> 01:24:34,000
Speaker 2: lot of articles, does jazz Jazz Wax has a couple

1326
01:24:34,000 --> 01:24:37,360
Speaker 2: of beautiful books on the history of concerts. I said,

1327
01:24:37,360 --> 01:24:41,599
Speaker 2: I need to ask you a question. I'm people are

1328
01:24:42,280 --> 01:24:45,559
Speaker 2: I've got a bunch of emails for them. People think

1329
01:24:45,600 --> 01:24:50,240
Speaker 2: that I'm kyping other stuff because I go. Johnny Cash said,

1330
01:24:50,360 --> 01:24:53,200
Speaker 2: and blah blahah. He said, you need to claim this stuff.

1331
01:24:53,240 --> 01:24:57,240
Speaker 2: But I said, the narrative gets disrupted if I start writing.

1332
01:24:57,479 --> 01:25:01,040
Speaker 2: Johnny Cash told me in nineteen seventy interview for the

1333
01:25:01,080 --> 01:25:04,280
Speaker 2: now defunct Melody Maker, and he said, you're going to

1334
01:25:04,360 --> 01:25:08,599
Speaker 2: have to do those things because today's people, he said,

1335
01:25:08,720 --> 01:25:13,560
Speaker 2: you look fifty. They just assume you never knew Johnny Cash.

1336
01:25:13,600 --> 01:25:16,120
Speaker 2: Here you are in twenty twenty three, and you're talking

1337
01:25:16,160 --> 01:25:19,519
Speaker 2: about a nineteen seventy five interview. I said, I did

1338
01:25:19,520 --> 01:25:23,679
Speaker 2: the interview. Here it is. He's so, what has happened.

1339
01:25:23,720 --> 01:25:27,880
Speaker 2: I've had to put blobbidy blot told me. David Ruffin

1340
01:25:27,920 --> 01:25:31,120
Speaker 2: told me in a nineteen seventy six interview. Robbie Robertson

1341
01:25:31,200 --> 01:25:34,280
Speaker 2: explained in an Interviewer and dialogue I conducted with him.

1342
01:25:35,160 --> 01:25:38,960
Speaker 2: It irks me, but I'm doing that now and we're

1343
01:25:38,960 --> 01:25:42,120
Speaker 2: not getting those emails anymore. And I guess I might

1344
01:25:42,160 --> 01:25:46,519
Speaker 2: be the Bald Eagle or somebody that I was, you know,

1345
01:25:46,640 --> 01:25:49,360
Speaker 2: But you know, I wish somebody would say Johnny Cash

1346
01:25:49,479 --> 01:25:53,280
Speaker 2: nineteen seventy five, I go, yeah, nobody gave a fuck

1347
01:25:53,320 --> 01:25:57,400
Speaker 2: about Johnny Cash. I got him at a Christian bookseller's

1348
01:25:57,439 --> 01:26:00,920
Speaker 2: convention in Anaheim, and I said, to also tell you

1349
01:26:00,960 --> 01:26:03,640
Speaker 2: the truth, I have the same birthday as Johnny Cash.

1350
01:26:04,000 --> 01:26:06,320
Speaker 2: I wanted to meet and talk to Johnny Cash. I

1351
01:26:06,360 --> 01:26:12,360
Speaker 2: saw him twenty times over the years, and it's very

1352
01:26:12,400 --> 01:26:16,160
Speaker 2: deep and personal to me. So now I think people

1353
01:26:16,200 --> 01:26:20,439
Speaker 2: realize and these platforms like you doing this today or

1354
01:26:20,520 --> 01:26:24,400
Speaker 2: being on coast to coast, people realized there is a

1355
01:26:24,439 --> 01:26:28,879
Speaker 2: fifty year thing going on here. He really did interview

1356
01:26:28,920 --> 01:26:33,200
Speaker 2: these people, and it's often blues or Motown people or

1357
01:26:33,560 --> 01:26:38,320
Speaker 2: icons like Johnny Cash. I never knew there'd be afterlife

1358
01:26:38,360 --> 01:26:41,000
Speaker 2: in this stuff. Rick Rubin and I had a couple

1359
01:26:40,960 --> 01:26:43,920
Speaker 2: of conversations. I interviewed him for a book. I said, Rick,

1360
01:26:44,000 --> 01:26:46,600
Speaker 2: I was down with Johnny before you got the gig,

1361
01:26:47,320 --> 01:26:50,280
Speaker 2: And I said, same birthday. And he said, I'm right

1362
01:26:50,320 --> 01:26:55,479
Speaker 2: next to you, fellow pisces. Boom clicked. So that's not

1363
01:26:55,560 --> 01:26:59,680
Speaker 2: an obstacle. It's just I believe in the oral, a

1364
01:26:59,680 --> 01:27:03,479
Speaker 2: lot of oral history, and I'm watching some By the way,

1365
01:27:03,520 --> 01:27:07,559
Speaker 2: I've had some things optioned for potential development for TV shows.

1366
01:27:07,600 --> 01:27:11,680
Speaker 2: That's been an income stream. But because I understand Hollywood

1367
01:27:11,720 --> 01:27:16,080
Speaker 2: a little bit and met and studied with Ramdas, he

1368
01:27:16,280 --> 01:27:19,400
Speaker 2: told me, well, be here in aw book. You probably

1369
01:27:19,439 --> 01:27:23,200
Speaker 2: looked at it at your college. Do not get psychically

1370
01:27:23,200 --> 01:27:29,439
Speaker 2: addicted to outcome. So when the development person calls or

1371
01:27:29,560 --> 01:27:33,200
Speaker 2: the studio person calls for the zoom call about optioning,

1372
01:27:33,240 --> 01:27:35,599
Speaker 2: and I have a couple of people with me, I

1373
01:27:35,640 --> 01:27:38,880
Speaker 2: will go through it. I like the experience. I like

1374
01:27:38,920 --> 01:27:41,599
Speaker 2: the corn showder at the IVY. I like going through

1375
01:27:41,600 --> 01:27:44,320
Speaker 2: some of his stuff. Ninety eight percent of the time,

1376
01:27:44,360 --> 01:27:47,800
Speaker 2: it doesn't go any further than the first step. But

1377
01:27:48,640 --> 01:27:51,920
Speaker 2: it's income. But the thing is, I know that I'm

1378
01:27:51,960 --> 01:27:57,280
Speaker 2: a cinematic writer. I'm born in Hollywood overlooking the Hollywood

1379
01:27:57,280 --> 01:28:01,120
Speaker 2: one on one Freeway on Sunset and Alvarado. I am

1380
01:28:01,280 --> 01:28:05,320
Speaker 2: a child of Hollywood, and I knew it can translate

1381
01:28:05,400 --> 01:28:10,599
Speaker 2: to screen and we're just watching where it goes. You

1382
01:28:10,640 --> 01:28:16,960
Speaker 2: can't plan any things anymore. But things seem to be

1383
01:28:17,000 --> 01:28:21,920
Speaker 2: working out. But then again, the biggest mitzvah when and

1384
01:28:22,000 --> 01:28:24,160
Speaker 2: maybe you've been through this and some of your people

1385
01:28:24,240 --> 01:28:27,360
Speaker 2: have been through this when the doctor comes out of

1386
01:28:27,400 --> 01:28:31,880
Speaker 2: the meets you in the waiting room, when you got

1387
01:28:31,880 --> 01:28:34,360
Speaker 2: a ninety nine year old on the table twice in

1388
01:28:34,479 --> 01:28:39,240
Speaker 2: three weeks and says, it's looking really good. That feeling

1389
01:28:40,000 --> 01:28:42,759
Speaker 2: is worth ten dates with playboy bunnies.

1390
01:28:44,200 --> 01:28:48,720
Speaker 1: Okay, Now, not only do you interview people, you maintain

1391
01:28:49,000 --> 01:28:53,080
Speaker 1: relationships with us with them. You talked about your relationship

1392
01:28:53,080 --> 01:28:55,679
Speaker 1: and interview with Barry White. Tell us about a couple more.

1393
01:28:57,479 --> 01:29:04,520
Speaker 2: Rule number one ask bring something to the table immediately,

1394
01:29:04,680 --> 01:29:08,599
Speaker 2: so you don't say the same stuff as everybody else.

1395
01:29:08,720 --> 01:29:11,240
Speaker 2: And maybe because I've been living out on the perimeter,

1396
01:29:11,560 --> 01:29:14,160
Speaker 2: like the door songs Morrison mentioned, we are stone out

1397
01:29:14,160 --> 01:29:19,400
Speaker 2: in the perimeter. I'm not writing on assignment most of

1398
01:29:19,439 --> 01:29:23,360
Speaker 2: the time for magazines. It's sort of my Bukowski training.

1399
01:29:23,479 --> 01:29:25,559
Speaker 2: You write it and you throw it out there and

1400
01:29:25,600 --> 01:29:29,080
Speaker 2: it lands. I knew him at the post office. I

1401
01:29:29,160 --> 01:29:32,840
Speaker 2: knew him from the mid seventies. You put it out

1402
01:29:32,840 --> 01:29:35,320
Speaker 2: there and see where it lands. What I like the

1403
01:29:35,400 --> 01:29:37,599
Speaker 2: luxury of being on staff at one hundred and fifty

1404
01:29:37,600 --> 01:29:40,120
Speaker 2: grand year or something at a trade Sure, I would

1405
01:29:40,200 --> 01:29:43,040
Speaker 2: like that pressure to see if I could do it. It

1406
01:29:43,040 --> 01:29:49,000
Speaker 2: hasn't happened yet. The friendships, so I always knew ask

1407
01:29:49,080 --> 01:29:56,000
Speaker 2: a first question nobody has ever asked. It does dent?

1408
01:29:56,400 --> 01:30:00,520
Speaker 2: It causes a dent. I remember meeting Burton come in

1409
01:30:00,520 --> 01:30:05,760
Speaker 2: in nineteen seventy four. I will love the guests who

1410
01:30:08,120 --> 01:30:11,080
Speaker 2: And I said, why don't you tell me about that

1411
01:30:11,320 --> 01:30:13,519
Speaker 2: television show you used to do in Canada in the

1412
01:30:13,560 --> 01:30:16,280
Speaker 2: sixties where you did a lot of cover versions. I said,

1413
01:30:16,320 --> 01:30:19,120
Speaker 2: how do you know about that? And I said, well,

1414
01:30:19,160 --> 01:30:21,679
Speaker 2: I just I know it's part of your history because

1415
01:30:21,720 --> 01:30:23,960
Speaker 2: I know people in Canada that used to watch you

1416
01:30:24,040 --> 01:30:27,280
Speaker 2: before you ever kind of came to the States. That

1417
01:30:27,439 --> 01:30:30,439
Speaker 2: kicked off a friendship that still exists fifty years later.

1418
01:30:31,040 --> 01:30:36,120
Speaker 2: I interviewed Raymond Zeric in nineteen seventy four at Mercury

1419
01:30:36,200 --> 01:30:39,400
Speaker 2: Records when he had his solo album out. I loved

1420
01:30:39,439 --> 01:30:42,439
Speaker 2: the doors I saw the original band. I was so

1421
01:30:42,600 --> 01:30:47,200
Speaker 2: excited to meet somebody in the doors I didn't ask

1422
01:30:47,240 --> 01:30:50,200
Speaker 2: for I never did the autograph thing until way later,

1423
01:30:51,400 --> 01:30:56,280
Speaker 2: and I said to Ray, you went to UCLA when

1424
01:30:56,320 --> 01:31:01,600
Speaker 2: the UCLA Bruins were the basketball champs. Did you play basketball?

1425
01:31:02,160 --> 01:31:04,360
Speaker 2: And he said did I play basketball? And I was

1426
01:31:04,400 --> 01:31:07,880
Speaker 2: getting my economics degree from de gaul to Paul, I

1427
01:31:07,960 --> 01:31:11,439
Speaker 2: played basketball, and he said, you know when the doors played,

1428
01:31:11,560 --> 01:31:14,040
Speaker 2: I'd always get mad when the promoter said time to

1429
01:31:14,080 --> 01:31:16,840
Speaker 2: play a set. I go, and Ray we go. But

1430
01:31:17,000 --> 01:31:19,680
Speaker 2: UCLA is on a run. But because I made a

1431
01:31:19,720 --> 01:31:24,160
Speaker 2: basketball impression on raymn xeric and then years later I

1432
01:31:24,200 --> 01:31:30,679
Speaker 2: introduced him to coach John Robert Wooden, these things get birthed. Also,

1433
01:31:32,560 --> 01:31:36,120
Speaker 2: This is pre I never was a tabloid guy. I'd

1434
01:31:36,240 --> 01:31:41,680
Speaker 2: ask questions. Okay, Bruce Botnik engineered your records, tell me

1435
01:31:41,720 --> 01:31:45,040
Speaker 2: about Sunset sound, tell me about the tape stock, tell

1436
01:31:45,080 --> 01:31:49,000
Speaker 2: me about the Sandheiser microphones. I sort of had some

1437
01:31:49,120 --> 01:31:53,439
Speaker 2: of that stuff that was just different than him plugging

1438
01:31:53,520 --> 01:31:57,439
Speaker 2: an album or having to talk about Jim dying in Paris.

1439
01:31:57,720 --> 01:32:01,080
Speaker 2: Every interview and these, and then all of a sudden

1440
01:32:01,120 --> 01:32:07,160
Speaker 2: they start referring you to people. I mean, I've listen,

1441
01:32:07,280 --> 01:32:12,080
Speaker 2: I've interviewed Keith Richards. You know, these things make impressions.

1442
01:32:12,120 --> 01:32:14,280
Speaker 2: So when you run into these people five or eight

1443
01:32:14,360 --> 01:32:18,839
Speaker 2: or twelve years later, they will walk across the room, Hey, mate,

1444
01:32:18,960 --> 01:32:19,400
Speaker 2: how's it?

1445
01:32:19,439 --> 01:32:19,960
Speaker 1: Do you know?

1446
01:32:20,360 --> 01:32:25,599
Speaker 2: That kind of stuff means a lot to me. I'm,

1447
01:32:26,000 --> 01:32:29,160
Speaker 2: you know, sadly as we get older, we're losing people.

1448
01:32:30,320 --> 01:32:34,000
Speaker 2: But then I could say, well, I'm keeping them alive

1449
01:32:34,920 --> 01:32:38,439
Speaker 2: in the work I'm doing. I mean, I have twenty

1450
01:32:38,439 --> 01:32:42,600
Speaker 2: books out, and I must be thanked. I don't know

1451
01:32:42,640 --> 01:32:44,960
Speaker 2: somebody's tracking this for me. I think I'm thanked in

1452
01:32:44,960 --> 01:32:47,400
Speaker 2: two hundred and thirty eight other books. And now there's

1453
01:32:47,439 --> 01:32:51,280
Speaker 2: a new little thing happening, which I'm cool with. Will

1454
01:32:51,320 --> 01:32:54,559
Speaker 2: you write blurbs for my first novel? Will you write

1455
01:32:54,560 --> 01:32:59,120
Speaker 2: a blurbunk testimony on the back cover? And I said, yes,

1456
01:32:59,840 --> 01:33:05,719
Speaker 2: but don't stick me in indie bookland exclusively. If Simon

1457
01:33:05,760 --> 01:33:08,080
Speaker 2: and Schuster kind of people show up and want me

1458
01:33:08,160 --> 01:33:11,479
Speaker 2: to write something on Leonard Cohen. Okay, I want to

1459
01:33:11,479 --> 01:33:13,760
Speaker 2: have a foot in the corporate world, and I want

1460
01:33:13,760 --> 01:33:17,719
Speaker 2: to have a foot with the first timer. Every week,

1461
01:33:18,400 --> 01:33:20,960
Speaker 2: David Kessel said, I have my first book coming out,

1462
01:33:20,960 --> 01:33:23,120
Speaker 2: will you give me a quote on the back cover? Yes,

1463
01:33:24,000 --> 01:33:26,599
Speaker 2: these things start happening, and no, I don't feel for them.

1464
01:33:26,600 --> 01:33:29,800
Speaker 2: And then another thing is started happening where people are

1465
01:33:29,800 --> 01:33:32,479
Speaker 2: asking me to write some letters of endorsement so that

1466
01:33:32,560 --> 01:33:35,639
Speaker 2: you go to graduate school. And I said, I couldn't

1467
01:33:35,680 --> 01:33:39,080
Speaker 2: get into these places myself. Why would you even ask me?

1468
01:33:39,680 --> 01:33:43,920
Speaker 2: But doctor James Cushing, a professor literatary English professor, said,

1469
01:33:44,040 --> 01:33:47,519
Speaker 2: you do these things because you never know how it

1470
01:33:47,760 --> 01:33:52,439
Speaker 2: will get the other person forward. I said, on probably

1471
01:33:52,479 --> 01:33:54,479
Speaker 2: never see the other person again, or maybe ten or

1472
01:33:54,479 --> 01:33:57,960
Speaker 2: twenty years. He said, don't even think about it. You

1473
01:33:58,439 --> 01:34:01,120
Speaker 2: are he said, don't you remember when you never had

1474
01:34:01,120 --> 01:34:03,960
Speaker 2: a book where you got turned down three hundred times,

1475
01:34:04,479 --> 01:34:07,599
Speaker 2: or record labels for a year, maybe weren't really taking

1476
01:34:07,640 --> 01:34:11,320
Speaker 2: your calls. Look what's going on? I said, Okay, where's

1477
01:34:11,360 --> 01:34:14,880
Speaker 2: the next person who needs a blurb? Here? And I

1478
01:34:14,920 --> 01:34:20,080
Speaker 2: know it's helping people. I'm a prices. It helps people,

1479
01:34:20,160 --> 01:34:23,400
Speaker 2: and I want to bring people on the ride with me.

1480
01:34:23,920 --> 01:34:27,480
Speaker 2: I know it sounds kind of hippyish. I'm from Hollywood,

1481
01:34:27,520 --> 01:34:30,240
Speaker 2: but you say I didn't have to reinvent myself in Hollywood.

1482
01:34:30,400 --> 01:34:33,200
Speaker 2: I didn't come to Hollywood to make it. I'm born

1483
01:34:33,240 --> 01:34:37,920
Speaker 2: in Hollywood. So I'm showing a real different kind of Hollywood,

1484
01:34:38,360 --> 01:34:43,439
Speaker 2: which is support and collaboration and maybe possibility. All I

1485
01:34:43,479 --> 01:34:44,960
Speaker 2: know is it's working.

1486
01:34:51,760 --> 01:34:55,360
Speaker 1: Okay. You introduced me to Andrew lou Goldham, you continue

1487
01:34:55,400 --> 01:34:58,800
Speaker 1: to have contact. How did you meet and maintain a

1488
01:34:58,840 --> 01:35:02,040
Speaker 1: relationship with Andrew Wow?

1489
01:35:03,160 --> 01:35:09,519
Speaker 2: I will say namastay grateful for his presence in my life.

1490
01:35:10,680 --> 01:35:14,280
Speaker 2: When I got those first Rolling Stones albums, I didn't

1491
01:35:14,320 --> 01:35:16,320
Speaker 2: want to be Mick Jagger or be in a band.

1492
01:35:17,880 --> 01:35:20,960
Speaker 2: I liked the stuff on the back cover. I never

1493
01:35:21,000 --> 01:35:24,240
Speaker 2: really knew they were called liner notes. I think they

1494
01:35:24,240 --> 01:35:29,120
Speaker 2: were called jacket information. I said, this guy, the guy,

1495
01:35:29,320 --> 01:35:32,320
Speaker 2: this guy is like producing. I kind of know what

1496
01:35:32,360 --> 01:35:36,320
Speaker 2: a record producer is. This guy the writing is like

1497
01:35:36,439 --> 01:35:41,560
Speaker 2: Anthony Burgess and Clockwork Orange or something. It's vibrant. I

1498
01:35:41,600 --> 01:35:46,600
Speaker 2: did a term paper on his liner notes on aftermath

1499
01:35:46,680 --> 01:35:50,519
Speaker 2: or something in high school. I know that I never

1500
01:35:50,560 --> 01:35:51,599
Speaker 2: thought i'd meet him.

1501
01:35:52,120 --> 01:35:53,160
Speaker 1: I probably could have.

1502
01:35:53,240 --> 01:35:55,200
Speaker 2: I went to New York when he was producing groups

1503
01:35:55,240 --> 01:35:58,200
Speaker 2: on RC like the Werewolves. I don't do those things.

1504
01:35:59,439 --> 01:36:05,000
Speaker 2: But I I thanked him on a couple of my articles,

1505
01:36:05,160 --> 01:36:08,880
Speaker 2: maybe made a dedication to him because his interviews were

1506
01:36:08,920 --> 01:36:14,400
Speaker 2: so fascinating, because he saw the big picture, and also

1507
01:36:14,439 --> 01:36:17,080
Speaker 2: he did something very bold. I don't think we'd see

1508
01:36:17,120 --> 01:36:20,400
Speaker 2: today even in England out of his own pocket. He

1509
01:36:20,439 --> 01:36:24,439
Speaker 2: would take ads out in like magazines like Disc and

1510
01:36:24,520 --> 01:36:27,400
Speaker 2: teut things like Pet Sounds when he didn't even have

1511
01:36:27,439 --> 01:36:33,000
Speaker 2: a piece of the action. That's really cool. So in

1512
01:36:33,080 --> 01:36:37,400
Speaker 2: two thousand I go to see Brian Wilson do Pet

1513
01:36:37,520 --> 01:36:45,240
Speaker 2: Sounds at the Hollywood Bawl. Yes, I know, Brian. Did

1514
01:36:45,280 --> 01:36:47,000
Speaker 2: I know I would do the liner notes in two

1515
01:36:47,080 --> 01:36:49,960
Speaker 2: thousand and eight for the Pet Sounds fortieth anniversary tour?

1516
01:36:50,280 --> 01:36:50,479
Speaker 4: No?

1517
01:36:51,200 --> 01:36:52,920
Speaker 2: Did I ever know? I do the liner notes for

1518
01:36:53,000 --> 01:36:57,679
Speaker 2: the Elvis Presley forty edition of the of the Comeback

1519
01:36:57,720 --> 01:37:01,599
Speaker 2: Special that was the fulfillment to graylen Land. And forty

1520
01:37:01,680 --> 01:37:04,680
Speaker 2: years later I wrote about Elvis Presley and got a

1521
01:37:04,800 --> 01:37:08,679
Speaker 2: nice check. When you do box set liner notes, that's

1522
01:37:08,720 --> 01:37:15,240
Speaker 2: a car Okay. I go to see Brian Wilson and

1523
01:37:15,320 --> 01:37:18,680
Speaker 2: I'm sitting next in a box with Henry Dilts and

1524
01:37:18,680 --> 01:37:22,559
Speaker 2: my friend David Wolf who who I met in nineteen

1525
01:37:22,600 --> 01:37:26,439
Speaker 2: sixty two, who I'm seeing next week at a Johnny

1526
01:37:26,479 --> 01:37:30,720
Speaker 2: Rivers show. And I'm sitting there ready the lights are

1527
01:37:30,760 --> 01:37:34,800
Speaker 2: going down, and I'm not a backdoor Johnny guy. I'm

1528
01:37:34,920 --> 01:37:39,080
Speaker 2: very happy to see Brian because I'm watching this victory

1529
01:37:39,600 --> 01:37:44,480
Speaker 2: because I've seen Brian up and down through the sixties

1530
01:37:44,640 --> 01:37:50,000
Speaker 2: and the seventies, the houses I've been there. I'm happy

1531
01:37:50,040 --> 01:37:55,040
Speaker 2: Brian Wilson is going to do Pet Sounds with the Wonderments.

1532
01:37:56,280 --> 01:37:59,439
Speaker 4: And David Leaf walks by me because he's going to

1533
01:37:59,520 --> 01:38:05,000
Speaker 4: be there, mm hm, and I kind of casually say, hey,

1534
01:38:06,680 --> 01:38:09,680
Speaker 4: what's the back stage seem like, because this is the

1535
01:38:09,680 --> 01:38:13,639
Speaker 4: one time I'm not backstage at a Brian Wilson show

1536
01:38:14,040 --> 01:38:17,599
Speaker 4: that pony up and see, you know, box seats up front.

1537
01:38:18,439 --> 01:38:21,920
Speaker 2: And he said, oh, Lou Adler's here, and Andrew Luke

1538
01:38:21,960 --> 01:38:26,800
Speaker 2: Golden is here. I said what he said? Yeah, And

1539
01:38:27,560 --> 01:38:31,360
Speaker 2: he said that's him walking in the row in front

1540
01:38:31,360 --> 01:38:35,439
Speaker 2: of you to the box seat. The lights are going down,

1541
01:38:36,600 --> 01:38:38,960
Speaker 2: and I go to tap him on the shoulder and

1542
01:38:39,000 --> 01:38:43,639
Speaker 2: I said, mister Oldham, my name is Harvey Kubernick. I'm

1543
01:38:43,640 --> 01:38:47,000
Speaker 2: a big fan of your work. I would like to

1544
01:38:47,080 --> 01:38:53,320
Speaker 2: interview you. I'm so delighted to hear it because I

1545
01:38:53,400 --> 01:38:56,880
Speaker 2: know that you took out an ad in disc magazine

1546
01:38:58,120 --> 01:39:01,120
Speaker 2: worshiping Pet Sounds the way he did it for other

1547
01:39:01,160 --> 01:39:07,120
Speaker 2: records on occasion and he said, do you know Lou Adler?

1548
01:39:07,200 --> 01:39:10,880
Speaker 2: I said, not just hi, how are you? And he said,

1549
01:39:12,920 --> 01:39:17,400
Speaker 2: get a hold of lou Adler. I'm in town and

1550
01:39:18,320 --> 01:39:23,600
Speaker 2: we'll have a dialogue. I said, okay, got him on

1551
01:39:23,640 --> 01:39:27,639
Speaker 2: the phone past the acid test. I think we were

1552
01:39:27,680 --> 01:39:32,160
Speaker 2: talking about Sweet Smell of Success movies. It was all

1553
01:39:32,320 --> 01:39:36,400
Speaker 2: it was movies and Lulu and Donovan and you know,

1554
01:39:36,479 --> 01:39:40,160
Speaker 2: English stuff. And he said, okay, let's do an interview.

1555
01:39:40,600 --> 01:39:45,120
Speaker 2: And I did an interview with him for Discoveries magazine

1556
01:39:45,320 --> 01:39:48,760
Speaker 2: and then he said here's my email in Bogata, Columbia.

1557
01:39:50,040 --> 01:39:56,960
Speaker 2: And I said, wow, Andrew Louke Goldham, I'm dialoguing. There

1558
01:39:57,040 --> 01:40:01,240
Speaker 2: must be something going on. I could call it a

1559
01:40:01,280 --> 01:40:05,720
Speaker 2: psychic tap on the back. But also it was my

1560
01:40:05,880 --> 01:40:10,680
Speaker 2: reward for supporting Brian Wilson helping David Leaf on his

1561
01:40:10,840 --> 01:40:14,840
Speaker 2: book in nineteen seventy eight. I was seeing the rewards

1562
01:40:14,920 --> 01:40:18,080
Speaker 2: coming in. I didn't have an agenda. And I interviewed

1563
01:40:18,120 --> 01:40:21,360
Speaker 2: Andrew and he said, well, keep in touch, mate, and

1564
01:40:21,400 --> 01:40:26,200
Speaker 2: we just developed a correspondence. But then every six months

1565
01:40:26,320 --> 01:40:31,000
Speaker 2: or something i'd write something and he'd go, well done, lad,

1566
01:40:31,880 --> 01:40:34,679
Speaker 2: like he's the headmaster in England. I never had any

1567
01:40:34,720 --> 01:40:37,320
Speaker 2: of that kind of stuff. Well done lad, he said,

1568
01:40:37,400 --> 01:40:42,400
Speaker 2: nice one. You dropped in and he said wow. He said,

1569
01:40:42,760 --> 01:40:44,880
Speaker 2: I like your writing, and then he said and I said,

1570
01:40:44,920 --> 01:40:48,080
Speaker 2: I can't wait to read your biography Stone, and I

1571
01:40:48,200 --> 01:40:50,680
Speaker 2: talked to him about it, and then he called me

1572
01:40:50,720 --> 01:40:52,320
Speaker 2: on the phone and he said, would you come to

1573
01:40:52,360 --> 01:40:57,200
Speaker 2: Santa Monica for dinner? And I said, I will, but

1574
01:40:58,080 --> 01:41:00,200
Speaker 2: I'm going out with a girl and we have a

1575
01:41:00,240 --> 01:41:04,439
Speaker 2: weekend thing happening. But I'm telling her I'm going to

1576
01:41:04,439 --> 01:41:06,840
Speaker 2: meet Andrew lou Goldham. And he goes, if she's a

1577
01:41:06,880 --> 01:41:12,120
Speaker 2: cool woman, she'll understand. And she said, I don't know

1578
01:41:12,160 --> 01:41:14,880
Speaker 2: who he is. Did you say he worked with the

1579
01:41:14,960 --> 01:41:18,880
Speaker 2: Rolling Stones? Said I'll see on Young Kipper or something.

1580
01:41:20,360 --> 01:41:22,800
Speaker 2: And so I went to have dinner with him and

1581
01:41:22,840 --> 01:41:26,960
Speaker 2: he said I like your writing. I said, oh, I

1582
01:41:27,040 --> 01:41:30,280
Speaker 2: just don't say that because we're becoming friends. He said, no,

1583
01:41:31,160 --> 01:41:36,960
Speaker 2: it's choppy at times, but the information that the messages

1584
01:41:38,560 --> 01:41:43,799
Speaker 2: well done. I said, thank you. And then he said,

1585
01:41:43,920 --> 01:41:50,559
Speaker 2: I'm doing Stone too a second volume. I need a

1586
01:41:50,640 --> 01:41:57,720
Speaker 2: writer in town who really understands Hollywood, because, as you know,

1587
01:41:57,880 --> 01:42:01,000
Speaker 2: I did the Stones record sixty four to sixty seven

1588
01:42:01,040 --> 01:42:06,559
Speaker 2: at RCA Studios on Sunset Boulevard and he said, he said,

1589
01:42:06,600 --> 01:42:09,280
Speaker 2: look I could get somebody from a label or somebody

1590
01:42:09,520 --> 01:42:12,679
Speaker 2: who writes for Time or Newsweek, but you know where

1591
01:42:12,720 --> 01:42:15,320
Speaker 2: Ivar is and I know you've been in that room

1592
01:42:15,360 --> 01:42:22,200
Speaker 2: at RCA, I said, safe Lusiano Henry Mancini. He said,

1593
01:42:22,360 --> 01:42:26,640
Speaker 2: you know the studios. You need to tell me and

1594
01:42:26,800 --> 01:42:31,880
Speaker 2: especially the readers, what it's like to be a teenager

1595
01:42:33,280 --> 01:42:39,160
Speaker 2: sixty four to seventy in town and take us into

1596
01:42:39,240 --> 01:42:42,679
Speaker 2: the environment. And he said, by the way, don't look

1597
01:42:42,720 --> 01:42:46,720
Speaker 2: at the movie, become the movie. And I ended up

1598
01:42:46,760 --> 01:42:49,160
Speaker 2: having eight pages in his book, which I think is

1599
01:42:49,160 --> 01:42:55,759
Speaker 2: on Simon and Schuster. It led to some other interviews jobs,

1600
01:42:56,720 --> 01:42:59,959
Speaker 2: close calls. But the thing is, I am an Assigmon

1601
01:43:00,080 --> 01:43:04,200
Speaker 2: and Schuster book. I get a chance to tell everybody

1602
01:43:04,200 --> 01:43:08,120
Speaker 2: about AM radio and hearing the Stones and this pre

1603
01:43:08,640 --> 01:43:12,360
Speaker 2: FM radio thing. And then we became good friends, to

1604
01:43:12,400 --> 01:43:16,160
Speaker 2: the point he's in town and I said, I have

1605
01:43:16,200 --> 01:43:19,360
Speaker 2: an extra couple tickets for Ringo at the Greek. I'm

1606
01:43:19,439 --> 01:43:23,160
Speaker 2: going with a couple people and he said, can I

1607
01:43:23,200 --> 01:43:25,200
Speaker 2: come along? I said, can you come along? You can

1608
01:43:25,280 --> 01:43:27,960
Speaker 2: sit in the front seat. We went out out of

1609
01:43:27,960 --> 01:43:30,120
Speaker 2: a pizza dinner with my friend doctor Cushing and a

1610
01:43:30,200 --> 01:43:32,400
Speaker 2: lawn friend who I think you know from years ago.

1611
01:43:33,120 --> 01:43:36,479
Speaker 2: I walk in there to the Greek Theater and I go,

1612
01:43:36,720 --> 01:43:41,960
Speaker 2: there's Bob left Sits and there's Peter Frampton and I said,

1613
01:43:42,080 --> 01:43:44,879
Speaker 2: you need to beat Bob left Sits before Peter Frampton.

1614
01:43:45,320 --> 01:43:49,400
Speaker 2: Oh no, here's the sad part. He said, Harvey, I've

1615
01:43:49,439 --> 01:43:54,559
Speaker 2: already knew worked and helped Peter Frampton long before Bob

1616
01:43:54,640 --> 01:43:57,720
Speaker 2: left Sits. I said, well, let's meet them both, and

1617
01:43:58,320 --> 01:44:01,120
Speaker 2: I introduced you and then he wrote something really funny,

1618
01:44:01,600 --> 01:44:05,920
Speaker 2: said normally gods don't walk on earth or you had

1619
01:44:06,160 --> 01:44:09,120
Speaker 2: a funny riff. And then he sent me an email

1620
01:44:09,120 --> 01:44:15,479
Speaker 2: and it said thank you because he has manners.

1621
01:44:15,520 --> 01:44:16,120
Speaker 1: And then.

1622
01:44:17,439 --> 01:44:20,840
Speaker 2: He said your friend lefts It says coming to Bogata, Columbia.

1623
01:44:21,280 --> 01:44:24,400
Speaker 4: Did you go there ten years ago or yeah? And

1624
01:44:24,439 --> 01:44:29,400
Speaker 4: I said really, he said yeah, he's coming to town.

1625
01:44:29,600 --> 01:44:33,080
Speaker 4: I said, he said thank you. He said this is

1626
01:44:33,160 --> 01:44:37,320
Speaker 4: what we do for people. And I said, he just.

1627
01:44:37,240 --> 01:44:40,840
Speaker 2: Happened to be standing with this woman named Felice at

1628
01:44:40,880 --> 01:44:45,120
Speaker 2: the entrance. What if you weren't there? And then Andrews said,

1629
01:44:45,160 --> 01:44:49,880
Speaker 2: what are you going to learn? There are no accidents?

1630
01:44:51,600 --> 01:44:55,599
Speaker 2: And I will say he deeply. When my dad died

1631
01:44:56,240 --> 01:45:00,760
Speaker 2: in twenty fourteen, and I'm not complaining. Ninety two, but

1632
01:45:00,840 --> 01:45:04,720
Speaker 2: Andrew never met his father. Andrew's mother was pregnant from

1633
01:45:06,120 --> 01:45:08,400
Speaker 2: a guy, a World War two guy that was shot

1634
01:45:08,439 --> 01:45:12,400
Speaker 2: down in the war, so he never physically met his father.

1635
01:45:13,160 --> 01:45:15,440
Speaker 2: And he said, I heard your father, do I go. Yeah,

1636
01:45:15,720 --> 01:45:19,000
Speaker 2: it was a slow eighty eight to ninety two. The

1637
01:45:19,120 --> 01:45:24,519
Speaker 2: VA took care of him. I'm not complaining. The name

1638
01:45:24,600 --> 01:45:26,719
Speaker 2: game is to keep the mother going for ten years.

1639
01:45:27,200 --> 01:45:30,360
Speaker 2: And he said, I want you to know something. You

1640
01:45:30,400 --> 01:45:32,559
Speaker 2: don't have to call me if you need help, and

1641
01:45:32,680 --> 01:45:35,559
Speaker 2: God forbid, don't go to some grievance counsel. I said, no,

1642
01:45:35,760 --> 01:45:38,840
Speaker 2: I'm not doing any of that. He said, you can

1643
01:45:38,880 --> 01:45:43,360
Speaker 2: find your parents or the deceased people anywhere you look

1644
01:45:43,520 --> 01:45:48,960
Speaker 2: if you focus on it. I said wow. And he

1645
01:45:49,000 --> 01:45:52,599
Speaker 2: said you're also carrying on your dad's mission. I said, well,

1646
01:45:52,640 --> 01:45:57,120
Speaker 2: I never became a stockbroker. He said, you're working and

1647
01:45:57,200 --> 01:46:01,800
Speaker 2: selling your catalog, aren't you. Yeah, there's some sink rites

1648
01:46:01,840 --> 01:46:05,120
Speaker 2: and all kinds of stuff coming in. He said, you

1649
01:46:05,240 --> 01:46:13,120
Speaker 2: are a stockbroker. And he's just he's fabulous. My brother

1650
01:46:13,160 --> 01:46:14,960
Speaker 2: and I when he comes to town twice a year,

1651
01:46:15,760 --> 01:46:19,639
Speaker 2: mandatory dinner or lunch with me and my brother. Sometimes

1652
01:46:19,680 --> 01:46:23,920
Speaker 2: it's just him and I. I know his family. I

1653
01:46:23,960 --> 01:46:28,920
Speaker 2: can't tell you the support he's given me. He just

1654
01:46:29,000 --> 01:46:31,360
Speaker 2: shows up at the right time with the right email,

1655
01:46:32,280 --> 01:46:35,400
Speaker 2: like I won't get a TV gig, And then four

1656
01:46:35,439 --> 01:46:41,080
Speaker 2: seconds later I check my emails, what's the next shot, kid?

1657
01:46:41,720 --> 01:46:44,559
Speaker 2: And all of a sudden, I'm not moaning about losing

1658
01:46:44,560 --> 01:46:48,760
Speaker 2: a TV writing job. I just he's right there, just

1659
01:46:48,800 --> 01:46:51,360
Speaker 2: his name on the screen. So that's my Andrew lou

1660
01:46:51,439 --> 01:46:57,639
Speaker 2: Oldhams story. It's just fantastic records he produced. And he's

1661
01:46:57,680 --> 01:47:01,120
Speaker 2: also taught me a bit more. He said, value your independence.

1662
01:47:01,160 --> 01:47:04,320
Speaker 2: I said, well, I have an internal team working with me.

1663
01:47:05,280 --> 01:47:08,120
Speaker 2: It never worked out where there were managers and agents

1664
01:47:09,040 --> 01:47:16,559
Speaker 2: and glam squads and for higher publicists supporting my scene.

1665
01:47:16,720 --> 01:47:20,200
Speaker 2: And he said, young man, look at the freedom you

1666
01:47:20,280 --> 01:47:23,519
Speaker 2: have waiting then instead of waiting for the committee to

1667
01:47:23,720 --> 01:47:27,840
Speaker 2: vote on everything, I go yeah. Laura Niro and I

1668
01:47:27,880 --> 01:47:31,040
Speaker 2: had that same conversation too. I knew her last ten

1669
01:47:31,120 --> 01:47:33,800
Speaker 2: years of her life, which I had a picture of

1670
01:47:33,800 --> 01:47:35,040
Speaker 2: her in my place.

1671
01:47:35,640 --> 01:47:39,919
Speaker 1: Okay, that was when you know she made a comeback

1672
01:47:40,000 --> 01:47:44,800
Speaker 1: album on Columbia. She wouldn't go on SNL because she

1673
01:47:44,880 --> 01:47:48,840
Speaker 1: wasn't happy with her appearance and she sort of faded away.

1674
01:47:49,479 --> 01:47:51,599
Speaker 1: How did you end up connecting with her in that

1675
01:47:51,800 --> 01:47:52,880
Speaker 1: period of her life?

1676
01:47:55,040 --> 01:47:59,400
Speaker 2: In nineteen remember, I'd always engineer when I could. I'd

1677
01:47:59,439 --> 01:48:05,040
Speaker 2: interview the producer or the engineer when I could. Everybody

1678
01:48:05,080 --> 01:48:08,360
Speaker 2: wanted the lead singer. I'll go talk to John Densmore,

1679
01:48:08,439 --> 01:48:14,000
Speaker 2: the drummer of the Doors. He's in the band. In

1680
01:48:14,080 --> 01:48:19,000
Speaker 2: nineteen seventy six, I interviewed Bob Crue, who was hot

1681
01:48:19,040 --> 01:48:22,599
Speaker 2: on the charts. Frankie Valley Swear to God, my Eyes

1682
01:48:22,640 --> 01:48:25,519
Speaker 2: Adore You co writing stuff. Also had a big hit

1683
01:48:25,560 --> 01:48:26,840
Speaker 2: with Lady Marmalade.

1684
01:48:27,080 --> 01:48:27,800
Speaker 1: He co wrote it.

1685
01:48:30,320 --> 01:48:34,040
Speaker 2: He said, would you like to go? He said, Laura

1686
01:48:34,120 --> 01:48:36,200
Speaker 2: Narrow's coming to town, an old friend of mine.

1687
01:48:37,520 --> 01:48:38,080
Speaker 1: I said, yeah.

1688
01:48:38,080 --> 01:48:40,200
Speaker 2: I tried to get tickets for the Santa Monica Civic,

1689
01:48:40,280 --> 01:48:43,040
Speaker 2: but I wasn't going to go to a ticket broker

1690
01:48:43,040 --> 01:48:46,040
Speaker 2: and pay ten dollars. And he said, why don't you

1691
01:48:46,040 --> 01:48:48,720
Speaker 2: come with me and you'll meet Laura. I said what

1692
01:48:49,840 --> 01:48:52,120
Speaker 2: he said? Yeah? You know, I knew a lot of

1693
01:48:52,120 --> 01:48:54,960
Speaker 2: the session musicians that were on her early albums. One

1694
01:48:55,000 --> 01:49:00,960
Speaker 2: on Verve. I said, I'm driving let's go. Oh. I

1695
01:49:01,040 --> 01:49:04,880
Speaker 2: go to the Santa Manka Civic and I'm introduced to

1696
01:49:04,960 --> 01:49:11,400
Speaker 2: Laura Enio. Hello, and she said, what's your name, Harvey Kubernick.

1697
01:49:11,800 --> 01:49:15,680
Speaker 2: I have all your records and she said, and what

1698
01:49:15,720 --> 01:49:19,280
Speaker 2: are your parents' name? And I said, well, my father

1699
01:49:19,439 --> 01:49:23,080
Speaker 2: is Marshall and my mother is Hilda. And she starts

1700
01:49:23,240 --> 01:49:27,120
Speaker 2: giggling and she says, well my mother is named Gilda,

1701
01:49:27,880 --> 01:49:31,800
Speaker 2: so we can have Gilda in Hilda. And she says,

1702
01:49:31,840 --> 01:49:35,519
Speaker 2: I live in Danberry, Connecticut. I think that what she said.

1703
01:49:36,680 --> 01:49:41,040
Speaker 2: There's no internet. Then here's my phone number. You can

1704
01:49:41,680 --> 01:49:44,880
Speaker 2: call me. She said, we're not doing an interview. No,

1705
01:49:45,640 --> 01:49:49,960
Speaker 2: she said, I could tell you're different than these managers

1706
01:49:50,000 --> 01:49:52,840
Speaker 2: that are knocking on my door. And I had to

1707
01:49:53,080 --> 01:49:57,120
Speaker 2: escape from the Michi gosse of the music business. She

1708
01:49:57,160 --> 01:50:00,679
Speaker 2: could talk Yiddish, and I said, are you Jewish? She said,

1709
01:50:01,640 --> 01:50:06,639
Speaker 2: the top half is Italian, but the bottom half is Jewish.

1710
01:50:07,280 --> 01:50:09,679
Speaker 2: And then all of a sudden I had a call

1711
01:50:09,720 --> 01:50:13,479
Speaker 2: with her, and then I didn't. I'd see her when

1712
01:50:13,479 --> 01:50:16,960
Speaker 2: she'd come to town. Mccabs. I never bothered her. I

1713
01:50:17,080 --> 01:50:21,120
Speaker 2: was happy for the one off. My friend Nancy Ritchant

1714
01:50:21,200 --> 01:50:24,320
Speaker 2: brought her a Tuna Fish Sandwich at that same Santa

1715
01:50:24,360 --> 01:50:28,040
Speaker 2: Monica Civic Auditorium show. Because her publishing company, I think

1716
01:50:28,120 --> 01:50:32,160
Speaker 2: was called Tuna Fish Music and the Laura I used

1717
01:50:32,200 --> 01:50:36,240
Speaker 2: to call them the Laura Girls. She was I was

1718
01:50:36,280 --> 01:50:40,320
Speaker 2: a first album freak, and I appreciated Eli and I

1719
01:50:41,120 --> 01:50:45,160
Speaker 2: liked her. I just I felt this connection with her.

1720
01:50:46,880 --> 01:50:52,800
Speaker 2: And then in the nineties I get a call one night, Harvey,

1721
01:50:53,080 --> 01:50:59,320
Speaker 2: this is Gilda's daughter. I got Laura and Nero and

1722
01:50:59,400 --> 01:51:02,760
Speaker 2: two friends over and she said, you don't when guy

1723
01:51:02,800 --> 01:51:06,080
Speaker 2: says and he's there's a girl there, you don't have

1724
01:51:06,120 --> 01:51:12,120
Speaker 2: to impress us. I said, listen, Laura Niro's on the phone.

1725
01:51:12,400 --> 01:51:14,439
Speaker 2: Why don't you guys like smoke a joint or something?

1726
01:51:14,640 --> 01:51:17,280
Speaker 2: And I need to talk to her, which we here

1727
01:51:17,360 --> 01:51:19,840
Speaker 2: are you interviewing her? No, we don't have that trip

1728
01:51:19,920 --> 01:51:24,479
Speaker 2: going on. We had like a three hour talk and

1729
01:51:24,520 --> 01:51:28,040
Speaker 2: she said, I'm trying to record. I'm looking for an

1730
01:51:28,080 --> 01:51:32,280
Speaker 2: independent label. I've just recorded maybe for Cypress Records. I

1731
01:51:32,320 --> 01:51:36,559
Speaker 2: think that was a label or was going to she'd

1732
01:51:36,760 --> 01:51:39,400
Speaker 2: and I said, oh, I you know, and she and

1733
01:51:39,479 --> 01:51:43,320
Speaker 2: she said, aren't you so lucky? You don't have agents

1734
01:51:43,360 --> 01:51:46,920
Speaker 2: and managers and people telling you what to do. I said, well,

1735
01:51:46,920 --> 01:51:50,920
Speaker 2: I'd like to have some of that, and she said, no,

1736
01:51:51,439 --> 01:51:55,559
Speaker 2: you're not supposed to. I said no, the advances would

1737
01:51:55,600 --> 01:51:58,879
Speaker 2: be so much bigger, the other jobs would be happening.

1738
01:51:59,120 --> 01:52:01,559
Speaker 2: I don't like rep I think myself when the money

1739
01:52:01,600 --> 01:52:03,920
Speaker 2: call comes in or the lawyer email, turning it over

1740
01:52:03,920 --> 01:52:06,680
Speaker 2: to my lawyer and then I get his bill. This

1741
01:52:06,720 --> 01:52:11,320
Speaker 2: stuff is depleting me. She said, you'll realize you're lucky

1742
01:52:11,360 --> 01:52:13,960
Speaker 2: one day. But I'm calling you for a reason.

1743
01:52:15,000 --> 01:52:15,639
Speaker 1: So what's that.

1744
01:52:17,400 --> 01:52:20,200
Speaker 2: I'm starting to record at home. I need a record

1745
01:52:20,280 --> 01:52:23,160
Speaker 2: label and I just need some help. And I just

1746
01:52:23,240 --> 01:52:28,360
Speaker 2: kind of figured you'd know some people. I said, yeah.

1747
01:52:28,560 --> 01:52:30,639
Speaker 2: I said, well, why don't you talk to Larry King,

1748
01:52:30,880 --> 01:52:35,640
Speaker 2: the main buyer, her manager, Tower Records on Sunset. He

1749
01:52:35,720 --> 01:52:39,120
Speaker 2: will connect you to some of the independent labels you're

1750
01:52:39,160 --> 01:52:42,559
Speaker 2: looking for. She said, that is so nice of you.

1751
01:52:43,160 --> 01:52:46,320
Speaker 2: I said what I said, I want nothing from this,

1752
01:52:46,960 --> 01:52:49,639
Speaker 2: but if you come to the Caves or that venue

1753
01:52:49,680 --> 01:52:52,439
Speaker 2: in Santa Monica. There was a theater in Santa Monica.

1754
01:52:52,520 --> 01:52:57,360
Speaker 2: She played my father's Yeah. She said, I'll get you

1755
01:52:57,439 --> 01:53:00,559
Speaker 2: in and she said, oh that's great. She said, you

1756
01:53:00,600 --> 01:53:03,479
Speaker 2: don't need tickets. I go oh yeah, yeah, I need

1757
01:53:03,479 --> 01:53:05,599
Speaker 2: a ticket or two. I'd like to take a girl.

1758
01:53:06,240 --> 01:53:08,639
Speaker 2: And she said, oh, no, you're coming to the sound check.

1759
01:53:09,320 --> 01:53:12,360
Speaker 2: I want to introduce you to my friend Maria and

1760
01:53:12,439 --> 01:53:18,200
Speaker 2: my girls. What she said, you're one of us, You're

1761
01:53:18,560 --> 01:53:22,240
Speaker 2: you are you know you're not like the New Yorkers

1762
01:53:22,280 --> 01:53:26,000
Speaker 2: at the record labels said no, and I would see

1763
01:53:26,040 --> 01:53:30,680
Speaker 2: her anytime she came to town. I brought her food. I

1764
01:53:30,720 --> 01:53:34,960
Speaker 2: didn't badger her, and we just had But then all

1765
01:53:34,960 --> 01:53:39,280
Speaker 2: of a sudden, the phone start. There were no calls returned.

1766
01:53:40,600 --> 01:53:47,120
Speaker 2: I waited a week or two, no call, left another voicemail, HI,

1767
01:53:47,240 --> 01:53:52,320
Speaker 2: this is Laura. No callback. Started getting a little scared.

1768
01:53:53,560 --> 01:53:58,559
Speaker 2: Waited another month, no callback, and my friend Rosemary said,

1769
01:53:59,479 --> 01:54:03,519
Speaker 2: there's some medical shit going down here. It happens to

1770
01:54:03,640 --> 01:54:09,519
Speaker 2: us women. I said, okay, I'm not gonna badger call

1771
01:54:09,560 --> 01:54:12,719
Speaker 2: anybody at the Village voice. I'll just see how it plays,

1772
01:54:12,720 --> 01:54:16,439
Speaker 2: and then she left the physical planet. I thank her

1773
01:54:16,479 --> 01:54:19,760
Speaker 2: in my books. I know I probably had eight, ten,

1774
01:54:19,880 --> 01:54:25,360
Speaker 2: twelve encounters with her, but that Gilda Hilda thing, which

1775
01:54:25,360 --> 01:54:28,160
Speaker 2: I'm telling for the first time. I was interviewed for

1776
01:54:28,280 --> 01:54:30,320
Speaker 2: one book by her by a guy named Mark shipper,

1777
01:54:30,320 --> 01:54:33,040
Speaker 2: but it never came out. I'm not in the Michelle

1778
01:54:33,120 --> 01:54:37,120
Speaker 2: Court book on Laura Niro. But to this day, if

1779
01:54:37,120 --> 01:54:40,120
Speaker 2: there's a reissue or that double album Best Of where

1780
01:54:40,120 --> 01:54:42,200
Speaker 2: they finally put out that film, or e show that

1781
01:54:42,320 --> 01:54:49,520
Speaker 2: you went to. Somebody at Columbia knew the history and said, well,

1782
01:54:49,560 --> 01:54:51,440
Speaker 2: they actually called me on the phone when people used

1783
01:54:51,480 --> 01:54:54,280
Speaker 2: to talk to people on the phone. Hi, this is

1784
01:54:55,760 --> 01:55:01,760
Speaker 2: Randy Hacker, Columbia. The publicist said, Harvey, there's a Laura

1785
01:55:01,840 --> 01:55:06,320
Speaker 2: Narro live at Fillmore East coming out. I know you

1786
01:55:06,480 --> 01:55:08,560
Speaker 2: thanked her in your books and you must have known her.

1787
01:55:09,360 --> 01:55:14,800
Speaker 2: Can we send you in advance? And then it was

1788
01:55:14,840 --> 01:55:17,120
Speaker 2: groovy and then you wrote about it, and I know

1789
01:55:17,200 --> 01:55:20,440
Speaker 2: that show blew your fucking mind, and I kind of

1790
01:55:20,440 --> 01:55:25,920
Speaker 2: felt I'm carrying Laura Niro forward. There'll be ten people

1791
01:55:25,920 --> 01:55:30,760
Speaker 2: who may hear this. They may buy the First Songs album,

1792
01:55:31,120 --> 01:55:35,480
Speaker 2: they might buy Eli or secretly kids check out the

1793
01:55:35,520 --> 01:55:40,760
Speaker 2: record with Lebelle. I mean I know something you put her,

1794
01:55:40,800 --> 01:55:45,040
Speaker 2: You plant her name, and some people go down the

1795
01:55:45,120 --> 01:55:50,080
Speaker 2: rabbit hole. She means a lot to me. I wasn't

1796
01:55:50,120 --> 01:55:53,120
Speaker 2: in love with her. There was no romantic stuff. It

1797
01:55:53,280 --> 01:55:57,480
Speaker 2: was the poet person that I thought was right there

1798
01:55:57,480 --> 01:56:03,640
Speaker 2: with Bob Dylan always and but you know, she we

1799
01:56:03,680 --> 01:56:06,960
Speaker 2: would talk about food and stuff like that. It was

1800
01:56:07,840 --> 01:56:09,880
Speaker 2: it was just it was really a pleasure to talk

1801
01:56:09,920 --> 01:56:12,600
Speaker 2: to somebody, you know, that had kind of a New

1802
01:56:12,680 --> 01:56:15,560
Speaker 2: York accent too, and it was these were late night

1803
01:56:15,680 --> 01:56:19,440
Speaker 2: calls and my whole day would be better the next day.

1804
01:56:19,840 --> 01:56:22,760
Speaker 2: I used to get that when I'd hear from Raymond

1805
01:56:22,880 --> 01:56:27,640
Speaker 2: Zeric or Brian Wilson used to call a lot if

1806
01:56:27,680 --> 01:56:31,440
Speaker 2: there was you know, and they would. I always felt,

1807
01:56:31,960 --> 01:56:34,800
Speaker 2: this is beyond a gig. These are people that I

1808
01:56:34,880 --> 01:56:39,280
Speaker 2: now have fifty year relations with. This is half century stuff.

1809
01:56:39,920 --> 01:56:43,040
Speaker 2: And a lot of these people they're either five, ten,

1810
01:56:43,120 --> 01:56:45,680
Speaker 2: twelve years older than me. They're kind of leaving the planet.

1811
01:56:46,880 --> 01:56:49,600
Speaker 2: And I told Andrew le Goldham, you know, I guess

1812
01:56:49,600 --> 01:56:54,240
Speaker 2: I'm becoming the messenger. I'm going to go with that

1813
01:56:54,520 --> 01:57:00,240
Speaker 2: because I could either get bummed out, reinvent myself, walk

1814
01:57:00,280 --> 01:57:05,000
Speaker 2: away from my history, or thoroughly embrace it. And the

1815
01:57:05,040 --> 01:57:07,600
Speaker 2: young bands and the young punk rock people, whether it

1816
01:57:07,640 --> 01:57:12,480
Speaker 2: be Man's Body, whether it be a Panglobu group called Tea,

1817
01:57:12,720 --> 01:57:16,160
Speaker 2: they're finding me because we like a lot of the

1818
01:57:16,240 --> 01:57:21,360
Speaker 2: same music, and I interviewed Bert Backerak with Elvis Costello

1819
01:57:21,440 --> 01:57:27,400
Speaker 2: in nineteen ninety for Musician magazine. Did I know there'd

1820
01:57:27,400 --> 01:57:30,120
Speaker 2: be an Elvis Costello Bert box set that came out

1821
01:57:30,280 --> 01:57:33,760
Speaker 2: a month ago? And that Bert would leave the planet

1822
01:57:34,240 --> 01:57:37,000
Speaker 2: and all of a sudden. When you are connected with

1823
01:57:37,080 --> 01:57:43,200
Speaker 2: these people, you inherit their fan clubs, their followers, or

1824
01:57:43,280 --> 01:57:46,000
Speaker 2: you run into them at Farmer's Market or at Musso

1825
01:57:46,040 --> 01:57:51,480
Speaker 2: and Franks. But I don't do social media Twitter. I'm

1826
01:57:51,480 --> 01:57:54,600
Speaker 2: probably going to be embracing that a bit more. But

1827
01:57:55,120 --> 01:57:57,200
Speaker 2: they just have the greatest things. Also, I had a

1828
01:57:57,200 --> 01:58:00,680
Speaker 2: friendship with Leonard Cohen Moore of an acquaintanceship with him.

1829
01:58:00,960 --> 01:58:04,520
Speaker 2: I did three long interviews with him in the seventies,

1830
01:58:05,240 --> 01:58:09,560
Speaker 2: seventy four, seventy six, seventy eight. I'd actually meet him

1831
01:58:09,600 --> 01:58:14,200
Speaker 2: at some restaurants. I went to both of his houses

1832
01:58:14,240 --> 01:58:18,160
Speaker 2: in LA When he said, I'm living in Brentwood. Do

1833
01:58:18,240 --> 01:58:22,480
Speaker 2: you know if there's a deli? I said yeah, And

1834
01:58:22,520 --> 01:58:25,720
Speaker 2: he said, I've been to Canters, I've been to the

1835
01:58:25,760 --> 01:58:30,160
Speaker 2: place on Sunset and Crescent Heights which just closed. Is

1836
01:58:30,200 --> 01:58:35,040
Speaker 2: there a deli that has smoked fish, smoked meat? I said,

1837
01:58:35,080 --> 01:58:39,320
Speaker 2: what is smoked meat. I said, I'm a deli guy.

1838
01:58:39,360 --> 01:58:43,440
Speaker 2: Won't eat tom or anything. He said, find deli and

1839
01:58:43,520 --> 01:58:48,560
Speaker 2: we will eat. And I took him to Jerry's or

1840
01:58:48,640 --> 01:58:52,400
Speaker 2: Juniors on Pico in Westwood, I think it was called Juniors,

1841
01:58:52,440 --> 01:58:55,600
Speaker 2: And every six months i'd get that phone call. I'd

1842
01:58:55,600 --> 01:58:59,960
Speaker 2: write about him. Subsequently, I'm quoted in five Leonard Cohen books,

1843
01:59:00,680 --> 01:59:04,960
Speaker 2: and then he just was an advice person. I will

1844
01:59:04,960 --> 01:59:08,640
Speaker 2: tell you this. In nineteen seventy four, I called it

1845
01:59:08,760 --> 01:59:13,280
Speaker 2: Columbia Records. I'd like to interview Justin Pearson. I want

1846
01:59:13,320 --> 01:59:16,320
Speaker 2: to interview Leonard Cohene for the Hollywood Press. Well, he's

1847
01:59:16,360 --> 01:59:18,920
Speaker 2: doing tenor and news that day he's playing the Troubadour.

1848
01:59:19,360 --> 01:59:24,040
Speaker 2: Will put you on the troubad Or guess list? What

1849
01:59:24,320 --> 01:59:26,640
Speaker 2: I don't have to pay? Yeah, you'll be in the

1850
01:59:26,720 --> 01:59:31,240
Speaker 2: rope in section. Okay, we'll try to get you the interview.

1851
01:59:31,840 --> 01:59:35,560
Speaker 2: You know, he's got ten interviews. Judy Painter calls back

1852
01:59:35,600 --> 01:59:40,880
Speaker 2: with Charlie Copeland. Leonard would love to talk to you.

1853
01:59:41,000 --> 01:59:46,320
Speaker 2: To gents, there's just one problem, I said, what's the problem?

1854
01:59:46,960 --> 01:59:50,680
Speaker 2: He said, he hasked to do a passport renewal at

1855
01:59:50,720 --> 01:59:54,440
Speaker 2: the Canadian Embassy. Will you join him in a limousine ride.

1856
01:59:55,840 --> 01:59:58,320
Speaker 2: I said, that's the problem. He said he felt he

1857
01:59:58,360 --> 02:00:03,680
Speaker 2: should ask first. You might be busy that afternoon. I said,

1858
02:00:03,880 --> 02:00:08,640
Speaker 2: we're going to the Canadian embassy with you do the interview.

1859
02:00:09,960 --> 02:00:13,320
Speaker 2: I had my homework down. I knew who the producers were.

1860
02:00:14,320 --> 02:00:18,000
Speaker 2: They said, very good, let's go to the embassy. We

1861
02:00:18,080 --> 02:00:21,080
Speaker 2: were bonding and I said, mister Cohn, no, the name

1862
02:00:21,160 --> 02:00:26,320
Speaker 2: is Leonard. Can I ask you a question. I know

1863
02:00:26,440 --> 02:00:30,640
Speaker 2: you have a couple of kids. I know you're thirty five,

1864
02:00:30,760 --> 02:00:34,600
Speaker 2: you're kind of old. You go out with a lot

1865
02:00:34,640 --> 02:00:39,800
Speaker 2: of women and write about them. How do you how

1866
02:00:39,840 --> 02:00:42,400
Speaker 2: do you get married or how do you keep a

1867
02:00:42,480 --> 02:00:48,720
Speaker 2: relationship going? Because what's the secret? And he turns to

1868
02:00:48,760 --> 02:00:51,200
Speaker 2: me and justin in the limousine riot and he says,

1869
02:00:52,360 --> 02:00:54,960
Speaker 2: relationships are complicated.

1870
02:00:56,960 --> 02:00:59,200
Speaker 1: You know we're going to leave it on that how

1871
02:00:59,680 --> 02:01:03,400
Speaker 1: to say relationship, by the way, as you couldn't note

1872
02:01:04,200 --> 02:01:08,080
Speaker 1: that wisdom. We obviously could go on for hours more,

1873
02:01:08,160 --> 02:01:12,000
Speaker 1: but we've come to the end of the time we have. Harvey.

1874
02:01:12,440 --> 02:01:16,520
Speaker 1: I want to thank you so much for doing the podcast.

1875
02:01:17,400 --> 02:01:20,480
Speaker 2: It's been a pure pleasure. You know, we go back

1876
02:01:20,520 --> 02:01:24,000
Speaker 2: a while and you know you've seen the growth of

1877
02:01:24,120 --> 02:01:29,360
Speaker 2: music docs. You've seen all the transitions. It's very educational

1878
02:01:30,320 --> 02:01:31,520
Speaker 2: reading the newsletter.

1879
02:01:33,680 --> 02:01:34,480
Speaker 1: But I was right.

1880
02:01:34,560 --> 02:01:36,800
Speaker 2: You went to law school out here, you you couldn't

1881
02:01:36,840 --> 02:01:38,760
Speaker 2: wait to get to the beach. True or false?

1882
02:01:38,920 --> 02:01:41,440
Speaker 1: No, true, I took a couple of years off before

1883
02:01:41,440 --> 02:01:43,760
Speaker 1: I went to law school. That's my own personal story

1884
02:01:43,760 --> 02:01:47,480
Speaker 1: for another time. But I will say I used to

1885
02:01:47,560 --> 02:01:51,720
Speaker 1: hear from Harvey. Harvey would always say, if I wrote

1886
02:01:51,720 --> 02:01:55,880
Speaker 1: about Linda Ronstadt, it's really Chris Darrow. Chris Darrow is

1887
02:01:55,920 --> 02:02:00,960
Speaker 1: the person that really, you know, there were some bubbs

1888
02:02:01,000 --> 02:02:03,960
Speaker 1: in the road earlier before we actually met face to face,

1889
02:02:04,640 --> 02:02:07,480
Speaker 1: but as you can tell by Harvey's memory, you know

1890
02:02:07,560 --> 02:02:11,400
Speaker 1: he's really an authority. He's dedicated his entire life to

1891
02:02:11,640 --> 02:02:15,760
Speaker 1: this for us, as he says, So, Harvey, thanks for

1892
02:02:15,840 --> 02:02:16,600
Speaker 1: doing the work.

1893
02:02:16,800 --> 02:02:20,320
Speaker 2: I appreciate everything. And I really have a great team

1894
02:02:20,360 --> 02:02:22,800
Speaker 2: of people around me now, like Chris Alpert and so

1895
02:02:22,840 --> 02:02:25,920
Speaker 2: many people and people like Justin Pears are still on

1896
02:02:26,080 --> 02:02:29,680
Speaker 2: the team, and I kind of feel we're all going

1897
02:02:29,760 --> 02:02:35,400
Speaker 2: toward a common cause. And I'm just delighted to do

1898
02:02:35,440 --> 02:02:41,080
Speaker 2: this podcast because we got to talk about music. But

1899
02:02:41,800 --> 02:02:45,120
Speaker 2: I will I'll end it with this When I brought

1900
02:02:45,200 --> 02:02:50,400
Speaker 2: up the Beach Boys to you, you weren't sheepish or apologetic.

1901
02:02:50,600 --> 02:02:53,720
Speaker 2: When I first met you, you raised your hand like

1902
02:02:53,760 --> 02:02:57,400
Speaker 2: it was a hadassa meeting or something. You don't understand.

1903
02:02:57,480 --> 02:02:59,680
Speaker 2: I moved here because a yeah, people all the way

1904
02:02:59,720 --> 02:03:04,120
Speaker 2: had Okay, that music from the West Coast, it was

1905
02:03:04,160 --> 02:03:07,680
Speaker 2: the music. Maybe it was the sunshine. Who knows, and

1906
02:03:07,720 --> 02:03:11,920
Speaker 2: you're a snow person, but you wave that flag so

1907
02:03:12,560 --> 02:03:17,000
Speaker 2: huge for the Beach Boys. It helped define your life.

1908
02:03:18,000 --> 02:03:18,879
Speaker 2: Isn't that amazing?

1909
02:03:18,920 --> 02:03:22,560
Speaker 1: You know you're living in California and this was before

1910
02:03:22,600 --> 02:03:27,600
Speaker 1: all the tax incentives, so every TV show, every movie

1911
02:03:27,760 --> 02:03:32,440
Speaker 1: was made in LA. There was the southern California surf sound.

1912
02:03:33,480 --> 02:03:36,560
Speaker 1: Let's okay, I remember one. I came to California in

1913
02:03:36,600 --> 02:03:39,360
Speaker 1: sixty six, but I remember coming to California in seventy

1914
02:03:39,360 --> 02:03:44,120
Speaker 1: three and literally crossing the line from Nevada to California

1915
02:03:44,160 --> 02:03:48,560
Speaker 1: in Lake Tahoe and say, it just felt different. And

1916
02:03:48,640 --> 02:03:53,520
Speaker 1: at this late date, it just cracks me up. With

1917
02:03:53,680 --> 02:03:59,080
Speaker 1: all this anti California stuff. They have no idea what

1918
02:03:59,240 --> 02:04:04,800
Speaker 1: they're missing to this day, Yes, real estate is expensive,

1919
02:04:05,400 --> 02:04:10,480
Speaker 1: yes traffic is bad, but as I would normally say,

1920
02:04:11,320 --> 02:04:14,320
Speaker 1: I could talk about negative things about southern California all

1921
02:04:14,360 --> 02:04:17,160
Speaker 1: day long, but there's nowhere I'd rather live. Every As

1922
02:04:17,200 --> 02:04:20,080
Speaker 1: you know, everybody in the music business has to come

1923
02:04:20,080 --> 02:04:21,440
Speaker 1: through at least once a year.

1924
02:04:21,960 --> 02:04:24,400
Speaker 2: So, by the way, I'd have a different life for

1925
02:04:24,520 --> 02:04:27,080
Speaker 2: career if I relocated to New York and then went

1926
02:04:27,120 --> 02:04:29,600
Speaker 2: to Paris. Some of those options have been on the table.

1927
02:04:30,200 --> 02:04:32,360
Speaker 2: Answer this one thing, because I'd like to get the

1928
02:04:32,440 --> 02:04:35,480
Speaker 2: question answer for me. This is Gary Strobel, who I

1929
02:04:35,560 --> 02:04:39,000
Speaker 2: work with. He's my archive is, he's Henry Dilton's photo library,

1930
02:04:39,000 --> 02:04:42,960
Speaker 2: and he's from Cicero, Illinois, one of Chicago. I said,

1931
02:04:42,960 --> 02:04:46,000
Speaker 2: why did you move here? And he said the monkeys

1932
02:04:46,800 --> 02:04:51,360
Speaker 2: were done here? And also, you have no idea what

1933
02:04:51,440 --> 02:04:54,560
Speaker 2: a snow day is like in school? I said, what

1934
02:04:54,600 --> 02:04:57,640
Speaker 2: the fuck is a snow day? He said, you can't

1935
02:04:57,760 --> 02:05:01,360
Speaker 2: leave the house. They you, I know what a small

1936
02:05:01,480 --> 02:05:04,360
Speaker 2: day is. Did they have snow days in Vermont and

1937
02:05:04,480 --> 02:05:05,600
Speaker 2: all that Connecticut?

1938
02:05:05,800 --> 02:05:09,160
Speaker 1: They absolutely had snow days. We'd turn on a transistor

1939
02:05:09,520 --> 02:05:12,520
Speaker 1: in Connecticut and they would list all the towns. Then

1940
02:05:12,600 --> 02:05:16,080
Speaker 1: my understanding was they did it via Facebook. Now, as

1941
02:05:16,080 --> 02:05:19,280
Speaker 1: a result of COVID, they say there may never be

1942
02:05:19,400 --> 02:05:23,280
Speaker 1: snow days again. However, you know, there are certain things

1943
02:05:23,400 --> 02:05:26,800
Speaker 1: in the East Coast. We play board games, not as

1944
02:05:26,800 --> 02:05:30,760
Speaker 1: big a thing here because it's rain and the snow. Okay,

1945
02:05:31,520 --> 02:05:36,080
Speaker 1: I like the weather here. That is not why I moved.

1946
02:05:36,520 --> 02:05:40,040
Speaker 1: Having said that, whenever you go somewhere else it rains

1947
02:05:40,040 --> 02:05:42,040
Speaker 1: one day, that's cool, then it rains another. Go, what's

1948
02:05:42,120 --> 02:05:45,440
Speaker 1: up with this? You know? I have people that say, oh, yeah,

1949
02:05:45,560 --> 02:05:48,800
Speaker 1: the summer in New York. Every weekend it rained. You know,

1950
02:05:48,880 --> 02:05:53,000
Speaker 1: it was like, you know, you make plans to go somewhere,

1951
02:05:53,120 --> 02:05:56,360
Speaker 1: play tenniss something outside of the summer in California, weather

1952
02:05:56,560 --> 02:05:58,440
Speaker 1: is not the issue. It's happening.

1953
02:05:59,440 --> 02:06:02,240
Speaker 2: I I'm just so glad that you like the Jan

1954
02:06:02,320 --> 02:06:04,040
Speaker 2: and Dene Command Performance Album.

1955
02:06:04,120 --> 02:06:07,240
Speaker 1: Wait wait, wait wait, we can go on about this day.

1956
02:06:07,400 --> 02:06:08,360
Speaker 2: That I'm glad. Listen.

1957
02:06:08,760 --> 02:06:13,080
Speaker 1: The Jan and Dene Command Performance Album was the first

1958
02:06:13,240 --> 02:06:16,760
Speaker 1: Jan and Dean album I bought, and I after that,

1959
02:06:16,840 --> 02:06:20,360
Speaker 1: I bought Ride the Wild Surf and other ones. But

1960
02:06:21,880 --> 02:06:25,760
Speaker 1: I played that so much the record turned gray and

1961
02:06:25,840 --> 02:06:29,280
Speaker 1: I had to use masking tape around the corners and

1962
02:06:29,320 --> 02:06:33,560
Speaker 1: I still have it. Man. And then you know, I

1963
02:06:33,600 --> 02:06:36,480
Speaker 1: heard from the guy who's now in Nashville, who promoted

1964
02:06:36,520 --> 02:06:37,640
Speaker 1: the concert.

1965
02:06:37,960 --> 02:06:41,120
Speaker 2: That were Fred Mail. Yeah, yeah, Fred Vail.

1966
02:06:41,360 --> 02:06:46,200
Speaker 1: Right, that was the shit. I can still hear the horns,

1967
02:06:46,280 --> 02:06:50,480
Speaker 1: you know, and uh dead Man's curve. Not to mention

1968
02:06:50,600 --> 02:06:53,000
Speaker 1: the fact, you know, when you come to LA, all

1969
02:06:53,080 --> 02:06:57,960
Speaker 1: these things you've been hearing forever come alive. You know,

1970
02:06:58,720 --> 02:07:03,840
Speaker 1: not only Pico and Support, but Elmonte Legion Stadium. Doheeny?

1971
02:07:04,520 --> 02:07:06,120
Speaker 1: You know, we know Dahiti, but when you know on

1972
02:07:06,120 --> 02:07:09,280
Speaker 1: the East Coast you have no reference Dohini. And then

1973
02:07:09,600 --> 02:07:13,880
Speaker 1: the beaches trestles also, you know, doheiny again. It's like

1974
02:07:14,800 --> 02:07:19,520
Speaker 1: it's living history. And just to close it out, what

1975
02:07:19,680 --> 02:07:25,120
Speaker 1: people don't realize the difference between East Coast and West Coast.

1976
02:07:25,160 --> 02:07:28,080
Speaker 1: Let's say East Coast and Los Angeles. In the East Coast,

1977
02:07:28,160 --> 02:07:31,600
Speaker 1: where you went to college? Who your parents are? Very

1978
02:07:31,640 --> 02:07:35,240
Speaker 1: important Los Angeles, the most important thing is what kind

1979
02:07:35,240 --> 02:07:38,880
Speaker 1: of car you drive. That's just phony enough for me.

1980
02:07:39,720 --> 02:07:43,080
Speaker 1: No one's sitting there talking about my parents, no one's

1981
02:07:43,120 --> 02:07:46,400
Speaker 1: asking me where I went to school. Everybody's on an

1982
02:07:46,480 --> 02:07:49,280
Speaker 1: even playing field. And when it comes to LA. In Hollywood,

1983
02:07:49,560 --> 02:07:52,360
Speaker 1: people are so narcissistic. They don't give a shit about you.

1984
02:07:52,400 --> 02:07:55,120
Speaker 1: They're not in your business. I can be. I feel

1985
02:07:55,600 --> 02:07:59,520
Speaker 1: free and this is the only place. Never mind I

1986
02:07:59,560 --> 02:08:03,960
Speaker 1: go on a politics whatever. People have no idea how

1987
02:08:04,080 --> 02:08:08,160
Speaker 1: great it is here. I mean I could testify ad

1988
02:08:08,280 --> 02:08:12,720
Speaker 1: infinitum and the people first and foremost. LA is a

1989
02:08:12,760 --> 02:08:16,920
Speaker 1: shitty tourist town. It's a lifestyle town. You know, it's

1990
02:08:16,920 --> 02:08:18,720
Speaker 1: not about going and say yay, go to the beach,

1991
02:08:19,040 --> 02:08:22,640
Speaker 1: go to the Capitol records tower. The people will leave

1992
02:08:24,160 --> 02:08:28,000
Speaker 1: are the people who came with dreams and just can't

1993
02:08:28,040 --> 02:08:31,760
Speaker 1: handle that their dreams of fame didn't happen. But as

1994
02:08:31,800 --> 02:08:34,920
Speaker 1: you say, if you spend the time and you feel

1995
02:08:34,960 --> 02:08:38,160
Speaker 1: I mean, you hear long enough, the world is not

1996
02:08:38,320 --> 02:08:40,960
Speaker 1: that big. You meet the right people but you but

1997
02:08:41,080 --> 02:08:44,839
Speaker 1: it takes a long time. But it's a lifetime thing.

1998
02:08:45,000 --> 02:08:46,920
Speaker 2: And I should I saw. I'll close it with this

1999
02:08:46,960 --> 02:08:50,000
Speaker 2: because it just ties it all in. About twenty years ago,

2000
02:08:50,040 --> 02:08:53,400
Speaker 2: I saw Willie Nelson at the Wiltern Theater. I was

2001
02:08:53,440 --> 02:08:56,720
Speaker 2: introduced to him backstage. I said, Willie, can I have

2002
02:08:56,760 --> 02:08:58,560
Speaker 2: a couple of minutes of your time? He said, sure, son,

2003
02:08:58,600 --> 02:09:00,800
Speaker 2: what do you need? I said, thank you for always

2004
02:09:00,880 --> 02:09:03,920
Speaker 2: mentioning Ray Price. Oh he's in my band, I said, yeah,

2005
02:09:03,920 --> 02:09:06,600
Speaker 2: But I also know he did your first song, you

2006
02:09:06,720 --> 02:09:09,480
Speaker 2: sure did, and I said, I'm and thank you for

2007
02:09:09,560 --> 02:09:14,000
Speaker 2: the work with Patsy Patsy Kline. He said, well, thank you,

2008
02:09:14,640 --> 02:09:17,800
Speaker 2: and I said, I have a music business question to

2009
02:09:17,840 --> 02:09:20,000
Speaker 2: ask you, and it's kind of a book business question.

2010
02:09:21,120 --> 02:09:24,360
Speaker 2: What do you need? Son? I said, it doesn't work

2011
02:09:24,360 --> 02:09:29,840
Speaker 2: on logic getting deals. There's agents. I don't know if

2012
02:09:29,920 --> 02:09:34,280
Speaker 2: talent is it five percent one percent? It seems like

2013
02:09:34,400 --> 02:09:38,400
Speaker 2: the game is kind of rigged. And he said. I said,

2014
02:09:38,520 --> 02:09:41,880
Speaker 2: I'm not really asking for advice or help. I just

2015
02:09:41,880 --> 02:09:44,680
Speaker 2: would like a little clarification because I know they ran

2016
02:09:44,760 --> 02:09:48,640
Speaker 2: you out of Nashville to Austin your hair bothered people.

2017
02:09:49,080 --> 02:09:51,080
Speaker 2: You had to be a songwriter, you had to do

2018
02:09:51,120 --> 02:09:53,680
Speaker 2: all kinds of things that didn't happen for you until

2019
02:09:53,880 --> 02:09:56,440
Speaker 2: a little later. I think that's going to happen for me.

2020
02:09:57,600 --> 02:10:03,000
Speaker 2: And he said, Son, Lena, tell you one thing, you

2021
02:10:03,120 --> 02:10:04,960
Speaker 2: have to outlast everybody.

2022
02:10:07,360 --> 02:10:10,800
Speaker 1: I'm that nobody, being Harvey. It's been great talking to you.

2023
02:10:11,440 --> 02:10:13,920
Speaker 1: Until next time. This is Bob Left Sets