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Speaker 1: Welcome, Welcome, Welcome back to the Bottom Left Sets podcasting.

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Speaker 1: My guest today is Richard Griffiths. He and his partner

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Speaker 1: Harry McGee make up Modest Management, and they are receiving

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Speaker 1: the Music Industry Award. Richard, what is that a war?

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Speaker 1: But it's a great honor that is persperoed once a

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Speaker 1: year from within the industry to artists. Paul McConney got it.

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Speaker 1: Roger Roger Adultery got it, John Barry, the great composer

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Speaker 1: got it. Uh, Rob string On, Lucien Grange. Okay, you

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Speaker 1: know in today's world, are you impressed that you got it?

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Speaker 1: Does it mean something to you? Um, it's very flattering.

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Speaker 1: I think it's Uh in a way, I feel it's

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Speaker 1: an acknowledgement that management is now somebody something that needs

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Speaker 1: more respect than maybe it has been given in the

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Speaker 1: past by the industry. Because we are the first managers

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Speaker 1: ever to receive the award. Um so i I although

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Speaker 1: it's been given to Harry and me, um, as far

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Speaker 1: as we're concerned, we're collecting it on behalf of managers. Okay, Now,

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Speaker 1: you used to be an executive. What's the difference between

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Speaker 1: working at the label or in publishing and being on

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Speaker 1: the management side. As a manager, we are involved in

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Speaker 1: every aspect of the artist's career um. And that means

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Speaker 1: obviously in helping them get a record deal, getting the

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Speaker 1: right air and our person helping to make sure the

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Speaker 1: right record is being made, then making sure it's being

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Speaker 1: marketed properly, uh, and then getting the right agent to

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Speaker 1: book the right tours and the right gigs for them

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Speaker 1: to take their music out live. Um, the right publicists,

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Speaker 1: the right publisher. So we as managers are in the

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Speaker 1: epicenter of everything that goes on with an artist. Whereas

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Speaker 1: a record company guy may only be involved in a

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Speaker 1: and R ng the record, he may only be involved

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Speaker 1: in a and R ing in in marketing that record,

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Speaker 1: maybe only in a certain territory. Um. And the manager

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Speaker 1: is the one person who is involved in in every aspect,

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Speaker 1: including um, the health and welfare of the artist, which

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Speaker 1: is obviously an incredibly important part of our job. Now

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Speaker 1: we can really put the demarcation his napster the turn

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Speaker 1: of the century. Now what a manager used to be,

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Speaker 1: in what a label used to be have flipped right? Yes,

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Speaker 1: well in in uh, you know, I was lucky to

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Speaker 1: be you know, running a major American record label in

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Speaker 1: the glorious nineties where you know, quite frankly, if you farted,

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Speaker 1: you went gold, you know. Um, And so all the

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Speaker 1: all the money and all the influence really did come

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Speaker 1: from the record companies. There were still great managers around,

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Speaker 1: you know. I mean I had to deal with Sharon

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Speaker 1: Osborne on a regular basis, who I love dearly and

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Speaker 1: who I learned an incredible amount from, uh, Roger Davis

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Speaker 1: who does pink Um and many other great artists. Bill Kurbishly,

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Speaker 1: you know, behind the who I mean when I when

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Speaker 1: I when I said Virgin and did a couple of

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Speaker 1: records with Roger Adultery. Um, I came across Bill Kurbishly

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Speaker 1: and I and I learned there was definitely a different

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Speaker 1: way of doing things. Well, give me an example. Um.

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Speaker 1: It was just the great thing I found working with

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Speaker 1: those managers was that they believed that they knew better

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Speaker 1: of what was the right thing for their artists, and

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Speaker 1: I believed in them sufficiently to go along with that. Um,

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Speaker 1: there were managers that I would deal with whom I

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Speaker 1: didn't think were necessarily on top of it, and so

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Speaker 1: we would we would take much more control in those days. Uh,

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Speaker 1: but I think that, as I said, the role of

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Speaker 1: manager has just continued to grow and become more and

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Speaker 1: more important. Okay, how hard is it to break a

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Speaker 1: record today as a posed to years past? Um, it's

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Speaker 1: it's it's different. Um, it's it's a longer process. And UM,

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Speaker 1: I think we are certainly seeing sitting from a from

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Speaker 1: a British point of view, where for a long time

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Speaker 1: British artists would be successful in the UK and then

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Speaker 1: that would travel around the world quite easily. Uh, if

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Speaker 1: you have the right people in the right place. Um. Obviously,

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Speaker 1: now with the streaming and the predominance in America particularly

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Speaker 1: you know of hip hop and rapp and everything that,

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Speaker 1: that doesn't that that makes it harder for newer British

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Speaker 1: artists to break in Having said that, you know, Lewis

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Speaker 1: Capaldi is going to be the biggest new artist of

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Speaker 1: the year and that's in the UK. Do you think

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Speaker 1: it's going to happen in the US? I'm absolute it

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Speaker 1: because it hasn't happened yet. It will happen here, I

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Speaker 1: have no doubt about that. Well, I think that he

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Speaker 1: he's an incredible artist and he the songs are absolutely brilliant.

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Speaker 1: I'll declare a vested interest here. My son in law

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Speaker 1: did co write the Absolute smash? Well, you don't have

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Speaker 1: to worry about stopping your daughter money. Well there you go. Um.

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Speaker 1: But and he's an incredible character and I think that

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Speaker 1: plays out and you know in the way that that

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Speaker 1: ed Sharon and Nadele. You know, these incredible characters that

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Speaker 1: that have have reached beyond just their music, you know.

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Speaker 1: But you know you're still going to have British artists breaking,

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Speaker 1: there's no doubt about that. It's just a longer, longer process,

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Speaker 1: and it's a longer process for everybody, and particularly on

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Speaker 1: a worldwide basis. On the one hand, you have it

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Speaker 1: great that you put your music out on a Friday

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Speaker 1: and then it is available to anybody in the world

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Speaker 1: to hear it, so that is one of the great advantages.

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Speaker 1: On the other hand, you have to get out there

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Speaker 1: and make sure that they're getting the opportunity to hear it,

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Speaker 1: you know, Okay, other than Louis Capaldi. Even though we're

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Speaker 1: recording this while you're in Los Angeles a couple of

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Speaker 1: months before, people will hear it contemporaneous with when you

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Speaker 1: were reserving this receiving this award. Um, anybody else we

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Speaker 1: should be looking out for. Um okay, okay, let's uh,

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Speaker 1: let's switch it up then. Okay, so presently on your roster,

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Speaker 1: who do we have? Uh? Well, nal Horren, who's a

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Speaker 1: member of One Day and you were the manager of

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Speaker 1: One Direction? Yes, yeah, um, and they may have alms.

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Speaker 1: How kameoly Morris hasn't broken in America? Um I um,

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Speaker 1: I'm not sure that he was right for America. Maybe

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Speaker 1: it's a bit too bit too British but to English.

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Speaker 1: Um uh. And I think that um yeah, Little Mix

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Speaker 1: we also have and they have never really done it here,

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Speaker 1: and that I actually do I put pretty firmly on

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Speaker 1: the table of the labels promotion department because that band

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Speaker 1: deserves to be bigger here. You know, we we supported

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Speaker 1: Ariana Grande with Little Mix a couple of years ago,

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Speaker 1: and you know there were fifteen thousand people in the

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Speaker 1: in the Arenas and and twelve thousand of them were

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Speaker 1: singing the words to every single Little Mix song. And

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Speaker 1: I would turn to various Colombia folk present and you know,

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Speaker 1: give them an exasperated um. But you know, because a

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Speaker 1: Little Mix are are you know, absolutely massive in the

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Speaker 1: UK and very very successful in other parts of the world. UM.

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Speaker 1: Five seconds of Summer who obviously have done incredibly well

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Speaker 1: here um and and do very well around the world.

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Speaker 1: You know, we have a we have a very broad

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Speaker 1: UM roster. You know, we still look after Alison Moyer,

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Speaker 1: who most people in American from YEAZ but she's been

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Speaker 1: incredibly successful in the UK and in Europe and Australia

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Speaker 1: and as a solo artist for thirty years now and

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Speaker 1: we've representative for for the past fifteen years. UM. We

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Speaker 1: still represent Paul Potts in fact, who was the original

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Speaker 1: winner of Britain's Got Talent and people forget that that

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Speaker 1: James Cordon played Paul Potts in the movie of his Life.

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Speaker 1: James tries to forget anyway, we still represent him and

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Speaker 1: he does like eight gigs and on the world every year,

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Speaker 1: you know. UM. So you know, we like we're proud

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Speaker 1: of the fact that we have a broad rostrum. We're

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Speaker 1: proud of the fact that we have worked with a

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Speaker 1: lot of these artists for a long time. And how

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Speaker 1: many people worked from artists uh worldwide it's about uh

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Speaker 1: forty four and where are those people? You say, world

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Speaker 1: one well, mainly in London, but we were in New

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Speaker 1: York we have a couple, and in l A we

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Speaker 1: have like four. We're just adding more of fact, we're

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Speaker 1: for going to be six soon here and then we

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Speaker 1: have one in Sydney and Australia. Okay, let's go back

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Speaker 1: to the beginning. How did you get into music as

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Speaker 1: a little pup um? Well, because the great thing in

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Speaker 1: in England was that there was radio radio stations that

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Speaker 1: that everybody was listening to, and they were very broad stations. Um,

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Speaker 1: and I just used to listen to the radio a lot,

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Speaker 1: and I just became a okay, well just for those

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Speaker 1: of the Americans were listening. We really don't know that much.

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Speaker 1: So how many BBC radio channels were there? Well, well,

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Speaker 1: and in those days they were probably three or four,

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Speaker 1: you know, and now and then then and but the

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Speaker 1: other great thing that we had in England was pirate radio.

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Speaker 1: When did pirate radio hit The pirate radio really hit

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Speaker 1: the scene in about sixty five sixty six, I think,

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Speaker 1: And that was just when I was starting to get

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Speaker 1: into music, and and and I was living with my

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Speaker 1: my mother and my parents are divorced, and I would

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Speaker 1: listen and live with my mother and she would go

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Speaker 1: out to work, and so I would I and in

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Speaker 1: the holidays I would just listen to the radio stations

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Speaker 1: under the pillow and until two in the morning when

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Speaker 1: they turned off Radio London and Radio Caroline. And then

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Speaker 1: and then there was this other station called Radio Luxembourg

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Speaker 1: fabulous two oh eight um, and that that was just

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Speaker 1: where you got to hear every kind of music you

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Speaker 1: could you could think of. And then when Radio one

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Speaker 1: came along for um for the BBC, when they got

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Speaker 1: rid of the pirate stations. Radio one has always been

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Speaker 1: incredibly broad so you would you would you would hear

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Speaker 1: Jimmy Hendrix, the Four Tops and Dusty Springfield one after

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Speaker 1: the other, um on on Radio one in in and

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Speaker 1: so you you you found that Brits generally have a

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Speaker 1: far broader um sense of sense of different music. I think. Okay,

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Speaker 1: so you started buying records, So I started buying records. Yeah.

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Speaker 1: The first single I Have a ort I was reached

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Speaker 1: out I'll be there by the Four Tops. Well, I

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Speaker 1: know you're a big fan of the fourte Levi's stubs

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Speaker 1: is the greatest, uh. And then the first two albums

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Speaker 1: I bought were was Sergeant Pepper. Uh, and the first

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Speaker 1: Vanilla Fudge album. You know, first one was great with

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Speaker 1: of course they hit you get You, keep Me hanging

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Speaker 1: On and take Me for a little while. I bought

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Speaker 1: the second album because I love the first one so much.

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Speaker 1: It was terrible. The Beagle's Hard Yeah that actually if

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Speaker 1: funny enough. Something made me think of Vanilla eventually the

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Speaker 1: other day. So one of the great things about Spotify.

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Speaker 1: I went on Spotify and I listened to This is

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Speaker 1: Vanilla Fudge for about two hours. You know, I don't

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Speaker 1: need to go back, probably for a few more years.

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Speaker 1: But um, you know, I that just sort of all

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Speaker 1: of that just made me a fan. You know, And

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Speaker 1: I've never I've never been a musician. I've never There's

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Speaker 1: not an ounce of frustrated musician in me. Um. I

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Speaker 1: just I just love love music and being lucky that

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Speaker 1: I've been able to to work with it. Okay, so

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Speaker 1: you're in high school. Tell us about your experience there. Well, ah, there,

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Speaker 1: So I did pretty terribly at school. Um. And what

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Speaker 1: had happened was, um, in the fifth year, which which

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Speaker 1: I can remember what year that would be, So that

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Speaker 1: would that would so when I was fifteen, Uh, you

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Speaker 1: you took a set of exams called O levels and

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Speaker 1: and then and then the next year you sort of

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Speaker 1: there were no exams and that was scored the lower

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Speaker 1: six years, So that was sort of the year where

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Speaker 1: everybody us doss around doing nothing. And then in the

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Speaker 1: upper six year is when you took your A levels

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Speaker 1: to go onto university. So at the end of the

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Speaker 1: fifth year I got made the secretary of the jazz club.

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Speaker 1: I was a school in a place called Abingdon, near

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Speaker 1: near Oxford, and in those days used to go up

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Speaker 1: to Ronnie Scott's once a term to see people play.

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Speaker 1: And so I decided, well we're not going to go

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Speaker 1: to Ronnie Scott's. I'm going to bring the artists down

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Speaker 1: to to play at the school. This is a boarding school,

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Speaker 1: boarding school, well actually it was. It was one third

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Speaker 1: boarding school, two thirds day boys and yourself. You was

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Speaker 1: a boarding school. And this is how far from London?

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Speaker 1: It's an hour? Yeah, um, we'll just stopped for a second.

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Speaker 1: The jazz club, were they really into jazz, Well that

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Speaker 1: was that was sort of what they how they got

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Speaker 1: away with going up to London once a term to

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Speaker 1: see jazz. Yeah, I mean we mean somebody rich. And

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Speaker 1: we saw um Dick Hextel Smith. I can't remember no

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Speaker 1: other really great people. But anyway, I brought I brought,

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Speaker 1: I brought in cars Nucleus down to the to the

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Speaker 1: local town, into the local well a little bit slower.

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Speaker 1: You're going on a boarding school. How do you even

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Speaker 1: make that happen? Who do you call? What happens? Okay?

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Speaker 1: Well I had I had started going to a place

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Speaker 1: called the eighteen thirty two Club in Windsor, which was,

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Speaker 1: you know, ten minutes from where I lived. And I

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Speaker 1: got friendly with a guy called Andrew Kilderry who booked

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Speaker 1: the two club. And uh, so I have this idea

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Speaker 1: that I want to start bringing concerts on and so

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Speaker 1: I ring Andrew and and he and he books the

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Speaker 1: band you know, for I think it was forty quid

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Speaker 1: or something in those days. And and I managed to

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Speaker 1: get the school to agree to pay everything up front,

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Speaker 1: and and that the tickets would then go on on

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Speaker 1: the accounts of the boys, so that would then be

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Speaker 1: paid for by the parents. That's how I anyway, I

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Speaker 1: managed to get away with that, and so I so

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Speaker 1: the first one with Nucleus worked quite well, so that

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Speaker 1: that was in the school time. So then I thought, okay,

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Speaker 1: well look at in the holidays coming up, why don't

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Speaker 1: I put on a couple of concerts and the holidays.

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Speaker 1: So at that time I was really getting into Prague

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Speaker 1: and Egg. I don't know if you've ever heard of

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Speaker 1: I remember they've never really made anything you ever made

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Speaker 1: it anywhere? Really, But anyway, I was a huge Egg fan.

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Speaker 1: So I decided to put on Egg in the in

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Speaker 1: the local town hall, and which I did, and uh

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Speaker 1: made eight pounds, um, so that was reasonable. So I

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Speaker 1: then so if you're making a pound, how many people

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Speaker 1: are coming at what price? About three or four hundred people?

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Speaker 1: That's pretty good. At god, it was seven and six,

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Speaker 1: which which is about thirty fifty cents really um. Anyway,

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Speaker 1: so I then put on another one with if who

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Speaker 1: are on island, and I had to pay them more.

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Speaker 1: I can remember what I had to pay them, and

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Speaker 1: it was it was it was selling badly, and luckily

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Speaker 1: I I got a call from from Andrew Kilderry's saying

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Speaker 1: that the band couldn't do the gig, so and he

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Speaker 1: had Bloodwind Pig sorry the Mick Abrams band. It was

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Speaker 1: Cabron's band before he became Bloodwind Pig so and they

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Speaker 1: were about a third of the price of of of

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Speaker 1: if and so actually I got away with it, so

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Speaker 1: but that was I then decided that was enough. So

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Speaker 1: I then started doing them with Andrew in Oxford town Hall,

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Speaker 1: which is like a capacity With the first one we

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Speaker 1: put how far is that from your school? It's about

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Speaker 1: twenty minutes by past. So, Um, what did he need

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Speaker 1: you for? Because he he was booking various places, various

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Speaker 1: town halls, right and and so so we um uh

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Speaker 1: were I was sort of acting as an agent for

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Speaker 1: him as a you know, as a local promoter, right,

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Speaker 1: and we put on Genesis at at Oxford town Hall.

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Speaker 1: Now how much a Genesis cost I can't remember, but

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Speaker 1: I can tell you who's money. That was Andrew's. Andrew's money. Um,

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Speaker 1: I'm taking ten percent. How big is ours return? It's

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Speaker 1: about anyway. Um, we've sold about three hundred tickets, so

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Speaker 1: we're losing our shirt, right, but the but the hall

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Speaker 1: is completely rammed full. And Tony Smith, who you know

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Speaker 1: is the managers still is the manager. You know. It

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Speaker 1: came down because we're crying off saying we haven't got

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Speaker 1: money to pay him, and he said, yeah, but the

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Speaker 1: fucking alls full, you know, what do you mean? What

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Speaker 1: do you mean? And of course because we didn't have

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Speaker 1: any cash, I hadn't hired any securities, so all these

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Speaker 1: people had just come in through the through the doors.

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Speaker 1: So there were twelve people there, but only three hundred

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Speaker 1: of them had paid. So that was the end of

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Speaker 1: that one. That My other big mistake was I was

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Speaker 1: putting on Arthur Brown's Kingdom come in in Newbury Town

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Speaker 1: Hall and I go around with the mate plastering posters

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Speaker 1: all around Newbury, you know, for Arthur Brown's king didn't

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Speaker 1: come coming to play. And after I put on the

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Speaker 1: last one, some old geezers stops me and he says,

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Speaker 1: so you know, what's this? What's this gig? And I said,

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Speaker 1: it's Arthur Brown's Kingdom Come and they're coming, They're coming

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Speaker 1: to play. And he says, yes, but when are they

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Speaker 1: coming to play? And I looked at the post of

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Speaker 1: and we've forgotten to put the date on. So I

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Speaker 1: guess I worked out quite early on. I wasn't wasn't

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Speaker 1: cut out to be a promoter. Okay, two things, how

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Speaker 1: did that gig? Do? We canceled it? Yeah? And why

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Speaker 1: where did this entrepreneurial spirit come from. Um, that's a

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Speaker 1: very good question. I don't really know the answer to

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Speaker 1: that because my father was in the army, um, and

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Speaker 1: my my mom just you know, would do jobs whatever

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Speaker 1: you had to do to make to make a living.

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Speaker 1: But so anyway, I'm at school, you know. So was

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Speaker 1: there enough money to do and buy what you wanted

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Speaker 1: to do before you became a promoter? Um? No, we

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Speaker 1: were never There was never much money around. I mean

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Speaker 1: I got a I got a grant to go to

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Speaker 1: the to the school, you know, but it was it

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Speaker 1: was the combat. But it was a combination of things,

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Speaker 1: you know, how things happen. So I would I'd learned

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Speaker 1: a bit about promoting concerts. So I was doing that.

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Speaker 1: I'm playing a lot of cricket. Who are you a

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Speaker 1: good cricket player at that time? I was, yeah, thinking

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Speaker 1: of going professional or just enjoy just enjoying it. So,

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Speaker 1: I mean we watched the cricket matches go on for

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Speaker 1: like days. So you say you play a lot of cricket.

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Speaker 1: I mean, as kids, we would walk down to the park.

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Speaker 1: What is playing a lot of cricket look like? Well,

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Speaker 1: try explaining to an American that a cricket match and

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Speaker 1: last for five days ending a draw, and yet be

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Speaker 1: a great game of cricket. They cannot understand that at all,

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Speaker 1: in the same way as baseball can sometimes be something

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Speaker 1: that goes on forever until somebody HiT's the final. But

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Speaker 1: but you've had a good time going to a baseball match,

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Speaker 1: you know. Anyway, a combination of those things and sort

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Speaker 1: of being madly in love with the head girl at

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Speaker 1: the local girls school. Um My, my A level results

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Speaker 1: were well, let's put it this way. So the night

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Speaker 1: before I'm supposed to take my Economics A level, I

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Speaker 1: go and see my economics teacher and I say, whose

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Speaker 1: nickname is Doze? Doze Milton? I say, Mr Milton, you

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Speaker 1: and I know I'm not going to pass this exam.

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Speaker 1: I don't want to fail it. I just don't want

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Speaker 1: to take it. So he says, Okay, go in and

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Speaker 1: then after half an hour leave and then I'll just

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Speaker 1: roll your paper so it will be that you you

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Speaker 1: never took the exam. So that's great. Anyway. Four weeks

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Speaker 1: later I take English and History A level, and four

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Speaker 1: weeks later my A level of Arts come in and

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Speaker 1: I've got two d's. Okay, this is a disaster. But

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Speaker 1: I rang a guy called Tony Bowman who I shared

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Speaker 1: a study with, and I said, Tony, can you believe it,

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Speaker 1: I've got two d's. I'm going to get them to

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Speaker 1: remark my English a level. And he said, but Richard,

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Speaker 1: you didn't read any of the books, which was effectually

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Speaker 1: correct statement. So there I was, you know, with two d's.

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Speaker 1: You know, everybody's piste off. All my family are all

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Speaker 1: piste off of me because I haven't done any work.

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Speaker 1: But actually my my mom is married again by then,

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Speaker 1: and so I do a deal with my mom my

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Speaker 1: stepdad that um, I want to try again into the

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Speaker 1: music business and if it doesn't work after a year,

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Speaker 1: I'll go back to Polytechnic and retake my exams and

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Speaker 1: go and become a you know, a bookkeeper or something,

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Speaker 1: you know. So I when i'd been promoting these concerts

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Speaker 1: through with Andrew Killderry, but I had I'd come across

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Speaker 1: other agents, so I just wrote, because this is in

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Speaker 1: days of writing letters, I wrote to the number of

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Speaker 1: agents that I've done some business with them. One of

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Speaker 1: them called me up and he said, can you come

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Speaker 1: up and have an interview? A guy called Dave Winslet,

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Speaker 1: and he was at an agency called the Terry King Associates,

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Speaker 1: and he said that just so happens that one of

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Speaker 1: our guys is leaving, why didn't you come up and

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Speaker 1: you know, let's do a month's trial and see how

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Speaker 1: it is. I go up and I start doing that,

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Speaker 1: and I'm booking caravan, and I'm booking Southern Comfort, and

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Speaker 1: I'm booking in all Desmond Decker and all that. And

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Speaker 1: because in those days, every student union in and every

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Speaker 1: college had had gigs going on. I mean, there were

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Speaker 1: just hundreds of gigs going on every week. And so

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Speaker 1: they handed me the student union handbook and they said, okay,

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Speaker 1: just cool. Started a at aberrast with university and work

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Speaker 1: your way through it and so our X. So my

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Speaker 1: first day, I I started aberrast with university and I

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Speaker 1: get as far as St. Andrew's University when I finally

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Speaker 1: sell them Southern Comfort, not with Ian Matthews, by the way,

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Speaker 1: so I slightly condom there, but anyway, but so I

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Speaker 1: I sold them for you know, fifty quid or whatever.

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Speaker 1: And anyway, one thing led to another and I and

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Speaker 1: I started and then the office that I was in

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Speaker 1: was in ward Or Street and the Marquee Club was

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Speaker 1: in Wardoor Streets. So every night I would go down

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Speaker 1: to the Marquee Club and I would watch all the bands.

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Speaker 1: And that's when I that's when I first started to

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Speaker 1: realize that I had an ear for picking bands. And

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00:27:14,080 --> 00:27:19,440
Speaker 1: I signed My first act as an agent was Eddie

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Speaker 1: and the Hot Rods, who were on this the sort

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Speaker 1: of pre punk thing that there was going on at

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Speaker 1: that time. And and so an Eddie and Hot Rods, Uh,

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Speaker 1: you know, we're hot, you know. UM and I then

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Speaker 1: I'd met a guy UM who managed um John Martin

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Speaker 1: and a number of other Island acts, and so he

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00:27:49,440 --> 00:27:58,720
Speaker 1: asked me to to represent h John Martin UM and

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00:27:59,240 --> 00:28:02,200
Speaker 1: here and I fall formed a company called Headline Artists

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Speaker 1: and UM. I then started looking at doing lots of

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Speaker 1: other things with with Ireland and and what happened was

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Speaker 1: that that I then got offered this job at Ireland

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Speaker 1: Records to sort of be an artist liaison guy, to

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Speaker 1: to work with managers and agents and the artists. Now,

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Speaker 1: before we get much further, tell the story when you

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00:28:30,000 --> 00:28:35,480
Speaker 1: were an agent and the backstreet Crawler story, etcetera. Okay, so,

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Speaker 1: uh so um John managed Paul Kossof and Backstreet Crawler,

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Speaker 1: and uh so I was, I was there agent so

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Speaker 1: and obviously Paul Kossof had been a major star out

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Speaker 1: of Free. So we're booked this arena tour with Backstreet

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Speaker 1: Crawler and I'm looking for a support act and this

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00:29:02,120 --> 00:29:06,840
Speaker 1: Australian guy comes in to see me and he he

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00:29:07,760 --> 00:29:11,440
Speaker 1: plays me this band of his from Australia called A

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Speaker 1: C d C. And I just flip out, and you know,

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00:29:15,680 --> 00:29:19,880
Speaker 1: I just think they're incredible. So I get John to

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Speaker 1: let me put them on the Backstreet Crawler tour. And um,

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00:29:25,920 --> 00:29:30,520
Speaker 1: then a few months later, UM, the band A C

428
00:29:30,720 --> 00:29:33,680
Speaker 1: d C Are flying in from from Adelaide to to

429
00:29:33,920 --> 00:29:37,720
Speaker 1: start the Backstreet Crawler tour. And of course in those days,

430
00:29:37,800 --> 00:29:40,800
Speaker 1: it took thirty six hours to fly from Adelaide to London,

431
00:29:40,920 --> 00:29:43,880
Speaker 1: and during that time that the band were in the air,

432
00:29:45,440 --> 00:29:50,480
Speaker 1: Paul tragically died of a heart attack, also on an aircraft.

433
00:29:50,840 --> 00:29:55,000
Speaker 1: So I go down to Heathrow to meet Michael Browning

434
00:29:56,200 --> 00:30:02,000
Speaker 1: and I say, Michael, a terrible, awful news. Poor Kassa

435
00:30:02,320 --> 00:30:06,040
Speaker 1: has just died. So you know, there's no tour, and

436
00:30:06,120 --> 00:30:09,040
Speaker 1: he said, for fox sake, don't don't say anything to

437
00:30:09,160 --> 00:30:14,000
Speaker 1: the band. You've got to get them a gig. So

438
00:30:15,400 --> 00:30:18,440
Speaker 1: I managed to get them a gig two days later

439
00:30:19,400 --> 00:30:22,840
Speaker 1: at a at a place called the Red Cow and Hammersmith,

440
00:30:24,000 --> 00:30:28,360
Speaker 1: and I get them doing two forty five minutes sets

441
00:30:30,080 --> 00:30:34,920
Speaker 1: for pounds. I still have this contract frame somewhere. And

442
00:30:36,760 --> 00:30:39,240
Speaker 1: because no one there's no publicity for this, they're just

443
00:30:39,440 --> 00:30:41,440
Speaker 1: they just I've just managed to get him on the

444
00:30:41,480 --> 00:30:44,720
Speaker 1: gig somebody else that obviously pulled out. Anyway, I go down.

445
00:30:44,880 --> 00:30:47,320
Speaker 1: I go down to the gig. I've never seen them

446
00:30:47,360 --> 00:30:53,000
Speaker 1: play live, and they come out and that there are

447
00:30:53,200 --> 00:30:56,160
Speaker 1: like two men and a dog in the in the room, right,

448
00:30:56,240 --> 00:30:59,160
Speaker 1: I mean, there's just nobody. But they come out and

449
00:30:59,200 --> 00:31:02,320
Speaker 1: they do the all a C d C show and

450
00:31:04,360 --> 00:31:08,560
Speaker 1: Angus is on Bond Scott's shoulders and then Angus Duck

451
00:31:08,640 --> 00:31:14,280
Speaker 1: walks down the bar. It's the most incredible thing I

452
00:31:14,440 --> 00:31:18,480
Speaker 1: have ever seen in my life. And they finished the

453
00:31:18,560 --> 00:31:22,400
Speaker 1: forty five minutes set and that the two men and

454
00:31:22,480 --> 00:31:26,680
Speaker 1: a dog leave, and I'm thinking, we've just seen the

455
00:31:26,840 --> 00:31:37,000
Speaker 1: second Coming of Christ here, you know what's going on? Anyway,

456
00:31:37,040 --> 00:31:43,080
Speaker 1: half an hour later, the place is just rammed. Now

457
00:31:43,160 --> 00:31:48,440
Speaker 1: there's no mobile phones, no internet, no nothing, right, God

458
00:31:48,560 --> 00:31:53,320
Speaker 1: knows what had happened. Anyway, it's rammed. Now. I've told

459
00:31:53,360 --> 00:31:56,760
Speaker 1: the story a hundred times, and you know, you as

460
00:31:56,800 --> 00:31:58,680
Speaker 1: you tell stories, I'm sure we all do this, you

461
00:31:58,760 --> 00:32:01,240
Speaker 1: embellish them in et cetera. But I was at my

462
00:32:01,520 --> 00:32:07,880
Speaker 1: niece's wedding a couple of years ago and my brother

463
00:32:08,000 --> 00:32:11,560
Speaker 1: in law said to me, God, Richard, do you do

464
00:32:11,640 --> 00:32:14,800
Speaker 1: you remember that a C d C gig? And I said, David,

465
00:32:15,680 --> 00:32:21,080
Speaker 1: you tell me exactly what you remember. And he told

466
00:32:21,280 --> 00:32:24,680
Speaker 1: the story exactly as I've just told you. And Harry

467
00:32:24,800 --> 00:32:27,240
Speaker 1: he had come down with me to the gig. So

468
00:32:27,440 --> 00:32:31,560
Speaker 1: that was that. That was an extraordinary, you know, once

469
00:32:31,600 --> 00:32:36,120
Speaker 1: in a lifetime experience, you know. But I you know,

470
00:32:36,720 --> 00:32:42,440
Speaker 1: I didn't have the experience for to to to carry

471
00:32:42,480 --> 00:32:44,800
Speaker 1: on working with a C d C. Is I get

472
00:32:45,080 --> 00:32:49,080
Speaker 1: I get fired as their agent. I didn't know anything

473
00:32:49,120 --> 00:32:53,120
Speaker 1: about Europe or anything like that. So but Michael and

474
00:32:53,240 --> 00:32:56,360
Speaker 1: I the manager, and I remained good friends, and that

475
00:32:56,520 --> 00:32:59,160
Speaker 1: had a they had a knock on effect in my

476
00:32:59,280 --> 00:33:02,920
Speaker 1: career later on. But yes, so anyway, so I'm then, yes,

477
00:33:03,120 --> 00:33:06,160
Speaker 1: I'm doing I'm now an island record. You're the liaison

478
00:33:06,680 --> 00:33:09,200
Speaker 1: and and I started doing a bit of A and R.

479
00:33:10,160 --> 00:33:13,280
Speaker 1: And the first band I signed as a bank called

480
00:33:13,360 --> 00:33:17,719
Speaker 1: the jags Um who had one hit called I've Got

481
00:33:17,800 --> 00:33:19,680
Speaker 1: your Number written on the back of my hand and

482
00:33:20,080 --> 00:33:24,360
Speaker 1: I am determined one day to get someone to cover

483
00:33:24,480 --> 00:33:27,760
Speaker 1: it and make sure it's a proper hit. But anyway,

484
00:33:27,960 --> 00:33:31,400
Speaker 1: I did that, and I'm I'm I'm working with John

485
00:33:31,480 --> 00:33:36,040
Speaker 1: Martin and and then a band called the Buggles comes

486
00:33:36,080 --> 00:33:39,280
Speaker 1: along and they had this track called video called Killed

487
00:33:39,320 --> 00:33:45,960
Speaker 1: the Radio Star, and that you know, it goes on

488
00:33:46,040 --> 00:33:48,360
Speaker 1: to be the first number one record that I was

489
00:33:48,440 --> 00:33:52,320
Speaker 1: ever involved with. And I've got I've got quite close

490
00:33:52,400 --> 00:33:55,640
Speaker 1: to Chris Blackwell, and so Chris and offers me this

491
00:33:55,840 --> 00:33:59,920
Speaker 1: gig working pretty much really as this sort of p are,

492
00:34:00,480 --> 00:34:02,600
Speaker 1: you know, just sort of traveling around the world with him,

493
00:34:04,800 --> 00:34:07,479
Speaker 1: helping him do stuff, you know, And there was an

494
00:34:07,640 --> 00:34:11,600
Speaker 1: incredible experience, you know. And you know, I've got to

495
00:34:11,800 --> 00:34:16,880
Speaker 1: go to Bob Marley sessions and I've been in negotiations

496
00:34:17,000 --> 00:34:21,000
Speaker 1: without armored Rrigan and all this, and and Chris says

497
00:34:21,080 --> 00:34:23,719
Speaker 1: to me, you know what I want. I want you

498
00:34:23,840 --> 00:34:29,760
Speaker 1: to run Island Records, but you're too young. And David

499
00:34:29,840 --> 00:34:32,680
Speaker 1: Betteridge and Tim Clark, they're never going to accept. You know,

500
00:34:32,920 --> 00:34:36,320
Speaker 1: I'm twenty five at this stage, never going to accept

501
00:34:36,360 --> 00:34:38,320
Speaker 1: a young guy coming in. So what we're gonna do is,

502
00:34:38,320 --> 00:34:41,920
Speaker 1: we're gonna we're gonna start a company together and you

503
00:34:42,000 --> 00:34:48,560
Speaker 1: can run Basing Street studios and you'll sign artists and

504
00:34:48,920 --> 00:34:51,160
Speaker 1: we'll we'll make this a success, and then I'll be

505
00:34:51,200 --> 00:34:55,839
Speaker 1: able to bring you in to run Island. Great. Wow, fantastic,

506
00:34:57,160 --> 00:35:00,879
Speaker 1: he puts. He puts in some money, and he says,

507
00:35:00,960 --> 00:35:04,799
Speaker 1: it's gonna it's a fifty fifty joint venture and it's

508
00:35:04,800 --> 00:35:08,879
Speaker 1: called Peninsula Music as part of Ireland Records. Peninsula Music.

509
00:35:09,440 --> 00:35:13,000
Speaker 1: You know, what have I done to deserve this? And

510
00:35:14,760 --> 00:35:20,240
Speaker 1: so soon afterwards I go out to lunch with Brian Carr,

511
00:35:20,360 --> 00:35:26,200
Speaker 1: who is the lawyer for the clash and the sex Pistols,

512
00:35:26,360 --> 00:35:29,680
Speaker 1: and and of course in those days you used to

513
00:35:29,760 --> 00:35:32,360
Speaker 1: drink at lunchtime and and and he says, Richard, what

514
00:35:32,440 --> 00:35:35,160
Speaker 1: do you mean it's fifty fifty. It shouldn't be fifty fifty.

515
00:35:35,239 --> 00:35:37,480
Speaker 1: You're doing all the work. I mean twenty tho pounds

516
00:35:37,520 --> 00:35:40,160
Speaker 1: he's putting in. What's that? That's nothing to Chris Blackwell,

517
00:35:40,640 --> 00:35:43,399
Speaker 1: you know it should be it should be ninety ten

518
00:35:43,560 --> 00:35:47,080
Speaker 1: to you. You know, it's crazy. You could go and

519
00:35:47,160 --> 00:35:49,000
Speaker 1: tell him, go and change it, you know. So I

520
00:35:49,120 --> 00:35:51,239
Speaker 1: go back to the office and Chris happens to be

521
00:35:51,360 --> 00:35:54,200
Speaker 1: on the phone talking to one of the guys who

522
00:35:54,239 --> 00:35:57,120
Speaker 1: worked for me, Danny Goodwin. So I get Chris on

523
00:35:57,200 --> 00:36:01,200
Speaker 1: the phone. I say, Chris, Chris, you know, I mean

524
00:36:01,280 --> 00:36:03,720
Speaker 1: thinking about this, I'm not sure there should be fifty

525
00:36:03,800 --> 00:36:07,680
Speaker 1: fifty really, you know, I think it should be you know,

526
00:36:09,440 --> 00:36:12,280
Speaker 1: do you don't you think that's fair? And he says,

527
00:36:13,239 --> 00:36:16,240
Speaker 1: you know what, Richard, You're right, it shouldn't be fifty,

528
00:36:17,360 --> 00:36:21,080
Speaker 1: it should be a hundred zero. So I said, what

529
00:36:21,239 --> 00:36:22,759
Speaker 1: do you what do you mean, Chris it should be

530
00:36:22,800 --> 00:36:25,239
Speaker 1: a hundred zero? And he says, well, if you think

531
00:36:25,320 --> 00:36:30,160
Speaker 1: it should be today, then one day you're going to

532
00:36:30,280 --> 00:36:32,680
Speaker 1: think it should be a hundred zero. So let's just

533
00:36:32,840 --> 00:36:35,759
Speaker 1: cut straight to a hundred zero. The Lowyers are being

534
00:36:35,840 --> 00:36:40,400
Speaker 1: touch goodbye. Plank puts the phone down and all I

535
00:36:40,480 --> 00:36:43,840
Speaker 1: can all I can see before rushing before me, you know,

536
00:36:44,200 --> 00:36:47,400
Speaker 1: David and Tim laughing, and finally we got rid of

537
00:36:47,480 --> 00:36:49,879
Speaker 1: that fucker, and you know, blah blah blah. They're still

538
00:36:49,880 --> 00:36:53,799
Speaker 1: great friends with my mother. Way Um, so I get

539
00:36:53,880 --> 00:36:59,279
Speaker 1: on a plane and I fly to the Bahamas where

540
00:36:59,360 --> 00:37:02,160
Speaker 1: he wasn't and Compass Point, which I've been too many times.

541
00:37:03,760 --> 00:37:05,759
Speaker 1: And I get to the Apple. I get to the

542
00:37:06,880 --> 00:37:11,840
Speaker 1: airport and Compass Point and I ring Chris Compass Point Studios.

543
00:37:13,239 --> 00:37:16,360
Speaker 1: I said, Chris, it's Richard. He said, where are you?

544
00:37:16,600 --> 00:37:19,040
Speaker 1: I said, I'm just down at by the airport at

545
00:37:19,400 --> 00:37:22,719
Speaker 1: the Pelican Beach or whatever it was called. So why

546
00:37:22,719 --> 00:37:24,200
Speaker 1: are you there? And I said, because I've come to

547
00:37:24,280 --> 00:37:25,839
Speaker 1: talk to you said, we've got nothing to talk about.

548
00:37:25,840 --> 00:37:28,200
Speaker 1: I said, Chris, come on, We've we've got to talk about.

549
00:37:28,280 --> 00:37:33,600
Speaker 1: I've flown all the way out now. So um, he

550
00:37:33,719 --> 00:37:38,600
Speaker 1: takes me out on a boat and he basically tries

551
00:37:38,760 --> 00:37:41,960
Speaker 1: to scare the living daylights out of me with the

552
00:37:43,200 --> 00:37:49,480
Speaker 1: driving over the pebble the rocks, and you know, he succeeds.

553
00:37:49,520 --> 00:37:53,520
Speaker 1: I'm scared shitless, you know. Anyway, and he stops and

554
00:37:53,640 --> 00:37:57,320
Speaker 1: he says, you know what, you've got to learn to

555
00:37:57,480 --> 00:38:03,400
Speaker 1: be a much better negotiator, and uh, you know, we

556
00:38:03,520 --> 00:38:06,160
Speaker 1: can be friends, but we're not going to be in business,

557
00:38:06,719 --> 00:38:12,080
Speaker 1: right So UM, I go to the airport. I have

558
00:38:12,280 --> 00:38:17,320
Speaker 1: my Peninsula Music credit card, so I upgrade to first

559
00:38:17,480 --> 00:38:22,000
Speaker 1: class for the first time ever, and and and fly home.

560
00:38:22,239 --> 00:38:25,880
Speaker 1: And that was the end of Peninsula Music. So what

561
00:38:25,960 --> 00:38:28,399
Speaker 1: do you do now you're out of a job. Well,

562
00:38:28,440 --> 00:38:31,400
Speaker 1: I'm out of a job. I'm managing the Jags and

563
00:38:32,280 --> 00:38:36,160
Speaker 1: a few other things. And and that's and I this

564
00:38:36,480 --> 00:38:40,600
Speaker 1: this uh young agent from from America called Bobby Brooks

565
00:38:40,680 --> 00:38:44,600
Speaker 1: and Rob Light ring me up and tell me, tell

566
00:38:44,680 --> 00:38:47,000
Speaker 1: me that they think the Jags are going to be

567
00:38:47,080 --> 00:38:50,800
Speaker 1: the biggest thing since Ize Bread and and Chris is

568
00:38:51,280 --> 00:38:55,520
Speaker 1: Chris has got me to meet Frank Barcelona and Barbara Skydell,

569
00:38:56,880 --> 00:38:59,920
Speaker 1: and I just didn't really relate to them. I related

570
00:39:00,080 --> 00:39:03,760
Speaker 1: to Bobby and to Rob. So I signed to Bobby

571
00:39:03,880 --> 00:39:07,640
Speaker 1: and Rob with the Jags. And then Barbara Skuydell sends

572
00:39:07,719 --> 00:39:12,120
Speaker 1: me a a TELEX saying, we understand that you made

573
00:39:12,160 --> 00:39:16,880
Speaker 1: this decision to go with Bobby Brooks and robbed Light.

574
00:39:16,960 --> 00:39:20,600
Speaker 1: That's entirely, entirely you're right to make that decision, but

575
00:39:20,719 --> 00:39:23,040
Speaker 1: it is our right to decide who we do business with.

576
00:39:23,200 --> 00:39:25,680
Speaker 1: And please don't ever think of doing any more business

577
00:39:26,120 --> 00:39:33,480
Speaker 1: with Frank and myself. Here at what was Premiere Premier talent,

578
00:39:34,400 --> 00:39:36,239
Speaker 1: you know, and here's the most powerful agent in the

579
00:39:36,320 --> 00:39:39,720
Speaker 1: world basically telling me to funk off, you know. But anyway,

580
00:39:40,440 --> 00:39:45,839
Speaker 1: there's a comeback on that story later, um and uh,

581
00:39:46,160 --> 00:39:47,960
Speaker 1: I know obviously, I mean Rob Light, who has been

582
00:39:48,000 --> 00:39:53,280
Speaker 1: one of my best friends and closest working associates ever since.

583
00:39:53,400 --> 00:39:57,080
Speaker 1: You know. Anyway, things that shared. I go down my

584
00:39:57,200 --> 00:40:00,640
Speaker 1: friend Michael Browning, who had met the ch C d

585
00:40:00,800 --> 00:40:04,520
Speaker 1: C sends sends some your notes and come down to

586
00:40:04,560 --> 00:40:07,719
Speaker 1: Australia and I'm gonna I'm starting this label. Come and

587
00:40:07,760 --> 00:40:11,759
Speaker 1: work with me. Here, I had. I've been in Greece

588
00:40:11,840 --> 00:40:15,120
Speaker 1: on holiday. I've met this girl who I've fell madly

589
00:40:15,160 --> 00:40:18,440
Speaker 1: in love with at first sight, Olivia. I find out

590
00:40:18,520 --> 00:40:21,080
Speaker 1: that she is going down to Australia, so I decided

591
00:40:21,080 --> 00:40:26,520
Speaker 1: to go down to Australia. And uh and Olivia comes

592
00:40:26,600 --> 00:40:29,920
Speaker 1: down to Australia and and our pass cross and and

593
00:40:30,120 --> 00:40:33,600
Speaker 1: here we we've been together the best part of four

594
00:40:33,719 --> 00:40:38,879
Speaker 1: years since. Um I had also been managing a guy

595
00:40:38,960 --> 00:40:42,160
Speaker 1: called John Fox who had been the lead singer and

596
00:40:42,280 --> 00:40:46,440
Speaker 1: writer of Ultravox, and when the band broke up, um

597
00:40:47,640 --> 00:40:51,719
Speaker 1: I made what would normally be the right decision of

598
00:40:51,880 --> 00:40:56,240
Speaker 1: going with the the lead singer and the writer. Obviously,

599
00:40:56,320 --> 00:40:58,800
Speaker 1: Ultravox and went on to sell millions and millions of

600
00:40:58,840 --> 00:41:01,440
Speaker 1: records without me. But anyway, that got me working with

601
00:41:01,719 --> 00:41:08,320
Speaker 1: with Simon Draper at Virgin and and I'd been a

602
00:41:08,440 --> 00:41:11,160
Speaker 1: Virgin in the agency world for a for a very

603
00:41:11,200 --> 00:41:17,880
Speaker 1: short time. And uh, they ring me up and ask

604
00:41:18,000 --> 00:41:21,840
Speaker 1: if I want to come and and run publishing company.

605
00:41:23,360 --> 00:41:31,799
Speaker 1: So this is like one um so, so I leave

606
00:41:32,000 --> 00:41:34,960
Speaker 1: Olivia in Australia and and and I and I go

607
00:41:35,360 --> 00:41:38,960
Speaker 1: to to to a Virgin, you know, and of course Virgin.

608
00:41:39,120 --> 00:41:41,719
Speaker 1: That was just an incredibly exciting time. And you know,

609
00:41:41,800 --> 00:41:46,360
Speaker 1: the Virgin was was just taking taking off really and

610
00:41:48,200 --> 00:41:52,920
Speaker 1: the publishing company had already been very successful, um and

611
00:41:53,680 --> 00:41:56,800
Speaker 1: and we just went on this incredible run of of

612
00:41:57,000 --> 00:42:01,759
Speaker 1: signing you know, ABC and the Pet Shop Boys and

613
00:42:02,480 --> 00:42:06,480
Speaker 1: Tears for Fears. I mean, we just had an incredible

614
00:42:06,560 --> 00:42:11,160
Speaker 1: run of of success, um and and and Virgin Records

615
00:42:11,360 --> 00:42:13,800
Speaker 1: was also having this incredible run of success. And Virgin

616
00:42:14,000 --> 00:42:16,800
Speaker 1: was just becoming this amazing place to be. And you

617
00:42:16,920 --> 00:42:20,600
Speaker 1: had Richard Branson who had all these crazy ideas, you know,

618
00:42:20,680 --> 00:42:23,640
Speaker 1: I mean, you know, let's let's start our own record

619
00:42:23,680 --> 00:42:26,799
Speaker 1: company in in Germany, you know, and when nobody else

620
00:42:26,960 --> 00:42:30,000
Speaker 1: was even thinking of doing it. And then Ken Berry,

621
00:42:30,080 --> 00:42:32,799
Speaker 1: who was brilliant at making this stuff work, would make

622
00:42:32,840 --> 00:42:35,960
Speaker 1: it work. And then Simon Draper would find these incredible

623
00:42:36,120 --> 00:42:39,480
Speaker 1: artists and and and one thing, you know, we we

624
00:42:39,640 --> 00:42:43,080
Speaker 1: just there was a moment really through the eighties where

625
00:42:43,560 --> 00:42:47,000
Speaker 1: we're just you know, everything we touched turned to gold.

626
00:42:47,080 --> 00:42:51,080
Speaker 1: It was the most amazing time to to be with

627
00:42:51,239 --> 00:42:57,280
Speaker 1: an incredible group of people. And it was just amazing excitement,

628
00:42:57,440 --> 00:42:59,919
Speaker 1: you know. Okay, and then you moved to a mirror

629
00:43:00,239 --> 00:43:05,640
Speaker 1: with Virgin So then so then uh, uh we start

630
00:43:05,680 --> 00:43:08,160
Speaker 1: a record company in America and they want someone to

631
00:43:08,200 --> 00:43:12,960
Speaker 1: go and run the publishing company in America, and uh,

632
00:43:14,400 --> 00:43:18,040
Speaker 1: Richard and ken and Simon persuade me to to go

633
00:43:18,160 --> 00:43:21,040
Speaker 1: out to l A to to start the publishing company.

634
00:43:22,200 --> 00:43:27,359
Speaker 1: And um we then and that's the So the two

635
00:43:27,440 --> 00:43:29,520
Speaker 1: guys who have been working with me at a Virgin

636
00:43:29,840 --> 00:43:32,560
Speaker 1: Music was a guy called Danny Goodwin and has its

637
00:43:32,560 --> 00:43:35,200
Speaker 1: on a Mere and we we all moved to to

638
00:43:35,520 --> 00:43:41,600
Speaker 1: l A. And of course the publishing business in England

639
00:43:41,719 --> 00:43:47,360
Speaker 1: was a very uh cutthroat, you know, very aggressive business.

640
00:43:48,440 --> 00:43:52,120
Speaker 1: Um and when we moved to l A, we couldn't

641
00:43:52,400 --> 00:43:55,160
Speaker 1: it was just it was just like you know, everyone

642
00:43:55,200 --> 00:43:57,800
Speaker 1: one was half asleep, you know, it was you know,

643
00:43:57,960 --> 00:44:01,719
Speaker 1: so people would be our for these deals and we

644
00:44:01,920 --> 00:44:05,120
Speaker 1: just think that they were they were nothing. So we

645
00:44:05,680 --> 00:44:11,800
Speaker 1: just signed, signed, signed, and and and in our first

646
00:44:12,040 --> 00:44:15,760
Speaker 1: year in America, we were the number one on Billboard.

647
00:44:15,840 --> 00:44:20,359
Speaker 1: We were the number one charger company in the first year. Yeah,

648
00:44:21,120 --> 00:44:24,200
Speaker 1: we signed all the writers who did that if you remember,

649
00:44:24,280 --> 00:44:27,279
Speaker 1: Paula Abdel had that huge number of seven number ones

650
00:44:27,360 --> 00:44:30,080
Speaker 1: or whatever. And and of course things like tears, so

651
00:44:30,200 --> 00:44:33,640
Speaker 1: fears were massively there, and the Patriot Boys were messive there,

652
00:44:33,719 --> 00:44:38,600
Speaker 1: and Ozzy Osborne I had signed and anyway, we just

653
00:44:38,719 --> 00:44:45,520
Speaker 1: went on this incredible run. And um, what also happened

654
00:44:45,560 --> 00:44:48,360
Speaker 1: then was we've all been young guys growing up together.

655
00:44:48,760 --> 00:44:51,120
Speaker 1: You know, we've all been you know, nobody had really

656
00:44:51,200 --> 00:44:53,440
Speaker 1: made any money. We were just you know, we'd all

657
00:44:53,480 --> 00:44:56,760
Speaker 1: gone holiday together. That was. But then then we're getting

658
00:44:56,800 --> 00:44:59,520
Speaker 1: to the age where you know, we're getting married, we're

659
00:44:59,520 --> 00:45:04,919
Speaker 1: signed a families and so a slightly different perspective came

660
00:45:05,000 --> 00:45:12,840
Speaker 1: along and and Virgin went public, um and uh, and

661
00:45:12,960 --> 00:45:17,279
Speaker 1: that wasn't very successful. So so that the options and

662
00:45:17,360 --> 00:45:20,560
Speaker 1: everything that we've been given to to you know, be

663
00:45:20,680 --> 00:45:22,520
Speaker 1: able to cash out, you know when it when the

664
00:45:22,600 --> 00:45:27,280
Speaker 1: share price went on, that didn't really turn into anything

665
00:45:27,360 --> 00:45:31,719
Speaker 1: because the public just couldn't you know, deal with with

666
00:45:32,160 --> 00:45:36,640
Speaker 1: Virgin at the time, you know, so as as the

667
00:45:37,080 --> 00:45:39,680
Speaker 1: as the publishing company was being so successful, and I'm

668
00:45:39,800 --> 00:45:44,239
Speaker 1: then getting offered all sorts of jobs, right uh, you know,

669
00:45:44,560 --> 00:45:48,560
Speaker 1: to go to to m C A and to get

670
00:45:49,120 --> 00:45:54,840
Speaker 1: chrysalists and to anyway, in the end, I get approached

671
00:45:54,920 --> 00:46:02,200
Speaker 1: by Tommy Montola to to go to to to CBS

672
00:46:02,239 --> 00:46:06,000
Speaker 1: as it was then. And then after a long thought,

673
00:46:06,480 --> 00:46:10,240
Speaker 1: you know, I I turned it down and I stay

674
00:46:10,800 --> 00:46:13,200
Speaker 1: redo my deal with Virgin and I stay with Virgin

675
00:46:13,280 --> 00:46:15,600
Speaker 1: and then and then so that was that was like

676
00:46:15,800 --> 00:46:20,080
Speaker 1: in November, and then the deal the deal just never

677
00:46:20,160 --> 00:46:22,440
Speaker 1: got done. My deal never got done. And then I

678
00:46:22,880 --> 00:46:25,960
Speaker 1: then in the new year, i'm I'm I'm at the

679
00:46:26,040 --> 00:46:30,839
Speaker 1: A M A S and I um, I bump into

680
00:46:30,920 --> 00:46:35,920
Speaker 1: Tommy and he says, so you're happy with your decision,

681
00:46:36,520 --> 00:46:39,200
Speaker 1: And I said, actually no, Tommy, I'm not. I think

682
00:46:39,239 --> 00:46:43,319
Speaker 1: it was the wrong decision. So he said, okay, come

683
00:46:43,360 --> 00:46:45,600
Speaker 1: and see me tomorrow and we're going to work out

684
00:46:45,640 --> 00:46:49,520
Speaker 1: a deal and and we'll make it work. So I

685
00:46:49,600 --> 00:46:53,479
Speaker 1: went to see him and we worked out a deal.

686
00:46:54,080 --> 00:46:56,800
Speaker 1: And at that time I didn't think I wanted to

687
00:46:56,920 --> 00:47:01,560
Speaker 1: move to New York. So the job he gave me

688
00:47:01,760 --> 00:47:04,759
Speaker 1: was to be the head of the West Coast Um.

689
00:47:06,000 --> 00:47:09,360
Speaker 1: But then he was genius what he did has He said, Okay,

690
00:47:09,480 --> 00:47:11,520
Speaker 1: so that'll be your job. But what I want you

691
00:47:11,640 --> 00:47:15,919
Speaker 1: to do is I want you to come to New

692
00:47:16,040 --> 00:47:20,359
Speaker 1: York and and learn how the company works, understand how

693
00:47:20,440 --> 00:47:24,960
Speaker 1: the company works. And I'll rent your house in Greenwich,

694
00:47:25,040 --> 00:47:29,640
Speaker 1: Connecticut for six months. I'll give you a car and driver, uh,

695
00:47:29,920 --> 00:47:32,200
Speaker 1: and I'll give you X number of flights back and

696
00:47:32,360 --> 00:47:35,759
Speaker 1: forth from l A. And you know, I mean just ridiculous. Really,

697
00:47:35,920 --> 00:47:40,800
Speaker 1: you know, this was crazy times for the business. But

698
00:47:40,920 --> 00:47:43,160
Speaker 1: because he knew what would happen, he would He knew

699
00:47:43,239 --> 00:47:45,640
Speaker 1: that as soon as I went to live in New

700
00:47:45,760 --> 00:47:49,799
Speaker 1: York and experience New York and experience CBS and New York,

701
00:47:51,040 --> 00:47:53,640
Speaker 1: that that would be it. So I go, and then

702
00:47:53,719 --> 00:47:57,879
Speaker 1: he then he gives me to start with it, gives

703
00:47:57,920 --> 00:48:01,680
Speaker 1: me the job president of Associated where I worked with

704
00:48:01,760 --> 00:48:06,000
Speaker 1: Tony Martell and I had you know, the door not

705
00:48:06,200 --> 00:48:12,400
Speaker 1: the doors I had Ozzy Osborne, and I had lots

706
00:48:12,480 --> 00:48:15,520
Speaker 1: of different things there and and anyway, and I and

707
00:48:15,760 --> 00:48:19,960
Speaker 1: and I started signing acts. In the first first band

708
00:48:20,080 --> 00:48:32,239
Speaker 1: I I signed UM was UM to Spin Doctors, right Um.

709
00:48:32,440 --> 00:48:35,200
Speaker 1: And of course in those days, you know, you have

710
00:48:35,400 --> 00:48:38,319
Speaker 1: one hit and you sell eight million records, right right right,

711
00:48:39,440 --> 00:48:43,239
Speaker 1: So we did that, and then I had Hard Michael Goldstone.

712
00:48:45,080 --> 00:48:52,560
Speaker 1: And the next thing we sign is Pearl Jam. And

713
00:48:52,719 --> 00:48:56,680
Speaker 1: then and then we signed Rage against the Machine. And

714
00:48:56,840 --> 00:49:00,439
Speaker 1: so this is all going crazy. So they then make

715
00:49:00,600 --> 00:49:07,440
Speaker 1: me um president of Epic, and they make Dave Glue

716
00:49:07,520 --> 00:49:11,279
Speaker 1: the chairman of Epic, you know, just the the the

717
00:49:12,040 --> 00:49:19,160
Speaker 1: secretary to the the The Barbara's Skydell story is that Um,

718
00:49:20,360 --> 00:49:25,239
Speaker 1: the manager of of Regen of Pearl Jam, comes to

719
00:49:25,320 --> 00:49:27,600
Speaker 1: see me and he says, look, you know, I've got

720
00:49:27,719 --> 00:49:30,120
Speaker 1: two people who are really keen on on being the

721
00:49:30,239 --> 00:49:33,440
Speaker 1: agent for the band. One of them is William Morris

722
00:49:33,520 --> 00:49:38,080
Speaker 1: and one of them is Barbara Skydell. And I said, look,

723
00:49:38,760 --> 00:49:42,279
Speaker 1: I'm sorry, I can't get involved in this because I'm

724
00:49:42,360 --> 00:49:46,560
Speaker 1: not allowed to do any business with the premier talent

725
00:49:46,719 --> 00:49:53,960
Speaker 1: and Barbara Skydell. So he ended up signing to William

726
00:49:54,000 --> 00:49:57,520
Speaker 1: Morris and and then Michelle Anthony rings me and says,

727
00:49:57,560 --> 00:49:59,600
Speaker 1: what the fun is going on? Why why are you

728
00:49:59,680 --> 00:50:01,960
Speaker 1: telling and not designed to Barbara s Crater And I said, well,

729
00:50:02,000 --> 00:50:04,560
Speaker 1: look because Barbara sky Dell was the one who told

730
00:50:04,640 --> 00:50:07,200
Speaker 1: me that I couldn't do any business with us. So

731
00:50:07,760 --> 00:50:09,680
Speaker 1: you know, I was a young guy and and she

732
00:50:09,960 --> 00:50:12,600
Speaker 1: scared the ship out of me. And and I'm just

733
00:50:12,960 --> 00:50:16,640
Speaker 1: following on what I was told. You know, you would

734
00:50:16,640 --> 00:50:19,399
Speaker 1: be careful what you say. And did you ever make

735
00:50:19,480 --> 00:50:22,640
Speaker 1: up with Barbara sky Yes? Yes, yes, okay, so you

736
00:50:22,719 --> 00:50:26,120
Speaker 1: have this run and then on it was all going

737
00:50:26,160 --> 00:50:32,120
Speaker 1: incredibly well, and then um we get to sort of

738
00:50:32,320 --> 00:50:36,799
Speaker 1: where are we about nineties seven I suppose, and we'd

739
00:50:36,880 --> 00:50:42,600
Speaker 1: started a second label. Uh good, so Columbia had started

740
00:50:43,680 --> 00:50:48,200
Speaker 1: another work work, that's right, and we had started five

741
00:50:48,280 --> 00:50:54,960
Speaker 1: fifty Music with Polly Anthony running five Music. And uh,

742
00:50:56,160 --> 00:51:01,080
Speaker 1: it's funny how things work out. You know. Over the years,

743
00:51:03,000 --> 00:51:07,040
Speaker 1: I've been let down by people and disappointed by people,

744
00:51:07,280 --> 00:51:10,560
Speaker 1: but actually I've only ever been betrayed by one person

745
00:51:10,680 --> 00:51:14,520
Speaker 1: and that was that was Dave Glue because he took

746
00:51:14,600 --> 00:51:18,200
Speaker 1: me out. He took me out for lunch and just

747
00:51:18,960 --> 00:51:21,360
Speaker 1: to say, um, you know, Richard, I want you to

748
00:51:21,440 --> 00:51:23,600
Speaker 1: know I think you're doing an incredible job and it's

749
00:51:23,680 --> 00:51:26,680
Speaker 1: just amazing what you're doing. Blah blah blah blah. The

750
00:51:26,800 --> 00:51:31,160
Speaker 1: next day, I have a meeting with Tommy Matola and

751
00:51:31,320 --> 00:51:35,360
Speaker 1: Michelle Anthony and and they basically say, look, we love you,

752
00:51:35,600 --> 00:51:42,279
Speaker 1: but we're going to merge five fifty and epic. Um so,

753
00:51:44,000 --> 00:51:49,279
Speaker 1: but we want you to stay. Will you? Um, would

754
00:51:49,320 --> 00:51:52,720
Speaker 1: you like to run the publishing company that we started.

755
00:51:53,760 --> 00:51:57,760
Speaker 1: Would you like to come in and be the number

756
00:51:57,800 --> 00:52:03,680
Speaker 1: two in the international division working for Bob Bolan, Or

757
00:52:03,800 --> 00:52:06,600
Speaker 1: would you like to go back to London and run

758
00:52:07,480 --> 00:52:11,080
Speaker 1: CBS in or Sony as it was in in in London.

759
00:52:12,200 --> 00:52:14,719
Speaker 1: And I said, oh, well, you know there's a lot

760
00:52:14,760 --> 00:52:18,160
Speaker 1: of a lot for me to take in. Um, what

761
00:52:18,360 --> 00:52:22,839
Speaker 1: about the other option? Will you pay out my contract? Right?

762
00:52:24,120 --> 00:52:29,120
Speaker 1: And because he's in the days of non mitigation contracts

763
00:52:29,160 --> 00:52:31,399
Speaker 1: and I just literally just signed a new four year

764
00:52:31,440 --> 00:52:35,400
Speaker 1: deal and uh, but I said, let's leave it with me,

765
00:52:35,520 --> 00:52:38,719
Speaker 1: let me think about it. And uh. I went and

766
00:52:38,840 --> 00:52:42,000
Speaker 1: saw Paul Schindler, who was my lawyer at the time,

767
00:52:42,800 --> 00:52:44,520
Speaker 1: and I talked it through with him, and he said,

768
00:52:44,600 --> 00:52:46,520
Speaker 1: let me make a few calls, let's see and and

769
00:52:47,320 --> 00:52:50,480
Speaker 1: what happened quite quickly. I found out that there were

770
00:52:50,520 --> 00:52:53,600
Speaker 1: there there were going to be other other gigs available,

771
00:52:54,480 --> 00:52:58,759
Speaker 1: and Olivia and I had been thinking that about going

772
00:52:58,840 --> 00:53:02,719
Speaker 1: back to England. Uh. You know, originally we only went

773
00:53:02,800 --> 00:53:06,480
Speaker 1: out to the States for three years, but um, we've

774
00:53:06,520 --> 00:53:12,600
Speaker 1: been there for for ten and UM, so I go

775
00:53:12,760 --> 00:53:14,880
Speaker 1: back to Tommy and I said, you know, well, I'd

776
00:53:14,920 --> 00:53:16,759
Speaker 1: like i'd come back, I'd go back to England and

777
00:53:16,840 --> 00:53:23,160
Speaker 1: I'd run I'd run the Sony in UK. Anyway, Paul Burger,

778
00:53:23,200 --> 00:53:26,240
Speaker 1: who ran Sony in the UK, didn't want to didn't

779
00:53:26,239 --> 00:53:31,879
Speaker 1: want to leave um London, so it was all too complicated.

780
00:53:32,480 --> 00:53:36,200
Speaker 1: So and then and then Clive Davis approached me to

781
00:53:37,120 --> 00:53:42,520
Speaker 1: go and run Aristair in New York. And then when

782
00:53:43,000 --> 00:53:47,440
Speaker 1: so when the BMG people heard about that, then the

783
00:53:47,560 --> 00:53:53,600
Speaker 1: BMG people, Rudy Gassner, who ran BMG then UM, approached

784
00:53:53,680 --> 00:53:57,480
Speaker 1: me about going to run the European side of things

785
00:53:57,600 --> 00:54:02,120
Speaker 1: for for for BMG. So long story short, I'm sorry

786
00:54:02,120 --> 00:54:05,719
Speaker 1: if I'm rambling here. The the we end up I

787
00:54:05,920 --> 00:54:10,000
Speaker 1: end up getting my check and going to London to

788
00:54:11,280 --> 00:54:16,040
Speaker 1: to work for Rudy and run the UK and Central

789
00:54:16,120 --> 00:54:23,160
Speaker 1: Europe of of BMG UM, which sort of indirectly is

790
00:54:23,400 --> 00:54:25,960
Speaker 1: is why you know why we're here today, you know,

791
00:54:26,920 --> 00:54:33,600
Speaker 1: indirectly meaning what well, because what Hammen was tragically Rudy

792
00:54:34,840 --> 00:54:40,879
Speaker 1: died six months later, and I loved Rudy. I thought

793
00:54:40,920 --> 00:54:46,200
Speaker 1: he was an incredible man. And um, anyway, this guy

794
00:54:46,600 --> 00:54:52,920
Speaker 1: rol Schmidholtz comes in and um just here and I

795
00:54:53,120 --> 00:54:56,600
Speaker 1: just from day one just did not see eye to eye,

796
00:54:56,800 --> 00:55:01,360
Speaker 1: you know. Ah. And you know, I accept that I

797
00:55:01,480 --> 00:55:05,640
Speaker 1: probably behaved rather badly, you know, to him, calling him

798
00:55:05,680 --> 00:55:08,200
Speaker 1: a fucking idiot in board meetings and things which I

799
00:55:08,360 --> 00:55:11,040
Speaker 1: probably shouldn't have done. But he was a fucking idiot,

800
00:55:13,719 --> 00:55:17,839
Speaker 1: and not surprisingly I I get fired. Well, you told

801
00:55:17,880 --> 00:55:21,560
Speaker 1: the story about putting your feet on the desk. Yeah, yeah, yeah, yeah,

802
00:55:21,640 --> 00:55:23,600
Speaker 1: I don't want to tell that. Yeah, So at the

803
00:55:23,680 --> 00:55:27,520
Speaker 1: board meetings, I would I would sit there, uh, and

804
00:55:27,600 --> 00:55:30,120
Speaker 1: I would just put my feet on the on the desk.

805
00:55:30,239 --> 00:55:32,759
Speaker 1: It's just been something that I've always done, is put

806
00:55:33,040 --> 00:55:37,520
Speaker 1: my feet on the desk. And Rof would get really

807
00:55:37,600 --> 00:55:40,120
Speaker 1: piste off about it, and he would one day he

808
00:55:40,640 --> 00:55:42,760
Speaker 1: he went and he went and got a cloth from somewhere,

809
00:55:42,800 --> 00:55:45,640
Speaker 1: and he picked up my feet and put the cloth

810
00:55:45,760 --> 00:55:47,920
Speaker 1: down on the table and then plumped my feet, you know.

811
00:55:48,120 --> 00:55:51,120
Speaker 1: It was it was doomed from from from day one.

812
00:55:51,239 --> 00:55:55,040
Speaker 1: But um, but actually, of course what had happened was

813
00:55:55,200 --> 00:56:00,560
Speaker 1: that I had hired Harry McGee to come and run

814
00:56:00,640 --> 00:56:03,279
Speaker 1: our c A in the UK and here, and I

815
00:56:04,280 --> 00:56:09,920
Speaker 1: became very close, very quickly. Um. And so when Ralph

816
00:56:10,760 --> 00:56:19,319
Speaker 1: firs me, um, he fires Harry as well. And they

817
00:56:20,680 --> 00:56:26,279
Speaker 1: so that I'd been at the Spanish International meeting and

818
00:56:26,400 --> 00:56:32,040
Speaker 1: they summoned me to New York. So I get someone

819
00:56:32,080 --> 00:56:34,400
Speaker 1: to New York. I know what's going to happen here.

820
00:56:34,440 --> 00:56:36,000
Speaker 1: So I go to New York. I have a ten

821
00:56:36,040 --> 00:56:37,920
Speaker 1: minute meeting where they farm me and then then I

822
00:56:38,000 --> 00:56:40,120
Speaker 1: get back on the plane and I fly back to London.

823
00:56:41,080 --> 00:56:44,520
Speaker 1: And on the way back, after a couple of martinis,

824
00:56:45,880 --> 00:56:50,040
Speaker 1: I've been through every job that might possibly be and

825
00:56:50,160 --> 00:56:53,000
Speaker 1: I realized that that there isn't one for me, you know,

826
00:56:54,040 --> 00:56:57,200
Speaker 1: and frankly I'd had enough of it all by then anyway,

827
00:56:57,960 --> 00:57:02,480
Speaker 1: And then they fire Harry, and then uh, two days

828
00:57:02,600 --> 00:57:07,080
Speaker 1: later it was the BMG Golf Day and Harry and

829
00:57:07,200 --> 00:57:10,160
Speaker 1: I think funk that, you know, we put the bloody

830
00:57:10,200 --> 00:57:12,560
Speaker 1: golf Day together. We're going to go to the golf day.

831
00:57:12,840 --> 00:57:15,520
Speaker 1: You know. So we go to the golf day and

832
00:57:15,640 --> 00:57:17,760
Speaker 1: on the way to the golf day, we start talking

833
00:57:17,760 --> 00:57:20,240
Speaker 1: about what what are you going to do? He says,

834
00:57:20,920 --> 00:57:23,720
Speaker 1: I'm thinking I'm going into management. I said, well, I'm

835
00:57:23,760 --> 00:57:25,960
Speaker 1: going to go into management. Why don't we go into

836
00:57:26,000 --> 00:57:29,520
Speaker 1: management together? Yeah, great idea. So we go to the

837
00:57:29,640 --> 00:57:34,960
Speaker 1: BMG golf day and and and we come back managers,

838
00:57:35,080 --> 00:57:39,560
Speaker 1: but not no artists or whatever. But then Jeff Quantits

839
00:57:39,680 --> 00:57:43,800
Speaker 1: gets in touch with me, and I'd signed Corn when

840
00:57:43,880 --> 00:57:46,439
Speaker 1: I was an epic and I had a very close

841
00:57:46,520 --> 00:57:50,800
Speaker 1: relationship with Jeff Quantz and Jeff Jeff flies me out

842
00:57:51,080 --> 00:57:55,520
Speaker 1: and he says, look, you know, I want to start

843
00:57:55,600 --> 00:57:59,880
Speaker 1: an international division of the firm. Is a huge man

844
00:58:00,000 --> 00:58:05,120
Speaker 1: Ashman company. Then hundred acts and you know, two hundred people.

845
00:58:05,320 --> 00:58:10,160
Speaker 1: It was. It was just massive. So we start so

846
00:58:10,320 --> 00:58:12,520
Speaker 1: that we've been through this cold period for a few

847
00:58:12,600 --> 00:58:15,320
Speaker 1: months where no one's calling us and no one's talking

848
00:58:15,360 --> 00:58:17,640
Speaker 1: to us. And then then we opened up one day

849
00:58:17,680 --> 00:58:21,120
Speaker 1: as the firm and we have twenty three platinum martyrs

850
00:58:21,240 --> 00:58:27,400
Speaker 1: from America, so suddenly everybody is calling us, etcetera. And

851
00:58:28,000 --> 00:58:32,600
Speaker 1: we we really started managing. You know, Lana Ritchie and Enrico, I,

852
00:58:32,640 --> 00:58:36,800
Speaker 1: Gleasias and Lincoln Park, you know, we and and working

853
00:58:36,880 --> 00:58:42,400
Speaker 1: with those managers, we learned a huge amount um and

854
00:58:44,360 --> 00:58:48,760
Speaker 1: it was going. There was a real feeling that it

855
00:58:48,840 --> 00:58:51,160
Speaker 1: could that the firm could have gone on to be

856
00:58:51,360 --> 00:58:57,840
Speaker 1: something massive. But then Jeff then got into the film world.

857
00:58:58,320 --> 00:59:02,280
Speaker 1: He bought Mike Covids as company, and it just became

858
00:59:02,360 --> 00:59:06,280
Speaker 1: a little distracted. So we decided, Harry and I then

859
00:59:07,120 --> 00:59:10,360
Speaker 1: decided that we would leave the firm and we would

860
00:59:10,600 --> 00:59:13,560
Speaker 1: start start start our own thing. And we'd already picked

861
00:59:13,640 --> 00:59:18,960
Speaker 1: up our first uh sort of a few acts, and

862
00:59:19,040 --> 00:59:21,880
Speaker 1: that we've been appointed to There was a TV show,

863
00:59:22,080 --> 00:59:25,000
Speaker 1: talent show called the Fame Academy, and we've been appointed

864
00:59:25,040 --> 00:59:28,560
Speaker 1: to be the managers of the Fame Academy. And so

865
00:59:28,800 --> 00:59:34,360
Speaker 1: we we, uh we start that and and I remember

866
00:59:34,880 --> 00:59:37,280
Speaker 1: we didn't have a name. And then Jed Doherty, who

867
00:59:37,520 --> 00:59:39,600
Speaker 1: was who had taken over from me actually as the

868
00:59:39,680 --> 00:59:43,400
Speaker 1: chairman of BMGs to this day a very great friend

869
00:59:43,440 --> 00:59:47,680
Speaker 1: of mine, rings up and he says, um, so what

870
00:59:47,760 --> 00:59:49,760
Speaker 1: are you doing? I explained. He says, oh my god,

871
00:59:49,880 --> 00:59:51,560
Speaker 1: So what are you going to call the company? And

872
00:59:51,640 --> 00:59:53,920
Speaker 1: I said, I've got no idea what we're going to

873
00:59:54,000 --> 00:59:56,520
Speaker 1: call the company. And he says, why don't you call

874
00:59:56,560 --> 01:00:01,280
Speaker 1: it modest, laughing, And I said, that's a great idea,

875
01:00:01,480 --> 01:00:04,080
Speaker 1: but we'll put an exclamation mark at the end of

876
01:00:04,160 --> 01:00:13,360
Speaker 1: it so people know that it's ironic. And then, you know,

877
01:00:13,520 --> 01:00:16,760
Speaker 1: just one thing sort of led to another. Really, um,

878
01:00:17,720 --> 01:00:22,320
Speaker 1: and you know we had from that show, we had

879
01:00:22,440 --> 01:00:26,800
Speaker 1: some great success and did our first arena tour and

880
01:00:28,520 --> 01:00:32,200
Speaker 1: that was Lamar Lamar. And how come he didn't break

881
01:00:32,200 --> 01:00:38,000
Speaker 1: in America? Uh? I just don't think it was right

882
01:00:38,120 --> 01:00:41,720
Speaker 1: for him. You know, Um, where is he today? What

883
01:00:41,920 --> 01:00:45,240
Speaker 1: he makes a good living? Still still working and still

884
01:00:45,280 --> 01:00:48,160
Speaker 1: see him every so often and he yeah, he's he's

885
01:00:48,160 --> 01:00:51,600
Speaker 1: doing okay. But we then had then we started then

886
01:00:51,840 --> 01:00:55,560
Speaker 1: we started working because Simon Simon cow had worked for

887
01:00:55,680 --> 01:01:02,920
Speaker 1: me and and he he had started The X Factor

888
01:01:03,480 --> 01:01:06,880
Speaker 1: and nothing really was happening with that for the first

889
01:01:06,920 --> 01:01:11,280
Speaker 1: couple of years. And he brings me up and he says, look,

890
01:01:11,320 --> 01:01:13,840
Speaker 1: this is driving me mad because each each of the

891
01:01:14,080 --> 01:01:17,680
Speaker 1: judges had had a manager looking after their acts and

892
01:01:18,440 --> 01:01:22,120
Speaker 1: and he said, it's just chaos backstage. I've got I've

893
01:01:22,160 --> 01:01:25,240
Speaker 1: got four judges, I've got four managers, and I wanted

894
01:01:25,240 --> 01:01:27,400
Speaker 1: you to come in and you and Harry and when

895
01:01:27,400 --> 01:01:31,360
Speaker 1: you to manage all of the artists from the beginning

896
01:01:32,200 --> 01:01:36,360
Speaker 1: through to whoever it is ends up winning. And so

897
01:01:36,480 --> 01:01:39,320
Speaker 1: we started doing that. And it was at that time

898
01:01:39,440 --> 01:01:42,800
Speaker 1: when even the act that came twelveth in the show

899
01:01:43,160 --> 01:01:46,600
Speaker 1: could go out and make a reasonable amount of money

900
01:01:47,440 --> 01:01:51,280
Speaker 1: um doing you know, we do three clubs a night.

901
01:01:51,520 --> 01:01:54,040
Speaker 1: You know, there was the the X factor was so

902
01:01:54,400 --> 01:01:58,000
Speaker 1: huge that the knock on effect on all those artists

903
01:01:58,160 --> 01:02:03,240
Speaker 1: was massive. Um. And then the first year that we

904
01:02:03,560 --> 01:02:07,680
Speaker 1: did it, uh, Leona Lewis won it, and of course

905
01:02:07,800 --> 01:02:12,880
Speaker 1: Leona is an incredible talent. UM, and we sold you know,

906
01:02:13,600 --> 01:02:16,480
Speaker 1: I don't know ten twenty million hours. I suppose more

907
01:02:16,560 --> 01:02:20,880
Speaker 1: than that probably, UM. So that you know that. Then

908
01:02:21,120 --> 01:02:23,840
Speaker 1: jere Less came along and they were they were they

909
01:02:23,880 --> 01:02:29,920
Speaker 1: were huge and um. And then then then One Direction

910
01:02:31,040 --> 01:02:38,880
Speaker 1: told the story of One Direction. One Direction. There's lots

911
01:02:38,920 --> 01:02:45,080
Speaker 1: of people who claimed to have put that together, but

912
01:02:45,600 --> 01:02:51,320
Speaker 1: I think it really it was all down to Simon's vision. Um.

913
01:02:52,840 --> 01:02:58,480
Speaker 1: The what's your name Scherzinger was you know, was on

914
01:02:58,600 --> 01:03:01,400
Speaker 1: the panel, and a couple of the boys, none of

915
01:03:01,440 --> 01:03:05,560
Speaker 1: the none of the boys were getting through right, um,

916
01:03:06,360 --> 01:03:12,680
Speaker 1: and Nicole said Luis should put a band together, and

917
01:03:13,040 --> 01:03:17,840
Speaker 1: I wasn't involved with this at all, um, and Simon

918
01:03:17,960 --> 01:03:22,720
Speaker 1: just thought that was a great idea and chose the boys.

919
01:03:23,280 --> 01:03:28,800
Speaker 1: And you know, it's it's it's been done a hundred

920
01:03:28,920 --> 01:03:34,960
Speaker 1: times and a thousand times, and it's just you can't

921
01:03:35,120 --> 01:03:40,000
Speaker 1: explain what it is that no pun intended X factor

922
01:03:40,200 --> 01:03:44,160
Speaker 1: that is there when it when it works. But you

923
01:03:44,320 --> 01:03:49,360
Speaker 1: had five, you know, very likable guys, all with different characters,

924
01:03:49,560 --> 01:03:54,320
Speaker 1: all doing their own thing within the band. Um, and

925
01:03:54,480 --> 01:03:59,600
Speaker 1: it just it was just the perfect storm really and um,

926
01:04:00,200 --> 01:04:04,880
Speaker 1: although funny enough people forget, I mean so Sunny Taker,

927
01:04:05,040 --> 01:04:11,560
Speaker 1: who was running Psycho Records at the time, had got

928
01:04:11,640 --> 01:04:14,080
Speaker 1: hold of That's what makes You Beautiful, which is, you know,

929
01:04:14,240 --> 01:04:17,640
Speaker 1: just an incredible song, you know and southern. You know,

930
01:04:17,840 --> 01:04:23,280
Speaker 1: I wrote it as an incredible writer and um, so

931
01:04:23,440 --> 01:04:28,440
Speaker 1: that was a smash in the UK, not not really

932
01:04:29,160 --> 01:04:33,960
Speaker 1: anywhere else at the time. And then Simon insisted on

933
01:04:34,080 --> 01:04:37,200
Speaker 1: a track called Got to Be You as the second single,

934
01:04:37,800 --> 01:04:41,920
Speaker 1: and nobody wanted that to be the second single. Nobody

935
01:04:42,040 --> 01:04:46,760
Speaker 1: the band hated it anyway that you know, Simon was

936
01:04:46,840 --> 01:04:51,320
Speaker 1: the king and that's what happened, and that that was

937
01:04:51,400 --> 01:04:53,800
Speaker 1: a flop, you know, and people forget you know, it

938
01:04:53,840 --> 01:04:56,320
Speaker 1: came in at six rightever it was, you know, it

939
01:04:56,480 --> 01:04:59,800
Speaker 1: was a flop. And then and then the next most

940
01:05:00,000 --> 01:05:05,880
Speaker 1: important person in in the history of of One Direction

941
01:05:06,960 --> 01:05:12,920
Speaker 1: is is Amy Barnett. And Amy Barnett is Steve Barnett's

942
01:05:13,080 --> 01:05:19,560
Speaker 1: niece and she was living in in Um in the

943
01:05:19,720 --> 01:05:25,040
Speaker 1: UK at the time and she told Stephen all about

944
01:05:25,360 --> 01:05:28,640
Speaker 1: One Direction and we were doing some shows and she

945
01:05:28,960 --> 01:05:32,360
Speaker 1: she got him to come and see the band to

946
01:05:32,600 --> 01:05:37,360
Speaker 1: play at Hammersmith Apollo, and you know that the light

947
01:05:37,440 --> 01:05:43,040
Speaker 1: bulb went on and Barnett was a huge champion for it.

948
01:05:43,280 --> 01:05:46,640
Speaker 1: And then Rob was a huge champion from Stringer, Rob

949
01:05:46,680 --> 01:05:52,760
Speaker 1: Stringer and they put One Direction on on the tour

950
01:05:52,960 --> 01:05:58,320
Speaker 1: with a Big Time Rush and which was already sold

951
01:05:58,400 --> 01:06:03,439
Speaker 1: out that tour. And you know, as I was saying

952
01:06:03,480 --> 01:06:08,080
Speaker 1: about gigs and moments that that you just never forget,

953
01:06:08,240 --> 01:06:10,160
Speaker 1: you know, the A C. D C moment, well, the

954
01:06:10,960 --> 01:06:15,840
Speaker 1: Chicago One Direction supporting Big Time Rush moment was this

955
01:06:16,080 --> 01:06:18,280
Speaker 1: was a sold out to before the band where ever

956
01:06:19,240 --> 01:06:23,080
Speaker 1: put on One Direction, come out and perform not very

957
01:06:23,160 --> 01:06:27,480
Speaker 1: well six songs, but you cannot hear a thing because

958
01:06:27,520 --> 01:06:32,480
Speaker 1: of the screaming that is going on. And then when

959
01:06:32,560 --> 01:06:38,400
Speaker 1: they go off stage, they go UM that half the

960
01:06:38,560 --> 01:06:42,080
Speaker 1: crowd leaves the auditorium to go to the merch stand

961
01:06:43,040 --> 01:06:46,680
Speaker 1: and we sell out of every piece of merch that

962
01:06:46,960 --> 01:06:50,160
Speaker 1: we had for the entire American tour in one night

963
01:06:50,320 --> 01:06:55,440
Speaker 1: and one night and Steve Barnett comes down to the

964
01:06:55,560 --> 01:07:02,960
Speaker 1: dressing room, and this is in February and he says

965
01:07:03,080 --> 01:07:09,160
Speaker 1: to the band, you will be playing Madison Square Gardens

966
01:07:09,640 --> 01:07:13,920
Speaker 1: by the end of this year. And at the end

967
01:07:14,000 --> 01:07:17,480
Speaker 1: of the year we played Madison Square Gardens and then

968
01:07:17,680 --> 01:07:20,080
Speaker 1: ultimately you played stadiums all over the world. What do

969
01:07:20,160 --> 01:07:24,320
Speaker 1: you think ultimately drove it? I think that it was

970
01:07:25,960 --> 01:07:31,040
Speaker 1: the unique chemistry and character of the boys Um, because

971
01:07:31,120 --> 01:07:36,680
Speaker 1: they were they each had they each had their own thing. Um.

972
01:07:37,320 --> 01:07:40,200
Speaker 1: You know, obviously it was it was Harry and his looks.

973
01:07:41,480 --> 01:07:47,960
Speaker 1: H and Zane you know, you know, had an incredible voice,

974
01:07:48,720 --> 01:07:52,320
Speaker 1: Liam had an amazing voice. Nile was just this incredible

975
01:07:52,640 --> 01:07:58,400
Speaker 1: charmer UM and funny enough, Louis he doesn't get nearly

976
01:07:58,640 --> 01:08:02,360
Speaker 1: enough at it. You know, he was the one, he

977
01:08:02,520 --> 01:08:05,360
Speaker 1: was the one who was really the driver behind the band.

978
01:08:06,520 --> 01:08:09,640
Speaker 1: UM and it was just it was just that magical

979
01:08:09,760 --> 01:08:12,920
Speaker 1: combination of all of them, and they were great mates.

980
01:08:13,320 --> 01:08:19,280
Speaker 1: You know. Obviously, as as bands go on, then things

981
01:08:19,520 --> 01:08:22,479
Speaker 1: changed in the chemistry. As you get older, that that

982
01:08:22,760 --> 01:08:25,040
Speaker 1: changes as well, and that obviously came to a head

983
01:08:25,120 --> 01:08:30,639
Speaker 1: when when Zane left. But for the longest time they

984
01:08:31,200 --> 01:08:34,600
Speaker 1: remained great mates and had great fun and and the

985
01:08:34,960 --> 01:08:40,800
Speaker 1: fans recognized that. And the fans can recognize when it's

986
01:08:40,920 --> 01:08:46,720
Speaker 1: not real, and it was real with them. Plus they

987
01:08:46,800 --> 01:08:51,360
Speaker 1: had some incredible songs, you know, and you know, you

988
01:08:51,800 --> 01:08:56,800
Speaker 1: you need to give Simon and Sunny Taker, you know,

989
01:08:58,040 --> 01:09:05,040
Speaker 1: and sarden uh credit for for that, you know. Um, Okay,

990
01:09:05,080 --> 01:09:07,920
Speaker 1: So to what degree is one D one D equivalent

991
01:09:07,960 --> 01:09:12,080
Speaker 1: to keep up? Or what do you think of ke pop? Well? Uh,

992
01:09:13,680 --> 01:09:17,400
Speaker 1: I can't to this day, I can't understand how and

993
01:09:17,560 --> 01:09:20,000
Speaker 1: what has happened though, other than it has happened, and

994
01:09:20,120 --> 01:09:24,400
Speaker 1: I see the huge success, um and I freely admit

995
01:09:24,520 --> 01:09:27,400
Speaker 1: that it's something that I don't understand, you know. But

996
01:09:27,640 --> 01:09:30,800
Speaker 1: what what what hasn't changed, And what you do see

997
01:09:31,080 --> 01:09:36,760
Speaker 1: is that from the days of Elvis Presley, through the

998
01:09:36,880 --> 01:09:44,200
Speaker 1: Beatles and the b Gs and then you know, all

999
01:09:44,280 --> 01:09:49,920
Speaker 1: the other great pop bands. Twelve to sixteen year old

1000
01:09:50,000 --> 01:09:56,759
Speaker 1: girls have always loved falling in love with good looking boys,

1001
01:09:57,760 --> 01:10:02,479
Speaker 1: and that is never going to chang change. Just putting

1002
01:10:02,640 --> 01:10:05,839
Speaker 1: up you know, it's four or six good looking boys

1003
01:10:06,479 --> 01:10:11,560
Speaker 1: isn't good enough. It has to be something that is

1004
01:10:11,800 --> 01:10:16,360
Speaker 1: tangible for those fans to relate to. And that is

1005
01:10:16,439 --> 01:10:20,439
Speaker 1: the bit which everybody is always trying to do. And

1006
01:10:20,600 --> 01:10:23,679
Speaker 1: you look at the number of times that that has

1007
01:10:23,920 --> 01:10:29,320
Speaker 1: has been tried. But you know, you look at Backstreet,

1008
01:10:30,280 --> 01:10:37,360
Speaker 1: Backstreet boys, you look at um, you know, and everything.

1009
01:10:37,640 --> 01:10:41,519
Speaker 1: You know, there's always you know, in England we had

1010
01:10:41,720 --> 01:10:45,040
Speaker 1: a Bank of Westlife which never made it outside, but

1011
01:10:45,439 --> 01:10:49,679
Speaker 1: you know, there's You're never going to stop those young

1012
01:10:49,760 --> 01:10:53,599
Speaker 1: girls wanting to fall in love with good looking young men.

1013
01:10:54,000 --> 01:11:01,599
Speaker 1: And why did Robbie Williams never make it in the US? Well, ah,

1014
01:11:02,280 --> 01:11:06,640
Speaker 1: I don't really know. I think that they, um, I

1015
01:11:06,720 --> 01:11:09,120
Speaker 1: don't know too much about that. I think maybe they

1016
01:11:09,200 --> 01:11:12,599
Speaker 1: went wrong. They should have gone straight with angels rather

1017
01:11:12,720 --> 01:11:14,960
Speaker 1: than try to be They maybe went a bit cool

1018
01:11:15,120 --> 01:11:19,920
Speaker 1: to start with um. And then he called his American

1019
01:11:20,000 --> 01:11:25,120
Speaker 1: album the Ego is Landed. You know America. That doesn't

1020
01:11:25,800 --> 01:11:31,280
Speaker 1: translate well in uh in American you know. Um, I

1021
01:11:31,360 --> 01:11:34,360
Speaker 1: mean it's extraordinary really considering what a huge story is

1022
01:11:34,400 --> 01:11:36,280
Speaker 1: everywhere else in the world and now here he is

1023
01:11:36,439 --> 01:11:40,280
Speaker 1: doing weeks at a time in Vegas, you know. And

1024
01:11:40,640 --> 01:11:46,120
Speaker 1: why did you start working with ka Um? That was

1025
01:11:46,240 --> 01:11:52,960
Speaker 1: really Simon's decision, you know, he just decided that we've

1026
01:11:53,000 --> 01:11:57,639
Speaker 1: had some problems with Little Mix, um when when Sunny

1027
01:11:57,760 --> 01:12:00,880
Speaker 1: left the dynamic with the label change. And of course,

1028
01:12:01,720 --> 01:12:05,639
Speaker 1: when you've when you've had artists on on a TV

1029
01:12:05,800 --> 01:12:08,840
Speaker 1: show and you've sort of dictated how that all went,

1030
01:12:09,040 --> 01:12:11,559
Speaker 1: and you've and you've given them the break, and then

1031
01:12:11,640 --> 01:12:15,720
Speaker 1: they've gone on to be very successful, you do have

1032
01:12:16,040 --> 01:12:19,479
Speaker 1: to realize that there's a moment when you have to

1033
01:12:19,640 --> 01:12:24,760
Speaker 1: give the artists their head and allow them to grow up.

1034
01:12:24,840 --> 01:12:27,759
Speaker 1: As they are growing up there, they're no longer sixteen

1035
01:12:27,840 --> 01:12:30,680
Speaker 1: year olds or eighteen year olds there, They're they've grown up.

1036
01:12:31,520 --> 01:12:37,439
Speaker 1: And Little Mix had really reached that stage and they

1037
01:12:37,479 --> 01:12:41,320
Speaker 1: were being asked to record some tracks which they just

1038
01:12:41,680 --> 01:12:50,640
Speaker 1: didn't like. And uh, you know, Simon felt that that

1039
01:12:51,080 --> 01:12:55,200
Speaker 1: that that wasn't right and he felt that we we

1040
01:12:55,400 --> 01:13:01,080
Speaker 1: weren't supporting him enough in getting getting that done. But

1041
01:13:01,280 --> 01:13:03,600
Speaker 1: the simple fact of life is that We work for

1042
01:13:03,680 --> 01:13:08,400
Speaker 1: the artists, we don't work for the record company. Um

1043
01:13:09,360 --> 01:13:12,400
Speaker 1: so you know, we're there to support the artist and

1044
01:13:12,520 --> 01:13:17,400
Speaker 1: actually we felt the artist was absolutely right at that time.

1045
01:13:18,200 --> 01:13:21,400
Speaker 1: So um, as far as we're concerned, that was Simon

1046
01:13:21,680 --> 01:13:24,840
Speaker 1: fell out with us. We we don't feel anything but

1047
01:13:25,280 --> 01:13:31,080
Speaker 1: but good feelings towards Simon. But also since you start

1048
01:13:31,160 --> 01:13:33,840
Speaker 1: working with his TV shows, none of those acts of

1049
01:13:34,000 --> 01:13:43,439
Speaker 1: hit well, uh yeah that that yes, that could be true. Yes,

1050
01:13:43,760 --> 01:13:46,240
Speaker 1: but it's true. Does he ever regret it or he's

1051
01:13:46,320 --> 01:13:50,600
Speaker 1: just you know, keeping his distance? Well, I hope that.

1052
01:13:51,120 --> 01:13:53,840
Speaker 1: You know. The funny thing is we've had far bigger

1053
01:13:54,000 --> 01:13:58,400
Speaker 1: arguments about things, you know, far far bigger arguments about things,

1054
01:13:58,520 --> 01:14:02,439
Speaker 1: you know. Um, So it was you know, there was

1055
01:14:02,680 --> 01:14:05,639
Speaker 1: there was just a lot of change going on there

1056
01:14:05,680 --> 01:14:10,200
Speaker 1: at the time. And you know, I hope that one

1057
01:14:10,320 --> 01:14:15,599
Speaker 1: day we'll find something to work on together again, you know. Um,

1058
01:14:16,600 --> 01:14:21,080
Speaker 1: but that's we'll just have to see how that plays out,

1059
01:14:21,479 --> 01:14:25,880
Speaker 1: you know. Okay, So where's the business going. Well, I

1060
01:14:25,960 --> 01:14:33,000
Speaker 1: think it's a very exciting time, you know, um I

1061
01:14:34,360 --> 01:14:39,639
Speaker 1: I I I judge success now from with our artists

1062
01:14:40,360 --> 01:14:46,479
Speaker 1: with by ticket count and per heads and merchandising and

1063
01:14:47,240 --> 01:14:49,880
Speaker 1: I know there's a lot of talk about live work,

1064
01:14:51,000 --> 01:14:53,840
Speaker 1: you know, business being down, and that may well be

1065
01:14:53,960 --> 01:14:57,000
Speaker 1: the case, but I suspect that in certain areas it

1066
01:14:57,160 --> 01:15:00,320
Speaker 1: probably over expanded. So that's sort of contraction, is just

1067
01:15:00,520 --> 01:15:03,720
Speaker 1: like a leveling out from what I see from where

1068
01:15:03,840 --> 01:15:09,800
Speaker 1: we are, it's it's just growing and growing. And I

1069
01:15:09,960 --> 01:15:13,840
Speaker 1: think that the what what's exciting about the way the

1070
01:15:13,960 --> 01:15:16,680
Speaker 1: DSPs work is that the whole international thing, when you

1071
01:15:16,800 --> 01:15:21,080
Speaker 1: get that right, that does mean that that although you

1072
01:15:21,160 --> 01:15:24,800
Speaker 1: do still have to go and visit territories and put

1073
01:15:24,840 --> 01:15:27,560
Speaker 1: the artists in front of people, an awful lot of

1074
01:15:27,640 --> 01:15:31,560
Speaker 1: that work is being done for you up front, you know,

1075
01:15:31,880 --> 01:15:36,680
Speaker 1: through through Spotify, through Apple, etcetera. You know. So I

1076
01:15:36,840 --> 01:15:39,760
Speaker 1: know you're a big Prague fan. Is there any hope

1077
01:15:39,800 --> 01:15:44,439
Speaker 1: for rockers? Rock dead? God? I hope, So, I tell you,

1078
01:15:46,160 --> 01:15:49,880
Speaker 1: you know, I think I think I've got two remaining

1079
01:15:50,120 --> 01:15:53,519
Speaker 1: ambitions in life. One one one is to win the

1080
01:15:53,920 --> 01:15:57,880
Speaker 1: Eurovision Song Contest one day, because I grew up listening

1081
01:15:57,920 --> 01:16:01,719
Speaker 1: to the Eurovision Song Contest, watching it with my mother

1082
01:16:01,800 --> 01:16:04,959
Speaker 1: and my sister, you know. And I actually did represent

1083
01:16:05,200 --> 01:16:10,400
Speaker 1: the English entrance in six but we we only came six,

1084
01:16:10,600 --> 01:16:14,880
Speaker 1: you know, but one one day, even if it's not

1085
01:16:15,000 --> 01:16:17,519
Speaker 1: the English entrant, I hope I have the entrant that

1086
01:16:17,760 --> 01:16:20,760
Speaker 1: that wins it. And then the other would be to

1087
01:16:20,960 --> 01:16:24,000
Speaker 1: be going to see a great probe band or a

1088
01:16:24,160 --> 01:16:27,880
Speaker 1: great rock band. You know. I I was so lucky

1089
01:16:28,080 --> 01:16:33,760
Speaker 1: working with Rage Against the Machine and Pearl Jam and

1090
01:16:34,320 --> 01:16:40,280
Speaker 1: Corn and Aussie you know, I I loved working with

1091
01:16:40,439 --> 01:16:45,280
Speaker 1: those artists and and I I'm in the same way

1092
01:16:45,720 --> 01:16:50,680
Speaker 1: as there are always going to be uh, you know,

1093
01:16:50,880 --> 01:16:53,720
Speaker 1: twelve to sixteen year old girls looking to fall in

1094
01:16:53,840 --> 01:16:57,040
Speaker 1: love with, you know, good looking guys. I believe that

1095
01:16:57,160 --> 01:16:59,360
Speaker 1: there are young guys who are going to be looking

1096
01:16:59,520 --> 01:17:02,439
Speaker 1: to want to have an idol of a guitarist or

1097
01:17:02,479 --> 01:17:05,360
Speaker 1: a singer and to be up there doing that. You know,

1098
01:17:05,720 --> 01:17:08,680
Speaker 1: well that I agree that there's a business. But right

1099
01:17:08,720 --> 01:17:13,479
Speaker 1: now in America the radio and Spotify is dominated by

1100
01:17:13,600 --> 01:17:17,120
Speaker 1: hip hop, not live. So is there a chance that

1101
01:17:17,800 --> 01:17:22,519
Speaker 1: rock can you know, break up that hegemony? Well? Uh,

1102
01:17:23,040 --> 01:17:26,559
Speaker 1: you know you should ask Peter Mention that question. Uh.

1103
01:17:26,920 --> 01:17:30,160
Speaker 1: You know, he's far closer to it than than I am.

1104
01:17:31,760 --> 01:17:35,519
Speaker 1: But I do believe that there will be, you know,

1105
01:17:36,400 --> 01:17:39,200
Speaker 1: a band that will come through that will start a

1106
01:17:39,320 --> 01:17:41,960
Speaker 1: movement again. It may not be on the on the

1107
01:17:42,080 --> 01:17:48,240
Speaker 1: scale that we've seen, but I just hope. Maybe it

1108
01:17:48,400 --> 01:17:50,960
Speaker 1: is only hope, but I do also believe that there

1109
01:17:51,040 --> 01:17:56,800
Speaker 1: will be a movement again that will happen. And since you're,

1110
01:17:57,200 --> 01:17:59,080
Speaker 1: you know, living in England, but you've lived in the

1111
01:17:59,240 --> 01:18:01,880
Speaker 1: US and you were we said these worldwide acts, what

1112
01:18:01,960 --> 01:18:04,799
Speaker 1: do you see as the difference between those two major markets.

1113
01:18:06,080 --> 01:18:14,040
Speaker 1: When I was managing the Jags, and when we arrived

1114
01:18:14,400 --> 01:18:16,439
Speaker 1: in New York, we were going to be the next

1115
01:18:16,560 --> 01:18:21,040
Speaker 1: big thing. We were on the back page of Billboard magazine.

1116
01:18:21,120 --> 01:18:23,200
Speaker 1: We were on you know the ad they used to

1117
01:18:23,320 --> 01:18:25,840
Speaker 1: take there, and on cash Box on the front page,

1118
01:18:26,560 --> 01:18:28,200
Speaker 1: and we were going to be the next big thing.

1119
01:18:28,320 --> 01:18:32,880
Speaker 1: And then we toured our way across America doing radio shows,

1120
01:18:32,920 --> 01:18:35,000
Speaker 1: and then we get to l A six weeks later

1121
01:18:35,600 --> 01:18:38,600
Speaker 1: and suddenly no longer are we going to be the

1122
01:18:38,720 --> 01:18:44,760
Speaker 1: next big thing. So the tour support gets pulled. I

1123
01:18:45,200 --> 01:18:47,040
Speaker 1: have to get rid of the tour manager, and I

1124
01:18:47,600 --> 01:18:53,160
Speaker 1: end up driving the band back across America, gigging in

1125
01:18:53,280 --> 01:18:58,320
Speaker 1: a in a Winnebago, gigging across America, getting down to Miami,

1126
01:18:58,400 --> 01:19:01,040
Speaker 1: where we're gonna then get on on boat and go

1127
01:19:01,280 --> 01:19:03,880
Speaker 1: over to a compass point to make the second album,

1128
01:19:05,080 --> 01:19:08,559
Speaker 1: and what I learned from that was just how fucking

1129
01:19:08,880 --> 01:19:16,120
Speaker 1: huge America is. And I think the point that I

1130
01:19:16,200 --> 01:19:19,280
Speaker 1: think a lot of British acts over the years have

1131
01:19:19,560 --> 01:19:26,840
Speaker 1: not appreciated that America is not New York, m l A.

1132
01:19:27,680 --> 01:19:32,920
Speaker 1: It's everywhere in between, and you do have to go

1133
01:19:33,120 --> 01:19:37,320
Speaker 1: out and you do have to go and play there

1134
01:19:38,000 --> 01:19:44,000
Speaker 1: and see it and make that connection. I think that's

1135
01:19:44,200 --> 01:19:48,840
Speaker 1: uh that that's that's something that you can come to

1136
01:19:49,040 --> 01:19:53,120
Speaker 1: London and to England and play London and essentially you're

1137
01:19:53,160 --> 01:19:57,880
Speaker 1: taken care of of the UK. But in America you've

1138
01:19:57,920 --> 01:19:59,720
Speaker 1: got to get out there and you've got to you've

1139
01:19:59,720 --> 01:20:03,280
Speaker 1: got to doodle. You know, you've been listening to Richard

1140
01:20:03,320 --> 01:20:06,840
Speaker 1: Griffith's here on the Bob Left Sets podcasts. We're doing

1141
01:20:06,960 --> 01:20:12,920
Speaker 1: this in honor of modest Management getting the Music Industry Award. Richard.

1142
01:20:12,920 --> 01:20:14,920
Speaker 1: You're a great rock and tour and you've dropped a

1143
01:20:15,000 --> 01:20:17,960
Speaker 1: lot of wisdom. Thanks so much for being Thanks very much,

1144
01:20:18,320 --> 01:20:19,000
Speaker 1: lovely Glea