WEBVTT - Prairie Prince

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob What set God Kiss.

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<v Speaker 1>My guest today is Raiy Quiz, who has a new album,

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<v Speaker 1>Colors and Passions. Prairie tell us about this album.

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<v Speaker 2>Sees, I don't know where to start other than the

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<v Speaker 2>fact that my sister was a big fan of Ken

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<v Speaker 2>Norden back in the late fifties early sixties, and she

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<v Speaker 2>turned me on to his word jazz records when I

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<v Speaker 2>was a youngster. And over the years, I've always enjoyed,

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<v Speaker 2>you know, poetry, writing poetry, and always went back to

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<v Speaker 2>the memory of listening to his stuff when I was young.

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<v Speaker 2>And one day my sister said, you should really maybe

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<v Speaker 2>take up where he left off and do a spoken word,

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<v Speaker 2>you know, collaboration with some of your friends and different musicians.

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<v Speaker 2>And so I took it from there and listened to

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<v Speaker 2>his album from nineteen sixty seven called Colors. She said,

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<v Speaker 2>well you should. Just my sister, Leslie. I got to

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<v Speaker 2>say her name, because he's one of my biggest inspirations

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<v Speaker 2>in my life.

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<v Speaker 1>Ten years older.

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<v Speaker 2>Was into jazz and beat beat music and was a

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<v Speaker 2>beatnik and before that, you know, early rock and roll,

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<v Speaker 2>and so I grew up with her and all of

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<v Speaker 2>that kind of inspiration. So she said, yeah, you should

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<v Speaker 2>maybe take off on where Ken Norden left off and

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<v Speaker 2>do your version of Colors. And so that's what I did,

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<v Speaker 2>and it's taken a while to get it going, but

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<v Speaker 2>I finally have finished it.

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<v Speaker 1>Tell us about this jazz artist again.

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<v Speaker 2>Well, his name was Ken Norden, and he was originally

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<v Speaker 2>he was a I think it was a disc jockey

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<v Speaker 2>in Chicago in the fifties, and he came up with

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<v Speaker 2>these these records called Word Jazz, and then he had

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<v Speaker 2>Son of Word Jazz, and they were you know, his

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<v Speaker 2>his beat, beat take on anything really just you know,

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<v Speaker 2>like going to the refrigerator at midnight, getting a midnight

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<v Speaker 2>snack and talking about it. And he had this beautiful

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<v Speaker 2>resonating voice. And then he'd accompany these scenarios with some

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<v Speaker 2>jazz music or or you know, just some sort of

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<v Speaker 2>a little background. The kind of music was only the

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<v Speaker 2>most important part of it, but the stories were what

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<v Speaker 2>intrigued me. And and then when I finally heard Colors,

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<v Speaker 2>it was much more about the relationship with the music

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<v Speaker 2>and his description of these colors. And for example, like yellow,

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<v Speaker 2>he would be talking about yellow and there'd be kind

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<v Speaker 2>of a happy flute sound just accompanying his his poetry.

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<v Speaker 2>And so I mean it's a long, it's a long.

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<v Speaker 2>I started this like eleven years ago, So it was

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<v Speaker 2>a long story starting starting in how to develop these songs,

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<v Speaker 2>and a lot of it became you know, much more

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<v Speaker 2>over overproduced than his simple versions of it. But anyway,

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<v Speaker 2>that's what I came out with.

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<v Speaker 1>Okay, the listening experience, how would you describe? Is there

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<v Speaker 1>a story in every song? Is it more jazz music?

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<v Speaker 1>Is it more free form? Well?

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<v Speaker 2>I got to say that each songind Oft started with

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<v Speaker 2>my idea about a color. Obviously I would have to

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<v Speaker 2>give you examples because each song is really radically different

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<v Speaker 2>from the next, and it was really about, you know,

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<v Speaker 2>over the years, developing each one of these colors and

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<v Speaker 2>the association with a passion also, so for example, red

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<v Speaker 2>is a passion with desire, and I always thought that

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<v Speaker 2>the color red kind of reminded me of sex and

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<v Speaker 2>you know, desiring not only sex, but desiring something. And

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<v Speaker 2>where am I going with I can't remember. So then

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<v Speaker 2>I thought to myself, well, maybe I should collaborate with

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<v Speaker 2>some of my musician friends and some of my relatives

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<v Speaker 2>and come up with a way of producing these these

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<v Speaker 2>one of these songs, it's one of these tracks. And

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<v Speaker 2>so it was really a development series of pretty much

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<v Speaker 2>improvisation for my friends that would come in. I would

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<v Speaker 2>start off with maybe a drum track and a little

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<v Speaker 2>bit of the of the poetry that I'd written about

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<v Speaker 2>the song and the passion, and then have my friends

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<v Speaker 2>come in and listen to that and then collaborate and

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<v Speaker 2>kind of come up and improvise whatever they felt from

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<v Speaker 2>that idea and the color. So it was really a

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<v Speaker 2>very collaborative project.

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<v Speaker 1>Okay, where did the words come from? I wrote?

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<v Speaker 2>I wrote most of the words from poetry about what

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<v Speaker 2>I thought about the color and the passion and how

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<v Speaker 2>it made me feel and different relationships.

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<v Speaker 1>When you laid down the drum track and your friends

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<v Speaker 1>came in, were the words already written or wordten after

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<v Speaker 1>the fact, They were mostly firse. Yeah, they were written first.

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<v Speaker 1>It was like a poetry about this color and a passion,

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<v Speaker 1>and then I would like take how I felt about

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<v Speaker 1>how I wrote that piece and take a particular percussion instrument,

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<v Speaker 1>which in each each track sort of features one particular instrument,

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<v Speaker 1>although it builds with other percussion instruments, but the first one,

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<v Speaker 1>for example green kind of dominated by the kongo drum.

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<v Speaker 1>And each one of these tracks is associated with a

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<v Speaker 1>piece of artwork that I did, depending on how it

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<v Speaker 1>developed it got over the years, but I did paintings

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<v Speaker 1>of each one of my drums and each one of

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<v Speaker 1>the concepts. Okay, now we have the Internet, we can

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<v Speaker 1>discover things. But for decades I was wondering where the

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<v Speaker 1>hell did the name Prairie prince come from?

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<v Speaker 2>Oh you really want to know? Yeah, So I'm a junior.

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<v Speaker 2>My father's name was Charles Lomprier, Prince senior. I became

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<v Speaker 2>Charles lomp Prier, Prince junior. And the word Lomprier came

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<v Speaker 2>from a family name from the isle of Jura of Jersey,

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<v Speaker 2>actually English Channel island that was French citizens mostly, but

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<v Speaker 2>they were ruled by the English. So the lom Prier

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<v Speaker 2>was a French name, but it was actually an English

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<v Speaker 2>English governed. And when my dad was a little boy,

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<v Speaker 2>he grew up in the South, in North Carolina, and

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<v Speaker 2>he had this old guy named will that took care

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<v Speaker 2>of the kids. His dad was a doctor, and they

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<v Speaker 2>had you know, eight or nine kids, and my father

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<v Speaker 2>was one of the younger ones, and this guy says, well,

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<v Speaker 2>long Prier, that's what your mom wad calls you. But

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<v Speaker 2>I'm gonna nickname you Prairie. And that's how I came.

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<v Speaker 2>It's literally from old Will liking the word Prairie as

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<v Speaker 2>opposed to loan Prier, which was I guess hard for him. Yeah,

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<v Speaker 2>hard for him to do it. But before I was

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<v Speaker 2>I mean before I was born, they were gonna name

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<v Speaker 2>me Prairie anyway, they were gonna call me Prairie England.

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<v Speaker 2>So I was never really called Charles or Charlie or

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<v Speaker 2>Chuck or anything. It was always Prairie from the from

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<v Speaker 2>day I popped out. So I did not make up

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<v Speaker 2>the stage name.

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<v Speaker 1>Okay, you go to first grade, is your name Prairie

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<v Speaker 1>or Charles?

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<v Speaker 2>Unfortunately it's Prairie, And uh god, I just wish they

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<v Speaker 2>could have been a Mic or a George or Jim,

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<v Speaker 2>but no, it was Prairie.

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<v Speaker 1>And you know, I got a lot of got a

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<v Speaker 1>lot of guf that's my question. Prairie is a cool

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<v Speaker 1>name when you're old. When you're young, not cool. Not cool.

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<v Speaker 2>And plus I got like fairy princess because my last

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<v Speaker 2>name is prince right, and I got that a little bit,

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<v Speaker 2>but you know, I called cocked some of those guys

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<v Speaker 2>out in the recess yard later.

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<v Speaker 1>Well, what kind of kid were you? Were you a

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<v Speaker 1>kid who was you know, you have all these artistic pursuits.

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<v Speaker 1>Were you a member of the group? Were you always

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<v Speaker 1>an outsider? What kind of kid were you? Like?

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<v Speaker 2>I mean, I grew up with my mom and dad,

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<v Speaker 2>who were they thought outside the thing a little bit.

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<v Speaker 2>I mean, my dad was really into music, so I

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<v Speaker 2>really got a lot of my music theory and my

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<v Speaker 2>ideas about music and especially jazz and stuff from him.

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<v Speaker 2>And then my mom was really into art and we

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<v Speaker 2>used to go to art classes and stuff. But no,

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<v Speaker 2>I was a pretty normal kid. I had grew up

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<v Speaker 2>in Phoenix, Arizona, which was pretty normal, and by then,

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<v Speaker 2>you know, early fifties, it was pretty much just like

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<v Speaker 2>living in the desert. So yeah, I didn't have much money.

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<v Speaker 2>I didn't have any you know, necessarily, any like hoodlums

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<v Speaker 2>waiting around the corner, although a few times there were,

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<v Speaker 2>you know a couple of guys that wanted to I

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<v Speaker 2>wanted to knock me out, but I ran. And what

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<v Speaker 2>did your father do for a living? He was a

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<v Speaker 2>cotton broker. He first in North Carolina. He worked for

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<v Speaker 2>like the company store kind of thing and managed it

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<v Speaker 2>and stuff. And then he got a job opportunity to

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<v Speaker 2>move from North Carolina in the early fifties right after

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<v Speaker 2>I was born and and start broking cotton in Arizona

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<v Speaker 2>because there was a lot of business there from the

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<v Speaker 2>Pima Indians and the you know, the Native Americans that

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<v Speaker 2>were growing cotton way back day, way back when. Still today,

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<v Speaker 2>Pema cotton sought after really fine, great cotton.

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<v Speaker 1>Okay, the country is shrunk, but when you're growing up

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<v Speaker 1>in Arizona, that's like off the grid. People aware there

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<v Speaker 1>was a stayed out there California where they had Hollywood Arizona.

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<v Speaker 1>All they knew was hot and there was Phoenix, and

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<v Speaker 1>people really didn't know anything. So I realized that your

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<v Speaker 1>only experienced for what was it like growing up in Phoenix.

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<v Speaker 2>Like that like being a lizard the sun. You know,

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<v Speaker 2>you had your boat bedposts in jars of formaldehyde so

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<v Speaker 2>the scorpions wouldn't crawl up and bite you while you're asleep.

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<v Speaker 1>You know.

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<v Speaker 2>We didn't have any real air conditioning for the first

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<v Speaker 2>probably four or five years, and had these swamp coolers,

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<v Speaker 2>and yeah, your brain got a little bit fried. And

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<v Speaker 2>we didn't even have a television yet. But when we

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<v Speaker 2>finally did, you know, there's a lot of a lot

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<v Speaker 2>of indoor and air conditioning, a lot of indoor television watching,

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<v Speaker 2>which has you know, kind of led me into the uh,

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<v Speaker 2>you know, the tubes and the things that came later.

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<v Speaker 2>But yeah, growing up being a vidiot and watching television

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<v Speaker 2>and being exposed to all the advertisements and stuff in Arizona,

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<v Speaker 2>and you know, but I think I'm not absolutely certain

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<v Speaker 2>about this, but I think the first McDonald's was there.

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<v Speaker 2>It's kind of like a testing ground for a lot

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<v Speaker 2>of the fast food joints or for everything. Was kind

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<v Speaker 2>of try it out in Phoenix before you move it,

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<v Speaker 2>move it, take it to La or anywhere else in

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<v Speaker 2>the country. So it was kind of like a guinea

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<v Speaker 2>pig area.

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<v Speaker 1>Okay, Historically Arizona was a very conservative state, especially when

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<v Speaker 1>you were growing up. Did you feel that, Well, I

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<v Speaker 1>certainly my father did. I mean, he.

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<v Speaker 2>Did not appreciate he was a full on Democrat. He

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<v Speaker 2>did not appreciate the Republican onslot there Bury Goldwater and

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<v Speaker 2>all that. Sure, Yeah, we all felt we all felt

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<v Speaker 2>restricted and refined. I mean, I couldn't wait to move

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<v Speaker 2>out of Phoenix when I was and they followed me

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<v Speaker 2>as soon as I left in sixty nine, they followed

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<v Speaker 2>me to San Francisco. So, yeah, we grew up running

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<v Speaker 2>around dodging, dodging stuff all the time. Seems like we

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<v Speaker 2>were hiding from the police or the principals or the

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<v Speaker 2>you know, the the guards.

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<v Speaker 1>Yeah, okay, So talk about this older sister. How many

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<v Speaker 1>kids in the family.

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<v Speaker 2>I have two older siblings, both of them girls. I'm

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<v Speaker 2>my older sister, Leslie Prince Raymond, and she lives in

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<v Speaker 2>the East Coast. Now my younger sister, her younger sister, Helen,

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<v Speaker 2>passed away about five or six years ago from Parkinson's disease.

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<v Speaker 2>She was a scientist and research you know, a genius,

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<v Speaker 2>and she was a film editor and she got into

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<v Speaker 2>arts and science more than anything. My sister Leslie ran

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<v Speaker 2>the arts council in their city, Chestertown, Maryland for years

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<v Speaker 2>and years with her husband, Vince, and they, you know,

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<v Speaker 2>I did productions and I you know, did a few

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<v Speaker 2>backdrops and some set designs for them over the years,

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<v Speaker 2>and they're just you know, amazing to sick family. And

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<v Speaker 2>my mom same thing. She was an art historian, and yeah,

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<v Speaker 2>we grew up with a lot of wonderful resources for

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<v Speaker 2>art and music.

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<v Speaker 1>So what's it like having a sibling ten years older?

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<v Speaker 1>They so into their life, they're ignoring you, or you

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<v Speaker 1>precious because you're the young child. I am so precious.

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<v Speaker 1>You're right, you got it right. They used to treat

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<v Speaker 1>me like their little baby doll when they were a

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<v Speaker 1>little d eight and ten years older. With my sisters

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<v Speaker 1>and they, yeah, they both loved me, and I love them.

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<v Speaker 1>I missed my other sister so much. But I still

0:13:37.600 --> 0:13:41.560
<v Speaker 1>see my oldest sister, Leslie a lot, and she travels

0:13:41.600 --> 0:13:45.600
<v Speaker 1>back and forth. She has granddaughters and sons that live

0:13:45.600 --> 0:13:48.679
<v Speaker 1>in San Francisco, and so she continues to travel. She's

0:13:48.720 --> 0:13:54.520
<v Speaker 1>eighty five, just turned eighty five, and happy birthday, Leslie. Okay,

0:13:54.679 --> 0:13:59.440
<v Speaker 1>so what comes first? Art or music? Well, this is

0:13:59.480 --> 0:13:59.800
<v Speaker 1>one of those.

0:14:00.240 --> 0:14:02.920
<v Speaker 2>And see you you picked those questions that I've tried

0:14:02.960 --> 0:14:06.600
<v Speaker 2>to answer my whole life because they're always and.

0:14:06.800 --> 0:14:10.040
<v Speaker 1>Let me let me clarify. Okay, did you take music

0:14:10.200 --> 0:14:13.640
<v Speaker 1>lessons first? Or were you always drawing from a young age?

0:14:14.400 --> 0:14:16.960
<v Speaker 2>The same thing, right, just next to each other. And

0:14:17.000 --> 0:14:19.640
<v Speaker 2>I'm still doing it right next to each other like

0:14:19.720 --> 0:14:24.400
<v Speaker 2>I took, you know, I took early drawing classes my neighborhood.

0:14:24.480 --> 0:14:26.480
<v Speaker 2>We had a magazine and we would draw pictures of

0:14:26.520 --> 0:14:28.960
<v Speaker 2>dinosaurs and had a little printing machine and we'd print

0:14:29.000 --> 0:14:31.080
<v Speaker 2>them up and make little magazines. And that was you know,

0:14:31.160 --> 0:14:36.320
<v Speaker 2>like fourth grade, I started taking snare drum lessons and

0:14:36.640 --> 0:14:40.720
<v Speaker 2>drum lessons from the school band, and probably fourth fifth

0:14:40.760 --> 0:14:43.680
<v Speaker 2>grade I was in the school band. But at the

0:14:43.720 --> 0:14:46.840
<v Speaker 2>same time, my art teacher, whoever was teaching art at

0:14:46.880 --> 0:14:51.360
<v Speaker 2>the same time, was just enjoying, enjoying watching me and

0:14:51.440 --> 0:14:54.920
<v Speaker 2>teaching me art. And I would have millions of sketch

0:14:54.960 --> 0:14:58.160
<v Speaker 2>books and coloring books and everything my whole life. So

0:14:58.520 --> 0:15:00.120
<v Speaker 2>I guess you'd have to say, if you have to

0:15:00.960 --> 0:15:04.400
<v Speaker 2>find me, it'd have to be a renaissance man in

0:15:04.440 --> 0:15:05.120
<v Speaker 2>the wrong era.

0:15:06.800 --> 0:15:11.000
<v Speaker 1>Okay, what inspired you to play drums? Because they come

0:15:11.000 --> 0:15:13.840
<v Speaker 1>there with all the instruments of clarinet, the trombone. Why

0:15:13.840 --> 0:15:16.400
<v Speaker 1>the drums? Yeah?

0:15:16.760 --> 0:15:20.680
<v Speaker 2>Again, my dad inspired me when he was young because

0:15:20.720 --> 0:15:22.920
<v Speaker 2>he used to tap dance in the kitchen. He would

0:15:22.960 --> 0:15:25.480
<v Speaker 2>throw some sand down, do some soft shoe and a

0:15:25.520 --> 0:15:29.240
<v Speaker 2>little tap dancing and claims I never really heard him

0:15:29.240 --> 0:15:31.400
<v Speaker 2>play the drums, but he claimed he played drums along

0:15:31.440 --> 0:15:35.160
<v Speaker 2>with silent movies when he was young, really young. He

0:15:35.200 --> 0:15:37.760
<v Speaker 2>would piano player and he had a snare drum and

0:15:37.800 --> 0:15:40.360
<v Speaker 2>he would play along with the Silent movies that were

0:15:40.360 --> 0:15:44.040
<v Speaker 2>playing in the tournament. Whenever it was twenties, I guess, no,

0:15:44.200 --> 0:15:52.000
<v Speaker 2>maybe earlier and so, and he could taught me how

0:15:52.040 --> 0:15:55.760
<v Speaker 2>to handbone, so that was my first drum, really was

0:15:55.760 --> 0:15:59.120
<v Speaker 2>my leg. And he taught me how to play the spoons,

0:16:00.080 --> 0:16:03.480
<v Speaker 2>some spoons and yeah, that kind of thing. So I

0:16:04.760 --> 0:16:06.880
<v Speaker 2>latched onto the drums. They tried to get me to

0:16:06.880 --> 0:16:09.520
<v Speaker 2>play piano. I took some piano lessons for a few years.

0:16:09.520 --> 0:16:12.640
<v Speaker 2>My other sister played piano, so she always had a

0:16:12.680 --> 0:16:16.680
<v Speaker 2>teacher coming over to the house. And I started taking

0:16:16.720 --> 0:16:18.640
<v Speaker 2>piano lessons, and I got to a point where I

0:16:18.680 --> 0:16:20.240
<v Speaker 2>just went, really.

0:16:19.920 --> 0:16:22.880
<v Speaker 1>Hate this music that they're trying to teach me. It's

0:16:22.960 --> 0:16:27.360
<v Speaker 1>just it's just not good. I mean, Mary, Mary had

0:16:27.360 --> 0:16:29.920
<v Speaker 1>a little lamb or something, but you know, can you

0:16:30.000 --> 0:16:32.600
<v Speaker 1>just boogie woogiet it a little bit? Learn how you know,

0:16:33.320 --> 0:16:35.840
<v Speaker 1>you just play it like that, and then the exercises

0:16:35.920 --> 0:16:39.560
<v Speaker 1>the handle exercises hand and I think that's what they're called.

0:16:40.880 --> 0:16:42.360
<v Speaker 1>And then all of a sudden, one day.

0:16:44.000 --> 0:16:46.040
<v Speaker 2>The phone rang and my mom answered, and she goes, well,

0:16:46.040 --> 0:16:48.240
<v Speaker 2>I'm sorry I tell you about your piano plate. The

0:16:48.360 --> 0:16:52.400
<v Speaker 2>teacher just died, and he died in a car accident.

0:16:53.320 --> 0:16:56.920
<v Speaker 2>I didn't laugh. I felt bad for the guy. But anyway,

0:16:56.960 --> 0:16:59.520
<v Speaker 2>I got out of that. So that then right after that,

0:16:59.600 --> 0:17:02.960
<v Speaker 2>I got a snare drum. They bought me a snare

0:17:03.040 --> 0:17:06.000
<v Speaker 2>drum for Christmas, and that was it. And then I

0:17:06.040 --> 0:17:08.760
<v Speaker 2>just started building up my drum set, you know, piece

0:17:08.800 --> 0:17:10.840
<v Speaker 2>by piece for the next few years.

0:17:11.240 --> 0:17:14.919
<v Speaker 1>Okay, Yeah, you take drums in school, you play in

0:17:14.960 --> 0:17:18.800
<v Speaker 1>the school band orchestra, whatever you call it. Yeah, were

0:17:18.840 --> 0:17:22.440
<v Speaker 1>you playing in bands before the Beatles or was it

0:17:22.480 --> 0:17:24.520
<v Speaker 1>like so many people you saw the Beatles that this

0:17:24.560 --> 0:17:25.280
<v Speaker 1>is where I'm going.

0:17:26.600 --> 0:17:29.120
<v Speaker 2>I mean, the Beatles definitely did that to me. For sure,

0:17:29.160 --> 0:17:31.199
<v Speaker 2>I saw them. But yeah, I was playing in the

0:17:31.200 --> 0:17:34.439
<v Speaker 2>school band and that was boring too, because it's like

0:17:34.960 --> 0:17:37.760
<v Speaker 2>I was in the percussion section. So you play either

0:17:37.760 --> 0:17:41.880
<v Speaker 2>the bass drum, the snare drum, or the symbol big

0:17:41.920 --> 0:17:45.080
<v Speaker 2>crashing at the end of each you know, phrase or something.

0:17:45.920 --> 0:17:48.479
<v Speaker 2>And then I saw the Beatles on but no, I

0:17:48.520 --> 0:17:52.800
<v Speaker 2>wasn't in a band yet, but it was shortly after

0:17:52.840 --> 0:17:55.080
<v Speaker 2>that I got into a surf band. But that's that's

0:17:55.119 --> 0:17:57.960
<v Speaker 2>a different story. But yeah, I saw the Beatles and

0:17:58.160 --> 0:18:02.440
<v Speaker 2>I just went, wow, that's just so amazing, and so yeah,

0:18:02.440 --> 0:18:05.520
<v Speaker 2>a couple of my friends in my neighborhood started a

0:18:05.520 --> 0:18:10.040
<v Speaker 2>little surf surf band. We were called the Regents, and

0:18:10.119 --> 0:18:14.000
<v Speaker 2>I think it was nineteen sixty six, early nineteen sixty six,

0:18:15.040 --> 0:18:16.760
<v Speaker 2>so the Beatles had already been out for a couple

0:18:16.800 --> 0:18:18.600
<v Speaker 2>you know, at least a year and a half are already,

0:18:18.640 --> 0:18:23.000
<v Speaker 2>so I was already really in tune with them. The

0:18:23.119 --> 0:18:25.920
<v Speaker 2>surf band didn't last very long, and then I got

0:18:26.240 --> 0:18:30.480
<v Speaker 2>a call from from who ended up being the guitar

0:18:30.520 --> 0:18:32.960
<v Speaker 2>player on the Tubes, Roger Stein, and he said, I'll

0:18:33.000 --> 0:18:36.960
<v Speaker 2>have this band. We're doing mostly Beatles songs and we're

0:18:36.960 --> 0:18:43.560
<v Speaker 2>called the Bards bar Ds, and come over and try

0:18:43.600 --> 0:18:46.040
<v Speaker 2>out for it. If I did. We had a band

0:18:46.040 --> 0:18:49.639
<v Speaker 2>called the Bards and we played it was it was

0:18:50.000 --> 0:18:53.520
<v Speaker 2>you know, we're doing mostly the Beatles, sixty five sixty

0:18:53.560 --> 0:18:57.280
<v Speaker 2>six stuff, which was no reply and all that kind

0:18:57.280 --> 0:18:59.400
<v Speaker 2>of stuff. So yeah, I was in a Beatle band

0:18:59.400 --> 0:19:03.600
<v Speaker 2>early on. How did you know Roger Steve? I knew

0:19:03.640 --> 0:19:06.359
<v Speaker 2>him through somebody else that went to my school and

0:19:06.400 --> 0:19:09.480
<v Speaker 2>he was in. He was the other guy in the

0:19:09.520 --> 0:19:13.080
<v Speaker 2>Bards was knew me from my school and Roger was

0:19:13.119 --> 0:19:15.679
<v Speaker 2>already playing with him. So I guess it was the

0:19:15.720 --> 0:19:19.840
<v Speaker 2>guy from my school that said go come over an audition, so.

0:19:19.800 --> 0:19:21.360
<v Speaker 1>He knew you were a drummer.

0:19:21.960 --> 0:19:24.080
<v Speaker 2>Yeah, he already knew I was a drummer because of

0:19:24.119 --> 0:19:26.960
<v Speaker 2>the surf band. Yeah, I think we played. I think

0:19:27.119 --> 0:19:30.320
<v Speaker 2>our band played at like the Junior prom or something

0:19:30.359 --> 0:19:30.680
<v Speaker 2>like that.

0:19:31.240 --> 0:19:34.359
<v Speaker 1>We wait the Bards or the surf band.

0:19:34.680 --> 0:19:36.360
<v Speaker 2>The surf bands were called the Regents.

0:19:36.480 --> 0:19:41.359
<v Speaker 1>Yeah, the Regents actually played some paid gigs. We we

0:19:41.359 --> 0:19:43.480
<v Speaker 1>didn't get paid. I don't think actually we did. We

0:19:43.520 --> 0:19:46.000
<v Speaker 1>got the first gig we did was I think we

0:19:46.040 --> 0:19:49.040
<v Speaker 1>only did two. We did one at a Chinese restaurant

0:19:49.080 --> 0:19:52.360
<v Speaker 1>on New Year's Eve and we got paid like fifteen

0:19:52.440 --> 0:19:55.520
<v Speaker 1>or twenty dollars or something like that. And then the

0:19:55.600 --> 0:19:58.760
<v Speaker 1>school hired us for one of the dances and we

0:19:58.800 --> 0:20:01.840
<v Speaker 1>did that and then lee guitar player's name was Quirky

0:20:02.160 --> 0:20:04.600
<v Speaker 1>Kirky Anderson, and he was kind of a juvenile Blink

0:20:04.640 --> 0:20:07.040
<v Speaker 1>when he went and got in trouble and so the

0:20:07.119 --> 0:20:17.320
<v Speaker 1>band broke up. Are you with piand of surf music?

0:20:18.760 --> 0:20:19.160
<v Speaker 1>I am?

0:20:19.480 --> 0:20:21.480
<v Speaker 2>I am a big fan of surf music. And it

0:20:21.560 --> 0:20:23.639
<v Speaker 2>was funny because we lived in Arizona and there was

0:20:23.680 --> 0:20:27.320
<v Speaker 2>no surf. We just wanted to go, you know, be

0:20:27.520 --> 0:20:30.240
<v Speaker 2>surfers and you know all that kind of stuff. And

0:20:30.280 --> 0:20:34.360
<v Speaker 2>we actually, I mean I still believe that we started

0:20:34.720 --> 0:20:38.640
<v Speaker 2>or kind of invented skateboarding because I hadn't really heard

0:20:38.640 --> 0:20:41.800
<v Speaker 2>the songs about skateboarding, you know, sidewalk surf and all

0:20:41.800 --> 0:20:45.000
<v Speaker 2>that stuff. Jana Deine and uh and we used to

0:20:45.000 --> 0:20:47.000
<v Speaker 2>make our own and just go. There were these sidewalks

0:20:47.000 --> 0:20:49.200
<v Speaker 2>out in the desert and we would skateboard on the

0:20:49.240 --> 0:20:51.719
<v Speaker 2>sidewalks and make him you know, just make him out

0:20:51.760 --> 0:20:56.840
<v Speaker 2>of roller skates and plywood. Anyway, where am I going?

0:20:57.200 --> 0:20:59.920
<v Speaker 1>Am I going with this? Well we'll talk about grab

0:21:00.200 --> 0:21:03.520
<v Speaker 1>were to go sidewalk surf, it would be so yeah.

0:21:03.520 --> 0:21:05.760
<v Speaker 2>So I was a big surf fan. I started getting

0:21:05.880 --> 0:21:07.480
<v Speaker 2>you know, in my bedroom, so I had my set

0:21:07.600 --> 0:21:10.600
<v Speaker 2>drum set up in my bedroom. My parents were so

0:21:10.800 --> 0:21:14.040
<v Speaker 2>wonderful because they they really stuck up for me. They

0:21:15.640 --> 0:21:17.720
<v Speaker 2>the neighbors would go like, well, god, you know, he's

0:21:18.040 --> 0:21:20.480
<v Speaker 2>banging on the drum set, you know, and we're trying

0:21:20.480 --> 0:21:24.160
<v Speaker 2>to have our five o'clock news hour or something like that.

0:21:24.520 --> 0:21:27.320
<v Speaker 2>My parents would go, well, usually you know, just you know,

0:21:27.359 --> 0:21:28.600
<v Speaker 2>put some of your plugs in or you know, I

0:21:28.640 --> 0:21:30.040
<v Speaker 2>don't know what. I don't know what they told them,

0:21:30.040 --> 0:21:32.960
<v Speaker 2>but they they backed my neighbors off, and I was

0:21:32.960 --> 0:21:36.280
<v Speaker 2>able to pretty much play anytime I wanted to, along

0:21:36.280 --> 0:21:38.680
<v Speaker 2>with my stereo which was next to my drum set,

0:21:39.440 --> 0:21:43.200
<v Speaker 2>and I put on Surf music ventures I recall Dick

0:21:43.280 --> 0:21:47.639
<v Speaker 2>Dale and I just you know, play alongder that crazy

0:21:47.640 --> 0:21:49.800
<v Speaker 2>surf and I have still have all my forty fives.

0:21:49.880 --> 0:21:53.280
<v Speaker 2>I put my Surf forty fives and then you know,

0:21:53.880 --> 0:21:57.840
<v Speaker 2>then that phased into the Beatles and the Stones and

0:21:58.000 --> 0:22:00.760
<v Speaker 2>all of the English Invasion stuff. But yeah, Surf was

0:22:00.800 --> 0:22:03.680
<v Speaker 2>my first love for learning how to play the drums.

0:22:04.560 --> 0:22:08.440
<v Speaker 1>Listen. Surf was my first love. Janet d Oh, Janetded,

0:22:08.520 --> 0:22:11.720
<v Speaker 1>I love Janed. Yeah, yeah, I could talk about I mean,

0:22:11.760 --> 0:22:14.680
<v Speaker 1>I know Deed at this point, but no kidding. It's

0:22:14.800 --> 0:22:18.600
<v Speaker 1>like those records. There's an album, a live album called

0:22:18.640 --> 0:22:22.640
<v Speaker 1>Command Performance. I just played that at infinitum. But now

0:22:22.640 --> 0:22:26.080
<v Speaker 1>you're in the Bards. What's the status of the Bards

0:22:26.160 --> 0:22:30.160
<v Speaker 1>or the Bards playing gigs? You know that.

0:22:30.400 --> 0:22:32.800
<v Speaker 2>I don't know if we ever really had a gig,

0:22:32.920 --> 0:22:37.960
<v Speaker 2>and we must have played somewhere like at a cyo thing,

0:22:38.200 --> 0:22:42.000
<v Speaker 2>or maybe we did a few shows that like the

0:22:42.160 --> 0:22:48.639
<v Speaker 2>Insane Asylum, like lunchtime gigs stuff like that, which was

0:22:48.720 --> 0:22:52.800
<v Speaker 2>kind of crazy in Phoenix, but I don't really recall.

0:22:52.840 --> 0:22:55.560
<v Speaker 2>I think it kind of broke up. At least the

0:22:55.600 --> 0:22:58.000
<v Speaker 2>one guy that got me in that was from my school.

0:22:58.920 --> 0:23:01.840
<v Speaker 2>He moved on or got fired or some of the

0:23:02.280 --> 0:23:06.280
<v Speaker 2>bass player that we got later was more into blues,

0:23:06.560 --> 0:23:11.560
<v Speaker 2>and so Roger and I and this guy John John

0:23:11.640 --> 0:23:15.280
<v Speaker 2>Larson was his name. We we moved on and we

0:23:15.400 --> 0:23:21.119
<v Speaker 2>changed our name from the Bards to the Mouth, and

0:23:21.200 --> 0:23:22.720
<v Speaker 2>we were in the Mouth, and I, you know, did

0:23:22.720 --> 0:23:25.320
<v Speaker 2>the bass drum head, and I did it pretty much

0:23:26.200 --> 0:23:29.920
<v Speaker 2>the way the Sticky Fingers record looked much later on,

0:23:30.000 --> 0:23:33.280
<v Speaker 2>you know, four years later or whatever. It was a

0:23:33.280 --> 0:23:35.560
<v Speaker 2>big mouth, you know, the tongue sticking out and the

0:23:35.560 --> 0:23:36.200
<v Speaker 2>teeth and stuff.

0:23:36.280 --> 0:23:38.400
<v Speaker 1>That was the bass drum head, and the.

0:23:38.359 --> 0:23:41.640
<v Speaker 2>Mouth played it a few of the high school shows.

0:23:43.320 --> 0:23:45.280
<v Speaker 2>I think We used to do some shows out in

0:23:45.280 --> 0:23:49.040
<v Speaker 2>the desert as well in that version of the band,

0:23:50.000 --> 0:23:53.040
<v Speaker 2>and it's hard to remember really, but and then we

0:23:53.119 --> 0:23:57.199
<v Speaker 2>got a couple other members kind of eased eased in,

0:23:57.359 --> 0:24:01.320
<v Speaker 2>and then uh, this guy named Pinky who ended up

0:24:01.400 --> 0:24:06.800
<v Speaker 2>later going with Doctor Hook and Goose Creek Symphony. He

0:24:06.880 --> 0:24:09.840
<v Speaker 2>ended up playing with those guys, but he kind of

0:24:09.960 --> 0:24:12.320
<v Speaker 2>moved in and he was our second guitar player next

0:24:12.320 --> 0:24:15.679
<v Speaker 2>to Roger, and we got a new bass player. The

0:24:15.720 --> 0:24:18.679
<v Speaker 2>other bass player left, he went on to medical school,

0:24:19.000 --> 0:24:23.040
<v Speaker 2>he gave up the local rock scene. We got this

0:24:23.080 --> 0:24:25.840
<v Speaker 2>guy named David Killingsworth who was our new bass player.

0:24:26.320 --> 0:24:28.040
<v Speaker 2>Then we changed our name to the Red, White and

0:24:28.119 --> 0:24:32.120
<v Speaker 2>Blues Band because we were, you know, had already had

0:24:32.240 --> 0:24:34.800
<v Speaker 2>been playing a lot of like Sunny Boy Williamson stuff

0:24:34.800 --> 0:24:38.360
<v Speaker 2>and Muddy Water stuff, and we loved, you know, what

0:24:38.400 --> 0:24:42.960
<v Speaker 2>was happening in the English Invasion stuff with Hendricks and

0:24:43.040 --> 0:24:46.480
<v Speaker 2>Cream and Fleetwood Mac and all those guys that were

0:24:46.480 --> 0:24:52.119
<v Speaker 2>playing that crazy English blues stuff. And we were just

0:24:52.160 --> 0:24:54.399
<v Speaker 2>aspiring to be another band like those guys.

0:24:55.600 --> 0:25:00.880
<v Speaker 1>Yeah, okay, so how do you meet the the players

0:25:00.920 --> 0:25:06.760
<v Speaker 1>went up in the tubes in Arizona. Well, so we

0:25:06.800 --> 0:25:09.240
<v Speaker 1>had Roger. We had.

0:25:10.640 --> 0:25:13.439
<v Speaker 2>This band of Red White and Blues Band, and then

0:25:13.640 --> 0:25:16.080
<v Speaker 2>one of our rival bands and so this was like

0:25:16.240 --> 0:25:20.000
<v Speaker 2>sixty seven sixty eight, right around that time. One of

0:25:20.040 --> 0:25:23.800
<v Speaker 2>our are not rival bands really, but they were another

0:25:24.000 --> 0:25:28.360
<v Speaker 2>up and coming band in San Francisco and Phoenix, and

0:25:28.880 --> 0:25:33.280
<v Speaker 2>that included the members which eventually became part of the

0:25:33.320 --> 0:25:38.199
<v Speaker 2>Tubes was the Beans, and that was Bill Spooner on guitar,

0:25:38.680 --> 0:25:42.679
<v Speaker 2>Vince Welnick on keyboards, Rick Anderson on bass, and another

0:25:42.760 --> 0:25:46.480
<v Speaker 2>drummer named Bob McIntosh on drums. And they were like

0:25:46.600 --> 0:25:49.760
<v Speaker 2>the so with the Red White and Blues Band, and

0:25:50.000 --> 0:25:53.240
<v Speaker 2>the Beans were sort of the top local bands in

0:25:53.280 --> 0:25:56.920
<v Speaker 2>Phoenix in sixty seven sixty eight.

0:25:58.119 --> 0:26:01.840
<v Speaker 1>So you want me to continue how that has continued?

0:26:01.920 --> 0:26:04.240
<v Speaker 1>Tell us continue with the narrative very.

0:26:04.400 --> 0:26:10.399
<v Speaker 2>Okay, Well, try to get this thing straight timeframe wise.

0:26:11.520 --> 0:26:13.760
<v Speaker 2>So the Red White and Blues Band were just a trio.

0:26:14.040 --> 0:26:19.919
<v Speaker 2>We we actually guy Bob Bob Hankey left. We had

0:26:19.960 --> 0:26:23.240
<v Speaker 2>a keyboard player named David Notter as well, and he

0:26:23.320 --> 0:26:25.720
<v Speaker 2>left and we just became a trio because really all

0:26:25.760 --> 0:26:28.120
<v Speaker 2>we wanted to do is be like Cream and Hendricks

0:26:29.240 --> 0:26:32.800
<v Speaker 2>and uh so we kind of dominated the local scene.

0:26:32.840 --> 0:26:37.320
<v Speaker 2>We opened up for. We opened up for a few

0:26:37.520 --> 0:26:41.440
<v Speaker 2>big bands that were on tour, such as Manilla Fudge.

0:26:41.400 --> 0:26:44.879
<v Speaker 1>And Uh Really Throw Tall Wow.

0:26:45.400 --> 0:26:48.280
<v Speaker 2>We were like the opening band for those guys and

0:26:48.040 --> 0:26:55.840
<v Speaker 2>h in the local team clubs and and then the

0:26:55.880 --> 0:26:58.720
<v Speaker 2>Beans were kind of on their own their own thing

0:26:59.720 --> 0:27:03.439
<v Speaker 2>by the time. By the time, well, so then that

0:27:03.560 --> 0:27:06.399
<v Speaker 2>was the end of sixty eight. Graduated from high school,

0:27:07.640 --> 0:27:10.919
<v Speaker 2>immediately moved out of my parents' house in two with

0:27:11.000 --> 0:27:16.159
<v Speaker 2>my girlfriend Kathy MacDonald, and she and I lived in

0:27:16.200 --> 0:27:20.480
<v Speaker 2>a little house with Roger and David, and we were,

0:27:21.760 --> 0:27:25.200
<v Speaker 2>you know, just new new kids and living on their own,

0:27:25.240 --> 0:27:27.160
<v Speaker 2>trying to figure out how how to make that work.

0:27:28.240 --> 0:27:33.040
<v Speaker 2>Immediately got busted from marijuana and had to go to

0:27:33.119 --> 0:27:35.600
<v Speaker 2>jail and move back to our parents' house for another

0:27:35.680 --> 0:27:42.080
<v Speaker 2>year and probase and under. So that just gave me

0:27:42.119 --> 0:27:44.720
<v Speaker 2>another end, you know, I was getting ready that following

0:27:44.920 --> 0:27:47.080
<v Speaker 2>fall to move to San Francisco and go to the

0:27:47.480 --> 0:27:50.080
<v Speaker 2>Art Institute, which I had already had set up. I

0:27:50.119 --> 0:27:54.400
<v Speaker 2>got a partial scholarship there, and we had to postpone

0:27:54.440 --> 0:27:58.000
<v Speaker 2>that whole trip and that whole move to the following year.

0:27:58.040 --> 0:28:01.720
<v Speaker 2>But so then there's the year of sixty nine, going

0:28:01.760 --> 0:28:06.879
<v Speaker 2>into sixty eight. Going into sixty nine was taken up

0:28:06.920 --> 0:28:09.640
<v Speaker 2>by just I went to junior college and I had

0:28:09.640 --> 0:28:14.119
<v Speaker 2>a really great art teacher there at Phoenix Phoenix College,

0:28:14.680 --> 0:28:17.320
<v Speaker 2>I had a great art teacher there. And our band,

0:28:17.320 --> 0:28:19.520
<v Speaker 2>the Red Rye and Blues Band, continued to play and

0:28:20.440 --> 0:28:23.439
<v Speaker 2>get a lot of gigs and all local, but sometimes

0:28:23.480 --> 0:28:25.959
<v Speaker 2>we go down to Tucson and play or flag Staff,

0:28:26.000 --> 0:28:32.040
<v Speaker 2>but mostly stayed in Arizona all the time, wishing we

0:28:32.040 --> 0:28:36.040
<v Speaker 2>could get out of that state of the state of

0:28:36.080 --> 0:28:40.400
<v Speaker 2>affairs that was so republican and so you know, just

0:28:40.600 --> 0:28:46.400
<v Speaker 2>so conservative still and then being busted for pot for

0:28:46.440 --> 0:28:49.120
<v Speaker 2>that there was no pot had like a t meany

0:28:49.200 --> 0:28:54.280
<v Speaker 2>little bit. They took us a jail, and oh there

0:28:54.320 --> 0:28:56.400
<v Speaker 2>was lots of things that happened. Anyway, that whole year

0:28:56.440 --> 0:28:59.720
<v Speaker 2>went by, and finally got the chance to move to

0:29:00.080 --> 0:29:04.560
<v Speaker 2>uh moved to San Francisco, But before we did that,

0:29:04.640 --> 0:29:06.800
<v Speaker 2>we moved to Tucson for that next summer and took

0:29:06.840 --> 0:29:09.680
<v Speaker 2>a lot of LSD, played a lot of shows down

0:29:09.760 --> 0:29:13.000
<v Speaker 2>in Tucson, did a bunch of music festivals also with

0:29:13.080 --> 0:29:16.680
<v Speaker 2>the Beans, who were still in Phoenix, but they would

0:29:16.720 --> 0:29:18.880
<v Speaker 2>come down. We do these music festivals out in the

0:29:18.920 --> 0:29:22.560
<v Speaker 2>desert and up in the mountains. It has a great time.

0:29:23.080 --> 0:29:26.680
<v Speaker 2>One of those times when we opened for just to

0:29:26.760 --> 0:29:29.000
<v Speaker 2>kind of backtrack a little bit, when we opened for

0:29:29.120 --> 0:29:33.400
<v Speaker 2>Jethro Tall. The other supporting act was called Zephyr, and

0:29:33.440 --> 0:29:36.560
<v Speaker 2>that was the band that Tommy Bolan was in. And

0:29:36.640 --> 0:29:40.640
<v Speaker 2>he he and we we became, you know, kind of

0:29:40.960 --> 0:29:45.920
<v Speaker 2>quickly close friends. And you know, he said, you know,

0:29:45.960 --> 0:29:47.440
<v Speaker 2>what are you guys doing after the show to night?

0:29:47.440 --> 0:29:48.000
<v Speaker 1>We're going to party.

0:29:48.040 --> 0:29:51.240
<v Speaker 2>We were, well, we were planning on going out to

0:29:51.360 --> 0:29:54.480
<v Speaker 2>the desert where we usually take a generator and take

0:29:54.520 --> 0:29:56.680
<v Speaker 2>our instruments and play, and so we did, and he

0:29:56.720 --> 0:29:58.760
<v Speaker 2>came with us and we played like all night long

0:29:59.080 --> 0:30:00.840
<v Speaker 2>until the sun came up up on the top of

0:30:00.880 --> 0:30:04.800
<v Speaker 2>a mountain in the desert outside of Phoenix. And then

0:30:04.880 --> 0:30:06.800
<v Speaker 2>the rest of his story is he comes back in

0:30:06.840 --> 0:30:11.080
<v Speaker 2>my life later on. Wait, wait, how does Tommy Bolan

0:30:11.200 --> 0:30:13.160
<v Speaker 2>come back in your life later on?

0:30:13.800 --> 0:30:13.920
<v Speaker 1>So?

0:30:14.800 --> 0:30:19.920
<v Speaker 2>Well, uh, the so we did an album with Al Cooper,

0:30:19.960 --> 0:30:23.120
<v Speaker 2>That's what this is five years later, right six years

0:30:23.200 --> 0:30:26.840
<v Speaker 2>later something seven years later, and his engineer was a

0:30:26.840 --> 0:30:27.840
<v Speaker 2>guy named Lee Kiefer.

0:30:28.520 --> 0:30:28.680
<v Speaker 1>Well.

0:30:28.720 --> 0:30:32.959
<v Speaker 2>He had been associated with Tommy Bolan and Tommy Bolan

0:30:33.000 --> 0:30:35.600
<v Speaker 2>had just gotten out of like Deep Purple. He was,

0:30:36.680 --> 0:30:39.720
<v Speaker 2>you know, he had left his other bands and and

0:30:41.760 --> 0:30:44.880
<v Speaker 2>let's try to start a solo career. Tommy bowlan solo career,

0:30:44.960 --> 0:30:49.720
<v Speaker 2>and he he got an album deal. I can't remember

0:30:49.720 --> 0:30:51.720
<v Speaker 2>what it was on, but the album is called Teaser.

0:30:51.840 --> 0:30:55.880
<v Speaker 2>So they called me up, he insisted, he goes, because

0:30:55.960 --> 0:30:57.880
<v Speaker 2>Lee had just been working with me with with Al

0:30:57.960 --> 0:31:02.320
<v Speaker 2>Cooper previously, like six months before. He goes, you should

0:31:02.360 --> 0:31:04.520
<v Speaker 2>call Prairie up and you come down into La and

0:31:04.560 --> 0:31:06.440
<v Speaker 2>play play on your record. And he goes, oh, that

0:31:06.440 --> 0:31:08.960
<v Speaker 2>would be great. So I did, and then went down

0:31:09.000 --> 0:31:10.920
<v Speaker 2>there and we went to the record I think it

0:31:10.960 --> 0:31:15.959
<v Speaker 2>was a record plant in LA, and started playing music

0:31:16.040 --> 0:31:18.400
<v Speaker 2>and jam and stuff. And I ended up on two

0:31:18.440 --> 0:31:22.480
<v Speaker 2>of the tracks on that his first solo record. One

0:31:22.520 --> 0:31:26.600
<v Speaker 2>track was called Wild Dogs and the other one was

0:31:26.640 --> 0:31:31.080
<v Speaker 2>called Savannah Woman. And he was just amazing. It was

0:31:31.080 --> 0:31:34.600
<v Speaker 2>an amazing It was an amazing experience to play that

0:31:34.840 --> 0:31:37.400
<v Speaker 2>stuff and then and then to watch him do his

0:31:37.480 --> 0:31:44.400
<v Speaker 2>crazy overdoves until dawn. We were just beside ourselves. And

0:31:44.680 --> 0:31:47.040
<v Speaker 2>the bass player on that was a guy named Paul Stalworth.

0:31:47.080 --> 0:31:49.720
<v Speaker 2>He was in a band called attitudes, La band.

0:31:50.240 --> 0:31:56.120
<v Speaker 1>Okay, you spend this one year post high school, then

0:31:56.200 --> 0:32:00.000
<v Speaker 1>you're going to Sean Francisco. You're going to the Art Institute.

0:32:00.800 --> 0:32:04.680
<v Speaker 1>What are you thinking about your musical career? Oh?

0:32:04.720 --> 0:32:08.000
<v Speaker 2>Well, the musical career. So I'm going to the Art Institute.

0:32:08.080 --> 0:32:14.760
<v Speaker 2>Sixty nine just started it as a painting major, still

0:32:14.840 --> 0:32:18.560
<v Speaker 2>had and I was living with or so before that,

0:32:20.040 --> 0:32:24.959
<v Speaker 2>I'm starting to get whose I'm talking so much. Before

0:32:25.200 --> 0:32:27.720
<v Speaker 2>we moved to San Francisco, we hooked up with fee

0:32:27.760 --> 0:32:30.680
<v Speaker 2>Waybill and I left that part of the story out.

0:32:30.800 --> 0:32:35.520
<v Speaker 2>So he was our roadie and our vegetarian chef and

0:32:35.640 --> 0:32:39.600
<v Speaker 2>supplier of peyote. And he because he lived in northern Arizona,

0:32:39.720 --> 0:32:42.920
<v Speaker 2>lived on a ranch and he was like fucking cows

0:32:42.960 --> 0:32:48.200
<v Speaker 2>and branding cows and bucking horses and rope and stuff.

0:32:48.320 --> 0:32:51.760
<v Speaker 2>And he lived in this on this ranch called the

0:32:51.800 --> 0:32:55.560
<v Speaker 2>Perkins Ranch up there, and he was a legitimate cowboy,

0:32:55.800 --> 0:32:58.520
<v Speaker 2>kind of hippie cowboy. And so we hooked up with

0:32:58.600 --> 0:33:00.800
<v Speaker 2>him and he said, I'm moved to San Francisco with

0:33:00.880 --> 0:33:04.000
<v Speaker 2>you guys, and to carry your equipment whatever. We're going

0:33:04.080 --> 0:33:09.200
<v Speaker 2>to be vegetarians. Okay. So we turned out we are

0:33:09.280 --> 0:33:11.080
<v Speaker 2>so we all moved to San Francisco.

0:33:10.640 --> 0:33:14.440
<v Speaker 1>Where just one thing, there are two bands. When does

0:33:14.480 --> 0:33:15.640
<v Speaker 1>it become one band?

0:33:16.120 --> 0:33:21.080
<v Speaker 2>Okay, comes one band? Yea a year later really like

0:33:21.480 --> 0:33:24.760
<v Speaker 2>seventy the Beans moved because they heard how much fun

0:33:24.800 --> 0:33:26.160
<v Speaker 2>we were having in San Francisco.

0:33:26.400 --> 0:33:27.960
<v Speaker 1>So who went to San Francisco?

0:33:28.680 --> 0:33:33.040
<v Speaker 2>Me Fi Roger and this guy David killing Zworth. And

0:33:33.080 --> 0:33:37.320
<v Speaker 2>our manager was the original drummer from the Spiders, which

0:33:37.360 --> 0:33:39.800
<v Speaker 2>turned into be the Nas, which turned into Alice Cooper.

0:33:40.280 --> 0:33:43.560
<v Speaker 2>His name is John Spear, so he was he wrangled

0:33:43.600 --> 0:33:45.920
<v Speaker 2>us together. He's trying to manage us, and we all

0:33:45.960 --> 0:33:48.360
<v Speaker 2>live together in a big old house there in San Francisco,

0:33:48.920 --> 0:33:51.120
<v Speaker 2>which I don't live far from right now. I still

0:33:51.160 --> 0:33:53.520
<v Speaker 2>live out there, and it's called the Sunset District.

0:33:54.560 --> 0:34:01.400
<v Speaker 1>Okay, when everybody moves to San Francisco Urine School, the

0:34:01.440 --> 0:34:04.240
<v Speaker 1>rest of them are not in school, right No, no, no, no,

0:34:04.280 --> 0:34:07.440
<v Speaker 1>they followed me there? Really? Okay, So were you guys

0:34:07.480 --> 0:34:10.680
<v Speaker 1>playing music? Did the band continue? Oh?

0:34:10.719 --> 0:34:13.279
<v Speaker 2>Yeah, we never stopped, you know, we never stopped playing music.

0:34:13.280 --> 0:34:15.920
<v Speaker 2>We auditioned a few times at like the Fillmore and

0:34:16.640 --> 0:34:20.640
<v Speaker 2>a couple of places and just didn't really as as

0:34:20.719 --> 0:34:23.759
<v Speaker 2>that trio. We Actually part of the story is that

0:34:23.800 --> 0:34:25.799
<v Speaker 2>we changed our name from the Red, White and Blues

0:34:25.840 --> 0:34:29.920
<v Speaker 2>Band to Arizona and then we moved to San Francisco,

0:34:30.200 --> 0:34:32.320
<v Speaker 2>where we thought, oh, this is great. It's like Chicago.

0:34:32.480 --> 0:34:36.640
<v Speaker 2>You know, we'll be representing We'll be representing the good

0:34:36.680 --> 0:34:39.320
<v Speaker 2>parts of Arizona that we loved, which was the desert

0:34:39.360 --> 0:34:44.520
<v Speaker 2>in the sunset, some of the beautiful women. But then

0:34:44.560 --> 0:34:47.440
<v Speaker 2>we got a job. I mean, I'm jumping forward, but

0:34:47.719 --> 0:34:49.840
<v Speaker 2>this is part of the history. We got a job

0:34:50.200 --> 0:34:54.560
<v Speaker 2>offer to play at the World's Fair in Osaka nineteen

0:34:54.680 --> 0:34:56.720
<v Speaker 2>seventy in the summer, and.

0:34:56.960 --> 0:34:59.160
<v Speaker 1>We wade ahold lot of a second hold of Yeah,

0:34:59.840 --> 0:35:03.760
<v Speaker 1>they smartly. Crew moves to San Francisco. Yeah, you're in school.

0:35:03.840 --> 0:35:06.839
<v Speaker 1>What are the others doing to survive? They don't know.

0:35:06.880 --> 0:35:10.160
<v Speaker 2>We had food stamps, you know, and I had I

0:35:10.200 --> 0:35:13.240
<v Speaker 2>had Actually, my uncle was giving us a little money.

0:35:13.239 --> 0:35:17.279
<v Speaker 2>He supported me, sent me a check us. It turned

0:35:17.280 --> 0:35:18.799
<v Speaker 2>out to be us. It was any it to me,

0:35:18.880 --> 0:35:21.600
<v Speaker 2>but I shared it, and you know, helped paid the rent.

0:35:21.680 --> 0:35:25.000
<v Speaker 2>And people were doing little things. I really don't remember

0:35:25.040 --> 0:35:26.680
<v Speaker 2>what people were doing. I know I was going to

0:35:26.680 --> 0:35:29.319
<v Speaker 2>school and I was getting supported by my uncle a

0:35:29.320 --> 0:35:33.000
<v Speaker 2>little bit. So, yeah, they were. They were not going

0:35:33.040 --> 0:35:36.920
<v Speaker 2>to school. They were writing songs. Okay, learning how to

0:35:36.920 --> 0:35:41.520
<v Speaker 2>play their instruments. Okay, you're there. You're living the life

0:35:41.560 --> 0:35:46.000
<v Speaker 2>of hippie Sores speak definitely. And is there a dream

0:35:46.280 --> 0:35:48.759
<v Speaker 2>that over going to be some big recording artists or

0:35:48.760 --> 0:35:52.400
<v Speaker 2>are you just fumbling along? Well, I mean you always

0:35:52.440 --> 0:35:54.600
<v Speaker 2>have to say that there's a dream. Of course, there's

0:35:54.600 --> 0:35:55.320
<v Speaker 2>always a dream.

0:35:55.920 --> 0:35:56.160
<v Speaker 1>Uh.

0:35:56.200 --> 0:35:58.280
<v Speaker 2>And then at times I thought we were fumbling along

0:35:58.360 --> 0:36:00.680
<v Speaker 2>for sure. But you know, we love our dogs, we

0:36:00.719 --> 0:36:03.400
<v Speaker 2>loved each other, we had we were getting more friends

0:36:03.400 --> 0:36:06.120
<v Speaker 2>in San Francisco area, and we were meeting other musicians

0:36:06.160 --> 0:36:09.520
<v Speaker 2>and yeah, and getting to play some parties and some

0:36:09.640 --> 0:36:13.960
<v Speaker 2>things that were pretty local. But and then so anyway,

0:36:14.000 --> 0:36:18.719
<v Speaker 2>so we went to Japan, came back, that bass layer left,

0:36:19.040 --> 0:36:22.200
<v Speaker 2>the Beans moved to San Francisco. We're looking, you know,

0:36:22.520 --> 0:36:26.759
<v Speaker 2>me and Roger and Fee basically and our manager, and

0:36:26.800 --> 0:36:28.759
<v Speaker 2>we're looking to like, what are we going to do now?

0:36:29.480 --> 0:36:31.880
<v Speaker 2>So the Beans said, why don't we because they came

0:36:31.960 --> 0:36:34.799
<v Speaker 2>up and they were trying to play some shows around and.

0:36:34.760 --> 0:36:36.279
<v Speaker 1>They weren't getting getting this.

0:36:36.719 --> 0:36:40.480
<v Speaker 2>They left a big they were a big fish, you

0:36:40.520 --> 0:36:42.759
<v Speaker 2>know in Phoenix and then they moved to San Francisco

0:36:42.760 --> 0:36:45.760
<v Speaker 2>and everybody was just like, Okay, there's a four hundred

0:36:45.800 --> 0:36:48.480
<v Speaker 2>other bands that are better than you guys, are more

0:36:48.719 --> 0:36:51.320
<v Speaker 2>well known. So we had to make a name for ourselves.

0:36:51.360 --> 0:36:56.560
<v Speaker 2>So we decided, well, maybe we should join forces. Two drummers, uh,

0:36:56.760 --> 0:37:00.880
<v Speaker 2>you know, two guitar players. The same was going to

0:37:00.960 --> 0:37:06.760
<v Speaker 2>be maybe uh still working as a in a tech position.

0:37:07.160 --> 0:37:12.080
<v Speaker 2>We call it tech now roady and that all developed

0:37:12.080 --> 0:37:16.000
<v Speaker 2>over the next year or so. We became the well

0:37:16.040 --> 0:37:19.000
<v Speaker 2>I think you know, I just listened to an interview

0:37:19.040 --> 0:37:21.520
<v Speaker 2>you did with Fee and he held kind of exposed

0:37:21.520 --> 0:37:23.440
<v Speaker 2>that whole story about the Beans. Anyway, there was a

0:37:23.440 --> 0:37:25.920
<v Speaker 2>band called The Beans came out with the record. So

0:37:25.960 --> 0:37:28.799
<v Speaker 2>we changed our name to the Tubes and it was

0:37:28.960 --> 0:37:33.440
<v Speaker 2>the Seven of Us. Fee was now delegated as the

0:37:33.520 --> 0:37:39.160
<v Speaker 2>lead singer, you know, Danny Kay character. We could dress

0:37:39.200 --> 0:37:41.440
<v Speaker 2>him up at like anything. He would do whatever we

0:37:41.560 --> 0:37:44.920
<v Speaker 2>told him to do, you know, throw wonderbread and stuff

0:37:45.080 --> 0:37:48.240
<v Speaker 2>stuff and dress up and bonded to do anything.

0:37:49.480 --> 0:37:49.680
<v Speaker 1>Well.

0:37:49.719 --> 0:37:52.880
<v Speaker 2>Bill Spooner was still, you know, the singer mostly he

0:37:53.040 --> 0:37:56.120
<v Speaker 2>was kind of the lead singer for a lot of

0:37:56.120 --> 0:37:59.480
<v Speaker 2>the stuff on the first first album, for sure, and

0:37:59.520 --> 0:38:01.919
<v Speaker 2>then Fee took over and you know, became a really

0:38:01.920 --> 0:38:05.680
<v Speaker 2>great singer. So that's how it kind of developed from

0:38:05.760 --> 0:38:09.319
<v Speaker 2>the two bands into one band. Okay, yeah, so it

0:38:09.360 --> 0:38:13.360
<v Speaker 2>becomes one band. Yeah, tell us how it becomes the

0:38:13.480 --> 0:38:18.600
<v Speaker 2>name the Tubes. Oh, well, that I think that story

0:38:18.600 --> 0:38:20.960
<v Speaker 2>has also been exposed. But anyway, I think it was

0:38:21.000 --> 0:38:25.480
<v Speaker 2>mostly like well, I mean, it definitely developed from the

0:38:25.520 --> 0:38:27.960
<v Speaker 2>idea that we were a lot of watching a lot

0:38:28.000 --> 0:38:30.800
<v Speaker 2>of television in Arizona when we were growing up, and

0:38:31.160 --> 0:38:34.040
<v Speaker 2>we called it the tube group tube kind of thing,

0:38:35.480 --> 0:38:38.120
<v Speaker 2>and we thought, well, tubes, and we were kind of

0:38:39.080 --> 0:38:42.680
<v Speaker 2>we were into kind of gnarly stuff and birthmarks and

0:38:43.080 --> 0:38:45.880
<v Speaker 2>freak shows and that kind of stuff. We thought, well, tubes,

0:38:45.880 --> 0:38:48.560
<v Speaker 2>you know, that could be like your fallopium. Tubes can

0:38:48.640 --> 0:38:53.040
<v Speaker 2>mean a lot of things, surfing the tube, surfing tube.

0:38:53.560 --> 0:38:56.000
<v Speaker 2>So we thought it was kind of a well rounded name.

0:38:56.239 --> 0:38:58.520
<v Speaker 2>And you know, there was probably some other reasons why

0:38:58.840 --> 0:39:02.160
<v Speaker 2>why it ended up, but I think eventually it was

0:39:02.440 --> 0:39:04.440
<v Speaker 2>more like the we had a bunch of names and

0:39:04.480 --> 0:39:07.719
<v Speaker 2>people were throwing names around and that one popped out

0:39:07.760 --> 0:39:10.680
<v Speaker 2>to be the favorite. So we stuck with that.

0:39:10.840 --> 0:39:12.239
<v Speaker 1>And when we depot the.

0:39:12.160 --> 0:39:15.640
<v Speaker 2>Whole idea of the show around the video monitors and

0:39:15.960 --> 0:39:16.880
<v Speaker 2>a lot of televisions.

0:39:16.960 --> 0:39:21.560
<v Speaker 1>That's where I'm going. You're in a blues band, the

0:39:21.600 --> 0:39:26.840
<v Speaker 1>beams move. Where does because the tubes were all about sensibility,

0:39:27.680 --> 0:39:29.720
<v Speaker 1>Where did the sensibility come from?

0:39:30.280 --> 0:39:34.080
<v Speaker 2>A sensibility came from you know, trying to find our

0:39:34.120 --> 0:39:38.600
<v Speaker 2>way through the masses and the you know, the things

0:39:38.600 --> 0:39:44.680
<v Speaker 2>that we were exposed to in advertisement and politics and

0:39:45.960 --> 0:39:50.279
<v Speaker 2>drama and television and movies and everything that we were

0:39:50.320 --> 0:39:53.520
<v Speaker 2>exposed to. We were like, well we could write a

0:39:53.560 --> 0:39:57.279
<v Speaker 2>song about that, or we could do a production around that,

0:39:57.520 --> 0:40:01.480
<v Speaker 2>or even just a character around that concet and you know,

0:40:01.680 --> 0:40:04.879
<v Speaker 2>just exposed uf to whatever is going on in our

0:40:04.920 --> 0:40:08.320
<v Speaker 2>lives that way. Before that, you're the blues band, and

0:40:08.400 --> 0:40:12.520
<v Speaker 2>I know it's a psychedelic rock band. We play blues light.

0:40:13.000 --> 0:40:15.440
<v Speaker 1>Okay, there are a lot of those bands. We know

0:40:15.520 --> 0:40:20.280
<v Speaker 1>what that paradigm is. Yeah. Now you're in a band

0:40:21.080 --> 0:40:25.920
<v Speaker 1>with vision with props with this. Does this evolve or

0:40:25.960 --> 0:40:28.480
<v Speaker 1>when you merge with the Beans, do you say this

0:40:28.680 --> 0:40:29.600
<v Speaker 1>is what we're gonna do.

0:40:30.520 --> 0:40:34.000
<v Speaker 2>Well, no, it really happened after we emerged with the Beans.

0:40:34.600 --> 0:40:37.200
<v Speaker 1>Okay, so you emerged, did someone in the band say

0:40:37.239 --> 0:40:39.440
<v Speaker 1>this is going to be the vision or did you

0:40:39.480 --> 0:40:41.600
<v Speaker 1>play a few gigs ago, this isn't going to work.

0:40:41.640 --> 0:40:42.800
<v Speaker 1>We have to do something different.

0:40:43.200 --> 0:40:46.480
<v Speaker 2>Well, I got to say that probably Bill Spooner, who

0:40:46.480 --> 0:40:49.760
<v Speaker 2>was sort of the founder of the Beans and then

0:40:50.320 --> 0:40:53.600
<v Speaker 2>sort of became the founder of self proclaimed founder of

0:40:53.640 --> 0:40:59.160
<v Speaker 2>the Tubes. We always you know, the Beans back as

0:40:59.200 --> 0:41:02.960
<v Speaker 2>the four of them did a few productions. They did

0:41:03.000 --> 0:41:08.240
<v Speaker 2>one called Terrors from Tantros and it was a sci

0:41:08.280 --> 0:41:14.520
<v Speaker 2>fi you know, a sci fi opera, uh and with

0:41:14.640 --> 0:41:19.279
<v Speaker 2>costumes and with extras with females and stuff, and the

0:41:19.360 --> 0:41:21.680
<v Speaker 2>story was you'd have to ask Bill exactly what the

0:41:21.719 --> 0:41:26.040
<v Speaker 2>story was, but it was about all woman run planet

0:41:26.840 --> 0:41:28.120
<v Speaker 2>and their lord was.

0:41:28.080 --> 0:41:28.719
<v Speaker 1>A hot dog.

0:41:29.480 --> 0:41:33.160
<v Speaker 2>That was like comedy, but it was amazing and there

0:41:33.239 --> 0:41:35.680
<v Speaker 2>was some great music written around it. One of them

0:41:35.760 --> 0:41:40.000
<v Speaker 2>was called When Stars Collide, the Ascension of the Mother Load,

0:41:40.640 --> 0:41:42.719
<v Speaker 2>all these great things. And so that was really the

0:41:42.840 --> 0:41:45.920
<v Speaker 2>sort of a first production things that happened, and that

0:41:46.000 --> 0:41:49.640
<v Speaker 2>was in Phoenix originally, and then we redid it again

0:41:50.160 --> 0:41:54.560
<v Speaker 2>at the Art Institute in the in the gallery at

0:41:54.600 --> 0:41:57.160
<v Speaker 2>the at the Art Institute, which I you know, I

0:41:57.200 --> 0:41:58.600
<v Speaker 2>hooked it up. I said, we said, you know, we

0:41:58.600 --> 0:42:01.360
<v Speaker 2>should do a gig here the art students. These people

0:42:01.600 --> 0:42:04.200
<v Speaker 2>will love a show. So we did. We did the

0:42:04.239 --> 0:42:08.800
<v Speaker 2>next version of that. We airbrusht our bodies. Just learned

0:42:08.800 --> 0:42:11.239
<v Speaker 2>how to use an airbrush and a spray gun, and

0:42:11.280 --> 0:42:14.719
<v Speaker 2>we use body painted our bodies and had these crazy

0:42:15.360 --> 0:42:18.759
<v Speaker 2>space outfits and did that whole ascension of the Motherload

0:42:18.920 --> 0:42:23.240
<v Speaker 2>thing again, the ascension the terrorism tantras at the Art Institute,

0:42:23.280 --> 0:42:28.520
<v Speaker 2>and it was like seventy one maybe, and so that's

0:42:28.520 --> 0:42:32.120
<v Speaker 2>how the production things sort of started and evolved into

0:42:32.160 --> 0:42:36.920
<v Speaker 2>whatever else happened. Okay, if that's seventy one. The first

0:42:36.960 --> 0:42:40.440
<v Speaker 2>album doesn't come out until seventy five. What happened between

0:42:40.560 --> 0:42:43.279
<v Speaker 2>seventy one and seventy five. We did a lot of

0:42:43.360 --> 0:42:46.320
<v Speaker 2>local shows. We did a lot of local shows, played

0:42:46.320 --> 0:42:50.040
<v Speaker 2>every like little nightclub feed dressed up like Carma Miranda,

0:42:50.080 --> 0:42:53.919
<v Speaker 2>who put like a bowl of fruit on his head.

0:42:53.960 --> 0:42:57.040
<v Speaker 2>He would do they put on the turbine and add

0:42:57.120 --> 0:43:00.000
<v Speaker 2>the fruit and stuff, and we would do like Brazil

0:43:00.080 --> 0:43:04.520
<v Speaker 2>ill and do some Karme Miranda stuff and then he

0:43:05.040 --> 0:43:07.400
<v Speaker 2>ripped that out costume off and come out with like

0:43:07.760 --> 0:43:10.880
<v Speaker 2>a cowboy outfit. We would do raw hide and tumble

0:43:10.920 --> 0:43:16.640
<v Speaker 2>and Tumbleweeds and and uh Mail Passo. So he started

0:43:16.680 --> 0:43:20.239
<v Speaker 2>building up this show mentality of doing these shows with

0:43:20.360 --> 0:43:25.840
<v Speaker 2>him at base as the character the character. So that

0:43:25.920 --> 0:43:28.879
<v Speaker 2>was just two or three years to just develop all

0:43:28.880 --> 0:43:32.640
<v Speaker 2>these different characters. And the English character came out in

0:43:32.719 --> 0:43:36.759
<v Speaker 2>about seventy three. His name was Rod Planet. It was

0:43:36.800 --> 0:43:41.320
<v Speaker 2>before kawal Ude, right, we had started taking kual Dude,

0:43:41.440 --> 0:43:45.040
<v Speaker 2>so we knew what they were about. But in any way,

0:43:45.080 --> 0:43:48.279
<v Speaker 2>the character was based on Robert Plant and uh, you

0:43:48.320 --> 0:43:51.640
<v Speaker 2>know Rod Stewart and just the shag Rock and the

0:43:51.680 --> 0:43:56.200
<v Speaker 2>platforms and really more more based on Johnny Thunder and

0:43:56.239 --> 0:43:59.120
<v Speaker 2>the New York Dolls than anything else. Michael Cotton and

0:43:59.160 --> 0:44:02.200
<v Speaker 2>I were in New York in like seventy one early

0:44:02.320 --> 0:44:05.240
<v Speaker 2>seventy two, and we saw the dolls at the Mercery

0:44:05.360 --> 0:44:08.640
<v Speaker 2>Arts Center and we went that that would be a

0:44:08.680 --> 0:44:12.400
<v Speaker 2>great you know, his take on it. Those guys, but

0:44:12.440 --> 0:44:14.360
<v Speaker 2>they're the real thing. I mean, I don't know if

0:44:14.360 --> 0:44:16.359
<v Speaker 2>they were the real thing, but they were a thing.

0:44:17.520 --> 0:44:20.920
<v Speaker 2>And so anyway, that that's kind of where that character

0:44:21.000 --> 0:44:24.600
<v Speaker 2>of Kailud could of develop. But one of the stories

0:44:24.680 --> 0:44:28.120
<v Speaker 2>for the first time we feed did that character was

0:44:28.200 --> 0:44:31.120
<v Speaker 2>opening for led Zeppelin here in San Francisco, and that

0:44:31.280 --> 0:44:36.160
<v Speaker 2>was summer of seventy three, and we opened at ten

0:44:36.239 --> 0:44:39.200
<v Speaker 2>in the morning, and there must have been I don't

0:44:39.200 --> 0:44:41.600
<v Speaker 2>know how many people there are fifty thousand people that

0:44:41.719 --> 0:44:45.280
<v Speaker 2>had been waiting in line for Zeppelin as an outdoor concert,

0:44:45.680 --> 0:44:48.279
<v Speaker 2>waiting in line for a week, you know. So all

0:44:48.280 --> 0:44:52.040
<v Speaker 2>the people that were right up in front probably needed

0:44:52.080 --> 0:44:53.480
<v Speaker 2>to go to the bathroom.

0:44:53.600 --> 0:44:55.200
<v Speaker 1>And get to eat.

0:44:55.360 --> 0:44:57.480
<v Speaker 2>So we come out and the first thing he does

0:44:58.120 --> 0:45:00.719
<v Speaker 2>is throw a bunch of powder on the audio out

0:45:00.760 --> 0:45:03.920
<v Speaker 2>of a big bag, and some pills and saying.

0:45:03.680 --> 0:45:07.000
<v Speaker 1>Come on, everybody, let's say some drugs and have a

0:45:07.040 --> 0:45:07.600
<v Speaker 1>good time.

0:45:08.320 --> 0:45:12.240
<v Speaker 2>Well, when they realized it was just baking soda and mints.

0:45:13.000 --> 0:45:13.919
<v Speaker 1>We got them.

0:45:14.200 --> 0:45:19.120
<v Speaker 2>We ah, just people are throwing stuff at us for

0:45:19.160 --> 0:45:22.880
<v Speaker 2>the next forty minutes. But we but we played it

0:45:22.920 --> 0:45:25.480
<v Speaker 2>and it was classic and you know some i've heard,

0:45:26.320 --> 0:45:28.800
<v Speaker 2>you know, and the much later I heard that people

0:45:28.800 --> 0:45:30.680
<v Speaker 2>saw that who saw it were just blown away with

0:45:30.800 --> 0:45:31.600
<v Speaker 2>how great we were.

0:45:39.880 --> 0:45:45.359
<v Speaker 1>Okay, it takes four years before the first record comes out,

0:45:45.800 --> 0:45:48.920
<v Speaker 1>how does it being stay together? Usually in that time

0:45:49.040 --> 0:45:52.640
<v Speaker 1>people say I'm going to graduate school, I'm going home,

0:45:53.000 --> 0:45:57.120
<v Speaker 1>I'm getting married, I'm leaving this, I'm done. But these

0:45:57.120 --> 0:45:59.760
<v Speaker 1>were the same guys. How did it all stay together?

0:46:01.239 --> 0:46:04.000
<v Speaker 2>Well, yes, some of them got married, and some of

0:46:04.040 --> 0:46:09.440
<v Speaker 2>them got married on stage even and had kids, and well,

0:46:09.480 --> 0:46:11.239
<v Speaker 2>I don't know. We were just a we were a

0:46:11.320 --> 0:46:17.120
<v Speaker 2>pretty tight knit organization. And we actually got a choreographer

0:46:17.200 --> 0:46:21.200
<v Speaker 2>named Kenny or Kaga, probably like seventy six, you know,

0:46:21.239 --> 0:46:24.360
<v Speaker 2>seventy five, No, definitely seventy four. We met him in

0:46:24.400 --> 0:46:27.839
<v Speaker 2>seventy four, so he was already charging us with all

0:46:27.880 --> 0:46:32.080
<v Speaker 2>of these ideas that we partially developed over the few

0:46:32.160 --> 0:46:35.880
<v Speaker 2>years before that, and that really taking it to a

0:46:35.880 --> 0:46:39.360
<v Speaker 2>whole other level. And you probably saw that when you

0:46:39.360 --> 0:46:42.279
<v Speaker 2>saw the Roxy, right, I mean those are the first

0:46:42.360 --> 0:46:44.719
<v Speaker 2>those are the first shows that we what.

0:46:44.840 --> 0:46:46.440
<v Speaker 1>Is everybody living on?

0:46:50.800 --> 0:46:52.600
<v Speaker 2>I mean we must have been making a little bit

0:46:52.640 --> 0:46:55.319
<v Speaker 2>of money, but we had managers that had some kind

0:46:55.320 --> 0:47:00.080
<v Speaker 2>of idea, but how to pay us a weekly salary?

0:47:00.200 --> 0:47:02.600
<v Speaker 2>I mean, I think we were getting not much. I

0:47:02.640 --> 0:47:05.239
<v Speaker 2>don't remember really how we were living. I mean, we

0:47:05.239 --> 0:47:08.720
<v Speaker 2>were living very frugally, I'm sure, but there was enough

0:47:08.760 --> 0:47:12.200
<v Speaker 2>money coming in from playing music that you could survive.

0:47:13.320 --> 0:47:17.960
<v Speaker 2>I apparently there was well for an unsigned local beer. Yes,

0:47:19.120 --> 0:47:21.680
<v Speaker 2>we certainly didn't you know, have any hits. You know,

0:47:21.680 --> 0:47:23.720
<v Speaker 2>they were bringing in a lot of money, that's for sure.

0:47:24.440 --> 0:47:28.080
<v Speaker 2>So how did you get a record deal? The record

0:47:28.080 --> 0:47:33.520
<v Speaker 2>deal came through. It was funny the h We met

0:47:33.520 --> 0:47:35.520
<v Speaker 2>this guy named Kip Cohen and he came up and

0:47:35.520 --> 0:47:37.520
<v Speaker 2>he was like an an R guy from A and

0:47:37.640 --> 0:47:39.759
<v Speaker 2>M Records, and he came up and saw a couple

0:47:39.840 --> 0:47:45.160
<v Speaker 2>of our early performances in probably seventy three maybe seventy four,

0:47:45.400 --> 0:47:48.759
<v Speaker 2>and reached out to us and said, you know, I

0:47:48.880 --> 0:47:51.200
<v Speaker 2>really liked I worked for A and M Records, really

0:47:51.239 --> 0:47:54.120
<v Speaker 2>like to go back and talk to my friends and

0:47:54.120 --> 0:47:58.040
<v Speaker 2>my associates there and Herb Albert and Jerry Moss and

0:47:58.160 --> 0:48:02.600
<v Speaker 2>see if they would indeed like to sign you guys,

0:48:02.680 --> 0:48:04.680
<v Speaker 2>because you think you're very unique.

0:48:04.760 --> 0:48:06.120
<v Speaker 1>And we liked the mule.

0:48:06.360 --> 0:48:11.480
<v Speaker 2>I like the music that I've heard so far, So.

0:48:09.840 --> 0:48:10.399
<v Speaker 1>You did that.

0:48:10.560 --> 0:48:14.160
<v Speaker 2>And but before that happened, Michael and Cotton and I

0:48:14.160 --> 0:48:18.200
<v Speaker 2>had a sort of an art business going on, and

0:48:18.239 --> 0:48:22.000
<v Speaker 2>we did murals around San Francisco and we were hired

0:48:22.040 --> 0:48:26.840
<v Speaker 2>by A through Kip Cohen to come and paint a

0:48:26.880 --> 0:48:29.880
<v Speaker 2>big mural on the outside of the the records.

0:48:29.880 --> 0:48:34.000
<v Speaker 1>Wait, believe me, I know the mural, Yeah, the Flying record, right,

0:48:34.960 --> 0:48:38.560
<v Speaker 1>you had the deal to do the mural before the

0:48:38.640 --> 0:48:40.080
<v Speaker 1>Tubes had a record deal.

0:48:40.560 --> 0:48:43.000
<v Speaker 2>At least that's the way it seemed. Yeah, I mean

0:48:43.040 --> 0:48:45.399
<v Speaker 2>I think so, Yeah, I think so. And a lot

0:48:45.400 --> 0:48:47.160
<v Speaker 2>of the people that were at A and M while

0:48:47.160 --> 0:48:49.680
<v Speaker 2>we were doing the Mura who were shocked when they

0:48:49.760 --> 0:48:52.840
<v Speaker 2>saw that the Tubes were actually a musical group that

0:48:52.960 --> 0:48:55.279
<v Speaker 2>was being signed. They thought it was just an art

0:48:55.440 --> 0:48:59.919
<v Speaker 2>you know, a couple of guys doing artwork. So yeah,

0:49:00.160 --> 0:49:01.800
<v Speaker 2>and one of the labels, I don't know if he

0:49:01.880 --> 0:49:04.520
<v Speaker 2>ever came up, came up. Of course they painted it

0:49:04.520 --> 0:49:08.120
<v Speaker 2>out unfortunately, but it was up for about twenty years

0:49:08.160 --> 0:49:10.960
<v Speaker 2>I think. But one of the labels said blame it

0:49:11.000 --> 0:49:13.920
<v Speaker 2>on the Tubes on there instead it said A and M.

0:49:13.960 --> 0:49:15.880
<v Speaker 2>And blame it on the Tubes with the title of

0:49:15.920 --> 0:49:17.799
<v Speaker 2>one of the just one of the records on them.

0:49:17.880 --> 0:49:21.200
<v Speaker 1>In the mirror. Who came up with the idea of

0:49:21.280 --> 0:49:23.920
<v Speaker 1>the shirts with the faces on them?

0:49:24.400 --> 0:49:30.239
<v Speaker 2>Yeah, well, I mean Michael Cotton and I both, you know,

0:49:30.320 --> 0:49:34.480
<v Speaker 2>we're doing stuff together. We're doing posters for the band,

0:49:34.560 --> 0:49:38.080
<v Speaker 2>we're doing costumes, we're doing I didn't really have much

0:49:38.120 --> 0:49:39.840
<v Speaker 2>of a set really other than.

0:49:41.560 --> 0:49:42.040
<v Speaker 1>Well, we did.

0:49:42.239 --> 0:49:44.920
<v Speaker 2>We had some set set design stuff, but mostly like

0:49:45.040 --> 0:49:47.759
<v Speaker 2>just the TV monitors and a backdrop or something like that.

0:49:48.520 --> 0:49:50.400
<v Speaker 2>But then we came up with the idea of doing

0:49:51.680 --> 0:49:55.719
<v Speaker 2>you know, personal portraits of everybody in the band. We thought, well,

0:49:55.800 --> 0:50:00.840
<v Speaker 2>that's cool, you know, let's do these stylized brush paintings

0:50:00.880 --> 0:50:05.600
<v Speaker 2>of caricature versions of everyone in the band. And that

0:50:05.760 --> 0:50:10.239
<v Speaker 2>ended up on our second album, which was the photo

0:50:10.320 --> 0:50:15.520
<v Speaker 2>session of this photographed by Norman Seef and he it

0:50:15.640 --> 0:50:17.600
<v Speaker 2>was just trains working with him. We had these face

0:50:17.640 --> 0:50:20.000
<v Speaker 2>shirts on and he would say, you know, we were

0:50:20.000 --> 0:50:22.799
<v Speaker 2>all friends, take our shirt faces that, you know, so

0:50:22.840 --> 0:50:24.360
<v Speaker 2>you can see them. And he goes, no, like, we

0:50:24.400 --> 0:50:26.239
<v Speaker 2>don't really want to see the whole thing. We just

0:50:26.239 --> 0:50:29.279
<v Speaker 2>want to see glimpses of your eye or your your

0:50:29.360 --> 0:50:33.080
<v Speaker 2>lips or and re it's kind of profile like this,

0:50:33.880 --> 0:50:36.319
<v Speaker 2>so we thought it's kind of weird, you know. It

0:50:36.360 --> 0:50:37.920
<v Speaker 2>turned out to be a pretty classic picture.

0:50:38.680 --> 0:50:39.480
<v Speaker 1>But yeah, the.

0:50:39.480 --> 0:50:42.360
<v Speaker 2>Face face shirts and then that, you know, that evolved

0:50:42.360 --> 0:50:46.239
<v Speaker 2>into an actual business. We sent that a few of

0:50:46.239 --> 0:50:48.759
<v Speaker 2>the designs, not the band shots, but we did some

0:50:48.840 --> 0:50:54.000
<v Speaker 2>other just sort of generic faces that became a line

0:50:54.080 --> 0:50:58.520
<v Speaker 2>called body Language and we produced a line of shirts.

0:50:58.800 --> 0:51:01.000
<v Speaker 2>I don't know where there and he came from. Don't

0:51:01.040 --> 0:51:04.680
<v Speaker 2>even know where where it ended up, but I still

0:51:04.719 --> 0:51:07.000
<v Speaker 2>have a lot of They were these kind of transfers

0:51:07.000 --> 0:51:13.480
<v Speaker 2>that were called the ultra ultra sublistatic sublistatic transfers. So

0:51:14.520 --> 0:51:17.520
<v Speaker 2>I still have a bunch of the extra ones over

0:51:17.760 --> 0:51:20.440
<v Speaker 2>and I have some of the original shirts, and I

0:51:20.480 --> 0:51:23.759
<v Speaker 2>have most of some of the original hand painted the

0:51:23.760 --> 0:51:26.759
<v Speaker 2>Tube shirts as well. So that's just that's how it

0:51:26.760 --> 0:51:29.439
<v Speaker 2>came about. Now I have to interject here and tell

0:51:29.480 --> 0:51:32.600
<v Speaker 2>a story real quick about the face shirt. So we

0:51:32.719 --> 0:51:35.120
<v Speaker 2>had a talent hunt and our good friend of ours

0:51:35.239 --> 0:51:37.080
<v Speaker 2>was Robin Williams. Well he wasn't a good friend, but

0:51:37.120 --> 0:51:38.840
<v Speaker 2>he was a friend of ours because he was in

0:51:38.920 --> 0:51:41.880
<v Speaker 2>the Tube's talent hunt and he won because he was

0:51:41.920 --> 0:51:44.759
<v Speaker 2>so funny, and he became a friend of ours. And

0:51:45.760 --> 0:51:49.000
<v Speaker 2>we had these produced shirts and he had was wearing

0:51:49.000 --> 0:51:52.400
<v Speaker 2>one with a picture of Rie on it. A model

0:51:52.440 --> 0:51:54.880
<v Speaker 2>I think her name was Pat Cleveland, but we always

0:51:54.880 --> 0:51:57.000
<v Speaker 2>thought it was Ree. It was just these big eyes

0:51:57.040 --> 0:51:59.439
<v Speaker 2>and big lips and stuff. We gave it to him,

0:51:59.520 --> 0:52:02.040
<v Speaker 2>but then he ended up being photographed in that shirt

0:52:02.080 --> 0:52:07.000
<v Speaker 2>a whole lot over the years, and this young kid

0:52:07.160 --> 0:52:11.080
<v Speaker 2>just saw that picture and reached out to his management.

0:52:11.120 --> 0:52:14.880
<v Speaker 2>His name is Fred Slissinger, and I'm not sure exactly

0:52:14.920 --> 0:52:17.520
<v Speaker 2>what films he's done, but he reached out to me

0:52:17.800 --> 0:52:20.560
<v Speaker 2>through his management, and I painted a shirt of Robin

0:52:20.600 --> 0:52:24.000
<v Speaker 2>Williams's face for him, and I just just sent it

0:52:24.040 --> 0:52:26.239
<v Speaker 2>to him last week. I haven't seen it on him.

0:52:26.239 --> 0:52:27.960
<v Speaker 2>I don't even know if it fits. But that's just

0:52:28.000 --> 0:52:33.440
<v Speaker 2>a little side story. The face shirts still live on. Okay.

0:52:33.800 --> 0:52:36.440
<v Speaker 1>Is it a long drawn out process getting signed to

0:52:36.480 --> 0:52:39.440
<v Speaker 1>A and M or does it move pretty quickly and smoothly?

0:52:39.880 --> 0:52:42.560
<v Speaker 1>I think I think it's just not something that I

0:52:42.680 --> 0:52:45.440
<v Speaker 1>even had anything to do with. I don't remember. I

0:52:45.440 --> 0:52:51.040
<v Speaker 1>remember our management were. They were called Bag of Bucks, Morton.

0:52:50.880 --> 0:52:54.960
<v Speaker 2>And Gary, and you know he had some issues with

0:52:55.000 --> 0:52:59.320
<v Speaker 2>him later, but they got us the ball rolling for us.

0:53:00.120 --> 0:53:02.560
<v Speaker 1>Did al Cooper end up being the producer?

0:53:02.680 --> 0:53:06.120
<v Speaker 2>I don't know exactly who contacted him, but it must

0:53:06.160 --> 0:53:09.200
<v Speaker 2>have been Kip Cohen or somebody from the label that

0:53:09.600 --> 0:53:12.600
<v Speaker 2>that thought might be a good fit. He had just

0:53:12.680 --> 0:53:17.200
<v Speaker 2>come from doing Lenyard Skinnyard and had you know, had Sweedome,

0:53:17.239 --> 0:53:20.640
<v Speaker 2>Alabama and all the big hits and stuff. And maybe

0:53:20.640 --> 0:53:23.600
<v Speaker 2>somebody approached him with maybe a demo tape of ours

0:53:23.680 --> 0:53:25.840
<v Speaker 2>and he listened to it or something. He was looking

0:53:25.840 --> 0:53:30.040
<v Speaker 2>for other things to produce, and he said, I'll take

0:53:30.080 --> 0:53:33.120
<v Speaker 2>that on. So when we met him, he was just hilarious.

0:53:33.200 --> 0:53:36.120
<v Speaker 2>He was so funny, and he was just just taken

0:53:36.200 --> 0:53:39.080
<v Speaker 2>with our whole thing. And you know, we played him

0:53:39.080 --> 0:53:41.239
<v Speaker 2>some of the songs that we had been playing for,

0:53:41.360 --> 0:53:44.440
<v Speaker 2>you know, the last four or five years that we

0:53:45.040 --> 0:53:50.200
<v Speaker 2>had written, and such as White Punks on Dope and

0:53:50.320 --> 0:53:55.319
<v Speaker 2>Halo's and Mando Bondage and the Crazy songs, and he

0:53:55.440 --> 0:53:58.359
<v Speaker 2>had kind of a whole concept but somehow, you know,

0:53:58.480 --> 0:54:03.399
<v Speaker 2>interweaving these songs and making up more of a more

0:54:03.440 --> 0:54:06.200
<v Speaker 2>of a I don't know what you call that, just

0:54:06.320 --> 0:54:10.640
<v Speaker 2>a suite or something like that, you know, not an

0:54:10.680 --> 0:54:13.600
<v Speaker 2>individual song. And we tried it for him, you know,

0:54:13.640 --> 0:54:16.719
<v Speaker 2>we rehearsed with him for a few days before we

0:54:16.800 --> 0:54:20.960
<v Speaker 2>ended up going into making record, and of course it

0:54:21.040 --> 0:54:23.640
<v Speaker 2>didn't really work, so we ended up going back to

0:54:23.680 --> 0:54:27.480
<v Speaker 2>the let's do these songs. But it was quite an

0:54:27.520 --> 0:54:31.880
<v Speaker 2>experience of our first real serious recording, professional recording experience

0:54:31.880 --> 0:54:34.400
<v Speaker 2>in la I think we did it at the record plant.

0:54:34.400 --> 0:54:37.160
<v Speaker 1>I think in La and.

0:54:37.400 --> 0:54:40.000
<v Speaker 2>Played a lot of pong that's when Pong first came out,

0:54:40.120 --> 0:54:42.279
<v Speaker 2>and spent a lot of time playing pong in the

0:54:43.120 --> 0:54:45.440
<v Speaker 2>room outside. Didn't get a lot of and a lot

0:54:45.440 --> 0:54:47.400
<v Speaker 2>of stories from Al. I mean the guy who was

0:54:47.520 --> 0:54:48.880
<v Speaker 2>just endless stories.

0:54:49.719 --> 0:54:51.000
<v Speaker 1>So we get some work done here.

0:54:51.840 --> 0:54:53.640
<v Speaker 2>No, no, when first we talked about this and then

0:54:53.960 --> 0:54:55.960
<v Speaker 2>do that tell me a story about it was all

0:54:56.080 --> 0:54:57.640
<v Speaker 2>recording thing or whatever.

0:54:58.280 --> 0:55:02.160
<v Speaker 1>Okay, So I mean I know, well pretty well, Al

0:55:02.280 --> 0:55:07.799
<v Speaker 1>can be difficult. So how is the experience making the

0:55:07.880 --> 0:55:10.719
<v Speaker 1>record other than getting him to stop telling stories?

0:55:10.880 --> 0:55:12.920
<v Speaker 2>Well, I think it was. It was really good. I

0:55:12.920 --> 0:55:14.960
<v Speaker 2>mean most of the time. And we had that engineer,

0:55:15.000 --> 0:55:18.640
<v Speaker 2>like I told you, Lee Kiefer, who was excellent.

0:55:18.800 --> 0:55:19.560
<v Speaker 1>He is really good.

0:55:19.600 --> 0:55:23.320
<v Speaker 2>And you know, we enjoyed the experimenting with the different

0:55:23.360 --> 0:55:27.840
<v Speaker 2>sounds and the drum sounds. And then Al would, you know,

0:55:27.920 --> 0:55:31.319
<v Speaker 2>come up with a great idea being a keyboard player

0:55:31.400 --> 0:55:34.040
<v Speaker 2>and a guitar player would probably offer a lot of

0:55:34.200 --> 0:55:37.799
<v Speaker 2>information to our guitar players and our keyboard players. We

0:55:37.880 --> 0:55:40.360
<v Speaker 2>had Vince wellningk on keyboards, and we also have Michael

0:55:40.400 --> 0:55:46.520
<v Speaker 2>Cotton on synthesizers. And I just remember one of the

0:55:46.560 --> 0:55:50.920
<v Speaker 2>things that that Al said was like all I hear

0:55:50.960 --> 0:55:54.239
<v Speaker 2>out of Cotton is like boiling cats. You know he

0:55:54.360 --> 0:55:57.800
<v Speaker 2>was doing this stuff. But that's not true, because Michael

0:55:57.840 --> 0:56:02.720
<v Speaker 2>Cotton added so much of an amazing, an original sound

0:56:02.840 --> 0:56:04.840
<v Speaker 2>to that first record. Well, it's all of our records,

0:56:04.880 --> 0:56:08.279
<v Speaker 2>but initially for that first record, and you know, and

0:56:08.320 --> 0:56:12.399
<v Speaker 2>he was he was an experimental guy and experimented with

0:56:13.000 --> 0:56:15.319
<v Speaker 2>all kinds of sounds and kind of developed a lot

0:56:15.320 --> 0:56:18.000
<v Speaker 2>of some of the things that later took off and

0:56:18.400 --> 0:56:20.880
<v Speaker 2>became more popular in the synthesizer world.

0:56:21.040 --> 0:56:25.200
<v Speaker 1>Okay, the album is done. Is the band happy with

0:56:25.280 --> 0:56:25.840
<v Speaker 1>the album?

0:56:28.040 --> 0:56:30.920
<v Speaker 2>Well, it's done, but we never really heard all the

0:56:30.960 --> 0:56:33.480
<v Speaker 2>production that was laid on after we sort of were

0:56:33.520 --> 0:56:35.719
<v Speaker 2>told to leave. I don't know if you've heard that

0:56:35.760 --> 0:56:38.239
<v Speaker 2>story before, but it was kind of Yeah, it was

0:56:38.320 --> 0:56:41.520
<v Speaker 2>like Al just said, you guys are hanging over here,

0:56:41.680 --> 0:56:44.319
<v Speaker 2>us too much here, and we want you guys to leave.

0:56:44.400 --> 0:56:46.920
<v Speaker 2>We're gonna we're gonna get up with the Dominic Frontiery,

0:56:46.960 --> 0:56:49.680
<v Speaker 2>who is a great arranger and you know he's done

0:56:49.680 --> 0:56:53.040
<v Speaker 2>all these great things for like Twilight Zone and Western

0:56:53.239 --> 0:56:54.720
<v Speaker 2>Film and all this stuff.

0:56:54.760 --> 0:56:57.359
<v Speaker 1>But we didn't I didn't really know who it was.

0:56:57.400 --> 0:57:01.319
<v Speaker 2>Maybe Spooner or somebody else, but I wasn't familiar with him,

0:57:01.320 --> 0:57:05.600
<v Speaker 2>but the TV shows I was anyway, and so we

0:57:05.600 --> 0:57:07.399
<v Speaker 2>were kind of out of that hole, or at least

0:57:07.400 --> 0:57:09.279
<v Speaker 2>I was. I don't know where those guys were. But

0:57:09.520 --> 0:57:12.680
<v Speaker 2>I didn't hear the record until they finally had a

0:57:12.719 --> 0:57:15.400
<v Speaker 2>listening party, and all of a sudden, these songs that

0:57:15.480 --> 0:57:21.080
<v Speaker 2>were pretty you know, they were built up around rock

0:57:21.120 --> 0:57:24.280
<v Speaker 2>and roll instruments, but then now they had strings and

0:57:24.400 --> 0:57:30.800
<v Speaker 2>whole orchestrations and giant background vocals and all this stuff.

0:57:30.920 --> 0:57:32.080
<v Speaker 1>It was like, WHOA.

0:57:33.120 --> 0:57:35.280
<v Speaker 2>I think we thought it was wonderful, but it was

0:57:35.320 --> 0:57:38.600
<v Speaker 2>also very shocking to hear to hear it after it

0:57:38.640 --> 0:57:41.240
<v Speaker 2>was done and mixed and all that stuff. But we

0:57:41.240 --> 0:57:44.560
<v Speaker 2>weren't We weren't involved in that. We weren't invited to

0:57:44.600 --> 0:57:48.120
<v Speaker 2>be involved in that, which I thought was weird to

0:57:48.200 --> 0:57:50.680
<v Speaker 2>this day. We were too young.

0:57:51.920 --> 0:57:53.640
<v Speaker 1>How come you never worked with al again?

0:57:55.640 --> 0:57:57.720
<v Speaker 2>Yeah, there's another one of those things. I don't think

0:57:57.720 --> 0:58:01.280
<v Speaker 2>there was anything really about it that it was actually

0:58:01.280 --> 0:58:05.040
<v Speaker 2>a kind of a breakup, intentional breakup for any reason.

0:58:06.680 --> 0:58:09.480
<v Speaker 2>The next album was produced by Ken Scott. It was

0:58:09.840 --> 0:58:11.920
<v Speaker 2>I think a lot of a lot of everything had

0:58:12.040 --> 0:58:14.360
<v Speaker 2>seemed to have to do with the people at the label,

0:58:14.720 --> 0:58:17.520
<v Speaker 2>what their thoughts were on how things were working, and

0:58:17.600 --> 0:58:21.400
<v Speaker 2>maybe they thought they could get a better, you know,

0:58:21.560 --> 0:58:24.040
<v Speaker 2>handle on some sort of a formula that would get

0:58:24.080 --> 0:58:28.640
<v Speaker 2>us some money a hit because the hit was not

0:58:28.760 --> 0:58:32.320
<v Speaker 2>on the underground. Loved the first album with white Punks

0:58:32.360 --> 0:58:35.040
<v Speaker 2>on Dove and Bondage and what do You Want from Life?

0:58:35.040 --> 0:58:35.600
<v Speaker 1>And that was a.

0:58:37.160 --> 0:58:39.840
<v Speaker 2>Uh, that was you know, this is an amazing first

0:58:39.840 --> 0:58:43.080
<v Speaker 2>album because, like I said, it was it was everything

0:58:43.120 --> 0:58:45.320
<v Speaker 2>that we had developed up to that point, which was

0:58:45.360 --> 0:58:47.760
<v Speaker 2>at least four or five years of just playing those

0:58:47.800 --> 0:58:51.360
<v Speaker 2>songs and uh and writing those songs, and then the

0:58:51.360 --> 0:58:54.000
<v Speaker 2>next series of albums that came out it just had

0:58:54.040 --> 0:58:57.200
<v Speaker 2>to be kind of pumped out within six months. It

0:58:57.240 --> 0:59:00.000
<v Speaker 2>sounded like we made an album every six or eight months,

0:59:01.080 --> 0:59:04.680
<v Speaker 2>you know, at least for for A and M until

0:59:05.320 --> 0:59:06.240
<v Speaker 2>they got thrown.

0:59:05.960 --> 0:59:08.040
<v Speaker 1>Off of A and M. Well, were you happy with

0:59:08.120 --> 0:59:09.280
<v Speaker 1>any of those albums?

0:59:09.960 --> 0:59:14.440
<v Speaker 2>I was happy with at least the first two and

0:59:14.480 --> 0:59:19.120
<v Speaker 2>then and then we had a little bit of a

0:59:19.160 --> 0:59:22.120
<v Speaker 2>different kind of a feel for the third album, which

0:59:22.200 --> 0:59:24.600
<v Speaker 2>was called Now. And the producer was a guy named

0:59:24.680 --> 0:59:29.480
<v Speaker 2>John Anthony, and he was an Englishman and we uh,

0:59:29.720 --> 0:59:29.960
<v Speaker 2>you know.

0:59:29.920 --> 0:59:30.240
<v Speaker 1>We got on.

0:59:30.440 --> 0:59:33.040
<v Speaker 2>We got on with him at first, but things happened

0:59:33.080 --> 0:59:35.200
<v Speaker 2>and there was just all you know, I mean, I

0:59:35.240 --> 0:59:37.840
<v Speaker 2>have to bust myself and say there was a lot

0:59:37.880 --> 0:59:40.760
<v Speaker 2>of drug use going on, and people were confused about

0:59:42.000 --> 0:59:44.480
<v Speaker 2>the songs that we were actually had chosen to record

0:59:44.640 --> 0:59:46.600
<v Speaker 2>and stuff like that. This was after the Young and

0:59:46.680 --> 0:59:50.240
<v Speaker 2>Rich One. Young and Rich was well a lot of

0:59:50.240 --> 0:59:52.840
<v Speaker 2>that kind of stuff too. But as we were still

0:59:53.440 --> 0:59:56.800
<v Speaker 2>pretty novice in the recording business so far, and we

0:59:56.800 --> 0:59:59.760
<v Speaker 2>were really listening to Ken Scott and what his advice

0:59:59.880 --> 1:00:02.920
<v Speaker 2>was for making a good record. And he was a

1:00:02.920 --> 1:00:08.240
<v Speaker 2>great engineer I remember him really not I was spending

1:00:08.280 --> 1:00:11.360
<v Speaker 2>more time on the sound quality and the sounds and

1:00:11.400 --> 1:00:15.200
<v Speaker 2>the instrumentation and stuff like that as opposed.

1:00:14.840 --> 1:00:18.720
<v Speaker 1>To actually producing the idea of the song or something.

1:00:18.760 --> 1:00:19.000
<v Speaker 1>He was.

1:00:21.120 --> 1:00:24.960
<v Speaker 2>Pretty lenient with us for our kind of crazy ideas

1:00:25.000 --> 1:00:30.320
<v Speaker 2>for each one of those songs. So we were very

1:00:30.320 --> 1:00:32.680
<v Speaker 2>happy with that. And then we had some great touring

1:00:33.360 --> 1:00:36.560
<v Speaker 2>done behind both of those albums seventy five, seventy six,

1:00:37.680 --> 1:00:41.640
<v Speaker 2>seventy seven started with that next record, the Now album.

1:00:43.000 --> 1:00:46.160
<v Speaker 1>Ultimately you work with Todd Rundred, What is your experience there.

1:00:47.400 --> 1:00:52.000
<v Speaker 2>My experience was the a few times I met him

1:00:52.040 --> 1:00:56.680
<v Speaker 2>before we actually started being our engineer and recording with us.

1:00:57.520 --> 1:01:02.240
<v Speaker 2>I had met him a few times through his dresser designer,

1:01:02.480 --> 1:01:07.080
<v Speaker 2>clothing designer named Nicky Nichols, who was a friend of Breeze,

1:01:07.240 --> 1:01:12.960
<v Speaker 2>my girlfriend at the time, and he introduced me to

1:01:12.960 --> 1:01:16.479
<v Speaker 2>Todd and I painted some outfits for him, air brush

1:01:16.560 --> 1:01:20.120
<v Speaker 2>some outfits for him, and you know, I just got

1:01:20.120 --> 1:01:21.800
<v Speaker 2>to know him a little bit, not too much. But

1:01:21.840 --> 1:01:26.280
<v Speaker 2>then in about seventy I guess it's seventy eight or something,

1:01:28.120 --> 1:01:31.160
<v Speaker 2>he came to England when we opened for Or We

1:01:32.400 --> 1:01:37.760
<v Speaker 2>had a It was a Networth festival in England and

1:01:37.800 --> 1:01:46.920
<v Speaker 2>it was Frank Sappa, the Tubes, Broomtown Rats, Nick Lowe

1:01:46.920 --> 1:01:51.240
<v Speaker 2>and the Rock Pile with Dave Edmonds and Peter Gabriel's

1:01:51.240 --> 1:01:54.120
<v Speaker 2>solo band, and we were all on this stage together

1:01:54.240 --> 1:01:56.640
<v Speaker 2>and we Todd had come over just to kind of

1:01:56.800 --> 1:02:00.200
<v Speaker 2>hang out with us and party a little bit. And

1:02:00.240 --> 1:02:03.040
<v Speaker 2>it was a day Keith Moon died that we were

1:02:03.040 --> 1:02:06.560
<v Speaker 2>supposed to perform, or the day before maybe, so we rehearsed,

1:02:08.040 --> 1:02:12.520
<v Speaker 2>we rehearsed the song Bob O'Reilly and then we did

1:02:12.520 --> 1:02:15.280
<v Speaker 2>a Medley into the Kids Are all Right, and he

1:02:15.320 --> 1:02:18.280
<v Speaker 2>came out on stage and played and sang that with us.

1:02:18.680 --> 1:02:22.840
<v Speaker 2>From that point we became closer friends. And then the

1:02:22.880 --> 1:02:27.280
<v Speaker 2>next album came around and it was Remote Control, and

1:02:27.320 --> 1:02:32.080
<v Speaker 2>that was the last record we did for Capital for

1:02:32.520 --> 1:02:35.360
<v Speaker 2>a and m before we moved to Capitol, So we

1:02:35.400 --> 1:02:39.800
<v Speaker 2>got the working experience with Todd then was amazing. We

1:02:39.800 --> 1:02:42.360
<v Speaker 2>were all big fans of his music, most of us,

1:02:43.080 --> 1:02:47.160
<v Speaker 2>and he was a bit of a dictator, I got

1:02:47.200 --> 1:02:50.440
<v Speaker 2>to say, but just you know, because he was hired

1:02:50.480 --> 1:02:52.760
<v Speaker 2>to produce us, and he was going to take that

1:02:52.920 --> 1:02:56.400
<v Speaker 2>job on with a lot of authority, and a lot

1:02:56.400 --> 1:02:59.840
<v Speaker 2>of us were not quite used to that. We used

1:02:59.840 --> 1:03:02.680
<v Speaker 2>to do a lot of it with our with our

1:03:02.720 --> 1:03:06.440
<v Speaker 2>own intentions and standing up for our rights to party,

1:03:06.480 --> 1:03:08.800
<v Speaker 2>that kind of thing, and he was he was more

1:03:08.840 --> 1:03:13.160
<v Speaker 2>focused on getting the thing done, and but we did

1:03:13.200 --> 1:03:15.360
<v Speaker 2>and they came out with a pretty cool record. I mean,

1:03:15.560 --> 1:03:20.760
<v Speaker 2>a lot of that stuff was after that third album,

1:03:20.960 --> 1:03:24.800
<v Speaker 2>the Now album. It was kind of a lull, managerial

1:03:24.960 --> 1:03:27.280
<v Speaker 2>lull and a different different kind of lull that was

1:03:27.280 --> 1:03:35.920
<v Speaker 2>happening creatively, and we decided that well, maybe we needed to,

1:03:35.960 --> 1:03:38.760
<v Speaker 2>you know, get a better producer. So we reached out

1:03:38.800 --> 1:03:42.240
<v Speaker 2>to Todd. He decided to do it with us. And

1:03:42.600 --> 1:03:45.960
<v Speaker 2>now I can't remember really what my original question was,

1:03:46.000 --> 1:03:48.640
<v Speaker 2>other than you just say, what was it like to

1:03:48.640 --> 1:03:51.760
<v Speaker 2>work with Todd? I'm still working with Todd and it's

1:03:51.760 --> 1:03:56.720
<v Speaker 2>still amazing, and he's still authoritarian. He tells us what

1:03:56.840 --> 1:04:00.200
<v Speaker 2>to do, what he wants us to do. Yeah, the

1:04:00.280 --> 1:04:03.960
<v Speaker 2>open ear every now and then chose some ideas, suggestions,

1:04:04.040 --> 1:04:07.560
<v Speaker 2>but it's mostly his latest. His latest tour is called

1:04:07.600 --> 1:04:11.080
<v Speaker 2>Me We, and it's mostly like me with capital letters

1:04:11.080 --> 1:04:13.480
<v Speaker 2>and we kind of down here somewhere.

1:04:22.160 --> 1:04:26.120
<v Speaker 1>Okay, you switched to Capitol, you work with David Foster. Yeah,

1:04:26.240 --> 1:04:30.920
<v Speaker 1>you have hits, but Steve Luca Thur's working with you.

1:04:31.520 --> 1:04:34.640
<v Speaker 1>So on one level you have the success. But it's

1:04:34.720 --> 1:04:40.480
<v Speaker 1>not the Tube show of certainly the early seventies. So

1:04:41.320 --> 1:04:43.280
<v Speaker 1>what's your what are your emotions.

1:04:42.760 --> 1:04:45.280
<v Speaker 2>About that different show? I mean, we had definitely had

1:04:45.320 --> 1:04:47.439
<v Speaker 2>a big show still going. It was still that Kenny

1:04:47.560 --> 1:04:51.480
<v Speaker 2>or Kaga doing choreography and all that stuff. Yeah, we

1:04:51.480 --> 1:04:55.560
<v Speaker 2>had a new producer, new producer because we had a

1:04:55.560 --> 1:04:58.800
<v Speaker 2>new album label, you know, we had to get and

1:04:58.840 --> 1:05:02.160
<v Speaker 2>there was that we kind of limbo period between a

1:05:02.280 --> 1:05:08.160
<v Speaker 2>and M and getting onto Capital, which was interviewing different producers,

1:05:08.520 --> 1:05:13.160
<v Speaker 2>interviewing a guy named Bruce Garfield was and Bobby Columbia

1:05:13.720 --> 1:05:19.480
<v Speaker 2>were from I saw you interviewed Bobby Columbie right from Capital.

1:05:19.520 --> 1:05:21.520
<v Speaker 2>They were the they were the guys that were running

1:05:21.520 --> 1:05:24.280
<v Speaker 2>Capital at the time, and so they came. We had

1:05:24.320 --> 1:05:27.040
<v Speaker 2>a bunch of meetings with those guys and they said, well, who, who,

1:05:27.320 --> 1:05:31.160
<v Speaker 2>who who would you want to produce you and all

1:05:31.200 --> 1:05:33.360
<v Speaker 2>this stuff? And we were like, I don't know. So

1:05:33.400 --> 1:05:35.840
<v Speaker 2>they had some suggestions. They had Roy Thomas Baker came,

1:05:35.960 --> 1:05:38.880
<v Speaker 2>they had who was the guy that Bob Bob Ezrin?

1:05:39.960 --> 1:05:42.120
<v Speaker 2>A couple of different guys came and listened to our

1:05:42.160 --> 1:05:45.680
<v Speaker 2>stuff just in our warehouse somewhere kind of CD.

1:05:47.720 --> 1:05:50.919
<v Speaker 1>And neither one of them really fit the bill.

1:05:51.120 --> 1:05:55.840
<v Speaker 2>And then somebody mentioned David Froster, and I'm not sure

1:05:55.880 --> 1:05:58.440
<v Speaker 2>exactly how that we pulled it off, but I remember

1:05:58.480 --> 1:06:02.200
<v Speaker 2>him saying, you're the weird this group I've ever worked with,

1:06:02.960 --> 1:06:05.760
<v Speaker 2>and I'm really not sure what I can do with

1:06:05.800 --> 1:06:08.960
<v Speaker 2>you guys, but if you listen to me, you'll probably

1:06:08.960 --> 1:06:11.960
<v Speaker 2>have a hit. And so some of us listened to him,

1:06:12.760 --> 1:06:15.200
<v Speaker 2>and some of us didn't just didn't want to listen

1:06:15.240 --> 1:06:17.360
<v Speaker 2>to him. And those are the guys I had to

1:06:17.360 --> 1:06:18.880
<v Speaker 2>wait in the parking lot, so I had to get

1:06:18.920 --> 1:06:22.080
<v Speaker 2>Steep look at her, and get David Page and you know,

1:06:22.120 --> 1:06:24.560
<v Speaker 2>some of the people to kind of fit in. I mean,

1:06:24.600 --> 1:06:26.600
<v Speaker 2>it's just one of those stories you don't really I

1:06:26.640 --> 1:06:30.040
<v Speaker 2>don't like telling it, but it's what happened, is the truth.

1:06:31.320 --> 1:06:33.160
<v Speaker 2>Luckily I got to stay in the drum chair. He

1:06:33.200 --> 1:06:37.720
<v Speaker 2>didn't bring in Jeff Pacaro, which would have been good too.

1:06:38.240 --> 1:06:40.920
<v Speaker 2>Jeff Caven saw us when we were in the studio

1:06:40.920 --> 1:06:44.120
<v Speaker 2>and recording that song Tip of my Arm, and I

1:06:44.200 --> 1:06:47.959
<v Speaker 2>just remember feeling really proud that he heard my drum

1:06:48.040 --> 1:06:48.440
<v Speaker 2>track and.

1:06:48.400 --> 1:06:52.360
<v Speaker 1>He just gave me like that. It's so funky, so funky,

1:06:53.320 --> 1:06:56.720
<v Speaker 1>and Jeff was a great drummer, such a great drummer. Anyway,

1:07:01.080 --> 1:07:06.440
<v Speaker 1>So their hits with Foster, you work with Todd again.

1:07:07.360 --> 1:07:13.439
<v Speaker 1>That album is not commercially successful. How does the group end? Well,

1:07:13.440 --> 1:07:16.560
<v Speaker 1>the group sort of never really ended. It still hasn't

1:07:16.600 --> 1:07:19.840
<v Speaker 1>never really ended. How does a group go on a hiatus? Yeah,

1:07:19.920 --> 1:07:24.600
<v Speaker 1>it never really went on. If you ask Fee, it did,

1:07:24.840 --> 1:07:27.520
<v Speaker 1>but no, he just he he kind of took off

1:07:27.960 --> 1:07:30.560
<v Speaker 1>where you know, he met Richard Marx and he met

1:07:30.920 --> 1:07:32.520
<v Speaker 1>some of the guys in l A. And he'd moved.

1:07:32.560 --> 1:07:35.600
<v Speaker 2>He had moved to Los Angeles to kind of start

1:07:35.640 --> 1:07:37.920
<v Speaker 2>over again a little bit with some of his new

1:07:37.960 --> 1:07:41.240
<v Speaker 2>acquaintances in the music business in Los Angeles. The rest

1:07:41.280 --> 1:07:43.280
<v Speaker 2>of us stayed in San Francisco in the Bay Area

1:07:44.000 --> 1:07:47.840
<v Speaker 2>and continued on. We got we got another singer actually involved.

1:07:48.720 --> 1:07:51.200
<v Speaker 2>It was the guy David who was our first original

1:07:51.240 --> 1:07:54.400
<v Speaker 2>bass player in the Red, White and Bluespan. He stepped

1:07:54.480 --> 1:07:57.400
<v Speaker 2>up to the plate and uh and tried to fill

1:07:57.520 --> 1:08:00.720
<v Speaker 2>Fee's shoes and he did it. He did had an

1:08:00.800 --> 1:08:03.760
<v Speaker 2>admirable job, but he didn't didn't really have what it

1:08:03.840 --> 1:08:08.720
<v Speaker 2>was going to take to replace thee So he kind

1:08:08.720 --> 1:08:10.280
<v Speaker 2>of went He kind of went on a high edus

1:08:10.280 --> 1:08:13.040
<v Speaker 2>from the tubes, but we kept we kept kind of

1:08:13.040 --> 1:08:18.200
<v Speaker 2>plug along during probably like so the love Bomb Tour

1:08:18.360 --> 1:08:22.320
<v Speaker 2>was the last tour we did, and it was with Utopia,

1:08:22.400 --> 1:08:26.559
<v Speaker 2>Todd's band Cod Building with us in like eighty five,

1:08:27.400 --> 1:08:30.679
<v Speaker 2>and so that's that's what happened there and Todd and

1:08:30.960 --> 1:08:35.120
<v Speaker 2>his band Utopia, they opened the show and Todd goes, well,

1:08:35.120 --> 1:08:37.280
<v Speaker 2>we're not really opening for you. It's a cop Bill,

1:08:37.640 --> 1:08:39.519
<v Speaker 2>we just don't want to follow you because you got

1:08:39.520 --> 1:08:44.280
<v Speaker 2>so much crap on stage, he said, he goes, you know,

1:08:44.360 --> 1:08:46.720
<v Speaker 2>we're just a totally streamline. I think they had their

1:08:46.720 --> 1:08:49.320
<v Speaker 2>first in ear monitors and you know, the hidden mics

1:08:49.320 --> 1:08:50.200
<v Speaker 2>and no amps on.

1:08:50.200 --> 1:08:52.840
<v Speaker 1>Stage, and he was just like streamline. You know, it's

1:08:52.880 --> 1:08:53.439
<v Speaker 1>really cool.

1:08:55.080 --> 1:08:59.000
<v Speaker 2>His drummer, Willie had the motorcycle kit that spun around.

1:08:59.040 --> 1:08:59.720
<v Speaker 1>Did you ever see that?

1:09:00.680 --> 1:09:02.559
<v Speaker 2>So and you know, they were just really cool and

1:09:02.560 --> 1:09:04.080
<v Speaker 2>they could move in and off the stage and we

1:09:04.080 --> 1:09:07.519
<v Speaker 2>could build our crazy you know, over the top set

1:09:07.640 --> 1:09:11.440
<v Speaker 2>with the stage props and kayludes, you know, giant outfits

1:09:11.479 --> 1:09:16.320
<v Speaker 2>and everything. So that's what happened in eighty five, and

1:09:16.360 --> 1:09:19.080
<v Speaker 2>then in eighty six we got the other singer if

1:09:19.080 --> 1:09:21.519
<v Speaker 2>he went down to La started working on his solo

1:09:21.600 --> 1:09:24.920
<v Speaker 2>records with Foster and with Richard Marx and do him

1:09:25.720 --> 1:09:28.800
<v Speaker 2>or songwriting with Richard Mars and we just kept kind

1:09:28.800 --> 1:09:34.280
<v Speaker 2>of continuing on until I guess this might have been

1:09:34.320 --> 1:09:37.599
<v Speaker 2>the early nineties. Oh well, then we lost Vince because

1:09:37.640 --> 1:09:42.160
<v Speaker 2>he joined well he joined Todd's band first and kind

1:09:42.160 --> 1:09:45.320
<v Speaker 2>of left the Tubes, and then he got the job

1:09:45.840 --> 1:09:47.680
<v Speaker 2>being a keyboard player for the Grateful dead and that

1:09:47.800 --> 1:09:48.960
<v Speaker 2>was like nineteen ninety.

1:09:50.400 --> 1:09:54.479
<v Speaker 1>Okay, you know, he ultimately dies at a young age.

1:09:55.200 --> 1:09:58.599
<v Speaker 1>They say that he was mentally ill. Does that something

1:09:58.640 --> 1:10:03.720
<v Speaker 1>you picked up on Vince? Yeah, mentally ill? No, but

1:10:03.800 --> 1:10:05.640
<v Speaker 1>he did smoke a lot of pot and ate a

1:10:05.640 --> 1:10:08.519
<v Speaker 1>lot of hash and uh, you know, to me, that's

1:10:08.680 --> 1:10:10.360
<v Speaker 1>that don't make anybody mental.

1:10:11.880 --> 1:10:15.120
<v Speaker 2>I'm not sure if it would be a disastrous kind

1:10:15.120 --> 1:10:20.080
<v Speaker 2>of mental state, but according to some of the people

1:10:20.120 --> 1:10:23.360
<v Speaker 2>that were around him at that time, I kind of

1:10:23.400 --> 1:10:25.120
<v Speaker 2>had a little bit of falling out with him. Right

1:10:25.160 --> 1:10:27.759
<v Speaker 2>before that, we had a band called a Missing Man Formation,

1:10:29.120 --> 1:10:34.800
<v Speaker 2>which occurred after Jerry Garcia died in like ninety five.

1:10:35.600 --> 1:10:39.519
<v Speaker 2>But before that he was now he was just Vince.

1:10:39.560 --> 1:10:42.519
<v Speaker 2>He was a wonderful, wonderful character. But yeah, over the

1:10:42.600 --> 1:10:44.439
<v Speaker 2>years I always noticed he had he had kind of

1:10:44.439 --> 1:10:48.080
<v Speaker 2>a dark side. Yeah, I think he had, you know,

1:10:48.120 --> 1:10:49.680
<v Speaker 2>I had a bit of a dark side. Maybe took

1:10:49.720 --> 1:10:53.920
<v Speaker 2>somebody depressant drugs or something. I never really wanted to

1:10:54.080 --> 1:10:55.400
<v Speaker 2>ask him too much about that.

1:10:56.240 --> 1:11:00.880
<v Speaker 1>Okay, So how do you end up working for Todd? So?

1:11:00.960 --> 1:11:04.320
<v Speaker 2>Yeah, so let's see, Well, you know, he knew of

1:11:04.360 --> 1:11:08.600
<v Speaker 2>my drumming obviously from working with the tubes. And then

1:11:08.800 --> 1:11:12.280
<v Speaker 2>in nineteen ninety I think it was ninety or ninety one,

1:11:13.360 --> 1:11:16.880
<v Speaker 2>he had hired Vince and Vince was working with him

1:11:17.160 --> 1:11:21.599
<v Speaker 2>in his band. They did an album called Nearly Human,

1:11:23.360 --> 1:11:28.920
<v Speaker 2>and that band lasted for a tour or two and

1:11:28.960 --> 1:11:33.519
<v Speaker 2>then Vince left and they got he got another record

1:11:33.560 --> 1:11:36.559
<v Speaker 2>deal coming up, Todd did. It was called Second Win,

1:11:36.720 --> 1:11:38.920
<v Speaker 2>and we called me up and said, do you want

1:11:38.920 --> 1:11:42.479
<v Speaker 2>to play drums for me? And we're going to record

1:11:43.320 --> 1:11:46.960
<v Speaker 2>this whole album that I have worked up called Second Wind,

1:11:47.320 --> 1:11:49.880
<v Speaker 2>and it's kind of my second Win. He was he

1:11:49.960 --> 1:11:55.599
<v Speaker 2>had a lull before that that, and I'm not sure exactly,

1:11:55.680 --> 1:11:58.000
<v Speaker 2>but we recorded the thing live in front of an

1:11:58.000 --> 1:12:02.920
<v Speaker 2>audience in San Francis, was like five nights sold out

1:12:03.040 --> 1:12:07.600
<v Speaker 2>in the Palacifying Arts, and the project was he was

1:12:07.640 --> 1:12:10.880
<v Speaker 2>going to conduct us. It was a large band, two drummers,

1:12:11.800 --> 1:12:15.040
<v Speaker 2>you know, two guitar players, two keyboard players, all these

1:12:15.040 --> 1:12:18.920
<v Speaker 2>different people, background singers, and to record this new album.

1:12:19.400 --> 1:12:24.560
<v Speaker 2>And we had to grade ourselves each night on our performances.

1:12:24.600 --> 1:12:28.080
<v Speaker 2>Like he taped it all every night, and then he

1:12:28.120 --> 1:12:32.840
<v Speaker 2>went back later and pieced the record together judging from

1:12:33.479 --> 1:12:38.360
<v Speaker 2>the exes on people's like nope, missed that one. All

1:12:38.400 --> 1:12:41.519
<v Speaker 2>good on this one, you know, for all for fifteen

1:12:41.560 --> 1:12:44.479
<v Speaker 2>people that were in the band. I thought that was alone,

1:12:44.560 --> 1:12:47.160
<v Speaker 2>pretty pretty amazing that he could do that. But he

1:12:47.320 --> 1:12:48.720
<v Speaker 2>came out with a pretty neat record, and then we

1:12:48.760 --> 1:12:52.840
<v Speaker 2>went on tour. So that was ninety one. At the

1:12:52.880 --> 1:12:57.720
<v Speaker 2>same time, I still play with the Tubes. He just

1:12:57.800 --> 1:12:59.760
<v Speaker 2>kind of off and on. But then Fee came back

1:13:00.000 --> 1:13:04.760
<v Speaker 2>I think ninety two. He called and said, well, we

1:13:04.800 --> 1:13:06.880
<v Speaker 2>got an offer from you know, it's like, we don't know,

1:13:06.880 --> 1:13:08.720
<v Speaker 2>we're big in Japan. No, it wasn't that, but it

1:13:08.760 --> 1:13:13.759
<v Speaker 2>was an offer from an offer from some German promoter

1:13:14.000 --> 1:13:17.400
<v Speaker 2>that offered us some great, great tour and so he goes, well,

1:13:17.479 --> 1:13:19.160
<v Speaker 2>I'm thinking about it might be a good idea to

1:13:19.200 --> 1:13:22.720
<v Speaker 2>come back now. So he did, and we had we

1:13:22.760 --> 1:13:25.080
<v Speaker 2>had a new keyboard player because Vince wasn't with us.

1:13:25.160 --> 1:13:29.439
<v Speaker 2>We had two new new keyboard players and actually another

1:13:29.479 --> 1:13:34.320
<v Speaker 2>guitar player, Gary Canberra and Dave med They joined us

1:13:34.720 --> 1:13:37.559
<v Speaker 2>in the early nineties and we became that that version

1:13:37.600 --> 1:13:38.160
<v Speaker 2>of the Tubes.

1:13:39.600 --> 1:13:42.679
<v Speaker 1>Okay, how do you part ways with Bill Spooter?

1:13:43.600 --> 1:13:47.240
<v Speaker 2>How did we That was just you know, one of

1:13:47.280 --> 1:13:48.880
<v Speaker 2>those things I really don't want to talk about it

1:13:48.920 --> 1:13:51.800
<v Speaker 2>too much, but he was a difficult person and you know,

1:13:51.880 --> 1:13:55.760
<v Speaker 2>high strung and genius. I thought he came up with

1:13:56.560 --> 1:13:59.599
<v Speaker 2>so many of the original Tubes ideas and the Beans

1:13:59.640 --> 1:14:06.920
<v Speaker 2>ideas musically and visually, and he had just came to

1:14:06.960 --> 1:14:09.920
<v Speaker 2>a point where, you know, none of us could really

1:14:09.960 --> 1:14:12.400
<v Speaker 2>deal with each other anymore. And that was just one

1:14:12.439 --> 1:14:16.400
<v Speaker 2>of those things where you sort of say, we have

1:14:16.439 --> 1:14:19.200
<v Speaker 2>to move on, or you know, we have to take

1:14:19.240 --> 1:14:21.160
<v Speaker 2>a break from each other and may get back together

1:14:21.200 --> 1:14:24.240
<v Speaker 2>again someday, who knows, But that's what happened there.

1:14:24.880 --> 1:14:26.720
<v Speaker 1>And he was he resentful.

1:14:27.360 --> 1:14:29.760
<v Speaker 2>No, I don't think he was. I think he was well,

1:14:29.800 --> 1:14:33.280
<v Speaker 2>I'm not sure you'd have to interview him. He wrote

1:14:33.280 --> 1:14:35.080
<v Speaker 2>a song called they Kicked Me out of the band,

1:14:35.680 --> 1:14:39.080
<v Speaker 2>so I guess that says it all. But he's still

1:14:39.080 --> 1:14:43.519
<v Speaker 2>writing some great, great music. And of late I've gotten

1:14:43.520 --> 1:14:47.519
<v Speaker 2>together with him. You know, we had re Stylesho was

1:14:47.600 --> 1:14:51.000
<v Speaker 2>original member of the Tubes, and Rick Anderson, our bass player,

1:14:51.080 --> 1:14:55.320
<v Speaker 2>both passed away in twenty twenty twenty two, twenty twenty two,

1:14:56.680 --> 1:14:59.559
<v Speaker 2>and Bill and I got together and well, I first

1:14:59.600 --> 1:15:03.280
<v Speaker 2>wrote some poetry for each one of them, sort as

1:15:03.320 --> 1:15:07.200
<v Speaker 2>like a little obituary for them, an homage to each

1:15:07.240 --> 1:15:11.240
<v Speaker 2>one of them. And Bill said, well, it'd be nice

1:15:11.280 --> 1:15:14.840
<v Speaker 2>if we wrote some songs about them, and we had

1:15:14.840 --> 1:15:17.840
<v Speaker 2>done one for Vince earlier when he passed away. We

1:15:17.880 --> 1:15:22.680
<v Speaker 2>did one then. But we just recently recorded for a

1:15:22.720 --> 1:15:26.559
<v Speaker 2>song about Ree and a song for Rick. So we're

1:15:26.560 --> 1:15:29.040
<v Speaker 2>back in the studio again. I'm hoping that maybe we

1:15:29.040 --> 1:15:34.560
<v Speaker 2>can come up with a new Tubes like album. I

1:15:34.600 --> 1:15:36.599
<v Speaker 2>don't know about production value. I don't know if we're

1:15:36.600 --> 1:15:37.960
<v Speaker 2>going to have dancing girls or not.

1:15:39.600 --> 1:15:46.920
<v Speaker 1>Could happen. Okay, So since you started working with Todd,

1:15:47.960 --> 1:15:50.160
<v Speaker 1>does he always call you first to go on the

1:15:50.240 --> 1:15:52.519
<v Speaker 1>road or does he work with other people?

1:15:52.640 --> 1:15:56.040
<v Speaker 2>No, No, it's I'm his drummer. Pretty much after that

1:15:56.240 --> 1:16:00.160
<v Speaker 2>Nearly Human, he had a drummer named Michael Orbono was

1:16:00.200 --> 1:16:03.919
<v Speaker 2>a fabulous drummer. He was in a band with Lyle Workman,

1:16:04.360 --> 1:16:07.479
<v Speaker 2>Larry Tag, Brent Bourgeois and they had a band called

1:16:07.520 --> 1:16:11.120
<v Speaker 2>Bourgeois Tag and they were from Sacramento, and they taught

1:16:11.120 --> 1:16:13.720
<v Speaker 2>had produced one of their albums. So when he was

1:16:13.760 --> 1:16:17.000
<v Speaker 2>ready to come to record that album Nearly Human, he

1:16:17.080 --> 1:16:20.559
<v Speaker 2>just grabbed all those guys and brought him in and

1:16:20.760 --> 1:16:23.599
<v Speaker 2>they were the sort of his backing band for that record,

1:16:24.479 --> 1:16:27.160
<v Speaker 2>and then after that some of them fell in, fell

1:16:27.160 --> 1:16:31.919
<v Speaker 2>out I he was the new drummer. Lyle got replaced

1:16:31.960 --> 1:16:35.880
<v Speaker 2>by Jesse Gress, who was a friend of Lyle's. The

1:16:35.880 --> 1:16:39.320
<v Speaker 2>bass player was on the record was Ross Vallery from Journey.

1:16:39.800 --> 1:16:44.400
<v Speaker 2>He got replaced by Larry tag from that Nearly Human Thing.

1:16:44.680 --> 1:16:51.759
<v Speaker 2>This was for the second Win record. Mingo Lewis. Mingo

1:16:51.880 --> 1:16:56.600
<v Speaker 2>Lewis filled the percussion spot for Scott Matthews, who was

1:16:56.640 --> 1:16:59.559
<v Speaker 2>in the previous one. And I have to say right

1:16:59.560 --> 1:17:02.840
<v Speaker 2>now I miss Mingo Luis. He just passed away last

1:17:02.880 --> 1:17:06.880
<v Speaker 2>week for lung cancer. And he was one of my

1:17:07.439 --> 1:17:11.600
<v Speaker 2>really biggest inspiration, especially in Latin music, in Latin percussion,

1:17:12.640 --> 1:17:16.280
<v Speaker 2>and just a hilarious character, and we spent a lot

1:17:16.320 --> 1:17:18.880
<v Speaker 2>of time together. We met him in the you know,

1:17:19.000 --> 1:17:22.360
<v Speaker 2>in seventy six something like that, and then recorded that

1:17:22.439 --> 1:17:27.040
<v Speaker 2>Now album. He played on that and and Remote Control

1:17:27.920 --> 1:17:30.240
<v Speaker 2>those two albums, and then we tour toward the World

1:17:30.280 --> 1:17:36.680
<v Speaker 2>with him too.

1:17:38.880 --> 1:17:42.280
<v Speaker 1>Okay, you know you end up working seemingly with every

1:17:42.320 --> 1:17:47.120
<v Speaker 1>San Francisco group, not everyone, but a lot of them. Yeah,

1:17:47.720 --> 1:17:51.240
<v Speaker 1>how does that happen? How does that happen.

1:17:51.680 --> 1:17:56.200
<v Speaker 2>Well, let's see. I mean which one in particular I got.

1:17:56.360 --> 1:18:00.360
<v Speaker 2>I got up with what became a Jefferson stars which

1:18:00.600 --> 1:18:05.559
<v Speaker 2>was originally the Jefferson Airplane. And they had had a

1:18:05.680 --> 1:18:08.840
<v Speaker 2>big career as the airplane and that big career as

1:18:08.840 --> 1:18:14.320
<v Speaker 2>the Jefferson Starship in the seventies and eighties, and then

1:18:14.479 --> 1:18:22.679
<v Speaker 2>in the early nineties their new producer manager slash booking

1:18:22.680 --> 1:18:27.679
<v Speaker 2>agent Michael Gamon came to me through a keyboard player

1:18:27.720 --> 1:18:30.919
<v Speaker 2>I've been playing with Tim Gorman, who's also just passed,

1:18:33.960 --> 1:18:36.280
<v Speaker 2>and said, we're putting together a new version of the

1:18:36.320 --> 1:18:41.600
<v Speaker 2>Jefferson Starship. It's called Jefferson Starship the Next Generation. And

1:18:43.880 --> 1:18:46.400
<v Speaker 2>I said, you know, I'm in, So we started playing.

1:18:46.400 --> 1:18:49.799
<v Speaker 2>It was Jack Cassidy and Paul Cantner and Marty Ballen

1:18:49.920 --> 1:18:53.519
<v Speaker 2>and Papa John Creech and this guy named Slick Aguilar

1:18:53.640 --> 1:18:56.760
<v Speaker 2>guitar and Tim Gorman on keyboards who played with The

1:18:56.840 --> 1:19:00.800
<v Speaker 2>Who and with John Entwiss Old Bunch. So that was

1:19:00.800 --> 1:19:04.400
<v Speaker 2>that band. I mean, he carries on, he just carries

1:19:04.439 --> 1:19:07.360
<v Speaker 2>on that. I played with him for twenty years.

1:19:08.400 --> 1:19:09.840
<v Speaker 1>What other bands? Oh, Dick Dale.

1:19:09.840 --> 1:19:11.400
<v Speaker 2>I never really got to talk to you about Dick

1:19:11.479 --> 1:19:15.160
<v Speaker 2>Dale because he was my inspiration in the early surf stuff,

1:19:15.240 --> 1:19:17.840
<v Speaker 2>learning how to play surf drums. So long to Dick Dale,

1:19:18.120 --> 1:19:22.640
<v Speaker 2>you know, doing miser Loo and all those songs, Peppermint

1:19:22.640 --> 1:19:28.479
<v Speaker 2>Twist and all those songs. And Scott Matthews and Joel Salbyn,

1:19:28.520 --> 1:19:30.320
<v Speaker 2>I don't know, you know who. Joel Salbyn is the

1:19:30.400 --> 1:19:35.000
<v Speaker 2>music critic and as an author, lives here in San Francisco.

1:19:35.040 --> 1:19:39.400
<v Speaker 2>And he got contacted by Dick Dale or whoever whatever

1:19:39.400 --> 1:19:43.599
<v Speaker 2>the record company was, to organize some musicians to come

1:19:43.600 --> 1:19:48.760
<v Speaker 2>in and record the next generation of Dick Dale. He

1:19:48.880 --> 1:19:51.599
<v Speaker 2>had been sort of out of the picture for you know,

1:19:52.400 --> 1:19:57.439
<v Speaker 2>ten or fifteen years, and he now wanted to come

1:19:57.439 --> 1:20:01.400
<v Speaker 2>out and talk to the he says, he says, the

1:20:01.479 --> 1:20:04.880
<v Speaker 2>body peers to people. He wanted he wanted to get

1:20:04.920 --> 1:20:08.360
<v Speaker 2>that that audience going, you know. So we went in

1:20:08.400 --> 1:20:11.080
<v Speaker 2>the studio with Scott Matthews, who was sort of the

1:20:11.120 --> 1:20:14.519
<v Speaker 2>producer and also the second drummer. I was the first

1:20:14.600 --> 1:20:18.000
<v Speaker 2>drump Well, we shared the drum chair and then Dick

1:20:18.080 --> 1:20:22.720
<v Speaker 2>had a bass player Ron, and we went in and

1:20:22.760 --> 1:20:28.679
<v Speaker 2>recorded some crazy record. It was called it called uh

1:20:29.400 --> 1:20:33.320
<v Speaker 2>I can't remember, the Tribal Thunder, the Tribal Thunder yet

1:20:33.479 --> 1:20:38.479
<v Speaker 2>unknown territory. We did two albums with that lineup. San

1:20:38.479 --> 1:20:40.760
<v Speaker 2>francisc was that I was early nineties as well, and

1:20:41.200 --> 1:20:44.000
<v Speaker 2>that was crazy and amazing. And you know, I had

1:20:44.000 --> 1:20:46.519
<v Speaker 2>to tell Dick and I learned to play drums listening

1:20:46.520 --> 1:20:49.639
<v Speaker 2>to you, and he goes, I've broken I've broken hundreds

1:20:49.680 --> 1:20:53.280
<v Speaker 2>of drummers. You're one of my favorites. And I was like,

1:20:54.439 --> 1:20:56.880
<v Speaker 2>after a hundreds of drummers, he broke them like a

1:20:56.960 --> 1:20:59.920
<v Speaker 2>Mustang or what. He goes, Yep, they can't play that.

1:21:02.240 --> 1:21:04.160
<v Speaker 2>They can't play it along with me as fast as

1:21:04.200 --> 1:21:08.200
<v Speaker 2>I did. I said, well, I can't. I did anyway.

1:21:08.200 --> 1:21:10.559
<v Speaker 2>That was That was another one of he wasn't even

1:21:10.560 --> 1:21:13.240
<v Speaker 2>a San Francisco guy, but he was. He was one

1:21:13.240 --> 1:21:15.920
<v Speaker 2>of the people that I played with Chris Isaac. He

1:21:16.000 --> 1:21:18.120
<v Speaker 2>was a whole other one that was all through the eighties.

1:21:19.920 --> 1:21:21.760
<v Speaker 2>I never really got to play with him live, but

1:21:21.800 --> 1:21:26.479
<v Speaker 2>I've recorded on his albums. This for four albums and recorded, uh,

1:21:27.000 --> 1:21:29.679
<v Speaker 2>you know, the song Wicked Game was a pretty big

1:21:29.680 --> 1:21:32.439
<v Speaker 2>deal for him, and I got a platinum album out

1:21:32.439 --> 1:21:32.960
<v Speaker 2>of that deal.

1:21:33.280 --> 1:21:34.720
<v Speaker 1>That's pretty cool.

1:21:34.920 --> 1:21:37.200
<v Speaker 2>But you know, he's always he always had his own drummer,

1:21:37.360 --> 1:21:40.880
<v Speaker 2>you know, on the road, and then eventually Kat Kenny

1:21:40.960 --> 1:21:44.800
<v Speaker 2>Kenny Dale Johnson, great guy, great singer, great drummer. But

1:21:45.680 --> 1:21:49.519
<v Speaker 2>they wanted me on the recordings, on those early early records,

1:21:49.600 --> 1:21:53.520
<v Speaker 2>so I didn't say no, I needed a paycheck.

1:21:55.200 --> 1:22:02.240
<v Speaker 1>Okay, you know, you living the dream in the seventies

1:22:02.880 --> 1:22:08.280
<v Speaker 1>into the early eighties. You're in action. You may not

1:22:08.360 --> 1:22:13.320
<v Speaker 1>be making any money, but you're known that there's a

1:22:13.439 --> 1:22:16.000
<v Speaker 1>day new mold there. You know. It's like you say,

1:22:16.000 --> 1:22:20.120
<v Speaker 1>the Tubes never really go on hiatus, but they're no

1:22:20.200 --> 1:22:25.960
<v Speaker 1>longer the focus right of the community. Are you freaking

1:22:26.040 --> 1:22:29.080
<v Speaker 1>out or you think it? Man, I'll always work. They

1:22:29.080 --> 1:22:30.120
<v Speaker 1>always need a drummer.

1:22:30.640 --> 1:22:33.080
<v Speaker 2>I've always thought that they always need a drummer, and

1:22:33.120 --> 1:22:36.080
<v Speaker 2>they always needed me as a drummer as they But

1:22:36.360 --> 1:22:39.160
<v Speaker 2>I have a lot of drummer friends. If I couldn't

1:22:39.160 --> 1:22:41.960
<v Speaker 2>do it because I was conflicted with the Starship the

1:22:42.000 --> 1:22:45.599
<v Speaker 2>Tubes or Todd Runggren's touring plans, I'd always I had

1:22:45.760 --> 1:22:49.040
<v Speaker 2>a little stable of guys that would happily fill in

1:22:49.080 --> 1:22:51.800
<v Speaker 2>for me and fill in for me in each of

1:22:51.840 --> 1:22:55.160
<v Speaker 2>one of those bands. They knew all the music, and

1:22:56.120 --> 1:22:59.040
<v Speaker 2>trace Abatelli is one of them was a wonderful drummer,

1:23:00.160 --> 1:23:05.320
<v Speaker 2>Dean Johnson. Jonathan Moover. Jonathan Moover is a great, great

1:23:05.360 --> 1:23:08.160
<v Speaker 2>drummer and he's played in the two for me a

1:23:08.200 --> 1:23:09.240
<v Speaker 2>bunch of times.

1:23:09.800 --> 1:23:15.479
<v Speaker 1>So yeah, it was. It was one of those things. Okay, okay,

1:23:16.000 --> 1:23:19.400
<v Speaker 1>the gigs you get are people calling you, go man,

1:23:19.439 --> 1:23:21.240
<v Speaker 1>you're a great drummer, I need you to work with me?

1:23:21.640 --> 1:23:23.680
<v Speaker 1>Or are you work at it? Are you putting out

1:23:23.720 --> 1:23:24.080
<v Speaker 1>the world.

1:23:24.640 --> 1:23:26.400
<v Speaker 2>I don't have a manager, I don't have an agent,

1:23:26.520 --> 1:23:28.960
<v Speaker 2>I don't have any of that stuff. Now, I actually

1:23:29.040 --> 1:23:32.400
<v Speaker 2>have a pretty good little manager. And she's my niece,

1:23:32.439 --> 1:23:34.439
<v Speaker 2>and she lives in Manhattan, and she's a go getter.

1:23:34.800 --> 1:23:39.040
<v Speaker 2>She's actually really instrumental in helping me organize this whole album,

1:23:39.960 --> 1:23:42.680
<v Speaker 2>along with her mother, which is the sister I was

1:23:42.720 --> 1:23:43.240
<v Speaker 2>talking about.

1:23:43.320 --> 1:23:43.759
<v Speaker 1>Leslie.

1:23:44.600 --> 1:23:48.840
<v Speaker 2>Francesca is an amazing works in the you know, the

1:23:48.880 --> 1:23:54.000
<v Speaker 2>public image, and she works for musicians and authors mostly

1:23:54.280 --> 1:23:58.200
<v Speaker 2>are her clients. And I'm just the guy that you know,

1:23:58.479 --> 1:24:02.439
<v Speaker 2>she loves. So she does it pretty much just because

1:24:02.479 --> 1:24:05.400
<v Speaker 2>he loves me. And throw a bone. Throw a bone

1:24:05.439 --> 1:24:08.200
<v Speaker 2>every now and then. Thanks franchastic, how's you worked out

1:24:08.280 --> 1:24:09.559
<v Speaker 2>economically for you.

1:24:10.439 --> 1:24:13.000
<v Speaker 1>How has it not so good? Really?

1:24:13.040 --> 1:24:15.200
<v Speaker 2>I mean I get a little bit of royalty here

1:24:15.280 --> 1:24:19.760
<v Speaker 2>there for this and that too mostly but you know,

1:24:19.800 --> 1:24:22.360
<v Speaker 2>I get some royalties and stuff from and publishing from

1:24:22.760 --> 1:24:27.600
<v Speaker 2>ISAAC Records and XTC. I get some stuff from xdc's records.

1:24:28.920 --> 1:24:33.200
<v Speaker 2>Uh yeah, not not great. But you know, I'm managing

1:24:33.560 --> 1:24:37.280
<v Speaker 2>to get by. I'm going to be seventy six in May,

1:24:37.760 --> 1:24:39.800
<v Speaker 2>so I don't know how how long I need to

1:24:39.880 --> 1:24:42.679
<v Speaker 2>really carry on with worrying about money.

1:24:42.720 --> 1:24:44.480
<v Speaker 1>I don't have to worry about money.

1:24:44.640 --> 1:24:46.639
<v Speaker 2>But I still like to play, and I still make

1:24:47.000 --> 1:24:51.240
<v Speaker 2>money doing my paintings and my artwork, and and you know,

1:24:51.479 --> 1:24:54.479
<v Speaker 2>just enough to get by. I live in a rental house.

1:24:54.520 --> 1:24:57.120
<v Speaker 2>I don't own any house, but I do have some

1:24:57.200 --> 1:25:00.680
<v Speaker 2>property in western New York that I sh with one

1:25:00.680 --> 1:25:04.160
<v Speaker 2>of my exes, and we planned to move there someday.

1:25:05.040 --> 1:25:08.040
<v Speaker 2>Not really, it's too cold. It's too cold there. And

1:25:08.080 --> 1:25:09.160
<v Speaker 2>do you have any children?

1:25:09.439 --> 1:25:13.639
<v Speaker 1>No children? No, No, it was that conscious about wanting

1:25:13.680 --> 1:25:13.960
<v Speaker 1>to have.

1:25:14.160 --> 1:25:17.839
<v Speaker 2>No, No, it wasn't conscious necessarily. It's just the ladies

1:25:17.840 --> 1:25:20.080
<v Speaker 2>that I had hooked up with that maybe would have

1:25:20.120 --> 1:25:23.439
<v Speaker 2>been good mothers or wanted to have kids. We are

1:25:23.600 --> 1:25:28.280
<v Speaker 2>very few and or couldn't have them and so never did.

1:25:29.120 --> 1:25:30.880
<v Speaker 2>Plus just being on the road all the time. I

1:25:30.920 --> 1:25:33.000
<v Speaker 2>don't even have a pet, you know, I can't even

1:25:33.200 --> 1:25:39.040
<v Speaker 2>own a pet. But yeah, I'm a happy, happy bachelor.

1:25:39.160 --> 1:25:42.200
<v Speaker 2>And I have a wonderful family. All my nieces and

1:25:42.240 --> 1:25:44.519
<v Speaker 2>nephews live here in San Francisco except for the one

1:25:44.560 --> 1:25:48.400
<v Speaker 2>in New York, and we have a wonderful lifestyle. They're

1:25:48.439 --> 1:25:52.360
<v Speaker 2>all artists and musicians as well. I live with my

1:25:52.920 --> 1:25:55.919
<v Speaker 2>great nephews, a drummer and a local band, and he's

1:25:56.439 --> 1:25:58.360
<v Speaker 2>he's getting better than I am, so he might be

1:25:58.400 --> 1:26:01.640
<v Speaker 2>one of my substitutes in one of these bands.

1:26:01.920 --> 1:26:05.920
<v Speaker 1>Monday, So if you stop working today, do you have

1:26:06.040 --> 1:26:08.439
<v Speaker 1>enough money to get to the end? Wow? You really

1:26:08.439 --> 1:26:11.600
<v Speaker 1>get personal, aren't too? Yeah? Yeah? Enough money? Yes, I

1:26:11.640 --> 1:26:12.799
<v Speaker 1>would say yes. Yes.

1:26:13.160 --> 1:26:16.840
<v Speaker 2>I saved a few things. I got a few ires

1:26:16.920 --> 1:26:20.479
<v Speaker 2>and that kind of stuff. I've saved someoney and I

1:26:20.520 --> 1:26:22.960
<v Speaker 2>didn't have to spend it on a house. Did I really?

1:26:23.280 --> 1:26:28.640
<v Speaker 1>Well? Our kid? How did you meet? We? Styles? And

1:26:28.720 --> 1:26:30.479
<v Speaker 1>where is she today? Oh?

1:26:30.560 --> 1:26:35.200
<v Speaker 2>Well, she passed away in twenty twenty two, but we

1:26:35.200 --> 1:26:36.160
<v Speaker 2>were good friends.

1:26:37.760 --> 1:26:38.760
<v Speaker 1>I met her.

1:26:40.000 --> 1:26:42.840
<v Speaker 2>Through a photographer friend of mine, Michael Cotton, and I

1:26:42.920 --> 1:26:44.519
<v Speaker 2>were painting me. I don't know if you ever heard

1:26:44.520 --> 1:26:48.240
<v Speaker 2>of the Cliff House. It's a yeah, yeah, fabulous restaurant

1:26:48.920 --> 1:26:52.000
<v Speaker 2>right on the ocean there on the cliff, and we

1:26:52.080 --> 1:26:56.160
<v Speaker 2>got we got commissioned to paint some giant waves on

1:26:56.240 --> 1:26:58.640
<v Speaker 2>the outside of that building and it was all scaffolded,

1:26:59.439 --> 1:27:05.479
<v Speaker 2>and areographer friend used that as a as a site

1:27:05.600 --> 1:27:09.280
<v Speaker 2>for his photo session, and so he brought Ree over

1:27:09.360 --> 1:27:12.000
<v Speaker 2>with a brand new pair of Levi's that he was

1:27:12.040 --> 1:27:14.080
<v Speaker 2>doing an ad for Macy's at the time. And that

1:27:14.160 --> 1:27:19.839
<v Speaker 2>was seventy three, and she was also in the Tubes

1:27:19.880 --> 1:27:23.280
<v Speaker 2>when we played the led Zeppelin. She had just gotten

1:27:23.280 --> 1:27:25.400
<v Speaker 2>into the Tubes in seventy three. I remember that was

1:27:25.439 --> 1:27:29.240
<v Speaker 2>I think her first concert with the Tubes. But yeah,

1:27:29.240 --> 1:27:32.200
<v Speaker 2>I met her and we were just you know, I

1:27:32.240 --> 1:27:34.160
<v Speaker 2>met her and she said, oh, can I get up

1:27:34.160 --> 1:27:37.280
<v Speaker 2>on the scaffolding with you guys? And photographer was taking

1:27:37.320 --> 1:27:40.400
<v Speaker 2>pictures and I was completely covered with the same Levi outfit,

1:27:40.439 --> 1:27:43.960
<v Speaker 2>but completely covered with paint at gas mask onco we

1:27:43.960 --> 1:27:46.400
<v Speaker 2>were spraying these giant waves on the side of it.

1:27:46.840 --> 1:27:50.080
<v Speaker 2>So that's the photo session. It's all documented. That was

1:27:50.120 --> 1:27:52.880
<v Speaker 2>the first time I met her and she goes, well,

1:27:52.880 --> 1:27:55.280
<v Speaker 2>you know, tomorrow I'm supposed to was I was going

1:27:55.360 --> 1:27:58.439
<v Speaker 2>to leave for Alaska with my girlfriend and become a tripper.

1:28:00.320 --> 1:28:04.040
<v Speaker 2>I said, well, maybe you could write me a letter

1:28:04.120 --> 1:28:07.120
<v Speaker 2>or something. So I did just as left, and I

1:28:07.160 --> 1:28:09.960
<v Speaker 2>thought I'd never see her again. And then maybe a

1:28:10.000 --> 1:28:14.760
<v Speaker 2>week later, another friend of the photographer helped me up

1:28:14.800 --> 1:28:17.000
<v Speaker 2>and she goes, hey, I want you to meet this girl.

1:28:17.080 --> 1:28:20.200
<v Speaker 2>Ree said, I think I met her already. So she

1:28:20.280 --> 1:28:24.320
<v Speaker 2>came out and we rekindled, rekindled and never left each

1:28:24.360 --> 1:28:27.920
<v Speaker 2>other after that, moved into each other, moved in with

1:28:27.960 --> 1:28:32.439
<v Speaker 2>each other in seventy three, and she, you know, we

1:28:32.880 --> 1:28:36.080
<v Speaker 2>had a falling out in the late nineties, mid nineties,

1:28:37.600 --> 1:28:40.360
<v Speaker 2>so I really didn't see her much for the next

1:28:40.360 --> 1:28:43.760
<v Speaker 2>twenty years or something. But she held out of the

1:28:43.800 --> 1:28:46.479
<v Speaker 2>apartment that we both lived in in the seventies and

1:28:46.600 --> 1:28:50.040
<v Speaker 2>the eighties, and she stayed stayed there until she died.

1:28:51.720 --> 1:28:55.840
<v Speaker 1>When you have falling out with these people, are they

1:28:57.400 --> 1:28:59.920
<v Speaker 1>because you were continuing to have a career and they

1:29:00.240 --> 1:29:00.840
<v Speaker 1>it did end.

1:29:01.160 --> 1:29:04.040
<v Speaker 2>It actually was kind of that's the sort of the case,

1:29:04.120 --> 1:29:08.719
<v Speaker 2>not with Reed, because we kept on for years after

1:29:08.760 --> 1:29:12.840
<v Speaker 2>she left the tubes. She left the tubes in like

1:29:12.880 --> 1:29:16.720
<v Speaker 2>seventy nine. Right after that, remote control to her and

1:29:17.160 --> 1:29:21.000
<v Speaker 2>I stayed with her until mid mid nineties, so we

1:29:21.000 --> 1:29:23.760
<v Speaker 2>were still living together. But yeah, it didn't ever get

1:29:24.360 --> 1:29:27.479
<v Speaker 2>very very good after that because I was always on

1:29:27.560 --> 1:29:31.040
<v Speaker 2>the road. She was doing she had changed businesses. She

1:29:31.080 --> 1:29:34.560
<v Speaker 2>went into a horticulture she was doing flower arrangements and

1:29:34.800 --> 1:29:36.719
<v Speaker 2>different kinds of jobs that she had.

1:29:37.320 --> 1:29:42.680
<v Speaker 1>After that. Yeah, we just you know, drifted apart. So

1:29:42.760 --> 1:29:46.320
<v Speaker 1>all the people you graduated from the San Francisco it's

1:29:46.439 --> 1:29:52.000
<v Speaker 1>too correct, Yeah, bachelors and painting, what happened to all this?

1:29:52.240 --> 1:29:55.639
<v Speaker 2>The students you went to school with, Wow, I haven't

1:29:55.680 --> 1:29:58.720
<v Speaker 2>really kept in touch with many of them. One of

1:29:58.760 --> 1:30:01.800
<v Speaker 2>them was in the film department, a guy named Meno Maas,

1:30:02.600 --> 1:30:06.040
<v Speaker 2>and he became a screenplay writer and did a lot

1:30:06.080 --> 1:30:08.559
<v Speaker 2>of stuff with Spielberg, and I still stay in touch

1:30:08.560 --> 1:30:13.400
<v Speaker 2>with him. He lives in England. Really not so much,

1:30:13.560 --> 1:30:15.960
<v Speaker 2>not so many people. There's a few other few other

1:30:16.000 --> 1:30:20.479
<v Speaker 2>people that I just over the years said, oh you

1:30:20.479 --> 1:30:24.360
<v Speaker 2>remember me from the Art Institute or something. Oh, yeah,

1:30:24.400 --> 1:30:26.280
<v Speaker 2>I remember you. You were the guy that worked on

1:30:26.320 --> 1:30:33.840
<v Speaker 2>that horrible clay sculpture or something. But no, but you know,

1:30:34.040 --> 1:30:37.800
<v Speaker 2>a lot of the people that will always remember those

1:30:37.800 --> 1:30:40.320
<v Speaker 2>shows that we did. The Tubes did at the Art Institute,

1:30:40.600 --> 1:30:43.040
<v Speaker 2>and we did a couple. We did another one called

1:30:43.120 --> 1:30:48.480
<v Speaker 2>Women's Lip and it was our art school girl girlfriends

1:30:49.240 --> 1:30:52.720
<v Speaker 2>dressed up with those plastic boobs and aprons and like

1:30:53.840 --> 1:30:56.599
<v Speaker 2>swept the floor and mopped the floor around the stage.

1:30:56.640 --> 1:31:00.720
<v Speaker 2>For us, it was their idea, not art. I thought, wow,

1:31:00.760 --> 1:31:03.120
<v Speaker 2>that was a strange, strange thing. And one of those

1:31:03.160 --> 1:31:07.400
<v Speaker 2>girls was Catherine Bigelow. Really we became you know, like

1:31:07.560 --> 1:31:13.080
<v Speaker 2>the great uh director and one of those and act.

1:31:13.160 --> 1:31:16.960
<v Speaker 2>That's that same show she was wearing those presidential masks

1:31:17.320 --> 1:31:21.120
<v Speaker 2>that she ended up in that film called Point Break.

1:31:21.560 --> 1:31:23.599
<v Speaker 1>Remember that you remember? Yeah?

1:31:24.280 --> 1:31:27.120
<v Speaker 2>That that was the movie where the guy guys robbed

1:31:27.160 --> 1:31:29.080
<v Speaker 2>the bank with the president's masks.

1:31:29.600 --> 1:31:32.000
<v Speaker 1>And that wasn't the Was that the one she directed?

1:31:33.560 --> 1:31:36.200
<v Speaker 1>I don't know. She did Zero Dark thirty. Yeah, I

1:31:36.479 --> 1:31:39.080
<v Speaker 1>was as later. You know point Break?

1:31:39.520 --> 1:31:43.519
<v Speaker 2>Uh it was it was a blue Crush, you no,

1:31:43.600 --> 1:31:48.479
<v Speaker 2>it was Point Break. I think it was with Yeah,

1:31:48.560 --> 1:31:50.880
<v Speaker 2>I think it was. It was Patrick Swaycey and.

1:31:53.320 --> 1:31:55.160
<v Speaker 1>Director Catherine Bigelow.

1:31:55.160 --> 1:31:57.200
<v Speaker 2>You're right, I think you know who else was in

1:31:57.280 --> 1:32:01.760
<v Speaker 2>it was Anthony Keatas and he played layed like one

1:32:01.760 --> 1:32:02.880
<v Speaker 2>of the surf punks in it.

1:32:04.040 --> 1:32:05.439
<v Speaker 1>I haven't seen that in a long time.

1:32:05.520 --> 1:32:07.160
<v Speaker 2>Yeah, so funny way that was. I just thought it

1:32:07.200 --> 1:32:09.559
<v Speaker 2>was funny because I saw that movie years after we

1:32:09.680 --> 1:32:12.080
<v Speaker 2>had done that thing. Hey, those are the same mass

1:32:12.120 --> 1:32:16.160
<v Speaker 2>and our lew Women's lips show that we did.

1:32:16.280 --> 1:32:23.880
<v Speaker 1>And anyway, so the two success in the seventies. There

1:32:23.920 --> 1:32:27.439
<v Speaker 1>was a sixties sensibility and then the commerciality of the

1:32:27.479 --> 1:32:33.760
<v Speaker 1>seventies where artists stood a scance risk, you know, and

1:32:33.800 --> 1:32:36.160
<v Speaker 1>they looked at things in their comment and on them.

1:32:36.479 --> 1:32:39.280
<v Speaker 1>That is not the world we live in today. What

1:32:39.280 --> 1:32:41.519
<v Speaker 1>do you think about the world we live in today?

1:32:42.439 --> 1:32:43.479
<v Speaker 1>What do I think about it?

1:32:43.520 --> 1:32:47.400
<v Speaker 2>Well, I think that we're in dire straits in lots

1:32:47.400 --> 1:32:54.840
<v Speaker 2>of areas, especially our country's politics and the weird weirdness

1:32:54.920 --> 1:33:01.880
<v Speaker 2>and the segregation and Horacio ConfL and all that stuff,

1:33:01.920 --> 1:33:04.240
<v Speaker 2>and you know, brought I brought some of that out

1:33:04.280 --> 1:33:06.200
<v Speaker 2>in my record. I tried not to do too much

1:33:06.240 --> 1:33:11.559
<v Speaker 2>political commentary. But the one song called Trash White is

1:33:11.600 --> 1:33:17.400
<v Speaker 2>about you know, white supremacy and and Todd Ruggren was

1:33:17.479 --> 1:33:19.840
<v Speaker 2>the co author of that, And we were at a

1:33:20.000 --> 1:33:22.920
<v Speaker 2>restaurant one day and he goes, I had asked him to,

1:33:23.000 --> 1:33:26.280
<v Speaker 2>you know, collaborate with me on this record, and it's

1:33:26.320 --> 1:33:29.320
<v Speaker 2>called Colors and Passions. And he goes, well, I said, well,

1:33:29.479 --> 1:33:32.880
<v Speaker 2>what color would you maybe want to invest in and

1:33:33.040 --> 1:33:36.000
<v Speaker 2>with your talents? And he goes, I don't know a

1:33:36.080 --> 1:33:41.439
<v Speaker 2>lot chartruse. I like that, Okay, I already got green.

1:33:41.760 --> 1:33:43.800
<v Speaker 2>But he goes, well, how about.

1:33:45.880 --> 1:33:47.320
<v Speaker 1>How about uh.

1:33:47.479 --> 1:33:49.519
<v Speaker 2>Try to think of a few other colors. I can't

1:33:49.520 --> 1:33:52.920
<v Speaker 2>remember what the other colors were, but and then he

1:33:53.000 --> 1:33:54.600
<v Speaker 2>started thinking, and he goes, what do you mean? You know,

1:33:54.800 --> 1:33:59.519
<v Speaker 2>trash white is a color. It's the color that doesn't

1:33:59.520 --> 1:34:01.400
<v Speaker 2>want to be a around any of the other colors

1:34:01.439 --> 1:34:05.240
<v Speaker 2>in the pay box. It doesn't want to be you know,

1:34:05.280 --> 1:34:08.960
<v Speaker 2>it's embarrassed to be seeing with these other people or

1:34:09.080 --> 1:34:10.440
<v Speaker 2>these other colors.

1:34:10.080 --> 1:34:10.320
<v Speaker 1>You know.

1:34:11.240 --> 1:34:15.519
<v Speaker 2>And I thought, wow, that's pretty cool, amazing. So that

1:34:15.680 --> 1:34:17.720
<v Speaker 2>kind of we left it. We kind of left it

1:34:17.720 --> 1:34:19.519
<v Speaker 2>there and said, well, we're going to work on that concept,

1:34:19.600 --> 1:34:22.040
<v Speaker 2>and sure enough we did, and we had we had

1:34:22.080 --> 1:34:26.280
<v Speaker 2>a couple other meetings and talked about it. And I said, well,

1:34:26.320 --> 1:34:28.120
<v Speaker 2>what do you want from me? He todd, and he goes, well,

1:34:28.240 --> 1:34:30.080
<v Speaker 2>just send me something. So I sent him a drum

1:34:30.120 --> 1:34:35.840
<v Speaker 2>track and some little sniveling lyrical stuff about you know,

1:34:36.160 --> 1:34:39.519
<v Speaker 2>bat to the bone and uh, white trash people and

1:34:39.760 --> 1:34:42.760
<v Speaker 2>trash white people and this kind of stuff, and he

1:34:42.840 --> 1:34:45.920
<v Speaker 2>came back with the what ended up being the verses

1:34:46.000 --> 1:34:49.439
<v Speaker 2>of this stuff, which is just genius, brilliant stuff. So

1:34:49.479 --> 1:34:51.360
<v Speaker 2>I have to give him so much credit for that.

1:34:51.680 --> 1:34:54.800
<v Speaker 2>And he's actually in the video too, doing his best

1:34:54.840 --> 1:34:58.040
<v Speaker 2>impersonation of well, just like what you're doing right now,

1:34:58.040 --> 1:35:02.200
<v Speaker 2>inner radio station with a bunch of smoke smoking he

1:35:02.200 --> 1:35:05.680
<v Speaker 2>was smoking to join anything, but mostly cigarette, talking to

1:35:05.680 --> 1:35:10.280
<v Speaker 2>a big microphone like this, wrapping his part down and uh.

1:35:10.479 --> 1:35:13.200
<v Speaker 2>And so that's in the video called trash white anger.

1:35:13.640 --> 1:35:17.639
<v Speaker 2>That that's the passion, whether it's anger. So I check

1:35:17.680 --> 1:35:18.760
<v Speaker 2>it out.

1:35:19.000 --> 1:35:21.800
<v Speaker 1>To what degree are you still painting? Oh?

1:35:22.360 --> 1:35:24.400
<v Speaker 2>Well, like I said, I just did the Robin Williams

1:35:24.439 --> 1:35:24.880
<v Speaker 2>T shirt.

1:35:25.439 --> 1:35:26.000
<v Speaker 1>Last week.

1:35:26.920 --> 1:35:29.360
<v Speaker 2>I worked for a client who is, uh, you know,

1:35:30.080 --> 1:35:33.360
<v Speaker 2>multi millionaire client who has a big, beautiful house in

1:35:33.439 --> 1:35:37.760
<v Speaker 2>San Francisco up in Pacific Heights, and he has he's

1:35:37.760 --> 1:35:41.240
<v Speaker 2>sort of my medici, you know, he he's my patron,

1:35:41.520 --> 1:35:44.000
<v Speaker 2>and uh, I do a lot of work for him,

1:35:44.240 --> 1:35:48.640
<v Speaker 2>their mural work and faux work and stencil work and

1:35:50.000 --> 1:35:52.000
<v Speaker 2>doing things like that. So I've got a big project

1:35:52.479 --> 1:35:54.840
<v Speaker 2>that I'm uh. I should have been there today, but

1:35:54.920 --> 1:35:59.200
<v Speaker 2>I'm here with you. I do a lot of portraits.

1:35:59.280 --> 1:36:03.560
<v Speaker 2>I've got to do portraits I do. I've just got

1:36:04.400 --> 1:36:08.200
<v Speaker 2>it's not solidified yet, but they're going to do the

1:36:08.680 --> 1:36:12.120
<v Speaker 2>reopening them the Boo Hi Gardens in San Francisco on Broadway,

1:36:12.760 --> 1:36:16.000
<v Speaker 2>which was the punk palace back in the seventies, and

1:36:16.040 --> 1:36:19.720
<v Speaker 2>they got some new owners, they got some new people involved,

1:36:19.800 --> 1:36:23.479
<v Speaker 2>and they want some murals from me inside. I'm looking

1:36:23.479 --> 1:36:28.799
<v Speaker 2>forward to doing that, some Screamers and some off Black Flag,

1:36:28.920 --> 1:36:31.080
<v Speaker 2>you know, some shing like that, and then some with

1:36:31.200 --> 1:36:33.920
<v Speaker 2>the new a new generation of punk rockers, which is

1:36:34.600 --> 1:36:37.080
<v Speaker 2>my great nephew False Flag.

1:36:38.920 --> 1:36:43.280
<v Speaker 1>Okay, so looking back at the nearly seventy six years,

1:36:43.680 --> 1:36:47.080
<v Speaker 1>you're happy the way it played out. I still playing, baby,

1:36:47.479 --> 1:36:50.479
<v Speaker 1>I'm still playing. But yeah, you're only looking back seventy

1:36:50.520 --> 1:36:52.800
<v Speaker 1>six after that, you're looking forward. I try not to

1:36:52.800 --> 1:36:57.120
<v Speaker 1>look back more than about a week. No, I'm very

1:36:57.120 --> 1:36:59.640
<v Speaker 1>happy with it. And yeah, I remember turning sixty and

1:36:59.680 --> 1:37:04.080
<v Speaker 1>thinking if I died tomorrow, i'd be happy. That's sixty.

1:37:04.160 --> 1:37:09.360
<v Speaker 1>That's fifteen, sixteen years ago. I still feel better now

1:37:09.360 --> 1:37:12.599
<v Speaker 1>that I've lived those sixteen years and learned so much

1:37:13.560 --> 1:37:19.280
<v Speaker 1>and spread the joy, spread music to people and love.

1:37:19.400 --> 1:37:24.520
<v Speaker 1>You know, That's what I'm all about. Well, Prairie, fascinating

1:37:24.600 --> 1:37:26.920
<v Speaker 1>talk to you. I've seen the tube so many times

1:37:26.960 --> 1:37:30.360
<v Speaker 1>in different locations. Good to finally meet you. You were

1:37:30.439 --> 1:37:32.880
<v Speaker 1>an image I didn't know the guy I said to meet.

1:37:32.920 --> 1:37:36.080
<v Speaker 1>You're a cool guy. Thanks for taking this time with

1:37:36.160 --> 1:37:36.839
<v Speaker 1>my audience.

1:37:36.960 --> 1:37:39.200
<v Speaker 2>I was very very happy to be part of this

1:37:39.720 --> 1:37:41.640
<v Speaker 2>after seeing the roster you had a.

1:37:42.240 --> 1:37:47.400
<v Speaker 1>Interviews, but honored to be here till next time. This

1:37:47.560 --> 1:37:48.760
<v Speaker 1>is Bob Lefsides