WEBVTT - Harold Bronson

0:00:08.640 --> 0:00:12.520
<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Stats Podcast.

0:00:12.640 --> 0:00:15.920
<v Speaker 1>My guest today is the one and only Harold Bronson,

0:00:16.320 --> 0:00:19.560
<v Speaker 1>one of the original Rhino Brothers, and he is the

0:00:19.600 --> 0:00:23.159
<v Speaker 1>man who started the Rhino Records label. Harold, good to

0:00:23.200 --> 0:00:25.480
<v Speaker 1>have you, happy to be here? Okay, So what do

0:00:25.600 --> 0:00:28.960
<v Speaker 1>we know? You know, we're parking our cars, and I say, hey,

0:00:28.960 --> 0:00:32.159
<v Speaker 1>do you come here to Hollywood often? And then you

0:00:32.320 --> 0:00:34.760
<v Speaker 1>merely start going into rock history? So tell me what

0:00:34.800 --> 0:00:37.680
<v Speaker 1>was going on here? Okay? Well, first of all, um,

0:00:37.680 --> 0:00:39.880
<v Speaker 1>when I was a rock rider in the nineties seventies,

0:00:40.360 --> 0:00:42.199
<v Speaker 1>I used to come here quite a bit because the

0:00:42.320 --> 0:00:46.360
<v Speaker 1>record companies were here except for Warner Brothers in Burbank

0:00:46.440 --> 0:00:50.400
<v Speaker 1>and Universal and Universal City. And then, uh, Rolling Stone

0:00:51.280 --> 0:00:54.600
<v Speaker 1>was on Sunset Boulevard at the l A office. Where

0:00:54.680 --> 0:00:56.639
<v Speaker 1>was Where were they on Sunset Boulevard? I think it's

0:00:56.640 --> 0:00:59.680
<v Speaker 1>I think the cross street was Seward. Okay, outside of

0:00:59.720 --> 0:01:02.400
<v Speaker 1>the street didn't looked like a building that Raymond Chandler,

0:01:02.920 --> 0:01:05.120
<v Speaker 1>you know, might have been in. Well, how much of

0:01:05.120 --> 0:01:10.240
<v Speaker 1>a presence did they have in Los Angeles? Rolling Stone? Um, well,

0:01:10.280 --> 0:01:16.919
<v Speaker 1>initially very little. And then at this point, Um, Judy Sims,

0:01:17.160 --> 0:01:20.759
<v Speaker 1>who had been a publicist at Warner Brothers Records. Then

0:01:20.800 --> 0:01:22.560
<v Speaker 1>she became the l A editor and she's the one

0:01:22.560 --> 0:01:27.040
<v Speaker 1>who found the space. But anyway, as we were walking in, UM,

0:01:27.720 --> 0:01:32.120
<v Speaker 1>I remarked that, um, on this street, at sixteen oh

0:01:32.120 --> 0:01:35.080
<v Speaker 1>a Cosmo Street, there used to be a club called

0:01:35.120 --> 0:01:39.080
<v Speaker 1>beato Letos, which was really significant. Um. I think it

0:01:39.160 --> 0:01:44.360
<v Speaker 1>was to sixty eight. But uh you heard a lot

0:01:44.400 --> 0:01:46.600
<v Speaker 1>about it because I love played there a lot. But

0:01:46.680 --> 0:01:51.000
<v Speaker 1>also the doors, um, the seeds, the iron butterfly. And

0:01:51.040 --> 0:01:55.080
<v Speaker 1>according to Arthur Lee, if my memory is correct, that's

0:01:55.080 --> 0:01:57.200
<v Speaker 1>where the Rolling Stones came in and saw them do

0:01:57.440 --> 0:02:01.600
<v Speaker 1>a long song which is fired them too when they

0:02:01.640 --> 0:02:06.360
<v Speaker 1>recorded Aftermath to do uh um coming home for the

0:02:06.520 --> 0:02:09.040
<v Speaker 1>lengthy one. Wow. Now did you go there yourself? I

0:02:09.080 --> 0:02:11.160
<v Speaker 1>was a little bit too young, A little bit too young.

0:02:11.280 --> 0:02:16.079
<v Speaker 1>Now were you too young to go to Pandora's Box? Yes? Okay,

0:02:16.120 --> 0:02:19.079
<v Speaker 1>So when did you start going to shows? Okay? So

0:02:19.120 --> 0:02:22.280
<v Speaker 1>I grew up in Westchester, which is the community, the

0:02:22.360 --> 0:02:25.320
<v Speaker 1>l A community by the Los Angeles International. And let's

0:02:25.320 --> 0:02:27.440
<v Speaker 1>be clear, because I got in trouble once the you know,

0:02:27.480 --> 0:02:29.560
<v Speaker 1>I said somebody, I went to a record I went

0:02:29.560 --> 0:02:32.360
<v Speaker 1>to a ski shop in Westchester, they said they have them,

0:02:32.360 --> 0:02:34.760
<v Speaker 1>and I was this person was from Los Angeles. We're

0:02:34.800 --> 0:02:37.920
<v Speaker 1>not talking about Westchester County outside of New York. We're

0:02:37.919 --> 0:02:41.120
<v Speaker 1>talking about a town a burg here in Los Angeles, right,

0:02:41.120 --> 0:02:43.960
<v Speaker 1>Which is interesting is yeah, if I didn't clarify it,

0:02:43.960 --> 0:02:47.880
<v Speaker 1>when I would say Westchester, most people would think New York, right, Okay,

0:02:48.320 --> 0:02:51.840
<v Speaker 1>But anyway, it was a little bit too far out

0:02:51.880 --> 0:02:55.800
<v Speaker 1>of the way to have easy access to Hollywood. So

0:02:55.880 --> 0:02:59.200
<v Speaker 1>for instance, you mentioned Pandora's Box, it was probably like

0:02:59.240 --> 0:03:01.520
<v Speaker 1>twelve miles away. That's, you know, pretty far if you're

0:03:01.520 --> 0:03:07.200
<v Speaker 1>taking one or two busses. Um so um. I first

0:03:07.240 --> 0:03:11.799
<v Speaker 1>started seeing notable rock and roll groups in ninety seven,

0:03:11.880 --> 0:03:16.119
<v Speaker 1>but mostly in the early uh and and throughout most

0:03:16.120 --> 0:03:19.280
<v Speaker 1>of the seventies. Now, these were on their way up

0:03:19.280 --> 0:03:21.000
<v Speaker 1>in clubs. Who you're talking about going to shows and

0:03:21.120 --> 0:03:24.320
<v Speaker 1>a Monica, you know, the Forum, etcetera. Yeah, all yeah,

0:03:24.360 --> 0:03:28.080
<v Speaker 1>all that stuff. Yes, Okay, Now you started the Rhino

0:03:28.320 --> 0:03:31.840
<v Speaker 1>Records label. What was the first release on the Rhino

0:03:31.919 --> 0:03:37.800
<v Speaker 1>Records label? Okay? Um? Wild Man Fisher was a an

0:03:37.800 --> 0:03:43.840
<v Speaker 1>outrageous street singer that Frank Zappa really loved what he

0:03:43.880 --> 0:03:48.000
<v Speaker 1>was doing, and so Frank Zappa recorded a double album

0:03:48.040 --> 0:03:51.480
<v Speaker 1>with him, Caught an Evening with wild Man Fisher, and

0:03:51.640 --> 0:03:54.560
<v Speaker 1>actually didn't sell that well. Um I checked later on

0:03:55.040 --> 0:03:58.240
<v Speaker 1>about twelve thousand copies, but there was a legendar. Everybody

0:03:58.320 --> 0:04:01.400
<v Speaker 1>knew about it, right, everybody knew at it. And so

0:04:01.560 --> 0:04:03.520
<v Speaker 1>what's the famous song on that? All of a sudden

0:04:04.040 --> 0:04:06.880
<v Speaker 1>there you go round, which I could sing if you want,

0:04:06.920 --> 0:04:11.200
<v Speaker 1>but so um. Anyway, Uh, he used to come into

0:04:11.280 --> 0:04:13.440
<v Speaker 1>the store on occasion, and he felt like a rock

0:04:13.520 --> 0:04:16.560
<v Speaker 1>star because not only do we know who they he

0:04:16.560 --> 0:04:19.360
<v Speaker 1>he was, but I had his record, Richard Fouss had

0:04:19.400 --> 0:04:22.320
<v Speaker 1>his record, just his record, Yeah, like we all had

0:04:22.320 --> 0:04:25.360
<v Speaker 1>his record, so we felt like a star. And on

0:04:25.920 --> 0:04:27.880
<v Speaker 1>more than one occasion he would come in when we

0:04:27.920 --> 0:04:31.320
<v Speaker 1>opened and he stayed the whole day, which was not

0:04:31.440 --> 0:04:35.760
<v Speaker 1>the most pleasurable experience, but anyway, as a way to

0:04:35.880 --> 0:04:39.040
<v Speaker 1>show his appreciation, he made up the song A cappella

0:04:39.560 --> 0:04:42.880
<v Speaker 1>called go to Rhino Records, and I called up Jeff

0:04:42.880 --> 0:04:46.000
<v Speaker 1>Gold and I said, come on over with your cassette

0:04:46.000 --> 0:04:48.479
<v Speaker 1>recorder and we recorded him doing two passes in the

0:04:48.480 --> 0:04:51.400
<v Speaker 1>back room and we put that on an A side

0:04:52.120 --> 0:04:54.440
<v Speaker 1>and then Richard and I a couple of other employees

0:04:54.480 --> 0:04:57.600
<v Speaker 1>recorded a B side, and originally we pressed that up.

0:04:58.000 --> 0:05:01.160
<v Speaker 1>What what was the B side? Rhino the Place to Go.

0:05:01.320 --> 0:05:03.200
<v Speaker 1>It was talking about how we were so much better

0:05:03.240 --> 0:05:06.919
<v Speaker 1>than all the other stores like Errand's and Moby Disk

0:05:07.040 --> 0:05:10.960
<v Speaker 1>and places like that. And who wrote that? Richard and

0:05:10.960 --> 0:05:14.080
<v Speaker 1>I wrote it? Okay? And was it acapella? Also? No, No,

0:05:14.279 --> 0:05:18.560
<v Speaker 1>it was he played bass, I sang, Steve Rosen played guitar,

0:05:18.680 --> 0:05:22.640
<v Speaker 1>and his brother Uh played drums. Steve Rosen was a

0:05:23.680 --> 0:05:26.480
<v Speaker 1>writer who people would know. And he worked at a time.

0:05:26.920 --> 0:05:28.799
<v Speaker 1>I hired him for a time at the store. Okay,

0:05:28.839 --> 0:05:31.359
<v Speaker 1>And that was recorded also in the back room. No,

0:05:31.520 --> 0:05:36.880
<v Speaker 1>that was it the Rosen family, Uh residence in Culver

0:05:37.000 --> 0:05:40.000
<v Speaker 1>City in the garage okay. You know it's funny because

0:05:40.240 --> 0:05:43.560
<v Speaker 1>people always hear about stuff being made in the garage

0:05:43.600 --> 0:05:46.560
<v Speaker 1>in l a one thing they don't know it's warm.

0:05:46.600 --> 0:05:49.560
<v Speaker 1>But converted garages, I mean like Jan of Verry, of

0:05:49.640 --> 0:05:53.239
<v Speaker 1>Jan and Dean, A lot of people started in the garage. Literally,

0:05:53.839 --> 0:05:56.200
<v Speaker 1>this wasn't converted garage. This was just a garage. And

0:05:56.240 --> 0:05:59.400
<v Speaker 1>I brought in my tape recorder and Mike's and that's

0:05:59.400 --> 0:06:02.680
<v Speaker 1>how he did it. But you had a tape recorder UM. Yeah.

0:06:02.760 --> 0:06:05.880
<v Speaker 1>First of all, UM, I had my first tape recorder.

0:06:06.680 --> 0:06:08.960
<v Speaker 1>I think I'm not sure if I was like fifteen

0:06:09.040 --> 0:06:11.760
<v Speaker 1>or sixteen. And then I upgraded, but you know, the

0:06:11.839 --> 0:06:14.159
<v Speaker 1>whole thing was, hey, you can take the songs off

0:06:14.560 --> 0:06:17.880
<v Speaker 1>the radio, which which I did, but then that didn't

0:06:17.880 --> 0:06:20.440
<v Speaker 1>necessarily mean that it stopped me from buying records or

0:06:20.520 --> 0:06:24.359
<v Speaker 1>lots of records. And then UM, at a certain point,

0:06:24.680 --> 0:06:32.560
<v Speaker 1>UM I upgraded to a UH A Sony tact multi track.

0:06:32.600 --> 0:06:34.160
<v Speaker 1>I got a deal on it. I'm new, but I

0:06:34.200 --> 0:06:36.919
<v Speaker 1>got a deal on it. But anyway, we're getting ahead

0:06:36.920 --> 0:06:39.240
<v Speaker 1>of the story. So what happened was we just pressed

0:06:39.320 --> 0:06:42.240
<v Speaker 1>up five hundred forty five just to give away to

0:06:42.360 --> 0:06:46.440
<v Speaker 1>our UH customers as a present whether they thought it

0:06:46.520 --> 0:06:50.760
<v Speaker 1>was there, and then somehow it filtered over to England

0:06:50.839 --> 0:06:54.880
<v Speaker 1>and John Peel, a noted UH underground disc jockey who

0:06:54.880 --> 0:06:57.680
<v Speaker 1>has then had a show on the BBC for many years,

0:06:57.720 --> 0:07:00.920
<v Speaker 1>had a show in the BBC he's toted playing at

0:07:01.400 --> 0:07:06.760
<v Speaker 1>and UM so our record came out in and then

0:07:06.760 --> 0:07:09.440
<v Speaker 1>we started getting requests from England and other places, so

0:07:09.480 --> 0:07:12.400
<v Speaker 1>we pressed up a thousand to sell. And what's interesting

0:07:12.480 --> 0:07:17.600
<v Speaker 1>is UM at the end of nineteen seventy six. Again,

0:07:17.640 --> 0:07:20.560
<v Speaker 1>this is in England. John Peel had a top fifty

0:07:20.720 --> 0:07:23.960
<v Speaker 1>listener requests and most of it was typically Number one

0:07:24.000 --> 0:07:27.760
<v Speaker 1>was Stairway to Heaven, No surprise there. Number go to

0:07:27.880 --> 0:07:31.400
<v Speaker 1>Rhino Records by wild Man Fisher. Okay, now you've got

0:07:31.400 --> 0:07:33.400
<v Speaker 1>a lot of ink in the calendar section. It was

0:07:33.440 --> 0:07:36.800
<v Speaker 1>a tabloid in the l A Times. And you told

0:07:36.840 --> 0:07:40.520
<v Speaker 1>me it happened organically that you weren't busy pitching them.

0:07:40.680 --> 0:07:42.960
<v Speaker 1>Is that the same way it worked with wild Man Fischer?

0:07:43.040 --> 0:07:46.080
<v Speaker 1>Did someone send it to John Peelard? He just find it.

0:07:46.280 --> 0:07:48.720
<v Speaker 1>I have no idea how it got to him, No idea,

0:07:48.760 --> 0:07:54.440
<v Speaker 1>no idea. Okay. Rhino Records was a store now. Originally

0:07:54.600 --> 0:07:58.240
<v Speaker 1>Richard Fuss had sort of a record department in the

0:07:58.480 --> 0:08:02.600
<v Speaker 1>store in Santa mob. When did Rhino Records the actual

0:08:02.680 --> 0:08:09.400
<v Speaker 1>store start? Um? Yeah? So uh, Richard out grew Apollo Electronics.

0:08:09.400 --> 0:08:11.239
<v Speaker 1>He had a little concession in part of the store.

0:08:12.040 --> 0:08:15.800
<v Speaker 1>Um and it was October nineteen seventy three that he

0:08:15.840 --> 0:08:18.760
<v Speaker 1>opened the one on West with Boulevard. I guess rent

0:08:18.800 --> 0:08:20.680
<v Speaker 1>was a lot cheaper on West with Boulevard. Then well,

0:08:20.720 --> 0:08:22.040
<v Speaker 1>then it went up and then it went back down.

0:08:22.040 --> 0:08:26.040
<v Speaker 1>Again what happened was it was Ninon's Electronics, this guy

0:08:26.080 --> 0:08:28.880
<v Speaker 1>who used to repair electronics back when that was still

0:08:28.880 --> 0:08:31.640
<v Speaker 1>a thing. Right, He moved to the back room and

0:08:31.680 --> 0:08:34.839
<v Speaker 1>he rented Richard you know the bulk of the space

0:08:34.920 --> 0:08:37.000
<v Speaker 1>that I remember that I was wondering what was going

0:08:37.040 --> 0:08:40.120
<v Speaker 1>on back there. Now I got the complete story. Okay.

0:08:40.280 --> 0:08:47.240
<v Speaker 1>Now when he established Rhino Records, did you shop there? Well? I, um, okay,

0:08:47.320 --> 0:08:50.880
<v Speaker 1>here's how it happened. Um. A famous record store in

0:08:51.040 --> 0:08:55.359
<v Speaker 1>l a history, Lewin's Record Paradise on Hollywood Boulevard. Um,

0:08:55.480 --> 0:08:58.520
<v Speaker 1>they had the English imports. Okay, just to stay for

0:08:58.600 --> 0:09:01.480
<v Speaker 1>those people going back to this history. What was Wallax

0:09:01.640 --> 0:09:05.400
<v Speaker 1>Music City in this whole hierarchy. Well, Wallax Music City

0:09:05.480 --> 0:09:09.920
<v Speaker 1>was big. They were on the corner of Sunset in Vine.

0:09:10.200 --> 0:09:15.200
<v Speaker 1>Um big records selection. Um, they only sold it list price,

0:09:15.480 --> 0:09:19.840
<v Speaker 1>which meant that but they had listening booths and but

0:09:19.920 --> 0:09:23.599
<v Speaker 1>they also had sheet music and they had uh instruments,

0:09:23.679 --> 0:09:26.160
<v Speaker 1>you know, smaller part. But it was so let's say

0:09:26.160 --> 0:09:28.960
<v Speaker 1>like if you were in the music business, you would

0:09:28.960 --> 0:09:32.480
<v Speaker 1>shop at Walax Music City was right there. And in fact,

0:09:32.559 --> 0:09:35.640
<v Speaker 1>Glenn Wallack was one of the original partners in Capitol

0:09:35.640 --> 0:09:40.680
<v Speaker 1>Records right now. Obviously forty five didn't come shrink wrapped.

0:09:40.840 --> 0:09:42.440
<v Speaker 1>But let's say you wanted to listen to an album

0:09:42.480 --> 0:09:43.880
<v Speaker 1>and they let you listen to an album and the

0:09:43.920 --> 0:09:46.839
<v Speaker 1>we're listening booth, we're not too unshrink it. But they

0:09:46.840 --> 0:09:50.760
<v Speaker 1>would have playable copies. And did you ever do that? Yeah?

0:09:50.800 --> 0:09:53.280
<v Speaker 1>Not often because again you know, driving from Westchester, but

0:09:53.320 --> 0:09:56.520
<v Speaker 1>I would say maybe at least two, maybe three times. Okay, So,

0:09:56.679 --> 0:09:59.200
<v Speaker 1>but there was this other story you were talking about, Okay,

0:09:59.360 --> 0:10:03.400
<v Speaker 1>Lewin's Reck Your Paradise. So, um it was local exactly

0:10:03.400 --> 0:10:07.120
<v Speaker 1>where I'm not sure the exactly address meanybe like sixty

0:10:07.160 --> 0:10:16.760
<v Speaker 1>SidD Hollywood Boulevard, um you know around um Um Highland.

0:10:16.800 --> 0:10:23.040
<v Speaker 1>I saw um some roughly. Um So the idea with

0:10:23.080 --> 0:10:25.920
<v Speaker 1>the English imports at the time, they were like extra

0:10:26.000 --> 0:10:28.839
<v Speaker 1>songs because of a different way of calculating the publishing.

0:10:29.520 --> 0:10:32.079
<v Speaker 1>And we'll just explain that to my audience how they

0:10:32.080 --> 0:10:37.280
<v Speaker 1>calculated the publishing difference where they understand. Okay, so um

0:10:37.440 --> 0:10:41.280
<v Speaker 1>uh in England the publishing of course was for the

0:10:41.320 --> 0:10:44.679
<v Speaker 1>songwriting and the publishing, not the uh, the recording artist,

0:10:45.280 --> 0:10:50.040
<v Speaker 1>and um so that was a flat rate per side,

0:10:50.160 --> 0:10:53.680
<v Speaker 1>per album. So if you had five songs one side

0:10:53.760 --> 0:10:55.600
<v Speaker 1>or eight songs on one side, it was the same.

0:10:56.160 --> 0:10:59.880
<v Speaker 1>In America, it was always a sense rate per song,

0:11:00.120 --> 0:11:02.600
<v Speaker 1>so if you had a thirty second song or a

0:11:02.600 --> 0:11:04.960
<v Speaker 1>two minute and thirty second song, it was the same.

0:11:05.840 --> 0:11:09.599
<v Speaker 1>So that's why our Beatle albums were totally different, Yes, exactly.

0:11:10.080 --> 0:11:11.680
<v Speaker 1>In fact, a lot of those you'll see there were

0:11:11.760 --> 0:11:15.160
<v Speaker 1>less tracks on the American albums. I think only later

0:11:15.200 --> 0:11:18.679
<v Speaker 1>did people realize that the English pressings probably sounded better.

0:11:19.040 --> 0:11:22.360
<v Speaker 1>So it was originally for the either songs that weren't

0:11:22.400 --> 0:11:25.280
<v Speaker 1>that you couldn't get here because they were extracted from

0:11:25.280 --> 0:11:30.240
<v Speaker 1>the albums, or else different lineups. But anyway, in um,

0:11:30.280 --> 0:11:34.200
<v Speaker 1>this was early nineteen seventy two. At that point, um

0:11:34.320 --> 0:11:37.599
<v Speaker 1>the albums were the same on both sides of the Atlantic.

0:11:38.240 --> 0:11:42.720
<v Speaker 1>So Lewin's was um uh. To try to survive, they

0:11:42.720 --> 0:11:45.320
<v Speaker 1>were selling bootlegs, and I was, you know, as any

0:11:45.400 --> 0:11:47.679
<v Speaker 1>music fan is, you know you wanted the bootlegs, right,

0:11:48.120 --> 0:11:53.080
<v Speaker 1>So I was, you're talking about bootleg live recordings or

0:11:53.160 --> 0:11:56.040
<v Speaker 1>studio What kind of bootlegs did they have there? Well,

0:11:56.040 --> 0:11:58.199
<v Speaker 1>it was mostly live recordings at that point, and then

0:11:58.240 --> 0:12:00.000
<v Speaker 1>you know, a little bit later than they started doing

0:12:00.360 --> 0:12:04.880
<v Speaker 1>out takes. But as I was thumbing through the bin,

0:12:05.280 --> 0:12:07.559
<v Speaker 1>I can't remember if I said something to the southern customer,

0:12:07.679 --> 0:12:09.680
<v Speaker 1>but because you know, I thought the prices were high,

0:12:09.720 --> 0:12:11.440
<v Speaker 1>and he said, oh, there's this guy at you know,

0:12:11.480 --> 0:12:14.480
<v Speaker 1>Paul Electronics in Santa Monica that you could you know,

0:12:14.480 --> 0:12:17.400
<v Speaker 1>he's cheaper and you could also trade your records so

0:12:17.480 --> 0:12:21.880
<v Speaker 1>you're not out of pocket. So that's where I met Richard.

0:12:21.960 --> 0:12:24.640
<v Speaker 1>And then from going to the store, you know a

0:12:24.720 --> 0:12:26.920
<v Speaker 1>number of times I really liked him. Um, he was

0:12:27.040 --> 0:12:30.040
<v Speaker 1>low key, but there weren't not there weren't many customers,

0:12:30.080 --> 0:12:32.800
<v Speaker 1>so you could talk with them. And as many records

0:12:32.840 --> 0:12:36.920
<v Speaker 1>did he have? Since I never went there, how many

0:12:37.000 --> 0:12:47.640
<v Speaker 1>records was his inventory? Generally? Um, um, hundreds if not thousands? No, No,

0:12:48.240 --> 0:12:50.840
<v Speaker 1>And so anyway, so I knew him. And it's interesting

0:12:50.920 --> 0:12:55.840
<v Speaker 1>is that when I left for England, um, for my

0:12:55.960 --> 0:12:59.800
<v Speaker 1>second trip. So so again this was probably uh Lates

0:13:00.080 --> 0:13:03.920
<v Speaker 1>timber ninety three. That's after you graduate from college. He

0:13:04.000 --> 0:13:09.960
<v Speaker 1>graduated June juno. Yeah, so he Um, he didn't have

0:13:09.960 --> 0:13:12.600
<v Speaker 1>a name for the store. But I thought because I

0:13:12.640 --> 0:13:15.280
<v Speaker 1>liked him so much, I saved up my good promos

0:13:15.320 --> 0:13:17.319
<v Speaker 1>and I brought him and I said, look, you know,

0:13:17.360 --> 0:13:19.200
<v Speaker 1>I want you to start, and you have, like the

0:13:19.280 --> 0:13:23.400
<v Speaker 1>bins look really good. So I mean he paid me

0:13:23.480 --> 0:13:25.240
<v Speaker 1>for him, of course, but it was a type of

0:13:25.280 --> 0:13:28.920
<v Speaker 1>thing that um uh, the suggestion I had for the

0:13:28.960 --> 0:13:31.280
<v Speaker 1>store because I was this is not when he's opening

0:13:31.320 --> 0:13:33.840
<v Speaker 1>the new store in Westwood. Yes, I said, because I

0:13:33.880 --> 0:13:36.720
<v Speaker 1>was a big Kings fan. I said, like Waterloo Sunset Records.

0:13:37.400 --> 0:13:38.760
<v Speaker 1>And then I left and then of course when I

0:13:38.800 --> 0:13:41.120
<v Speaker 1>came back, the store was open and it was Rhino Records.

0:13:41.240 --> 0:13:44.000
<v Speaker 1>Well it's funny. There is a Waterloo Records in Austin.

0:13:44.240 --> 0:13:46.559
<v Speaker 1>I've been there. Yeah, the guy runs it, owns it,

0:13:46.640 --> 0:13:48.960
<v Speaker 1>a great guy. But how do you know how it

0:13:49.040 --> 0:13:53.960
<v Speaker 1>ended up becoming Rhino? Um, I know exactly. Um. Okay,

0:13:53.960 --> 0:13:55.240
<v Speaker 1>they didn't have a name, so he and a few

0:13:55.240 --> 0:13:58.160
<v Speaker 1>of his friends they were just throwing out, you know, names,

0:13:58.960 --> 0:14:01.440
<v Speaker 1>and this one who was a budding DJ by the

0:14:01.520 --> 0:14:04.839
<v Speaker 1>name of Jerry k he suggested Rhino. And I think

0:14:04.960 --> 0:14:08.120
<v Speaker 1>just primarily because of the alliteration, you know. I just

0:14:08.200 --> 0:14:11.880
<v Speaker 1>maybe later on we found meaning behind it, but at

0:14:11.880 --> 0:14:15.080
<v Speaker 1>the time that's all it was. Okay, let's go back.

0:14:15.720 --> 0:14:20.280
<v Speaker 1>So you're in Westchester, Uh, what does your father do

0:14:20.400 --> 0:14:28.320
<v Speaker 1>for a living? Um? Okay um? So my father UM

0:14:28.360 --> 0:14:31.080
<v Speaker 1>didn't see a need to go to college, and he

0:14:31.120 --> 0:14:33.600
<v Speaker 1>took what he said in high school was a commercial course.

0:14:34.000 --> 0:14:36.040
<v Speaker 1>And he was like he was born in America, born

0:14:36.080 --> 0:14:38.240
<v Speaker 1>in Los Angeles, and now his parents were they born

0:14:38.240 --> 0:14:45.880
<v Speaker 1>in America? His parents Romania um so Um. He became

0:14:45.880 --> 0:14:48.640
<v Speaker 1>like a bookkeeper and he was working in the Mojave

0:14:48.840 --> 0:14:51.920
<v Speaker 1>Desert for the Torazzo company, which people know draws roso

0:14:52.000 --> 0:14:55.720
<v Speaker 1>because of the floor with the you know, the and

0:14:56.680 --> 0:14:58.440
<v Speaker 1>it was like so hot out there. He told me

0:14:58.480 --> 0:15:02.440
<v Speaker 1>that in the morning for breakfast he would have like

0:15:02.480 --> 0:15:05.520
<v Speaker 1>a steak in a malted milk and not eat the

0:15:05.600 --> 0:15:07.360
<v Speaker 1>rest of the day because it was too hot. And

0:15:07.400 --> 0:15:11.760
<v Speaker 1>again there probably wasn't air conditioning back and you know,

0:15:11.800 --> 0:15:14.760
<v Speaker 1>at a certain point he had, you know, like this

0:15:14.840 --> 0:15:18.400
<v Speaker 1>is it and he quit, not realizing that it was

0:15:18.440 --> 0:15:21.760
<v Speaker 1>the early stages of the depression and getting another job

0:15:21.880 --> 0:15:24.520
<v Speaker 1>was not going to be so easy. So your father

0:15:24.600 --> 0:15:28.840
<v Speaker 1>was born in what year? Okay? So your father was

0:15:28.920 --> 0:15:36.400
<v Speaker 1>relatively old? Yes, okay, so um anyway is uh um?

0:15:36.760 --> 0:15:39.120
<v Speaker 1>I mean to make a long story not short. But

0:15:39.280 --> 0:15:43.120
<v Speaker 1>his brother in law UM was in the hostel produce business.

0:15:43.120 --> 0:15:45.640
<v Speaker 1>So just to be clear, he married your mother when

0:15:45.640 --> 0:15:49.920
<v Speaker 1>he was working in open mohave no much later, but

0:15:50.000 --> 0:15:52.600
<v Speaker 1>his brother in law for one of his siblings, exactly

0:15:52.640 --> 0:15:57.320
<v Speaker 1>for sister, so he had two sisters. So anyway, um

0:15:57.400 --> 0:16:00.600
<v Speaker 1>so uh so, and then that kind of went bankrupt

0:16:00.640 --> 0:16:03.680
<v Speaker 1>and he stayed in the wholesale produce business, not because

0:16:03.680 --> 0:16:06.120
<v Speaker 1>he liked it, but because he needed to, you know,

0:16:06.200 --> 0:16:08.600
<v Speaker 1>have an income for his family. And then at a

0:16:08.600 --> 0:16:11.920
<v Speaker 1>certain point, um, when I was in high school, when

0:16:11.920 --> 0:16:14.600
<v Speaker 1>he got um eased out by the competition, he went

0:16:14.640 --> 0:16:18.080
<v Speaker 1>to work for the post office. And originally he thought

0:16:18.120 --> 0:16:20.560
<v Speaker 1>he'd be really great to be a mailman, but he

0:16:20.600 --> 0:16:23.880
<v Speaker 1>worked in the weight room downstairs for fourteen years until

0:16:23.920 --> 0:16:27.640
<v Speaker 1>his vision deteriorated. But he really liked you know, working,

0:16:27.720 --> 0:16:33.800
<v Speaker 1>so um. Yeah, my my mom was just basically a homemaker. Okay,

0:16:33.840 --> 0:16:35.920
<v Speaker 1>but this begs the question where did you get money

0:16:35.920 --> 0:16:39.880
<v Speaker 1>to buy records? Well, initially I had very little, and

0:16:39.880 --> 0:16:43.920
<v Speaker 1>it was I did chores around the house. And my

0:16:44.040 --> 0:16:49.360
<v Speaker 1>first job, um was the summer after I graduated west

0:16:49.400 --> 0:16:54.920
<v Speaker 1>Chester High and um it was working as a ostensibly

0:16:55.080 --> 0:17:00.080
<v Speaker 1>a bus boy at the restaurant or coffee shop on

0:17:00.120 --> 0:17:03.720
<v Speaker 1>the top of the Broadway department store in Westchester. Um,

0:17:03.880 --> 0:17:08.160
<v Speaker 1>a dollar six, I was promised, oh yeah, plus tips,

0:17:08.200 --> 0:17:12.520
<v Speaker 1>but I never signing tipps. Um. And also the other

0:17:12.560 --> 0:17:16.640
<v Speaker 1>thing is, even though I was hired as a bus boy, Um,

0:17:16.760 --> 0:17:22.520
<v Speaker 1>the dishwasher quit and they were very very rarely replacements.

0:17:22.560 --> 0:17:24.920
<v Speaker 1>Sometimes there would be like a replacement from one or

0:17:24.960 --> 0:17:27.440
<v Speaker 1>two days, usually with alcohol on their breath. So that

0:17:27.480 --> 0:17:29.639
<v Speaker 1>means I was busting all the tables and washing the

0:17:29.720 --> 0:17:35.040
<v Speaker 1>dishes totally on my own. Um. And but I did

0:17:35.119 --> 0:17:39.880
<v Speaker 1>learn how to make an egg cream. Okay, but let's

0:17:39.880 --> 0:17:43.119
<v Speaker 1>go back a little bit. Um, how did you first

0:17:43.119 --> 0:17:48.359
<v Speaker 1>get turned onto let's call it rock and roll? Well, Um,

0:17:48.400 --> 0:17:52.480
<v Speaker 1>I was aware of music here there, and bought a

0:17:52.520 --> 0:17:55.240
<v Speaker 1>record infrequently because I didn't really have much money and

0:17:55.560 --> 0:17:58.040
<v Speaker 1>wasn't a big fan until of course, the Beatles. So

0:17:58.080 --> 0:18:02.399
<v Speaker 1>the Beatles chain did it all for me. Um, not

0:18:02.440 --> 0:18:05.199
<v Speaker 1>only the music and how vibrant and exciting it was,

0:18:05.640 --> 0:18:09.879
<v Speaker 1>but also in the UH press conferences, their sense of humor.

0:18:10.520 --> 0:18:14.160
<v Speaker 1>You know, you have to really give that um uh

0:18:14.200 --> 0:18:19.760
<v Speaker 1>a lot um because if you'd heard comments from like

0:18:19.800 --> 0:18:22.000
<v Speaker 1>the four seasons of the Beach Boys, they were really

0:18:22.080 --> 0:18:24.760
<v Speaker 1>dull and you know, or Elvis, you never had anything

0:18:24.840 --> 0:18:28.720
<v Speaker 1>to say, and you know, the the Beatles were like comedians,

0:18:28.720 --> 0:18:32.000
<v Speaker 1>so that kind of drew you in. And then of course, uh,

0:18:32.080 --> 0:18:34.200
<v Speaker 1>you know, a year later, I mean I was already

0:18:34.240 --> 0:18:36.680
<v Speaker 1>a big rock and roll fan, but A Hard Day's Night,

0:18:37.520 --> 0:18:40.280
<v Speaker 1>UM was just uh then as well as now, such

0:18:40.320 --> 0:18:44.320
<v Speaker 1>an amazing movie. And even though when you read about

0:18:44.359 --> 0:18:47.840
<v Speaker 1>the Beatles much later and you heard about the unseeming

0:18:48.160 --> 0:18:51.320
<v Speaker 1>elements about them, but still, you know, Hard Day's Night,

0:18:51.480 --> 0:18:54.760
<v Speaker 1>for however fictionalized it is, I mean, that's you want

0:18:54.800 --> 0:18:57.840
<v Speaker 1>them to be. That that's who you want, Okay, but

0:18:58.240 --> 0:19:00.720
<v Speaker 1>you obviously you would rich and this is sort of

0:19:00.760 --> 0:19:04.600
<v Speaker 1>the basis of the Rhino Empire. Had a wild sense

0:19:04.640 --> 0:19:08.760
<v Speaker 1>of humor. Did your family have a wild sense of humor? No,

0:19:09.160 --> 0:19:10.960
<v Speaker 1>my mom did have a sense of humor, but not

0:19:11.080 --> 0:19:14.560
<v Speaker 1>in that way. UM. So you know it's interesting, UM,

0:19:14.560 --> 0:19:16.920
<v Speaker 1>and you know you could identify with this from how

0:19:16.960 --> 0:19:19.480
<v Speaker 1>we all grew up. And a lot of that influence

0:19:19.640 --> 0:19:22.320
<v Speaker 1>was TV. So not only were there a lot of

0:19:23.119 --> 0:19:25.480
<v Speaker 1>um comedic TV shows like I was a big fan

0:19:25.520 --> 0:19:28.760
<v Speaker 1>of Sergeant Bilko and then subsequently Car fifty four, Where

0:19:28.840 --> 0:19:33.920
<v Speaker 1>Are You? Um? But also um, because of TV being

0:19:34.000 --> 0:19:38.080
<v Speaker 1>relatively new, you had a lot of older movies that

0:19:38.160 --> 0:19:42.320
<v Speaker 1>were uh syndicated on TV, like the Marx Brothers for instance.

0:19:42.320 --> 0:19:46.680
<v Speaker 1>So probably a lot of that irreverent humor came from

0:19:47.480 --> 0:19:50.080
<v Speaker 1>the Marx Brothers. I mean, not solely them, but probably

0:19:50.160 --> 0:19:52.880
<v Speaker 1>primarily then because they were so out there. Okay, now,

0:19:52.960 --> 0:19:56.440
<v Speaker 1>before the Beatles and too a certain degree concurrent, there

0:19:56.520 --> 0:19:59.719
<v Speaker 1>was a huge so cal sound. There was the surf sound,

0:20:00.119 --> 0:20:02.640
<v Speaker 1>there were instrumentals, there were the beach Boys, Jan and Dean.

0:20:03.200 --> 0:20:06.359
<v Speaker 1>Were you aware of all that? Yeah? But I didn't

0:20:06.359 --> 0:20:08.440
<v Speaker 1>really listen to the radio. So obviously I knew about

0:20:08.440 --> 0:20:11.120
<v Speaker 1>you know, Surf City and some of the surf songs

0:20:11.200 --> 0:20:14.680
<v Speaker 1>and you know, uh, you know, uh four Seasons a

0:20:14.720 --> 0:20:17.359
<v Speaker 1>little bit there, but I didn't really listen to the radio.

0:20:17.440 --> 0:20:20.520
<v Speaker 1>Was more kind of in passing or maybe a sports

0:20:20.680 --> 0:20:22.919
<v Speaker 1>night in junior high. The records got played, like you know,

0:20:22.960 --> 0:20:25.520
<v Speaker 1>Louis Louis and things like that I would pick up on.

0:20:25.600 --> 0:20:27.399
<v Speaker 1>But I and prior to the Beatles, I did not

0:20:27.840 --> 0:20:31.560
<v Speaker 1>listen to the radio. Okay, And did you buy Meet

0:20:31.600 --> 0:20:37.040
<v Speaker 1>the Beatles? Yes, of course, actually my parents did. But anyway,

0:20:37.080 --> 0:20:39.960
<v Speaker 1>what what you mentioned before? So when I had the

0:20:40.320 --> 0:20:43.360
<v Speaker 1>bus boy job. That's the first time that I actually

0:20:43.440 --> 0:20:47.639
<v Speaker 1>made money, and then um, after that, in the fall,

0:20:48.640 --> 0:20:52.360
<v Speaker 1>um a friend of mine worked at a small market

0:20:52.480 --> 0:20:56.000
<v Speaker 1>in Westchester called Hillmart. So, uh, he got me a

0:20:56.080 --> 0:20:58.200
<v Speaker 1>job at Hillmart. So I worked there for a number

0:20:58.240 --> 0:21:02.240
<v Speaker 1>of months, and then the following summer fed Coe, which

0:21:02.320 --> 0:21:05.880
<v Speaker 1>was a discount the best buy if it's era right,

0:21:06.160 --> 0:21:09.840
<v Speaker 1>and I was during the summer, I was a socker.

0:21:09.960 --> 0:21:12.560
<v Speaker 1>They called it a soacker. But after that I started

0:21:12.600 --> 0:21:17.840
<v Speaker 1>to make enough money so that by the following year, Um,

0:21:17.880 --> 0:21:19.960
<v Speaker 1>I didn't need to get a job. So I didn't

0:21:19.960 --> 0:21:22.760
<v Speaker 1>make a lot of money writing, but I made enough

0:21:23.240 --> 0:21:24.960
<v Speaker 1>so that I didn't have to. It would be like

0:21:25.000 --> 0:21:28.440
<v Speaker 1>the equivalent if I had a summer job. Okay, so

0:21:28.920 --> 0:21:31.520
<v Speaker 1>you go to college at u c. L A. And

0:21:31.600 --> 0:21:36.280
<v Speaker 1>you famously have a band. Were you in bands before that? Well,

0:21:36.440 --> 0:21:41.040
<v Speaker 1>we had a a band at Westchester High We didn't

0:21:41.040 --> 0:21:42.600
<v Speaker 1>play anywhere. It was just kind of because of my

0:21:42.640 --> 0:21:44.520
<v Speaker 1>tape recorder and be like, hey, let's what do we

0:21:44.560 --> 0:21:46.840
<v Speaker 1>sound like? And you know, when you're not doing much,

0:21:46.920 --> 0:21:49.920
<v Speaker 1>that's you know, you get together. What was your incentive

0:21:49.960 --> 0:21:52.440
<v Speaker 1>for buying the tape recorder? Well, I told you before

0:21:52.440 --> 0:21:54.600
<v Speaker 1>about getting the free music. Okay, so that was your

0:21:54.600 --> 0:21:56.960
<v Speaker 1>main incentive to buy it, so you could tape off

0:21:56.960 --> 0:21:59.240
<v Speaker 1>the radio right before, you know, before I got the

0:22:00.040 --> 0:22:02.600
<v Speaker 1>four track, which was you know, oriented more towards that's

0:22:02.600 --> 0:22:05.919
<v Speaker 1>why recording the band subsequent to high school. Okay. So

0:22:05.960 --> 0:22:08.520
<v Speaker 1>but in high school you did have guys come over

0:22:08.920 --> 0:22:13.000
<v Speaker 1>and you would sing into the uh, into the tape recorder. Yeah. Yeah,

0:22:13.040 --> 0:22:15.040
<v Speaker 1>we had, you know, people who played music and you know,

0:22:15.040 --> 0:22:17.640
<v Speaker 1>that's what we did it. And yeah, I mean this

0:22:17.720 --> 0:22:19.840
<v Speaker 1>was something you you would say you're in a band,

0:22:20.000 --> 0:22:21.760
<v Speaker 1>or it happened, you know, every week, or it happened

0:22:21.800 --> 0:22:24.960
<v Speaker 1>once a year, mostly during the summer. But it wasn't

0:22:24.960 --> 0:22:27.679
<v Speaker 1>like anything to brag about, like hey baby, I'm in

0:22:27.720 --> 0:22:30.280
<v Speaker 1>a band. It wasn't like that was there a name

0:22:31.240 --> 0:22:34.159
<v Speaker 1>well okay, because of UH, I was intrigued by certain

0:22:34.240 --> 0:22:38.200
<v Speaker 1>names like the Jefferson Air playing the Strawberry alarm clock.

0:22:38.920 --> 0:22:42.600
<v Speaker 1>So I came up with Mogen David and his wine

0:22:42.640 --> 0:22:45.800
<v Speaker 1>own and everybody agreed it. So that was an act,

0:22:45.800 --> 0:22:47.119
<v Speaker 1>but that was still when you were in high school.

0:22:47.119 --> 0:22:49.720
<v Speaker 1>You called it that. Yeah, okay. Then you go to

0:22:49.760 --> 0:22:52.840
<v Speaker 1>you and you were always the singer. Yeah, you know,

0:22:52.880 --> 0:22:55.359
<v Speaker 1>I couldn't really play an instruments. So okay, you go

0:22:55.480 --> 0:22:59.280
<v Speaker 1>to college u c l A first, because I thought

0:22:59.320 --> 0:23:01.440
<v Speaker 1>about this is a amazing. When I went to college

0:23:01.480 --> 0:23:04.479
<v Speaker 1>in Middlebury College in Vermont Saint Era, I was like

0:23:04.520 --> 0:23:06.560
<v Speaker 1>the freak. And then I came to l A. There

0:23:06.560 --> 0:23:08.400
<v Speaker 1>were a million people like me like it, were addicted

0:23:08.440 --> 0:23:10.960
<v Speaker 1>to records and going out, etcetera. When you go to

0:23:11.440 --> 0:23:13.239
<v Speaker 1>l u c l A, you're living at home. You're

0:23:13.280 --> 0:23:16.400
<v Speaker 1>living in u c l A. The four years, three

0:23:16.400 --> 0:23:19.600
<v Speaker 1>of the years I lived at home. One year, Um,

0:23:19.920 --> 0:23:23.960
<v Speaker 1>we had an apartment with three of my friends. I'm

0:23:23.960 --> 0:23:27.200
<v Speaker 1>Beverly Glen. So the question is did you immediately find

0:23:27.200 --> 0:23:30.920
<v Speaker 1>your tribe when you went to u c l A. Okay, Um,

0:23:31.040 --> 0:23:32.719
<v Speaker 1>first of all, what's interesting. I want to point out

0:23:32.720 --> 0:23:35.440
<v Speaker 1>a couple of things. One is, in Oliver Stone's movie

0:23:35.480 --> 0:23:37.320
<v Speaker 1>On the Doors, you see a concert and you see

0:23:37.320 --> 0:23:40.600
<v Speaker 1>everybody has, you know, long hair, and um, that really

0:23:40.640 --> 0:23:42.600
<v Speaker 1>wasn't the way it was back then. And even at

0:23:42.680 --> 0:23:44.600
<v Speaker 1>u c l A. I'm not gonna say that nobody

0:23:44.600 --> 0:23:48.359
<v Speaker 1>had long hair, but relatively few people did. And people

0:23:48.440 --> 0:23:51.080
<v Speaker 1>dressed you know, pretty straight or if they were sloppy

0:23:51.160 --> 0:23:56.119
<v Speaker 1>you'd say, like, you know, hippies. Um. But uh, the

0:23:56.200 --> 0:24:01.520
<v Speaker 1>other thing is, um pretty aware as far as the

0:24:01.640 --> 0:24:05.639
<v Speaker 1>concept of fraternities and fraternities seemed old hap to me,

0:24:05.840 --> 0:24:08.240
<v Speaker 1>and the concept of you know, the hazing and all

0:24:08.240 --> 0:24:10.959
<v Speaker 1>that stuff, it was it seemed like another era to me.

0:24:11.760 --> 0:24:13.600
<v Speaker 1>So when I started to write for the u c

0:24:13.760 --> 0:24:16.439
<v Speaker 1>l A Daily bruin and over a time it was

0:24:16.480 --> 0:24:20.000
<v Speaker 1>almost like you know, my fellow writers and music fans.

0:24:20.040 --> 0:24:23.000
<v Speaker 1>Because it was in the entertainment section, it almost was

0:24:23.119 --> 0:24:26.520
<v Speaker 1>kind of lack of fraternity. We tended to like each other.

0:24:26.880 --> 0:24:28.879
<v Speaker 1>We would go to the shows if somebody had, you know,

0:24:28.920 --> 0:24:31.720
<v Speaker 1>a couple of tickets, Hey, you want to come with me? Um?

0:24:31.920 --> 0:24:36.399
<v Speaker 1>So yeah, it was and also not only the camaraderie,

0:24:36.480 --> 0:24:38.639
<v Speaker 1>but a lot of smart kids and people who dis

0:24:39.200 --> 0:24:44.320
<v Speaker 1>distinguished themselves in varying levels. And also um, you know

0:24:44.440 --> 0:24:48.200
<v Speaker 1>for me, you know, really learning how to write. Okay,

0:24:48.200 --> 0:24:50.960
<v Speaker 1>but let's go back. When did you start the band

0:24:51.040 --> 0:24:55.480
<v Speaker 1>up in college? Okay? So after high school? Um, you

0:24:55.520 --> 0:24:59.520
<v Speaker 1>know it was kind of forgotten about. And then um,

0:25:00.080 --> 0:25:03.280
<v Speaker 1>I didn't get the four track until after like after

0:25:03.320 --> 0:25:07.199
<v Speaker 1>I graduated. So um, one of these So basically, how

0:25:07.240 --> 0:25:10.040
<v Speaker 1>did you pay for the four truck UM well, because

0:25:10.080 --> 0:25:12.800
<v Speaker 1>I was making moneys a right, I think he was

0:25:12.800 --> 0:25:15.880
<v Speaker 1>maybe around a thousand bucks something like that. Okay, But anyway,

0:25:16.160 --> 0:25:23.639
<v Speaker 1>so music writers, a lot of music writers played musical instruments, right, right,

0:25:23.720 --> 0:25:27.720
<v Speaker 1>So that's how kind of like to uh reinvigorate the band.

0:25:27.800 --> 0:25:35.359
<v Speaker 1>So this was UM December uh Jonathan Kellerman, who subsequently

0:25:35.359 --> 0:25:39.160
<v Speaker 1>became a New York Times bestselling author on guitar Excellent

0:25:39.200 --> 0:25:44.200
<v Speaker 1>guitar player, Jim Bickhart, who was my editor, who on bass,

0:25:44.600 --> 0:25:48.920
<v Speaker 1>Tom Madie from high school on piano. Um. There was

0:25:48.960 --> 0:25:51.000
<v Speaker 1>a friend of mine from high school who was in bands,

0:25:51.040 --> 0:25:52.919
<v Speaker 1>who was a pretty good drummer, and he agreed to

0:25:52.960 --> 0:25:55.560
<v Speaker 1>do it, and then on the morning of he said

0:25:55.600 --> 0:25:57.280
<v Speaker 1>he wasn't going to do it, but I'll own you

0:25:57.400 --> 0:26:00.240
<v Speaker 1>my drums. So I was like, so piste off I put.

0:26:00.280 --> 0:26:03.360
<v Speaker 1>You know, we got everybody together. So I ended up

0:26:03.359 --> 0:26:08.240
<v Speaker 1>playing drums um and I never really played before you

0:26:08.320 --> 0:26:11.120
<v Speaker 1>although you know you'd practiced, so of course everybody did

0:26:11.560 --> 0:26:14.200
<v Speaker 1>so considering that it actually turned out pretty well. So

0:26:14.880 --> 0:26:18.199
<v Speaker 1>two songs Um nose Job, which was a cover of

0:26:18.200 --> 0:26:21.879
<v Speaker 1>a Mad Magazine song, and then Tom and I wrote

0:26:22.400 --> 0:26:26.320
<v Speaker 1>a B side so that was all recorded, the instrumentals

0:26:26.440 --> 0:26:33.119
<v Speaker 1>on one Sunday, December, okay, but then the band continued. No,

0:26:33.359 --> 0:26:36.880
<v Speaker 1>that was it, okay, But that what happens because the

0:26:36.920 --> 0:26:39.560
<v Speaker 1>sinking function of the Selles sink function on my tape

0:26:39.600 --> 0:26:44.720
<v Speaker 1>recorder messed up. It took many months later until the

0:26:44.800 --> 0:26:47.520
<v Speaker 1>next school year of in the apartment on Beverly Glen

0:26:47.880 --> 0:26:51.359
<v Speaker 1>with my neighbor who I wasn't familiar with before, George

0:26:51.359 --> 0:26:55.000
<v Speaker 1>Carlin and his family. So I became friends with him

0:26:55.040 --> 0:26:57.280
<v Speaker 1>and his wife. And anyway, he loaned me his tape

0:26:57.280 --> 0:27:03.000
<v Speaker 1>recorder and in the um in the bathroom with the

0:27:03.080 --> 0:27:07.600
<v Speaker 1>tile in our apartment, that's where I recorded the vocals.

0:27:07.960 --> 0:27:12.240
<v Speaker 1>So I actually I pressed that myself. Um that was

0:27:12.280 --> 0:27:21.840
<v Speaker 1>I think November nine seventy Um, yeah, yes, so but anyway,

0:27:21.960 --> 0:27:26.040
<v Speaker 1>um and then so originally I did two records on

0:27:26.080 --> 0:27:28.280
<v Speaker 1>my own, two and then I did an album which

0:27:28.280 --> 0:27:32.160
<v Speaker 1>came out in July. Whoa, whoa, whoa. How does Richard

0:27:32.240 --> 0:27:34.200
<v Speaker 1>get involved? No, he's this, He's not involved. So this

0:27:34.440 --> 0:27:38.480
<v Speaker 1>was on Kosher Records, okay. And so basically a year

0:27:38.560 --> 0:27:40.720
<v Speaker 1>or two later, when we decided to do The wild

0:27:40.760 --> 0:27:43.280
<v Speaker 1>Man Fisher, I came to Richards said, I know how

0:27:43.359 --> 0:27:46.879
<v Speaker 1>to do this, so my band and doing it on

0:27:47.000 --> 0:27:49.359
<v Speaker 1>my own. This was really a few years before the

0:27:49.840 --> 0:27:55.720
<v Speaker 1>late seventies. You know, do it yourself. Um yeah, so okay,

0:27:55.840 --> 0:27:58.439
<v Speaker 1>let me be clear. You cut the record in December seventy.

0:27:58.680 --> 0:28:01.840
<v Speaker 1>Was Paul Rappaport part of the Bean then? Um, no,

0:28:02.119 --> 0:28:04.760
<v Speaker 1>he was. He came in a number of months later.

0:28:04.840 --> 0:28:08.560
<v Speaker 1>What happened was he was a college rep for Columbia Records,

0:28:09.720 --> 0:28:12.440
<v Speaker 1>and uh, he came into the at a certain point.

0:28:13.000 --> 0:28:15.600
<v Speaker 1>He came into the u c l A Daily bruin

0:28:16.560 --> 0:28:20.320
<v Speaker 1>and ingratiated himself and so I liked him. And anyway,

0:28:20.440 --> 0:28:23.520
<v Speaker 1>he I think he'd heard um nose job on the

0:28:23.640 --> 0:28:26.600
<v Speaker 1>u c l A station and he loved it. And

0:28:27.040 --> 0:28:29.719
<v Speaker 1>he got from me. I can't remember, it was ten

0:28:29.840 --> 0:28:33.119
<v Speaker 1>or twenty copies. Of course he gave me promos and

0:28:33.200 --> 0:28:37.080
<v Speaker 1>exchange no money, but it was fine with me. Better okay.

0:28:37.160 --> 0:28:41.160
<v Speaker 1>He ended up being a promotion right. So later that year,

0:28:41.360 --> 0:28:46.800
<v Speaker 1>so again this was in um December nineteen one. Then

0:28:46.920 --> 0:28:49.840
<v Speaker 1>with him on guitar, I put another put together another

0:28:49.960 --> 0:28:53.280
<v Speaker 1>group and we recorded two more songs in an actual

0:28:53.720 --> 0:28:55.520
<v Speaker 1>eight track you know, a little budget, but an a

0:28:55.640 --> 0:28:58.760
<v Speaker 1>track recording studio, and UM that came out a few

0:28:58.800 --> 0:29:01.440
<v Speaker 1>months later, so and and and then of course he

0:29:01.560 --> 0:29:05.200
<v Speaker 1>was on the album and Uh in two we played

0:29:05.280 --> 0:29:08.200
<v Speaker 1>a handful of dates and he was in that band. Okay,

0:29:08.360 --> 0:29:11.400
<v Speaker 1>so let's just get the structure right. Summer seventy you

0:29:11.520 --> 0:29:13.720
<v Speaker 1>cut these couple of tracks, but they don't come out

0:29:14.200 --> 0:29:22.400
<v Speaker 1>until sevent seventy one, and Richard is helping you distribute them. Um. Okay, wait,

0:29:22.480 --> 0:29:26.560
<v Speaker 1>let me make a correction. Correction, correction. The nose job

0:29:26.960 --> 0:29:31.920
<v Speaker 1>was in December sixte Okay. And at this point, once

0:29:32.000 --> 0:29:36.440
<v Speaker 1>the record is pressed, what do you do to sell it? Well? Um,

0:29:37.400 --> 0:29:43.600
<v Speaker 1>Among the first couple of forty five, it was because

0:29:43.640 --> 0:29:45.720
<v Speaker 1>I knew a number of writers. It was, you know,

0:29:45.840 --> 0:29:50.040
<v Speaker 1>getting record reviews and they would list the you know address,

0:29:50.120 --> 0:29:53.480
<v Speaker 1>send in you know whatever we charged for it. Um,

0:29:54.160 --> 0:29:59.000
<v Speaker 1>that didn't really sell that much. Um, and what happened.

0:29:59.080 --> 0:30:02.920
<v Speaker 1>I'm gonna tie this up. So I put together, like, uh,

0:30:03.280 --> 0:30:04.760
<v Speaker 1>kind of a best of of a lot of the

0:30:04.840 --> 0:30:09.160
<v Speaker 1>tracks we had, UM, including the second single we did

0:30:09.240 --> 0:30:13.880
<v Speaker 1>with Paul Rappaport and UM. I did an album and

0:30:13.920 --> 0:30:16.000
<v Speaker 1>it was kind of like live at leads where I

0:30:16.040 --> 0:30:19.840
<v Speaker 1>had inserts on it and the luxe packaging, and um,

0:30:20.400 --> 0:30:22.240
<v Speaker 1>I don't know how many people got the joke, but

0:30:22.320 --> 0:30:27.680
<v Speaker 1>there was an exploitation Beatles record in nineteen sixty four

0:30:27.840 --> 0:30:31.760
<v Speaker 1>that had the Beatles backing Tony Sheridan and it was

0:30:31.880 --> 0:30:36.000
<v Speaker 1>called Savage Young Beatles and it had a picture of

0:30:36.080 --> 0:30:39.680
<v Speaker 1>them from Hamburg with the leather jackets. So I knocked

0:30:39.720 --> 0:30:45.840
<v Speaker 1>that cover off, calling ours savage Young Winos and I

0:30:46.000 --> 0:30:50.800
<v Speaker 1>borrowed uh leather jackets from Michael Oakes and we did

0:30:50.880 --> 0:30:53.560
<v Speaker 1>like a cover that looked like, you know, pose like them.

0:30:54.120 --> 0:30:56.520
<v Speaker 1>So what I wanted to say was so again going

0:30:56.600 --> 0:31:00.400
<v Speaker 1>to London three there was a friend of Jeff Gold's,

0:31:00.480 --> 0:31:04.200
<v Speaker 1>Larry de Bay, who was a um no, actually you

0:31:04.240 --> 0:31:06.360
<v Speaker 1>know what. That was seventy six but it still ties

0:31:06.400 --> 0:31:10.640
<v Speaker 1>in the So the Rons have gone to h made

0:31:10.680 --> 0:31:13.040
<v Speaker 1>a big splash in London a few months earlier, and

0:31:13.240 --> 0:31:15.600
<v Speaker 1>on the cover I'm guessing because we looked like the

0:31:15.680 --> 0:31:19.440
<v Speaker 1>Ramones with leather jackets. Um. When I went to London

0:31:19.560 --> 0:31:21.960
<v Speaker 1>that year, it was like with two boxes of Winos

0:31:22.000 --> 0:31:24.880
<v Speaker 1>albums that he paid for when I gave him to him.

0:31:25.200 --> 0:31:26.520
<v Speaker 1>And again I don't think it anything to do with

0:31:26.600 --> 0:31:28.040
<v Speaker 1>the music. What it was just because we looked like

0:31:28.120 --> 0:31:30.120
<v Speaker 1>the Ramones I was kind of okay, just to be

0:31:30.240 --> 0:31:33.440
<v Speaker 1>clear the original singles and album where they district? Was

0:31:33.600 --> 0:31:38.160
<v Speaker 1>Richard involved whatsoever? Um? No, that was way before him

0:31:39.000 --> 0:31:42.000
<v Speaker 1>and um at a certain point. Yeah, I sold copies

0:31:42.000 --> 0:31:47.360
<v Speaker 1>out of the Rhinos store. This was in Um. Okay,

0:31:47.640 --> 0:31:56.440
<v Speaker 1>let's go back. When did you decide you wanted to

0:31:56.520 --> 0:32:01.560
<v Speaker 1>be a writer? Okay, good question, because I wasn't thinking

0:32:01.640 --> 0:32:04.960
<v Speaker 1>that in high school. Um. I'd read a review in

0:32:05.040 --> 0:32:10.360
<v Speaker 1>the u. Cly Daily Bruin of the grassroots album Golden Grates,

0:32:10.760 --> 0:32:14.240
<v Speaker 1>which I thought maligned the grassroots. Okay, and I and

0:32:14.360 --> 0:32:16.200
<v Speaker 1>I thought, you know, I could do better than this.

0:32:16.800 --> 0:32:18.680
<v Speaker 1>So I went to the u c A Daily Bruin.

0:32:18.760 --> 0:32:22.920
<v Speaker 1>And I been there in college Okay, so, um, I

0:32:23.120 --> 0:32:29.920
<v Speaker 1>started h September, So this was uh the spring quarter

0:32:30.600 --> 0:32:34.520
<v Speaker 1>of sixty. Feeling you've already you know, know what's going

0:32:34.520 --> 0:32:36.520
<v Speaker 1>on in college? Okay, you go in, Okay, they say

0:32:36.640 --> 0:32:39.160
<v Speaker 1>you gotta come back when the music gets here. He's

0:32:39.200 --> 0:32:43.720
<v Speaker 1>here Tuesday afternoon. You've got to speak to John Mendelssohn legend. Yes, Now,

0:32:43.880 --> 0:32:47.640
<v Speaker 1>I'd read him in the Daily Bruin and brilliant writer

0:32:48.200 --> 0:32:51.520
<v Speaker 1>brilliant like head and shoulders above anybody, and later, you know,

0:32:51.520 --> 0:32:54.280
<v Speaker 1>when I would read them in Rolling Stone again head

0:32:54.320 --> 0:32:59.640
<v Speaker 1>and shoulders above anybody and also excellent taste. First question

0:32:59.720 --> 0:33:01.440
<v Speaker 1>he asked me when I told him when they're right,

0:33:01.520 --> 0:33:05.440
<v Speaker 1>he goes, do you like the who? Now? I said yes,

0:33:05.920 --> 0:33:08.320
<v Speaker 1>And I heard that people who said no didn't write

0:33:08.360 --> 0:33:15.240
<v Speaker 1>that year. So that's that's an aspect about Mendelssohn that um. Yeah,

0:33:15.280 --> 0:33:17.040
<v Speaker 1>there's a lot of positives about him, but you know,

0:33:17.120 --> 0:33:20.000
<v Speaker 1>because of his psychological makeup, you know, there was also

0:33:20.480 --> 0:33:26.720
<v Speaker 1>aspects about his behavior that alienated people, including uh, negatively

0:33:26.800 --> 0:33:29.840
<v Speaker 1>affecting his um you know, career momentum. Shall we say

0:33:29.960 --> 0:33:33.800
<v Speaker 1>we ultimately we had a band Christopher Milk. Yeah, Well

0:33:33.880 --> 0:33:36.560
<v Speaker 1>what happened was at first I didn't make the connection,

0:33:36.640 --> 0:33:42.520
<v Speaker 1>but um Um and Orientation, which was two nights during

0:33:42.560 --> 0:33:46.320
<v Speaker 1>the summer of nine UM living in one of the

0:33:47.040 --> 0:33:52.240
<v Speaker 1>residence halls. One night they had a dance, or I

0:33:52.280 --> 0:33:55.240
<v Speaker 1>should say they had a band, and it was his band.

0:33:55.760 --> 0:33:58.080
<v Speaker 1>And I really liked the band, not because I thought

0:33:58.120 --> 0:34:01.400
<v Speaker 1>they were musically good, because they weren't, but because they

0:34:01.480 --> 0:34:04.200
<v Speaker 1>played songs that nobody would play like. They played the

0:34:04.360 --> 0:34:07.520
<v Speaker 1>Mighty quinn Um and they you know, they did who

0:34:07.640 --> 0:34:09.799
<v Speaker 1>songs and they did I think little Richard maybe keep

0:34:09.840 --> 0:34:13.640
<v Speaker 1>a knocking, But just the song selection was, you know,

0:34:13.760 --> 0:34:16.920
<v Speaker 1>so different, and you know, really good songs. So I said, oh,

0:34:17.080 --> 0:34:19.279
<v Speaker 1>you know, what's the name of your band? And one

0:34:19.320 --> 0:34:23.399
<v Speaker 1>of them I thought I misheard. Instead of saying Christopher Milk,

0:34:23.480 --> 0:34:26.680
<v Speaker 1>they said I thought Christian Milk. And then later on

0:34:26.880 --> 0:34:28.440
<v Speaker 1>I kind of figured out, oh yeah, that was the

0:34:28.480 --> 0:34:31.920
<v Speaker 1>guy in the band. Um. But anyway, initially he gave me,

0:34:32.120 --> 0:34:35.360
<v Speaker 1>he said, pick any album you want to record, I

0:34:35.400 --> 0:34:40.720
<v Speaker 1>mean recorking me review and um at Crane's music in Inglewood.

0:34:40.760 --> 0:34:43.120
<v Speaker 1>I bought. I was a big Easy Beats fan, and

0:34:43.239 --> 0:34:46.320
<v Speaker 1>the first album had Friday on my mind. Of course,

0:34:46.719 --> 0:34:49.440
<v Speaker 1>the second album, I was unfamiliar with any of the songs,

0:34:49.880 --> 0:34:51.480
<v Speaker 1>but I was such a I like the first album

0:34:51.560 --> 0:34:54.160
<v Speaker 1>so much. I bought it and that's the one I reviewed,

0:34:54.600 --> 0:34:56.960
<v Speaker 1>and he went through it, you know, with notations, and

0:34:57.600 --> 0:35:00.800
<v Speaker 1>so I mean my first I think that was not

0:35:01.000 --> 0:35:04.000
<v Speaker 1>for publication, but the first maybe a couple of things

0:35:04.120 --> 0:35:07.920
<v Speaker 1>he had a hand in assigning or editing before he

0:35:08.000 --> 0:35:12.520
<v Speaker 1>graduated and went on to greener pastures. Okay, so you're

0:35:12.600 --> 0:35:15.160
<v Speaker 1>right for the Daily Bruin. Throughout your college career? Yes,

0:35:16.040 --> 0:35:25.360
<v Speaker 1>how many times would your articles appear? Um? Maybe like

0:35:25.480 --> 0:35:29.160
<v Speaker 1>a couple of times a month maybe? And then when

0:35:29.200 --> 0:35:33.680
<v Speaker 1>you're a senior, who's the editor? Um? Okay? Well I

0:35:33.760 --> 0:35:37.279
<v Speaker 1>mentioned it went from Mendelssohn to Bickheart. Um. When I

0:35:37.360 --> 0:35:41.120
<v Speaker 1>was a senior, um Stan Berkowitz was a He was

0:35:41.160 --> 0:35:43.640
<v Speaker 1>the editor of the entertainment section that I wrote for.

0:35:44.120 --> 0:35:46.799
<v Speaker 1>But he was a film major. But he loved music.

0:35:46.840 --> 0:35:48.520
<v Speaker 1>He would go to we would go to concerts together.

0:35:48.640 --> 0:35:53.759
<v Speaker 1>You're a major, was what? Um? Okay. When I uh

0:35:54.200 --> 0:35:56.120
<v Speaker 1>entered U c l A. And I'm not sure where

0:35:56.160 --> 0:35:58.240
<v Speaker 1>I got this notation, but I thought i'd be a lawyer.

0:35:58.719 --> 0:36:03.440
<v Speaker 1>He didn't have pre law. They recommended political science. UM.

0:36:04.680 --> 0:36:07.440
<v Speaker 1>I was reading these textbooks, which I thought were really boring.

0:36:08.080 --> 0:36:09.680
<v Speaker 1>At a certain point, I thought, you know, I don't

0:36:09.719 --> 0:36:13.879
<v Speaker 1>feel like going to law school for three years. Um.

0:36:14.800 --> 0:36:19.319
<v Speaker 1>And by the time I kind of realized what I thought.

0:36:19.440 --> 0:36:23.239
<v Speaker 1>Two majors that i'd like, they weren't really viable. UM.

0:36:25.080 --> 0:36:29.160
<v Speaker 1>U c l A had journalism classes but no journalism major.

0:36:29.960 --> 0:36:35.400
<v Speaker 1>And film. I liked film um and um, but it

0:36:35.520 --> 0:36:37.120
<v Speaker 1>was a little bit too late for me to I

0:36:37.200 --> 0:36:41.000
<v Speaker 1>think apply because it was highly competitive. So at that point, Um,

0:36:41.160 --> 0:36:44.120
<v Speaker 1>it was the early stages of you could make up

0:36:44.200 --> 0:36:47.320
<v Speaker 1>your own major and if you got it approved, you

0:36:47.400 --> 0:36:50.840
<v Speaker 1>could graduate under that. So, UM, I came up with

0:36:50.960 --> 0:36:53.760
<v Speaker 1>this thing. I think they named it sociology and the media.

0:36:54.360 --> 0:36:59.719
<v Speaker 1>So uh, film music sociology. Probably the best way to

0:37:00.200 --> 0:37:04.359
<v Speaker 1>describe it is using an example like High Noon, which

0:37:04.560 --> 0:37:07.040
<v Speaker 1>I think was nineteen fifty two. But okay, high Noon

0:37:07.160 --> 0:37:11.120
<v Speaker 1>was this eighteen eighties western. Um, but it was an

0:37:11.160 --> 0:37:14.520
<v Speaker 1>allegory for um standing up to communism and during the

0:37:14.600 --> 0:37:17.440
<v Speaker 1>McCarthy era. So even though it was about you know,

0:37:17.520 --> 0:37:22.759
<v Speaker 1>this Western, it dealt with these contemporary themes. Um a

0:37:22.920 --> 0:37:29.320
<v Speaker 1>different film people know, uh Chinatown, Well that was a

0:37:29.440 --> 0:37:35.840
<v Speaker 1>metaphor for Watergate. Okay, Uh, you're also become a rep

0:37:35.960 --> 0:37:41.359
<v Speaker 1>for Columbia Records. How does that come together? Um. Paul

0:37:41.480 --> 0:37:46.320
<v Speaker 1>Rappaport was and is a year older than me. So

0:37:46.480 --> 0:37:49.120
<v Speaker 1>he was leaving. I said, hell, can I, you know,

0:37:50.560 --> 0:37:55.440
<v Speaker 1>replace you? And uh he said yeah. So UM I

0:37:55.520 --> 0:37:59.480
<v Speaker 1>felt really fortunate. Uh. Not only because of that, but

0:37:59.520 --> 0:38:03.080
<v Speaker 1>I thought at this point, Um, I wanted to get

0:38:03.120 --> 0:38:05.680
<v Speaker 1>a job in the music business because I had become

0:38:05.680 --> 0:38:07.920
<v Speaker 1>a little bit familiar with some of the departments, like

0:38:08.080 --> 0:38:10.800
<v Speaker 1>the publicity department some of the others, and you know,

0:38:10.840 --> 0:38:14.360
<v Speaker 1>I love the music and um, and I thought this

0:38:14.440 --> 0:38:19.439
<v Speaker 1>would be a good stepping stone, so I thought so. Um. Anyway, yeah,

0:38:19.440 --> 0:38:22.799
<v Speaker 1>that was my senior year now at that time, mean,

0:38:22.920 --> 0:38:26.040
<v Speaker 1>that was a huge program and million people ended up

0:38:26.080 --> 0:38:30.040
<v Speaker 1>working in the industry. But what you tell me is

0:38:30.120 --> 0:38:32.279
<v Speaker 1>they did not offer you a job, whereas they had

0:38:32.320 --> 0:38:34.880
<v Speaker 1>offered a lot of other people's jobs. Well, I'm not

0:38:35.280 --> 0:38:36.840
<v Speaker 1>really aware of a lot of other people. I mean

0:38:36.920 --> 0:38:42.040
<v Speaker 1>I know, um, um the local people from southern California,

0:38:42.200 --> 0:38:44.719
<v Speaker 1>like you know, um, the Long Beach person in the

0:38:44.880 --> 0:38:51.520
<v Speaker 1>USC person and UM myself. Maybe there was one other. Um.

0:38:52.120 --> 0:38:53.920
<v Speaker 1>By the way, I did a great job. I got

0:38:54.600 --> 0:38:57.800
<v Speaker 1>um lots of ads on the u c l A

0:38:57.920 --> 0:39:00.400
<v Speaker 1>radio station because they loved me, because I gave him promos,

0:39:00.520 --> 0:39:03.200
<v Speaker 1>right even you know, things that like Birds of a

0:39:03.280 --> 0:39:05.160
<v Speaker 1>Feather by par of Your and the Raiders and things

0:39:05.160 --> 0:39:08.480
<v Speaker 1>that didn't become big hits. I put on help to

0:39:08.520 --> 0:39:11.000
<v Speaker 1>put on some concerts. Um. I had a really good

0:39:11.040 --> 0:39:13.440
<v Speaker 1>relationship with the four record stores in West Village, so

0:39:13.680 --> 0:39:16.359
<v Speaker 1>and then also with my writing and at this point

0:39:16.400 --> 0:39:19.600
<v Speaker 1>I had gotten a few articles in Rolling Stone, so

0:39:19.719 --> 0:39:24.759
<v Speaker 1>I thought I was primed and either nobody at Columbia

0:39:25.000 --> 0:39:29.319
<v Speaker 1>could foresee the potential that I subsequently had or at

0:39:29.480 --> 0:39:31.879
<v Speaker 1>any of the other labels, and I was really kind

0:39:31.920 --> 0:39:34.400
<v Speaker 1>of crushed. Well that's my question, were to what were

0:39:34.400 --> 0:39:37.279
<v Speaker 1>you disheartened? Well, very much so. But part of it

0:39:37.360 --> 0:39:39.719
<v Speaker 1>you have to understand is, um, you know, I was

0:39:39.840 --> 0:39:42.640
<v Speaker 1>still basically a shy person. I'm not gonna say I

0:39:42.880 --> 0:39:46.120
<v Speaker 1>wouldn't talk to anybody. But at the time, I think

0:39:47.160 --> 0:39:51.359
<v Speaker 1>Paul described it as like, uh, you know, you didn't

0:39:51.360 --> 0:39:53.280
<v Speaker 1>you know, you didn't hang out, you know, doing drugs

0:39:53.320 --> 0:39:55.239
<v Speaker 1>in the bathroom, you know, like with like the other

0:39:55.280 --> 0:39:57.120
<v Speaker 1>guys where they would like, you know, think that you

0:39:57.200 --> 0:39:59.239
<v Speaker 1>were like on a level with them or part of

0:39:59.280 --> 0:40:01.759
<v Speaker 1>their you know, areas team. So you know, I was

0:40:01.840 --> 0:40:05.760
<v Speaker 1>just more focused on the music and valuing the music.

0:40:05.960 --> 0:40:09.040
<v Speaker 1>And yeah, I wasn't really thinking about, um, you know,

0:40:09.360 --> 0:40:13.319
<v Speaker 1>the politics or positioning yourself. I wasn't thinking that. Okay,

0:40:13.360 --> 0:40:15.480
<v Speaker 1>so you graduate from college, you go to England, you

0:40:15.560 --> 0:40:20.480
<v Speaker 1>get back, you get a job with a trade okay. Um.

0:40:20.960 --> 0:40:23.400
<v Speaker 1>On my way back from England, Paul said to be

0:40:23.400 --> 0:40:28.080
<v Speaker 1>a good idea to visit the people at Columbia or

0:40:28.160 --> 0:40:30.600
<v Speaker 1>CBS in New York. So on the way I I

0:40:30.880 --> 0:40:34.480
<v Speaker 1>my mom was visiting her relatives in New Jersey. So

0:40:34.600 --> 0:40:37.120
<v Speaker 1>I did that and I went to and I met

0:40:37.239 --> 0:40:40.080
<v Speaker 1>you know, the main person was in college there. He

0:40:40.160 --> 0:40:42.200
<v Speaker 1>asked me a question and you didn't say there was

0:40:42.200 --> 0:40:44.640
<v Speaker 1>any jobs available. He said, you know, would you be

0:40:44.719 --> 0:40:49.719
<v Speaker 1>willing to move to New York? And I said no. Um,

0:40:50.440 --> 0:40:53.400
<v Speaker 1>But anyway, the only thing that struck me, Um. I mean,

0:40:53.480 --> 0:40:57.000
<v Speaker 1>he was okay, But the person who was really enthusiastics

0:40:57.160 --> 0:40:59.839
<v Speaker 1>to see me was Sandy Perlman, who was the man

0:41:00.080 --> 0:41:03.440
<v Speaker 1>inger and producer of Blue Oyster Cal Did he also

0:41:03.560 --> 0:41:07.000
<v Speaker 1>write the lyrics along with one other person? I mean

0:41:07.320 --> 0:41:10.560
<v Speaker 1>I don't think he did. I think, well maybe with Meltzer,

0:41:10.600 --> 0:41:14.240
<v Speaker 1>because Meltzer they were, you know, classmates in college together,

0:41:14.640 --> 0:41:17.640
<v Speaker 1>Richard Meltzer. So anyway, but it was kind of like odd, like, oh, yeah,

0:41:17.640 --> 0:41:20.680
<v Speaker 1>here's Sandy Permon who I barely know, and yet he's

0:41:20.680 --> 0:41:22.839
<v Speaker 1>given me this warm welcome and you know this other

0:41:22.880 --> 0:41:27.319
<v Speaker 1>guy didn't. But nonetheless, um, I remember after that, Um,

0:41:28.760 --> 0:41:32.280
<v Speaker 1>you know, the Los Angeles Times classified and thinking about

0:41:32.600 --> 0:41:34.879
<v Speaker 1>jo I want to be a night manager at Jack

0:41:34.960 --> 0:41:37.320
<v Speaker 1>in the Box, Like like what else could I do?

0:41:37.600 --> 0:41:39.799
<v Speaker 1>You know, reading the ads and you know what, I'd

0:41:39.880 --> 0:41:42.600
<v Speaker 1>really be unhappy doing that. And then at a certain

0:41:42.640 --> 0:41:48.160
<v Speaker 1>point my dad suggested taking the Selective Service UM UM

0:41:48.560 --> 0:41:53.279
<v Speaker 1>test and the Civil Service. Sorry, how did you get

0:41:53.280 --> 0:41:56.360
<v Speaker 1>out of the draft? Um? Well, first of all, there

0:41:56.480 --> 0:41:59.560
<v Speaker 1>was the student deferment and then I didn't have a

0:41:59.640 --> 0:42:02.960
<v Speaker 1>hind number, but it was high enough, so you know,

0:42:03.080 --> 0:42:04.400
<v Speaker 1>if they I don't know if they went up to

0:42:04.480 --> 0:42:07.800
<v Speaker 1>like one oh nine, maybe mine was one four or something. Okay,

0:42:08.120 --> 0:42:11.000
<v Speaker 1>so you're you're not gonna be a night manager, So

0:42:11.120 --> 0:42:13.200
<v Speaker 1>what gig do you get? Now? I was just I

0:42:13.280 --> 0:42:17.640
<v Speaker 1>was living at home and um, you know, writing and

0:42:17.800 --> 0:42:20.920
<v Speaker 1>you know, going to the record companies being hopeful. And

0:42:21.000 --> 0:42:24.680
<v Speaker 1>then after taking the Civil Service exam UM, I was

0:42:24.880 --> 0:42:30.040
<v Speaker 1>offered a placement UM it was called um a four

0:42:30.200 --> 0:42:35.239
<v Speaker 1>month placement to be a passport agent because UM this

0:42:35.440 --> 0:42:40.200
<v Speaker 1>was for the handling the influx of summer travelers. So

0:42:40.320 --> 0:42:42.600
<v Speaker 1>it's like it started in April, early April, and it

0:42:42.680 --> 0:42:45.680
<v Speaker 1>was for four months. So it was a hundred and

0:42:45.680 --> 0:42:49.239
<v Speaker 1>fifty dollars a week. The office was in Lawndale and

0:42:49.320 --> 0:42:53.160
<v Speaker 1>I was a passport agent. Four times I was UM

0:42:54.120 --> 0:42:57.879
<v Speaker 1>looking in a judy cating as they called it. UM

0:42:58.800 --> 0:43:03.120
<v Speaker 1>applications that were sent from post offices Saturday. Um was

0:43:03.239 --> 0:43:06.400
<v Speaker 1>my day for being out with the public. Okay, So

0:43:07.360 --> 0:43:08.920
<v Speaker 1>how does that end? And how do you end up

0:43:08.960 --> 0:43:12.279
<v Speaker 1>working for cash box? I believe it was alright? So

0:43:12.719 --> 0:43:19.319
<v Speaker 1>um again that ended? Um, August seventy three, I had

0:43:19.760 --> 0:43:23.759
<v Speaker 1>passport money. Let's go to England. So wait, you had

0:43:23.800 --> 0:43:25.759
<v Speaker 1>that four month There was not a continuous job with

0:43:25.840 --> 0:43:29.120
<v Speaker 1>the civil four month places. By the way, I have

0:43:29.239 --> 0:43:31.960
<v Speaker 1>to say it's I didn't get any letter that said, oh,

0:43:32.040 --> 0:43:34.439
<v Speaker 1>by the way, would you be interested in I never

0:43:34.560 --> 0:43:37.520
<v Speaker 1>got I mean I didn't pursue it because I wasn't

0:43:37.760 --> 0:43:39.560
<v Speaker 1>you know, I didn't. I didn't like wearing a student

0:43:39.600 --> 0:43:42.640
<v Speaker 1>tie every day, but none but none didn't an office.

0:43:42.760 --> 0:43:45.640
<v Speaker 1>So you go to England? Um? Yeah, and I did,

0:43:45.719 --> 0:43:48.120
<v Speaker 1>you know, for fun, but you know, record companies did

0:43:48.200 --> 0:43:53.000
<v Speaker 1>some interviews um, and then UM coming back still looking around,

0:43:53.239 --> 0:43:55.919
<v Speaker 1>looking around. But I've been after Richard after he opened

0:43:55.960 --> 0:43:59.440
<v Speaker 1>the store. He had one full time employee, and you know,

0:43:59.480 --> 0:44:03.560
<v Speaker 1>but he wasn't doing that much business. UM. And in fact,

0:44:03.640 --> 0:44:06.160
<v Speaker 1>Richard said, I think within the first few months. There

0:44:06.239 --> 0:44:08.319
<v Speaker 1>was one day when he was working that not one

0:44:08.400 --> 0:44:12.360
<v Speaker 1>customer came in. UM. And then a certain point this

0:44:12.480 --> 0:44:18.160
<v Speaker 1>employee UM left and he hired me. And this was

0:44:18.280 --> 0:44:23.840
<v Speaker 1>probably UM April seventy four. And then uh UM a

0:44:23.960 --> 0:44:28.359
<v Speaker 1>short time after UH, Toby Mamith said, oh yeah, cash

0:44:28.440 --> 0:44:31.759
<v Speaker 1>Box magazine is looking for a writer. So he recommended

0:44:31.800 --> 0:44:35.120
<v Speaker 1>me to cash Box and I interviewed and I got

0:44:35.200 --> 0:44:38.759
<v Speaker 1>that job. And UM, I thought I was doing a

0:44:38.880 --> 0:44:40.880
<v Speaker 1>great job. I thought, you know, like I rolled up

0:44:40.920 --> 0:44:44.080
<v Speaker 1>my sleeves, I could really upgrade, you know, the caliber

0:44:44.120 --> 0:44:47.400
<v Speaker 1>of writing in this And after the end of two weeks,

0:44:47.480 --> 0:44:50.640
<v Speaker 1>on the same day that Nixon was fired, I was

0:44:50.760 --> 0:44:53.719
<v Speaker 1>fired and I was shocked. I wasn't expecting it. I

0:44:53.800 --> 0:44:56.080
<v Speaker 1>thought I was doing a good job. They didn't tell

0:44:56.120 --> 0:45:00.480
<v Speaker 1>me why, but I think I surmise what happened, which

0:45:00.680 --> 0:45:04.480
<v Speaker 1>was you wrote a negative review, right UM. No. Well,

0:45:04.719 --> 0:45:10.200
<v Speaker 1>first of all, um UH, the managing uh editor said

0:45:10.239 --> 0:45:13.040
<v Speaker 1>something to me that never would have crossed my mind. Again,

0:45:13.120 --> 0:45:17.320
<v Speaker 1>I'm you know, music writing, you know, he said, the

0:45:17.440 --> 0:45:21.719
<v Speaker 1>most important thing in the magazine is the advertisements, or

0:45:21.880 --> 0:45:27.200
<v Speaker 1>anything between the advertisements is secondary. Nobody explained it to me,

0:45:27.800 --> 0:45:30.480
<v Speaker 1>never would have thought about it. Um. I got a

0:45:30.560 --> 0:45:33.800
<v Speaker 1>call from Um, one of the local guys at Ireland,

0:45:33.840 --> 0:45:37.040
<v Speaker 1>who wanted up bringing Jim Capaldi by Jim Capoldi's second

0:45:37.080 --> 0:45:39.160
<v Speaker 1>album and just come out. He wanted him to be

0:45:39.239 --> 0:45:42.600
<v Speaker 1>interviewed for this one column was just backed up by

0:45:42.760 --> 0:45:45.239
<v Speaker 1>five weeks and a couple of days ago. I just

0:45:45.480 --> 0:45:49.360
<v Speaker 1>interviewed Rick Wright from Pink Floyd. So why do I

0:45:49.520 --> 0:45:52.560
<v Speaker 1>want to you know, I just thought, you know, this

0:45:52.719 --> 0:45:55.040
<v Speaker 1>is really backed up. So I said, look, really backed up.

0:45:55.520 --> 0:45:58.200
<v Speaker 1>Maybe I could review the album. Wanted to send it

0:45:58.280 --> 0:46:02.680
<v Speaker 1>over and I think that that's what caused me to

0:46:02.760 --> 0:46:05.239
<v Speaker 1>be fired because they were going to buy an ad

0:46:05.520 --> 0:46:09.080
<v Speaker 1>or something. Well, because you know, I didn't have the

0:46:09.120 --> 0:46:12.680
<v Speaker 1>guy come buy and interview him. Okay, So when you

0:46:12.800 --> 0:46:14.920
<v Speaker 1>got the job at cash Box, where you're still working

0:46:14.960 --> 0:46:16.840
<v Speaker 1>at Rhino or you moved up No, no, I was

0:46:16.880 --> 0:46:20.160
<v Speaker 1>working at Rhino. Fortunately I was able to get my

0:46:20.280 --> 0:46:23.400
<v Speaker 1>job back, and at that point, again rolling up my sleeves,

0:46:23.440 --> 0:46:26.240
<v Speaker 1>I thought, so okay. So when I had interviewed Peter

0:46:26.360 --> 0:46:31.480
<v Speaker 1>asher Um and this was in the summer of one,

0:46:32.239 --> 0:46:34.520
<v Speaker 1>he was one of the things we talked about was

0:46:34.600 --> 0:46:36.320
<v Speaker 1>when he was at Apple records, and he said, you know,

0:46:36.440 --> 0:46:38.520
<v Speaker 1>you could be fired for no reason at all in

0:46:38.600 --> 0:46:41.080
<v Speaker 1>this business. And then you know, it happened to him,

0:46:41.520 --> 0:46:44.520
<v Speaker 1>and then it happened to me, and I felt, look,

0:46:44.560 --> 0:46:46.640
<v Speaker 1>I've got I had my own apartment. You know, I

0:46:46.719 --> 0:46:49.000
<v Speaker 1>have bills. You know I I need a steady job.

0:46:49.120 --> 0:46:54.359
<v Speaker 1>So I, um, you know, focused much more on uh

0:46:54.680 --> 0:46:57.200
<v Speaker 1>Ryano and I worked my I became manager. And the

0:46:57.239 --> 0:47:00.560
<v Speaker 1>initial steps where Richard wasn't into paying bills, so he

0:47:00.680 --> 0:47:02.360
<v Speaker 1>was just throw them on top of the cash register.

0:47:02.760 --> 0:47:04.719
<v Speaker 1>And I said, Richard, you know, do you mind if

0:47:04.760 --> 0:47:06.800
<v Speaker 1>I pay these bills? Sure? So I would see like

0:47:06.880 --> 0:47:09.880
<v Speaker 1>he had delinquent charges. So I said, look, let me

0:47:09.920 --> 0:47:11.799
<v Speaker 1>pay the bills. At least I could save you money.

0:47:12.440 --> 0:47:14.920
<v Speaker 1>So that was kind of the first step. Uh. And

0:47:15.000 --> 0:47:17.920
<v Speaker 1>then I got you know, more involved. Okay, so how

0:47:18.000 --> 0:47:21.920
<v Speaker 1>did traffic ultimately spike? He said he worked there and

0:47:22.000 --> 0:47:25.120
<v Speaker 1>there was nobody there one day. Oh okay, Um, what

0:47:25.280 --> 0:47:28.000
<v Speaker 1>gradually built? And I I was able to get at

0:47:28.080 --> 0:47:30.560
<v Speaker 1>least some of my friends to trade their records in.

0:47:31.080 --> 0:47:33.000
<v Speaker 1>But you know, when you live in Hollywood, you know,

0:47:33.080 --> 0:47:36.600
<v Speaker 1>Westwood's kind of inconvenience. You'd rather be errands and you

0:47:36.680 --> 0:47:39.880
<v Speaker 1>know on you know Melrose near Fairfax, right, but you

0:47:39.960 --> 0:47:42.080
<v Speaker 1>know some people did come. So I I tried to

0:47:42.280 --> 0:47:44.920
<v Speaker 1>help him, and um, you know, I tried to do

0:47:45.040 --> 0:47:50.239
<v Speaker 1>different things, and Richard was into doing uh promotions and things. Um.

0:47:51.200 --> 0:47:56.000
<v Speaker 1>But anyway, one thing that seemed significant, um, because we

0:47:56.080 --> 0:48:00.279
<v Speaker 1>accepted used records. Richard had a deal where he could

0:48:00.760 --> 0:48:04.800
<v Speaker 1>return a certain amount of used records as defective getting

0:48:04.880 --> 0:48:07.880
<v Speaker 1>credit for new records. Now, these were not records that

0:48:07.920 --> 0:48:10.080
<v Speaker 1>were trashed. These were records that you know looked, you know,

0:48:10.320 --> 0:48:14.440
<v Speaker 1>like they were new. But just so therefore, if you okay,

0:48:14.640 --> 0:48:19.200
<v Speaker 1>um to clarify, if you were a big chain like

0:48:19.400 --> 0:48:24.040
<v Speaker 1>Tower Records or the Warehouse or Sam Goodies, you brought

0:48:24.520 --> 0:48:28.080
<v Speaker 1>records for less money than if you were you know,

0:48:28.239 --> 0:48:31.760
<v Speaker 1>one or two stores and you bought from what was called,

0:48:32.000 --> 0:48:40.440
<v Speaker 1>um like a wholesaler so um. In this case, Richard

0:48:40.719 --> 0:48:42.920
<v Speaker 1>was advertised again this is maybe like in the u

0:48:43.000 --> 0:48:44.799
<v Speaker 1>c L. A Doom Bruin or something. It's like one

0:48:44.960 --> 0:48:49.400
<v Speaker 1>store for uh certain records like an Elton John or

0:48:49.400 --> 0:48:54.360
<v Speaker 1>whatever below list price. And the guy who owned the

0:48:54.400 --> 0:48:57.360
<v Speaker 1>warehouse chain was like, really, instanse, how could he be

0:48:57.440 --> 0:49:01.280
<v Speaker 1>getting these for less than me? So he uh initiated

0:49:01.560 --> 0:49:06.160
<v Speaker 1>um a lawsuit. So I was able to get my

0:49:06.280 --> 0:49:09.600
<v Speaker 1>friends in the local press like um, um the l

0:49:09.640 --> 0:49:12.160
<v Speaker 1>a free press to do like you know David versus

0:49:12.239 --> 0:49:16.239
<v Speaker 1>Goliath thing, how dare they? And I think, um that

0:49:16.640 --> 0:49:20.480
<v Speaker 1>was you know, getting that press really helped to um,

0:49:21.239 --> 0:49:23.480
<v Speaker 1>you know, collect more business for the store. Well, I

0:49:23.560 --> 0:49:26.399
<v Speaker 1>remember it, all these special days, etcetera. Once it heat

0:49:26.480 --> 0:49:29.280
<v Speaker 1>it up, so you do the wild Man Fisher record.

0:49:30.120 --> 0:49:36.839
<v Speaker 1>What's the next record? Um? Richard and I were really

0:49:36.960 --> 0:49:40.279
<v Speaker 1>into novelty records. I mentioned before nose Job, and I

0:49:40.320 --> 0:49:43.920
<v Speaker 1>think you remember this, you know, growing up listening to

0:49:44.040 --> 0:49:46.959
<v Speaker 1>Top forty in the fifties and sixties, there would usually

0:49:46.960 --> 0:49:50.000
<v Speaker 1>always be like one novelty record, whether it be Purple

0:49:50.080 --> 0:49:55.360
<v Speaker 1>People Eater or which doctor Um and uh take away

0:49:55.600 --> 0:49:59.479
<v Speaker 1>Alan Sherman, Hello Mota, Hello Fada. And it was really fun,

0:50:00.320 --> 0:50:02.960
<v Speaker 1>uh you know to hear these records. And unfortunately, you know,

0:50:03.000 --> 0:50:06.520
<v Speaker 1>subsequent generation just kind of you know, never had that experience.

0:50:07.320 --> 0:50:10.400
<v Speaker 1>And in fact, the first album that I bought was

0:50:10.520 --> 0:50:15.560
<v Speaker 1>Alan Sherman's album My Son the Folksing first album. So um,

0:50:16.400 --> 0:50:20.279
<v Speaker 1>so in our first year we did novelty records, which

0:50:20.280 --> 0:50:22.600
<v Speaker 1>are cheap to record, because we were the artists. We

0:50:22.680 --> 0:50:25.279
<v Speaker 1>just made up the artist. We did a little bit,

0:50:25.440 --> 0:50:28.680
<v Speaker 1>just a little bit of reissuing old stuff but a

0:50:28.760 --> 0:50:31.040
<v Speaker 1>little bit slower. Okay, So you put out the wild

0:50:31.120 --> 0:50:34.000
<v Speaker 1>Man Fisher record, Yes, then you say this was fun

0:50:34.520 --> 0:50:36.880
<v Speaker 1>or you're thinking we're gonna make some money or well, okay,

0:50:37.080 --> 0:50:39.719
<v Speaker 1>all right, and then we gotta think one distributor from okay,

0:50:40.200 --> 0:50:47.040
<v Speaker 1>well my only clarify. So in January eight we put

0:50:47.080 --> 0:50:50.520
<v Speaker 1>out our first album, which was wild Man Fisher. So

0:50:50.600 --> 0:50:54.959
<v Speaker 1>I recorded him on my four track recorder. I think

0:50:55.080 --> 0:51:00.840
<v Speaker 1>the the total recording expenses like five. I think we

0:51:00.960 --> 0:51:05.480
<v Speaker 1>gave wild Man five hundred, and Richard got a supplier,

0:51:06.200 --> 0:51:10.600
<v Speaker 1>and you know, maybe we'd sold like two thousand hundred

0:51:10.640 --> 0:51:13.200
<v Speaker 1>because of you know, the wild because the Frank's Apple connection.

0:51:14.000 --> 0:51:16.839
<v Speaker 1>And that was enough. So then we did two out.

0:51:16.920 --> 0:51:18.960
<v Speaker 1>We had enough to do too. By the way, we

0:51:19.040 --> 0:51:21.239
<v Speaker 1>were operating from the back room of the record store,

0:51:21.280 --> 0:51:25.200
<v Speaker 1>so there were no expenses, no overhead expenses. So then

0:51:25.239 --> 0:51:30.200
<v Speaker 1>we did too um subsequent records. One was a compilation

0:51:30.320 --> 0:51:34.440
<v Speaker 1>album of some things we've done on singles, but just yes,

0:51:34.640 --> 0:51:36.919
<v Speaker 1>how many and how long did you do singles before

0:51:36.920 --> 0:51:42.600
<v Speaker 1>you put on an album. All right, Um, about three

0:51:42.680 --> 0:51:51.239
<v Speaker 1>years of singles? Three years? Were how many would they sell? Um? Well,

0:51:51.920 --> 0:51:55.200
<v Speaker 1>other than um, you know the wild Man go to

0:51:55.320 --> 0:51:59.319
<v Speaker 1>Rhino Records, which we talked about, Um, not very much.

0:51:59.400 --> 0:52:01.320
<v Speaker 1>I mean, I don't know whether they you a hundred

0:52:01.400 --> 0:52:04.200
<v Speaker 1>or two hundred were lost in the distribution system, you know,

0:52:04.400 --> 0:52:07.279
<v Speaker 1>just not that, but not not. We're like they were

0:52:07.320 --> 0:52:10.440
<v Speaker 1>so successful, so they were hundreds, they were sold. So

0:52:10.920 --> 0:52:13.160
<v Speaker 1>this was not going to be did you dream? Were

0:52:13.200 --> 0:52:14.799
<v Speaker 1>You're just having far to your dream? If well, we'll

0:52:14.840 --> 0:52:19.520
<v Speaker 1>get this right, will make money. Well, at this point,

0:52:19.600 --> 0:52:22.480
<v Speaker 1>I think it was more like a hobby. Um, when

0:52:22.520 --> 0:52:25.040
<v Speaker 1>we started putting out albums, it was more of a

0:52:25.239 --> 0:52:27.520
<v Speaker 1>you know, more of an expense. Okay. So when you

0:52:27.640 --> 0:52:30.399
<v Speaker 1>put out the Wildman album three years after singles, which

0:52:30.440 --> 0:52:32.279
<v Speaker 1>was three years after the original one, you said you

0:52:32.360 --> 0:52:36.320
<v Speaker 1>found a distributor. Now, obviously stores had to buy albums,

0:52:36.680 --> 0:52:38.680
<v Speaker 1>But if you were in New York or Chicago, was

0:52:38.840 --> 0:52:43.200
<v Speaker 1>that record in the bins? Probably some? Okay, Well, I

0:52:43.239 --> 0:52:44.920
<v Speaker 1>can tell you where things ramped up a bit in

0:52:45.000 --> 0:52:49.520
<v Speaker 1>that first year. Um, the Temple City Kazoo Orchestra. Okay,

0:52:49.520 --> 0:52:51.480
<v Speaker 1>That's what I want to know, is that the second

0:52:51.560 --> 0:52:55.359
<v Speaker 1>Rhino album, No, but it comes pretty close. Well, then

0:52:55.440 --> 0:52:59.720
<v Speaker 1>what is that one can't Oh? Two is Rhino Royale,

0:53:00.120 --> 0:53:04.720
<v Speaker 1>which was I own that record compilation album of mostly

0:53:04.840 --> 0:53:08.439
<v Speaker 1>singles but slightly recorded novelty stuff and the Temple City

0:53:08.440 --> 0:53:12.160
<v Speaker 1>because orchestras on that. Could you buy RNYO Royale with

0:53:12.440 --> 0:53:16.600
<v Speaker 1>red vinyl? There was a certain point there was multicolored,

0:53:16.719 --> 0:53:19.960
<v Speaker 1>different colored vinyl. Yes, okay, so now you're gonna make

0:53:20.040 --> 0:53:23.560
<v Speaker 1>your first album. Temple City Orchestra had one cut from

0:53:23.600 --> 0:53:28.080
<v Speaker 1>their Temple City because Orchestra started getting some action, no no, no,

0:53:28.200 --> 0:53:29.640
<v Speaker 1>no back from the beating. I'd you come up with

0:53:29.719 --> 0:53:34.799
<v Speaker 1>the idea? Okay? That was Richard's idea to lampoon rock

0:53:34.920 --> 0:53:38.400
<v Speaker 1>and roll by doing it with kazoos, because he felt

0:53:38.480 --> 0:53:42.600
<v Speaker 1>that this was his idea. He felt that um Um

0:53:43.000 --> 0:53:45.640
<v Speaker 1>rock and roll was taking itself too seriously when you

0:53:45.719 --> 0:53:51.520
<v Speaker 1>think about um Um, Jerry Lee Lewis and little Richard

0:53:51.680 --> 0:53:54.120
<v Speaker 1>and like almost like cartoon characters. I mean, there was

0:53:54.360 --> 0:53:58.000
<v Speaker 1>a lot of fun in spirit of rock and roll

0:53:58.120 --> 0:54:01.520
<v Speaker 1>in the fifties and sixties, which kind of, you know,

0:54:01.600 --> 0:54:04.359
<v Speaker 1>it dissipated, you know, in the you know, and well

0:54:04.440 --> 0:54:08.239
<v Speaker 1>into the seventies. So Um. The idea wasn't just too

0:54:09.239 --> 0:54:13.520
<v Speaker 1>um oh, it's funny kazoo's playing a rock and roll songs.

0:54:13.560 --> 0:54:17.239
<v Speaker 1>It was also to make you know, social commentary. And

0:54:17.320 --> 0:54:20.720
<v Speaker 1>he thought that of all the serious acts, led Zeppelin

0:54:20.840 --> 0:54:23.640
<v Speaker 1>treated themselves more seriously than anybody else. So let's do

0:54:24.040 --> 0:54:28.239
<v Speaker 1>a whole lot of love. So um yeah. So that

0:54:28.480 --> 0:54:31.560
<v Speaker 1>and that started to get play. So where did you

0:54:31.680 --> 0:54:34.279
<v Speaker 1>record it? That was in a garage, not you know,

0:54:34.360 --> 0:54:36.840
<v Speaker 1>just in somebody. So then how many people played kazoo

0:54:36.920 --> 0:54:40.279
<v Speaker 1>on that? You know? It's mostly Richard and myself. He

0:54:40.360 --> 0:54:43.319
<v Speaker 1>did the the Robert Plant part and Jimmy Page part

0:54:43.480 --> 0:54:46.560
<v Speaker 1>and a couple of other people, um doing uh you know,

0:54:46.680 --> 0:54:49.480
<v Speaker 1>the rhythm, but with the cute thing is as we

0:54:49.640 --> 0:54:53.840
<v Speaker 1>know that, Um, with the panning in the studio on

0:54:54.000 --> 0:54:59.720
<v Speaker 1>Jimmy Page's guitar, the slid cargoes a whole lot of love. Yeah. Anyway,

0:55:00.239 --> 0:55:02.440
<v Speaker 1>so I did that on the kazoo, and I was

0:55:02.560 --> 0:55:05.920
<v Speaker 1>really proud that I panned the kazoo, like you know,

0:55:06.040 --> 0:55:08.520
<v Speaker 1>Jimmy Page's guitar. So how long did it take you

0:55:08.600 --> 0:55:11.759
<v Speaker 1>to cut that album? Well, that was one track and

0:55:11.800 --> 0:55:15.320
<v Speaker 1>then because of the play we were getting no, no,

0:55:15.480 --> 0:55:18.520
<v Speaker 1>not even a single just down the Rhino Royale, k

0:55:18.760 --> 0:55:20.840
<v Speaker 1>Rock played it, some other things played it, and because

0:55:20.880 --> 0:55:23.960
<v Speaker 1>the attention, then we did three more songs. We made

0:55:24.040 --> 0:55:28.960
<v Speaker 1>an e P Temple City Kazoo Band EP, and we

0:55:29.440 --> 0:55:31.960
<v Speaker 1>was a Temple City. Well, I came up with the name.

0:55:32.480 --> 0:55:34.680
<v Speaker 1>I just you know, it's it's a Temple City is

0:55:34.719 --> 0:55:38.279
<v Speaker 1>a community near Pasadena. I've never been there, but it just,

0:55:38.360 --> 0:55:40.080
<v Speaker 1>you know, you come up with the name. It like, oh,

0:55:40.160 --> 0:55:42.640
<v Speaker 1>that's kind of an interesting name, the Temple City, because

0:55:43.000 --> 0:55:46.640
<v Speaker 1>it sounded like it was legitimate. So he cut three

0:55:46.680 --> 0:55:51.440
<v Speaker 1>more tracks. Yeah, and it started to get play, um,

0:55:51.840 --> 0:55:54.279
<v Speaker 1>and it was this underground thing and what people kind

0:55:54.360 --> 0:55:58.880
<v Speaker 1>of you know, might not remember, but there was a

0:55:59.080 --> 0:56:03.360
<v Speaker 1>time in the you know, ramping up for Christmas, October, November,

0:56:04.640 --> 0:56:06.759
<v Speaker 1>Fleetwood Mac, Let's Link, Fleetwood Mac and some of the

0:56:06.800 --> 0:56:09.879
<v Speaker 1>big albums when like for instance, with that, well all

0:56:09.920 --> 0:56:13.120
<v Speaker 1>the Warrener Brothers presses you know were occupied, you know,

0:56:13.239 --> 0:56:16.960
<v Speaker 1>they were taking space on the independent presses. When our

0:56:17.200 --> 0:56:20.680
<v Speaker 1>record was the hottest with the airplane everything, I think

0:56:20.719 --> 0:56:23.640
<v Speaker 1>there were um, six weeks we couldn't get a record pressed.

0:56:23.760 --> 0:56:26.799
<v Speaker 1>We had no records and in fact, Paul Rappaport at

0:56:26.840 --> 0:56:29.360
<v Speaker 1>the time. I met with him and he said, I

0:56:29.440 --> 0:56:32.080
<v Speaker 1>think we sold a bit more, but probably we were

0:56:32.080 --> 0:56:34.279
<v Speaker 1>around ten thousand. He said, look, you know, if you

0:56:34.320 --> 0:56:36.120
<v Speaker 1>could have gotten record pressed, you probably would have been

0:56:36.120 --> 0:56:40.879
<v Speaker 1>a hundred thousand. And you use Rainbow Records at the time. Um,

0:56:41.520 --> 0:56:44.080
<v Speaker 1>we use Rainbow. Probably we were using Rainbow at that

0:56:44.280 --> 0:56:48.720
<v Speaker 1>time time. Yeah, initially when we were just singles. Initially

0:56:48.760 --> 0:56:51.279
<v Speaker 1>it was Monarch who did Atlantic. Now I need to

0:56:51.400 --> 0:56:53.840
<v Speaker 1>mention one of the things because of one of your guests,

0:56:54.840 --> 0:56:58.520
<v Speaker 1>Lawrence juber Um. Again this was he told us years

0:56:58.600 --> 0:57:02.880
<v Speaker 1>later that, um, Paul McCartney was like searching all over

0:57:03.000 --> 0:57:05.000
<v Speaker 1>London trying to come, you know, buy the Temple City

0:57:05.040 --> 0:57:09.400
<v Speaker 1>because the orchestra. That's kind of funny. That makes it okay,

0:57:09.600 --> 0:57:11.400
<v Speaker 1>So how does it get airplane? You're working in it

0:57:11.560 --> 0:57:13.520
<v Speaker 1>or is it all just you know, by luck? You

0:57:13.600 --> 0:57:15.160
<v Speaker 1>know it was by luck, but you know, and so

0:57:15.200 --> 0:57:17.160
<v Speaker 1>I would like send it out to college stations. There

0:57:17.160 --> 0:57:19.000
<v Speaker 1>are a few of the alternatives. I didn't know what

0:57:19.080 --> 0:57:21.160
<v Speaker 1>I was doing, but you know, you'd get it was

0:57:21.240 --> 0:57:26.440
<v Speaker 1>just let's basically so again back room of the record store,

0:57:26.880 --> 0:57:29.280
<v Speaker 1>and there ultimately was an album in addition to the

0:57:29.360 --> 0:57:34.640
<v Speaker 1>EP Right, Um, no, only the now when you're putting

0:57:34.640 --> 0:57:37.680
<v Speaker 1>out these records, you're working in the store. Richard owns

0:57:37.760 --> 0:57:42.320
<v Speaker 1>the store. Was Richard making any money owning the record store? Um?

0:57:42.480 --> 0:57:46.480
<v Speaker 1>I think, yeah, I mean, um, I don't really know. Um.

0:57:46.520 --> 0:57:49.000
<v Speaker 1>I mean I would make the bank deposits and stuff

0:57:49.040 --> 0:57:51.040
<v Speaker 1>that I never knew the the P and L and

0:57:51.440 --> 0:57:54.920
<v Speaker 1>how that might have worked. But um but at the

0:57:55.080 --> 0:58:02.480
<v Speaker 1>end of um, um, so, our sales were nine thousand

0:58:03.640 --> 0:58:07.160
<v Speaker 1>of for the for the the Rhino Records product. Now

0:58:07.240 --> 0:58:10.840
<v Speaker 1>that's not profit, that's sale. Of course, was there any profit? Um,

0:58:11.080 --> 0:58:13.320
<v Speaker 1>well yeah, but we just put it back into it.

0:58:13.600 --> 0:58:14.960
<v Speaker 1>But anyway, the point I want to make is so

0:58:15.360 --> 0:58:18.000
<v Speaker 1>because this is more fun than doing retail, which Richard

0:58:18.080 --> 0:58:21.720
<v Speaker 1>was tired of. At the end of he sold the store.

0:58:22.000 --> 0:58:24.200
<v Speaker 1>Oh right, I forgot completely about it. And then when

0:58:24.280 --> 0:58:26.640
<v Speaker 1>the two of us went as partners in a different location,

0:58:26.880 --> 0:58:29.800
<v Speaker 1>right right, Okay, but he sold the store seventy eight

0:58:30.120 --> 0:58:33.120
<v Speaker 1>you'd already moved to Santa Monica Boulevard and back before

0:58:33.160 --> 0:58:36.560
<v Speaker 1>he sold it, right, Um, yes, Because what happened was

0:58:36.680 --> 0:58:39.920
<v Speaker 1>the woman who owned the original location, she got talked

0:58:39.960 --> 0:58:41.920
<v Speaker 1>into Oh you know, let's knock it down, let's put

0:58:41.920 --> 0:58:43.640
<v Speaker 1>a new building and get a lot more for rent.

0:58:44.360 --> 0:58:47.600
<v Speaker 1>So we were in a you know, temporary space for

0:58:47.600 --> 0:58:49.720
<v Speaker 1>a year and a half and then we moved back. Okay.

0:58:50.160 --> 0:58:54.280
<v Speaker 1>So when he sold it and didn't he buy it

0:58:54.480 --> 0:58:57.840
<v Speaker 1>back ultimately, well, he and I brought back into it. Um,

0:58:58.280 --> 0:59:00.240
<v Speaker 1>But that was you know, much later, and was the

0:59:00.280 --> 0:59:02.760
<v Speaker 1>motivation to buy back into it. Well, you know, we

0:59:02.840 --> 0:59:06.440
<v Speaker 1>were already in our deal um with Atlantic Records at

0:59:06.480 --> 0:59:07.720
<v Speaker 1>that point, and I think you wanted to get back

0:59:07.760 --> 0:59:11.200
<v Speaker 1>to his roots. Okay. So now the year that you

0:59:11.360 --> 0:59:15.240
<v Speaker 1>go and he sells the store is seventy eight. Yeah,

0:59:15.520 --> 0:59:17.400
<v Speaker 1>but the last the end of seventy eight, seventy eight.

0:59:17.520 --> 0:59:24.400
<v Speaker 1>Where's your first office? Um, it's on pico Um just

0:59:24.640 --> 0:59:27.480
<v Speaker 1>east of Barrington, Okay, and it's just the two of you.

0:59:28.800 --> 0:59:33.880
<v Speaker 1>I'm okay. Uh. He also had a small wholesale business

0:59:33.960 --> 0:59:36.720
<v Speaker 1>doing cutouts. So it's just the two of us and

0:59:36.880 --> 0:59:39.200
<v Speaker 1>one guy who was there before for the host of business.

0:59:39.240 --> 0:59:42.000
<v Speaker 1>Who was who shipped? One guy who shipped? Okay, wait

0:59:42.000 --> 0:59:45.920
<v Speaker 1>a second, this was not the warehouse, no, okay, I'm

0:59:45.920 --> 0:59:49.240
<v Speaker 1>trying to remember the warehouse where Bob whatever had had

0:59:49.280 --> 0:59:55.080
<v Speaker 1>also had his office shared space. Um yes, um yes,

0:59:55.400 --> 0:59:58.320
<v Speaker 1>Bob Marin Okay, was that but this that was not

0:59:58.480 --> 1:00:01.640
<v Speaker 1>the first. That was the second, right you probably well

1:00:01.920 --> 1:00:06.280
<v Speaker 1>let me take your second. Um. I think we were

1:00:06.440 --> 1:00:14.480
<v Speaker 1>in the Pico I think maybe two three, and then

1:00:14.520 --> 1:00:18.520
<v Speaker 1>we moved to um Olympic right next to the d

1:00:18.680 --> 1:00:20.720
<v Speaker 1>m V. Okay, no, no, that was that was much.

1:00:20.840 --> 1:00:29.760
<v Speaker 1>That was that was later in terms of cash to

1:00:29.880 --> 1:00:34.880
<v Speaker 1>run it. And were you taking a salary? Um? Yes,

1:00:35.200 --> 1:00:39.280
<v Speaker 1>um once we moved to Pico, well, I mean I

1:00:39.400 --> 1:00:42.880
<v Speaker 1>was taking a salary as a store manager, and once

1:00:42.960 --> 1:00:46.040
<v Speaker 1>we moved to Pico, um, I was taking salary, but

1:00:46.240 --> 1:00:50.440
<v Speaker 1>initially came out of the wholesale side. So the wholesale

1:00:50.480 --> 1:00:52.760
<v Speaker 1>side was keeping it afloat. But I really wasn't doing

1:00:52.840 --> 1:00:55.120
<v Speaker 1>anything or very much on the wholesale side. It was

1:00:55.160 --> 1:00:57.160
<v Speaker 1>more yeah, but it was bringing in revenue, right, so

1:00:57.200 --> 1:01:00.640
<v Speaker 1>I was so until the record label could pay me.

1:01:00.760 --> 1:01:04.040
<v Speaker 1>Initially it was so then you're you're gonna make a

1:01:04.120 --> 1:01:10.120
<v Speaker 1>go of it. What do you do next? Well? Um okay?

1:01:10.200 --> 1:01:14.400
<v Speaker 1>So um the first air three areas we love the

1:01:14.480 --> 1:01:18.920
<v Speaker 1>novelty um. I had licensed some unreleased Turtles tracks for

1:01:19.040 --> 1:01:21.880
<v Speaker 1>Turtles Picture Disc, so that kind of got our feet wet.

1:01:22.880 --> 1:01:25.080
<v Speaker 1>They had already finished their lawsuit with White Whale and

1:01:25.080 --> 1:01:29.320
<v Speaker 1>they owned them at that point. Yes, UM, and so

1:01:29.480 --> 1:01:35.200
<v Speaker 1>we started and then UM and then new artists. So

1:01:35.400 --> 1:01:39.800
<v Speaker 1>those were the purview. And what happened was we love

1:01:40.520 --> 1:01:43.680
<v Speaker 1>UM promoting the better new artists. And we can talk

1:01:43.720 --> 1:01:46.960
<v Speaker 1>about the New Cats and Freddie Moore later, but UM,

1:01:48.200 --> 1:01:50.640
<v Speaker 1>the problem. I was really disappointed that like local radio

1:01:50.680 --> 1:01:53.040
<v Speaker 1>wouldn't support him, K Rock wouldn't play it. You don't

1:01:53.080 --> 1:01:55.640
<v Speaker 1>get the airplay. You know, other than a certain number

1:01:55.680 --> 1:02:00.400
<v Speaker 1>of fans, you're not gonna sell records. And was very

1:02:00.480 --> 1:02:05.160
<v Speaker 1>disheartening to know that we couldn't really help these new

1:02:05.320 --> 1:02:08.360
<v Speaker 1>artists that much. Again, same thing with the airplay, with

1:02:08.440 --> 1:02:13.800
<v Speaker 1>the novelty stuff that k Rocket tightened up, and um,

1:02:14.000 --> 1:02:16.600
<v Speaker 1>they were no longer playing like the Temple City Case Orchestra,

1:02:17.040 --> 1:02:20.320
<v Speaker 1>that type of thing. And UM, so we hit upon

1:02:20.600 --> 1:02:23.919
<v Speaker 1>reissues and slowly if we figured out, okay, that's what's

1:02:23.920 --> 1:02:26.880
<v Speaker 1>gonna do it now. At the same time, by the way,

1:02:27.040 --> 1:02:30.080
<v Speaker 1>I should mention that, UM, a lot of this is

1:02:30.160 --> 1:02:32.440
<v Speaker 1>in the Rhino Record Story, which is a book that

1:02:32.520 --> 1:02:34.880
<v Speaker 1>came out a few years ago. You're available, Yes, that

1:02:34.960 --> 1:02:38.840
<v Speaker 1>I wrote so Um, okay, you could identify with this.

1:02:39.520 --> 1:02:43.200
<v Speaker 1>Some of the characteristics of rock and roll was rebellious, nous,

1:02:43.840 --> 1:02:50.360
<v Speaker 1>anti establishment behavior, and that infused us not only in

1:02:50.480 --> 1:02:54.080
<v Speaker 1>the pre Rhino days, but as we did things in Rhino.

1:02:54.200 --> 1:02:56.400
<v Speaker 1>So a lot of things were done for kind of

1:02:56.480 --> 1:03:01.840
<v Speaker 1>mis gievous or subversive reasons. So um, Keith Richards, Ronnie

1:03:01.880 --> 1:03:05.640
<v Speaker 1>Wood after Rolling Stones tour, they're on tour as the

1:03:05.680 --> 1:03:09.800
<v Speaker 1>New Barbarians. Hey, they don't have a record out. Okay,

1:03:09.960 --> 1:03:13.120
<v Speaker 1>there was a Uh. I wouldn't say that they were

1:03:13.160 --> 1:03:14.880
<v Speaker 1>really a punk band, but there was a band that

1:03:15.040 --> 1:03:19.520
<v Speaker 1>Doug Morris produced called the Barbarians who were in the

1:03:19.720 --> 1:03:22.360
<v Speaker 1>Tammy Show, like the only unknown group in the Tammy Show.

1:03:22.600 --> 1:03:25.680
<v Speaker 1>And there's a cut on the original Nuggets album which

1:03:25.720 --> 1:03:29.920
<v Speaker 1>came out in two I said, hey, let's license uh,

1:03:30.040 --> 1:03:34.080
<v Speaker 1>you know, the Barbarians. Maybe some people will get confused

1:03:34.160 --> 1:03:37.720
<v Speaker 1>and by our record, which didn't really happen. But so

1:03:38.120 --> 1:03:41.600
<v Speaker 1>that was Lorie Records, which um Dian and the Belmonts

1:03:41.680 --> 1:03:45.000
<v Speaker 1>during the Pacemakers anyway, license it from them, but the

1:03:45.080 --> 1:03:48.240
<v Speaker 1>package is not a serious package because I don't really

1:03:48.280 --> 1:03:50.680
<v Speaker 1>think the Barbarians were very good. So what can we do?

1:03:51.240 --> 1:03:56.560
<v Speaker 1>So I made up these uh um, overly glowing liner

1:03:56.640 --> 1:03:59.440
<v Speaker 1>notes that I wrote, and I called up my pal

1:03:59.600 --> 1:04:02.360
<v Speaker 1>Peter and Noon and I said, okay, if a person

1:04:02.480 --> 1:04:05.320
<v Speaker 1>from Luxembourg, you know, what would their name be? And

1:04:05.440 --> 1:04:08.200
<v Speaker 1>he gave me like a name and I put like

1:04:08.320 --> 1:04:11.960
<v Speaker 1>from a luck the Barbarians fan club from Luxembourg. So

1:04:12.000 --> 1:04:13.360
<v Speaker 1>I mean what I'm saying is, you know, if you

1:04:13.480 --> 1:04:16.440
<v Speaker 1>kind of like read between the lines, even though it

1:04:16.600 --> 1:04:19.440
<v Speaker 1>was you know, the original recordings, you could kind of

1:04:19.520 --> 1:04:21.240
<v Speaker 1>see that we were, you know, having fun with this.

1:04:21.360 --> 1:04:24.800
<v Speaker 1>So sometimes we would do stuff like that. Not always

1:04:24.840 --> 1:04:29.880
<v Speaker 1>did people get the joke. Okay, did that album sell? Um?

1:04:30.000 --> 1:04:32.360
<v Speaker 1>It made money? I can't remember what it sold, Okay,

1:04:32.400 --> 1:04:34.560
<v Speaker 1>so maybe it did, like four or five thousand. Okay,

1:04:34.680 --> 1:04:36.720
<v Speaker 1>how much would it calls you to license something like

1:04:36.880 --> 1:04:40.520
<v Speaker 1>that back then? Well, um, okay, let me give you uh,

1:04:42.280 --> 1:04:46.640
<v Speaker 1>let me give you this. UM. The first couple albums

1:04:46.680 --> 1:04:50.080
<v Speaker 1>that we licensed from Warner Special Products, who did the

1:04:50.160 --> 1:04:54.760
<v Speaker 1>licensing for Warner Elector Atlantic um Our first Best of

1:04:55.640 --> 1:04:59.600
<v Speaker 1>Alan Sherman, First Rock and Roll Best of, Best of

1:04:59.720 --> 1:05:02.760
<v Speaker 1>Love of the Way. They would calculate it is um

1:05:04.320 --> 1:05:09.520
<v Speaker 1>based on sales of five thousand. Well, you know, they

1:05:09.560 --> 1:05:12.480
<v Speaker 1>made an advance based on that, so it's probably me

1:05:12.680 --> 1:05:15.160
<v Speaker 1>a little bit under three thousand dollars. And then of

1:05:15.240 --> 1:05:18.840
<v Speaker 1>course we paid royalties on subsequent sales. So okay, you're

1:05:18.840 --> 1:05:21.600
<v Speaker 1>doing a best of Alan Sherman. The first payment would

1:05:21.640 --> 1:05:25.320
<v Speaker 1>be three thousand dollars to us. Okay. As the business

1:05:25.440 --> 1:05:28.640
<v Speaker 1>went on, before you made your deal with Capital for distribution,

1:05:29.120 --> 1:05:38.120
<v Speaker 1>did those costs go up um on rare occasion, yes,

1:05:38.280 --> 1:05:41.200
<v Speaker 1>mostly no, it would be mostly based on five thousand

1:05:42.120 --> 1:05:44.320
<v Speaker 1>um so like you did. I remember one of your albums.

1:05:44.360 --> 1:05:47.000
<v Speaker 1>I bought Best of the Love and Spoonful that was

1:05:47.080 --> 1:05:50.120
<v Speaker 1>calculated like on five thousand records. That probably was Yeah,

1:05:50.360 --> 1:05:55.400
<v Speaker 1>I'm gonna give you one uh uh one exception. So

1:05:55.520 --> 1:05:59.040
<v Speaker 1>when um, Howard Kyle and Mark Voman got the rights

1:05:59.080 --> 1:06:03.280
<v Speaker 1>back on the Turtle Can. By the way, um Um,

1:06:03.840 --> 1:06:07.200
<v Speaker 1>they were from Westchester. They're three years older than me,

1:06:07.760 --> 1:06:09.520
<v Speaker 1>so I didn't really know them, but I was friendly

1:06:09.640 --> 1:06:14.000
<v Speaker 1>with um um some of the younger brothers in the Turtles,

1:06:14.880 --> 1:06:20.280
<v Speaker 1>Um and um. At a certain point I saw the

1:06:20.440 --> 1:06:24.280
<v Speaker 1>mothers of invention with uh Klin and Vollman. You said,

1:06:24.560 --> 1:06:30.640
<v Speaker 1>he are you kidding? Yes, uh Billy the Mountain. This

1:06:30.840 --> 1:06:34.080
<v Speaker 1>was Polly Pavilion that, you know, because that was a

1:06:34.200 --> 1:06:38.760
<v Speaker 1>live version. Was that recorded there? Just another band from

1:06:38.920 --> 1:06:41.520
<v Speaker 1>l Yes, so I love the show. I thought they

1:06:41.560 --> 1:06:43.960
<v Speaker 1>were great. And then I thought, oh, you know what,

1:06:44.440 --> 1:06:48.640
<v Speaker 1>let me call Frank's Apple's manager management office, Herb Cohen,

1:06:49.320 --> 1:06:52.040
<v Speaker 1>and I left a message for Howard Klin because I

1:06:52.080 --> 1:06:55.439
<v Speaker 1>thought it'd be you know, interesting, you know, to write

1:06:55.440 --> 1:06:57.840
<v Speaker 1>an article to transition from going from the Turtles to

1:06:57.920 --> 1:07:01.320
<v Speaker 1>the Mothers, from a m pop clean to you know,

1:07:01.960 --> 1:07:05.080
<v Speaker 1>talking about you know, mud sharks and you know groupies.

1:07:05.880 --> 1:07:12.560
<v Speaker 1>Um so yeah, I interviewed, uh Howard and great interview. Um.

1:07:12.760 --> 1:07:17.120
<v Speaker 1>I wrote it up for Rolling Stone and um Jan

1:07:17.160 --> 1:07:21.280
<v Speaker 1>Winner loved it, he wrote on my page stub he wrote,

1:07:21.320 --> 1:07:24.520
<v Speaker 1>like great story. Um. Later on I found out that

1:07:24.600 --> 1:07:29.000
<v Speaker 1>he'd actually had been a Turtles fan younger. So anyways,

1:07:29.000 --> 1:07:30.880
<v Speaker 1>so what I'm saying is there was some familiarity with me.

1:07:30.960 --> 1:07:33.680
<v Speaker 1>I would go see there, you know, flowing Eddie the knack.

1:07:33.920 --> 1:07:36.240
<v Speaker 1>Occasionally I would you know, write up an article in there.

1:07:36.440 --> 1:07:38.960
<v Speaker 1>So there was familiarity with me. They liked me, and

1:07:39.160 --> 1:07:42.200
<v Speaker 1>you know, I was, you know, loosely in a broad spectrum,

1:07:42.240 --> 1:07:47.720
<v Speaker 1>you know, part of their uh they're uh a Saturn ring. So, um,

1:07:48.640 --> 1:07:51.920
<v Speaker 1>they liked the picture this, they like how that turned out. Um,

1:07:52.200 --> 1:07:56.120
<v Speaker 1>we paid him on subsequent so then we uh licensed

1:07:56.360 --> 1:07:59.840
<v Speaker 1>um the first album you Ain't Me, Ain't Me Babe,

1:08:00.560 --> 1:08:02.760
<v Speaker 1>and they owned it when that did well, and that

1:08:02.840 --> 1:08:04.960
<v Speaker 1>was so then they said, hey, how would you like

1:08:05.120 --> 1:08:09.040
<v Speaker 1>to license our best of? So they had done a

1:08:09.200 --> 1:08:12.880
<v Speaker 1>double album that they had licensed to Sire Records, and

1:08:13.120 --> 1:08:14.480
<v Speaker 1>I don't know if it was a three year deal

1:08:14.600 --> 1:08:16.160
<v Speaker 1>or a five year deal, but that was kind of

1:08:16.479 --> 1:08:20.360
<v Speaker 1>come to fruition. So, um, I remember this because it

1:08:20.439 --> 1:08:22.600
<v Speaker 1>was a lot of money for us. We made a

1:08:22.680 --> 1:08:28.240
<v Speaker 1>deal for Turtle's greatest hits and their original albums and

1:08:28.439 --> 1:08:33.720
<v Speaker 1>it was for fifteen thousand dollars where she was outrageous,

1:08:34.240 --> 1:08:37.519
<v Speaker 1>and I remember Mark Vohman like comforting me, comforting me

1:08:37.600 --> 1:08:39.559
<v Speaker 1>and saying, you know what, you know, you're gonna come out.

1:08:39.680 --> 1:08:42.320
<v Speaker 1>You're gonna come out really good on this. Okay. No,

1:08:42.720 --> 1:08:44.479
<v Speaker 1>you know, because I remember when all this went out,

1:08:44.760 --> 1:08:47.439
<v Speaker 1>they didn't have any offers from majors. Why did they

1:08:47.479 --> 1:08:50.360
<v Speaker 1>go with you A I didn't know whether they did

1:08:50.479 --> 1:08:53.040
<v Speaker 1>or whether they didn't, but I paid them. You know,

1:08:53.040 --> 1:08:55.880
<v Speaker 1>it wasn't just the advance it was regular royalties, and

1:08:56.760 --> 1:09:00.240
<v Speaker 1>you know they liked so okay. So with Rhino, for

1:09:00.400 --> 1:09:02.960
<v Speaker 1>Richard and myself, it was like growing up with this music.

1:09:03.040 --> 1:09:07.519
<v Speaker 1>This is important to us. So when we reissued it,

1:09:07.680 --> 1:09:10.560
<v Speaker 1>it was let's put quality into it. Let's make it

1:09:10.720 --> 1:09:13.280
<v Speaker 1>sound better than it ever has been sounded. If it's possible,

1:09:13.640 --> 1:09:18.080
<v Speaker 1>let's track down rare photos, let's get um really good

1:09:18.200 --> 1:09:22.080
<v Speaker 1>liner notes. So I think they also appreciated that that

1:09:22.240 --> 1:09:28.680
<v Speaker 1>this was like quality stuff. Okay, but those were successful, correct, Um, yes,

1:09:28.800 --> 1:09:33.080
<v Speaker 1>what's well? First of all, um, the first album, that

1:09:33.200 --> 1:09:36.120
<v Speaker 1>Ain't Me Babe album actually did much better that I

1:09:36.160 --> 1:09:38.280
<v Speaker 1>would have thought. It's so much better than the others.

1:09:38.360 --> 1:09:41.120
<v Speaker 1>I think maybe it like did around ten thousand, which

1:09:41.200 --> 1:09:43.880
<v Speaker 1>is pretty good for for us, and then the others,

1:09:43.920 --> 1:09:48.240
<v Speaker 1>in varying degrees were um less than five thousand. But

1:09:48.439 --> 1:09:52.160
<v Speaker 1>the you know, greatest hits did great okay. So the

1:09:52.720 --> 1:09:55.200
<v Speaker 1>Turtles really put you on the map in terms of

1:09:55.320 --> 1:09:58.200
<v Speaker 1>the country at large. So what was the step after

1:09:58.280 --> 1:10:03.360
<v Speaker 1>the Turtles? Okay? Well, uh, Strategically, in our first two

1:10:03.479 --> 1:10:07.679
<v Speaker 1>years seventy seventy nine, we put out about nine albums

1:10:07.760 --> 1:10:12.280
<v Speaker 1>each and the first year nine albums or E N

1:10:12.439 --> 1:10:15.360
<v Speaker 1>or EPs each year, and the first year we probably

1:10:15.400 --> 1:10:18.519
<v Speaker 1>made money on the ninety thousand, and the second year

1:10:19.120 --> 1:10:23.599
<v Speaker 1>on the hundred and twenty seven thousand dollars, we lost

1:10:23.720 --> 1:10:27.800
<v Speaker 1>money because we put more money into our product. And

1:10:27.920 --> 1:10:32.240
<v Speaker 1>then it occurred to me, I thought, okay, we need

1:10:32.320 --> 1:10:35.840
<v Speaker 1>to put out more albums, thinking that if we're if

1:10:35.880 --> 1:10:37.960
<v Speaker 1>we can make money on most of them. So the

1:10:38.080 --> 1:10:42.280
<v Speaker 1>next two years we did eighteen albums apiece and that

1:10:42.479 --> 1:10:46.439
<v Speaker 1>you know, worked and problems we how much were reissued,

1:10:46.479 --> 1:10:53.200
<v Speaker 1>how much were acts? What's really hard to say. Um, um,

1:10:54.000 --> 1:10:57.559
<v Speaker 1>I don't know, maybe half or more reissues. And Okay

1:10:58.160 --> 1:11:00.519
<v Speaker 1>at that point, where the new artist making you any

1:11:00.560 --> 1:11:04.439
<v Speaker 1>money for the most part, no, And it was, like

1:11:04.520 --> 1:11:08.479
<v Speaker 1>I said, very dispiriting. It was the new Cats, the

1:11:08.600 --> 1:11:12.680
<v Speaker 1>pop the Naughty Sweeties. Um. A little bit later, Um

1:11:13.720 --> 1:11:18.040
<v Speaker 1>the Twisters who were like the Beatles of the South day. Uh,

1:11:18.120 --> 1:11:21.599
<v Speaker 1>they made money for us. But there's a Twister story. Mark.

1:11:21.640 --> 1:11:27.040
<v Speaker 1>I was looking for bandit produce. Mark Vollman recommended the Twisters,

1:11:27.439 --> 1:11:30.840
<v Speaker 1>Paul Wexler, Jerry's sign and I cut some stuff. They

1:11:30.960 --> 1:11:34.280
<v Speaker 1>ended up on compilation records, but um, somebody else did

1:11:34.479 --> 1:11:38.280
<v Speaker 1>um uh e p And because they had sexually big

1:11:38.400 --> 1:11:44.639
<v Speaker 1>following they had these new managers who were I don't

1:11:44.640 --> 1:11:46.360
<v Speaker 1>really need it to say much about them other than

1:11:46.439 --> 1:11:48.280
<v Speaker 1>they were they didn't really know what they were doing

1:11:48.880 --> 1:11:50.960
<v Speaker 1>and they wanted to get them a major label deal.

1:11:51.080 --> 1:11:53.639
<v Speaker 1>So when but because the Twisters liked me and everything

1:11:53.680 --> 1:11:56.160
<v Speaker 1>I've done for them, we made a deal to only

1:11:56.280 --> 1:12:01.719
<v Speaker 1>be able to sell the EP in cal FORNI. Alright,

1:12:01.760 --> 1:12:03.040
<v Speaker 1>so we put this out. They have a lot of

1:12:03.120 --> 1:12:05.920
<v Speaker 1>fans k Rocks playing in a you know, just a

1:12:06.000 --> 1:12:09.960
<v Speaker 1>little bit. Um. We end up our first charting record

1:12:10.040 --> 1:12:12.880
<v Speaker 1>on the Record World Chart. We're getting calls from all

1:12:12.960 --> 1:12:16.200
<v Speaker 1>of our distributors. Hey, what is this congratulations, Hey we

1:12:16.280 --> 1:12:19.120
<v Speaker 1>want this record, cancel it to you. It was like,

1:12:19.400 --> 1:12:21.320
<v Speaker 1>you know, Um. One of the things when I interviewed

1:12:21.600 --> 1:12:25.080
<v Speaker 1>Mickey Most when I went over to England. Um, he said,

1:12:25.280 --> 1:12:28.720
<v Speaker 1>when you have momentum as an artist, you go with

1:12:28.880 --> 1:12:32.960
<v Speaker 1>it because you never know when it's gonna end. And

1:12:33.280 --> 1:12:38.080
<v Speaker 1>that ended that day and there for the Twisters and

1:12:38.320 --> 1:12:42.080
<v Speaker 1>what came after the Twisters? Um you mean as far

1:12:42.120 --> 1:12:46.880
<v Speaker 1>as other products, Um, Well, like I said, I mentioned

1:12:46.920 --> 1:12:49.400
<v Speaker 1>those other artists. Um, for the most part, we still

1:12:49.560 --> 1:12:52.720
<v Speaker 1>kind of um here and there tried to, you know,

1:12:53.200 --> 1:12:56.240
<v Speaker 1>help out and do a new artist here or there.

1:12:56.320 --> 1:13:01.599
<v Speaker 1>But it was we diminished it and usually we lost money. Okay,

1:13:01.880 --> 1:13:06.720
<v Speaker 1>what year was the capital distribution distribution deal? Okay? Um,

1:13:07.080 --> 1:13:11.439
<v Speaker 1>that was too effect October Okay, So the question is

1:13:11.960 --> 1:13:14.320
<v Speaker 1>when did you as a company gay momentum? What was

1:13:14.360 --> 1:13:17.680
<v Speaker 1>the turning point for you? Okay, I'm gonna tell you

1:13:17.800 --> 1:13:21.280
<v Speaker 1>kind of what led up to that? Um we had

1:13:21.360 --> 1:13:24.799
<v Speaker 1>this new record. Uh, there was an artist are College

1:13:24.880 --> 1:13:28.040
<v Speaker 1>reup in San Diego found called the beat Farmers who

1:13:28.080 --> 1:13:32.559
<v Speaker 1>were kind of like UM the Blasters UM. We gave

1:13:32.600 --> 1:13:35.719
<v Speaker 1>them a budget. Steve Berlin produced it. He went over budget.

1:13:35.760 --> 1:13:37.640
<v Speaker 1>We gave him a budget of five thousand dollars. He

1:13:37.720 --> 1:13:41.599
<v Speaker 1>came in at six thousand. Anyway, they were going out

1:13:41.640 --> 1:13:46.880
<v Speaker 1>on tour with the Blasters UM in Colorado. They were

1:13:46.920 --> 1:13:52.160
<v Speaker 1>doing better than the Blasters UM our distributor. The problem

1:13:52.240 --> 1:13:54.439
<v Speaker 1>is sometimes these distributors we had to put them on

1:13:54.560 --> 1:13:57.360
<v Speaker 1>hold to try to get our money because so our

1:13:57.400 --> 1:14:01.360
<v Speaker 1>distributor in Colorado UM hadn't paid us in four months.

1:14:02.880 --> 1:14:06.280
<v Speaker 1>So one of the problems was how do you mean

1:14:06.439 --> 1:14:08.080
<v Speaker 1>you know when you have a series. At that point,

1:14:08.120 --> 1:14:10.599
<v Speaker 1>I remember if we had like eight distributors throughout the country.

1:14:11.240 --> 1:14:14.479
<v Speaker 1>But if you don't have a unified network, how do

1:14:14.600 --> 1:14:17.040
<v Speaker 1>you take advantage when something like this happened. So that

1:14:17.240 --> 1:14:21.840
<v Speaker 1>was kind of plan of the seed um and then

1:14:22.120 --> 1:14:23.960
<v Speaker 1>um step two was you know a lot of times

1:14:24.040 --> 1:14:26.840
<v Speaker 1>people in their record business executives, they take credit for things.

1:14:27.560 --> 1:14:30.240
<v Speaker 1>Of course, all right, so here's how the whole capital

1:14:30.320 --> 1:14:34.040
<v Speaker 1>thing happened. No, No, the question is before capital, Okay,

1:14:35.080 --> 1:14:37.800
<v Speaker 1>was it were you? It's seen from the outside you

1:14:37.880 --> 1:14:41.839
<v Speaker 1>were making money, definitely making money, okay, yeah, more reissues

1:14:41.920 --> 1:14:44.080
<v Speaker 1>and you know, I seemed like you were making significant money.

1:14:44.120 --> 1:14:45.880
<v Speaker 1>You had it was a real thing. Was that not

1:14:46.080 --> 1:14:48.320
<v Speaker 1>the case? It seemed to me that you went to

1:14:48.479 --> 1:14:52.280
<v Speaker 1>Capital because of those issues as opposed to boost your

1:14:52.880 --> 1:14:55.519
<v Speaker 1>you know, rescue you well, I think it was maybe

1:14:55.640 --> 1:14:58.840
<v Speaker 1>in the year or two prior to that where we

1:14:58.920 --> 1:15:01.120
<v Speaker 1>had to take out a loan for the first time.

1:15:01.520 --> 1:15:03.519
<v Speaker 1>And the reason wasn't that, you know, the books didn't

1:15:03.520 --> 1:15:06.120
<v Speaker 1>look good as because when they're stringing you out, you know,

1:15:06.280 --> 1:15:09.640
<v Speaker 1>three or four months, and you know, I was, you know,

1:15:09.840 --> 1:15:14.760
<v Speaker 1>not only um bothered by the fact that you know,

1:15:14.840 --> 1:15:17.240
<v Speaker 1>they were stringing us out. Okay, so you make the

1:15:17.320 --> 1:15:21.320
<v Speaker 1>deal with Capital does that turbo charge the company? First

1:15:21.320 --> 1:15:23.080
<v Speaker 1>of all, the good thing, yes, the good thing is

1:15:23.920 --> 1:15:27.920
<v Speaker 1>um it was. I think the deal was something like Capital,

1:15:27.960 --> 1:15:31.519
<v Speaker 1>we're always going to pay us no more, no more

1:15:31.640 --> 1:15:36.200
<v Speaker 1>than sixty days. But if they paid us in less

1:15:36.320 --> 1:15:41.080
<v Speaker 1>than thirty days, they could take two off of the joys.

1:15:41.120 --> 1:15:43.320
<v Speaker 1>I think I think that's what it was. Maybe maybe

1:15:43.320 --> 1:15:45.280
<v Speaker 1>it was less than sixty whatever it was, But the

1:15:45.360 --> 1:15:48.320
<v Speaker 1>point is every month we got a check, you could

1:15:48.360 --> 1:15:51.040
<v Speaker 1>plan on the check, you could build your business. So

1:15:51.200 --> 1:15:55.640
<v Speaker 1>that was so important. Then distribution wise, you know as

1:15:55.800 --> 1:16:00.360
<v Speaker 1>unified national distribution. So we were in a position to

1:16:00.439 --> 1:16:03.360
<v Speaker 1>sell a lot more records at that point too. Okay,

1:16:03.720 --> 1:16:07.840
<v Speaker 1>to what degree did your license capital? EMI? Product? Very

1:16:07.880 --> 1:16:16.880
<v Speaker 1>good question, Um. Capital were slow, but ultimately UM, they did.

1:16:17.120 --> 1:16:19.599
<v Speaker 1>And one of the significant things that they were kind

1:16:19.640 --> 1:16:22.800
<v Speaker 1>of reluctant, but they did. UM. I put together a

1:16:22.920 --> 1:16:26.840
<v Speaker 1>series of the best of the British Invasion because it

1:16:26.960 --> 1:16:28.760
<v Speaker 1>really it was a real passion of mine and still

1:16:28.920 --> 1:16:31.439
<v Speaker 1>is a passion of mine, and also relates to UH

1:16:31.760 --> 1:16:34.840
<v Speaker 1>the book that I published. It was published two years ago,

1:16:35.560 --> 1:16:38.519
<v Speaker 1>so UM, a lot of that was UH material that

1:16:38.600 --> 1:16:42.920
<v Speaker 1>Capital owned. UM. When you think about Billy J. Kramer

1:16:42.960 --> 1:16:47.960
<v Speaker 1>and Dakota's jarring the Pacemakers. By the way, obviously you know,

1:16:48.120 --> 1:16:50.599
<v Speaker 1>no Beatles from Capital. You know, they had a part

1:16:50.640 --> 1:16:53.360
<v Speaker 1>of the Hollies, and you know we had other licensing

1:16:53.400 --> 1:16:58.160
<v Speaker 1>deals in place, the Kings and the Yardbirds, um so um.

1:16:59.400 --> 1:17:03.720
<v Speaker 1>And it I'm leading to a point. So after our

1:17:03.920 --> 1:17:06.960
<v Speaker 1>three year deal, we were happy with Capital, they were

1:17:06.960 --> 1:17:11.800
<v Speaker 1>happy with us. We were exceeding projections. So we had

1:17:12.120 --> 1:17:16.400
<v Speaker 1>three stipulations when we renewed. One was we wanted to

1:17:16.479 --> 1:17:19.760
<v Speaker 1>get more catalog from them that they've been reluctant to

1:17:19.800 --> 1:17:23.360
<v Speaker 1>give us. Now, this wasn't premo stuff like the Beach Boys.

1:17:23.880 --> 1:17:26.760
<v Speaker 1>This is like the Raspberries or the Class of Four.

1:17:27.040 --> 1:17:29.560
<v Speaker 1>And in the contract it had these you know, I

1:17:29.560 --> 1:17:31.360
<v Speaker 1>don't know if it was like six or eight artists

1:17:31.400 --> 1:17:34.240
<v Speaker 1>that we were supposed to put out. So as we

1:17:34.360 --> 1:17:38.760
<v Speaker 1>were in along with the deal, um, we never got it.

1:17:39.479 --> 1:17:45.000
<v Speaker 1>They breached our agreement on three different levels, including us

1:17:45.040 --> 1:17:48.120
<v Speaker 1>giving the stuff because you know, their reissue little departments

1:17:48.160 --> 1:17:50.439
<v Speaker 1>that we want to put it out. And you know,

1:17:50.680 --> 1:17:53.240
<v Speaker 1>I just thought it was just so shortsighted because again

1:17:53.280 --> 1:17:56.640
<v Speaker 1>we were doing well, we were exceeding projection. Let me

1:17:56.680 --> 1:18:00.320
<v Speaker 1>give you an idea um Heart in their hey day

1:18:01.320 --> 1:18:05.280
<v Speaker 1>uh at Capital. Um, I can't remember if there were

1:18:05.280 --> 1:18:08.160
<v Speaker 1>still two or three million albums a cop, I don't know.

1:18:08.560 --> 1:18:12.080
<v Speaker 1>But anyway, we were making for Capital about what Heart

1:18:12.200 --> 1:18:15.200
<v Speaker 1>was making for them. Now, if we were hard, you

1:18:15.240 --> 1:18:17.680
<v Speaker 1>would be like, you know, playing so nice to us,

1:18:17.800 --> 1:18:19.760
<v Speaker 1>what we do for you guys, let's take you out

1:18:19.880 --> 1:18:22.920
<v Speaker 1>whatever it is. And here it's sort of like, you know,

1:18:23.040 --> 1:18:26.880
<v Speaker 1>the opposite. So that's why ultimately, uh, and kind of

1:18:27.040 --> 1:18:30.840
<v Speaker 1>through a boomerang effect, we ended up uh you know,

1:18:30.920 --> 1:18:35.160
<v Speaker 1>making distribution deal with somebody else in this case to Atlantic. Okay,

1:18:35.520 --> 1:18:37.639
<v Speaker 1>at what point did you sell some of the company

1:18:37.720 --> 1:18:43.080
<v Speaker 1>to Atlantic? Okay? Um, here's the Atlantic story again because

1:18:43.120 --> 1:18:49.520
<v Speaker 1>it's kind of interesting. Um, we were offered um to Atlantic.

1:18:50.560 --> 1:18:53.040
<v Speaker 1>This make sure we were offered to you'd come in

1:18:53.120 --> 1:18:57.080
<v Speaker 1>through the Warner Music group. Bob mcgatto. Now Bob mccatto

1:18:57.200 --> 1:19:00.360
<v Speaker 1>wasn't a music guy. Um. He was a speed striter

1:19:00.520 --> 1:19:02.920
<v Speaker 1>for New York Governor Hugh Carey, so he didn't you know,

1:19:03.120 --> 1:19:04.879
<v Speaker 1>we dealt with a lot of these people who inherently

1:19:04.920 --> 1:19:08.479
<v Speaker 1>didn't really have a feel or understanding or let alone

1:19:08.520 --> 1:19:10.720
<v Speaker 1>a lover or appreciation for all the great stuff we

1:19:10.800 --> 1:19:14.400
<v Speaker 1>were doing. He turned us down. Then at some point, um,

1:19:14.720 --> 1:19:19.400
<v Speaker 1>he was offered Fantasy was in play. Okay, if we

1:19:19.479 --> 1:19:21.760
<v Speaker 1>buy Fantasy Records, what do we do with it? Who

1:19:21.800 --> 1:19:25.479
<v Speaker 1>do we get to run it? Then the lawyer said, um, oh,

1:19:25.600 --> 1:19:27.479
<v Speaker 1>you know Rhino's looking for a deal. You know you

1:19:27.479 --> 1:19:29.479
<v Speaker 1>can get Ryano want you buy you know, Ryan, make

1:19:29.520 --> 1:19:31.600
<v Speaker 1>a deal with Rhino. So that's kind of how we

1:19:31.720 --> 1:19:37.880
<v Speaker 1>came into it. Now, Um, in order to make a deal,

1:19:38.120 --> 1:19:40.639
<v Speaker 1>you have to be affiliated with one of those major,

1:19:40.760 --> 1:19:45.559
<v Speaker 1>the three major labels. So Atlanta, headed by Doug Morris,

1:19:45.720 --> 1:19:48.840
<v Speaker 1>wasn't doing that well. Now was made better sense for

1:19:49.000 --> 1:19:51.200
<v Speaker 1>us to be aligned with Warner Brothers out here in

1:19:51.240 --> 1:19:54.320
<v Speaker 1>mo Auston because we were l a based. But there

1:19:54.360 --> 1:19:58.160
<v Speaker 1>was animosity between Mrgato and Mo Austin. So he went

1:19:58.280 --> 1:20:00.479
<v Speaker 1>to Doug Morris and he said, look, we will make

1:20:00.560 --> 1:20:02.559
<v Speaker 1>this deal. And Doug goes, look, you know, I don't

1:20:02.600 --> 1:20:05.639
<v Speaker 1>know you know anything about it. And so Marcato said

1:20:05.680 --> 1:20:08.920
<v Speaker 1>to Morris, look, if they lose money, will take it

1:20:09.040 --> 1:20:12.040
<v Speaker 1>off your books and onto our books. Don't worry about it.

1:20:12.560 --> 1:20:14.519
<v Speaker 1>So again, you know, it wasn't like anybody seeing this

1:20:14.640 --> 1:20:21.800
<v Speaker 1>glowing vision and m so um uh. You know that's

1:20:21.960 --> 1:20:24.840
<v Speaker 1>how we you know, had to look elsewhere from Okay,

1:20:24.880 --> 1:20:28.000
<v Speaker 1>at what point from but it was instantly successful. What

1:20:28.080 --> 1:20:30.559
<v Speaker 1>point did you sell them part of the business? Okay?

1:20:31.040 --> 1:20:35.600
<v Speaker 1>So um at a certain point. So basically it was

1:20:35.640 --> 1:20:44.280
<v Speaker 1>a joint venture um and at a certain point um uh,

1:20:44.720 --> 1:20:46.800
<v Speaker 1>in order for them to be a little bit more

1:20:46.920 --> 1:20:49.880
<v Speaker 1>cooperative on some of the other Atlantic stuff you know

1:20:49.960 --> 1:20:51.839
<v Speaker 1>that we didn't have, by the way, in our contract

1:20:51.880 --> 1:20:56.200
<v Speaker 1>we had Okay, these are the artists that are um okay,

1:20:56.280 --> 1:20:58.519
<v Speaker 1>so the joint venture. Here's the artist that we're going

1:20:58.560 --> 1:21:00.600
<v Speaker 1>to be in control with the Frank and you know,

1:21:00.680 --> 1:21:03.559
<v Speaker 1>the RAS goes a lot of these, but not Crosby, Stills,

1:21:03.720 --> 1:21:07.400
<v Speaker 1>Nash or you know, some of the more high profile ones.

1:21:08.040 --> 1:21:12.240
<v Speaker 1>So um at a certain point, um. You know. By

1:21:12.280 --> 1:21:14.160
<v Speaker 1>the way, we ended up having a really good relationship

1:21:14.200 --> 1:21:16.599
<v Speaker 1>with Doug and then he got fired and then they

1:21:16.720 --> 1:21:18.680
<v Speaker 1>brought it with Michael Fuchs, who you know, came from

1:21:18.840 --> 1:21:21.360
<v Speaker 1>HBO and who was this guy And then took a

1:21:21.400 --> 1:21:23.120
<v Speaker 1>little while, but then he beat He was a fast study.

1:21:23.160 --> 1:21:25.960
<v Speaker 1>At a certain point he was championing Rhino. We had

1:21:26.040 --> 1:21:29.400
<v Speaker 1>this big blowout meeting that he scheduled that Warner Brothers

1:21:29.479 --> 1:21:31.920
<v Speaker 1>with rust Thyrette saying, look, these guys are doing a

1:21:31.960 --> 1:21:34.080
<v Speaker 1>great job. They do much better than you. You know,

1:21:34.160 --> 1:21:36.960
<v Speaker 1>nobody buys a Warner Brothers record. People buy. He was

1:21:37.160 --> 1:21:40.360
<v Speaker 1>rust Thyrette was zeeing his heels and he wasn't giving

1:21:40.479 --> 1:21:43.320
<v Speaker 1>us the stuff we wanted. And then before that could

1:21:43.320 --> 1:21:46.240
<v Speaker 1>be resolved, like I know, two three weeks later, then

1:21:46.479 --> 1:21:49.000
<v Speaker 1>you know, Fuchs was fired. So then in order to

1:21:49.040 --> 1:21:52.840
<v Speaker 1>get stability the two film guys Terry Simuel and Bob Daily,

1:21:53.600 --> 1:21:55.840
<v Speaker 1>I was like, okay, let us take this over. We'll

1:21:56.040 --> 1:21:59.160
<v Speaker 1>stabilize it. Now. Again, these guys knew nothing about the

1:21:59.280 --> 1:22:03.479
<v Speaker 1>music business. So we had meetings with them. You know,

1:22:03.600 --> 1:22:07.919
<v Speaker 1>the relationship was fine, but according to their limited purview,

1:22:09.160 --> 1:22:13.479
<v Speaker 1>in order to um for us to get access to

1:22:13.640 --> 1:22:19.800
<v Speaker 1>Atlantic excuse me, pardon me, um Elektra and Warners, it

1:22:19.960 --> 1:22:21.800
<v Speaker 1>was like, we have to have a deal in place

1:22:22.280 --> 1:22:24.679
<v Speaker 1>where the other fifty percent, you know, the joint venture,

1:22:24.720 --> 1:22:27.640
<v Speaker 1>the other over a certain period becomes part of the

1:22:27.640 --> 1:22:30.679
<v Speaker 1>Warner Music Group. So again it's not something we would

1:22:30.680 --> 1:22:34.040
<v Speaker 1>have preferred. But again, um, you know, it wasn't a

1:22:34.120 --> 1:22:36.560
<v Speaker 1>bad deal on paper whatever, but we weren't thinking that

1:22:36.680 --> 1:22:38.960
<v Speaker 1>It was just more like, you know, we want access

1:22:39.040 --> 1:22:42.160
<v Speaker 1>to these great artists, you know, that are being neglected.

1:22:42.360 --> 1:22:47.519
<v Speaker 1>So that deal was made before Aims came on board. Yes, okay,

1:22:48.120 --> 1:22:50.679
<v Speaker 1>Now Doug got fired, he went over to universally started

1:22:50.720 --> 1:22:53.200
<v Speaker 1>a company called Hippo. How did you feel about that?

1:22:53.880 --> 1:22:57.040
<v Speaker 1>We were so piste off at that because obviously, if

1:22:57.080 --> 1:23:00.639
<v Speaker 1>you're gonna start a reissue label, you're not gonna call

1:23:00.760 --> 1:23:05.960
<v Speaker 1>it hippo, are you? And u? Uh we you know

1:23:06.040 --> 1:23:08.280
<v Speaker 1>we placed to call him now. I think we spoke

1:23:08.320 --> 1:23:10.479
<v Speaker 1>to Mel de Winter, who was you know something. We

1:23:10.560 --> 1:23:13.040
<v Speaker 1>had a great relationship with Mel and we we like

1:23:13.200 --> 1:23:17.080
<v Speaker 1>Doug when he was in Atlantic and um, but we

1:23:17.160 --> 1:23:20.439
<v Speaker 1>tried to appeal to him. He wouldn't do it. Um.

1:23:21.280 --> 1:23:23.000
<v Speaker 1>It was meaning like there was no reason why it

1:23:23.120 --> 1:23:25.680
<v Speaker 1>needed to be hippo unless you're kind of trading off

1:23:25.760 --> 1:23:29.719
<v Speaker 1>of like a Ryan Osterris looks like a hipponymous. Okay.

1:23:30.040 --> 1:23:32.680
<v Speaker 1>And then you also in the interim, you had a

1:23:32.760 --> 1:23:36.640
<v Speaker 1>success with Billy Vera. His album was on Alpha and

1:23:36.760 --> 1:23:39.080
<v Speaker 1>It's Stiffed and the company went out of business. You

1:23:39.320 --> 1:23:41.680
<v Speaker 1>licensed it and it was a hit. Now it was

1:23:41.800 --> 1:23:44.800
<v Speaker 1>purely because at this moment was used on TV or

1:23:44.880 --> 1:23:49.559
<v Speaker 1>did you facilitate that? Um? Okay, the Alpha record. Alpha

1:23:49.600 --> 1:23:52.680
<v Speaker 1>was a Japanese company and they wanted to establish um

1:23:53.720 --> 1:23:57.000
<v Speaker 1>Um in the US and in Los Angeles. So um

1:23:57.080 --> 1:24:02.880
<v Speaker 1>that was originally original release one. So um Billy and

1:24:03.200 --> 1:24:07.200
<v Speaker 1>the Beaters played around. Richard used to see him, and

1:24:07.720 --> 1:24:13.080
<v Speaker 1>um Billy said to uh, Richard, look, you know we

1:24:13.200 --> 1:24:16.000
<v Speaker 1>have a following, we have this record. Why don't you

1:24:16.120 --> 1:24:19.200
<v Speaker 1>put it out? And you know we'll have enough fans.

1:24:19.240 --> 1:24:20.880
<v Speaker 1>I'm sure you could sell at least you know, four

1:24:20.960 --> 1:24:25.320
<v Speaker 1>or five thousand copies, you know, to cover yourself. Uh.

1:24:25.400 --> 1:24:30.160
<v Speaker 1>And then he also mentioned about at this moment okay,

1:24:30.200 --> 1:24:33.640
<v Speaker 1>originally at this moment as a single, I think originally

1:24:34.800 --> 1:24:36.719
<v Speaker 1>I think he got up to maybe no higher than seventy.

1:24:37.000 --> 1:24:39.320
<v Speaker 1>So it's a stiff So yeah, they used it in

1:24:39.439 --> 1:24:43.599
<v Speaker 1>family ties UM. So again this is six. So Richard said, okay, yeah,

1:24:43.640 --> 1:24:46.519
<v Speaker 1>we'll do it, and he turned it over to UM

1:24:47.040 --> 1:24:50.120
<v Speaker 1>Gary Stewart, who was head of A and R, basically saying, okay,

1:24:50.200 --> 1:24:52.960
<v Speaker 1>there's the two albums, the studio album, a live album,

1:24:53.040 --> 1:24:55.519
<v Speaker 1>take the best stuff. We'll put it out. So that

1:24:55.680 --> 1:25:03.160
<v Speaker 1>came out um UM in the fall of eighty six

1:25:03.720 --> 1:25:09.240
<v Speaker 1>and unbeknownst to anybody, Family Ties used it in an episode.

1:25:10.160 --> 1:25:13.080
<v Speaker 1>It was kind of like, um, it was kind of

1:25:13.360 --> 1:25:17.840
<v Speaker 1>the love theme Michael J. Fox's character and the woman

1:25:17.920 --> 1:25:20.760
<v Speaker 1>he married who was on the show, and then they

1:25:20.840 --> 1:25:24.439
<v Speaker 1>played at the week following and NBC started getting lots

1:25:24.479 --> 1:25:27.800
<v Speaker 1>of these phone calls and that was really the whole

1:25:27.920 --> 1:25:32.479
<v Speaker 1>reason why it became the success. And initially it was

1:25:32.560 --> 1:25:38.560
<v Speaker 1>just only worked in house and in fact, um in January,

1:25:40.360 --> 1:25:44.720
<v Speaker 1>I was at Medem, um, you know, representing Rhino and

1:25:44.840 --> 1:25:50.120
<v Speaker 1>Nyken deals and um like, it went to number one

1:25:50.160 --> 1:25:52.719
<v Speaker 1>while I was in medem and sort of like, when's

1:25:52.760 --> 1:25:54.880
<v Speaker 1>the when's the last time? If if there was ever

1:25:54.920 --> 1:25:58.000
<v Speaker 1>a time when somebody was at Medem with the number

1:25:58.040 --> 1:26:02.200
<v Speaker 1>one record and of the deals I made uh with

1:26:02.360 --> 1:26:06.080
<v Speaker 1>this British company called Fanfare, and the and R guy

1:26:06.160 --> 1:26:10.200
<v Speaker 1>who loved it was Simon cow Oh really okay, But

1:26:10.439 --> 1:26:15.200
<v Speaker 1>famously we talked that they gave you a gold record

1:26:15.640 --> 1:26:18.080
<v Speaker 1>and you told me you were short five thousand or

1:26:18.160 --> 1:26:21.320
<v Speaker 1>fifty thousand, and you thought about sending the gold record back,

1:26:21.400 --> 1:26:26.200
<v Speaker 1>saying it really didn't reach that pinnacle. Okay, Here's which

1:26:26.240 --> 1:26:28.839
<v Speaker 1>I referred to before the kind of the prankster aspect

1:26:28.920 --> 1:26:31.519
<v Speaker 1>about it because you know, as we know, you know,

1:26:31.680 --> 1:26:33.680
<v Speaker 1>gold record, Really what does it mean? There is the

1:26:33.720 --> 1:26:38.800
<v Speaker 1>infamous case about uh, the Johnny Carson album on Casablanca,

1:26:38.960 --> 1:26:43.200
<v Speaker 1>like I was, it was certified platinum and returned double platinum,

1:26:43.280 --> 1:26:45.120
<v Speaker 1>you know, things like that. So this was like a

1:26:45.280 --> 1:26:52.200
<v Speaker 1>joke thing. So, um, the album sold over five hundred thousand,

1:26:53.280 --> 1:26:57.200
<v Speaker 1>We got it certified as a gold record. We made

1:26:57.360 --> 1:27:01.439
<v Speaker 1>we gave a gold record to every employee. But you know,

1:27:01.640 --> 1:27:04.320
<v Speaker 1>as we know in the business, you know, returns months later.

1:27:04.920 --> 1:27:07.080
<v Speaker 1>You know, we were I don't know if we were

1:27:07.240 --> 1:27:09.760
<v Speaker 1>you know, under by you know, twenty five thousand or whatever.

1:27:09.840 --> 1:27:13.439
<v Speaker 1>It was. So as a joke, Um, I wrote a

1:27:13.560 --> 1:27:16.360
<v Speaker 1>letter to the R I A basically saying, oh, yeah,

1:27:16.400 --> 1:27:17.960
<v Speaker 1>you know, we've got a certified goal, but you know

1:27:18.000 --> 1:27:20.080
<v Speaker 1>we should you know, you know, do we need to

1:27:20.160 --> 1:27:23.679
<v Speaker 1>send you back the gold records? You know, total joke,

1:27:23.880 --> 1:27:26.000
<v Speaker 1>right because you have to have you know, nobody would

1:27:26.040 --> 1:27:27.880
<v Speaker 1>ever do because you know, such a vanity thing. Hey,

1:27:28.000 --> 1:27:30.880
<v Speaker 1>I go to old record regardless of what it sold.

1:27:30.960 --> 1:27:34.599
<v Speaker 1>So again the prankster aspect, and I didn't hear anything.

1:27:34.640 --> 1:27:36.600
<v Speaker 1>After like three weeks, I called the R A and

1:27:36.640 --> 1:27:38.880
<v Speaker 1>they said, oh no, you don't have to send back.

1:27:39.040 --> 1:27:43.280
<v Speaker 1>We only certify on what was shipped. So anyway, at

1:27:43.840 --> 1:27:46.439
<v Speaker 1>at a certain point when we moved to a new location,

1:27:46.840 --> 1:27:51.160
<v Speaker 1>I had a little mini Rhino museum, which again kind

1:27:51.200 --> 1:27:55.559
<v Speaker 1>of was to you know, satirize other aspects of museums

1:27:55.560 --> 1:27:58.240
<v Speaker 1>that take themselves so seriously. And I had the Gold

1:27:58.320 --> 1:28:00.800
<v Speaker 1>Record in there, and also a be of my letter

1:28:01.240 --> 1:28:03.720
<v Speaker 1>to the R. I A A, Okay, what are you

1:28:03.840 --> 1:28:08.120
<v Speaker 1>most proud of that you did at Rhino Records. Well,

1:28:08.160 --> 1:28:11.840
<v Speaker 1>I guess you're talking about organization or product. Well you

1:28:11.920 --> 1:28:15.160
<v Speaker 1>can answer both ways. Well, I mean it was a

1:28:15.280 --> 1:28:17.880
<v Speaker 1>lot that I was proud of. Obviously, we need to

1:28:17.920 --> 1:28:21.559
<v Speaker 1>have a successful, profitable company in order to make everything

1:28:21.600 --> 1:28:24.439
<v Speaker 1>else work. But we were very humane as a company.

1:28:24.479 --> 1:28:27.800
<v Speaker 1>I feel really good about that. We treat our employees

1:28:28.360 --> 1:28:33.920
<v Speaker 1>really well. Um during the Clinton administration, Robert Reich, Secretary

1:28:33.920 --> 1:28:36.800
<v Speaker 1>of Labor, presented us with the Corporate Citizenship Award, which

1:28:36.880 --> 1:28:41.360
<v Speaker 1>is the only one awarded to entertainment company. So when

1:28:41.439 --> 1:28:43.639
<v Speaker 1>Richard and I started out, We've never been to business school,

1:28:43.680 --> 1:28:46.400
<v Speaker 1>we didn't know anything. We would read books and Tom

1:28:46.479 --> 1:28:49.320
<v Speaker 1>Peters in search of excellence. We got a lot of

1:28:49.400 --> 1:28:50.920
<v Speaker 1>things from him in that book, and one of the

1:28:51.000 --> 1:28:55.280
<v Speaker 1>things is treat your employees as an asset. And that

1:28:55.479 --> 1:28:58.760
<v Speaker 1>really meant a lot to us. And it's kind of

1:28:58.800 --> 1:29:01.840
<v Speaker 1>surprising to us through of the years even seeing uh,

1:29:01.880 --> 1:29:04.960
<v Speaker 1>you know, the other Warner labels or the Warner Music

1:29:05.000 --> 1:29:07.479
<v Speaker 1>Group and Action. You know, that was kind of like

1:29:08.120 --> 1:29:14.559
<v Speaker 1>that wasn't embraced so um that obviously um at the time.

1:29:15.240 --> 1:29:18.960
<v Speaker 1>The fact that the industry kicked in gear and focused

1:29:19.000 --> 1:29:23.439
<v Speaker 1>more on quality reissues owes everything to us, because prior

1:29:23.520 --> 1:29:25.840
<v Speaker 1>to that, it was more like, you know, let's see

1:29:25.840 --> 1:29:27.960
<v Speaker 1>if we could squeeze out a few more bucks from

1:29:28.000 --> 1:29:30.600
<v Speaker 1>these old hits, and let's just uh, you know, not

1:29:30.800 --> 1:29:34.439
<v Speaker 1>spend Let's spend the least amount of money possible. So

1:29:34.560 --> 1:29:37.280
<v Speaker 1>we you know, really upgrading all that. And then also,

1:29:37.720 --> 1:29:39.960
<v Speaker 1>more importantly than anything, whether it's you know, the books

1:29:40.040 --> 1:29:42.160
<v Speaker 1>I've written or what we were doing at Rhino, the

1:29:42.320 --> 1:29:44.640
<v Speaker 1>music is always the most important thing. And all you know,

1:29:44.960 --> 1:29:48.840
<v Speaker 1>with your newsletter, even the original news letter, the music

1:29:49.000 --> 1:29:52.560
<v Speaker 1>is the most important thing. It could transform you. And

1:29:52.760 --> 1:29:54.680
<v Speaker 1>to us, it was always to make a lot of

1:29:54.760 --> 1:29:58.400
<v Speaker 1>this stuff available, uh, and in some cases, if it

1:29:58.439 --> 1:30:02.280
<v Speaker 1>hadn't been available, um before and to make it, you know,

1:30:03.280 --> 1:30:06.760
<v Speaker 1>uh sound good for either people who never experienced it

1:30:06.840 --> 1:30:09.760
<v Speaker 1>initially or were vaguely familiar with it, or people who

1:30:09.840 --> 1:30:13.000
<v Speaker 1>needed to be reminded that you really liked this. Here

1:30:13.080 --> 1:30:15.839
<v Speaker 1>it is and you're gonna enjoy listening to this. Okay,

1:30:16.280 --> 1:30:20.960
<v Speaker 1>So your tenure ends at Rano approximately fifteen years ago.

1:30:21.720 --> 1:30:25.320
<v Speaker 1>At this point in time, are you fine with that?

1:30:25.520 --> 1:30:27.600
<v Speaker 1>Or you think there was something you wanted to do

1:30:27.880 --> 1:30:32.960
<v Speaker 1>or still want to do before you reach the end? Well? Um,

1:30:34.160 --> 1:30:36.840
<v Speaker 1>the main problem when I left Rhino wasn't leading Rhino

1:30:36.960 --> 1:30:39.320
<v Speaker 1>was more like how it handled how it was handled,

1:30:40.000 --> 1:30:43.519
<v Speaker 1>but not to get into that. Um. So for the

1:30:43.600 --> 1:30:47.960
<v Speaker 1>most part, given limitations, I had basically done everything I

1:30:48.120 --> 1:30:51.400
<v Speaker 1>felt that I could do, you know, given the constraints.

1:30:52.160 --> 1:30:55.559
<v Speaker 1>Because I uh produced a few films at that point,

1:30:56.360 --> 1:31:00.040
<v Speaker 1>uh and because I was working on a and you

1:31:00.160 --> 1:31:03.559
<v Speaker 1>Monkey's TV show with Simon Fuller. There was the uh

1:31:04.320 --> 1:31:07.080
<v Speaker 1>My Dinner with Jimmy movie, the low budget Howard Kaylin

1:31:07.160 --> 1:31:08.840
<v Speaker 1>movie that I we were in post production on, so

1:31:08.880 --> 1:31:10.920
<v Speaker 1>I was kind of involved in that. But I was

1:31:11.120 --> 1:31:15.519
<v Speaker 1>really thinking, um feature film because and ideally what I

1:31:15.600 --> 1:31:18.280
<v Speaker 1>wanted to do, which is more what we've experienced this year.

1:31:18.960 --> 1:31:21.000
<v Speaker 1>But I just think if you're in a movie theater

1:31:21.040 --> 1:31:24.880
<v Speaker 1>and you're hearing really great rock music over these loud speakers,

1:31:25.520 --> 1:31:29.559
<v Speaker 1>it's just a total unique experience. And I thought, here's

1:31:29.560 --> 1:31:33.760
<v Speaker 1>a way to not only expose people to cattle to

1:31:33.920 --> 1:31:38.360
<v Speaker 1>the great music, but to sell soundtracks. So that's what

1:31:38.479 --> 1:31:43.480
<v Speaker 1>ideally wanted to do, but that really didn't happen for me. Well, ultimately,

1:31:43.560 --> 1:31:46.639
<v Speaker 1>you helped preserve the history of rock and roll, as

1:31:46.720 --> 1:31:48.960
<v Speaker 1>you said, with quality. So we all owe a debt

1:31:49.040 --> 1:31:51.639
<v Speaker 1>to Harold. Thanks so much for being here and tell

1:31:51.640 --> 1:31:53.320
<v Speaker 1>your story. Thanks. I enjoying it.