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Speaker 1: Welcome, Welcome, Welcome back to the Bob left Seth Podcast.

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Speaker 1: My guest today is feed Way Bill of two Fee.

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Speaker 1: Good to have you here, Bob, thank you for having me.

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Speaker 1: I appreciate it. That's great. Okay, let's start right from

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Speaker 1: the beginning. In your everyday life, are you Fee or

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Speaker 1: are you John? Well, it depends on who you're talking to.

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Speaker 1: I guess my wife calls me Fee, Elizabeth, and everybody

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Speaker 1: in my family calls me Fee, but then uh. I

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Speaker 1: at the tennis club they tell me Fee. But at

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Speaker 1: the polo club, I played polo and uh. When I

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Speaker 1: first started playing polo, I tried to disguise the fact

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Speaker 1: that I was some rock guy, and I told him

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Speaker 1: my name was John, so they all call me John. Okay.

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Speaker 1: Polo is known as the sport of kings. How does

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Speaker 1: a row star end up playing polo? Well? I was

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Speaker 1: raised on a horse. My brother and I have been

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Speaker 1: horsemen our whole lives. My dad was a riding instructor

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Speaker 1: and a horse show judge. So we grew up in Scottsdale, Arizona,

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Speaker 1: and we're on a horse from the time I was

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Speaker 1: about five years old until I bailed out at eighteen

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Speaker 1: I was on a horse, and uh, and my brother.

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Speaker 1: I moved to California and obviously got into music, and

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Speaker 1: my brother stayed and he still lives in Scottsdale, Arizona,

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Speaker 1: and he would always and he has horses, and he

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Speaker 1: was the one that I mean, he's done everything. He's

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Speaker 1: done roping and herding and every kind of discipline on

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Speaker 1: a horse. And he would always ask people, well, how

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Speaker 1: come you don't get a horse, And I said, you know, well,

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Speaker 1: I live in San Francisco. Okay, there's not a lot

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Speaker 1: of horses around here. And and then he he uh.

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Speaker 1: He got into polo in Scottsdale, and he was, Okay,

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Speaker 1: now I found something that really is fun and really great.

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Speaker 1: And and by that time I had moved to l

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Speaker 1: A and there's you know, he says, you gotta try this.

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Speaker 1: You gotta get back on the horse and try this.

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Speaker 1: You're gonna love it. And so I said, okay, I did.

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Speaker 1: And I went to the California Polo Club and they said, uh,

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Speaker 1: I said, I want to learn. It's an arena club.

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Speaker 1: It's arena is like arena football. It's a smaller version

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Speaker 1: of outdoor polo. And they said, okay. First lessons free

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Speaker 1: and uh and I said okay, and I just immediately

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Speaker 1: I loved it. I loved to be back on a

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Speaker 1: horse again. And so I've been playing for twenty years. Okay,

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Speaker 1: So how extensive is the polo scene in southern California. Well,

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Speaker 1: it's not. I mean, there's there's the Santa Barbara Polo Club,

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Speaker 1: which is pretty high end, and we have an arena

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Speaker 1: club here in in in l A. And there's also

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Speaker 1: the Will Rogers Polo Club in l A. And then

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Speaker 1: in California, there's one in San Diego, there's one in uh,

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Speaker 1: Orange County, there's one on San Louis Obispo. There's one

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Speaker 1: in Temecula. Yeah, there's a bunch of them. There's a

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Speaker 1: bunch of clubs all around this and they and in

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Speaker 1: the winter in out in the desert in Indio. That's

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Speaker 1: big time polo. They have people come from all over

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Speaker 1: the USA to play polo out there. How good a

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Speaker 1: polo player are you and how often do you play?

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Speaker 1: I play usually? Well, right now, my horses are out

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Speaker 1: at pasture. You have to let them rest. And actually

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Speaker 1: next Monday I'm going up to get them and bring

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Speaker 1: them back to the club and then I'll play through

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Speaker 1: the spring and summer. I'm a one or a two.

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Speaker 1: They they handicap you from minus to to ten being best.

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Speaker 1: And so I started as a minus two and I

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Speaker 1: got better and they raised me to minus one and

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Speaker 1: then zero and then one and then too. And so i'm,

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Speaker 1: you know, I'm I'm just a recreational player. I'm you know,

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Speaker 1: I ah. I really try to protect myself and protect

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Speaker 1: my horses and never never get to, you know, to

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Speaker 1: ultra competitive, you know, where I'm going to hurt myself

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Speaker 1: or or or injuring one of my horses. So how

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Speaker 1: often do you play? I play? Uh, usually I play

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Speaker 1: Saturday and Sunday morning, and then sometimes I play Thursday

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Speaker 1: night under the lights, So two to three times a week.

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Speaker 1: And how many people in arena polo as opposed to

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Speaker 1: regular polo. Regular polo is four on the four, four

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Speaker 1: on four. Arena polo is three on three. And how

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Speaker 1: dangerous is it? Really? Has certainly seen a number of

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Speaker 1: polo matches and it looks dangerous for those who are

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Speaker 1: not horse savvic. Yeah, it's dangerous. And you know, my

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Speaker 1: wife keeps My wife is really you know, if she

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Speaker 1: really worries about me, and I mean people die. You know,

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Speaker 1: if you're riding down the field full blast on a

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Speaker 1: horse and it stumbles and you hit the deck, you

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Speaker 1: could break your neck really easily and die. But in

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Speaker 1: arena polo you don't ever really it's only a hundred

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Speaker 1: yards by fifty yards, so you don't really get to

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Speaker 1: full speed in that shorter distance and it's not as dangerous.

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Speaker 1: But people fall off and they you know, they break

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Speaker 1: their leg and break their elbow and break their wrist.

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Speaker 1: And I've I've had a couple of injuries, but nothing serious,

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Speaker 1: you know, just I like cracked a rib once, but

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Speaker 1: you know, nothing, nothing too serious. And we play with girls, right,

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Speaker 1: and so it's a co ed sport and nobody wants

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Speaker 1: to slam the girls into the wall. It's our club

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Speaker 1: is very recreational. Nobody is trying to you know, win

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Speaker 1: money or trophies or anything like that. It's just fun.

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Speaker 1: We just have fun. What's the key to being a

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Speaker 1: great polo player? Number One? You can't think about writing.

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Speaker 1: You have to be a good writer. You can't think

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Speaker 1: about following off the horse and you have to uh,

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Speaker 1: you know, it's just hand to eye, you know, I

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Speaker 1: played baseball my whole life, and and a ball a

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Speaker 1: polo balls about the size of the softball. It's about

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Speaker 1: that big around arena ball, and you know, you have

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Speaker 1: a mallet and you hit the ball, and you know

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Speaker 1: there's a lot of rules and you just have to

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Speaker 1: you have to. You have to be aware, be aware

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Speaker 1: of the horse and the arena and all the other people,

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Speaker 1: and it's just and then be able to hit the ball.

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Speaker 1: You know, I never had a problem hitting the ball,

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Speaker 1: so and once I learned to ride again, you know,

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Speaker 1: it's it's easy, it's fun. So you're saying, an arena

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Speaker 1: ball as opposed to four or four is a different

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Speaker 1: size ball. The arena ball is about the size of

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Speaker 1: the softball. It's like a soccer ball inflated leather and

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Speaker 1: in an outdoor ball is about the size of the baseball.

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Speaker 1: And it's solid plastic, really hard, solid plastic. So yeah,

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Speaker 1: at the ArenaBall, you can use the wall to bounce

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Speaker 1: it off the wall. It's it's more it's it's it bounces.

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Speaker 1: You know. Historically polo is seen as expensive. Is it expensive? Well,

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Speaker 1: it depends on what level of polo you play. If

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Speaker 1: you're if you're going to India or for your going.

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Speaker 1: I mean, polo is a big time in Florida. And

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Speaker 1: if you travel to Florida and if you have you know,

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Speaker 1: if you have really expensive horses, it can be really expensive.

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Speaker 1: But but then again it can be recently inexpensive. You know,

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Speaker 1: my horses. I think the most expensive horse I I had,

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Speaker 1: I bought ever bought, was like five thousand dollars. And

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Speaker 1: but people pay a hundred thousand dollars for a polo horse.

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Speaker 1: It's just all depends on how high a level you

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Speaker 1: want to play and how much does it cost to

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Speaker 1: keep a horse for a year for a well, the

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Speaker 1: board at my club is seven and fifty dollars a

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Speaker 1: month per horse, and that includes feed and lodging, and

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Speaker 1: that also includes a groom to tack up your horse

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Speaker 1: and to wash your horse and basically exercise your horse.

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Speaker 1: They exercise six days a week to stay you know,

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Speaker 1: they they're athletic and so it's not that expensive. Our club,

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Speaker 1: we have a great club, California Polo Club is a

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Speaker 1: great club and it's not that expensive to play. People

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Speaker 1: can start and you know, you can take a lesson

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Speaker 1: for like hundred bucks. You can take a lesson and

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Speaker 1: and learn to play. And then of course then you

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Speaker 1: have to get a horse, and you have to get

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Speaker 1: a saddle, and you have to get a bridle, and

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Speaker 1: you have to pay the board, and you have you know,

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Speaker 1: it adds up. So since you know this so so

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Speaker 1: much about horses, what is going on with all the

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Speaker 1: horses dying and horse racing, especially in southern California. I know,

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Speaker 1: I know it's terrible. Well, no one really knows. I've

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Speaker 1: read a lot about it. Uh, and some people say

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Speaker 1: it's a bad track. Uh you know, Uh sometimes they

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Speaker 1: use artificial uh instead of just a dirt track. It's

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Speaker 1: it's some kind of artificial composite. And people say that's bad.

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Speaker 1: But uh, the ones in Santa Anita where the horses,

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Speaker 1: so many horses died, Uh, they don't know. I mean,

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Speaker 1: horse racing is a bad sport. You know. People spend

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Speaker 1: millions of dollars on race horses and then when they

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Speaker 1: don't win, they tell their trainer, you know, I spent

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Speaker 1: a million dollars on this horse. It needs to win.

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Speaker 1: Do whatever the hell you have to do to get

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Speaker 1: it to win. So what do they do? They give

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Speaker 1: them drugs, they give them. It's that simple. It's they

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Speaker 1: they load these horses up with ugs and sometimes and

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Speaker 1: you know, sometimes it works, sometimes it doesn't. Sometimes they bleed.

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Speaker 1: Sometimes they push them too hard. The other thing I

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Speaker 1: don't like about horse racing is they start them when

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Speaker 1: they're two years old. That's too young for a horse

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Speaker 1: to start racing full speed. They're not grown yet, their

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Speaker 1: bones are not fully formed. Uh. In polo, you know

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Speaker 1: in Argentina, which is polo is the national sport in Argentina,

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Speaker 1: they don't even start training a horse untill they're five

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Speaker 1: or six years old. So two years old or three

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Speaker 1: years old is just too young to force a horse

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Speaker 1: to run as fast as it could go. And that's

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Speaker 1: what happens. You know, they all kinds of things happen,

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Speaker 1: and you know they it's it's about money. That's what

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Speaker 1: it's about, Bob. It's about money. And they don't want

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Speaker 1: to say that, Oh no, it's it's you know, because

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Speaker 1: it's money and it's all about money. And they don't

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Speaker 1: want to close down Santa Anita because they're making a

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Speaker 1: ton of money. And you know, the people who are

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Speaker 1: the people want to race and they want to win money,

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Speaker 1: and that's you know, it's that's what it's about. So

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Speaker 1: you also said you play tennis. Are you a good

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Speaker 1: athlete in general and doing a million things or these

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Speaker 1: are just your two sports? No, I I I've always

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Speaker 1: been athletic, and of course being the lead singer of

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Speaker 1: the Tubes was all always pretty athletic. When I'm doing

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Speaker 1: ten or fifteen costume changes in the show, you know. Uh,

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Speaker 1: but uh, I played. My dad started little league in Scottsdale, Arizona,

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Speaker 1: back in gosh, she was nineteen fifty six, And uh,

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Speaker 1: I started playing baseball from the time I was eight

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Speaker 1: years old and played baseball all, you know, all the

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Speaker 1: way through school through high school and then and then

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Speaker 1: even even continued playing fast pitch softball until you know,

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Speaker 1: until about two thousand three or two thousand four, and

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Speaker 1: then fat men's fast pitch softball kind of disappeared and

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Speaker 1: it became a women's sport, and that's when I switched

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Speaker 1: to polo. But I've always been athletic. I've always had

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Speaker 1: some kind of sport. And my wife is a unbelievable

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Speaker 1: tennis player. She's played her whole life through high school

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Speaker 1: and college and and uh, she is a great player,

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Speaker 1: and she's she convinced me to start taking polo lessons,

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Speaker 1: you know, at seventy years old. And uh, because basically

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Speaker 1: she would love me to stop playing polo and start

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Speaker 1: playing tennis instead. Okay, so she convinced you to play

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Speaker 1: take tennis lesson, Yes, yes she did. Okay, because you said,

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Speaker 1: I want to make clearify, let's go back to the

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Speaker 1: very beginning. I always thought your name was completely made up.

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Speaker 1: Way Bill is your real last name? Yeah, oh yeah,

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Speaker 1: that's my real last name. And he give us any

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Speaker 1: history of that because I always think of shipping in

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Speaker 1: way bill. Do you know where it comes from? Yeah? Yeah,

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Speaker 1: A way bill is the list of stuff they've they're

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Speaker 1: hauling in the back of the truck. Yeah. And uh,

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Speaker 1: well it's my father's father. His name was Jail. Came

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Speaker 1: from England and uh. Names that end in two l's

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Speaker 1: are usually an English name. And uh, that was their

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Speaker 1: name back in England that they it wasn't changed. That

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Speaker 1: was you know, before they had the term way bill.

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Speaker 1: There was way bills. There was the history of the

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Speaker 1: family of way Bills. They were from, uh, Brighton, bright

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Speaker 1: Bristol or Brighton. I think Brighton, England is where my

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Speaker 1: family came from okay, and why fee for the uh

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Speaker 1: lesson knowledgeable? Ah, that's um well was shortened from Fiji

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Speaker 1: and one. Back in the old days when we were

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Speaker 1: all living in San Francisco, living together in a two

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Speaker 1: bedroom condemned house on Noriega Street. The the the bass player,

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Speaker 1: UH thought that I looked like the King of Fiji,

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Speaker 1: which I could never understand. The King of Fiji was

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Speaker 1: a black band with an Afro about that day, and

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Speaker 1: they started calling me Fiji and I. You know, you

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Speaker 1: can't pick your own nicknames, that's for sure. Back in

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Speaker 1: our area, they had nicknames them. So I was Fiji

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Speaker 1: and I was Fiji up until the time. Uh. The

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Speaker 1: our our bass player Rick Anderson, still calls me feed

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Speaker 1: because we feed fee j fej uh. And when we

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Speaker 1: made our first record in ninet for n M Records, UH,

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Speaker 1: they wanted us to put They said, okay, well, what's

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Speaker 1: your name and and and I thought feed. I didn't

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Speaker 1: want to say. I shortened it then from Fieg. I

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Speaker 1: took the j off from feedg to fee and I

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Speaker 1: thought the fee for the way bill, Oh yeah, it's

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Speaker 1: kind of like terry cloth or you know, probably very good. Okay,

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Speaker 1: you mentioned your wife. How long you've been married. I

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Speaker 1: have been married, well, on and off for thirty years.

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Speaker 1: Thirty years to the same woman, to the same woman.

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Speaker 1: What's the on and off part. Well, we got married

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Speaker 1: and then and we got We met in nine at

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Speaker 1: a Mayan temple in Guatemala on a solar eclipse January

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Speaker 1: July eleven, we met and we were on separate vacations.

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Speaker 1: She was on a occation with some English school teacher

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Speaker 1: from Santa Monica and I was on a vacation with

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Speaker 1: my best friend. And we we were Mayan iss we

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Speaker 1: were we went there to look at Mayan temples and

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Speaker 1: we were put both into Mayan history. And we met

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Speaker 1: at the Mayan ruin of Tikal on July eleven, and uh,

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Speaker 1: the guy that she was with recognized me, and you know,

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Speaker 1: came walking out of the jungle and said, hey, you're

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Speaker 1: fee Waybill from the tubes. And I just went and

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Speaker 1: then I immediately fell in love with his girlfriend, and

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Speaker 1: and so we spent the day together and then they

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Speaker 1: at the end of the day, we're going back to

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Speaker 1: Belize where we were staying, and they're going back to

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Speaker 1: Santa Monica. And I said, you know, I didn't know.

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Speaker 1: I was desperate to try to reach this person, and

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Speaker 1: you know, so it's funny, I asked. The guy said

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Speaker 1: he had a video camera, one of those giant video

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Speaker 1: cameras that the whole day was taken video. And so

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Speaker 1: at the end of the day, I said, Randy, you know,

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Speaker 1: could I get a copy of the video? Which was

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Speaker 1: a ruse, and he goes, oh, sure it called me

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Speaker 1: when we get back to Santa Monica and I said okay,

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Speaker 1: and so I did, and then I said, yeah, I

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Speaker 1: need a copy of the video. Yeah. I said, oh,

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Speaker 1: what a what about Liz? What about that girl you

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Speaker 1: were with? Liz? He goes, oh, nothing, Na, nothing, would

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Speaker 1: give me, no information at all. And so I went

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Speaker 1: and got the video and I said, we asked again.

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Speaker 1: He goes, na, Na, She's no, it's not happening, and

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Speaker 1: uh so I kind of gave up on that. And

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Speaker 1: then eight that was July. Eight months later, in February

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Speaker 1: of two, I'm working out at the Santa Monica Athletic

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Speaker 1: Club and she walks in the door of the club

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Speaker 1: and she was she wasn't even a member, she was

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Speaker 1: the guest of a member. And I saw her and

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Speaker 1: she saw me and I just kind of went, oh

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Speaker 1: my god, I can't believe it. And then we started

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Speaker 1: dating and live and then we got married in We

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Speaker 1: got married in ninety seven, got divorced in two thousand one,

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Speaker 1: went separate ways uh and and then we got back

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Speaker 1: together in two thousand eight, like six seven years later,

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Speaker 1: we got back together. And then we got married a

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Speaker 1: second time on the anniversary of the day we met,

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Speaker 1: which was July eleven, uh nineteen. What set en we

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Speaker 1: got married a second time? Okay? A couple of questions.

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Speaker 1: Have you been married before? No? Okay? Have any children? No? Okay?

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Speaker 1: What happened in those seven odd years when we're separated?

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Speaker 1: Why did you get divorced? And why did you get

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Speaker 1: back together? And when you divorced just on paper see

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Speaker 1: each other or were you really separate in those eras? No,

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Speaker 1: we didn't. We you know, I was living in a

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Speaker 1: little house in Sherman Oaks. You know, we just you

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Speaker 1: warn n to the truth. I was back then when

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Speaker 1: marijuana was not legal. I was growing pot in the

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Speaker 1: backyard and with smoke pottle day long. And finally she says, God,

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Speaker 1: I can't handle it. You're just smoke poddle day long.

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Speaker 1: And then we got divorced, and then you know, I

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Speaker 1: went out, no, and we didn't see each other for

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Speaker 1: seven six seven years. I you know, the tubes reformed.

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Speaker 1: I went back on the road. She uh uh went

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Speaker 1: to work and and became a commercial real estate agent

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Speaker 1: and then invested in commercial property and and took over

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Speaker 1: her dad's business. Of so she went to work and

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Speaker 1: I went to work, and and then, uh, it's funny,

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Speaker 1: you know my dad, uh, my dad, besides being a

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Speaker 1: writing instructor, my dad was a chief engineer of one

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Speaker 1: of the very first resort hotels in Scottsdale, called the

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Speaker 1: Valley ho And so he knew how he knew everything.

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Speaker 1: My dad knew plumbing and electrical and carpentry, and he

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Speaker 1: could do anything. And he taught my brother and I

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Speaker 1: to do that. He he taught us everything. He taught

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Speaker 1: us plumbing, he taught us electrical, he taught us carpentry.

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Speaker 1: So I can fix anything pretty much. And Elizabeth was

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Speaker 1: was reading this business and getting screwed by various vendors,

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Speaker 1: by the plumber, by the electrician. But she didn't know,

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Speaker 1: you know, if they were in a good or she

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Speaker 1: didn't know if they were charging her too much. She

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Speaker 1: just you know, that wasn't something that she really understood.

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Speaker 1: And so one day she called, she goes, you know,

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Speaker 1: I don't know if this is a good plumber or not,

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Speaker 1: you know all about plumbing. Can you help me with this?

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Speaker 1: Can you can you check this guy out and find

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Speaker 1: out if he's just you know, overcharging me or you know,

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Speaker 1: And I said, okay, And so, uh so I did it.

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Speaker 1: So I helped her out, and I you know, I

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Speaker 1: got her a new plumber, and I got her a

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Speaker 1: new new electrician and a new eric. You know, I

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Speaker 1: pretty much fired everybody she had and got somebody better.

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Speaker 1: And you know, we started working together and on commercial property,

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Speaker 1: and uh and then that kind of rekindled the romance.

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Speaker 1: And uh, but I had never you know, I wrote

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Speaker 1: a I used to I used to live in a

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Speaker 1: little house in Venice, and I would like I would

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Speaker 1: sit up all night and I get hammered and smoke

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Speaker 1: pot or or drink and write poetry for her to

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Speaker 1: her and and then I send a texture poetry and

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Speaker 1: I finally put a book together, a poetry book, and

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Speaker 1: but it was all too and it worked. It kind

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Speaker 1: of she kind of went, God, you still Anyway, we

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Speaker 1: got back together because of the poetry book, and uh,

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Speaker 1: and then you know, we started living together and and

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Speaker 1: uh we got married again. So and we still were together.

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Speaker 1: I'm sitting in She's an artist. She loves art, and

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Speaker 1: she's very besides being a great tennis player, she's a

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Speaker 1: wonderful artist. And so we turned our garage into an

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Speaker 1: arts studio. So we've got this. You know, the cars

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00:22:38,200 --> 00:22:40,880
Speaker 1: are parked on the street, but we have this. That's

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Speaker 1: where I'm sitting now. We have this gorgeous studio downstairs

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Speaker 1: that used to be the garage and now we have

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Speaker 1: a little kitchen and a little bathroom. And she comes

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Speaker 1: down here and just is in heaven and has a

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Speaker 1: great big wall. I'm looking at this gigantic wall where

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Speaker 1: she's working on a piece that's got she's it's got

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Speaker 1: to be ten ft by eight by ten or something giant.

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Speaker 1: And so you know, so I'm just happy as a

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Speaker 1: clam and so lucky, you know. And so you're about

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00:23:16,400 --> 00:23:19,520
Speaker 1: to play some live dates. What's the thinking about playing

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Speaker 1: those live dates? Why with the tombs she's been her

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Speaker 1: with my solo I was about to play. In fact,

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Speaker 1: it was the first gig was supposed to be tomorrow.

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Speaker 1: I did the solo album My fee Way Bill Rides

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Speaker 1: Again and which I said to you, by the way,

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Speaker 1: and and I put together with my best friend Richard Marks.

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Speaker 1: I put Richard. Richard wrote the songs and produced it

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Speaker 1: with me. And he's the guy's beyond brilliant and has

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Speaker 1: been my best friend for gosh since we met in

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Speaker 1: in the studio with David Foster back in and we've

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Speaker 1: written songs all these years. And so we made this

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Speaker 1: record and uh, and I've never done a solo show ever.

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00:24:13,920 --> 00:24:16,960
Speaker 1: And he said, why let's do a solo show is

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Speaker 1: that you can use my band. I'll help you. We

384
00:24:19,760 --> 00:24:21,800
Speaker 1: can put it together and you can use my band

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00:24:21,880 --> 00:24:24,560
Speaker 1: and do let's do some gigs. We've never done it.

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Speaker 1: And so we were supposed to have done gigs this weekend,

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Speaker 1: a gig in Phoenix in the Troubadour in l A

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00:24:37,800 --> 00:24:40,600
Speaker 1: and then a gig in Orange County at the Coach House,

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00:24:41,320 --> 00:24:44,760
Speaker 1: and uh, but that you know, we had it all

390
00:24:44,760 --> 00:24:50,480
Speaker 1: set up and then O Macron happened and then the

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Speaker 1: whole thing, you know, collapsed, and people are afraid to

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Speaker 1: go out still, and you know, so so we've postponed it,

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00:24:59,520 --> 00:25:02,119
Speaker 1: We've post spooned the gigs till the end of the summer.

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00:25:02,200 --> 00:25:05,440
Speaker 1: But then we've got tubes gigs we've got We're playing

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00:25:05,440 --> 00:25:09,879
Speaker 1: in March, uh in Chicago and Minneapolis and Omaha, and

396
00:25:09,920 --> 00:25:13,479
Speaker 1: then we've got gigs coming up throughout the year. And uh,

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00:25:15,359 --> 00:25:19,880
Speaker 1: you know why am I doing it? Why? Because that's

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Speaker 1: what I do and I live for the stage. And

399
00:25:26,920 --> 00:25:29,280
Speaker 1: I mean it's I mean, you saw me. You you

400
00:25:29,320 --> 00:25:33,160
Speaker 1: went to that David Bowie gig right in at Water Village. Yeah,

401
00:25:33,240 --> 00:25:35,520
Speaker 1: I I absolutely did. I've seen you and I saw

402
00:25:35,600 --> 00:25:37,919
Speaker 1: in the Rosy and seventy five. I totally get it.

403
00:25:38,320 --> 00:25:41,320
Speaker 1: But let's let's go a couple of different angles. Hey,

404
00:25:41,680 --> 00:25:45,800
Speaker 1: Usually the life of a rock star who is not

405
00:25:46,000 --> 00:25:51,199
Speaker 1: commercially mega successful is very challenging financially, How have you

406
00:25:51,280 --> 00:25:54,160
Speaker 1: made it through all these decades? I guess I've just

407
00:25:54,600 --> 00:25:59,320
Speaker 1: watched my money, watched my life. I've invested. I've invested

408
00:25:59,320 --> 00:26:03,280
Speaker 1: in our commercial properties, you know, thanks to Elizabeth uh

409
00:26:03,840 --> 00:26:08,320
Speaker 1: helping me, and so I've invested in that. And uh,

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00:26:08,600 --> 00:26:13,240
Speaker 1: you know, I'm not extravagant. I don't drive a Lamborghini

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Speaker 1: SUV and you know I just uh. Uh, I just

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00:26:20,480 --> 00:26:24,800
Speaker 1: created life for myself that that I could I could

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00:26:25,359 --> 00:26:28,359
Speaker 1: deal with, that I could afford, you know, And and

414
00:26:28,560 --> 00:26:36,119
Speaker 1: uh it's been challenging. It has been challenging, you know,

415
00:26:36,480 --> 00:26:42,080
Speaker 1: but uh, uptil the point of the pandemic, you know,

416
00:26:42,520 --> 00:26:46,160
Speaker 1: we were we the Tube signed with the management company.

417
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Speaker 1: Just like in the beginning of for for years and

418
00:26:49,720 --> 00:26:52,360
Speaker 1: years we had no manager and I was the manager

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00:26:52,359 --> 00:26:58,880
Speaker 1: and I did everything, and but we signed with Jonathan Wolfson. Uh.

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00:26:58,920 --> 00:27:03,200
Speaker 1: And Jonathan also manages Hall of Notes and Lover Boy

421
00:27:03,440 --> 00:27:09,320
Speaker 1: and the Tubes and and well once again, a friend

422
00:27:09,359 --> 00:27:14,200
Speaker 1: of Elizabeth's thanks to her, got us an introduction with him,

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00:27:14,280 --> 00:27:16,520
Speaker 1: and he came to see us out at the Canyon

424
00:27:16,520 --> 00:27:19,800
Speaker 1: Club in Agora Hills and he took us on and

425
00:27:20,040 --> 00:27:23,120
Speaker 1: it's kind of changed everything. We we worked a ton

426
00:27:23,280 --> 00:27:26,520
Speaker 1: in two thou nine. We made a lot of money,

427
00:27:27,040 --> 00:27:32,560
Speaker 1: and uh, Jonathan has really really helped us and really

428
00:27:32,680 --> 00:27:38,040
Speaker 1: kind of changed everything for us. And uh and then

429
00:27:38,080 --> 00:27:40,879
Speaker 1: of course the pandemic hits, so it's been challenging to

430
00:27:42,240 --> 00:27:44,920
Speaker 1: deal with that and you know, make it through that.

431
00:27:45,080 --> 00:27:53,320
Speaker 1: But uh, you know, uh, it's it's amazing and I

432
00:27:53,400 --> 00:27:58,480
Speaker 1: never thought this would happen, but people, people just our

433
00:27:58,560 --> 00:28:02,680
Speaker 1: songs have endured and people come and people come back

434
00:28:02,720 --> 00:28:06,400
Speaker 1: to see us again and again and again, and it's

435
00:28:06,440 --> 00:28:12,360
Speaker 1: it's uh, like I said, I never would have thought that,

436
00:28:12,600 --> 00:28:17,560
Speaker 1: but uh and I think also that you know, we're

437
00:28:17,680 --> 00:28:22,440
Speaker 1: very visual, unlike most bands, and we constantly change our show,

438
00:28:23,080 --> 00:28:26,399
Speaker 1: and like right now we're doing this complete we're doing

439
00:28:26,440 --> 00:28:30,840
Speaker 1: the completion Backward Principle album and we're kind of visually

440
00:28:31,400 --> 00:28:34,240
Speaker 1: recreating it with the business suits and the whole kind

441
00:28:34,240 --> 00:28:40,560
Speaker 1: of sarcasm and corporate uh parody that created the record.

442
00:28:41,120 --> 00:28:44,360
Speaker 1: And and then you know, next year we'll change it

443
00:28:44,880 --> 00:28:48,520
Speaker 1: completely and we'll do a completely different show and there'll

444
00:28:48,560 --> 00:28:51,680
Speaker 1: be different costume changes and well, you know, and it's

445
00:28:51,680 --> 00:28:54,280
Speaker 1: just every time you come to see the tubes, it's different.

446
00:28:54,640 --> 00:29:04,080
Speaker 1: And we're doing a visual uh visual you know, portrayal

447
00:29:04,840 --> 00:29:08,040
Speaker 1: of of what a record or a song or whatever.

448
00:29:08,560 --> 00:29:13,200
Speaker 1: And uh, I don't know, it's just we've we were

449
00:29:13,240 --> 00:29:16,280
Speaker 1: so lucky to have endured this many years and to

450
00:29:16,320 --> 00:29:19,720
Speaker 1: be this healthy and you know, everybody in the band

451
00:29:19,800 --> 00:29:22,520
Speaker 1: is really healthy and that everybody really wants to play,

452
00:29:22,680 --> 00:29:27,120
Speaker 1: and so it's just been it's just been wonderful. You know,

453
00:29:27,160 --> 00:29:30,760
Speaker 1: A couple of decades back. Bill Spooner, who was one

454
00:29:30,760 --> 00:29:33,440
Speaker 1: of the creative forces in the band, separates from the band.

455
00:29:33,480 --> 00:29:37,880
Speaker 1: What happened there. I don't know how to couch this,

456
00:29:39,120 --> 00:29:44,160
Speaker 1: but drugs, drugs happened. That's pretty definitive explanation. Let's also

457
00:29:44,200 --> 00:29:47,560
Speaker 1: talk about the era in terms of the Tubes and

458
00:29:47,680 --> 00:29:52,560
Speaker 1: also your songwriting with Richard Marks and with Toto. Do

459
00:29:52,640 --> 00:29:55,440
Speaker 1: you have a royalty stream or is that stuff pretty

460
00:29:55,520 --> 00:29:58,800
Speaker 1: much in the weird view mirror if there ever was no, no,

461
00:29:59,000 --> 00:30:02,320
Speaker 1: I do. I still that I do, and that also helps.

462
00:30:02,760 --> 00:30:07,120
Speaker 1: I never sold my publishing or my writer's royalties, so

463
00:30:07,200 --> 00:30:11,920
Speaker 1: I do have a publishing stream. And also, the strangest

464
00:30:12,000 --> 00:30:18,360
Speaker 1: it may seem, after forty years, we actually recouped with

465
00:30:18,600 --> 00:30:24,120
Speaker 1: Universal because you know, Universal owns everything. They bought a

466
00:30:24,120 --> 00:30:26,560
Speaker 1: a M and they bought Capital where all of our

467
00:30:26,600 --> 00:30:32,400
Speaker 1: product originated. And so we get royalty checks hard as

468
00:30:32,480 --> 00:30:38,720
Speaker 1: it maybe to believe from Universal twice a year. So yeah,

469
00:30:38,760 --> 00:30:41,320
Speaker 1: we do have a royalty stream. I mean, it's not massive.

470
00:30:41,400 --> 00:30:45,040
Speaker 1: It's not like Richard Marx's royalty stream, where you know

471
00:30:45,120 --> 00:30:48,840
Speaker 1: he sold forty million records and and owns it all.

472
00:30:49,040 --> 00:30:52,840
Speaker 1: You know, every record was a license so, uh, it's

473
00:30:52,880 --> 00:30:57,120
Speaker 1: not like that, but uh, it's really it really helps,

474
00:30:57,360 --> 00:31:01,479
Speaker 1: you know. And and I'm the you know, I've I do.

475
00:31:01,320 --> 00:31:06,280
Speaker 1: I pretty much do everything. I'm the publisher, administrator, I'm

476
00:31:06,400 --> 00:31:11,520
Speaker 1: the you know, I'm I kind of. I do the merch.

477
00:31:12,080 --> 00:31:15,360
Speaker 1: I booked the tour, I booked the hotels, I booked

478
00:31:15,360 --> 00:31:21,960
Speaker 1: the cars, I booked the air. Uh. And lately Elizabeth,

479
00:31:21,960 --> 00:31:27,120
Speaker 1: Elizabeth has taken over some of the uh, some of

480
00:31:27,160 --> 00:31:30,000
Speaker 1: the work with me. And she helps with the merch

481
00:31:30,600 --> 00:31:33,320
Speaker 1: and helps with the v I P beaten greet and

482
00:31:33,520 --> 00:31:39,200
Speaker 1: she's kind of become my my mentor and road manager,

483
00:31:39,800 --> 00:31:44,840
Speaker 1: personal assistant, and and nurse. She's the she's the sexy

484
00:31:44,920 --> 00:31:49,160
Speaker 1: nurse in the show. Now, So that's all a plus, okay,

485
00:31:49,160 --> 00:31:51,000
Speaker 1: And do you charge the other guys for doing all

486
00:31:51,000 --> 00:31:54,760
Speaker 1: that work? No? Okay, let's go back to the beginning. So, yeah,

487
00:31:54,840 --> 00:31:59,880
Speaker 1: you grew up in the fifties and early sixties, short haircuts, raw, rod, cetera.

488
00:32:00,080 --> 00:32:04,680
Speaker 1: The Beatles come along. Were you into music where you transformed?

489
00:32:04,680 --> 00:32:07,200
Speaker 1: Did you want to be into what happened then? And

490
00:32:07,280 --> 00:32:12,760
Speaker 1: I've done I've done this interview. The Beatles. Just Beatles

491
00:32:12,840 --> 00:32:16,240
Speaker 1: changed my life. The Beatles made me want to be

492
00:32:16,840 --> 00:32:20,280
Speaker 1: a rock and roll singer. And it changed everything when

493
00:32:20,280 --> 00:32:26,320
Speaker 1: the Beatles came out. Uh uh I was. I was

494
00:32:26,520 --> 00:32:31,040
Speaker 1: a freshman in high school and uh when the Beatles

495
00:32:31,080 --> 00:32:33,280
Speaker 1: came out, that's all I could think about. And I

496
00:32:33,480 --> 00:32:36,520
Speaker 1: actually I you know, I wanted to be a baseball player,

497
00:32:36,800 --> 00:32:40,200
Speaker 1: and you know, and it all, it all became. I

498
00:32:40,240 --> 00:32:43,600
Speaker 1: went to this high school, Scottsdale High and back then

499
00:32:43,920 --> 00:32:48,800
Speaker 1: we had an unbelievable theatrical department. We had a whole

500
00:32:48,920 --> 00:32:53,480
Speaker 1: building that was dedicated to theater arts, and we had

501
00:32:53,520 --> 00:32:56,600
Speaker 1: a shop, and we had a giant auditorium. We had

502
00:32:56,600 --> 00:33:00,640
Speaker 1: a three thousand seat auditorium where we could do plays.

503
00:33:01,480 --> 00:33:04,120
Speaker 1: I did, like from the time way just to be clear,

504
00:33:04,280 --> 00:33:08,120
Speaker 1: you mean three thousand seats right, yeah? I thought you

505
00:33:08,160 --> 00:33:12,400
Speaker 1: said no, no, no, three thousand seed auditorium. And we

506
00:33:12,440 --> 00:33:15,920
Speaker 1: would do plays, you know, I did. I did plays

507
00:33:15,960 --> 00:33:18,120
Speaker 1: all the way through high school. I did Sound of

508
00:33:18,240 --> 00:33:21,640
Speaker 1: Music and the Music Man and Little I played Little

509
00:33:21,640 --> 00:33:26,440
Speaker 1: Abner as a ninety pound weekly and we did dramatic.

510
00:33:26,520 --> 00:33:30,040
Speaker 1: We did Syranodo Bergerac and we did student We did

511
00:33:30,280 --> 00:33:32,720
Speaker 1: I just did plays and we and I was in this.

512
00:33:33,360 --> 00:33:38,120
Speaker 1: We had a vocal group what's called the Scotts Still Singers,

513
00:33:38,520 --> 00:33:44,480
Speaker 1: And it was a group of about forty people, you know, uh, soprano,

514
00:33:44,560 --> 00:33:48,840
Speaker 1: alto tenor bass, about ten of each. And we would

515
00:33:48,840 --> 00:33:53,040
Speaker 1: perform I mean we would go to like state competitions

516
00:33:53,040 --> 00:33:57,800
Speaker 1: of choral competitions and we would perform like Baroque to

517
00:33:57,960 --> 00:34:04,920
Speaker 1: Bach and handles Messiah and all these really complicated pieces,

518
00:34:05,640 --> 00:34:09,280
Speaker 1: uh and uh. And so I spent all that time

519
00:34:09,320 --> 00:34:14,720
Speaker 1: singing these classical type stuff, wanting to be a rock singer,

520
00:34:14,840 --> 00:34:19,000
Speaker 1: and listening to the Beatles all day long and letting

521
00:34:19,040 --> 00:34:22,960
Speaker 1: my hair grow. We used to have a rule if

522
00:34:23,000 --> 00:34:27,640
Speaker 1: your hair touched the collar of your shirt, you got expelled.

523
00:34:28,400 --> 00:34:31,319
Speaker 1: And I mean back then, you know you had you

524
00:34:31,320 --> 00:34:35,000
Speaker 1: couldn't wear jeans. Believe me, I remember you had to

525
00:34:35,040 --> 00:34:39,480
Speaker 1: wear a colored shirt. You know you couldn't. And you know,

526
00:34:39,640 --> 00:34:42,880
Speaker 1: I think, you know, I was gonna say my I

527
00:34:42,920 --> 00:34:46,160
Speaker 1: think I I got it. And and you know today

528
00:34:46,280 --> 00:34:50,040
Speaker 1: I still I still have the voice I had when

529
00:34:50,040 --> 00:34:53,040
Speaker 1: I was a kid. I can sing all these songs still,

530
00:34:53,480 --> 00:34:57,399
Speaker 1: and I love it. And but I think, uh, my

531
00:34:57,480 --> 00:35:02,719
Speaker 1: mother was a singer before my mother. I was born

532
00:35:02,719 --> 00:35:07,640
Speaker 1: in Omaha, Nebraska, and my mother lived in Omaha and

533
00:35:07,920 --> 00:35:14,560
Speaker 1: my mother's family. My mother's mother immigrated from Sicily. She

534
00:35:14,640 --> 00:35:19,759
Speaker 1: couldn't speak English. I'm half Sicilian and half English and

535
00:35:21,080 --> 00:35:24,239
Speaker 1: uh and my mother and back then, you know, if

536
00:35:24,280 --> 00:35:28,880
Speaker 1: you were Italian, it was kind of second class citizen.

537
00:35:29,000 --> 00:35:33,760
Speaker 1: You know. It's like you know, uh if it's funny.

538
00:35:33,800 --> 00:35:39,760
Speaker 1: I just read the uh, the Caaplan book on Sinatra. Uh,

539
00:35:39,840 --> 00:35:42,160
Speaker 1: the two books he wrote, The Voice and the Chairman,

540
00:35:42,480 --> 00:35:45,600
Speaker 1: and when he was young. That's the way they treated Italians.

541
00:35:45,640 --> 00:35:48,360
Speaker 1: They were they were second class citizens. If you were

542
00:35:48,400 --> 00:35:52,759
Speaker 1: an Italian, you were either a mob guy or you know,

543
00:35:53,120 --> 00:35:57,800
Speaker 1: you were so anyway, she but she was a singer

544
00:35:58,440 --> 00:36:01,719
Speaker 1: and before she got married, she used to sing with

545
00:36:02,000 --> 00:36:05,839
Speaker 1: big bands that came through town and they would they

546
00:36:05,840 --> 00:36:08,280
Speaker 1: would she was like the one they hired to sing,

547
00:36:08,960 --> 00:36:13,239
Speaker 1: you know, begin the beginning and the standards that the

548
00:36:13,280 --> 00:36:16,400
Speaker 1: big bands would play. Tommy Dorsey, She's played with Tommy

549
00:36:16,400 --> 00:36:21,399
Speaker 1: Dorsey and uh, so I think I kind of got

550
00:36:21,480 --> 00:36:25,759
Speaker 1: that gene. And we my house was when I was

551
00:36:25,800 --> 00:36:29,280
Speaker 1: a kid, we sang all the time before the Beatles.

552
00:36:29,560 --> 00:36:33,040
Speaker 1: We all you know, she my mom loved Broadway musicals

553
00:36:33,080 --> 00:36:37,080
Speaker 1: and we would always get uh Broadway soundtrack albums, And

554
00:36:37,120 --> 00:36:39,160
Speaker 1: we had a great big record player, one of those

555
00:36:39,239 --> 00:36:45,040
Speaker 1: giant SEV cabinet record player things, and we would sing

556
00:36:45,120 --> 00:36:48,920
Speaker 1: all day long. And we're always singing. She was singing,

557
00:36:49,000 --> 00:36:51,320
Speaker 1: I was singing. My brother really wasn't much of a singer,

558
00:36:51,400 --> 00:36:58,320
Speaker 1: but I really just you know, dove in and uh,

559
00:36:58,640 --> 00:37:02,719
Speaker 1: West Side Story. When West Side Story came out, I

560
00:37:03,040 --> 00:37:05,640
Speaker 1: flipped out and I learned all of the songs on

561
00:37:05,719 --> 00:37:08,520
Speaker 1: West Side Story. And actually, I have have you seen

562
00:37:08,520 --> 00:37:10,799
Speaker 1: the movie, the new movie lately? I have not seen

563
00:37:10,840 --> 00:37:12,719
Speaker 1: the new movie. I have not seen it either. I

564
00:37:12,719 --> 00:37:16,400
Speaker 1: don't know how Stephen Sondheim is gonna work. You know

565
00:37:17,400 --> 00:37:20,280
Speaker 1: that some of the lyrics in When You're a Jet

566
00:37:20,640 --> 00:37:26,239
Speaker 1: are not exactly politically correct anymore. Yeah. Uh, And the

567
00:37:26,280 --> 00:37:30,320
Speaker 1: Scuttal singers were famous. We used to win the state

568
00:37:30,440 --> 00:37:34,880
Speaker 1: competitions for choral groups and so every you know, everybody

569
00:37:34,960 --> 00:37:38,080
Speaker 1: knew about the singers and they had like special jackets

570
00:37:38,160 --> 00:37:42,839
Speaker 1: with with with you know, of emblems, and you know,

571
00:37:42,880 --> 00:37:45,239
Speaker 1: it was it was a big deal in scotch Dale.

572
00:37:45,360 --> 00:37:47,960
Speaker 1: It was a small town. And uh, I mean there

573
00:37:48,000 --> 00:37:50,000
Speaker 1: was when I moved to scutt Deal, there was still

574
00:37:50,120 --> 00:37:53,719
Speaker 1: hitching posts in front of the grocery store and you

575
00:37:53,719 --> 00:37:56,799
Speaker 1: could ride your horse to town and hitch it up

576
00:37:56,840 --> 00:37:59,320
Speaker 1: in front of the grocery store and get your groceries

577
00:37:59,360 --> 00:38:02,080
Speaker 1: for your family, put him in your saddle bag, ride

578
00:38:02,080 --> 00:38:08,720
Speaker 1: back home. Uh. But anyway, so when I was before

579
00:38:09,440 --> 00:38:15,840
Speaker 1: my freshman year of high school, uh, they held auditions

580
00:38:16,880 --> 00:38:20,400
Speaker 1: for you know, there was the Scots Chiel Singer was

581
00:38:20,800 --> 00:38:24,240
Speaker 1: like a varsity group. It was mostly all juniors and seniors,

582
00:38:24,360 --> 00:38:27,960
Speaker 1: but there was a freshman version of it that you know,

583
00:38:28,000 --> 00:38:30,200
Speaker 1: you could get in the freshman version and then after

584
00:38:30,280 --> 00:38:33,040
Speaker 1: a couple of years move up to the to the singers.

585
00:38:33,440 --> 00:38:38,759
Speaker 1: And so I wanted, you know, you had to audition

586
00:38:39,920 --> 00:38:45,240
Speaker 1: for for the for the the two directors, the freshman

587
00:38:45,320 --> 00:38:51,600
Speaker 1: director was his name was Deb's Valentine. And the the

588
00:38:51,640 --> 00:38:55,600
Speaker 1: senior director was Joe Esley. His name was Joe Estley.

589
00:38:55,719 --> 00:39:00,000
Speaker 1: And they got Joe sli changed my life too. And uh,

590
00:39:00,160 --> 00:39:05,480
Speaker 1: so I auditioned and I signed up and I sang

591
00:39:06,360 --> 00:39:15,640
Speaker 1: Maria from West Side Story Acapella and they were and

592
00:39:15,800 --> 00:39:21,640
Speaker 1: so Joe Esley was so impressed that he said, look,

593
00:39:21,719 --> 00:39:26,080
Speaker 1: Deb's this, I want this guy. So I was the

594
00:39:26,120 --> 00:39:30,600
Speaker 1: first guy ever to be put straight into the senior

595
00:39:31,200 --> 00:39:34,319
Speaker 1: to the varsity Scottsdale Singers and didn't have to go

596
00:39:34,719 --> 00:39:39,640
Speaker 1: through the freshman route and in the freshman group, so

597
00:39:39,719 --> 00:39:42,279
Speaker 1: I went straight to the singers as a freshman. And

598
00:39:43,200 --> 00:39:45,560
Speaker 1: you know, after a year or two, he started giving

599
00:39:45,560 --> 00:39:50,440
Speaker 1: me the solos, the arias in and handles Messiah and

600
00:39:50,680 --> 00:39:56,840
Speaker 1: various things, and he would just it's funny. He would

601
00:39:56,880 --> 00:39:59,719
Speaker 1: just you know, he would constantly go to, you know, no,

602
00:40:00,000 --> 00:40:03,560
Speaker 1: do this, do this, do this. He was always you know,

603
00:40:04,360 --> 00:40:07,240
Speaker 1: trying to help or and you know, I was an idiot.

604
00:40:07,840 --> 00:40:10,920
Speaker 1: I was a fucking idiot. So I you know, I

605
00:40:10,920 --> 00:40:13,799
Speaker 1: would say, you're you know, you're on my case and

606
00:40:13,840 --> 00:40:17,000
Speaker 1: I would oh. I used to always think he's on

607
00:40:17,120 --> 00:40:19,319
Speaker 1: he's why is he on me? On me? On me

608
00:40:19,400 --> 00:40:22,239
Speaker 1: all the time. And so one day I went into

609
00:40:22,280 --> 00:40:25,720
Speaker 1: his office and I said, you know, Mr Esley, why

610
00:40:25,719 --> 00:40:28,440
Speaker 1: why are you it's always me? Why are you always

611
00:40:28,520 --> 00:40:32,479
Speaker 1: on me? And he goes, you know, and he sat

612
00:40:32,520 --> 00:40:37,600
Speaker 1: me down in his desk and he goes, you have

613
00:40:37,719 --> 00:40:41,840
Speaker 1: got something special. You know, you've you've got a great voice,

614
00:40:41,920 --> 00:40:44,600
Speaker 1: and you've got something special. And he was also the

615
00:40:44,640 --> 00:40:47,880
Speaker 1: director of all the plays too, and he says, you

616
00:40:48,080 --> 00:40:51,560
Speaker 1: and I'm not gonna let you just slough it off.

617
00:40:51,640 --> 00:40:54,880
Speaker 1: I'm not gonna let you ignore it. You've got it.

618
00:40:55,040 --> 00:40:58,920
Speaker 1: You've got to to develop, you've got to do You've

619
00:40:58,920 --> 00:41:01,120
Speaker 1: got to do this. You can't. I just let it slide.

620
00:41:01,680 --> 00:41:04,879
Speaker 1: And so I kind of went, oh wow, really? And so,

621
00:41:05,520 --> 00:41:07,520
Speaker 1: I mean, he was the one that cast me as

622
00:41:07,680 --> 00:41:10,360
Speaker 1: Little Abner as a ninety powder weekly, and I'm like,

623
00:41:11,040 --> 00:41:14,439
Speaker 1: Mr Asley, am I you know, Little Abner is a

624
00:41:14,480 --> 00:41:18,240
Speaker 1: big stud. You know, he's a big muscle bound guy.

625
00:41:18,760 --> 00:41:21,520
Speaker 1: I said, do I wear a big muscle suit or

626
00:41:21,560 --> 00:41:23,680
Speaker 1: You're gonna make me a big muscle suit to wear?

627
00:41:24,440 --> 00:41:27,040
Speaker 1: And he said, no, you just have to think big,

628
00:41:28,560 --> 00:41:31,279
Speaker 1: I said. He says, when Peppi Yokum jumps off the

629
00:41:31,360 --> 00:41:44,160
Speaker 1: roof into your arms, you better be thinking big. Okay, Okay,

630
00:41:44,160 --> 00:41:46,840
Speaker 1: So you graduate from high school, you go to college,

631
00:41:46,840 --> 00:41:50,040
Speaker 1: and you drop out. Why do you drop out? Oh? God?

632
00:41:50,440 --> 00:41:54,880
Speaker 1: I started being an anthropology major. I still love anthropology.

633
00:41:54,960 --> 00:41:57,719
Speaker 1: I love I love the whole genre. And then I

634
00:41:57,760 --> 00:42:01,600
Speaker 1: switched to oceanography, right, I mean in Arizona, and I'm

635
00:42:01,600 --> 00:42:04,080
Speaker 1: obsessed with the ocean and I want to go to

636
00:42:04,120 --> 00:42:06,840
Speaker 1: Script's Institute. I want to transfer this. Well, you know

637
00:42:07,000 --> 00:42:10,920
Speaker 1: that's not gonna happen. And you know, we Arizona. Uh

638
00:42:11,120 --> 00:42:13,240
Speaker 1: we did. My family didn't have a lot of money.

639
00:42:13,280 --> 00:42:16,080
Speaker 1: My both my mom and dad worked and I was

640
00:42:16,120 --> 00:42:19,840
Speaker 1: a latch key kid. Me and my brother, and uh

641
00:42:19,920 --> 00:42:22,280
Speaker 1: we went to Arizona. I went to Arizona State because

642
00:42:22,400 --> 00:42:25,800
Speaker 1: if you were a resident, you know, the tuition was minimal.

643
00:42:26,400 --> 00:42:31,359
Speaker 1: And uh and uh so and also I decided, well,

644
00:42:31,440 --> 00:42:34,359
Speaker 1: I'm going to be a serious actor. Now, no more

645
00:42:34,400 --> 00:42:38,040
Speaker 1: of this musical comedy stuff. I'm gonna do Ibocident and

646
00:42:38,160 --> 00:42:42,680
Speaker 1: check Off and Macbeth. And so I went straight to

647
00:42:42,719 --> 00:42:46,560
Speaker 1: the drama department and and I started doing those kinds

648
00:42:46,600 --> 00:42:53,520
Speaker 1: of plays. And then finally I went I I finished

649
00:42:53,520 --> 00:42:56,439
Speaker 1: my freshman year, and then kind of halfway through my

650
00:42:56,760 --> 00:43:01,279
Speaker 1: sophomore year, I flipped out and I just went, this

651
00:43:01,360 --> 00:43:04,120
Speaker 1: is boring. Oh my god, you know, god, I don't

652
00:43:04,200 --> 00:43:09,080
Speaker 1: want to do this. And uh and you know, I

653
00:43:10,560 --> 00:43:14,880
Speaker 1: had a group of friends that we used and we

654
00:43:14,880 --> 00:43:18,080
Speaker 1: were all into music and we used to go one

655
00:43:18,080 --> 00:43:20,040
Speaker 1: of the one of the guys in the group had

656
00:43:20,120 --> 00:43:24,600
Speaker 1: this trailer He lived in a trailer way outside of

657
00:43:24,680 --> 00:43:28,040
Speaker 1: town on Baseline Road, and so we would all go

658
00:43:28,120 --> 00:43:30,800
Speaker 1: out there, you know, five or six of us would

659
00:43:30,800 --> 00:43:36,200
Speaker 1: go out to his trailer. His name was Terry, Terry molloy,

660
00:43:37,000 --> 00:43:42,080
Speaker 1: and and we would play music and and smoke pot Okay,

661
00:43:42,400 --> 00:43:45,719
Speaker 1: we play music and smoke pot all all night long.

662
00:43:46,440 --> 00:43:49,600
Speaker 1: And uh you know, and I had moved This is

663
00:43:49,600 --> 00:43:51,440
Speaker 1: when I was. I had moved out of out of

664
00:43:51,600 --> 00:43:53,640
Speaker 1: I mean, I moved out of my parents house the

665
00:43:53,719 --> 00:43:56,839
Speaker 1: day I turned eighteen. And I had a job, and

666
00:43:56,880 --> 00:43:59,759
Speaker 1: I got an apartment in Tempee near the college. And

667
00:43:59,800 --> 00:44:04,400
Speaker 1: I had a job. And I worked at this pottery store,

668
00:44:04,560 --> 00:44:06,960
Speaker 1: which is kind of ironic because my my wife is

669
00:44:06,960 --> 00:44:10,520
Speaker 1: now totally into pottery and we have a we have

670
00:44:10,600 --> 00:44:13,560
Speaker 1: a wheel, and we have a kiln and she's making

671
00:44:13,640 --> 00:44:17,160
Speaker 1: stuff all day long. So but I worked in this

672
00:44:17,280 --> 00:44:23,760
Speaker 1: pottery store and I used to pack cactus, little baby

673
00:44:23,840 --> 00:44:34,239
Speaker 1: cactuses in boxes to send to like Minnesota, where it

674
00:44:34,239 --> 00:44:39,200
Speaker 1: would instantly die because there's you know, it's too cold

675
00:44:39,239 --> 00:44:42,640
Speaker 1: for cactus. That's why they're not growing in Minnesota, is it.

676
00:44:43,520 --> 00:44:51,600
Speaker 1: And uh so, so Terry found out, you know, and

677
00:44:51,600 --> 00:44:53,719
Speaker 1: and we were all kind of of the same, you know,

678
00:44:54,960 --> 00:44:57,759
Speaker 1: tune in, turn on, drop out, it was kind of

679
00:44:58,000 --> 00:45:02,160
Speaker 1: and we took a LSD. You know, it was the

680
00:45:02,200 --> 00:45:07,560
Speaker 1: world of kind of Timothy Leary world, Ah, and he

681
00:45:07,640 --> 00:45:14,000
Speaker 1: found out about this town in northern Arizona. There's a

682
00:45:14,040 --> 00:45:18,040
Speaker 1: town called Jerome on the very it's it's on the

683
00:45:18,080 --> 00:45:21,759
Speaker 1: side of a mountain called Mingus Mountain, and it's in

684
00:45:21,800 --> 00:45:24,880
Speaker 1: the Verde Valley. It's about midway in the middle of

685
00:45:24,960 --> 00:45:30,880
Speaker 1: the state of Arizona. And there used to be a

686
00:45:30,920 --> 00:45:35,360
Speaker 1: gigantic copper mine there run by a company called Felps

687
00:45:35,400 --> 00:45:43,439
Speaker 1: Dodge Mining. And they they they dug all. I mean,

688
00:45:43,719 --> 00:45:48,360
Speaker 1: the whole town was full of tunnels and caves where

689
00:45:49,040 --> 00:45:52,719
Speaker 1: copper mines where they would mind the copper. And so

690
00:45:52,800 --> 00:45:57,680
Speaker 1: they eventually they sucked out all the copper in the

691
00:45:57,719 --> 00:46:00,640
Speaker 1: mountain and they said, okay, well that's were done. And

692
00:46:00,680 --> 00:46:04,600
Speaker 1: they left and they left, and they had a whole

693
00:46:04,680 --> 00:46:07,759
Speaker 1: lot of people working for them, these miners and the

694
00:46:07,840 --> 00:46:11,799
Speaker 1: minders all had little shacks on the side in the

695
00:46:11,840 --> 00:46:15,200
Speaker 1: town of Jerome. And Jerome was pretty much a ghost town.

696
00:46:15,760 --> 00:46:19,479
Speaker 1: It was abandoned. There was nobody there left. And once

697
00:46:19,560 --> 00:46:23,319
Speaker 1: the mind left and all the minders left, it was

698
00:46:23,360 --> 00:46:26,120
Speaker 1: a major ghost town. There was nothing. There was like

699
00:46:26,680 --> 00:46:30,879
Speaker 1: one bar, there was no gas station, there was one

700
00:46:31,040 --> 00:46:33,719
Speaker 1: there wasn't a hotel, there was nothing. There was just

701
00:46:33,760 --> 00:46:37,440
Speaker 1: a few people really, you know, seniors, seniors that had

702
00:46:37,480 --> 00:46:41,080
Speaker 1: lived there the whole life, and they didn't leave. So

703
00:46:41,640 --> 00:46:44,640
Speaker 1: Terry says, you know, we can, we can move to

704
00:46:44,719 --> 00:46:48,120
Speaker 1: this ghost town. And there's all these miners shacks and

705
00:46:48,400 --> 00:46:51,040
Speaker 1: nobody gives us, they don't care. So you could just

706
00:46:51,120 --> 00:46:54,719
Speaker 1: have one. You can just squat in one. You can

707
00:46:54,880 --> 00:47:00,279
Speaker 1: just homestead one. We used to stay homestead and we went,

708
00:47:00,320 --> 00:47:05,600
Speaker 1: oh really okay, So like eight of us moved to Jerome.

709
00:47:05,719 --> 00:47:08,560
Speaker 1: We just we said that's it and I quit school.

710
00:47:09,000 --> 00:47:12,759
Speaker 1: My parents freaked out, I mean completely freaked out, and

711
00:47:12,840 --> 00:47:16,680
Speaker 1: we moved to this little town and I had my

712
00:47:16,719 --> 00:47:20,800
Speaker 1: own minors shock. Everybody got their own minors shack. And

713
00:47:21,719 --> 00:47:26,240
Speaker 1: there's no this was you know, there's no indoor plumbing. Okay,

714
00:47:26,280 --> 00:47:30,319
Speaker 1: so we had an outhouse. There was h The electricity

715
00:47:30,360 --> 00:47:33,600
Speaker 1: had all been turned off, so there was no electricity either.

716
00:47:33,880 --> 00:47:38,560
Speaker 1: So you had like like hurricane lamps for for light.

717
00:47:39,440 --> 00:47:44,960
Speaker 1: And we all just we had we had nothing. I

718
00:47:45,000 --> 00:47:48,080
Speaker 1: had no money. I remember I had eight cents in

719
00:47:48,239 --> 00:47:51,480
Speaker 1: my jeans and I had eight cents in there for

720
00:47:51,520 --> 00:47:55,160
Speaker 1: a long long time. And we used to go from

721
00:47:55,360 --> 00:47:58,080
Speaker 1: various people would have would have dinners, you know. They

722
00:47:58,120 --> 00:48:00,680
Speaker 1: would they would say, okay, well dinners at my house tonight,

723
00:48:00,760 --> 00:48:04,239
Speaker 1: and we'd all go there. And my dad used to

724
00:48:04,280 --> 00:48:07,919
Speaker 1: bring me a twenty five pound bag of brown rice

725
00:48:08,520 --> 00:48:11,279
Speaker 1: from Phoenix, and so I when I got a bag

726
00:48:11,280 --> 00:48:13,640
Speaker 1: of brown rice, I'd have dinners. Okay, well we have

727
00:48:13,680 --> 00:48:20,720
Speaker 1: a big dinner of brown rice. And I I mean, gosh,

728
00:48:20,760 --> 00:48:25,000
Speaker 1: I lived there for probably this was January of n

729
00:48:26,719 --> 00:48:30,120
Speaker 1: and I lived there for about four or five months,

730
00:48:30,160 --> 00:48:36,239
Speaker 1: maybe with absolutely nothing, no money, no nothing, and just

731
00:48:36,719 --> 00:48:40,760
Speaker 1: you know, we're a bunch of hippies were surviving and

732
00:48:40,880 --> 00:48:43,000
Speaker 1: we loved We had a great time. You know. People

733
00:48:43,000 --> 00:48:45,960
Speaker 1: would come up from the city and they would bring drugs,

734
00:48:46,680 --> 00:48:49,239
Speaker 1: you know. Okay, so how do you make it from

735
00:48:49,280 --> 00:48:52,480
Speaker 1: the booties to being a roadie for what it becomes

736
00:48:52,520 --> 00:48:56,359
Speaker 1: the tubes. Well, I'm gonna tell you. I finally got

737
00:48:56,400 --> 00:49:00,720
Speaker 1: sick of having no money. So, uh, I heard about

738
00:49:00,800 --> 00:49:07,160
Speaker 1: this rancher who was looking for cowboys. He's looking to

739
00:49:07,239 --> 00:49:10,960
Speaker 1: hire a couple of cowboys. He needed help. His name

740
00:49:11,000 --> 00:49:14,840
Speaker 1: was Dave Perkins, and so I went to Dave Perkins

741
00:49:15,320 --> 00:49:22,719
Speaker 1: and he was, Uh, there's a town in Arizona called Perkinsville, Uh.

742
00:49:22,840 --> 00:49:27,960
Speaker 1: His father was this patriarch of Perkinsville. And his father

743
00:49:28,600 --> 00:49:36,359
Speaker 1: drove a herd of hundred longhorn cows from Texas all

744
00:49:36,400 --> 00:49:40,520
Speaker 1: the way to Arizona. You know, when he was a kid.

745
00:49:40,960 --> 00:49:44,880
Speaker 1: And he had five sons, and he owned all this property.

746
00:49:44,920 --> 00:49:47,799
Speaker 1: He was the big deal. And each of the five

747
00:49:47,920 --> 00:49:50,400
Speaker 1: sons had a ranch. He gave each of them their

748
00:49:50,440 --> 00:49:55,480
Speaker 1: own cattle ranch. So Dave was the youngest son and

749
00:49:55,560 --> 00:49:57,800
Speaker 1: he had his own cattle ranch. And the other guys

750
00:49:57,840 --> 00:50:02,920
Speaker 1: were pretty much rednecked cowboys, you know they were. They were,

751
00:50:03,320 --> 00:50:08,680
Speaker 1: shall we say, a conservative group and except for Dave.

752
00:50:09,239 --> 00:50:13,040
Speaker 1: And Dave was a little forward thinking. And you know,

753
00:50:13,200 --> 00:50:16,920
Speaker 1: he had some kids, and he divorced his wife, and

754
00:50:16,920 --> 00:50:19,800
Speaker 1: then he had a lady living with him and helping

755
00:50:19,880 --> 00:50:22,759
Speaker 1: him run his ranch. And so I came up to him,

756
00:50:22,760 --> 00:50:26,200
Speaker 1: and I had long hair, and you know, not Fiji hair,

757
00:50:26,520 --> 00:50:31,000
Speaker 1: but uh, I said, Dave, you know I grew up

758
00:50:31,000 --> 00:50:32,880
Speaker 1: on a horse. I can ride. I can help you,

759
00:50:33,600 --> 00:50:37,480
Speaker 1: because he needs somebody to go out. He had two

760
00:50:37,560 --> 00:50:45,840
Speaker 1: hundred and fifty thousand acres of forest service least land. Okay,

761
00:50:45,880 --> 00:50:48,320
Speaker 1: he did known it. He leased it from the Forest Service.

762
00:50:48,719 --> 00:50:52,200
Speaker 1: And on this and the Forest Service based on how

763
00:50:52,280 --> 00:50:56,360
Speaker 1: much feed there was, and there was no feed because

764
00:50:56,400 --> 00:51:00,000
Speaker 1: of the desert. They would tell you how many cows

765
00:51:00,000 --> 00:51:02,640
Speaker 1: as you could run on this land, and so the

766
00:51:02,760 --> 00:51:06,080
Speaker 1: number was one hundred and fifty. He could have a

767
00:51:06,160 --> 00:51:09,279
Speaker 1: hundred and fifty mother cows on this two hundred and

768
00:51:09,280 --> 00:51:14,640
Speaker 1: fifty thousand acres, And twice a year you had to

769
00:51:14,680 --> 00:51:19,600
Speaker 1: go out and round up these hundred fifty cows and

770
00:51:19,640 --> 00:51:23,680
Speaker 1: bring him back and breed them to the bulls so

771
00:51:23,800 --> 00:51:27,000
Speaker 1: that they would make babies to make you know, Hamburger

772
00:51:27,080 --> 00:51:30,000
Speaker 1: out of And so that was the way it worked.

773
00:51:30,239 --> 00:51:32,400
Speaker 1: And so every twice a year you got to go

774
00:51:32,400 --> 00:51:35,000
Speaker 1: out and round up the cows and bring in the

775
00:51:35,880 --> 00:51:40,520
Speaker 1: bringing the babies and bringing brand. And I was a cowboy.

776
00:51:40,640 --> 00:51:42,680
Speaker 1: I was a cowboy, just like in the movies. And

777
00:51:42,719 --> 00:51:45,640
Speaker 1: I always wanted to be a cowboy. You know, when

778
00:51:45,680 --> 00:51:47,799
Speaker 1: I was a kid, all I did was watch westerns.

779
00:51:47,880 --> 00:51:50,960
Speaker 1: And you know, I watched all those westerns and all

780
00:51:51,000 --> 00:51:55,040
Speaker 1: those big stars started as you know, Steve McQueen wanted

781
00:51:55,120 --> 00:51:59,600
Speaker 1: dead or alive or they all cowboys, John Wayne and

782
00:51:59,719 --> 00:52:02,520
Speaker 1: every Clint and now I mean they all. I wanted

783
00:52:02,560 --> 00:52:04,920
Speaker 1: to be a cowboy, and so I got to be

784
00:52:04,960 --> 00:52:07,440
Speaker 1: a cowboy, and so I would ride out on my horse.

785
00:52:07,480 --> 00:52:10,759
Speaker 1: He gave me a horse, and I'd ride out. And

786
00:52:10,880 --> 00:52:14,440
Speaker 1: it wasn't as hard as it sounds to find cows

787
00:52:14,480 --> 00:52:17,240
Speaker 1: because there was no water, so the cows would always

788
00:52:17,280 --> 00:52:20,600
Speaker 1: be near the water. And so you'd go to wherever

789
00:52:20,719 --> 00:52:23,799
Speaker 1: the river was and you'd round up cows because they

790
00:52:23,800 --> 00:52:26,640
Speaker 1: would be there drinking water, So round them up and

791
00:52:26,680 --> 00:52:28,880
Speaker 1: bring them back to the ranch. And then you'd separate

792
00:52:28,920 --> 00:52:32,520
Speaker 1: out the boys from the girls. And then the boys were,

793
00:52:33,000 --> 00:52:36,040
Speaker 1: you know, castrated. This is fascinating, But how do we

794
00:52:36,040 --> 00:52:40,200
Speaker 1: get from here to rock and roll? Oh? Sorry? Well,

795
00:52:40,840 --> 00:52:43,759
Speaker 1: when I was a kid, before I left, I used

796
00:52:43,760 --> 00:52:48,080
Speaker 1: to go watch bands in Phoenix. I mean, you know Alice.

797
00:52:48,280 --> 00:52:51,319
Speaker 1: Alice started in Phoenix Cooper and he had a band

798
00:52:51,360 --> 00:52:54,439
Speaker 1: called the Ear Wings and I used to go watch them,

799
00:52:54,680 --> 00:53:00,520
Speaker 1: and Roger Steen and Prairie Prince and a guy David

800
00:53:00,680 --> 00:53:03,960
Speaker 1: had a trio in Phoenix called the Red, White and

801
00:53:04,000 --> 00:53:07,000
Speaker 1: Blues Band and they used to play at a little

802
00:53:07,040 --> 00:53:11,000
Speaker 1: club called the v I P in downtown Phoenix. And

803
00:53:11,040 --> 00:53:12,840
Speaker 1: I used to go to this club all the time

804
00:53:12,880 --> 00:53:16,800
Speaker 1: to listen to music, live music, and they were great.

805
00:53:16,880 --> 00:53:18,879
Speaker 1: They were a great band, and they you know, they

806
00:53:18,920 --> 00:53:22,480
Speaker 1: did all this original material. And Roger used to play

807
00:53:22,600 --> 00:53:26,279
Speaker 1: Jimmy Hendricks songs because he loved Hendricks. And so I

808
00:53:26,320 --> 00:53:29,400
Speaker 1: would go see them, and I became friends with them,

809
00:53:29,440 --> 00:53:32,120
Speaker 1: and I was, you know, kind of just a hanger

810
00:53:32,160 --> 00:53:35,960
Speaker 1: on her, and I, you know, I was looking for

811
00:53:36,040 --> 00:53:42,400
Speaker 1: some way, you know, to get into music somehow. And so, uh,

812
00:53:42,719 --> 00:53:44,920
Speaker 1: when I moved to the mountains, when I moved to

813
00:53:45,000 --> 00:53:51,319
Speaker 1: the Verde Valley, uh, uh, you know, I everyone, you know,

814
00:53:51,320 --> 00:53:54,160
Speaker 1: I go back to town to get whatever, get asked

815
00:53:54,160 --> 00:53:56,960
Speaker 1: my parents for money or something, and I would say,

816
00:53:57,000 --> 00:53:59,520
Speaker 1: you know, this is so great up here. And and

817
00:53:59,560 --> 00:54:02,279
Speaker 1: they every once in a while they would drive their

818
00:54:02,320 --> 00:54:06,719
Speaker 1: truck up there. Uh. They had a big they had

819
00:54:06,719 --> 00:54:10,360
Speaker 1: a milk truck that was converted into their equipment truck,

820
00:54:10,640 --> 00:54:13,120
Speaker 1: and they would they had a generator and they would

821
00:54:13,200 --> 00:54:18,240
Speaker 1: drive up to the mountains and set their gear up

822
00:54:18,239 --> 00:54:24,000
Speaker 1: out in the desert and just play to the cactus right.

823
00:54:24,760 --> 00:54:29,759
Speaker 1: And uh. The guy that I worked with, his name

824
00:54:29,800 --> 00:54:32,600
Speaker 1: was Michael Walker. He met a girl and they wanted

825
00:54:32,640 --> 00:54:35,440
Speaker 1: to get married, and they wanted a band for the

826
00:54:35,480 --> 00:54:39,680
Speaker 1: wedding at the at the Perkins Place. And I asked Roger,

827
00:54:39,719 --> 00:54:41,680
Speaker 1: I said, you want to You know, these guys have

828
00:54:41,760 --> 00:54:43,759
Speaker 1: like a two hundred bucks or something and they need

829
00:54:43,760 --> 00:54:47,200
Speaker 1: a band to play for the wedding and and so

830
00:54:47,680 --> 00:54:49,359
Speaker 1: you want to come up and do it? And they

831
00:54:49,360 --> 00:54:52,520
Speaker 1: said yes. So they came up and they played at

832
00:54:52,560 --> 00:54:59,360
Speaker 1: Michael Walker's wedding. Okay, and when they did they what

833
00:54:59,480 --> 00:55:05,640
Speaker 1: happened us When Prairie Prince graduated from high school, he

834
00:55:05,760 --> 00:55:09,239
Speaker 1: was an artist. He's still an artist. He's he's the

835
00:55:09,239 --> 00:55:13,600
Speaker 1: one that does all of our album covers and everything. Uh.

836
00:55:13,719 --> 00:55:17,319
Speaker 1: Prairie got a scholarship to the San Francisco Art Institute

837
00:55:18,440 --> 00:55:23,680
Speaker 1: to begin school in the fall of nineteen and Uh.

838
00:55:24,040 --> 00:55:28,320
Speaker 1: Up until that point, they had no roadie that the band,

839
00:55:28,480 --> 00:55:31,359
Speaker 1: they didn't have anybody. And so when they came up

840
00:55:31,400 --> 00:55:33,520
Speaker 1: to play for the wedding, they said, hey, do you

841
00:55:33,560 --> 00:55:38,239
Speaker 1: want to do you want to be? Actually, actually the

842
00:55:38,360 --> 00:55:41,400
Speaker 1: bass player asked me if I wanted to be in

843
00:55:41,440 --> 00:55:47,840
Speaker 1: the band and play logs African logs, and I said logs.

844
00:55:47,920 --> 00:55:50,120
Speaker 1: He goes, yeah, you know, we'll get these big logs

845
00:55:50,239 --> 00:55:52,440
Speaker 1: that are like hollow down and you can play him

846
00:55:52,440 --> 00:55:56,399
Speaker 1: it's kind of a I went, but also, we need

847
00:55:56,440 --> 00:56:00,719
Speaker 1: you to drive the truck to San Francisco. Uh went, oh,

848
00:56:00,800 --> 00:56:04,839
Speaker 1: I see, okay. And I by that time, by that time,

849
00:56:04,880 --> 00:56:06,880
Speaker 1: after being on the ranch for about a year and

850
00:56:06,960 --> 00:56:09,640
Speaker 1: a half being a cowboy, I made fifty dollars a

851
00:56:09,719 --> 00:56:14,399
Speaker 1: month plus room and board to be the cowboy. And

852
00:56:14,440 --> 00:56:16,440
Speaker 1: I said, I kind of got I kind of said, well,

853
00:56:16,480 --> 00:56:19,640
Speaker 1: you know, I kind of done this whole cowboy thing, okay,

854
00:56:19,760 --> 00:56:23,600
Speaker 1: And so I said, okay, So I drove the truck

855
00:56:24,440 --> 00:56:27,520
Speaker 1: in the in the summer of sixty nine, I drove

856
00:56:27,600 --> 00:56:32,960
Speaker 1: the truck to San Francisco and uh. And that's how

857
00:56:33,000 --> 00:56:35,680
Speaker 1: it all started. That's how I became a roady to

858
00:56:35,800 --> 00:56:38,600
Speaker 1: the band. And you know, we got a little house

859
00:56:38,640 --> 00:56:42,239
Speaker 1: and in the Sunset District and we would do little

860
00:56:42,280 --> 00:56:44,640
Speaker 1: gigs here and there, and I was the road he

861
00:56:44,800 --> 00:56:51,120
Speaker 1: and I. I had no idea at all about any

862
00:56:51,239 --> 00:56:58,200
Speaker 1: kind of electronic knowledge. I had no knowledge. I knew

863
00:56:58,280 --> 00:57:03,200
Speaker 1: too put the O N switch in the O N position.

864
00:57:04,360 --> 00:57:07,600
Speaker 1: And that was the extent of my knowledge. And so

865
00:57:07,640 --> 00:57:10,680
Speaker 1: how do you end up in the band? Well, I'll

866
00:57:10,680 --> 00:57:13,920
Speaker 1: tell you. They had a manager. Okay. We had a

867
00:57:14,320 --> 00:57:17,080
Speaker 1: guy named John Spear who was the manager. And he

868
00:57:17,160 --> 00:57:19,880
Speaker 1: was also there like high school friend. He had no idea,

869
00:57:20,200 --> 00:57:23,360
Speaker 1: but he was a hustler and he was you know

870
00:57:24,000 --> 00:57:30,640
Speaker 1: he uh uh. He got us a gig to play

871
00:57:30,720 --> 00:57:37,920
Speaker 1: at this nine seventy Expo seventy in Osaka, Japan. Okay.

872
00:57:38,000 --> 00:57:42,720
Speaker 1: It was an ex exposition World Exposition in Osaka. And

873
00:57:43,040 --> 00:57:46,240
Speaker 1: he got us a gig to play at the San

874
00:57:46,320 --> 00:57:52,240
Speaker 1: Francisco Pavilion. Okay, like five sets of a day and

875
00:57:52,320 --> 00:57:56,760
Speaker 1: the and the wet. It's funny because at the time

876
00:57:57,440 --> 00:57:59,800
Speaker 1: we had changed the name Rogers band was called the

877
00:58:00,080 --> 00:58:04,240
Speaker 1: White Blues Band, right the trio, and they had they

878
00:58:04,320 --> 00:58:07,080
Speaker 1: for some reason, I don't know why. Actually they had

879
00:58:07,160 --> 00:58:13,480
Speaker 1: changed the name to Arizona, okay. And John got them

880
00:58:14,160 --> 00:58:16,840
Speaker 1: to hire us at the San Francisco Pavilion. But the

881
00:58:16,840 --> 00:58:19,360
Speaker 1: guy goes, you know, you really can't. It's not gonna

882
00:58:19,360 --> 00:58:23,480
Speaker 1: work for a band to be called Arizona representing San Francisco.

883
00:58:24,320 --> 00:58:26,520
Speaker 1: And so he goes, how about They went, well, how

884
00:58:26,560 --> 00:58:28,520
Speaker 1: about if you just take the A off the end,

885
00:58:29,240 --> 00:58:34,720
Speaker 1: you could be Arizon Okay, great, okay, So we went

886
00:58:35,680 --> 00:58:40,760
Speaker 1: wheat and and he also got us the transportation there

887
00:58:40,880 --> 00:58:44,479
Speaker 1: back and back then there was a shipping company called

888
00:58:44,520 --> 00:58:48,760
Speaker 1: the American President Lines. It was a it was a

889
00:58:49,640 --> 00:58:53,080
Speaker 1: It wasn't like a princess cruisers or celebrity cruises. It

890
00:58:53,200 --> 00:58:57,640
Speaker 1: was a company that actually just it was a a

891
00:58:57,720 --> 00:59:01,600
Speaker 1: ship that transported you to Japan. It was a big

892
00:59:01,640 --> 00:59:06,240
Speaker 1: passenger liner, right, And he got us a gig to

893
00:59:06,440 --> 00:59:11,320
Speaker 1: play on the ship for our passage. You could go

894
00:59:11,440 --> 00:59:14,320
Speaker 1: for free. All you have to do is play to

895
00:59:14,760 --> 00:59:19,600
Speaker 1: two concerts on the ship and then and so that

896
00:59:19,640 --> 00:59:23,800
Speaker 1: was actually the first time I actually performed in front

897
00:59:23,800 --> 00:59:26,720
Speaker 1: of an audience. I became the opening act for the

898
00:59:27,080 --> 00:59:29,840
Speaker 1: for Arizon, and I had my because I used to

899
00:59:29,840 --> 00:59:32,600
Speaker 1: play guitar and I used to sit out there in

900
00:59:32,640 --> 00:59:36,880
Speaker 1: the desert and play Roy Orbison songs to the cactus

901
00:59:37,960 --> 00:59:41,040
Speaker 1: and just sing like Bob Dylan songs and folk songs.

902
00:59:41,080 --> 00:59:44,200
Speaker 1: And so I knew a couple of songs, and they said,

903
00:59:44,200 --> 00:59:46,080
Speaker 1: will you be the opening act? You can play your

904
00:59:46,080 --> 00:59:49,200
Speaker 1: folks songs, And so I would play Roy Orbison song

905
00:59:49,360 --> 00:59:51,680
Speaker 1: or a Bob Dylan song and play a couple of

906
00:59:51,720 --> 00:59:54,160
Speaker 1: songs and I'd be the opening act. Well, what happened

907
00:59:54,560 --> 01:00:00,320
Speaker 1: on the trip on the way over there, we got

908
01:00:00,320 --> 01:00:04,919
Speaker 1: caught smoking pot in our in our state room, and

909
01:00:05,120 --> 01:00:08,560
Speaker 1: they kicked us off the ship. In Hawaii, and so

910
01:00:08,720 --> 01:00:11,200
Speaker 1: then we had to wait for the next one to come.

911
01:00:11,600 --> 01:00:14,280
Speaker 1: There was they had about five or six. They had

912
01:00:14,320 --> 01:00:18,880
Speaker 1: the President Wilson and the President Roosevelt, and they got

913
01:00:18,920 --> 01:00:22,200
Speaker 1: all these ships named after presidents. And so we got

914
01:00:22,200 --> 01:00:25,520
Speaker 1: on the second one and we made it to Japan

915
01:00:26,840 --> 01:00:30,800
Speaker 1: and then uh we did that. We played for six

916
01:00:30,880 --> 01:00:35,920
Speaker 1: weeks at this at Explo seventy at the San Francisco Pavilion,

917
01:00:36,240 --> 01:00:40,600
Speaker 1: and you know, we we you know, it was great. God,

918
01:00:40,640 --> 01:00:44,640
Speaker 1: I never it was wonderful and uh, you know, we

919
01:00:44,720 --> 01:00:47,880
Speaker 1: met Japanese girls and we had such a great time.

920
01:00:48,600 --> 01:00:54,080
Speaker 1: And on the way back, same thing. We got caught

921
01:00:54,080 --> 01:00:58,240
Speaker 1: smoking pot in the ship and so they didn't kick

922
01:00:58,280 --> 01:01:00,320
Speaker 1: us off the ship, but they stuck us in the

923
01:01:00,520 --> 01:01:05,000
Speaker 1: steerage compartment where there was all these bunk beds, you know,

924
01:01:05,160 --> 01:01:10,840
Speaker 1: with Filipinos smoking cigars, which was pretty hurting. And but

925
01:01:10,960 --> 01:01:15,240
Speaker 1: then David the bass player, he there's there's like a

926
01:01:15,280 --> 01:01:17,800
Speaker 1: preacher on board. This is I mean, you couldn't you

927
01:01:17,840 --> 01:01:20,840
Speaker 1: have to write a book coming this is ridiculous. He

928
01:01:20,880 --> 01:01:27,880
Speaker 1: gets caught having sex with the preacher's daughter. Okay, I

929
01:01:28,000 --> 01:01:30,720
Speaker 1: know this is I mean, I'm being honest, this is true,

930
01:01:31,560 --> 01:01:36,360
Speaker 1: and so they kicked us off the boat again in Hawaii,

931
01:01:37,520 --> 01:01:42,080
Speaker 1: and so uh and we met some hippies in Hawaii

932
01:01:42,160 --> 01:01:44,400
Speaker 1: and we went and stayed at their place and you know,

933
01:01:45,000 --> 01:01:47,560
Speaker 1: smoke pot all day long. And so then we got

934
01:01:47,600 --> 01:01:52,360
Speaker 1: the next boat back to the next President line back

935
01:01:52,400 --> 01:01:56,320
Speaker 1: to San Francisco. So when we got back, they were

936
01:01:56,360 --> 01:02:01,920
Speaker 1: so mad at this guy David, that they kicked him

937
01:02:01,920 --> 01:02:04,920
Speaker 1: out of the band. Okay, they kicked him out of

938
01:02:04,960 --> 01:02:07,920
Speaker 1: the band. And so then there's just Roger and Prairie

939
01:02:08,560 --> 01:02:15,360
Speaker 1: and and I used to sing his he was the

940
01:02:15,440 --> 01:02:21,120
Speaker 1: lead singer of the band, David, And so they still

941
01:02:20,960 --> 01:02:24,560
Speaker 1: we still practice in our garage in the house on

942
01:02:24,680 --> 01:02:27,680
Speaker 1: Oreega and I would go down and sing his parts,

943
01:02:28,600 --> 01:02:33,080
Speaker 1: and you know, we just screw around playing singing. And

944
01:02:33,120 --> 01:02:35,160
Speaker 1: they tried to find another bass player, and we put

945
01:02:35,200 --> 01:02:38,240
Speaker 1: an ad in they hate Ashbury Free Press bass player

946
01:02:38,280 --> 01:02:43,200
Speaker 1: wanted and we they auditioned all these guys and and

947
01:02:43,960 --> 01:02:45,800
Speaker 1: they didn't like it. They were none of them were

948
01:02:45,840 --> 01:02:51,000
Speaker 1: good enough to be in the band. And so another band,

949
01:02:51,120 --> 01:02:56,520
Speaker 1: Bill Spooner's band, based on our recommendation, they had a

950
01:02:56,520 --> 01:03:01,000
Speaker 1: band called the Beans okay, and the and Bill moved

951
01:03:01,200 --> 01:03:06,760
Speaker 1: his band from Arizona to San Francisco also, and they

952
01:03:07,040 --> 01:03:09,160
Speaker 1: they were a four piece band, the Beans. They had

953
01:03:09,200 --> 01:03:16,120
Speaker 1: a drummer, keyboard, bass, guitar and uh and the and

954
01:03:16,160 --> 01:03:19,960
Speaker 1: they had a manager named Lauren, and Lauren and John

955
01:03:20,000 --> 01:03:23,680
Speaker 1: were good friends. And after a while they kind of

956
01:03:23,720 --> 01:03:27,440
Speaker 1: gave up trying to find the bass player, and John

957
01:03:27,520 --> 01:03:31,280
Speaker 1: talked Lauren into letting Roger and Prairie joined Bill's band,

958
01:03:31,880 --> 01:03:36,360
Speaker 1: so there would be two drummers, two guitar players, and

959
01:03:36,360 --> 01:03:43,240
Speaker 1: and and I talked my I actually talked myself into

960
01:03:43,280 --> 01:03:46,560
Speaker 1: being the background singer. And Roger said, yeah, you know,

961
01:03:46,600 --> 01:03:48,320
Speaker 1: he's a pretty good singer. He's been singing in the

962
01:03:48,320 --> 01:03:51,400
Speaker 1: garage with us, and and you know, nobody was getting paid,

963
01:03:51,600 --> 01:03:55,440
Speaker 1: so it really didn't mean anything. And uh, there was

964
01:03:55,480 --> 01:03:59,040
Speaker 1: not like another mouth to pay. So I became the

965
01:03:59,080 --> 01:04:02,560
Speaker 1: background singer for the Bill's band, the Beans, and we

966
01:04:02,560 --> 01:04:07,720
Speaker 1: were the Beans, and I didn't we didn't have many gigs,

967
01:04:07,760 --> 01:04:10,720
Speaker 1: but you know, we we got a few gigs here

968
01:04:10,720 --> 01:04:12,640
Speaker 1: and there. And I was the background singer and I'd

969
01:04:12,640 --> 01:04:19,280
Speaker 1: sing background vocals and uh, I sang too loud. That's

970
01:04:19,280 --> 01:04:22,280
Speaker 1: what they kept saying, Dude, you're the background singer. Okay,

971
01:04:22,520 --> 01:04:24,800
Speaker 1: you sing too loud. You're just supposed to blend in.

972
01:04:25,080 --> 01:04:28,120
Speaker 1: You're not blending your tooth. And then finally, instead of

973
01:04:28,200 --> 01:04:29,720
Speaker 1: kicking me out of the band, they said, well, why

974
01:04:29,720 --> 01:04:32,320
Speaker 1: don't you sing the lead? Why don't you sing this?

975
01:04:33,000 --> 01:04:36,320
Speaker 1: And then you know, we used to we we did

976
01:04:36,360 --> 01:04:40,320
Speaker 1: a few cover songs and and I said, you know,

977
01:04:41,720 --> 01:04:45,160
Speaker 1: I used to. I used to do this. Uh, when

978
01:04:45,200 --> 01:04:49,120
Speaker 1: I was in in elementary school at Loloma, at Scot's

979
01:04:49,120 --> 01:04:52,800
Speaker 1: the Loloma Elementary School, they would have an assembly where

980
01:04:52,840 --> 01:04:57,320
Speaker 1: you would do, uh, you would do you'd perform, you know,

981
01:04:57,720 --> 01:05:00,520
Speaker 1: you could do some kind of act and if you

982
01:05:00,520 --> 01:05:03,000
Speaker 1: you know, it was a competition. It was like, you know,

983
01:05:03,480 --> 01:05:07,240
Speaker 1: the Battle of the Bands, only only there weren't any bands.

984
01:05:07,720 --> 01:05:19,440
Speaker 1: And I I one time, uh, I my bit was uh.

985
01:05:19,480 --> 01:05:22,720
Speaker 1: I would dress up like a soldier and I would

986
01:05:22,720 --> 01:05:27,520
Speaker 1: sing this song. I actually lip sing this song called

987
01:05:27,680 --> 01:05:32,800
Speaker 1: please Mr Custer. Remember that song? Actually I don't please

988
01:05:32,960 --> 01:05:37,640
Speaker 1: Mr Custer. I don't want to go and and in

989
01:05:37,720 --> 01:05:40,760
Speaker 1: the song, the guy gets shot by the Indians and

990
01:05:40,800 --> 01:05:45,120
Speaker 1: he goes and the arrow would come sorry and he

991
01:05:45,120 --> 01:05:52,760
Speaker 1: would die. And I would take up a baggie, a

992
01:05:52,840 --> 01:05:59,320
Speaker 1: ziplock baggie and put stage blood in it. And when

993
01:05:59,640 --> 01:06:01,360
Speaker 1: the art in the song came for the guy to

994
01:06:01,400 --> 01:06:05,520
Speaker 1: get killed and the arrow, the arrow sound was on

995
01:06:05,560 --> 01:06:10,960
Speaker 1: the record, I would slap the baggie and blood would come.

996
01:06:11,040 --> 01:06:13,640
Speaker 1: I wear a white shirt and the blood was squirt

997
01:06:13,680 --> 01:06:16,800
Speaker 1: out and I would fall and I would die. And

998
01:06:16,880 --> 01:06:20,360
Speaker 1: so I said, you know, I have this I could

999
01:06:20,440 --> 01:06:22,760
Speaker 1: I could do this cowboy. I have this funny cowboy

1000
01:06:22,800 --> 01:06:25,480
Speaker 1: bit I could do. And that's kind of kind of

1001
01:06:25,640 --> 01:06:28,440
Speaker 1: we kind of started with the theatrics with that kind

1002
01:06:28,480 --> 01:06:30,840
Speaker 1: of thing. And I said, and so I would dress

1003
01:06:30,920 --> 01:06:33,720
Speaker 1: up like a cowboy and I where I'd made these

1004
01:06:33,920 --> 01:06:38,240
Speaker 1: furrey those hop along Cassidy furrey shaps I made out

1005
01:06:38,280 --> 01:06:43,240
Speaker 1: of carpet, and I would put wear a white cowboy

1006
01:06:43,280 --> 01:06:46,440
Speaker 1: shirt and put the baggy underneath my shirt with blood

1007
01:06:46,440 --> 01:06:49,200
Speaker 1: in it. And we used to do this song by

1008
01:06:49,240 --> 01:06:55,040
Speaker 1: Marty Robbins called El Paso. Remember He'll Passo out in

1009
01:06:55,160 --> 01:06:58,120
Speaker 1: the West Texas town of the l Passo and anyway,

1010
01:06:58,120 --> 01:07:00,160
Speaker 1: in the same in the song, the guy gets shot

1011
01:07:01,440 --> 01:07:04,160
Speaker 1: and he would get shot and then I slapped the

1012
01:07:04,240 --> 01:07:06,840
Speaker 1: bud and the blood would go all over and I

1013
01:07:06,880 --> 01:07:10,720
Speaker 1: would die, and oh my god. They thought that was

1014
01:07:10,800 --> 01:07:14,960
Speaker 1: just the greatest thing, and so that's how it started.

1015
01:07:15,040 --> 01:07:17,680
Speaker 1: And then we started doing, okay, well let's do this

1016
01:07:17,880 --> 01:07:19,440
Speaker 1: kind of bit, and let's do it. I used to

1017
01:07:19,480 --> 01:07:23,960
Speaker 1: do Carmen Miranda and we would sing Brazil and I would,

1018
01:07:25,080 --> 01:07:27,680
Speaker 1: you know, Carmen Miranda had a big head dress of fruit,

1019
01:07:28,560 --> 01:07:30,720
Speaker 1: and so I would make all the heros with a

1020
01:07:30,800 --> 01:07:33,080
Speaker 1: fake and I would wear platforms and I would put

1021
01:07:33,120 --> 01:07:35,320
Speaker 1: real fruit on my head and then I would like

1022
01:07:35,400 --> 01:07:38,480
Speaker 1: eat the grapes as I was singing, and we sang Brazil,

1023
01:07:39,600 --> 01:07:43,880
Speaker 1: Brazil and in Portuguese. I would sing it in Portuguese,

1024
01:07:43,880 --> 01:07:49,200
Speaker 1: all Brazil, Brazilio and uh and do carben rent And

1025
01:07:49,280 --> 01:07:53,920
Speaker 1: so we started developing these characters and and uh and

1026
01:07:53,960 --> 01:07:59,960
Speaker 1: then Quelude and then you know, it's just and then

1027
01:08:00,520 --> 01:08:09,840
Speaker 1: what the rest is history? I guess. So, how do

1028
01:08:09,880 --> 01:08:12,240
Speaker 1: you get a record deal with A and M? We did.

1029
01:08:12,320 --> 01:08:16,519
Speaker 1: We started with the traditional method of sending cassettes out,

1030
01:08:17,080 --> 01:08:20,360
Speaker 1: you know, sending a little cassette out to everybody. We

1031
01:08:20,400 --> 01:08:23,800
Speaker 1: sent cassettes out there all the couple nothing. We got nothing.

1032
01:08:24,560 --> 01:08:29,080
Speaker 1: And uh. At that point, we we had met this

1033
01:08:29,120 --> 01:08:37,160
Speaker 1: guy named Kenny Ortega, and Kenny Ortega was uh. At

1034
01:08:37,240 --> 01:08:40,320
Speaker 1: that point, he was just a he was a dancer

1035
01:08:41,360 --> 01:08:44,320
Speaker 1: and he he had just come back from a regional

1036
01:08:44,760 --> 01:08:48,200
Speaker 1: tour of Jesus Christ Superstar, and he was like a

1037
01:08:48,360 --> 01:08:51,800
Speaker 1: dancer and he wanted to become a choreographer. And he

1038
01:08:51,840 --> 01:08:54,400
Speaker 1: saw us playing in a little club in San Francisco

1039
01:08:54,880 --> 01:08:58,640
Speaker 1: and and trying to do this theatrical stuff, and he

1040
01:08:58,680 --> 01:09:01,640
Speaker 1: came to us and he said, you know, uh, I

1041
01:09:01,760 --> 01:09:05,720
Speaker 1: can I can refine this. I can I can do this.

1042
01:09:05,920 --> 01:09:08,200
Speaker 1: I can do this. I can help you guys. So

1043
01:09:08,200 --> 01:09:11,439
Speaker 1: he said okay, and so we brought him on and

1044
01:09:12,840 --> 01:09:15,320
Speaker 1: I think it was Kenney's idea. Actually, he said, let's

1045
01:09:15,320 --> 01:09:19,920
Speaker 1: do a Let's do a video of of the of

1046
01:09:19,920 --> 01:09:22,720
Speaker 1: of you doing your theatrics and doing k lude and

1047
01:09:22,800 --> 01:09:26,599
Speaker 1: doing all these and send the video out. So that's

1048
01:09:26,600 --> 01:09:28,439
Speaker 1: how we got signed. We sent A and M a

1049
01:09:28,560 --> 01:09:35,639
Speaker 1: video tape of us performing live and doing lude. And

1050
01:09:36,960 --> 01:09:39,759
Speaker 1: this guy at A and M. His name was Kip Cohen.

1051
01:09:39,880 --> 01:09:43,400
Speaker 1: He was A and our guy, and he thought it

1052
01:09:43,439 --> 01:09:46,160
Speaker 1: was great. He went, oh my god, these guys are

1053
01:09:46,240 --> 01:09:49,719
Speaker 1: so fucking weird and you know, and and they're good,

1054
01:09:49,800 --> 01:09:52,160
Speaker 1: they can play, and they've got this other whole theatrical

1055
01:09:52,200 --> 01:09:58,519
Speaker 1: thing going. So they signed us, and uh, and and

1056
01:09:58,680 --> 01:10:01,479
Speaker 1: was so great. And back when they it was at

1057
01:10:01,479 --> 01:10:07,679
Speaker 1: the Charlie Chaplin Studios on Libreya and uh, and it's

1058
01:10:07,720 --> 01:10:12,240
Speaker 1: in Herb and Jerry, I mean Herb used just I

1059
01:10:12,240 --> 01:10:16,760
Speaker 1: mean yeah, Herb used to sit around and it was

1060
01:10:16,840 --> 01:10:19,840
Speaker 1: kind of like a little enclave. It was like the

1061
01:10:19,920 --> 01:10:22,280
Speaker 1: parking lot was in the middle and all the buildings

1062
01:10:22,280 --> 01:10:25,040
Speaker 1: around the outside. It was like at a big square

1063
01:10:25,720 --> 01:10:29,080
Speaker 1: and uh and Jerry's office and they had the on

1064
01:10:29,080 --> 01:10:32,360
Speaker 1: one side was the recording studio. They had a recording

1065
01:10:32,400 --> 01:10:36,400
Speaker 1: studio and we'd go there and and Herb was just

1066
01:10:37,160 --> 01:10:39,519
Speaker 1: Herb had his own office and he just sat there

1067
01:10:39,520 --> 01:10:41,840
Speaker 1: and played his horn all day long. So it's just

1068
01:10:41,920 --> 01:10:44,439
Speaker 1: her played his horn. And we were you know, if

1069
01:10:44,439 --> 01:10:46,920
Speaker 1: we went to do like do an interview or do

1070
01:10:47,720 --> 01:10:52,439
Speaker 1: or record in their studio or paint we painted flying

1071
01:10:52,520 --> 01:10:56,120
Speaker 1: records on the side of the wall and you know,

1072
01:10:56,439 --> 01:11:00,960
Speaker 1: just to get get a little extra money. And it

1073
01:11:01,080 --> 01:11:03,320
Speaker 1: was great, it was and it was so great. So

1074
01:11:03,360 --> 01:11:05,479
Speaker 1: how does the name get changed from the Beans to

1075
01:11:05,560 --> 01:11:12,360
Speaker 1: the Tubes? Good story there? Another band from New Jersey

1076
01:11:12,760 --> 01:11:16,880
Speaker 1: came out with the record on I can't remember what

1077
01:11:16,960 --> 01:11:22,080
Speaker 1: label was on, but they were called Beans, just Beans, no,

1078
01:11:22,320 --> 01:11:28,320
Speaker 1: the uh just beads. Uh, and they came out with

1079
01:11:28,360 --> 01:11:32,880
Speaker 1: an album, and I mean I remember calling the record

1080
01:11:33,040 --> 01:11:35,280
Speaker 1: we had the album, went oh my god, there's somebody

1081
01:11:35,280 --> 01:11:38,720
Speaker 1: and another band called the Beans. What you know? And

1082
01:11:39,120 --> 01:11:42,519
Speaker 1: I even called the record company. I said, dude, we're

1083
01:11:42,520 --> 01:11:45,040
Speaker 1: the Beans. We're in San Francisco, We're the Beans. You

1084
01:11:45,040 --> 01:11:48,080
Speaker 1: can't beat the Beans anyway. Yeah, well, tough ship. We

1085
01:11:48,160 --> 01:11:53,800
Speaker 1: published you know that. You're dad. Sorry. So we had

1086
01:11:53,800 --> 01:11:59,000
Speaker 1: to pick a new name, and uh we we we went,

1087
01:11:59,120 --> 01:12:01,439
Speaker 1: we sat down and went, look, we got to change

1088
01:12:01,439 --> 01:12:07,240
Speaker 1: the name. Okay, So every every your assignment is to

1089
01:12:07,960 --> 01:12:12,720
Speaker 1: uh come up with ten names and we're gonna put

1090
01:12:12,760 --> 01:12:15,840
Speaker 1: them all in a hat and then we're gonna pick

1091
01:12:15,840 --> 01:12:20,120
Speaker 1: out a name and that's going to be it. And

1092
01:12:20,200 --> 01:12:23,920
Speaker 1: everybody and everybody put in came up the gas Men.

1093
01:12:24,960 --> 01:12:29,720
Speaker 1: The another was another Larry and Mary. I mean, there

1094
01:12:29,800 --> 01:12:37,000
Speaker 1: was all kinds of weird names. And uh, Mike Cotton

1095
01:12:37,640 --> 01:12:40,200
Speaker 1: the since actually he wasn't even in the band at

1096
01:12:40,240 --> 01:12:43,600
Speaker 1: the time. He wasn't. He was a synthesizer player and

1097
01:12:44,400 --> 01:12:48,240
Speaker 1: uh he had this gear, but he really didn't know

1098
01:12:48,240 --> 01:12:51,360
Speaker 1: how to use it at that point, and uh, but

1099
01:12:51,479 --> 01:12:53,800
Speaker 1: he was a friend and he was from Arizona and

1100
01:12:53,880 --> 01:12:56,360
Speaker 1: he was living with us and helping, and so he

1101
01:12:56,479 --> 01:13:05,240
Speaker 1: put in, uh, tubes, rods and bulbs, tubes, rods and bulbs,

1102
01:13:06,000 --> 01:13:13,920
Speaker 1: and which which are different kinds of cells of the eyeball. Okay,

1103
01:13:14,800 --> 01:13:17,960
Speaker 1: and he thought, this is perfectly. We're a visual so

1104
01:13:18,560 --> 01:13:20,800
Speaker 1: why not, you know, have a name that refers to

1105
01:13:20,960 --> 01:13:25,639
Speaker 1: some kind of visual reference. And but what happened was

1106
01:13:27,920 --> 01:13:30,439
Speaker 1: we we decided to let our dog pick the name.

1107
01:13:31,400 --> 01:13:34,880
Speaker 1: We had a prairie had a dog named Sandwich. It

1108
01:13:35,000 --> 01:13:39,200
Speaker 1: was like a ridge back mixed. It's a great dog.

1109
01:13:39,320 --> 01:13:45,200
Speaker 1: Sandwich was a great dog. And they put mayonnaise on

1110
01:13:45,240 --> 01:13:48,160
Speaker 1: the slip of paper that said tubes, rods and bulbs,

1111
01:13:48,880 --> 01:13:51,679
Speaker 1: and Sandwich went right for the mayonnaise and picked out tubes,

1112
01:13:51,760 --> 01:13:56,360
Speaker 1: rods and balls, and we went, okay, tubes, rods and bulbs. Boy,

1113
01:13:56,439 --> 01:14:00,360
Speaker 1: but it's it's a kind of a tongue twister, you know, tubes,

1114
01:14:00,479 --> 01:14:03,360
Speaker 1: rods and bulbs, and they're gonna end up shortening it

1115
01:14:03,439 --> 01:14:06,840
Speaker 1: to like TRB or something. So he said, let's just

1116
01:14:06,920 --> 01:14:10,400
Speaker 1: make it the tubes. You know, the tubes, and it's

1117
01:14:10,439 --> 01:14:16,400
Speaker 1: you know, the boob tube and you know cathode ray tube,

1118
01:14:17,200 --> 01:14:22,280
Speaker 1: laser tubes, fallopian tubes. We tried. We were at one

1119
01:14:22,320 --> 01:14:25,200
Speaker 1: point we're going to, well, let's make it the like

1120
01:14:25,439 --> 01:14:30,320
Speaker 1: a real reference, a TV reference because we're visual, and

1121
01:14:31,360 --> 01:14:35,559
Speaker 1: we'll make it the boob tubes, and nah, boobs. That's

1122
01:14:35,600 --> 01:14:39,920
Speaker 1: not gonna work. You can't just say boobs in your band.

1123
01:14:40,720 --> 01:14:43,800
Speaker 1: So we just shortened the tubes. Okay, how do you

1124
01:14:43,880 --> 01:14:45,920
Speaker 1: end up working with Al Cooper on the first album?

1125
01:14:45,960 --> 01:14:48,800
Speaker 1: It was a record company's choice. Al was just, you know,

1126
01:14:49,080 --> 01:14:55,160
Speaker 1: l was you know, I really didn't understand, you know why,

1127
01:14:55,280 --> 01:14:57,880
Speaker 1: but they thought we were kind of bluesy and he

1128
01:14:57,920 --> 01:15:01,519
Speaker 1: was a blues guy and I don't I don't know,

1129
01:15:01,680 --> 01:15:05,840
Speaker 1: but you know, he was. He was. He was a

1130
01:15:05,880 --> 01:15:08,160
Speaker 1: piece of work. I'll tell you. Al was great. And

1131
01:15:08,320 --> 01:15:15,880
Speaker 1: uh uh uh he actually and we had and we

1132
01:15:15,880 --> 01:15:18,240
Speaker 1: we went through all the songs and we finally picked

1133
01:15:18,240 --> 01:15:19,960
Speaker 1: the songs that we were going to be on the record.

1134
01:15:20,320 --> 01:15:23,280
Speaker 1: Al wanted to, you know, when we had this one song,

1135
01:15:23,360 --> 01:15:27,559
Speaker 1: white Books on Dope, and Al said, you know, there's

1136
01:15:27,560 --> 01:15:29,840
Speaker 1: a long there was a long instrumental part. And we

1137
01:15:29,880 --> 01:15:33,240
Speaker 1: also had this other song called Mala Gania salar Rosa,

1138
01:15:33,320 --> 01:15:38,640
Speaker 1: which is a you know, a Mexican song and we

1139
01:15:38,720 --> 01:15:42,800
Speaker 1: kind of actually we there was a band at in

1140
01:15:42,880 --> 01:15:48,800
Speaker 1: Japan at the Mexican Pavilion, and they were incredible mariachi

1141
01:15:48,840 --> 01:15:52,160
Speaker 1: band and they played we got that song, but we

1142
01:15:52,280 --> 01:15:56,000
Speaker 1: recorded them playing Mala Gania salar Rosa and we made

1143
01:15:56,000 --> 01:15:58,759
Speaker 1: our own version of it. And actually that came from Japan.

1144
01:15:59,400 --> 01:16:03,000
Speaker 1: But Alt wanted to stick that in the middle of

1145
01:16:03,160 --> 01:16:07,160
Speaker 1: White Punks. He said, as we fade down and before

1146
01:16:07,200 --> 01:16:10,240
Speaker 1: we come back up, we'll go right to malan and

1147
01:16:10,320 --> 01:16:13,840
Speaker 1: stick it in the no al. No, we can't, so

1148
01:16:13,880 --> 01:16:19,639
Speaker 1: we didn't. Anyway, we didn't do that. And but we

1149
01:16:19,640 --> 01:16:26,679
Speaker 1: were at the we were at Sunset Sound back when

1150
01:16:26,680 --> 01:16:32,840
Speaker 1: it was on Third Street, and and when we were

1151
01:16:32,840 --> 01:16:35,479
Speaker 1: doing White Punks on Dope, we wanted, you know, we

1152
01:16:35,520 --> 01:16:39,680
Speaker 1: wanted a big uh. We wanted a big group to

1153
01:16:39,880 --> 01:16:43,720
Speaker 1: sing the big chorus White Punks on Dope. And so

1154
01:16:45,439 --> 01:16:49,240
Speaker 1: we went down there was another band UH playing down

1155
01:16:49,240 --> 01:16:53,679
Speaker 1: the hall and and we didn't know who they were,

1156
01:16:53,920 --> 01:16:56,880
Speaker 1: and we just said, can you guys come and help us,

1157
01:16:57,360 --> 01:16:59,479
Speaker 1: and can you all sing this big chorus with us

1158
01:16:59,479 --> 01:17:02,639
Speaker 1: and white so Dope? Yeah, sure? Coming out. What turns

1159
01:17:02,640 --> 01:17:07,960
Speaker 1: out it was the Eagles, and but they wouldn't let

1160
01:17:08,040 --> 01:17:10,519
Speaker 1: us put their name on the record, and they said, oh,

1161
01:17:10,560 --> 01:17:13,439
Speaker 1: we can't do that because that's you know, that's okay.

1162
01:17:13,439 --> 01:17:16,200
Speaker 1: So the album comes out or is the band happy

1163
01:17:16,240 --> 01:17:18,720
Speaker 1: with the album? I wasn't happy. I mean I I

1164
01:17:18,840 --> 01:17:21,040
Speaker 1: loved you know, I was so thrilled to be to

1165
01:17:21,120 --> 01:17:23,639
Speaker 1: make it, actually make our first record. I mean, I

1166
01:17:23,680 --> 01:17:29,120
Speaker 1: was overjoyed. I was so thrilled and as was everyone

1167
01:17:29,439 --> 01:17:31,719
Speaker 1: we you know, it was really a lot of fun

1168
01:17:32,040 --> 01:17:38,160
Speaker 1: and uh, but we had created this song what do

1169
01:17:38,200 --> 01:17:41,800
Speaker 1: you Want from Life? And they the record company said,

1170
01:17:41,800 --> 01:17:43,600
Speaker 1: well this, I think this is the first single, what

1171
01:17:43,640 --> 01:17:49,400
Speaker 1: do you Want from Life? And uh, uh, you know,

1172
01:17:49,400 --> 01:17:55,720
Speaker 1: and it has the the kind of the the end

1173
01:17:55,760 --> 01:17:58,400
Speaker 1: part when you know, if you're an American citizen, you're

1174
01:17:58,520 --> 01:18:00,360
Speaker 1: entitled to He didn't get in his shape goal of

1175
01:18:00,720 --> 01:18:03,880
Speaker 1: microwave eleven, don't watch the cood diet to jam, I'll

1176
01:18:03,880 --> 01:18:06,479
Speaker 1: personally illustrate in the privacy, on on and on and

1177
01:18:06,520 --> 01:18:08,880
Speaker 1: on and on. How about a new car? You know,

1178
01:18:09,920 --> 01:18:12,720
Speaker 1: Winnibego heard of winnebegos word giving him away and that

1179
01:18:12,840 --> 01:18:16,920
Speaker 1: was from cal Worthington, And uh, cal Worthington used to

1180
01:18:17,000 --> 01:18:20,519
Speaker 1: be in Arizona. Before California, and we had all these

1181
01:18:20,560 --> 01:18:27,000
Speaker 1: references to well they cut the first what the first

1182
01:18:27,000 --> 01:18:30,120
Speaker 1: thing they did was cut all that out and edited

1183
01:18:30,240 --> 01:18:33,120
Speaker 1: the song without that. They went, oh, well if we

1184
01:18:33,600 --> 01:18:36,240
Speaker 1: I said, but that's the that's what makes it so

1185
01:18:37,200 --> 01:18:40,880
Speaker 1: hilarious and unique. And you know they want, yeah, but

1186
01:18:41,040 --> 01:18:44,600
Speaker 1: you're gonna you'll be you'll be earmarked as a novelty

1187
01:18:44,640 --> 01:18:50,439
Speaker 1: band if you leave this in soh So they cut

1188
01:18:50,479 --> 01:18:53,559
Speaker 1: it out and it's you know, it didn't really do

1189
01:18:53,600 --> 01:18:56,479
Speaker 1: anything as a as a first single. Okay, so you

1190
01:18:56,560 --> 01:18:59,200
Speaker 1: make the record without, which I believe is your best

1191
01:18:59,240 --> 01:19:02,880
Speaker 1: work and certainly classic some of VAL's best work. The

1192
01:19:02,960 --> 01:19:07,479
Speaker 1: next record has don't Touch Me there, but it's done

1193
01:19:07,520 --> 01:19:11,679
Speaker 1: with Ken Scott. But what what was the band's view

1194
01:19:11,720 --> 01:19:15,400
Speaker 1: on the final product there? Kin Scott probably didn't say

1195
01:19:15,479 --> 01:19:20,000
Speaker 1: ten words the whole time we made that record, you know,

1196
01:19:20,120 --> 01:19:23,519
Speaker 1: and we made it at at Studio A on the

1197
01:19:23,600 --> 01:19:28,400
Speaker 1: lot at A and M, and uh, you know, we

1198
01:19:28,400 --> 01:19:32,040
Speaker 1: we'd go out and and play and we'd come back

1199
01:19:32,080 --> 01:19:35,160
Speaker 1: in and okay, how was it Kennon. Ken would just

1200
01:19:36,240 --> 01:19:42,360
Speaker 1: sit there and to kind of go wasn't perfect and

1201
01:19:42,400 --> 01:19:46,559
Speaker 1: that's it and nothing else, and you know he was

1202
01:19:46,640 --> 01:19:50,559
Speaker 1: I guess a brilliant engineer, you know, and you know, Okay,

1203
01:19:50,560 --> 01:19:52,360
Speaker 1: well let's go back out and do it again. And

1204
01:19:53,760 --> 01:19:57,040
Speaker 1: but Don't Touch Me There actually charted. That was our

1205
01:19:57,479 --> 01:20:07,280
Speaker 1: first our first charted single, uh and uh, which actually

1206
01:20:07,360 --> 01:20:10,400
Speaker 1: was not written by us. It was written by Jane

1207
01:20:10,640 --> 01:20:14,040
Speaker 1: Jane Dornacker, who was one of the two bets, and

1208
01:20:14,400 --> 01:20:19,559
Speaker 1: a guy named Ron Nagel. And uh, you know, we

1209
01:20:19,560 --> 01:20:22,679
Speaker 1: were thrilled. I mean, we gotta we were. We made

1210
01:20:22,680 --> 01:20:26,600
Speaker 1: the top forty, you know, so uh and that was

1211
01:20:26,920 --> 01:20:30,720
Speaker 1: that song was a great visually, really great. We we

1212
01:20:31,160 --> 01:20:36,680
Speaker 1: used to uh, we'd go into a town and we uh,

1213
01:20:38,200 --> 01:20:42,719
Speaker 1: we'd get somebody to loan us there Harley Davidson, Harley

1214
01:20:42,800 --> 01:20:45,960
Speaker 1: Davidson motorcycle because we we used to do this. It

1215
01:20:46,040 --> 01:20:50,120
Speaker 1: was like a you know, the bad boy Marlon Brando

1216
01:20:50,360 --> 01:20:54,920
Speaker 1: from the Wild One and the Girl and we do

1217
01:20:55,040 --> 01:20:57,880
Speaker 1: the song on a motorcycle and I would ride the

1218
01:20:57,880 --> 01:21:01,120
Speaker 1: thing onto the stage, you know, and rev it up

1219
01:21:01,160 --> 01:21:04,960
Speaker 1: and get smoked, you know, really loud, and and then

1220
01:21:05,000 --> 01:21:12,200
Speaker 1: we would sing don't touch Me there and uh and uh.

1221
01:21:12,280 --> 01:21:14,360
Speaker 1: And the funny thing was with I mean, the bit

1222
01:21:14,439 --> 01:21:20,120
Speaker 1: with the song was the there was her knee, you know,

1223
01:21:20,360 --> 01:21:23,200
Speaker 1: and I would be trying to touch her knee and no, no, no,

1224
01:21:23,200 --> 01:21:30,120
Speaker 1: no to as a preparoity. And so you know we

1225
01:21:30,320 --> 01:21:34,639
Speaker 1: used to every time we you know, and for a while,

1226
01:21:35,520 --> 01:21:39,320
Speaker 1: I mean for a while, we uh uh we had

1227
01:21:39,360 --> 01:21:43,280
Speaker 1: a we had Well, eventually they wouldn't let us bring

1228
01:21:43,680 --> 01:21:50,200
Speaker 1: a combustible Indian engine machine into the gig, into the venue.

1229
01:21:50,600 --> 01:21:53,880
Speaker 1: You couldn't bring a motorcycle on stage, you know, to

1230
01:21:54,240 --> 01:21:57,160
Speaker 1: fire hazard. So we would we kind of built this

1231
01:21:57,280 --> 01:22:02,479
Speaker 1: fake motorcycle out of a frame and tin cans and

1232
01:22:02,520 --> 01:22:08,840
Speaker 1: ship and we would have Mike on his our synthesizer

1233
01:22:09,200 --> 01:22:13,200
Speaker 1: fake the noise of a of a of an engine

1234
01:22:13,800 --> 01:22:16,840
Speaker 1: and uh so that was you know, okay, And how

1235
01:22:16,840 --> 01:22:19,160
Speaker 1: did re Styles end up in the band doing that

1236
01:22:19,280 --> 01:22:23,759
Speaker 1: duet with you? Well, really was a prairieous girlfriend, okay.

1237
01:22:24,320 --> 01:22:30,960
Speaker 1: And she was gorgeous, and you know she was not shy, okay,

1238
01:22:31,240 --> 01:22:35,919
Speaker 1: she was willing to you know, show her breasts and

1239
01:22:35,920 --> 01:22:40,560
Speaker 1: and just she kind of started as a you know, uh,

1240
01:22:40,760 --> 01:22:43,720
Speaker 1: she started as just one of the dancers. You know,

1241
01:22:43,800 --> 01:22:47,280
Speaker 1: we had five dancers. We had Leland and the Snakes.

1242
01:22:47,320 --> 01:22:53,120
Speaker 1: We had Leland, this this this troop of of uh

1243
01:22:53,120 --> 01:22:56,200
Speaker 1: of four girls that we found in a little club

1244
01:22:56,240 --> 01:22:59,920
Speaker 1: on Polk Street in San Francisco, and we would they

1245
01:23:00,000 --> 01:23:04,280
Speaker 1: were the dancers, and so Kenny would choreograph them and

1246
01:23:04,560 --> 01:23:08,200
Speaker 1: they would and then we would do kind of special stuff.

1247
01:23:08,200 --> 01:23:10,639
Speaker 1: She would do bondage with me and she would do

1248
01:23:11,160 --> 01:23:14,000
Speaker 1: she would play various parts like the other girls did,

1249
01:23:14,520 --> 01:23:19,920
Speaker 1: and and then we kind of realized, you know, she's

1250
01:23:19,960 --> 01:23:24,920
Speaker 1: a pretty good singer, and so we started having she

1251
01:23:25,360 --> 01:23:28,120
Speaker 1: kind of worked her way into being a featured vocalist

1252
01:23:28,160 --> 01:23:30,720
Speaker 1: with us. So how does Mingo Lewis end up in

1253
01:23:30,760 --> 01:23:37,000
Speaker 1: the band Mingo Lewis, Well, he was a drummer friend

1254
01:23:37,040 --> 01:23:41,360
Speaker 1: of Prairies, you know in San Francisco, and uh, you know,

1255
01:23:41,439 --> 01:23:44,160
Speaker 1: he started, you know, he said, oh just let me,

1256
01:23:44,920 --> 01:23:47,720
Speaker 1: you know, let me sit in with you guys, and

1257
01:23:47,720 --> 01:23:52,280
Speaker 1: and he would bring his congas and he was just incredible.

1258
01:23:52,320 --> 01:23:55,120
Speaker 1: I mean, I'm sure he still is. Uh. And he

1259
01:23:55,120 --> 01:23:58,120
Speaker 1: would play his congas and said, oh god dude, and

1260
01:23:59,600 --> 01:24:04,880
Speaker 1: uh oh. We always loved the idea of two drummers

1261
01:24:05,680 --> 01:24:10,080
Speaker 1: when we first when we first joined Bill's band, we

1262
01:24:10,120 --> 01:24:13,200
Speaker 1: had two drummers. There was Bill had a drummer named

1263
01:24:13,240 --> 01:24:18,240
Speaker 1: Bob McIntosh and and Prairie and Bob would play together,

1264
01:24:18,280 --> 01:24:23,519
Speaker 1: and Bob was like the really solid, you know, really

1265
01:24:23,600 --> 01:24:27,439
Speaker 1: solid guy, and Prairie was the flourish, you know, ad

1266
01:24:27,520 --> 01:24:30,960
Speaker 1: lib kind of guy. And they really were great together.

1267
01:24:31,160 --> 01:24:37,519
Speaker 1: And Bob unfortunately died of cancer in before we ever

1268
01:24:37,560 --> 01:24:41,559
Speaker 1: got a deal, in I think seventy two. He got

1269
01:24:41,680 --> 01:24:45,960
Speaker 1: limph node cancer and it just killed him and it

1270
01:24:46,080 --> 01:24:49,120
Speaker 1: was really sad. And so we always kind of liked

1271
01:24:49,160 --> 01:24:53,360
Speaker 1: the idea of two drummers. And then so when Mingo started,

1272
01:24:53,680 --> 01:24:55,840
Speaker 1: you know, we said, Okay, that's great, let's go back

1273
01:24:55,840 --> 01:24:58,559
Speaker 1: to two drummers. And then we did a couple of

1274
01:24:58,560 --> 01:25:02,840
Speaker 1: tours with him, and uh, he wrote that song god

1275
01:25:02,840 --> 01:25:07,120
Speaker 1: Bird Change on the third album, and and we you know,

1276
01:25:07,160 --> 01:25:11,240
Speaker 1: we carried two drummers, and he was I was incredible.

1277
01:25:11,320 --> 01:25:13,680
Speaker 1: He's a great, great player. But you made him a

1278
01:25:13,720 --> 01:25:18,120
Speaker 1: full member of the band. Okay, the next album, you

1279
01:25:18,200 --> 01:25:21,000
Speaker 1: end up doing a cover of Captain beef Hearts, My

1280
01:25:21,160 --> 01:25:24,080
Speaker 1: Head is My Only House and Less It Rains from

1281
01:25:24,080 --> 01:25:27,960
Speaker 1: Clear Spot, his most commercial work at that point, most successible.

1282
01:25:28,120 --> 01:25:29,439
Speaker 1: How did you end up doing that? How did you

1283
01:25:29,520 --> 01:25:32,519
Speaker 1: end up meeting beef Heart? We were huge beef Heart fans,

1284
01:25:33,000 --> 01:25:34,960
Speaker 1: I mean that he was in it. I mean, we

1285
01:25:35,080 --> 01:25:38,000
Speaker 1: loved beef Heart. We you know, we had seen him

1286
01:25:38,280 --> 01:25:42,880
Speaker 1: quite a number of times in San Francisco his band play,

1287
01:25:43,000 --> 01:25:45,799
Speaker 1: and you know Zappa too. We were big Zappa fans.

1288
01:25:45,840 --> 01:25:49,120
Speaker 1: We loved Frank Zappa and saw Mothers of inventioned quite

1289
01:25:49,160 --> 01:25:53,840
Speaker 1: a few times. And uh, you know, we were just

1290
01:25:55,240 --> 01:25:58,280
Speaker 1: we We found out that beef Art lived out in Lancaster,

1291
01:25:59,080 --> 01:26:01,320
Speaker 1: and we ahold of him. You know, we had seen

1292
01:26:01,400 --> 01:26:03,479
Speaker 1: him a number of times, and we got ahold of

1293
01:26:03,560 --> 01:26:08,639
Speaker 1: him and we asked he also played his his horn

1294
01:26:09,080 --> 01:26:13,160
Speaker 1: on Cathy's Clone on that album, and uh, and we

1295
01:26:13,200 --> 01:26:16,080
Speaker 1: told him, yeah, we're gonna do We're gonna do one

1296
01:26:16,080 --> 01:26:19,719
Speaker 1: of your songs. My head is my only house and

1297
01:26:18,960 --> 01:26:22,360
Speaker 1: h and we got him into the studio and uh

1298
01:26:23,200 --> 01:26:26,120
Speaker 1: and let him just I mean, we just said, here's

1299
01:26:26,160 --> 01:26:33,000
Speaker 1: the song. Just go just freak out, you know. And uh,

1300
01:26:33,160 --> 01:26:36,479
Speaker 1: he was such a cool guy. I mean, and how strange,

1301
01:26:36,560 --> 01:26:40,439
Speaker 1: how strange was he in real life? He wasn't that strange.

1302
01:26:40,520 --> 01:26:42,919
Speaker 1: I don't, I don't, you know, he wasn't that strange.

1303
01:26:43,320 --> 01:26:45,960
Speaker 1: He was a pretty normal guy. I mean, he wasn't

1304
01:26:46,000 --> 01:26:48,800
Speaker 1: into drugs or anything like that, or alcohol and We

1305
01:26:48,880 --> 01:26:51,160
Speaker 1: had a fine recording session with him. It was not

1306
01:26:51,240 --> 01:26:54,559
Speaker 1: a problem. And he was great on his soprano sas

1307
01:26:55,080 --> 01:26:57,000
Speaker 1: you know on that song Gosh, I think he did

1308
01:26:57,040 --> 01:26:59,640
Speaker 1: it and just one or two takes, you know, he

1309
01:26:59,680 --> 01:27:04,160
Speaker 1: was so good. And at that point, uh, I don't

1310
01:27:04,160 --> 01:27:06,240
Speaker 1: know if he was still performing with his band at

1311
01:27:06,240 --> 01:27:10,479
Speaker 1: that point, but we used to see remember the drummer

1312
01:27:10,560 --> 01:27:13,760
Speaker 1: drumbo or would would would do a solo with just

1313
01:27:13,880 --> 01:27:17,680
Speaker 1: his hands. He'd break, he'd throw his sticks down and

1314
01:27:17,800 --> 01:27:20,640
Speaker 1: just start playing this kid with his hands. And and

1315
01:27:20,680 --> 01:27:25,200
Speaker 1: then and Zorn Rollo would you know, had a a

1316
01:27:25,240 --> 01:27:30,080
Speaker 1: toaster he had turned into a hat. And oh god,

1317
01:27:30,840 --> 01:27:33,880
Speaker 1: they I mean they were theatrical. I mean we loved that.

1318
01:27:34,040 --> 01:27:38,280
Speaker 1: We loved the theater. Anybody theatrical. I mean Alice. I

1319
01:27:38,320 --> 01:27:42,760
Speaker 1: mean we've played with Alice many many times and I

1320
01:27:43,080 --> 01:27:49,760
Speaker 1: were you know, I've I've I've done his charity's he's

1321
01:27:49,840 --> 01:27:52,639
Speaker 1: he's a good guy, Alice Is. He has a great

1322
01:27:52,720 --> 01:27:57,960
Speaker 1: charity foundation in Arizona, the Solid Rock Foundation. And we've

1323
01:27:58,000 --> 01:28:00,960
Speaker 1: done his Christmas show, and we've in his golf tournament

1324
01:28:01,000 --> 01:28:05,559
Speaker 1: in April, and we've toured with him. And I think

1325
01:28:05,680 --> 01:28:09,400
Speaker 1: eighteen that we went to the UK with him and

1326
01:28:09,520 --> 01:28:13,400
Speaker 1: opened for him in big in Wembley. We played Wembley

1327
01:28:13,439 --> 01:28:17,280
Speaker 1: Arena and all these big thirty thousand theaters with him

1328
01:28:17,400 --> 01:28:19,680
Speaker 1: and have played a lot of gigs with him over

1329
01:28:19,720 --> 01:28:23,080
Speaker 1: the years. You know, Shef is Sheep is a good guy.

1330
01:28:23,160 --> 01:28:27,639
Speaker 1: His manager, Chef Gordon, is a good guy. And uh so,

1331
01:28:27,760 --> 01:28:29,800
Speaker 1: I mean we were always kind of drawn to those

1332
01:28:29,880 --> 01:28:32,280
Speaker 1: kinds of people, those kind of theat you know, the

1333
01:28:32,439 --> 01:28:36,920
Speaker 1: Genesis in the early days that would do a visual

1334
01:28:37,320 --> 01:28:42,520
Speaker 1: type of performance or the plasmatics. Remember Wendy O Williams.

1335
01:28:42,640 --> 01:28:45,679
Speaker 1: I saw him at the Whiskey, right. Really, I knew

1336
01:28:45,680 --> 01:28:49,520
Speaker 1: Wendy and I always used to kid her because she

1337
01:28:49,520 --> 01:28:52,280
Speaker 1: she I said, Wendy, you stole my chainsaw bit, right,

1338
01:28:52,439 --> 01:28:55,920
Speaker 1: you know, I was my bit. And I gotta ask

1339
01:28:55,960 --> 01:28:57,760
Speaker 1: you because I remember, you know, seeing you at the

1340
01:28:57,880 --> 01:29:00,720
Speaker 1: Rocks before the album came out. Yeah, and you had

1341
01:29:00,720 --> 01:29:04,080
Speaker 1: a printed list of the songs and one of them

1342
01:29:04,160 --> 01:29:06,400
Speaker 1: was rock and Roll Hospital. I believe it was the

1343
01:29:06,439 --> 01:29:09,320
Speaker 1: name of the song. You ran through the audience with

1344
01:29:09,560 --> 01:29:12,280
Speaker 1: this chainsaw and then said, oh, we're to have to operate.

1345
01:29:12,560 --> 01:29:16,200
Speaker 1: Whatever happened to that song, well, it never got recorded,

1346
01:29:16,640 --> 01:29:19,200
Speaker 1: It never got recorded. Rock and Roll Hospital never got

1347
01:29:19,240 --> 01:29:23,040
Speaker 1: recorded where I would come out as the doctor and

1348
01:29:23,040 --> 01:29:27,160
Speaker 1: and you know the with the chainsaw stabbing through a

1349
01:29:27,280 --> 01:29:30,280
Speaker 1: table with the and it was a guitar. It was

1350
01:29:30,320 --> 01:29:33,559
Speaker 1: a pregnant guitar, and then I would pull out the

1351
01:29:33,560 --> 01:29:39,439
Speaker 1: little baby guitar and ah, I and I and I

1352
01:29:39,479 --> 01:29:41,680
Speaker 1: don't know, I don't know. We we every was in

1353
01:29:41,760 --> 01:29:43,800
Speaker 1: a while. We think about, well, I mean, we've brought

1354
01:29:43,800 --> 01:29:46,400
Speaker 1: it back two or three times over the years and

1355
01:29:46,439 --> 01:29:50,280
Speaker 1: done it just you know, as a as a show piece.

1356
01:29:50,880 --> 01:29:54,599
Speaker 1: But it never never got recorded. It never got recorded.

1357
01:30:01,400 --> 01:30:04,720
Speaker 1: So how did you end up working with Todd? Like

1358
01:30:05,000 --> 01:30:08,360
Speaker 1: you knows as you probably it was Prairie, Prairie New Todd,

1359
01:30:08,960 --> 01:30:12,360
Speaker 1: and Prairie still plays with Todd. He just went out

1360
01:30:12,360 --> 01:30:15,840
Speaker 1: with him last year. We have to we have to

1361
01:30:15,880 --> 01:30:18,240
Speaker 1: book way ahead of time in order to get to

1362
01:30:18,400 --> 01:30:22,760
Speaker 1: book Prairie so that Todd doesn't scoop him up. Uh uh,

1363
01:30:24,680 --> 01:30:29,120
Speaker 1: But Todd, we I don't know how. I guess I'm

1364
01:30:29,120 --> 01:30:31,760
Speaker 1: sure I guess it was through Prairie that we met him. Uh.

1365
01:30:32,160 --> 01:30:34,559
Speaker 1: But that out with the first album we did with him,

1366
01:30:34,640 --> 01:30:44,080
Speaker 1: Remote Control, was I think, I mean it was, you know,

1367
01:30:44,160 --> 01:30:49,920
Speaker 1: I always I don't. Uh. You know the phrase can't

1368
01:30:49,960 --> 01:30:54,280
Speaker 1: beat the demo right where you make this great demo

1369
01:30:54,760 --> 01:30:58,000
Speaker 1: and you take it into the studio and then you

1370
01:31:00,120 --> 01:31:02,800
Speaker 1: can't you know, you try this, and you try that,

1371
01:31:02,920 --> 01:31:07,120
Speaker 1: and you try and you try fifteen different ways of

1372
01:31:07,120 --> 01:31:10,519
Speaker 1: of making it better and then and then none of

1373
01:31:10,520 --> 01:31:13,120
Speaker 1: them work, and then you end up going back to

1374
01:31:13,200 --> 01:31:16,920
Speaker 1: the demo again. And I've always thought that. Uh. The

1375
01:31:16,920 --> 01:31:24,160
Speaker 1: thing I love about Remote Control is uh, uh we

1376
01:31:24,200 --> 01:31:28,639
Speaker 1: had no time to second guess ourselves. You know, we

1377
01:31:28,680 --> 01:31:31,280
Speaker 1: had a we you know, every year we used to

1378
01:31:32,000 --> 01:31:36,000
Speaker 1: uh we used to make a record in December January

1379
01:31:36,040 --> 01:31:41,479
Speaker 1: February because the tour would always like started April or

1380
01:31:41,600 --> 01:31:44,120
Speaker 1: March or April, and we would tour all year long

1381
01:31:44,200 --> 01:31:47,519
Speaker 1: in the United States or go to Europe or go wherever.

1382
01:31:48,280 --> 01:31:51,320
Speaker 1: But we tour constantly from like April to the end

1383
01:31:51,320 --> 01:31:56,200
Speaker 1: of the year. Uh So we had a short window

1384
01:31:56,240 --> 01:32:00,679
Speaker 1: of time two create a new record. And we did

1385
01:32:00,680 --> 01:32:04,280
Speaker 1: this like over and over and you know whatever, twelve times,

1386
01:32:04,720 --> 01:32:08,120
Speaker 1: and so we had a we had only a month

1387
01:32:08,560 --> 01:32:12,400
Speaker 1: I think the month of January in that year that

1388
01:32:12,400 --> 01:32:15,639
Speaker 1: that we did Remote Control, which was I think seventy nine,

1389
01:32:16,680 --> 01:32:21,920
Speaker 1: and uh, we didn't have any you know, and you know,

1390
01:32:22,360 --> 01:32:24,920
Speaker 1: after the first two or three albums, you kind of

1391
01:32:25,000 --> 01:32:28,679
Speaker 1: run out of songs, you know that you've created all

1392
01:32:28,680 --> 01:32:31,760
Speaker 1: those years before you got the record deal, right, So

1393
01:32:31,840 --> 01:32:38,759
Speaker 1: we didn't have any songs, really, and I had I had, uh, Uh,

1394
01:32:38,920 --> 01:32:44,080
Speaker 1: I'd read this book. I'm a veracious, voracious reader, and

1395
01:32:44,280 --> 01:32:48,640
Speaker 1: I had read this book by Jersey Kosinski. And I

1396
01:32:48,720 --> 01:32:51,800
Speaker 1: read all of his books. The Painted Bird was a

1397
01:32:51,800 --> 01:32:56,479
Speaker 1: great book. And uh one of his books was called

1398
01:32:56,520 --> 01:32:59,759
Speaker 1: Being There, Okay, And so I had read this book

1399
01:33:00,000 --> 01:33:04,320
Speaker 1: all Being There about the about the rich kid who

1400
01:33:04,439 --> 01:33:08,080
Speaker 1: was put in a you know, a boarding school or

1401
01:33:08,760 --> 01:33:12,760
Speaker 1: or daycare and never got to do anything. It was

1402
01:33:12,960 --> 01:33:15,639
Speaker 1: all he did was watch TV and he had no

1403
01:33:15,760 --> 01:33:21,440
Speaker 1: real experience of life. It was all virtual experience. And

1404
01:33:21,520 --> 01:33:25,000
Speaker 1: so I had this idea, and I approached Todd with

1405
01:33:25,200 --> 01:33:29,000
Speaker 1: I said, you know this. We grew up in Arizona,

1406
01:33:29,360 --> 01:33:34,360
Speaker 1: the band, and we watched TV all day long because

1407
01:33:34,680 --> 01:33:37,679
Speaker 1: you know, it was a hundred and fifty in this summer,

1408
01:33:38,760 --> 01:33:41,680
Speaker 1: it was a hundred twenty degrees outside, so you were

1409
01:33:42,040 --> 01:33:44,800
Speaker 1: you know a lot of time was spent watching TV.

1410
01:33:45,280 --> 01:33:48,360
Speaker 1: And that's why I you know, watching all those Westerns

1411
01:33:49,160 --> 01:33:53,240
Speaker 1: Cereals series on TV. And it's kind of where I

1412
01:33:53,320 --> 01:33:55,080
Speaker 1: kind of got the idea that I wanted to be

1413
01:33:55,120 --> 01:33:59,840
Speaker 1: a cowboy so bad. And I said, let's let's you.

1414
01:34:00,120 --> 01:34:03,120
Speaker 1: I figured this book is obscure. Nobody has ever heard

1415
01:34:03,120 --> 01:34:06,000
Speaker 1: of this book. And I'm gonna I'm gonna take this

1416
01:34:06,120 --> 01:34:10,439
Speaker 1: idea and turn it into remote control with Todd. And

1417
01:34:10,640 --> 01:34:13,120
Speaker 1: you know about the idea of the kid who just

1418
01:34:13,640 --> 01:34:18,160
Speaker 1: has no real experience. It's all virtual experience. He doesn't

1419
01:34:18,160 --> 01:34:20,479
Speaker 1: know anything. He doesn't know about love, he doesn't know

1420
01:34:20,520 --> 01:34:24,040
Speaker 1: about feeling, he doesn't know about anything. It's all TV.

1421
01:34:24,800 --> 01:34:31,400
Speaker 1: And so, uh we had we had some musical material

1422
01:34:32,200 --> 01:34:37,439
Speaker 1: and uh so Todd said, he goes, Okay, this is

1423
01:34:37,439 --> 01:34:41,080
Speaker 1: what we're gonna do. We're gonna we're gonna show up

1424
01:34:41,120 --> 01:34:45,599
Speaker 1: the studio every day and then in the morning, we're

1425
01:34:45,640 --> 01:34:49,479
Speaker 1: gonna write the lyrics to a song, and then we're

1426
01:34:49,479 --> 01:34:51,240
Speaker 1: gonna take a lunch break, and then we're gonna come

1427
01:34:51,280 --> 01:34:53,360
Speaker 1: back and then we're gonna figure out the music and

1428
01:34:53,400 --> 01:34:56,080
Speaker 1: record the song in the afternoon, and then we're gonna

1429
01:34:56,120 --> 01:34:59,040
Speaker 1: put on the vocals at night, and by the end

1430
01:34:59,120 --> 01:35:01,720
Speaker 1: of the day we'll have a whole song. And so

1431
01:35:01,840 --> 01:35:03,960
Speaker 1: that's what we did. We would go in and we'd

1432
01:35:03,960 --> 01:35:06,400
Speaker 1: all sit down together, all of us, seven of us

1433
01:35:06,479 --> 01:35:11,160
Speaker 1: with Todd, and say, okay, what's the what do you

1434
01:35:11,280 --> 01:35:15,240
Speaker 1: what's the first thing you do? Well, turn me on?

1435
01:35:15,960 --> 01:35:19,040
Speaker 1: Turn it you turn it on? Right, Okay, first song

1436
01:35:19,200 --> 01:35:22,840
Speaker 1: is going to be called turned me On. And so

1437
01:35:22,920 --> 01:35:25,400
Speaker 1: we'd sit there and we'd all brainstorm turned me on,

1438
01:35:25,600 --> 01:35:27,920
Speaker 1: turned me onto. And then in the afternoon we go

1439
01:35:28,320 --> 01:35:30,400
Speaker 1: do the music and then we put the vocals on.

1440
01:35:30,640 --> 01:35:32,280
Speaker 1: Then the next day we command and tell you now

1441
01:35:32,360 --> 01:35:37,759
Speaker 1: what okay, uh, TV is King, We love TV. Okay,

1442
01:35:37,920 --> 01:35:40,720
Speaker 1: TV is Kate. That's the next song. So and we

1443
01:35:40,800 --> 01:35:46,920
Speaker 1: did that for the whole record. And but like I said,

1444
01:35:48,000 --> 01:35:52,160
Speaker 1: we didn't have any time to go back and second

1445
01:35:52,200 --> 01:35:54,559
Speaker 1: guess ourselves and go, oh no, well this could be

1446
01:35:54,560 --> 01:35:56,479
Speaker 1: a little bit better. And though if we do a

1447
01:35:56,479 --> 01:36:00,320
Speaker 1: little you know, echo on this or delay on this

1448
01:36:00,640 --> 01:36:05,040
Speaker 1: or that, are just no. Just go with your gut,

1449
01:36:05,520 --> 01:36:09,760
Speaker 1: go with your instinct, go with your first impression and

1450
01:36:09,880 --> 01:36:13,760
Speaker 1: do it. And then you can't change it because you

1451
01:36:13,760 --> 01:36:17,280
Speaker 1: don't have the time or the money because the tour

1452
01:36:17,400 --> 01:36:19,480
Speaker 1: is coming up and the record's got to be released.

1453
01:36:19,920 --> 01:36:22,479
Speaker 1: So that it all works That's why I kind of

1454
01:36:22,520 --> 01:36:25,400
Speaker 1: love that album. And uh, you know you're going in

1455
01:36:25,400 --> 01:36:28,559
Speaker 1: the wrong direction commercially with A and M. Right then

1456
01:36:28,640 --> 01:36:33,280
Speaker 1: you get dropped, right, ultimately picked up by Capital. You

1457
01:36:33,320 --> 01:36:35,080
Speaker 1: know what was going through the heads of the band

1458
01:36:35,080 --> 01:36:37,919
Speaker 1: when you're having you know, less and less commercial success

1459
01:36:37,960 --> 01:36:39,960
Speaker 1: and then you're dropped And how do you get a

1460
01:36:40,040 --> 01:36:44,600
Speaker 1: deal with Capital? You know? Give us the background on that. Okay,

1461
01:36:44,800 --> 01:36:48,960
Speaker 1: our live performance just I mean it was always art

1462
01:36:49,000 --> 01:36:51,640
Speaker 1: for art's sake. I mean, you know we're gonna go

1463
01:36:51,720 --> 01:36:53,960
Speaker 1: out and do a show that it's going to blow

1464
01:36:54,040 --> 01:36:57,439
Speaker 1: your mind. We're gonna spend money. We don't care if

1465
01:36:57,520 --> 01:37:01,639
Speaker 1: we're in debt. We don't care. It's all about the show.

1466
01:37:01,800 --> 01:37:06,280
Speaker 1: It's about the art. And we really were worried about

1467
01:37:06,400 --> 01:37:08,280
Speaker 1: you know, every every time we did a record for

1468
01:37:08,320 --> 01:37:12,320
Speaker 1: A and M, they would give us an advance. You know,

1469
01:37:12,439 --> 01:37:14,880
Speaker 1: back then it was peanut money. It was like a

1470
01:37:14,960 --> 01:37:19,639
Speaker 1: hundred grand or something, and we never recouped. We never

1471
01:37:19,680 --> 01:37:22,360
Speaker 1: made enough sold enough records to pay off the advance

1472
01:37:22,439 --> 01:37:25,439
Speaker 1: to make it. But we didn't care because we had

1473
01:37:25,439 --> 01:37:29,240
Speaker 1: a show that blew people's minds. I mean, we created

1474
01:37:29,320 --> 01:37:33,519
Speaker 1: a leg a visually, a visual performance legacy that's pretty

1475
01:37:33,600 --> 01:37:38,840
Speaker 1: much unmatched by anyone, I think. But so you know,

1476
01:37:38,920 --> 01:37:40,679
Speaker 1: we would go out on the road and we would

1477
01:37:40,760 --> 01:37:45,120
Speaker 1: I mean one whole one time for the completion backward principle.

1478
01:37:45,360 --> 01:37:49,559
Speaker 1: I mean, we built a set that was all around.

1479
01:37:50,640 --> 01:37:57,360
Speaker 1: So you can't pack round stuff in a truck very efficiently,

1480
01:37:58,160 --> 01:38:00,599
Speaker 1: you know, so you have to get an another chart.

1481
01:38:01,160 --> 01:38:03,720
Speaker 1: Oh we don't care. Fuck it, we don't care. It's

1482
01:38:03,880 --> 01:38:07,080
Speaker 1: so what So, I mean a couple of times, you know,

1483
01:38:07,200 --> 01:38:09,840
Speaker 1: we ran out of money out on the road and

1484
01:38:09,880 --> 01:38:11,960
Speaker 1: the manager had to call up A and M and go, hey,

1485
01:38:11,960 --> 01:38:14,200
Speaker 1: look they're out of you know, they're promoting your record.

1486
01:38:14,240 --> 01:38:16,800
Speaker 1: They're on the road, they're out of money. We need

1487
01:38:16,840 --> 01:38:19,600
Speaker 1: to send us some money. So they would send the

1488
01:38:19,680 --> 01:38:24,120
Speaker 1: money and add it to the tab, you know. And

1489
01:38:24,160 --> 01:38:27,160
Speaker 1: so finally that got to be, you know, as you say,

1490
01:38:27,280 --> 01:38:29,719
Speaker 1: that got to be. You know, we ended up leaving

1491
01:38:29,720 --> 01:38:34,080
Speaker 1: ANM just massively in the red. And we you know,

1492
01:38:34,160 --> 01:38:37,040
Speaker 1: we gave him publishing, we gave him everything. We could

1493
01:38:37,320 --> 01:38:40,840
Speaker 1: just keep doing the show. It was about the show.

1494
01:38:41,439 --> 01:38:47,360
Speaker 1: And uh so when we went to I mean and

1495
01:38:47,400 --> 01:38:50,120
Speaker 1: then and then so they dropped us, and so then

1496
01:38:50,439 --> 01:38:56,000
Speaker 1: we uh looked every high and low for another company.

1497
01:38:56,479 --> 01:39:02,640
Speaker 1: And we met this guy at uh Capitol who who

1498
01:39:02,800 --> 01:39:06,680
Speaker 1: uh was? His name was Bobby Columbi. He was an

1499
01:39:06,680 --> 01:39:09,599
Speaker 1: A and R guy, okay, but he was a drummer.

1500
01:39:10,240 --> 01:39:15,040
Speaker 1: He used to be in Blood, Sweat and Tears, right

1501
01:39:15,080 --> 01:39:20,280
Speaker 1: and still owns the name right. Bobby loved Prairie Prince.

1502
01:39:20,960 --> 01:39:23,360
Speaker 1: He just thought, oh my god, this guy is so so.

1503
01:39:23,479 --> 01:39:27,879
Speaker 1: Bobby Columbia as an an our guy at at Capitol,

1504
01:39:29,240 --> 01:39:33,479
Speaker 1: convinced them to give us a deal. He gave. They

1505
01:39:33,479 --> 01:39:37,240
Speaker 1: gave us a three record deal, but each record was

1506
01:39:38,479 --> 01:39:42,360
Speaker 1: based on the performance of the record before it. They said,

1507
01:39:42,360 --> 01:39:45,080
Speaker 1: if the first record does nothing, you're not going to

1508
01:39:45,120 --> 01:39:48,959
Speaker 1: get another record the second ring, you know. So anyway,

1509
01:39:50,320 --> 01:39:55,960
Speaker 1: and and Bobby had this guy David Foster, okay, and

1510
01:39:56,760 --> 01:40:02,760
Speaker 1: David Foster, and he thought, oh god, you know well,

1511
01:40:02,800 --> 01:40:05,040
Speaker 1: I mean, the only thing we knew about David Foster

1512
01:40:05,200 --> 01:40:08,479
Speaker 1: was he just did Boogie Wonderland. Okay, that was the

1513
01:40:08,520 --> 01:40:12,040
Speaker 1: record before us Earth Wind and Fire, Boogie Wonderland. He

1514
01:40:12,080 --> 01:40:15,480
Speaker 1: had a number one song after the Love Has Gone Okay,

1515
01:40:15,600 --> 01:40:21,840
Speaker 1: And we were very skeptical. Okay, we went on and

1516
01:40:21,960 --> 01:40:24,799
Speaker 1: Bobby was saying, when you guys gotta get on the radio.

1517
01:40:25,400 --> 01:40:28,400
Speaker 1: You gotta sell records. You've got it. In order to

1518
01:40:28,400 --> 01:40:31,800
Speaker 1: get a second record here, you've got to make a name.

1519
01:40:32,040 --> 01:40:36,160
Speaker 1: You've got to do something commercially. Oh god, we're just

1520
01:40:36,240 --> 01:40:39,280
Speaker 1: going on, man. And then so David Foster came up

1521
01:40:39,320 --> 01:40:46,599
Speaker 1: to San Francisco and uh to meet with us and

1522
01:40:46,840 --> 01:40:49,040
Speaker 1: you know, to kind of check out our songs and stuff.

1523
01:40:49,600 --> 01:40:57,639
Speaker 1: And and I mean, I mean, the guys, guys unbelievable. Okay.

1524
01:40:57,920 --> 01:41:04,559
Speaker 1: He is a brilliant posician, a brilliant arranger. I mean,

1525
01:41:04,800 --> 01:41:07,320
Speaker 1: he came up and we said, okay. He goes, okay,

1526
01:41:07,400 --> 01:41:10,599
Speaker 1: we'll play me some songs. I said, okay, well okay,

1527
01:41:10,640 --> 01:41:15,000
Speaker 1: So we played him this song Amnesia, and he goes, well, okay,

1528
01:41:15,040 --> 01:41:17,240
Speaker 1: and then he sat down on the piano and he

1529
01:41:17,320 --> 01:41:20,240
Speaker 1: kind of, you know that, he goes, what if you

1530
01:41:20,320 --> 01:41:23,840
Speaker 1: kind of did a modulation here and kind of a

1531
01:41:23,880 --> 01:41:27,000
Speaker 1: big kind of put in this kind of oo part

1532
01:41:27,080 --> 01:41:34,200
Speaker 1: and kind of and we were just oh, you know he,

1533
01:41:34,439 --> 01:41:37,200
Speaker 1: I mean, he just floored us. He floored us with

1534
01:41:37,320 --> 01:41:41,760
Speaker 1: his brilliance and we just went, wow, man, this guy,

1535
01:41:42,200 --> 01:41:47,000
Speaker 1: this guy, this is amazing, you know. And and like

1536
01:41:47,000 --> 01:41:53,439
Speaker 1: like he said, what about ballads? You know, you have

1537
01:41:53,479 --> 01:41:57,840
Speaker 1: any ballads. He went, well, you know, we did a

1538
01:41:57,840 --> 01:42:01,920
Speaker 1: ballot on the last record, and you know, it wasn't

1539
01:42:01,920 --> 01:42:04,920
Speaker 1: a single. And because you know, the company's looking for

1540
01:42:04,960 --> 01:42:07,200
Speaker 1: a ballad, they're looking for a ballad to be the

1541
01:42:07,200 --> 01:42:12,120
Speaker 1: first single, because ballads are happening, you know, it's everybody

1542
01:42:12,160 --> 01:42:17,519
Speaker 1: has got a big rock ballad coming out. Journey R

1543
01:42:17,560 --> 01:42:20,200
Speaker 1: e O. I mean, all these bands were having huge

1544
01:42:20,280 --> 01:42:25,120
Speaker 1: success with ballots, and we just kind of went, well,

1545
01:42:25,240 --> 01:42:29,960
Speaker 1: you know, but Vince, our keyboard player, Vince well Nick,

1546
01:42:31,160 --> 01:42:34,360
Speaker 1: uh he said, well, you know, I have this kind

1547
01:42:34,360 --> 01:42:40,360
Speaker 1: of progression I've been working on, and so he started playing, Uh,

1548
01:42:40,439 --> 01:42:44,000
Speaker 1: I don't want to wait anymore for David, and David

1549
01:42:44,040 --> 01:42:48,160
Speaker 1: went wow. And then you know, David sits down and

1550
01:42:48,200 --> 01:42:51,840
Speaker 1: go again and then and then you put a modulation

1551
01:42:52,000 --> 01:42:55,439
Speaker 1: and then the big finish and then the chorus out

1552
01:42:55,640 --> 01:43:00,840
Speaker 1: and the you know, payoff, and and he said, man,

1553
01:43:00,880 --> 01:43:03,400
Speaker 1: this is it, this will this will work. And I

1554
01:43:03,479 --> 01:43:06,320
Speaker 1: had written the lyrics to it. Uh, he goes, let

1555
01:43:06,360 --> 01:43:09,120
Speaker 1: me hear the lyrics. I wrote game the lyrics because man,

1556
01:43:09,160 --> 01:43:11,439
Speaker 1: this is this is what they're looking for, this is

1557
01:43:11,479 --> 01:43:14,360
Speaker 1: what Capital is looking for a ballad like this. And

1558
01:43:15,200 --> 01:43:21,800
Speaker 1: so we just kind of went this, Okay, you know,

1559
01:43:22,080 --> 01:43:26,880
Speaker 1: this guy is incredible. Okay, let's we're good with this. Okay,

1560
01:43:26,960 --> 01:43:32,639
Speaker 1: let's do it. We're good with this. And uh at

1561
01:43:32,640 --> 01:43:36,599
Speaker 1: the time, we had a manager. His name was Ricky Farr,

1562
01:43:37,120 --> 01:43:40,160
Speaker 1: and Ricky Farr was a Welshman who had a big

1563
01:43:40,160 --> 01:43:44,200
Speaker 1: Sounded Lights company. Uh and he used to do the

1564
01:43:44,200 --> 01:43:48,240
Speaker 1: the the Sounding Lights touring for big you know, Rod

1565
01:43:48,360 --> 01:43:51,920
Speaker 1: Stewart and Stevie Wonder and just you know, he was

1566
01:43:52,040 --> 01:43:54,760
Speaker 1: a big time company and he had never managed the

1567
01:43:54,800 --> 01:43:57,599
Speaker 1: band before. And he was the one that first took

1568
01:43:57,680 --> 01:44:01,519
Speaker 1: us to England. He goes, you guys, with your kind

1569
01:44:01,560 --> 01:44:06,800
Speaker 1: of sarcasm and your parody, they're gonna love you in

1570
01:44:06,840 --> 01:44:10,040
Speaker 1: the UK. So he took us right away. That the

1571
01:44:10,080 --> 01:44:12,679
Speaker 1: first thing he did was take us to England and

1572
01:44:12,880 --> 01:44:16,479
Speaker 1: uh and that was a really smart move. I mean,

1573
01:44:16,479 --> 01:44:20,000
Speaker 1: we are huge in England and are in the UK,

1574
01:44:20,439 --> 01:44:28,719
Speaker 1: and so uh, you know, we just we we we

1575
01:44:28,720 --> 01:44:31,679
Speaker 1: we went for it right away. We went for David

1576
01:44:31,720 --> 01:44:36,000
Speaker 1: Foster and uh and we did that. We did, you know,

1577
01:44:36,760 --> 01:44:43,559
Speaker 1: I actually uh uh we we you know, we got

1578
01:44:43,600 --> 01:44:45,720
Speaker 1: towards the end of the recording of the record and

1579
01:44:45,920 --> 01:44:48,600
Speaker 1: when we still had weird songs. We still had, you know,

1580
01:44:48,760 --> 01:44:52,040
Speaker 1: Mr Hate and Attack of the fifty foot Woman. And

1581
01:44:52,720 --> 01:44:55,840
Speaker 1: you know it wasn't like you know, it wasn't like

1582
01:44:55,920 --> 01:44:59,160
Speaker 1: it was all so commercial, and so you know, we

1583
01:44:59,200 --> 01:45:04,960
Speaker 1: wanted to maintain our weirdness and uh and we got

1584
01:45:05,040 --> 01:45:08,360
Speaker 1: to the end of the project and he goes, well,

1585
01:45:08,400 --> 01:45:11,400
Speaker 1: you know, we we I know they want to release

1586
01:45:11,720 --> 01:45:16,559
Speaker 1: a ballad, but uh uh they all they want that.

1587
01:45:16,720 --> 01:45:19,320
Speaker 1: We need a rock song. We need an A O

1588
01:45:19,600 --> 01:45:23,519
Speaker 1: R kind of rock song. And we played you know,

1589
01:45:23,800 --> 01:45:26,360
Speaker 1: he goes, I don't hear it. I don't. I don't

1590
01:45:26,520 --> 01:45:29,080
Speaker 1: you haven't played it. You don't have that. And so

1591
01:45:29,160 --> 01:45:31,160
Speaker 1: he was the one that said, you know, I have

1592
01:45:31,240 --> 01:45:35,360
Speaker 1: a friend, this this studio musician guy who's in a

1593
01:45:35,360 --> 01:45:38,800
Speaker 1: band called Toto. His name is Steve Luca Fur. And

1594
01:45:38,880 --> 01:45:41,519
Speaker 1: he goes, how about if we meet you and I

1595
01:45:41,640 --> 01:45:43,559
Speaker 1: and Steve meet and we try to come up with

1596
01:45:43,600 --> 01:45:48,840
Speaker 1: a rock song. And so we did, and we met

1597
01:45:49,600 --> 01:45:54,240
Speaker 1: early one morning out in the valley here and and

1598
01:45:54,280 --> 01:45:56,400
Speaker 1: Steve came up with talked to you later in about

1599
01:45:56,439 --> 01:46:01,880
Speaker 1: ten seconds, and I mean, the guy is brilliant, and

1600
01:46:01,880 --> 01:46:06,320
Speaker 1: and so you know, we we we recorded talked to

1601
01:46:06,320 --> 01:46:12,080
Speaker 1: you later and uh, and he's it's okay. I mean

1602
01:46:12,120 --> 01:46:14,800
Speaker 1: that's what we got it, you know. And I think

1603
01:46:14,920 --> 01:46:17,280
Speaker 1: you know that I told you before we were doing

1604
01:46:17,280 --> 01:46:20,439
Speaker 1: Completion Backward Principle. I think Completion Backward Principle was our

1605
01:46:21,479 --> 01:46:26,200
Speaker 1: greatest record. Uh. I mean I love the first album,

1606
01:46:26,240 --> 01:46:34,880
Speaker 1: but we've been doing Completion Backward live, uh, the whole album,

1607
01:46:35,000 --> 01:46:38,160
Speaker 1: like top to bottom, starting well, talk to you later,

1608
01:46:38,280 --> 01:46:41,719
Speaker 1: and right on through the whole album, and it's really

1609
01:46:41,760 --> 01:46:45,479
Speaker 1: gotten a great response. And I love those songs. I

1610
01:46:45,520 --> 01:46:50,559
Speaker 1: love Amnesia and I love Mr Hayde. I completely go mental.

1611
01:46:51,960 --> 01:46:57,120
Speaker 1: I mean I I could be a X murderer if

1612
01:46:57,120 --> 01:47:00,479
Speaker 1: with the straight I love it. I love that. I mean,

1613
01:47:00,479 --> 01:47:04,080
Speaker 1: I love the I love you know, I do these

1614
01:47:04,160 --> 01:47:07,800
Speaker 1: characters and I lose myself, you know, I just completely

1615
01:47:07,880 --> 01:47:11,320
Speaker 1: lose myself in the character and in the and I

1616
01:47:12,000 --> 01:47:16,479
Speaker 1: sometimes I get a little out of control. But uh,

1617
01:47:18,400 --> 01:47:21,599
Speaker 1: you know it's so great to be able to do that,

1618
01:47:21,640 --> 01:47:24,120
Speaker 1: to have the venue, to be able to do that.

1619
01:47:24,320 --> 01:47:26,800
Speaker 1: You know. So you make that record, you have a

1620
01:47:26,800 --> 01:47:29,680
Speaker 1: certain amount of success, then you team up together and

1621
01:47:29,720 --> 01:47:32,559
Speaker 1: you even have more success. So tell me about outside inside.

1622
01:47:32,600 --> 01:47:36,040
Speaker 1: You know, we had we had great success, as you say,

1623
01:47:36,200 --> 01:47:40,280
Speaker 1: and we get ready to do the next record, and

1624
01:47:40,280 --> 01:47:43,799
Speaker 1: and Faz says, you know, let's let's try it again

1625
01:47:44,479 --> 01:47:47,080
Speaker 1: with you and Luke and I, let's try it again.

1626
01:47:47,200 --> 01:47:49,439
Speaker 1: And so we got together and we wrote She's Beauty

1627
01:47:49,439 --> 01:47:54,599
Speaker 1: in about ten minutes, and I mean, once again, Luke's

1628
01:47:54,640 --> 01:48:02,920
Speaker 1: just you know, crazy, crazy good and uh uh we

1629
01:48:03,000 --> 01:48:05,960
Speaker 1: had a great time recording that record, and and and

1630
01:48:06,439 --> 01:48:08,559
Speaker 1: you know we would it would have been even a

1631
01:48:08,600 --> 01:48:12,120
Speaker 1: bigger selling record if it hadn't been for this guy

1632
01:48:12,200 --> 01:48:16,680
Speaker 1: named Val Garay who was the manager of Martha Davis.

1633
01:48:17,439 --> 01:48:19,840
Speaker 1: And I had known Martha for a long time, and

1634
01:48:20,040 --> 01:48:22,880
Speaker 1: we wanted to do we wanted to do a duet

1635
01:48:22,960 --> 01:48:27,599
Speaker 1: on the record, and and so we we picked this

1636
01:48:27,720 --> 01:48:33,320
Speaker 1: song mony Monkey Time, Curtis Mayfield song, and Martha came

1637
01:48:33,360 --> 01:48:36,479
Speaker 1: in and we did a duet on Monkey Time, and

1638
01:48:37,600 --> 01:48:42,519
Speaker 1: uh it was I mean, Fause just said, Okay, this

1639
01:48:42,640 --> 01:48:45,040
Speaker 1: is great. This is gonna be the second single after

1640
01:48:45,120 --> 01:48:48,880
Speaker 1: She's a Beauty. And but then when we get ready,

1641
01:48:49,040 --> 01:48:51,000
Speaker 1: you know, She's a Beauty is a big hit, goes

1642
01:48:51,040 --> 01:48:59,040
Speaker 1: to number two. H h yeah, that's you know, I mean,

1643
01:49:00,360 --> 01:49:02,559
Speaker 1: I so wanted to number one record, but I mean

1644
01:49:03,439 --> 01:49:08,000
Speaker 1: it was so good for us and so great and

1645
01:49:08,000 --> 01:49:14,320
Speaker 1: and uh and you know it's still people go crazy

1646
01:49:14,360 --> 01:49:18,200
Speaker 1: when we played that song, and so we're ready to

1647
01:49:18,240 --> 01:49:21,559
Speaker 1: follow it up with the second song, second single, Monkey Time.

1648
01:49:22,120 --> 01:49:28,840
Speaker 1: And her manager, the manager of the Motels, this guy says, no,

1649
01:49:28,920 --> 01:49:31,840
Speaker 1: you can't release this. Uh, this is We've got a

1650
01:49:31,840 --> 01:49:35,439
Speaker 1: Motel's record coming out in about six months, and this

1651
01:49:35,520 --> 01:49:38,679
Speaker 1: is gonna hurt. It's gonna hurt that it's gonna hurt

1652
01:49:38,720 --> 01:49:45,360
Speaker 1: the sales of this record. And everybody flipped out. Okay,

1653
01:49:46,080 --> 01:49:49,760
Speaker 1: I mean at this time, at this point we had uh.

1654
01:49:49,920 --> 01:49:53,920
Speaker 1: We were with the management company Fitzgerald Hartley and they

1655
01:49:53,960 --> 01:49:57,920
Speaker 1: also managed Total and Mark and Larry. You know, we

1656
01:49:57,960 --> 01:50:01,000
Speaker 1: went to the record company. No, no, no, this is

1657
01:50:01,040 --> 01:50:04,200
Speaker 1: only going to help you. This is gonna help your

1658
01:50:04,320 --> 01:50:11,679
Speaker 1: Motels record. No now and Motels were also on Capitol uh,

1659
01:50:11,960 --> 01:50:14,960
Speaker 1: and he and jumped at it. He went to the

1660
01:50:14,960 --> 01:50:17,599
Speaker 1: record company and said, you can't put this out. I

1661
01:50:17,680 --> 01:50:21,320
Speaker 1: refused to let you. I'm gonna jumped it. I'm gonna

1662
01:50:21,400 --> 01:50:28,040
Speaker 1: sue you, I'm gonna uh and I everyone was just flabbergasted.

1663
01:50:28,080 --> 01:50:31,519
Speaker 1: We couldn't understand it. And and he did it, and

1664
01:50:31,560 --> 01:50:33,640
Speaker 1: we couldn't release it. We had to go. You know.

1665
01:50:33,760 --> 01:50:36,120
Speaker 1: We fought it for you know, I don't know a

1666
01:50:36,120 --> 01:50:39,720
Speaker 1: long time, and finally we realized, now they're not going

1667
01:50:39,760 --> 01:50:42,040
Speaker 1: to do it. You've gotta if you want to do it,

1668
01:50:42,120 --> 01:50:46,280
Speaker 1: you have to rerecorded. You have to peel out her

1669
01:50:46,360 --> 01:50:50,920
Speaker 1: vocal and re recorded. And so we went back in

1670
01:50:51,000 --> 01:50:58,080
Speaker 1: the studio and we replaced her vocal with h one

1671
01:50:58,120 --> 01:51:01,120
Speaker 1: of our one of our dances at the time, Michelle

1672
01:51:01,120 --> 01:51:04,120
Speaker 1: Gray her name is who ends who is now Todd's wife,

1673
01:51:04,800 --> 01:51:09,160
Speaker 1: and and she did a wonderful job. It sounded great.

1674
01:51:09,280 --> 01:51:14,280
Speaker 1: But it was six months later. The whole month everything

1675
01:51:14,400 --> 01:51:19,599
Speaker 1: was gone, momentum gone, you know, and so it never happened.

1676
01:51:19,680 --> 01:51:24,320
Speaker 1: It never it never charted, and you know, the momentum

1677
01:51:24,360 --> 01:51:36,639
Speaker 1: of the record. That was it. The record was done. Okay,

1678
01:51:36,680 --> 01:51:40,720
Speaker 1: So after all that success with Foster, how do you

1679
01:51:40,800 --> 01:51:43,639
Speaker 1: decide to then work with Todd Agan, which ultimately kills

1680
01:51:43,680 --> 01:51:47,240
Speaker 1: the band. I was hoping you wouldn't ask that, But

1681
01:51:49,880 --> 01:51:51,479
Speaker 1: I don't know how to see this, but I think

1682
01:51:51,640 --> 01:51:55,560
Speaker 1: it was for the best. As I look back in retrospect,

1683
01:51:56,040 --> 01:51:58,840
Speaker 1: I think it was time for me to move on.

1684
01:51:59,640 --> 01:52:02,839
Speaker 1: But of course I didn't know that then, did I? Uh,

1685
01:52:02,880 --> 01:52:09,080
Speaker 1: And everybody flipped out. What happened was David came. You know,

1686
01:52:09,200 --> 01:52:15,920
Speaker 1: David was booked to the third album, and uh, David

1687
01:52:16,000 --> 01:52:18,600
Speaker 1: came and sat down with the band and he goes, Okay, look,

1688
01:52:19,200 --> 01:52:22,320
Speaker 1: we had great success with talk to You Later, even

1689
01:52:22,360 --> 01:52:26,160
Speaker 1: more success with She's a Beauty. So what I want

1690
01:52:26,160 --> 01:52:32,080
Speaker 1: to do is I want to right four songs with

1691
01:52:32,800 --> 01:52:36,920
Speaker 1: Fee and Luke and I like we did on talk

1692
01:52:37,280 --> 01:52:42,519
Speaker 1: to You Later and She's a beauty. And so that

1693
01:52:42,600 --> 01:52:46,519
Speaker 1: way I've got I've got a first, second, and third

1694
01:52:46,600 --> 01:52:51,479
Speaker 1: and fourth single and you know, one of you know,

1695
01:52:51,560 --> 01:52:55,320
Speaker 1: a couple of them bound to work, and it's gonna

1696
01:52:55,360 --> 01:52:57,439
Speaker 1: be you know, it's gonna be huge. It's gonna be

1697
01:52:57,439 --> 01:53:03,840
Speaker 1: a big, massive record. And uh. And on the B side,

1698
01:53:05,080 --> 01:53:08,000
Speaker 1: you guys can do whatever you want. You can produce it,

1699
01:53:08,400 --> 01:53:10,840
Speaker 1: you can write it, you can do any songs you want.

1700
01:53:11,240 --> 01:53:14,800
Speaker 1: You can. I don't care. You can do whatever you want,

1701
01:53:16,040 --> 01:53:19,400
Speaker 1: and I will let you do whatever you want. And

1702
01:53:19,560 --> 01:53:25,160
Speaker 1: all I want is side. That was what he proposed

1703
01:53:25,200 --> 01:53:32,880
Speaker 1: to the band, and everyone everyone said and so and

1704
01:53:32,920 --> 01:53:35,559
Speaker 1: the band said, you know, I don't we don't want

1705
01:53:35,600 --> 01:53:38,840
Speaker 1: to do that. No, we're a band. You can't tell

1706
01:53:38,920 --> 01:53:43,600
Speaker 1: us what to do. We're a band. And I was

1707
01:53:43,640 --> 01:53:49,960
Speaker 1: the only one going, man, guys, you gotta just you know,

1708
01:53:50,160 --> 01:53:54,320
Speaker 1: don't don't, don't let your pride fault, you know, kill

1709
01:53:54,400 --> 01:53:58,440
Speaker 1: us here. It's it's okay, you know, it'll be okay.

1710
01:53:58,760 --> 01:54:03,080
Speaker 1: And now they wouldn't do it. I don't know. In retrospect,

1711
01:54:03,120 --> 01:54:07,040
Speaker 1: I understand, you know, it's they their pride was hurt.

1712
01:54:07,120 --> 01:54:09,360
Speaker 1: They felt, you know, we're a band, you can't tell

1713
01:54:09,479 --> 01:54:15,520
Speaker 1: us what to do. Uh And and also they were,

1714
01:54:15,560 --> 01:54:18,800
Speaker 1: you know, they were I think a little miffed that

1715
01:54:18,920 --> 01:54:22,599
Speaker 1: the two hits that we had we had were written

1716
01:54:23,880 --> 01:54:29,240
Speaker 1: by me and Steve and David and uh. So they said, no,

1717
01:54:29,320 --> 01:54:31,800
Speaker 1: we're not going to do it. And the management said,

1718
01:54:31,840 --> 01:54:34,080
Speaker 1: don't do this. The record company said don't do this.

1719
01:54:34,320 --> 01:54:37,920
Speaker 1: I said, don't do this, the agency said don't do

1720
01:54:38,120 --> 01:54:44,600
Speaker 1: everyone said don't do this. And they went, no, we're

1721
01:54:44,600 --> 01:54:47,120
Speaker 1: doing that's what we're doing. And so they got Todd

1722
01:54:47,200 --> 01:54:52,520
Speaker 1: back on the phone and they said, you know, and

1723
01:54:52,560 --> 01:54:58,200
Speaker 1: they made and I I I was devastated. I have

1724
01:54:58,280 --> 01:55:00,160
Speaker 1: to say. I went to l A and I said,

1725
01:55:00,200 --> 01:55:03,440
Speaker 1: I don't know what I'm gonna do. And I made

1726
01:55:03,440 --> 01:55:06,360
Speaker 1: a record. I made I made my first solo record,

1727
01:55:07,320 --> 01:55:10,760
Speaker 1: uh with David Foster, because he was there sitting there available,

1728
01:55:11,120 --> 01:55:13,680
Speaker 1: and I talked the record company into letting me use

1729
01:55:13,800 --> 01:55:17,200
Speaker 1: him for a solo album, and they said okay, and

1730
01:55:17,240 --> 01:55:20,560
Speaker 1: then the band went ahead without me in San Francisco

1731
01:55:20,880 --> 01:55:24,560
Speaker 1: and made a record with Todd and and I came

1732
01:55:24,560 --> 01:55:27,080
Speaker 1: back and you know, I got my record done, and

1733
01:55:27,120 --> 01:55:29,080
Speaker 1: I came back to San Francisco and they went, well,

1734
01:55:29,400 --> 01:55:32,920
Speaker 1: you know, our records almost done, and you know, you

1735
01:55:32,920 --> 01:55:34,840
Speaker 1: can We've got a couple of songs that you can

1736
01:55:34,880 --> 01:55:38,680
Speaker 1: sing if you want. And you know, up until that point,

1737
01:55:38,760 --> 01:55:41,080
Speaker 1: I had pretty much sung every record, every song on

1738
01:55:41,080 --> 01:55:45,720
Speaker 1: the record, and so I was pretty much crushed. And

1739
01:55:45,840 --> 01:55:49,040
Speaker 1: I sang a couple of you know, I brought them

1740
01:55:49,040 --> 01:55:52,880
Speaker 1: one song, uh that I didn't use on my solo record,

1741
01:55:52,880 --> 01:55:56,280
Speaker 1: piece by piece, and we recorded that and then I

1742
01:55:56,520 --> 01:55:59,920
Speaker 1: sang I did another song that I wrote about Marlo

1743
01:56:00,080 --> 01:56:05,040
Speaker 1: Brando Stella I've written. I loved Marlon Brando, He's the

1744
01:56:05,040 --> 01:56:09,560
Speaker 1: best I've I've written a whole bunch of songs over

1745
01:56:09,560 --> 01:56:11,640
Speaker 1: the years about Marlin and Brando. I could have been

1746
01:56:11,680 --> 01:56:15,480
Speaker 1: somebody about the you know, on the waterfront, and I

1747
01:56:15,520 --> 01:56:22,000
Speaker 1: wrote Stella from street Car named Desire, and uh so, anyway,

1748
01:56:22,400 --> 01:56:26,800
Speaker 1: I ended up doing just three songs on the record,

1749
01:56:28,040 --> 01:56:34,920
Speaker 1: and it didn't do well. As you know, it didn't

1750
01:56:34,920 --> 01:56:41,000
Speaker 1: do well. And I at and we without and did

1751
01:56:41,040 --> 01:56:45,400
Speaker 1: the tour, and the tour didn't do well, and everything

1752
01:56:45,520 --> 01:56:49,880
Speaker 1: kind of crumbled around us. The management said, well, you know,

1753
01:56:50,280 --> 01:56:52,600
Speaker 1: we're gonna have to release you guys, because this is

1754
01:56:52,680 --> 01:56:56,880
Speaker 1: a huge mistake. And then you know, the record company

1755
01:56:57,400 --> 01:57:02,360
Speaker 1: pretty much released us the day the tour began. So

1756
01:57:03,040 --> 01:57:06,320
Speaker 1: you know, the tour starts at April one, and on

1757
01:57:06,320 --> 01:57:10,360
Speaker 1: on March one, they release us. And so we go

1758
01:57:10,480 --> 01:57:13,440
Speaker 1: out and we have all this national tour book. We've

1759
01:57:13,480 --> 01:57:17,000
Speaker 1: got no record company support, no A and R guys,

1760
01:57:17,120 --> 01:57:22,560
Speaker 1: no promotion, no record play, no radio play, I mean nothing,

1761
01:57:22,680 --> 01:57:27,360
Speaker 1: we got nothing. So it didn't go well. And so

1762
01:57:27,440 --> 01:57:33,360
Speaker 1: I got back. We got back and uh I just went,

1763
01:57:33,480 --> 01:57:38,000
Speaker 1: you know, we we the management had left us. I mean,

1764
01:57:38,040 --> 01:57:41,920
Speaker 1: I was so discouraged and so uh and I thought,

1765
01:57:42,000 --> 01:57:46,400
Speaker 1: you know, well, I guess this is this is this

1766
01:57:46,480 --> 01:57:49,920
Speaker 1: is this could be great. I've gotta I've gotta, I've

1767
01:57:49,960 --> 01:57:52,360
Speaker 1: got to start my own life. You know, I had

1768
01:57:52,360 --> 01:57:56,480
Speaker 1: been you know, we had been a seven man band

1769
01:57:57,080 --> 01:57:59,960
Speaker 1: for at that point, we had been a seven man

1770
01:58:00,000 --> 01:58:05,120
Speaker 1: band for about fifteen years, and we did everything together.

1771
01:58:05,600 --> 01:58:10,160
Speaker 1: We split everything evenly. We were a bunch of hippies. Okay,

1772
01:58:10,160 --> 01:58:13,960
Speaker 1: we're a bunch of hippies. And whatever it was, everybody

1773
01:58:14,000 --> 01:58:17,720
Speaker 1: decided together. We did it all together. It was all together.

1774
01:58:18,280 --> 01:58:22,200
Speaker 1: And I just thought, you know, it's time to grow up.

1775
01:58:22,440 --> 01:58:26,600
Speaker 1: It's time to be a man and grow up and

1776
01:58:26,600 --> 01:58:32,280
Speaker 1: and take responsibility for yourself. And so I said, okay, guys,

1777
01:58:32,360 --> 01:58:37,840
Speaker 1: you know, I'm gonna leave the band. I'm gonna, I'm gonna,

1778
01:58:37,920 --> 01:58:40,800
Speaker 1: I'm gonna I'm gonna leave town. Pretty much. I had

1779
01:58:40,840 --> 01:58:43,880
Speaker 1: to leave town, and so I did. So I just

1780
01:58:44,320 --> 01:58:48,280
Speaker 1: packed up and I got my car and I drove

1781
01:58:48,320 --> 01:58:52,680
Speaker 1: to l A. And I had a girl. I had

1782
01:58:52,680 --> 01:58:54,880
Speaker 1: a girlfriend at a time at the time that I

1783
01:58:54,920 --> 01:58:58,840
Speaker 1: was living that was living in l A. And her

1784
01:59:00,600 --> 01:59:05,480
Speaker 1: her parents owned some apartment buildings in l A. So

1785
01:59:05,560 --> 01:59:08,280
Speaker 1: they gave me an apartment, you know, really cheap, because

1786
01:59:08,280 --> 01:59:10,880
Speaker 1: I didn't have any money, and you know, we spend

1787
01:59:10,920 --> 01:59:14,240
Speaker 1: everything on the show, and I didn't have much money,

1788
01:59:14,280 --> 01:59:16,120
Speaker 1: and so they gave me a cheap apartment. And I

1789
01:59:16,160 --> 01:59:23,240
Speaker 1: moved here, and and I, you know, I I just

1790
01:59:23,680 --> 01:59:26,320
Speaker 1: I just you know that. And you know what happened

1791
01:59:26,840 --> 01:59:31,080
Speaker 1: was I started writing songs with Richard Marks, and I thought,

1792
01:59:31,120 --> 01:59:33,760
Speaker 1: you know, and I just had blind faith. I just said, well,

1793
01:59:33,880 --> 01:59:38,120
Speaker 1: you know, I gotta I've gotta make my own life.

1794
01:59:38,440 --> 01:59:41,360
Speaker 1: You know, I've been I've been a part of a

1795
01:59:41,400 --> 01:59:44,280
Speaker 1: group for so long, and I've got a stand up

1796
01:59:44,320 --> 01:59:47,560
Speaker 1: for myself and I've got to you know, I've got

1797
01:59:47,560 --> 01:59:50,760
Speaker 1: to get my ship together. And I and you know,

1798
01:59:50,800 --> 01:59:55,080
Speaker 1: I had known Richard and and I think at the

1799
01:59:55,160 --> 01:59:58,720
Speaker 1: time we had maybe written a couple of songs together.

1800
01:59:58,760 --> 02:00:03,840
Speaker 1: I think we wrote had written that Vixen hit. You know,

1801
02:00:04,920 --> 02:00:06,800
Speaker 1: I've been living on the edge of a Broken Heart,

1802
02:00:07,560 --> 02:00:10,200
Speaker 1: and we had a big hit with that. And so

1803
02:00:10,240 --> 02:00:13,600
Speaker 1: I said, I said, let's write. He said, I want

1804
02:00:13,600 --> 02:00:16,720
Speaker 1: to be. This was before he had a record deal,

1805
02:00:16,800 --> 02:00:18,920
Speaker 1: before he had just at the at that point, he

1806
02:00:18,960 --> 02:00:21,760
Speaker 1: was just a songwriter and had written songs for a

1807
02:00:21,760 --> 02:00:26,360
Speaker 1: lot of other people, Kidney Rogers and and uh a

1808
02:00:26,400 --> 02:00:29,240
Speaker 1: lot of people, and so he said, I want to

1809
02:00:29,280 --> 02:00:33,400
Speaker 1: be I want to be an artist. I want to perform.

1810
02:00:33,440 --> 02:00:40,320
Speaker 1: So he got a deal at Manhattan subsidiary of Capital,

1811
02:00:41,160 --> 02:00:43,240
Speaker 1: and he said, let's write some songs from my record,

1812
02:00:44,440 --> 02:00:47,520
Speaker 1: and I said, okay, great, so we did so I

1813
02:00:47,560 --> 02:00:52,160
Speaker 1: think we wrote. I wrote four songs for him on

1814
02:00:52,320 --> 02:00:58,560
Speaker 1: his first record, and you know, he's he is a

1815
02:00:58,600 --> 02:01:02,440
Speaker 1: big hit for record sold three million elbows, I think,

1816
02:01:02,960 --> 02:01:07,520
Speaker 1: and uh and uh, and then we you know, the

1817
02:01:07,560 --> 02:01:09,400
Speaker 1: next record, and I wrote more songs with him on

1818
02:01:09,440 --> 02:01:11,920
Speaker 1: the next record and the next record and the next record,

1819
02:01:11,960 --> 02:01:16,040
Speaker 1: and and I just, you know, I thought to myself,

1820
02:01:16,080 --> 02:01:19,400
Speaker 1: you know, this is this is this is the right

1821
02:01:19,440 --> 02:01:24,680
Speaker 1: thing to do, you know, I I I you know

1822
02:01:24,720 --> 02:01:28,440
Speaker 1: that the way things happened wasn't great, but it was

1823
02:01:28,480 --> 02:01:33,680
Speaker 1: good for me because I stood up and and you know,

1824
02:01:33,800 --> 02:01:35,920
Speaker 1: I was a man. I stood up and said, Okay,

1825
02:01:36,000 --> 02:01:39,960
Speaker 1: I'm good. I'm gonna go. I'm gonna lead my own path,

1826
02:01:41,120 --> 02:01:42,880
Speaker 1: you know, lead my own way. So how did you

1827
02:01:42,920 --> 02:01:46,680
Speaker 1: meet Roger Richard Marks? I met him. He wrote a

1828
02:01:46,760 --> 02:01:50,840
Speaker 1: song for in in eighty three. He wrote a song

1829
02:01:50,920 --> 02:01:55,160
Speaker 1: for Lionel Ritchie and he came to l A to

1830
02:01:55,440 --> 02:01:59,040
Speaker 1: see him recorded. He got at eighteen years old. He

1831
02:01:59,080 --> 02:02:02,640
Speaker 1: placed the song when Lionel the Guy's brilliant Okay. His

1832
02:02:02,800 --> 02:02:09,360
Speaker 1: dad was a jingle writer in Chicago. He wrote the

1833
02:02:09,400 --> 02:02:14,520
Speaker 1: double Mint Gum jing Built. He wrote my dog's better

1834
02:02:14,560 --> 02:02:18,839
Speaker 1: than your dog, my kennel ration. He wrote all these singles,

1835
02:02:18,880 --> 02:02:20,880
Speaker 1: so Richard, and he was the keyboard He was a

1836
02:02:20,960 --> 02:02:24,360
Speaker 1: jazz keyboard player. Dick his name was Dick Marks. He

1837
02:02:24,480 --> 02:02:29,640
Speaker 1: was an incredible guy, really great, and he taught Richard,

1838
02:02:30,040 --> 02:02:36,240
Speaker 1: you know, music theory and keyboards and writing stuff. I mean. Anyway,

1839
02:02:36,680 --> 02:02:42,040
Speaker 1: Richard came UH to l A and he wanted to

1840
02:02:42,080 --> 02:02:46,360
Speaker 1: meet David Foster, and he knew about him, and he

1841
02:02:46,400 --> 02:02:49,240
Speaker 1: asked Lionel, and David's goes, yeah, he's doing the tubes

1842
02:02:49,280 --> 02:02:55,320
Speaker 1: down the street at Lion's Share uh and and Lionel

1843
02:02:55,360 --> 02:02:57,280
Speaker 1: set it up where he could Richard could come to

1844
02:02:57,320 --> 02:03:03,800
Speaker 1: the studio and just watch and and he did. He

1845
02:03:03,800 --> 02:03:06,400
Speaker 1: showed him one day when we were in the studio recording,

1846
02:03:06,600 --> 02:03:10,480
Speaker 1: and you know, he's just sitting back there. And at

1847
02:03:10,480 --> 02:03:14,080
Speaker 1: the end of the session he goes, he had no

1848
02:03:14,280 --> 02:03:18,120
Speaker 1: he knew of me, and he said, Hi, I'm Richard Marks.

1849
02:03:18,160 --> 02:03:20,360
Speaker 1: He introduced himself and he said, you know, I think

1850
02:03:20,400 --> 02:03:23,320
Speaker 1: your lyrics are really interesting. Would you write a song

1851
02:03:23,360 --> 02:03:30,560
Speaker 1: with me? I said, I don't know who. He goes,

1852
02:03:30,640 --> 02:03:35,080
Speaker 1: I'm just a kid from Chicago, and I said, well, okay, okay,

1853
02:03:35,640 --> 02:03:38,640
Speaker 1: no problem, Let's write a song. And so I did.

1854
02:03:38,680 --> 02:03:41,240
Speaker 1: We wrote a song. We wrote a song called who

1855
02:03:41,320 --> 02:03:45,400
Speaker 1: Loves Your Baby, which was the tagline from ko Jack

1856
02:03:47,640 --> 02:03:51,080
Speaker 1: and which is I put on my first solo record,

1857
02:03:51,120 --> 02:03:55,160
Speaker 1: who Loves Your Baby. And you know, we just kind

1858
02:03:55,160 --> 02:03:58,880
Speaker 1: of clicked. We just we couldn't be more different. Okay,

1859
02:03:58,920 --> 02:04:04,320
Speaker 1: we couldn't be are different people. Uh you know, he

1860
02:04:04,760 --> 02:04:08,000
Speaker 1: but it's just something. I'm the godfather to his sons.

1861
02:04:08,080 --> 02:04:11,160
Speaker 1: He has got three beautiful sons who are very very

1862
02:04:11,200 --> 02:04:17,160
Speaker 1: talented musicians, and uh, you know, I've just like I said,

1863
02:04:17,200 --> 02:04:20,839
Speaker 1: for like thirty thirty eight forty years, we've been best friends.

1864
02:04:20,840 --> 02:04:24,160
Speaker 1: And we still right together all the time. And I

1865
02:04:24,200 --> 02:04:29,080
Speaker 1: know his son's very well. And uh he lives out here.

1866
02:04:29,200 --> 02:04:31,560
Speaker 1: He lived in Chicago for years and years and then

1867
02:04:31,760 --> 02:04:37,000
Speaker 1: he divorced his wife and moved recently moved to l

1868
02:04:37,040 --> 02:04:41,160
Speaker 1: A And uh so we see each other a lot,

1869
02:04:41,240 --> 02:04:43,280
Speaker 1: and you know, and over the years we've been we've

1870
02:04:43,280 --> 02:04:46,320
Speaker 1: been working on this record on the my my solo

1871
02:04:46,360 --> 02:04:48,560
Speaker 1: record of the fee Wave, the Rights Again record. We

1872
02:04:48,600 --> 02:04:53,600
Speaker 1: started making this record gosh in two thousand thirteen, for

1873
02:04:53,920 --> 02:04:57,320
Speaker 1: like seven years ago, we started making it. The main

1874
02:04:57,440 --> 02:05:00,920
Speaker 1: the first song I used to go every summer when

1875
02:05:00,920 --> 02:05:03,880
Speaker 1: he lived in Chicago. I used to go to Chicago

1876
02:05:03,960 --> 02:05:10,440
Speaker 1: every summer. And his parents had a cabin in Manaqua, Wisconsin,

1877
02:05:11,200 --> 02:05:14,280
Speaker 1: way up in northern Wisconsin. And we would go with

1878
02:05:14,320 --> 02:05:17,120
Speaker 1: the boys on a boys trip to Wisconsin. And we

1879
02:05:17,320 --> 02:05:19,680
Speaker 1: drive up there and spend a week at the cabin

1880
02:05:20,480 --> 02:05:23,080
Speaker 1: and go fishing, and we go first BacT riding, and

1881
02:05:23,120 --> 02:05:26,880
Speaker 1: we go go kart you know, just have a great time.

1882
02:05:27,280 --> 02:05:32,240
Speaker 1: And so that summer the boys were getting older, and

1883
02:05:32,440 --> 02:05:34,960
Speaker 1: the summer of two thousand thirteen, I went up there

1884
02:05:34,960 --> 02:05:37,000
Speaker 1: and I said, well, look and we've done another boys trips.

1885
02:05:37,040 --> 02:05:40,280
Speaker 1: We went whitewater rafting and with in Wyoming and we

1886
02:05:40,360 --> 02:05:43,080
Speaker 1: do all some all some kind of a boy's trip

1887
02:05:43,920 --> 02:05:46,120
Speaker 1: and we went. I went up to the summer and

1888
02:05:46,360 --> 02:05:49,680
Speaker 1: the boy said, you know, we'd want ago. We want

1889
02:05:49,680 --> 02:05:51,960
Speaker 1: to hang like hang out with our girlfriends and go

1890
02:05:52,000 --> 02:05:54,880
Speaker 1: to the movies. We don't want to do a boys trip.

1891
02:05:57,080 --> 02:05:59,760
Speaker 1: I came all the way from Okay, and so Richard said,

1892
02:06:00,040 --> 02:06:03,360
Speaker 1: and he had a studio at his house, and he said, well,

1893
02:06:03,440 --> 02:06:07,720
Speaker 1: let's go write a song and let's do and then

1894
02:06:07,960 --> 02:06:09,960
Speaker 1: he said, let's do a solo record for you yes,

1895
02:06:10,000 --> 02:06:15,080
Speaker 1: about time he had he hadn't done one since and

1896
02:06:15,400 --> 02:06:19,560
Speaker 1: which he helped me with also, And so we went

1897
02:06:19,560 --> 02:06:23,200
Speaker 1: to the studio and we wrote, Uh, we wrote four

1898
02:06:23,240 --> 02:06:28,040
Speaker 1: songs Fake the four songs on the record, Faker we wrote.

1899
02:06:28,080 --> 02:06:33,360
Speaker 1: Faker was the first song we wrote. And and uh,

1900
02:06:33,480 --> 02:06:36,880
Speaker 1: and then you know, I got busy, He got busy.

1901
02:06:37,040 --> 02:06:38,760
Speaker 1: I went on the road. He went on the road,

1902
02:06:38,880 --> 02:06:42,240
Speaker 1: and you know, it just years and years kept going by,

1903
02:06:42,400 --> 02:06:46,560
Speaker 1: and we we never got, you know, back around to

1904
02:06:46,680 --> 02:06:53,040
Speaker 1: it until until the summer of two thousand nineteen. He

1905
02:06:53,240 --> 02:06:55,600
Speaker 1: just he had he was here in California and he goes,

1906
02:06:55,800 --> 02:06:58,280
Speaker 1: let's do it. It's been too long. It's been five

1907
02:06:58,360 --> 02:07:01,480
Speaker 1: years since we started. Let's go back and finish it.

1908
02:07:02,480 --> 02:07:04,440
Speaker 1: So we did. So we went back to the studio

1909
02:07:04,560 --> 02:07:08,840
Speaker 1: and we finished the record. And I'm really proud of it.

1910
02:07:09,280 --> 02:07:14,760
Speaker 1: And uh, like I said, at the beginning, we were,

1911
02:07:14,800 --> 02:07:19,880
Speaker 1: you know, he goes, let's do some gigs. Okay, I'll, I'll,

1912
02:07:19,440 --> 02:07:22,839
Speaker 1: I'll give you my band, okay, and we'll do gigs.

1913
02:07:23,440 --> 02:07:27,640
Speaker 1: And we had it all planned for the for May

1914
02:07:27,840 --> 02:07:32,200
Speaker 1: of because I you know, I've got the whole month off,

1915
02:07:32,560 --> 02:07:35,680
Speaker 1: I'm not touring, and well, and we'll do some gigs,

1916
02:07:35,760 --> 02:07:41,200
Speaker 1: and of course COVID killed it in and then and

1917
02:07:41,240 --> 02:07:45,160
Speaker 1: then as we thought the whole pandemic was was fading away,

1918
02:07:45,880 --> 02:07:49,200
Speaker 1: we planned, we booked more dates for January of this year,

1919
02:07:50,080 --> 02:07:53,640
Speaker 1: and and then the whole thing got killed again. So

1920
02:07:53,720 --> 02:07:56,120
Speaker 1: how did you get back together with the Tubes? I

1921
02:07:56,960 --> 02:08:02,320
Speaker 1: left the band in like eighty seven something like that

1922
02:08:02,880 --> 02:08:05,320
Speaker 1: and moved to l A and pretty much had no

1923
02:08:05,440 --> 02:08:09,720
Speaker 1: contact with them. They went on for a while. It's funny.

1924
02:08:09,880 --> 02:08:13,320
Speaker 1: They they called up the guy the bass player they

1925
02:08:13,320 --> 02:08:20,640
Speaker 1: had fired, you know, years ago, and and said, you know,

1926
02:08:20,800 --> 02:08:22,800
Speaker 1: we lost our lead singer. You want to come back

1927
02:08:22,800 --> 02:08:25,480
Speaker 1: in the band. So he came back, and they went

1928
02:08:25,520 --> 02:08:29,480
Speaker 1: out for a while as the Tubes without me, and

1929
02:08:29,560 --> 02:08:32,440
Speaker 1: had this guy as the lead singer. But he he

1930
02:08:32,520 --> 02:08:35,480
Speaker 1: had been in Hawaii smoking pot for twenty five years

1931
02:08:35,520 --> 02:08:38,080
Speaker 1: and he had no voice. He couldn't sing it. He

1932
02:08:38,120 --> 02:08:40,680
Speaker 1: couldn't sing, he couldn't hit the high notes, he couldn't

1933
02:08:40,720 --> 02:08:45,440
Speaker 1: sing She's a beauty. And so they did not go well,

1934
02:08:45,840 --> 02:08:50,360
Speaker 1: and you know, and finally they gave up and they said, Okay,

1935
02:08:50,440 --> 02:08:54,760
Speaker 1: that's it, We're done. And then they hadn't worked for

1936
02:08:54,760 --> 02:08:59,480
Speaker 1: a while, and uh, and then I told you we were.

1937
02:08:59,240 --> 02:09:03,760
Speaker 1: We were popular in Europe. Uh. We had done some

1938
02:09:03,840 --> 02:09:11,960
Speaker 1: big during the heyday in like in like Uh we

1939
02:09:12,000 --> 02:09:15,040
Speaker 1: went there first time in seven and then we went

1940
02:09:15,080 --> 02:09:22,680
Speaker 1: back in se you know we we So anyway, a

1941
02:09:22,760 --> 02:09:29,360
Speaker 1: promoter from Germany, his name was Henning Turgel contacted the

1942
02:09:29,360 --> 02:09:34,520
Speaker 1: band and said, ah, you guys haven't been here for

1943
02:09:34,560 --> 02:09:37,600
Speaker 1: a while. You know, we hadn't been there since three

1944
02:09:37,840 --> 02:09:42,840
Speaker 1: This was He said, I am going to offer you

1945
02:09:42,880 --> 02:09:51,840
Speaker 1: a six show tour of Western Europe and the UK. Uh,

1946
02:09:53,040 --> 02:09:59,680
Speaker 1: but only if fees in the band. That's the deal.

1947
02:10:00,040 --> 02:10:05,400
Speaker 1: M And so they called me up and they said,

1948
02:10:06,120 --> 02:10:11,280
Speaker 1: we have this offer, you know. And and I, you know,

1949
02:10:11,440 --> 02:10:16,920
Speaker 1: I was very skeptical and uh, I said, well you

1950
02:10:16,960 --> 02:10:22,080
Speaker 1: know what what what is? You know, what's happening with

1951
02:10:22,120 --> 02:10:28,960
Speaker 1: the band? He went, well, you know, Uh, Bill was

1952
02:10:29,000 --> 02:10:32,600
Speaker 1: not in the band anymore because, like I said, drugs

1953
02:10:33,320 --> 02:10:37,520
Speaker 1: and Mike the synthesizer. He he left the band when

1954
02:10:37,560 --> 02:10:40,520
Speaker 1: I left. He moved to New York City and he's

1955
02:10:40,720 --> 02:10:45,320
Speaker 1: done very well as a graphic designer. And UH and

1956
02:10:45,400 --> 02:10:50,520
Speaker 1: the keyboard player Vince audition for The Grateful Dead in

1957
02:10:52,760 --> 02:10:57,880
Speaker 1: UH when there other keyboard player died and he got

1958
02:10:57,880 --> 02:11:01,800
Speaker 1: the gig. So Vince is in The Grateful Dead, Mike's

1959
02:11:01,880 --> 02:11:09,200
Speaker 1: gone bills battling addiction, and they've got another keyboard player.

1960
02:11:09,240 --> 02:11:12,080
Speaker 1: So there are a four man band with a different

1961
02:11:12,160 --> 02:11:14,840
Speaker 1: keyboard player. And they said, this is the story, and

1962
02:11:15,320 --> 02:11:18,760
Speaker 1: nobody's nobody's everyone's grown up. You know, we're not doing

1963
02:11:18,800 --> 02:11:22,240
Speaker 1: drugs anymore. You know, I thought them for years, I

1964
02:11:22,320 --> 02:11:24,240
Speaker 1: was the only guy that didn't do drugs. I was

1965
02:11:24,280 --> 02:11:28,120
Speaker 1: the only guy. And it was really difficult, you know,

1966
02:11:28,200 --> 02:11:30,560
Speaker 1: to go into a city and and all they thought

1967
02:11:30,560 --> 02:11:35,400
Speaker 1: about who's the coke dealer, you know, and and they said, no,

1968
02:11:35,600 --> 02:11:37,920
Speaker 1: we're all we've all grown up. We're not doing it.

1969
02:11:38,000 --> 02:11:44,800
Speaker 1: We're all straight. I said, really, yeah, And okay, I said, okay,

1970
02:11:44,840 --> 02:11:48,360
Speaker 1: So we did it. So I I went back to

1971
02:11:48,400 --> 02:11:51,880
Speaker 1: the band and we did this sixty show tour in

1972
02:11:51,880 --> 02:11:58,600
Speaker 1: in in the spring of and and I had so

1973
02:11:58,680 --> 02:12:01,920
Speaker 1: much fun that I just I said, okay, well, let's

1974
02:12:02,000 --> 02:12:08,480
Speaker 1: keep doing this. And so here we are, gosh, thirty

1975
02:12:08,560 --> 02:12:13,839
Speaker 1: years later, almost in almost fifty years from the beginning.

1976
02:12:14,400 --> 02:12:17,960
Speaker 1: So Fee, thanks so much for doing us. You know,

1977
02:12:18,040 --> 02:12:20,960
Speaker 1: I loved hearing about the polo, and certainly I'm a

1978
02:12:21,040 --> 02:12:23,760
Speaker 1: huge tubes fan, some of the bottom lines, some of

1979
02:12:23,800 --> 02:12:27,320
Speaker 1: the rocksy even when one time, Hollywood Bolivard when the

1980
02:12:27,360 --> 02:12:29,400
Speaker 1: first album came out, I was working in a sporting

1981
02:12:29,400 --> 02:12:32,200
Speaker 1: goods store and you did an in store it Peaches

1982
02:12:32,320 --> 02:12:35,920
Speaker 1: Records and came dressed up totally is kulud. Oh God,

1983
02:12:35,960 --> 02:12:38,560
Speaker 1: I remember that I stopped there in my lunch break.

1984
02:12:38,640 --> 02:12:40,520
Speaker 1: So it's a great honor to do this with you,

1985
02:12:41,080 --> 02:12:43,280
Speaker 1: so thanks so much for doing that. Thank you for

1986
02:12:43,360 --> 02:12:47,360
Speaker 1: having me. You know, I read your letter and I just,

1987
02:12:47,600 --> 02:12:50,120
Speaker 1: you know, I think so. I think you're so great

1988
02:12:50,240 --> 02:12:53,240
Speaker 1: and it's really a privilege and an honor. A few

1989
02:12:53,320 --> 02:12:57,200
Speaker 1: year podcast. Thank you so much for having Until next time,

1990
02:12:57,800 --> 02:12:59,160
Speaker 1: This is Bob left Sense