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Speaker 1: Welcome, Welcome, Welcome back to the Bob Left Search Podcast.

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Speaker 1: My guest today is the one and only Peter Freempton. Peter,

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Speaker 1: give us a health update.

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Speaker 2: Oh yes, So, for those who don't know, I have

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Speaker 2: what is called IBM inclusion body myascientists, and that is

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Speaker 2: a muscle disease and I'm losing basically, I'm losing strength

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Speaker 2: and my muscles are depleting. Luckily, I've had this probably

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Speaker 2: for about twelve years now, and it moves very very

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Speaker 2: slowly for me. For other people it can be very quick.

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Speaker 2: So I'm very very lucky. And therefore when people say, well,

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Speaker 2: you did the finale too, now you're doing another, and

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Speaker 2: now you're doing another too, well, I have to wait

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Speaker 2: until I can see how my hands are going to be,

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Speaker 2: and then we just have to guess that it'll be

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Speaker 2: okay by the time we booked the tour. So that's

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Speaker 2: the way it's been. So that's why I can't put

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Speaker 2: together something too far ahead. But I'm doing good.

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Speaker 1: Is it the type of thing where it's progressive or

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Speaker 1: one day is better than the next.

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Speaker 2: No, it's it's a steady It's either we get plateaus

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Speaker 2: and then we get progression, and I've just come out

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Speaker 2: of a progression and I'm now in a plateau, which

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Speaker 2: is very nice for the tour.

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Speaker 1: How my are the plateaus proximately how long?

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Speaker 2: I couldn't tell you. I mean, it's I just know

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Speaker 2: some some points. When I'm working I work out every day.

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Speaker 2: I have a gym upstairs, and I have two trainers

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Speaker 2: a weekend uh and and a week trainer, so that

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Speaker 2: because I wear them out if I have just one.

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Speaker 2: So but yes, so it's while working out is where

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Speaker 2: I feel it. You know all, I can't do this

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Speaker 2: today like I could last week or something like that.

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Speaker 2: You know. So. But but as I'm very pleased to say,

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Speaker 2: I feel like we're in a We're in a plateau

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Speaker 2: right now, which is very handy.

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Speaker 1: So you're obviously a guitarist you need a certain amount

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Speaker 1: of dexterity. But assuming you weren't a musician, how much

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Speaker 1: functionality have you lost at this point?

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Speaker 2: Well, I think because I'm a musician, I haven't lost

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Speaker 2: the dexterity. In my IBM is is each side is

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Speaker 2: is a different speed. So my left side is is

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Speaker 2: is weaker than my right side, but not my hands,

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Speaker 2: not my left hand which I've been playing guitar since

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Speaker 2: I was eight years old, so you know, there's sixty

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Speaker 2: odd years worth of playing there. Whenever I sit down

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Speaker 2: to I might drop a tea cup or something in

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Speaker 2: my left hand, but I sit down, I pick up

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Speaker 2: a guitar and it's there. So the problem that, the

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Speaker 2: only problem I'm having is that the pressure to put

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Speaker 2: push down on the strings and to bend notes. So

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Speaker 2: I work on I practice that every day, obviously, and

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Speaker 2: so far it's it's remarkably good. So I have to

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Speaker 2: say that, even though if you see me walking with

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Speaker 2: a cane and everything, oh my god, he's really you know,

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Speaker 2: things have gone down south, you know, so, But then no,

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Speaker 2: it looks bad. But when I when I sit down

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Speaker 2: and I play, it's fine.

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Speaker 1: And what is the long term prognosis? Uh?

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Speaker 2: Well, I know the endgame. It's I won't I'll be

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Speaker 2: in a wheelchair and and one day I won't be

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Speaker 2: able to even pick up the TV remote. So uh,

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Speaker 2: that's that's the endgame.

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Speaker 1: Well, do you die from this or do you die

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Speaker 1: know something else while you have this?

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Speaker 2: No, hopefully not. No. This this is a life changer,

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Speaker 2: it's not a life ender. So that if it was

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Speaker 2: something else ALS, which is a similar uh uh pro

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Speaker 2: diagnosis to diagon knows someone with ALS and someone with IBM.

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Speaker 2: The only difference is when you first are checking for

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Speaker 2: it is that IBM is unbalanced. It's either side is

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Speaker 2: a different thing, and whereas ALS is absolutely the same

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Speaker 2: either side. Keep spacing on the word. But anyway, and

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Speaker 2: of course ALS. The doctor when he told me I

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Speaker 2: had IBM but needed confirmation, he said, I'm glad to

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Speaker 2: tell you that you have IBM and not what I

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Speaker 2: thought you had, which was ALS. So that was a

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Speaker 2: huge bonus, but still scary, you know, obviously, because I'm thinking, wow,

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Speaker 2: I play guitar, you know, and that was not a

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Speaker 2: good feeling when I first heard it. But I'm this

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Speaker 2: eternal optimist. My kids say to me, Dad, how come everything,

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Speaker 2: little tiny things really like that should be over there? This,

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Speaker 2: why aren't you doing that? This is you know, the

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Speaker 2: bike should be over there in the garage. But the

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Speaker 2: big things don't bother.

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Speaker 1: You at all.

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Speaker 2: And I said, well, because the big things there's usually

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Speaker 2: nothing I can do about them. They so why worry

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Speaker 2: about it? You know. So therefore I'm the eternal optimist,

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Speaker 2: and I think we're going to find a drug. We

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Speaker 2: don't have one right now, but my Peter Frampton Research

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Speaker 2: Fund at Johns Hopkins. Thank you everybody who keeps sending

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Speaker 2: money in for this wonderful fund. It's it's a lot

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Speaker 2: of money now and it enables Johns Hopkins and the

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Speaker 2: Maya Sidis Clinic to be able to hire all the

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Speaker 2: people necessary to do the next trial drug trial that

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Speaker 2: comes along. So that is really really helping, and I

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Speaker 2: have to thank everybody for doing that. I know a

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Speaker 2: lot of people have donated because someone in their family

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Speaker 2: has it, or you know, they know they they want

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Speaker 2: to help me, which is unbelievable. But a lot of

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Speaker 2: people who and it is a very boutique disease, boutique

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Speaker 2: in this case meaning few of us compared to Parkinson's cancer, dementia.

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Speaker 2: You know, this is a they say fifty to seventy

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Speaker 2: five thousand people in America, whereas the others I've mentioned

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Speaker 2: are exponentially larger. You know, So yes, it's just something that.

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Speaker 1: Yeah, okay. You know, typically males, although everyone is different,

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Speaker 1: are in denial of physical problems. They're the last people

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Speaker 1: to go to the doctor. What was your experience in

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Speaker 1: terms of symptoms, diagnosis, and obviously you're in a relatively

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Speaker 1: positive space right now, but how did you cope emotionally?

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Speaker 2: The biography of this disease is basically round about two

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Speaker 2: thy and twelve, we were touring summer tour and I did.

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Speaker 2: We were doing some outdoor dates, obviously most of them

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Speaker 2: were amphitheaters and small stadiums and things like that, and

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Speaker 2: we were playing backstage sound check off soundcheck, we were

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Speaker 2: playing frisbee and I couldn't run as fast as I thought.

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Speaker 2: And I'd been on a hike with my son up

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Speaker 2: northern California and usually I would beat him, but I

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Speaker 2: couldn't come anywhere they're close. So those two things sort

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Speaker 2: of said something to me, and I said, I don't know,

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Speaker 2: maybe I'm wearing my jeans too tight. It's stupid stuff,

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Speaker 2: you know, and all the things you think because we're

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Speaker 2: not a doctor, and I've never played one on TV either,

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Speaker 2: so but I mean so anyway, Unfortunately, what happened on

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Speaker 2: the tour was someone you know, as they do, kicked

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Speaker 2: a huge, you know, three foot foot beach ball up

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Speaker 2: on the stage, and as you do, you go over

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Speaker 2: and you kick it back to them. You know, well,

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Speaker 2: this one of these balls is like light as air,

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Speaker 2: and I went to kick it with my right foot

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Speaker 2: and I went I fell backwards, and so we all laughed.

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Speaker 2: We all thought it was highly hilarious. He's fallen and

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Speaker 2: he can't get up, you know, the whole the hole,

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Speaker 2: where's the beef, the whole thing, you know. So uh,

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Speaker 2: and so that was, you know, I thought, well, something's

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Speaker 2: going on here. But then two or three weeks later,

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Speaker 2: I bent down on stage and I still use a

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Speaker 2: guitar chord. I hate wirelesses and doesn't sound good. And

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Speaker 2: my cable got shorter as I got to the ground

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Speaker 2: and I stepped on it and then I went to

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Speaker 2: stand up, and of course it kept me and I

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Speaker 2: just went back again. So there wasn't so much laughter

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Speaker 2: this time. And we had a ten day break coming up,

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Speaker 2: and I decided. My doctor said, you need to see

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Speaker 2: a neurologist. Let's see what's going on here. And so

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Speaker 2: I went see the neurologist on the break and he

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Speaker 2: the initial diagnosis was IBM and he said, so I said, well, okay,

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Speaker 2: what do I do now? And he said, you call

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Speaker 2: up doctor Christopher Stein at Johns Hopkins make an appointment,

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Speaker 2: and she's the head of the Myacidas clinic and in

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Speaker 2: this country, well in Johns Hopkins, and so I did.

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Speaker 2: I went up and had a painful test that they

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Speaker 2: do with electrodes and stuff to find this the it's inclusions.

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Speaker 2: They're looking for these little tiny round things that are

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Speaker 2: inside my muscles, and so in order to prove it

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Speaker 2: one hundred percent, I had to have a muscle biopsy

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Speaker 2: and where they found the most inclusions was in my

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Speaker 2: arm up here, so I have a little little scar there.

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Speaker 2: And but I have to say, as an aside, someone

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Speaker 2: knew that I must be a guitar player. Because as

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Speaker 2: they wheeled me into the operating room, or as we

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Speaker 2: say in England the operating theater, Django Reinhart was playing

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Speaker 2: and I said, all right, then, who's read my bio?

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Speaker 2: So and I they said that that the nurse said,

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Speaker 2: as soon as you were unconscious, the doctor said, let's

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Speaker 2: get this shit off and let's put on some conws.

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Speaker 2: So anyway that might be not an untruthed but it's

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Speaker 2: a good joke. But so anyway, yes, and of course

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Speaker 2: the the the test came back and it was positive.

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Speaker 2: So I continued, and I didn't say anything for about

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Speaker 2: four years until I went on vacation with my daughter

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Speaker 2: Mia and we went to Hawaii, went to Maui and

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Speaker 2: some people took us out on their boat, which was

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Speaker 2: very nice, and I fell on the boat and I

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Speaker 2: I broke a bone in my back, and I said,

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Speaker 2: I think I ought to slow down here. Now this

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Speaker 2: is getting a little crazy. So I was the next week,

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Speaker 2: I was going up to New York to meet with

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Speaker 2: Ken Levitton, my manager, and we were shopping a book deal.

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Speaker 2: We were looking for a publisher, which we found well

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Speaker 2: in between in each cab, right between the publishers. We

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Speaker 2: were talking and and I said, Ken, I think I

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Speaker 2: think we You know, we were scheduled to do a tour,

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Speaker 2: a co headline tour with Alice and a dear friend,

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Speaker 2: wonderful man and friend for so long, and his lovely wife.

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Speaker 2: And Ken said, I think we ought to cancel that

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Speaker 2: and make this your finale tour, because if we don't

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Speaker 2: know how long this, no one has any idea. That's

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Speaker 2: the problem with this. So no one had any idea

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Speaker 2: of how long I would be able to play. And

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Speaker 2: I had always thought I don't want to be one

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Speaker 2: of those guys that goes out and can play one note.

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Speaker 2: And you know, I said, I want to quit while

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Speaker 2: I'm doing well, and I'm playing well. And then when

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Speaker 2: we did the after the Finale tour, we got shut

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Speaker 2: down because it was twenty nineteen, we did American Canada

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Speaker 2: and we were going to play the Albert Hall and

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Speaker 2: the rest of England and Europe in May Well got

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Speaker 2: shut down in March. Everybody got shut down. So I thought,

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Speaker 2: I'm never going to get to England to you know,

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Speaker 2: say goodbye to the old country, you know, Blighty. And

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Speaker 2: it was a little disappointing, but I said, you know,

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Speaker 2: everyone has the same situation right now as far as

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Speaker 2: not being able to work, so I can't. That's it's

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Speaker 2: something else I have that means so much to me, obviously.

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Speaker 2: And so when COVID two and a half years later,

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Speaker 2: my agent dangled a Royal Albert Hall date at me

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Speaker 2: and I said, oh my god, well, I don't know,

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Speaker 2: I don't know if I can do this, you know,

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Speaker 2: so or by the time it was a few months before,

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Speaker 2: you know, because you have you have to book it

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Speaker 2: in advance. So that's always the problem, you know, I

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Speaker 2: can book it now. But will I be okay? Then? Well,

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Speaker 2: I made sure that I was okay because that's the

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Speaker 2: way I am, and I don't let stuff get to

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Speaker 2: me too much, and my moments don't get me wrong.

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Speaker 2: But practicing and has my playing changed, I would say

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Speaker 2: to myself, Yes, but what I'm playing now I think

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Speaker 2: is almost better. It might not be as fast, but

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Speaker 2: it's less notes, more soul. And I just we started

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Speaker 2: rehearsing and I was just having the time of my life,

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Speaker 2: you know, So I thought, well, because it it gives

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Speaker 2: me so much enjoyment, I'm gonna whether I can play

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Speaker 2: like I could before or not. If I like what

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Speaker 2: I'm playing, it's okay. But when I get to the

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Speaker 2: point where it's like Kim and Pete, that's that's not good,

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Speaker 2: then I'll stay home. But right now, I still feel

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Speaker 2: that I've got uh at least this tour, these four

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Speaker 2: weeks in this in the spring, and I know it's

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Speaker 2: going to be great.

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Speaker 1: Okay, you live in Nashville. Do you live alone?

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Speaker 2: I live with a big black dog who's sleeping over

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Speaker 2: there right now, Bigsby. Yes, I do live alone.

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Speaker 3: I have.

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Speaker 2: Had a relationship recently that unfortunately broke up, but but

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Speaker 2: we both have our own house. I think the way

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Speaker 2: it used to be in relationships when you started to

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Speaker 2: get a little wise, was okay, well, if you're going

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Speaker 2: to live in the same house, at least two sinks

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Speaker 2: in the barroom. And then it got to a point

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Speaker 2: where at least two bathrooms, and now it's separate houses.

242
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Speaker 2: In the relationship last a lot longer. So that's where

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Speaker 2: I'm at. I don't think I could actually I'm not

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Speaker 2: sure I could actually cohabitate with anybody anymore.

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Speaker 1: But I.

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Speaker 2: Look forward to a you know, a relationship in the

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Speaker 2: near future.

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Speaker 1: Well, I guess I'm asking, since you have a progressive

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Speaker 1: disease and you might need aid help, do you feel

250
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Speaker 1: that being single leaves you at a loss.

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Speaker 2: I have a wonderful family and my daughter who lived

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Speaker 2: in Manhattan with her husband Sat Jade and Sam. They

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Speaker 2: got this wonderful small place up in Manhattan on the

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Speaker 2: east Upper East Side, and they were in Seventh Heaven

255
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Speaker 2: and then Jay got pregnant and she gave birth on

256
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Speaker 2: April the sixth, twenty twenty, in the absolute peak of

257
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Speaker 2: Manhattan's COVID, which, if you remember, it was the worst

258
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Speaker 2: place in the country, and only that morning did the

259
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Speaker 2: governor give partners or husbands or white whatever permission to

260
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Speaker 2: actually be in the birthing room while so she was

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Speaker 2: allowed to have her husband in there. Sam was allowed in,

262
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Speaker 2: but as soon as el was born, he had to leave.

263
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Speaker 2: And there wasn't a lot of help for Jay because

264
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Speaker 2: all the nurses were you nowhere in the hospital dealing

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Speaker 2: with what was going on and anyway, So as soon

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Speaker 2: as she got home and spent a couple of months

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Speaker 2: home in the apartment during still during COVID, I get

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Speaker 2: the call we're moving. I said, what, but you said

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Speaker 2: you'd never leave Manhattan. You're just Sam group was born

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Speaker 2: in Manhattan's yeah, now with the baby. I said, well,

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Speaker 2: where can you be moving to? She said, Nashville. I said,

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Speaker 2: oh my god, that's fantastic. I said, great, we'll get

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Speaker 2: your place around the corner. And we did. We've got

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Speaker 2: them a house around the corner. And so I see

275
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Speaker 2: my granddaughter and my daughter and her husband, the family.

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Speaker 2: I see them just about every day. And my daughter

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Speaker 2: works for me. Now. She left her job in Manhattan

278
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Speaker 2: and she's got a full time job with l obviously,

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Speaker 2: but she works part time for me and comes over

280
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Speaker 2: and helps me during the day. So I'm okay. At

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Speaker 2: some point, I probably we will need a nurse or

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Speaker 2: someone at night, you know, to to help me. But

283
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Speaker 2: as of the moment, no, I've I've got the family here,

284
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Speaker 2: so I'm I'm very lucky.

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Speaker 1: Okay, you lived in Cincinnati. How did you ultimately decide

286
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Speaker 1: to move to Nashville? And obviously you have physical issues

287
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Speaker 1: at this point, but to what degree did you interact

288
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Speaker 1: to the scene in Nashville as opposed to just being

289
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Speaker 1: Peter Freempt that I happened to live in Nashville.

290
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Speaker 2: Yes, we lived there because of family reasons. We were

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Speaker 2: living that's my previous wife. We were living in Cincinnati

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Speaker 2: during to due to family reasons. We'd lost granddad, so

293
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Speaker 2: our daughter Mia and Tina wanted to be close. I

294
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Speaker 2: knew it. I said, we're moving back. I got it.

295
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Speaker 2: It's it's the right thing to do. And I met

296
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Speaker 2: a lot of musicians in Cincinnati, went to clubs and

297
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Speaker 2: stuff like that. There's great music up there, a lot

298
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Speaker 2: of jazz and blues and R and B and stuff

299
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Speaker 2: like that, which was right up my alley. So but

300
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Speaker 2: and then at one point when we lost George Harrison,

301
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Speaker 2: which was November. I forget exactly the year.

302
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Speaker 1: I think it was two thousand and maybe nineteen ninety,

303
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Speaker 1: and I think it was one of those.

304
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Speaker 2: Right, And I had said that I wanted to do

305
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Speaker 2: a concert to raise money for local venues and things

306
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Speaker 2: like that for the community and do a free show

307
00:23:00,400 --> 00:23:05,760
Speaker 2: and have every good local band on and I'd be

308
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Speaker 2: the headliner. And so it was very very successful and

309
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Speaker 2: we raised a lot of money and that that the

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Speaker 2: night before I called the band members up and I said, look,

311
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Speaker 2: I think I would like to do a tribute to

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Speaker 2: George at this show and for the last number, can

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Speaker 2: you all listen to while my guitar gently weeps, And

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Speaker 2: we rehearsed it at the soundcheck, and we did it

315
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Speaker 2: that night, and the audience didn't shut up. I mean,

316
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Speaker 2: it went on and on and on and on and on.

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Speaker 2: It was so emotional because we only a couple of months.

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Speaker 2: This was in January, we'd lost George in November. I think,

319
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Speaker 2: so very emotional. But we've played that number every night

320
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Speaker 2: ever since as the last a kiss off, as it were,

321
00:24:02,480 --> 00:24:08,480
Speaker 2: saying goodbye to everybody. And yes, so Cincinnati was very

322
00:24:08,520 --> 00:24:11,480
Speaker 2: important in many ways. I mean, I had a wonderful

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Speaker 2: studio in my house in my basement. I recorded three

324
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Speaker 2: of my albums there. So yeah, it was. It was

325
00:24:19,720 --> 00:24:24,840
Speaker 2: very instrumental in my career at that point. But when

326
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Speaker 2: finally I we got divorced, I ended up with the

327
00:24:29,040 --> 00:24:33,320
Speaker 2: house and there I am in this wonderful house with

328
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Speaker 2: the studio in Cincinnati. But I'm living alone now, and

329
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Speaker 2: I thought, well, I'm going to just move back to Nashville.

330
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Speaker 2: So I said, we're all my museo friends are, and

331
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Speaker 2: and so that that's why I moved back down here.

332
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Speaker 2: And I didn't build a studio this time. Well this

333
00:24:54,359 --> 00:24:58,200
Speaker 2: is my music room, but I bought a studio because

334
00:24:58,200 --> 00:25:01,760
Speaker 2: at that time when I bought here, two thousand and

335
00:25:01,800 --> 00:25:07,120
Speaker 2: eight wasn't too far in the distance, and things had

336
00:25:07,280 --> 00:25:15,479
Speaker 2: plummeted obviously, so and studios, smaller studios were while they

337
00:25:15,480 --> 00:25:18,680
Speaker 2: weren't getting so much work because everybody's got pro tools

338
00:25:19,119 --> 00:25:22,320
Speaker 2: on their iPad, you know, in the bathroom, you know,

339
00:25:22,440 --> 00:25:29,879
Speaker 2: let alone the garage. And so someone said to me,

340
00:25:30,440 --> 00:25:32,120
Speaker 2: you should go. And I was looking for a place

341
00:25:32,160 --> 00:25:35,200
Speaker 2: to just dump my recording stuff in a room somewhere

342
00:25:35,200 --> 00:25:38,640
Speaker 2: in rent space, you know, And and so someone said

343
00:25:38,680 --> 00:25:41,199
Speaker 2: we should go and look at the studio. So I said, well,

344
00:25:41,240 --> 00:25:44,359
Speaker 2: I can't buy anything, you know, I just bought a

345
00:25:44,400 --> 00:25:50,440
Speaker 2: condo and so anyway, I went there and fantastic place,

346
00:25:50,520 --> 00:25:53,199
Speaker 2: you know, so and I thought, oh gosh, wouldn't this

347
00:25:53,280 --> 00:25:59,480
Speaker 2: be amazing? So I said, so, who's your business manager

348
00:25:59,520 --> 00:26:03,920
Speaker 2: to the owner and he said, Gary Haber. I said,

349
00:26:05,920 --> 00:26:09,560
Speaker 2: that's my business manager too. Maybe we can work something out.

350
00:26:09,760 --> 00:26:14,200
Speaker 2: So he needed something, I needed something, and I ended

351
00:26:14,280 --> 00:26:17,040
Speaker 2: up with the studio for a very fair price. And

352
00:26:17,080 --> 00:26:19,840
Speaker 2: I still have it now, and it's it's been improved,

353
00:26:19,880 --> 00:26:23,240
Speaker 2: and lots of people recording there now so apart from me,

354
00:26:23,440 --> 00:26:28,080
Speaker 2: so it's it's phenomenal. So I'm I'm a studio owner

355
00:26:28,119 --> 00:26:28,879
Speaker 2: in Nashville.

356
00:26:30,880 --> 00:26:36,080
Speaker 1: Okay, you talk about getting divorced A you're a rock star,

357
00:26:36,760 --> 00:26:40,439
Speaker 1: be you've married three times. What can you tell us

358
00:26:40,480 --> 00:26:42,560
Speaker 1: about relationships?

359
00:26:46,200 --> 00:26:56,159
Speaker 2: Oh gosh, Well, I'm I'm a person who jumps into things,

360
00:26:58,119 --> 00:27:02,359
Speaker 2: probably ahead of the time. I should and I should

361
00:27:02,400 --> 00:27:07,320
Speaker 2: think more about certain things to do with a relationship.

362
00:27:08,119 --> 00:27:14,840
Speaker 2: And I think for me, I had been living with

363
00:27:14,880 --> 00:27:19,679
Speaker 2: my parents. I left when I was sixteen seventeen. I

364
00:27:19,760 --> 00:27:23,720
Speaker 2: moved out with a lot of screaming going on from

365
00:27:23,720 --> 00:27:26,600
Speaker 2: my dad and mom. I moved out with and moved

366
00:27:26,600 --> 00:27:31,360
Speaker 2: into a flat in London with my girlfriend, who then

367
00:27:31,400 --> 00:27:37,679
Speaker 2: became my wife, and we are still the best of

368
00:27:37,720 --> 00:27:42,359
Speaker 2: friends and lifelong friends. Maybe we should have met later on,

369
00:27:44,240 --> 00:27:48,960
Speaker 2: but I think that. And then yeah, my point is,

370
00:27:49,440 --> 00:27:54,919
Speaker 2: so I go straight from living at home to living

371
00:27:55,080 --> 00:28:00,680
Speaker 2: with my girlfriend get married. Then that ends. I moved

372
00:28:00,680 --> 00:28:05,000
Speaker 2: straight in with another girlfriend. We don't get married, thank god,

373
00:28:05,600 --> 00:28:13,000
Speaker 2: and then that ends viciously. And then I was alone

374
00:28:13,040 --> 00:28:20,520
Speaker 2: for a while and let's see, yes, then met somebody

375
00:28:20,560 --> 00:28:24,240
Speaker 2: else very quickly and moved in with them, and they

376
00:28:24,280 --> 00:28:27,879
Speaker 2: moved in with me, and we started having children. And

377
00:28:29,800 --> 00:28:33,960
Speaker 2: my wife, Barbara, who is the second one, we're still

378
00:28:34,320 --> 00:28:37,760
Speaker 2: incredibly good friends. And she's moved to Nashville now too,

379
00:28:37,880 --> 00:28:47,080
Speaker 2: so she's so. But as far as I needed, I

380
00:28:47,200 --> 00:28:53,440
Speaker 2: never because I was so obsessed with music and I

381
00:28:53,680 --> 00:28:59,240
Speaker 2: just needed a relationship to get into, to have ground,

382
00:28:59,800 --> 00:29:02,960
Speaker 2: you know, to have a basis for living, I think,

383
00:29:03,360 --> 00:29:10,040
Speaker 2: and and I didn't really I've never thought about is

384
00:29:10,080 --> 00:29:13,600
Speaker 2: this right for me or if you know. It's weird

385
00:29:13,640 --> 00:29:19,440
Speaker 2: to say, but it's it's like I took things. I

386
00:29:19,480 --> 00:29:25,160
Speaker 2: didn't take things seriously enough, I think, and if i'd

387
00:29:25,160 --> 00:29:31,840
Speaker 2: have played the field like most people do, most guys

388
00:29:31,920 --> 00:29:35,960
Speaker 2: or girls do when they first leave home and get

389
00:29:35,960 --> 00:29:38,880
Speaker 2: their they get their apartment on their own, and then

390
00:29:38,920 --> 00:29:41,680
Speaker 2: they play the field. And then hopefully I didn't do that.

391
00:29:41,760 --> 00:29:45,680
Speaker 2: I just I short circuited all that and just would

392
00:29:45,800 --> 00:29:48,440
Speaker 2: just move straight in, you know. And I think that's

393
00:29:48,480 --> 00:29:51,040
Speaker 2: where I made my mistakes other you know, I can't

394
00:29:51,040 --> 00:29:53,840
Speaker 2: say for other people, you know, but that for me.

395
00:29:54,200 --> 00:30:00,920
Speaker 2: Wash yeah, impulsive, Yes I am.

396
00:30:01,920 --> 00:30:05,520
Speaker 1: How did these relationships end? Uh?

397
00:30:08,520 --> 00:30:10,480
Speaker 2: Well, that's rather personal, Bob.

398
00:30:11,800 --> 00:30:14,320
Speaker 1: Well, I guess I wasn't looking for it. Let me

399
00:30:14,440 --> 00:30:20,160
Speaker 1: just go halfway. Everyone says it's equal, but it never is.

400
00:30:21,080 --> 00:30:23,880
Speaker 1: You have multiple relationships. Are you the one who leaves?

401
00:30:23,920 --> 00:30:26,840
Speaker 1: Are they the one who leaves? Or every relationship is different?

402
00:30:28,080 --> 00:30:34,200
Speaker 2: Oh, every relationship is different. I think I've ended and

403
00:30:34,280 --> 00:30:38,800
Speaker 2: I've been ended. Okay, I've played both sides of the fence,

404
00:30:38,880 --> 00:30:43,720
Speaker 2: as it were, or the ending. So I've experienced both,

405
00:30:43,920 --> 00:30:47,560
Speaker 2: and neither one is what I would call enjoyable.

406
00:30:47,680 --> 00:30:56,760
Speaker 4: So okay, you have this incredible upbeat attitude, and I

407
00:30:56,800 --> 00:31:00,440
Speaker 4: have only known you subsequent to your incredible success.

408
00:31:01,000 --> 00:31:03,400
Speaker 1: Were you always this bright? Sunny guy.

409
00:31:05,520 --> 00:31:19,680
Speaker 2: No, I was very introverted and insecure all that stuff. Well,

410
00:31:19,720 --> 00:31:22,680
Speaker 2: I'm probably still insecure, but not to the group degree

411
00:31:22,720 --> 00:31:26,280
Speaker 2: I was when I was seventeen eighteen. Yeah, I went

412
00:31:26,320 --> 00:31:32,160
Speaker 2: from being as a child, you know, I was, I

413
00:31:32,240 --> 00:31:36,120
Speaker 2: was a normal child, you know, crazy, and then when

414
00:31:36,120 --> 00:31:40,200
Speaker 2: it got to twelve thirteen, that that time period where

415
00:31:40,320 --> 00:31:44,840
Speaker 2: music was becoming all important to me, I kind of

416
00:31:47,760 --> 00:31:54,080
Speaker 2: became antisocial. I think because I was I'd much prefer

417
00:31:54,920 --> 00:31:58,920
Speaker 2: to be in my room learning another Eric Clapton solo.

418
00:31:59,040 --> 00:32:01,280
Speaker 2: Then I would be to go out and see a

419
00:32:01,320 --> 00:32:05,640
Speaker 2: movie with my friends or do whatever. So I kind

420
00:32:05,680 --> 00:32:09,400
Speaker 2: of cut myself off from people that way. And the

421
00:32:09,440 --> 00:32:14,240
Speaker 2: only person at that time that I saw well about

422
00:32:14,280 --> 00:32:18,360
Speaker 2: when I was fifteen or sixteen was Mary, was my

423
00:32:18,400 --> 00:32:22,080
Speaker 2: first ended up being my first wife, and she was

424
00:32:22,200 --> 00:32:26,160
Speaker 2: very instrumental in helping me at that time in many ways,

425
00:32:26,320 --> 00:32:27,840
Speaker 2: so with my career.

426
00:32:28,560 --> 00:32:34,320
Speaker 1: And but yeah, well I guess I'm saying, when did

427
00:32:34,400 --> 00:32:39,560
Speaker 1: things turn such that you became relative to someone as

428
00:32:39,600 --> 00:32:45,080
Speaker 1: successful as yourself, very easy going, have a laugh at yourself.

429
00:32:45,240 --> 00:32:46,280
Speaker 1: When did that happen?

430
00:32:53,480 --> 00:32:56,200
Speaker 2: Well, I've always been a little bit like that, But

431
00:32:56,320 --> 00:33:02,520
Speaker 2: I think when I think being successful with the first band,

432
00:33:02,560 --> 00:33:07,920
Speaker 2: The Herd, gave me confidence in myself that I've achieved something,

433
00:33:08,560 --> 00:33:13,040
Speaker 2: you know, and that it's not this a wonder. It's

434
00:33:13,120 --> 00:33:18,480
Speaker 2: not a wonder anymore. It's I did. I did put

435
00:33:18,480 --> 00:33:21,320
Speaker 2: a record out with this band, and and we've had

436
00:33:21,400 --> 00:33:27,080
Speaker 2: three big hits. You know. I'm now in a successful band.

437
00:33:27,200 --> 00:33:32,200
Speaker 2: This is I never imagined that. I never I never

438
00:33:32,280 --> 00:33:35,160
Speaker 2: knew it would happen. I imagined it, but I never knew

439
00:33:35,200 --> 00:33:37,960
Speaker 2: it would happen. And when it happened, I think it

440
00:33:38,120 --> 00:33:42,960
Speaker 2: just opened me up and gave me that when you

441
00:33:43,040 --> 00:33:45,640
Speaker 2: go out on stage and you get like so many

442
00:33:45,680 --> 00:33:49,040
Speaker 2: thousand people clap in and shout shouting your name, it

443
00:33:49,080 --> 00:33:52,080
Speaker 2: gives you a nice feeling, you know. And that started

444
00:33:52,120 --> 00:33:57,800
Speaker 2: happening in The Herd and continued, you know, with Humble

445
00:33:57,840 --> 00:34:03,320
Speaker 2: Pie and so and by the time I was a

446
00:34:03,360 --> 00:34:08,080
Speaker 2: solo artist, I kind of went back. I had because

447
00:34:08,080 --> 00:34:14,080
Speaker 2: I'd spent two to three years with Humble Pie, leaving

448
00:34:14,160 --> 00:34:17,439
Speaker 2: before the live album Humble Pie's live album came out

449
00:34:18,520 --> 00:34:20,840
Speaker 2: was everyone thought I was crazy, but it was the

450
00:34:20,880 --> 00:34:24,120
Speaker 2: right time for me to leave. Then after mixing that

451
00:34:25,520 --> 00:34:28,680
Speaker 2: album with Eddie Kramer, I left and then I knew

452
00:34:28,719 --> 00:34:32,400
Speaker 2: it was going to be their first really successful album.

453
00:34:32,400 --> 00:34:35,359
Speaker 2: We just knew it was. It was so evident that

454
00:34:35,560 --> 00:34:39,440
Speaker 2: we were giving the audience what they wanted, which was

455
00:34:39,480 --> 00:34:46,920
Speaker 2: our live show. And so yeah, I think then I

456
00:34:47,200 --> 00:34:50,160
Speaker 2: got a little bit, went back into my shell a

457
00:34:50,200 --> 00:34:54,880
Speaker 2: little bit, and and had to start at the bottom

458
00:34:55,239 --> 00:34:57,960
Speaker 2: of the ladder again. Okay, I was a couple of

459
00:34:58,040 --> 00:35:04,399
Speaker 2: rungs up, but only couple. And then you know, it

460
00:35:04,480 --> 00:35:10,359
Speaker 2: wasn't for another four to five years before well four

461
00:35:10,440 --> 00:35:13,920
Speaker 2: years and the Frampton album came out, which had shown

462
00:35:13,920 --> 00:35:15,920
Speaker 2: me the way and Baby, I'll have your Way studio

463
00:35:16,080 --> 00:35:20,680
Speaker 2: versions on it, and that all of a sudden took

464
00:35:20,719 --> 00:35:26,320
Speaker 2: off regionally now you know, and I know what regional breakout,

465
00:35:30,120 --> 00:35:34,759
Speaker 2: but nobody else does anymore. But we were huge. I

466
00:35:34,960 --> 00:35:42,480
Speaker 2: was huge in San Francisco first and foremost. For some reason, Kasan,

467
00:35:43,080 --> 00:35:48,000
Speaker 2: the aor top station in the Bay Area, took to

468
00:35:48,120 --> 00:35:53,000
Speaker 2: the Frampton album like you wouldn't believe. And I was

469
00:35:53,200 --> 00:35:55,600
Speaker 2: all of a sudden, I was on the air like

470
00:35:56,200 --> 00:35:58,839
Speaker 2: twenty four to seven in San Francisco, a little bit

471
00:35:59,239 --> 00:36:03,279
Speaker 2: less in New US and probably the same as New

472
00:36:03,360 --> 00:36:08,400
Speaker 2: York in in Detroit. Those three places were I was

473
00:36:08,400 --> 00:36:13,560
Speaker 2: having a regional breakout. It's not a disease, folks, It's

474
00:36:13,680 --> 00:36:18,480
Speaker 2: it's the fact that all of a sudden, radio stations

475
00:36:18,520 --> 00:36:22,640
Speaker 2: weren't programmed by one person for the whole country or

476
00:36:22,680 --> 00:36:27,720
Speaker 2: a company, you know, they were each area, Each region

477
00:36:28,080 --> 00:36:31,680
Speaker 2: was in charge of its own playlist, which meant that

478
00:36:31,800 --> 00:36:37,279
Speaker 2: you could have a regional breakout in San Francisco and

479
00:36:37,400 --> 00:36:40,279
Speaker 2: in New York. They wouldn't know anything about you, you know,

480
00:36:40,360 --> 00:36:43,040
Speaker 2: but you could be huge and be headlining in San

481
00:36:43,040 --> 00:36:46,480
Speaker 2: Francisco and opening the bill in in New York or

482
00:36:47,280 --> 00:36:55,040
Speaker 2: Philadelphia wherever. And it was. It was very interesting that

483
00:36:55,040 --> 00:36:58,359
Speaker 2: that whole thing. And I think when we went up

484
00:36:59,200 --> 00:37:07,320
Speaker 2: to seventy five to play Winterland, which was to promote

485
00:37:07,360 --> 00:37:12,680
Speaker 2: the Frampton album, it wasn't we decided that we would

486
00:37:12,840 --> 00:37:18,759
Speaker 2: record and do possibly do a live album because I

487
00:37:18,920 --> 00:37:22,680
Speaker 2: was following the template of Humble Pie. Humble Pie, we'd

488
00:37:22,680 --> 00:37:28,600
Speaker 2: had four solo albums and then everyone said, Jerry Mors

489
00:37:28,920 --> 00:37:31,960
Speaker 2: de'anthony the band, we also we should do a live album,

490
00:37:32,320 --> 00:37:37,520
Speaker 2: so we did. And I always think of of Rock

491
00:37:37,600 --> 00:37:41,240
Speaker 2: on the album before that as like my Frampton album,

492
00:37:41,640 --> 00:37:45,880
Speaker 2: and it was that Rock on Album also was breaking

493
00:37:45,920 --> 00:37:49,640
Speaker 2: out regionally, and so we knew that we could do

494
00:37:49,800 --> 00:37:55,799
Speaker 2: a live album and it's good. There was a good

495
00:37:55,920 --> 00:37:58,640
Speaker 2: chance it was going to be successful. How successful we

496
00:37:58,640 --> 00:38:07,399
Speaker 2: didn't know. And uh So at that point, uh I've left,

497
00:38:08,200 --> 00:38:12,120
Speaker 2: it becomes a huge hit and I'm on back on

498
00:38:12,160 --> 00:38:16,560
Speaker 2: the back, on the bottom rung again. But it took me,

499
00:38:17,520 --> 00:38:22,480
Speaker 2: uh the same amount of time it took uh two

500
00:38:24,120 --> 00:38:27,400
Speaker 2: to write those songs that are on the live record

501
00:38:27,600 --> 00:38:30,879
Speaker 2: was a six year period. One year of humble Pie

502
00:38:30,920 --> 00:38:35,160
Speaker 2: for shine On and then the rest are all cherry

503
00:38:35,160 --> 00:38:40,080
Speaker 2: picking from my four solo records and and then a

504
00:38:40,120 --> 00:38:48,879
Speaker 2: cover of the Stones. And so at that point when

505
00:38:48,920 --> 00:38:51,759
Speaker 2: I when we walked out on stage for the very

506
00:38:51,840 --> 00:39:00,560
Speaker 2: first time headlining in a major city like San Francisco Interland,

507
00:39:00,960 --> 00:39:04,439
Speaker 2: there's like eight thousand people there where you can hear

508
00:39:04,520 --> 00:39:07,399
Speaker 2: on the album what it sounded like, you know, and

509
00:39:08,680 --> 00:39:13,800
Speaker 2: we were taken aback by the reaction. And I think

510
00:39:13,840 --> 00:39:18,839
Speaker 2: that through humble Pie, the herd, humble Pie and now

511
00:39:18,960 --> 00:39:24,520
Speaker 2: this acceptance, I think it definitely gives you more confidence,

512
00:39:25,000 --> 00:39:27,279
Speaker 2: but it also worries you, what are you going to

513
00:39:27,360 --> 00:39:34,279
Speaker 2: do next? So but yeah, I think that I just

514
00:39:34,400 --> 00:39:38,520
Speaker 2: grew up and got more confident along the way. And

515
00:39:38,600 --> 00:39:46,680
Speaker 2: I actually think the downs, the pitfalls were more important

516
00:39:46,880 --> 00:39:54,319
Speaker 2: than the successes, because I, you know, talking about comes

517
00:39:54,360 --> 00:39:59,719
Speaker 2: Alive inasmuch as you go down to from being the

518
00:39:59,760 --> 00:40:04,760
Speaker 2: bigiggest thing in the world for eighteen months two years

519
00:40:05,200 --> 00:40:12,240
Speaker 2: to who wein, you know, by nineteen eighty one or something.

520
00:40:12,360 --> 00:40:16,040
Speaker 2: We're talking about. Seventy six is when the album came out,

521
00:40:16,280 --> 00:40:22,040
Speaker 2: So seventy nine eighty eighty one, it was deteriorating. The

522
00:40:22,160 --> 00:40:25,160
Speaker 2: music I was putting out after that wasn't as good.

523
00:40:25,800 --> 00:40:28,439
Speaker 2: I was being rushed into recording and stuff like that.

524
00:40:28,960 --> 00:40:35,120
Speaker 2: And so I think that my character building time was

525
00:40:35,880 --> 00:40:42,160
Speaker 2: mostly the time it took me from the early eighties

526
00:40:43,640 --> 00:40:50,960
Speaker 2: to the two thousands to come back and to get

527
00:40:50,960 --> 00:40:54,680
Speaker 2: a Grammy for doing for not singing, for playing guitar.

528
00:40:55,040 --> 00:40:58,600
Speaker 2: You know, in two thousand and six I got the

529
00:40:59,680 --> 00:41:04,120
Speaker 2: ground me for Best Pop Instrumental Album, not just the track,

530
00:41:04,200 --> 00:41:10,200
Speaker 2: the whole album, which again stuff like that. I never

531
00:41:10,280 --> 00:41:14,399
Speaker 2: thought that there was a possibility again after the Big

532
00:41:14,480 --> 00:41:17,880
Speaker 2: four of anything like that. And I remember as I

533
00:41:18,000 --> 00:41:24,200
Speaker 2: was walking out, numb with this big shit eating grin

534
00:41:24,280 --> 00:41:27,200
Speaker 2: on my face, thinking what the hell just happened? I'm

535
00:41:27,280 --> 00:41:35,319
Speaker 2: holding a Grammy and I see this guitar player. No,

536
00:41:35,800 --> 00:41:37,799
Speaker 2: I didn't know it was guitar player. I saw these

537
00:41:37,840 --> 00:41:41,440
Speaker 2: two people, this guy and this lady running towards me,

538
00:41:42,600 --> 00:41:46,680
Speaker 2: and I suddenly realized it's Larry Carlton and his wife.

539
00:41:47,520 --> 00:41:51,360
Speaker 2: And he just launches himself on me and gives me

540
00:41:51,440 --> 00:41:54,040
Speaker 2: the biggest hug because I just beat him out in

541
00:41:54,080 --> 00:41:59,399
Speaker 2: the category too. And it doesn't get any better or

542
00:41:59,640 --> 00:42:03,799
Speaker 2: make you feel like King Kong when the guitarists guitarist

543
00:42:04,239 --> 00:42:07,239
Speaker 2: who's played on all those Steely Dan records that we

544
00:42:07,400 --> 00:42:10,400
Speaker 2: all love and wonder how he did those solos, comes

545
00:42:10,440 --> 00:42:13,560
Speaker 2: and gives you a big hug that I think was

546
00:42:13,680 --> 00:42:21,919
Speaker 2: almost more important to me than the Grammy. And from

547
00:42:21,920 --> 00:42:28,880
Speaker 2: that moment on, I've always been this happy, go lucky guy.

548
00:42:33,600 --> 00:42:37,800
Speaker 1: Just to stay on this one point for years now.

549
00:42:39,000 --> 00:42:41,879
Speaker 1: You know you mentioned when you're on stage as part

550
00:42:41,880 --> 00:42:44,799
Speaker 1: of a song, you change the lyric I've lost my hair.

551
00:42:45,320 --> 00:42:49,520
Speaker 1: You poke fun at yourself, whereas your contemporary some household names.

552
00:42:50,080 --> 00:42:52,440
Speaker 1: Some are wearing wigs even though people don't know it.

553
00:42:52,520 --> 00:42:53,040
Speaker 2: I know it.

554
00:42:53,920 --> 00:42:58,239
Speaker 1: Others have gotten plastic surgery. You were also known for

555
00:42:58,440 --> 00:43:02,160
Speaker 1: your hair. Is that just your personality? To make fun

556
00:43:02,160 --> 00:43:03,640
Speaker 1: of yourself or how did you own that?

557
00:43:05,040 --> 00:43:08,520
Speaker 2: Oh? I think it comes from my parents and our family.

558
00:43:08,880 --> 00:43:12,359
Speaker 2: We never took ourselves too seriously, and we were all

559
00:43:12,600 --> 00:43:17,319
Speaker 2: always making fun of each other and of ourselves, you know.

560
00:43:17,640 --> 00:43:20,640
Speaker 2: My father was like that, you know, he would he

561
00:43:20,680 --> 00:43:23,200
Speaker 2: would make himself the butt of the joke, you know.

562
00:43:23,719 --> 00:43:27,160
Speaker 2: And my mother too, So we had great humor in

563
00:43:27,200 --> 00:43:34,439
Speaker 2: our household. And my mother is the of the two

564
00:43:34,480 --> 00:43:37,640
Speaker 2: of them. My mother was the one that I think

565
00:43:37,680 --> 00:43:45,680
Speaker 2: I got the eternal optimism from. And I remember I

566
00:43:45,800 --> 00:43:49,280
Speaker 2: was being forced in to do this record I'm Innew

567
00:43:50,120 --> 00:43:53,120
Speaker 2: which shouldn't have come out for another four years as

568
00:43:53,120 --> 00:43:57,279
Speaker 2: far as I'm concerned. But anyway, and I said, oh,

569
00:43:58,760 --> 00:44:01,520
Speaker 2: and they were. They were staying my parents were staying

570
00:44:01,520 --> 00:44:03,400
Speaker 2: with me at the time in New York up in Westchester,

571
00:44:03,480 --> 00:44:07,160
Speaker 2: and I was getting ready to do I was starting

572
00:44:07,160 --> 00:44:10,440
Speaker 2: to record an Electric Lady, I'm in You. And I said, gosh,

573
00:44:10,520 --> 00:44:15,400
Speaker 2: I wish I could get Stevie Wonder to, you know,

574
00:44:16,239 --> 00:44:19,480
Speaker 2: play a harmonica solo for me and my mom just

575
00:44:19,640 --> 00:44:25,680
Speaker 2: in SA call him up. I said, I can't. Just yes,

576
00:44:25,719 --> 00:44:30,160
Speaker 2: you can, I said, well, how do I call? Call Motown?

577
00:44:31,600 --> 00:44:36,080
Speaker 2: They'll know who you are now, Peter. So I called

578
00:44:36,160 --> 00:44:41,880
Speaker 2: up Motown and lo and behold. A few minutes later,

579
00:44:42,160 --> 00:44:49,920
Speaker 2: I get a call from Stevie Wonder and I'm I'm speechless,

580
00:44:50,080 --> 00:44:53,919
Speaker 2: but I'm trying very hard to converse with him. And

581
00:44:54,960 --> 00:44:56,920
Speaker 2: I said, he said, what can I do for you? Know?

582
00:44:57,360 --> 00:45:06,080
Speaker 2: So congratulations, Oh thank you, Stevie wondered. And and so

583
00:45:06,880 --> 00:45:10,200
Speaker 2: I said, do you think there's any possibility? I mean,

584
00:45:10,719 --> 00:45:15,600
Speaker 2: I think you understand what a big fan I am

585
00:45:15,920 --> 00:45:18,439
Speaker 2: and we all are of you. Would you ever think

586
00:45:18,440 --> 00:45:22,160
Speaker 2: about coming and doing some harmonica for me? And he

587
00:45:22,200 --> 00:45:23,959
Speaker 2: said when do you want me there?

588
00:45:24,360 --> 00:45:24,880
Speaker 1: Oh?

589
00:45:25,400 --> 00:45:31,560
Speaker 2: Gosh? So and then there is there's a human story

590
00:45:31,920 --> 00:45:39,080
Speaker 2: out of out of that. And my birthday was about

591
00:45:39,120 --> 00:45:42,560
Speaker 2: after that. He came to the session played Mick Jagger

592
00:45:42,600 --> 00:45:44,319
Speaker 2: was in the room while he was doing it. Was

593
00:45:44,440 --> 00:45:47,799
Speaker 2: it was just very heavy stuff, you know, and I'm

594
00:45:47,880 --> 00:45:52,200
Speaker 2: jumping up and down and it's just all my birthdays

595
00:45:52,200 --> 00:45:56,520
Speaker 2: and Christmases came at once. Seeing Stevie Wonder playing harmonica

596
00:45:56,560 --> 00:45:58,319
Speaker 2: out there in the studio for me, you know, it

597
00:45:58,400 --> 00:46:02,000
Speaker 2: was wonderful. And so anyway, my birthday was a couple

598
00:46:02,000 --> 00:46:04,919
Speaker 2: of weeks later, and some people brought me a cake

599
00:46:05,000 --> 00:46:09,080
Speaker 2: and stuff, and then we're trying to record and then

600
00:46:09,120 --> 00:46:15,600
Speaker 2: the door opens and I see Calvin Stevie's brother, and I, oh, no.

601
00:46:16,360 --> 00:46:21,640
Speaker 2: Stevie came to my birthday party and brought me a Nakamichi,

602
00:46:22,760 --> 00:46:26,920
Speaker 2: the high end cassette player, you know, stereo, big big thing.

603
00:46:27,040 --> 00:46:29,960
Speaker 2: It was huge, but it was like really pro and

604
00:46:30,080 --> 00:46:33,760
Speaker 2: these headphones that had microphones in them, so you could

605
00:46:33,960 --> 00:46:36,919
Speaker 2: have the headphones plug it into the Nakamichi and you'd

606
00:46:36,960 --> 00:46:39,200
Speaker 2: hear you you could record what you were playing, you know.

607
00:46:39,840 --> 00:46:44,640
Speaker 2: So I couldn't believe that. And we had some champagne

608
00:46:44,640 --> 00:46:46,880
Speaker 2: going around and I asked him, would you sing some backup?

609
00:46:46,920 --> 00:46:50,279
Speaker 2: He said, I'm too drunk now, So that was I

610
00:46:50,320 --> 00:46:53,960
Speaker 2: didn't get him to sing. But but anyway, and then

611
00:46:56,440 --> 00:47:00,560
Speaker 2: the story is I had a horrible car crash in

612
00:47:00,680 --> 00:47:08,680
Speaker 2: nineteen seventy seven. All right, I'm not sure now, wow,

613
00:47:08,880 --> 00:47:11,920
Speaker 2: I usually know that right off. But it was July second,

614
00:47:12,760 --> 00:47:15,759
Speaker 2: seventy seven or seventy eight, and I was in the

615
00:47:15,760 --> 00:47:20,160
Speaker 2: Bahamas and I was broken. I was a broken mess.

616
00:47:20,560 --> 00:47:23,800
Speaker 2: And they sent a plane down for me, my doctor

617
00:47:23,840 --> 00:47:27,319
Speaker 2: from New York and my manager came put me in

618
00:47:27,320 --> 00:47:30,640
Speaker 2: a lear jet took me back to Lennox Hill and

619
00:47:32,080 --> 00:47:37,280
Speaker 2: they started to mend me, you know. And so it's

620
00:47:37,360 --> 00:47:41,720
Speaker 2: I have a private nurse at night just in case,

621
00:47:41,960 --> 00:47:46,640
Speaker 2: and two guards outside my door, who one of them

622
00:47:46,719 --> 00:47:50,279
Speaker 2: used to take my mother. My mother stayed with me too,

623
00:47:50,320 --> 00:47:53,720
Speaker 2: which was wonderful, and she was staying at the hotel

624
00:47:54,239 --> 00:47:57,239
Speaker 2: right down the street, so he would take her home

625
00:47:57,280 --> 00:48:02,680
Speaker 2: every night at night. And anyway, and so this nurse,

626
00:48:02,719 --> 00:48:07,040
Speaker 2: my nurse comes in and said, mister Frampton, you have

627
00:48:07,080 --> 00:48:09,520
Speaker 2: a phone call. I said, what time is it. She

628
00:48:09,600 --> 00:48:13,319
Speaker 2: said it's three thirty am, mister Frampton. Uh, you don't

629
00:48:13,320 --> 00:48:15,239
Speaker 2: want to take this to you. I said, well, who

630
00:48:15,320 --> 00:48:24,120
Speaker 2: is it? And she said it's a mister wonder So

631
00:48:24,280 --> 00:48:28,000
Speaker 2: he'd gone to all the trouble to find out what

632
00:48:28,280 --> 00:48:33,120
Speaker 2: hospital I'm in and actually get to my floor where

633
00:48:33,160 --> 00:48:35,920
Speaker 2: the nurses so they brought you know, they plugged me

634
00:48:35,960 --> 00:48:41,040
Speaker 2: in and everything, and it's Stevie and he said, man,

635
00:48:41,120 --> 00:48:43,319
Speaker 2: I'm so sorry to hear about Hey. I just called

636
00:48:43,320 --> 00:48:46,960
Speaker 2: you up to cheer you up, man. And and what

637
00:48:47,040 --> 00:48:49,960
Speaker 2: he then did was he was either in the studio

638
00:48:50,040 --> 00:48:52,359
Speaker 2: or in his music room at home, and he said,

639
00:48:52,360 --> 00:48:55,000
Speaker 2: I've just recorded these three tracks, but I haven't put

640
00:48:55,040 --> 00:48:58,160
Speaker 2: the vocal on yet. You want to hear them? What

641
00:48:58,200 --> 00:48:59,799
Speaker 2: are you going to say?

642
00:49:00,120 --> 00:49:00,400
Speaker 1: Say no?

643
00:49:01,760 --> 00:49:05,480
Speaker 2: So he's singing into the phone with these back in

644
00:49:05,600 --> 00:49:10,680
Speaker 2: tracks going, and to this day I have never heard

645
00:49:11,080 --> 00:49:16,759
Speaker 2: those three tracks. They are still in the archives, and

646
00:49:16,840 --> 00:49:21,759
Speaker 2: they were, of course unbelievable, especially when you're getting a

647
00:49:21,840 --> 00:49:27,080
Speaker 2: live vocal from from the West Coast at three point

648
00:49:27,080 --> 00:49:31,360
Speaker 2: thirty in the morning in New York. And so it

649
00:49:31,400 --> 00:49:34,200
Speaker 2: doesn't life doesn't get better than that. So it's very

650
00:49:35,440 --> 00:49:38,760
Speaker 2: it's very hard for me to take things too seriously

651
00:49:38,800 --> 00:49:40,200
Speaker 2: when stuff like that happens.

652
00:49:40,239 --> 00:49:43,040
Speaker 1: You know, let's go back to the double live album

653
00:49:43,160 --> 00:49:46,840
Speaker 1: seventy six. You know, there are a lot of rumors

654
00:49:47,440 --> 00:49:51,200
Speaker 1: that not all the tracks were recorded where they said

655
00:49:51,320 --> 00:49:54,480
Speaker 1: they were. That was an era, you know, in nineteen

656
00:49:54,560 --> 00:49:57,399
Speaker 1: sixty eight, Big Brother they record a live album, it's

657
00:49:57,480 --> 00:50:01,000
Speaker 1: unusable and they ultimately create a live album of the studio,

658
00:50:01,680 --> 00:50:05,759
Speaker 1: that double live album. To what degree was it's swedened

659
00:50:05,760 --> 00:50:07,560
Speaker 1: in the studio changed? If it all?

660
00:50:08,560 --> 00:50:14,440
Speaker 2: Okay? I made a rule that if it made it

661
00:50:14,480 --> 00:50:21,319
Speaker 2: to the truck, we would not replace it. If it

662
00:50:21,440 --> 00:50:25,799
Speaker 2: didn't make it to the truck for whatever reason, we

663
00:50:25,840 --> 00:50:28,520
Speaker 2: would have to put it on because it wasn't there.

664
00:50:28,719 --> 00:50:35,440
Speaker 2: So the piano on Go to the Sun was, you know, crackling.

665
00:50:35,560 --> 00:50:39,040
Speaker 2: It was intermittent all the way through. So Bob Mayo

666
00:50:40,560 --> 00:50:45,600
Speaker 2: had to go into Electric Lady, and I don't know

667
00:50:45,640 --> 00:50:49,040
Speaker 2: how he did it, but he had to play exactly

668
00:50:49,080 --> 00:50:52,960
Speaker 2: what he played live, you know, and redid that okay.

669
00:50:53,239 --> 00:50:57,640
Speaker 2: On Show Me the Way is the only time I

670
00:50:57,800 --> 00:51:02,440
Speaker 2: used a different amplifier for my guitar, and but they

671
00:51:02,480 --> 00:51:05,680
Speaker 2: forgot to move the microphone to the other amplifier because

672
00:51:05,680 --> 00:51:08,960
Speaker 2: they didn't have that many mics those days. So my

673
00:51:09,200 --> 00:51:12,080
Speaker 2: rhythm guitar on Show Me the Way had to be

674
00:51:12,160 --> 00:51:17,680
Speaker 2: replaced because it didn't exist. Same thing with the acoustic

675
00:51:19,640 --> 00:51:23,680
Speaker 2: Baby Out of Your Way, it was intermittent again, crackling.

676
00:51:23,920 --> 00:51:34,880
Speaker 2: So that's about it. Anything anything else. You can't replace

677
00:51:35,000 --> 00:51:41,720
Speaker 2: lead vocals, even though I might have replaced a part

678
00:51:41,880 --> 00:51:46,319
Speaker 2: of Something's Happening vocal the very beginning because I was

679
00:51:46,480 --> 00:51:53,200
Speaker 2: the clemped, but that was it. But anything else that

680
00:51:53,320 --> 00:51:56,640
Speaker 2: didn't make it to tape we left. You can't redoce

681
00:51:56,760 --> 00:51:59,960
Speaker 2: solos because you wouldn't be able to have or vocals

682
00:52:00,160 --> 00:52:02,719
Speaker 2: because you wouldn't be able to have the audience up

683
00:52:02,760 --> 00:52:05,120
Speaker 2: that loud, you'd hear it, you'd hear the other track.

684
00:52:05,560 --> 00:52:10,759
Speaker 2: So I would say ninety seven ninety eight percent of

685
00:52:10,800 --> 00:52:16,240
Speaker 2: Frampton Comes Alive is absolutely live. And there are three

686
00:52:16,320 --> 00:52:23,240
Speaker 2: places where I'm sorry, four places where stuff came from.

687
00:52:23,719 --> 00:52:28,200
Speaker 2: The bulk of the show comes from Winterland, the acoustic

688
00:52:28,480 --> 00:52:33,080
Speaker 2: section because it was a slightly better acoustics for the

689
00:52:33,120 --> 00:52:39,759
Speaker 2: acoustics in Marine Civic Center. So those three songs, those

690
00:52:39,760 --> 00:52:44,920
Speaker 2: three songs came from Marin. We went back mixed a

691
00:52:44,960 --> 00:52:49,840
Speaker 2: single live album. Then Jerry Moss, the m of A

692
00:52:49,960 --> 00:52:55,160
Speaker 2: and M came and listened to the single album and

693
00:52:55,200 --> 00:52:57,360
Speaker 2: he just said, oh my god, he said, where's the rest?

694
00:52:57,560 --> 00:53:00,480
Speaker 2: We said, what do you mean the rest? Said, well,

695
00:53:00,880 --> 00:53:04,600
Speaker 2: we didn't want to do a double album because I

696
00:53:04,640 --> 00:53:07,319
Speaker 2: haven't really earned you that much money. I was worried

697
00:53:07,320 --> 00:53:11,680
Speaker 2: they were going to drop me, you know, and so

698
00:53:11,800 --> 00:53:14,720
Speaker 2: he gave me the go ahead, go out and record

699
00:53:14,800 --> 00:53:17,560
Speaker 2: some let's make it a double album. Oh gosh, okay.

700
00:53:17,800 --> 00:53:22,960
Speaker 2: So the ones we redid or where they came from,

701
00:53:23,239 --> 00:53:26,960
Speaker 2: we went out and did about six more shows Comac

702
00:53:27,080 --> 00:53:31,600
Speaker 2: Long Island. The arena there that the hockey arena that

703
00:53:31,640 --> 00:53:34,279
Speaker 2: doesn't exist anymore, is where show Me the Way it

704
00:53:34,320 --> 00:53:39,480
Speaker 2: comes from and that was engineered by Eddie Kramer, and

705
00:53:39,560 --> 00:53:45,040
Speaker 2: Baby I Love Your Way comes from and New York

706
00:53:45,840 --> 00:53:53,040
Speaker 2: University Plattsburgh in Plattsburgh, and I think the ticket price

707
00:53:53,120 --> 00:53:58,560
Speaker 2: then was like three twenty five and out of that,

708
00:53:58,600 --> 00:54:06,440
Speaker 2: and Chris Kimsey was in the chart for that. So yes,

709
00:54:06,760 --> 00:54:12,200
Speaker 2: So we came back and right before Christmas in seventy five,

710
00:54:13,000 --> 00:54:16,520
Speaker 2: we mixed those and the other ones that we hadn't

711
00:54:16,960 --> 00:54:19,920
Speaker 2: the acoustics said would have changed all that stuff. We

712
00:54:20,040 --> 00:54:24,560
Speaker 2: recorded more. We mixed more stuff. And because they were

713
00:54:24,560 --> 00:54:27,000
Speaker 2: only on the original live album, the single one there

714
00:54:27,000 --> 00:54:29,920
Speaker 2: was only five tracks, and Show Me the Way and

715
00:54:30,000 --> 00:54:32,239
Speaker 2: Baby I Love Your Way were not on it.

716
00:54:34,120 --> 00:54:37,239
Speaker 1: Just to stay on the live album. My favorite cut

717
00:54:37,239 --> 00:54:39,520
Speaker 1: of yours, though I love I Want to Go to

718
00:54:39,560 --> 00:54:42,319
Speaker 1: the Sun, is the opening cut on the second side

719
00:54:42,320 --> 00:54:44,080
Speaker 1: of the first album, All I Want to Be Is

720
00:54:44,160 --> 00:54:47,239
Speaker 1: by your Side. The second half of that is a

721
00:54:47,280 --> 00:54:52,920
Speaker 1: long electric instrumental. How did this become an acoustic number?

722
00:54:58,160 --> 00:55:03,480
Speaker 2: Okay, there's a very good reason for them. You have

723
00:55:03,520 --> 00:55:04,600
Speaker 2: to see this face here.

724
00:55:05,719 --> 00:55:10,480
Speaker 1: Wow, that's Peter's dog. We're audio only, but very well

725
00:55:10,480 --> 00:55:13,520
Speaker 1: behaved in uh, very hairy.

726
00:55:14,360 --> 00:55:17,080
Speaker 2: Very hairy, he's a he's a black golden doodle.

727
00:55:18,200 --> 00:55:18,520
Speaker 1: Wow.

728
00:55:18,719 --> 00:55:21,880
Speaker 2: Look at that love He's so lovely. Anyway, sorry about that,

729
00:55:23,840 --> 00:55:25,360
Speaker 2: I forgot what we're talking about now.

730
00:55:25,320 --> 00:55:27,200
Speaker 1: Which about all I want to be is by yourself, all.

731
00:55:27,200 --> 00:55:34,000
Speaker 2: Right, right, right? So we didn't have we were we

732
00:55:34,000 --> 00:55:38,360
Speaker 2: were not headlining, so we were doing forty five minutes

733
00:55:38,640 --> 00:55:44,440
Speaker 2: to an hour, and then all of a sudden, in

734
00:55:44,480 --> 00:55:47,919
Speaker 2: the middle of the tour, we have this headline gig

735
00:55:49,080 --> 00:55:52,680
Speaker 2: at Winterland and we need at least an hour and

736
00:55:52,719 --> 00:55:57,759
Speaker 2: a half. So that's when I said, well, I've got

737
00:55:57,920 --> 00:56:00,640
Speaker 2: a penny few thoughts. I could do all I want

738
00:56:00,640 --> 00:56:03,759
Speaker 2: to be acoustic, and I could do Wind of Change acoustic.

739
00:56:04,000 --> 00:56:06,520
Speaker 2: So we got those three and then I think we

740
00:56:06,640 --> 00:56:10,040
Speaker 2: added I'm not sure what other number we added, but

741
00:56:10,320 --> 00:56:14,560
Speaker 2: an electric one as well. But that's how it became acoustic.

742
00:56:14,640 --> 00:56:17,400
Speaker 2: And now we're back to doing it electric on stage,

743
00:56:17,560 --> 00:56:18,640
Speaker 2: which is so good.

744
00:56:18,880 --> 00:56:23,720
Speaker 1: So to what de we playing today? Do you feel

745
00:56:23,800 --> 00:56:26,640
Speaker 1: that you have to deliver what the audience wants in

746
00:56:26,719 --> 00:56:29,719
Speaker 1: terms of song choices and to what deg we? Is

747
00:56:29,800 --> 00:56:31,560
Speaker 1: that fine with you? Or would you like to put

748
00:56:31,560 --> 00:56:32,520
Speaker 1: other material in?

749
00:56:34,320 --> 00:56:37,160
Speaker 2: It's up to me. It's I'm out there to enjoy myself.

750
00:56:38,719 --> 00:56:41,200
Speaker 2: I'm lucky that they seem to like what I choose

751
00:56:41,200 --> 00:56:45,400
Speaker 2: to play. But there's no way they're not going to

752
00:56:45,480 --> 00:56:51,480
Speaker 2: hear songs that they really like. You know that they've

753
00:56:51,520 --> 00:56:55,760
Speaker 2: known me for so I do it all. I don't

754
00:56:55,760 --> 00:56:57,680
Speaker 2: hold back. I don't say I'm not doing my single.

755
00:56:59,000 --> 00:57:02,640
Speaker 2: I can't stand that. Uh no, that's that's not me.

756
00:57:02,760 --> 00:57:07,399
Speaker 2: I get do. I enjoy doing show Me the Way

757
00:57:07,440 --> 00:57:10,560
Speaker 2: and Baby, I Love you Way, Yes, because I enjoy

758
00:57:10,640 --> 00:57:15,440
Speaker 2: seeing the faces of the people and the couples looking

759
00:57:15,480 --> 00:57:19,680
Speaker 2: at each other and going you know, and they've obviously

760
00:57:19,760 --> 00:57:23,000
Speaker 2: either got married to it or I don't know what.

761
00:57:23,400 --> 00:57:28,240
Speaker 2: But there's so many wonderful stories. This last tour, which

762
00:57:28,400 --> 00:57:33,040
Speaker 2: was the never Say Never to, because I had said

763
00:57:33,040 --> 00:57:38,600
Speaker 2: at the end of the finale tour, I'm gonna fight this,

764
00:57:40,080 --> 00:57:45,520
Speaker 2: so never say never, and everybody went all right, you know,

765
00:57:45,880 --> 00:57:48,760
Speaker 2: and so obviously I called it. They never say never

766
00:57:48,840 --> 00:57:51,200
Speaker 2: to And this one is to never ever say never

767
00:57:51,280 --> 00:57:53,919
Speaker 2: to her. We'll stop there. If I do more, it'll

768
00:57:53,920 --> 00:57:58,680
Speaker 2: be different. But so anyway, yeah, he's not ill at

769
00:57:58,720 --> 00:58:06,240
Speaker 2: all anymore to he so but so uh yes, so

770
00:58:07,040 --> 00:58:09,400
Speaker 2: Rob my bandleader, and I robbed Rob Arthur and I

771
00:58:09,440 --> 00:58:14,560
Speaker 2: got to got together and we listened to a bunch

772
00:58:14,560 --> 00:58:18,080
Speaker 2: of my solo albums, which was painful for me, but

773
00:58:19,560 --> 00:58:23,360
Speaker 2: just to find find a couple that we'd never done

774
00:58:23,440 --> 00:58:31,720
Speaker 2: before ever, you know, so I decided we decided to

775
00:58:31,880 --> 00:58:34,240
Speaker 2: do uh I Got My Eyes on You, which is

776
00:58:34,280 --> 00:58:38,400
Speaker 2: the opening cut from Frampton's Camel and it's such a

777
00:58:38,920 --> 00:58:43,280
Speaker 2: so great to play, never played it live before. And

778
00:58:43,280 --> 00:58:49,680
Speaker 2: and also one from the Frampton record that's very low

779
00:58:49,720 --> 00:58:54,160
Speaker 2: key jazzy, the crying clown and they go nuts for

780
00:58:54,200 --> 00:58:59,800
Speaker 2: the crying clown. It's it's it's wild actually, how so

781
00:58:59,840 --> 00:59:03,040
Speaker 2: I anyway, those are two I didn't really choose those

782
00:59:03,120 --> 00:59:06,840
Speaker 2: because people had said to me, you know, we'd love

783
00:59:06,880 --> 00:59:08,800
Speaker 2: to hear this, or love to hear It's what I

784
00:59:08,880 --> 00:59:16,240
Speaker 2: want to do, you know. It's like this this album

785
00:59:16,560 --> 00:59:20,520
Speaker 2: that I wrote you about that I'm working on now

786
00:59:20,600 --> 00:59:27,120
Speaker 2: that when will you know it's very well, I'll know

787
00:59:28,440 --> 00:59:32,680
Speaker 2: when it's ready, when I'm happy with it, And I

788
00:59:32,720 --> 00:59:36,120
Speaker 2: really don't care if anybody else is happy with it

789
00:59:36,160 --> 00:59:39,960
Speaker 2: at all. It's what I feel is what I need

790
00:59:39,960 --> 00:59:42,880
Speaker 2: to be doing right now. Like I'm sitting in the

791
00:59:42,960 --> 00:59:46,400
Speaker 2: room where I'm putting all these songs together over quite

792
00:59:46,440 --> 00:59:49,680
Speaker 2: a few years already, but it took me a lot

793
00:59:49,680 --> 00:59:52,840
Speaker 2: of years to do those write those songs Comes of Live.

794
00:59:53,280 --> 00:59:58,760
Speaker 2: So I'm in no rush. Obviously. I have another an

795
00:59:58,760 --> 01:00:00,960
Speaker 2: IBM clock as well that I'll be able to play.

796
01:00:01,400 --> 01:00:06,760
Speaker 2: But I'm playing guitar on these demos as we as

797
01:00:06,800 --> 01:00:09,520
Speaker 2: we go along, so I'm making sure that there's something

798
01:00:09,560 --> 01:00:15,240
Speaker 2: there always. But it's I had so many people telling

799
01:00:15,280 --> 01:00:17,800
Speaker 2: me what they thought was best for me in the

800
01:00:17,840 --> 01:00:22,720
Speaker 2: seventies after the success of Comes Alive that and I

801
01:00:22,760 --> 01:00:25,960
Speaker 2: listened to all of them, and I made terrible mistakes.

802
01:00:26,480 --> 01:00:32,480
Speaker 2: So I I have an area of my stomach that

803
01:00:32,800 --> 01:00:35,600
Speaker 2: lights up with a certain feeling when I know this

804
01:00:35,680 --> 01:00:38,760
Speaker 2: is something I shouldn't be doing. And I hope we

805
01:00:38,960 --> 01:00:42,320
Speaker 2: all go by our gut because and I went against

806
01:00:42,360 --> 01:00:49,200
Speaker 2: it many times early on, and now I just do

807
01:00:49,320 --> 01:00:51,520
Speaker 2: what I want to do when I want to do it.

808
01:00:51,520 --> 01:00:54,600
Speaker 2: It's I'm lucky that I can. It's not like I'm

809
01:00:54,600 --> 01:00:59,400
Speaker 2: making this album to have you know, a mega you know,

810
01:01:00,120 --> 01:01:02,440
Speaker 2: and I'm selling out. No, No, I know that's not

811
01:01:02,440 --> 01:01:09,600
Speaker 2: gonna happen. But it's it's gotta be what what I

812
01:01:09,840 --> 01:01:14,160
Speaker 2: want it to be. My my level of perfection, and

813
01:01:14,440 --> 01:01:16,640
Speaker 2: I'll throw a song out that I've been working on

814
01:01:16,800 --> 01:01:19,800
Speaker 2: for three weeks if I get to a point where

815
01:01:19,840 --> 01:01:23,280
Speaker 2: I say, well, I don't think it's cutting it now.

816
01:01:23,360 --> 01:01:25,520
Speaker 2: I thought I liked it, but so I'll move on

817
01:01:25,800 --> 01:01:29,760
Speaker 2: gone next. So I don't. I don't. I don't baby

818
01:01:29,800 --> 01:01:34,720
Speaker 2: those songs anymore. It's either in or it's out. And

819
01:01:34,720 --> 01:01:37,800
Speaker 2: and I tend to write the lyrics. I'll have a

820
01:01:37,800 --> 01:01:40,680
Speaker 2: song title, but I tend to write the lyrics after

821
01:01:40,720 --> 01:01:43,920
Speaker 2: I write the music. I'm that kind of way. And

822
01:01:44,440 --> 01:01:49,000
Speaker 2: so I can have a great track and great melody,

823
01:01:49,400 --> 01:01:51,560
Speaker 2: and I know I'm gonna write words to that, but

824
01:01:51,640 --> 01:01:53,600
Speaker 2: I can if it's not a great track and a

825
01:01:53,600 --> 01:01:57,560
Speaker 2: great melody and it's turning me on like crazy, I'm

826
01:01:57,640 --> 01:02:00,520
Speaker 2: I'm not going to finish it, because why you know?

827
01:02:07,480 --> 01:02:08,680
Speaker 1: How did you mean? The year.

828
01:02:10,720 --> 01:02:15,360
Speaker 2: I knew he'd saved the good stuff for last de

829
01:02:15,520 --> 01:02:23,600
Speaker 2: Anthony humble Pie were with Andrew Oldham. We had signed

830
01:02:23,600 --> 01:02:28,000
Speaker 2: management and record label. I don't think we'd even signed anything. Actually,

831
01:02:28,400 --> 01:02:32,680
Speaker 2: I'm not sure. Probably the record label and the publishing.

832
01:02:33,240 --> 01:02:35,800
Speaker 2: I don't think we signed a management contract, but who knows.

833
01:02:36,200 --> 01:02:46,480
Speaker 2: And he Unfortunately Immediate Records went broke and he uh,

834
01:02:46,520 --> 01:02:48,880
Speaker 2: he led us out of our contract so that we

835
01:02:48,920 --> 01:02:53,760
Speaker 2: could go and get We'd had two albums, the Safest

836
01:02:53,840 --> 01:02:56,360
Speaker 2: Yesterday is in Town and Country. We'd had one big

837
01:02:56,440 --> 01:03:04,160
Speaker 2: hit in England and Europe, natural Bornboogie. And so he

838
01:03:04,160 --> 01:03:06,320
Speaker 2: he shouldn't have let us out of our contract because

839
01:03:06,360 --> 01:03:10,080
Speaker 2: we were an asset to the company, but he did.

840
01:03:10,440 --> 01:03:13,240
Speaker 2: But he couldn't let us have our publishing because he said,

841
01:03:13,280 --> 01:03:17,160
Speaker 2: I got to give them something, so which we got

842
01:03:17,160 --> 01:03:20,680
Speaker 2: back in the end, but it took a while. But

843
01:03:20,800 --> 01:03:24,920
Speaker 2: what he did do and Andrew's a terrific friend and

844
01:03:26,440 --> 01:03:30,560
Speaker 2: we text all the time. He's wonderful did dear lifelong

845
01:03:30,600 --> 01:03:36,120
Speaker 2: friend and and uh so he said, okay, you're going

846
01:03:36,200 --> 01:03:39,120
Speaker 2: to go and see all. You're going to see Warner Brothers,

847
01:03:39,240 --> 01:03:43,480
Speaker 2: A and M Atlantic, Uh, this one, that one, and

848
01:03:43,880 --> 01:03:47,920
Speaker 2: this is what you want to ask for? And so

849
01:03:49,720 --> 01:03:53,160
Speaker 2: he said, you want, uh, you want to ask for

850
01:03:53,240 --> 01:04:00,919
Speaker 2: three hundred thousand advance for four years, two albums a year.

851
01:04:01,840 --> 01:04:06,520
Speaker 2: And I forget what the percentage was that at that point.

852
01:04:06,800 --> 01:04:11,800
Speaker 2: So Steve Merritt and I went to see every record

853
01:04:11,880 --> 01:04:17,160
Speaker 2: label in London, American or British and we gave the

854
01:04:17,200 --> 01:04:20,880
Speaker 2: same story until we got to A and M. Jerry

855
01:04:20,920 --> 01:04:25,240
Speaker 2: Greenberg and Armat Erdigon, who was one of my dearest

856
01:04:25,280 --> 01:04:29,640
Speaker 2: I loved Armen and he was very very nice to me,

857
01:04:31,040 --> 01:04:39,720
Speaker 2: phenomenal and as a friend and anyway, and they left

858
01:04:39,760 --> 01:04:43,440
Speaker 2: and went back to to New York thinking they got.

859
01:04:43,320 --> 01:04:45,120
Speaker 1: Us Atlantic records.

860
01:04:45,440 --> 01:04:51,640
Speaker 2: Yes, and so the next day we go and see

861
01:04:52,120 --> 01:04:57,360
Speaker 2: Larry Yaskell, the UK president of A and M Records.

862
01:04:58,040 --> 01:05:01,600
Speaker 2: So we're given the spiel, what do you want? And

863
01:05:02,960 --> 01:05:06,320
Speaker 2: to my surprise, you know, Andrews said three hundred thousand.

864
01:05:07,800 --> 01:05:11,360
Speaker 2: Asked for three hundred thousand and so and I'm going, well,

865
01:05:11,360 --> 01:05:19,040
Speaker 2: we'd like to and Steve goes four hundred thousand, and

866
01:05:19,320 --> 01:05:21,440
Speaker 2: I didn't, you know, obviously I didn't flinch because I

867
01:05:21,440 --> 01:05:24,080
Speaker 2: didn't want to give the game away, you know. And

868
01:05:24,440 --> 01:05:26,320
Speaker 2: Larry said, well, I think let me. I think I

869
01:05:26,360 --> 01:05:28,760
Speaker 2: should call Jerry right now and see if we've got

870
01:05:28,760 --> 01:05:31,040
Speaker 2: a deal here. So he goes out of the room

871
01:05:31,320 --> 01:05:34,320
Speaker 2: and I look step from oh my god, you just

872
01:05:34,760 --> 01:05:38,440
Speaker 2: up to thee hundred grand and he said, well, all

873
01:05:38,480 --> 01:05:42,120
Speaker 2: I could do is say now. So he was right,

874
01:05:42,920 --> 01:05:47,800
Speaker 2: and that's bravado for you. And Larry comes back in

875
01:05:48,200 --> 01:05:53,840
Speaker 2: ten minutes later we've got a deal. So we all

876
01:05:53,880 --> 01:05:57,120
Speaker 2: got one hundred grand out of that each, you know,

877
01:05:57,560 --> 01:06:00,040
Speaker 2: over four years. You know, well I didn't get the

878
01:06:00,120 --> 01:06:03,200
Speaker 2: last years because I left, but but we all did

879
01:06:03,400 --> 01:06:09,720
Speaker 2: extremely well out of that, and thanks to Andrew first

880
01:06:09,720 --> 01:06:16,080
Speaker 2: of all, and then Steve for upping it. So and

881
01:06:16,120 --> 01:06:18,200
Speaker 2: I've forgotten the question, but I know this was leading

882
01:06:18,280 --> 01:06:24,680
Speaker 2: up to it. D Anthony all right, yeah, so there

883
01:06:24,720 --> 01:06:28,160
Speaker 2: were going, okay, well, Andrew can't be our manager anymore. Okay,

884
01:06:28,200 --> 01:06:33,160
Speaker 2: all right, So Greg Ridley, who was formerly with Spooky Tooth,

885
01:06:34,640 --> 01:06:41,880
Speaker 2: had been to America and toured. They were an island

886
01:06:42,000 --> 01:06:46,680
Speaker 2: act Chris Blackwell. But Chris Blackwell didn't want to be

887
01:06:46,760 --> 01:06:52,080
Speaker 2: the manager in America. He needed a manager, a co

888
01:06:52,240 --> 01:06:58,200
Speaker 2: manager and an agency. Well, he went straight to Frank Barcelona,

889
01:06:58,480 --> 01:07:01,240
Speaker 2: Premier Talent, the biggest stages in the world at that

890
01:07:01,400 --> 01:07:02,200
Speaker 2: at that time.

891
01:07:02,440 --> 01:07:02,840
Speaker 1: And.

892
01:07:04,360 --> 01:07:09,320
Speaker 2: He said, well, I'll manage Spooky Tooth Joe Corker, you

893
01:07:09,360 --> 01:07:12,600
Speaker 2: know he did The Mad Dogs and Englishman to all that.

894
01:07:12,720 --> 01:07:15,480
Speaker 1: Well a little bit slower. You mentioned Frank, but you

895
01:07:15,520 --> 01:07:17,400
Speaker 1: didn't say how d came into it.

896
01:07:17,560 --> 01:07:23,480
Speaker 2: Oh sorry, sorry, Okay, So therefore Frank Hauld ask D

897
01:07:24,000 --> 01:07:28,439
Speaker 2: T can you manage these acts from Chris Blackwell over here?

898
01:07:28,600 --> 01:07:31,840
Speaker 2: He doesn't want to handle that here, so D gets involved.

899
01:07:32,960 --> 01:07:38,760
Speaker 2: Therefore he gets spooky tooth as well. And obviously they

900
01:07:38,800 --> 01:07:41,040
Speaker 2: did very well. When they were over there with D

901
01:07:41,920 --> 01:07:45,320
Speaker 2: and Greg said well, I know this. You know one

902
01:07:45,360 --> 01:07:49,080
Speaker 2: America manager and he's he's really good, I think, you know.

903
01:07:49,960 --> 01:07:54,960
Speaker 2: And so we said, well, let's call him up see Ifield.

904
01:07:55,040 --> 01:07:59,000
Speaker 2: And so he came over to England and met with us,

905
01:08:01,560 --> 01:08:04,800
Speaker 2: and you know, he kind of reminded me of a

906
01:08:04,840 --> 01:08:12,439
Speaker 2: mob boss, you know, but but very funny, very amiable, uh,

907
01:08:14,040 --> 01:08:17,800
Speaker 2: very on it music. And he was already working with

908
01:08:18,280 --> 01:08:24,400
Speaker 2: Jay Giles and so and they were they'd already just

909
01:08:24,479 --> 01:08:27,320
Speaker 2: had a hit with their live album, I think the

910
01:08:27,320 --> 01:08:32,120
Speaker 2: first one single live album. So anyway, uh he then

911
01:08:32,680 --> 01:08:37,240
Speaker 2: D then said well, I've called Frank Barcelona and he'll

912
01:08:37,280 --> 01:08:40,719
Speaker 2: be your agent over there. So that's how the whole

913
01:08:40,760 --> 01:08:44,720
Speaker 2: thing got set up. And then but in the in

914
01:08:45,160 --> 01:08:47,839
Speaker 2: the same time we got all got the same lawyer

915
01:08:47,880 --> 01:09:00,280
Speaker 2: and all got the same business manager. Mmm. So that

916
01:09:00,400 --> 01:09:03,320
Speaker 2: was ominous. We didn't realize when you've got no money,

917
01:09:04,000 --> 01:09:07,599
Speaker 2: no one can seal it from you. So everything went

918
01:09:07,640 --> 01:09:10,639
Speaker 2: swimmingly for a long time until all of a sudden,

919
01:09:12,040 --> 01:09:15,639
Speaker 2: rock On comes out and we start doing really well.

920
01:09:15,760 --> 01:09:20,280
Speaker 2: You know, we're not opening the bill, we're middle spot

921
01:09:20,320 --> 01:09:24,760
Speaker 2: and sometimes you know, small theater headline, you know, so uh,

922
01:09:26,160 --> 01:09:29,280
Speaker 2: you know, everything everything started to happen at that point,

923
01:09:29,360 --> 01:09:32,280
Speaker 2: and we all thought. We all thought D was a genius,

924
01:09:32,800 --> 01:09:37,560
Speaker 2: you know, and Frank, and we were very thankful to

925
01:09:37,760 --> 01:09:43,519
Speaker 2: be involved with them, you know, So yes, and that

926
01:09:43,520 --> 01:09:44,759
Speaker 2: that's how it all started.

927
01:09:45,680 --> 01:09:49,200
Speaker 1: Okay, D is the manager for Humble Pie. How does

928
01:09:49,240 --> 01:09:53,080
Speaker 1: the end up becoming your personal manager when you go solo?

929
01:09:53,720 --> 01:09:56,040
Speaker 1: And then what happens?

930
01:09:56,680 --> 01:10:03,120
Speaker 2: Well, luckily Jerry Moss wanted to keep me as a

931
01:10:03,120 --> 01:10:08,439
Speaker 2: solo artist, so I was. I was, I think, on

932
01:10:08,520 --> 01:10:11,439
Speaker 2: the same contract as I was under Humble Pie, but

933
01:10:11,600 --> 01:10:14,160
Speaker 2: just because I was signed individually as well. So that

934
01:10:14,320 --> 01:10:20,920
Speaker 2: was okay, And then D said he'd still manage me.

935
01:10:21,000 --> 01:10:25,599
Speaker 2: I said, great, Frank's still there. So I went back

936
01:10:25,680 --> 01:10:28,639
Speaker 2: and started at the bottom again and opened the bill

937
01:10:28,800 --> 01:10:30,800
Speaker 2: for as many people as I can remember, you know,

938
01:10:31,720 --> 01:10:35,200
Speaker 2: or anybody can remember. If you name a band from

939
01:10:35,200 --> 01:10:38,720
Speaker 2: that era, I've opened for them, you know. And I've

940
01:10:38,760 --> 01:10:42,760
Speaker 2: never been I've never been afraid of hard work. And

941
01:10:43,200 --> 01:10:48,040
Speaker 2: playing live is my love. So, you know, off I go,

942
01:10:49,439 --> 01:10:55,800
Speaker 2: and every every year I take a little bit of time.

943
01:10:56,920 --> 01:10:59,240
Speaker 2: Every year to eighteen months, I take a little bit

944
01:10:59,240 --> 01:11:02,840
Speaker 2: of time off, not enough to write and record. The

945
01:11:02,880 --> 01:11:07,640
Speaker 2: next album, Wind of Change, was done over quite a

946
01:11:07,640 --> 01:11:12,240
Speaker 2: long period. Actually, in came out in seventy two. It

947
01:11:12,280 --> 01:11:16,320
Speaker 2: was done in seventy one, and that was during my

948
01:11:17,640 --> 01:11:23,160
Speaker 2: session period where I was part of the George Harrison

949
01:11:23,520 --> 01:11:28,040
Speaker 2: kind of session team and you know, played with a

950
01:11:28,040 --> 01:11:30,200
Speaker 2: lot of a lot of artists and and a lot

951
01:11:30,240 --> 01:11:38,200
Speaker 2: with with George obviously. But so then having taken my

952
01:11:38,320 --> 01:11:41,880
Speaker 2: time over Wind of Change, whether it was it wasn't

953
01:11:41,960 --> 01:11:45,200
Speaker 2: loaded with hits, that's for sure, but it was loaded

954
01:11:45,240 --> 01:11:48,120
Speaker 2: with what I wanted to be on the album, which

955
01:11:48,160 --> 01:11:49,880
Speaker 2: is kind of where I'm at now, you know. So,

956
01:11:51,840 --> 01:11:57,600
Speaker 2: and it came out and to a little fanfare. I

957
01:11:57,640 --> 01:12:00,120
Speaker 2: think I toured a little late coming over because I

958
01:12:00,120 --> 01:12:02,799
Speaker 2: had to get the band together and rehearse it and

959
01:12:02,840 --> 01:12:06,599
Speaker 2: all that. But that's how it started out. And then

960
01:12:06,640 --> 01:12:10,960
Speaker 2: every every now and again, time would be to write,

961
01:12:11,320 --> 01:12:16,240
Speaker 2: do another time to do Frampton's Camel and then it

962
01:12:16,280 --> 01:12:18,920
Speaker 2: was time to do something's happening and touring in between

963
01:12:19,040 --> 01:12:21,880
Speaker 2: so tour album to an album to an album to

964
01:12:21,920 --> 01:12:29,200
Speaker 2: a no no break, you know, except for the time

965
01:12:30,479 --> 01:12:35,960
Speaker 2: allotted to writing, and it was usually a month so

966
01:12:37,800 --> 01:12:39,840
Speaker 2: and then back on the road again month to right

967
01:12:40,040 --> 01:12:42,519
Speaker 2: six weeks to do the album, back on tour.

968
01:12:42,960 --> 01:12:49,640
Speaker 1: So that was it? Okay? If d Anthony had not

969
01:12:49,880 --> 01:12:53,800
Speaker 1: been your manager, would you have had the same success?

970
01:12:55,560 --> 01:13:03,040
Speaker 2: I will truthfully say I don't believe so, because because

971
01:13:04,280 --> 01:13:09,400
Speaker 2: he was bombastic in his he would fight tooth and

972
01:13:09,479 --> 01:13:14,240
Speaker 2: nail for his artist. And he would even even as

973
01:13:14,280 --> 01:13:20,520
Speaker 2: well as Jerry Moss and Gil Frieson and Frank Barcelona

974
01:13:20,720 --> 01:13:24,680
Speaker 2: and he got along. He would ruffle feathers along the

975
01:13:24,680 --> 01:13:26,800
Speaker 2: way if he thought any of them weren't doing a

976
01:13:26,800 --> 01:13:30,960
Speaker 2: good job. You know it was he could be ferocious

977
01:13:31,120 --> 01:13:36,080
Speaker 2: to a fault, you know, and but he got the

978
01:13:36,160 --> 01:13:41,960
Speaker 2: job done, you know. So what about the money, Well,

979
01:13:43,280 --> 01:13:45,360
Speaker 2: as I said, first of all, there was no money,

980
01:13:46,240 --> 01:13:50,439
Speaker 2: and A and M was giving me to a support.

981
01:13:50,520 --> 01:13:55,360
Speaker 2: That means they were giving me the shortfall of so

982
01:13:55,439 --> 01:13:59,240
Speaker 2: that I didn't I didn't lose money that we would

983
01:13:59,240 --> 01:14:04,000
Speaker 2: break even because we're in those days. We were doing

984
01:14:04,080 --> 01:14:06,759
Speaker 2: them a favor by going out to promote the album,

985
01:14:06,840 --> 01:14:13,320
Speaker 2: by working I don't worry that way anymore. So then

986
01:14:13,680 --> 01:14:17,559
Speaker 2: we get to the Frampton album and I've still got

987
01:14:18,880 --> 01:14:26,840
Speaker 2: same business manager, same lawyer, And that's not good right there.

988
01:14:27,400 --> 01:14:32,200
Speaker 2: And and I'm a novice when it comes to business.

989
01:14:32,280 --> 01:14:35,600
Speaker 2: I've never I'm not really interested in never been interested

990
01:14:35,640 --> 01:14:40,439
Speaker 2: in finance, unfortunately, you know, that's just the way I am.

991
01:14:40,680 --> 01:14:48,000
Speaker 2: I am now, but no back then anyway, So I'm

992
01:14:48,000 --> 01:14:54,400
Speaker 2: in you comes out and he's sending me. All the

993
01:14:54,400 --> 01:14:58,559
Speaker 2: money went to d not to the business manager, but

994
01:14:58,880 --> 01:15:03,519
Speaker 2: all moneys went to the manager. And then it's when

995
01:15:03,520 --> 01:15:06,759
Speaker 2: you have it in front of you, it's very hard

996
01:15:06,800 --> 01:15:10,559
Speaker 2: to go but I owe this person how much? Do I? Well,

997
01:15:11,120 --> 01:15:14,439
Speaker 2: let's just give them this amount, you know, because I

998
01:15:14,439 --> 01:15:18,320
Speaker 2: want to keep this for me. You know. It's it's

999
01:15:18,400 --> 01:15:20,920
Speaker 2: very very hard when it's there on the table and

1000
01:15:21,680 --> 01:15:27,640
Speaker 2: virtually in cash, you know. And but you know I

1001
01:15:27,680 --> 01:15:32,519
Speaker 2: wouldn't be like that, you know, most people the team

1002
01:15:32,560 --> 01:15:36,720
Speaker 2: I have now, that would never happen, obviously, because what

1003
01:15:36,800 --> 01:15:41,559
Speaker 2: he did was you could have had He always used

1004
01:15:41,560 --> 01:15:44,680
Speaker 2: to say, a career. You got to think about longevity,

1005
01:15:45,400 --> 01:15:48,160
Speaker 2: You got to think about the road I had. You

1006
01:15:48,280 --> 01:15:52,360
Speaker 2: can't manage you for now, you know, Meanwhile, if you

1007
01:15:52,560 --> 01:15:56,720
Speaker 2: rip the artist off, now what does that say for

1008
01:15:56,760 --> 01:15:58,760
Speaker 2: the longevity because he's going to leave you when he

1009
01:15:58,800 --> 01:16:03,840
Speaker 2: finds out. So that's a conundrum right there, you know.

1010
01:16:04,360 --> 01:16:10,639
Speaker 2: So so anyway, I was waiting for my publishing money

1011
01:16:10,680 --> 01:16:15,360
Speaker 2: because obviously I did the publishing company through him. Fram

1012
01:16:15,439 --> 01:16:20,000
Speaker 2: D Music supposed to be fifty to fifty, but it

1013
01:16:20,120 --> 01:16:25,000
Speaker 2: was what I signed and my lawyer said it was fine,

1014
01:16:25,280 --> 01:16:30,360
Speaker 2: which was D's lawyer. Yeah, you get fifty to fifty

1015
01:16:30,360 --> 01:16:33,160
Speaker 2: on this of the company and you and your writers.

1016
01:16:34,120 --> 01:16:41,400
Speaker 2: I just got my writers. So anyway, even with that,

1017
01:16:45,760 --> 01:16:48,360
Speaker 2: I wondered where my publishing was for the last six

1018
01:16:48,439 --> 01:16:51,439
Speaker 2: months when we were I think I'd just done I'm

1019
01:16:51,479 --> 01:16:56,519
Speaker 2: in you, and it was in six months. It was

1020
01:16:56,560 --> 01:17:01,840
Speaker 2: seven hundred and fifty thousand dollars and which was a

1021
01:17:01,920 --> 01:17:08,519
Speaker 2: chunk of change back then. And so I called. I

1022
01:17:08,560 --> 01:17:10,960
Speaker 2: called my lawyer and I said, where's my money, where's

1023
01:17:10,960 --> 01:17:15,000
Speaker 2: my publishing money? He said, well, let me call D.

1024
01:17:15,720 --> 01:17:18,160
Speaker 2: So he calls D. God alone knows how they what

1025
01:17:18,200 --> 01:17:23,800
Speaker 2: they were into together, I don't know. But so D

1026
01:17:23,920 --> 01:17:27,800
Speaker 2: always used to say to me, you know, when you're

1027
01:17:27,880 --> 01:17:32,120
Speaker 2: owe some more money and they come to you and

1028
01:17:32,160 --> 01:17:35,439
Speaker 2: they say where's my money? You just say I don't

1029
01:17:35,520 --> 01:17:40,599
Speaker 2: have it. And so I said to D, I said, D,

1030
01:17:40,720 --> 01:17:46,320
Speaker 2: where's my money? And I know you have it and

1031
01:17:46,360 --> 01:17:48,840
Speaker 2: he said, I don't. I don't have it. I don't.

1032
01:17:49,200 --> 01:17:53,040
Speaker 2: And the sick thing was he didn't have it because

1033
01:17:53,080 --> 01:17:57,759
Speaker 2: we did forensic accountancy into his bank accounts and unless

1034
01:17:57,800 --> 01:18:02,320
Speaker 2: he'd hidden it so well, he not that ever. So

1035
01:18:03,400 --> 01:18:07,400
Speaker 2: he was just a the opposite of a spendthrift. He

1036
01:18:07,560 --> 01:18:13,200
Speaker 2: was a throwaway. He I mean in the Beverly Hills Hotel,

1037
01:18:13,280 --> 01:18:16,880
Speaker 2: if the two of us were staying there, from the

1038
01:18:17,280 --> 01:18:23,000
Speaker 2: suite to the car, he would tip everybody fifty bucks.

1039
01:18:23,479 --> 01:18:27,040
Speaker 2: They would come out of the woodwork. Oh, mister Anthony's

1040
01:18:27,160 --> 01:18:33,000
Speaker 2: checking out, okay. And he would have a role in

1041
01:18:33,040 --> 01:18:35,960
Speaker 2: his That was the old the mob thing, right, you'd

1042
01:18:36,000 --> 01:18:38,479
Speaker 2: have the big role. One hundreds and fifties, you know.

1043
01:18:39,439 --> 01:18:43,080
Speaker 2: Take that, take that and that. No, no, you you

1044
01:18:43,160 --> 01:18:46,360
Speaker 2: were really good. So God alone knows how much of

1045
01:18:46,439 --> 01:18:49,280
Speaker 2: my money he gave people as we were going to

1046
01:18:49,320 --> 01:18:53,040
Speaker 2: the car, you know. So that's that shows you. So

1047
01:18:53,360 --> 01:18:54,479
Speaker 2: that's how he lived his life.

1048
01:18:55,320 --> 01:18:55,519
Speaker 1: You know.

1049
01:18:55,600 --> 01:18:58,120
Speaker 2: He overspent all the time. My money.

1050
01:18:58,920 --> 01:19:02,400
Speaker 1: Okay, So when did you realize We're being ripped off,

1051
01:19:02,439 --> 01:19:03,639
Speaker 1: and what did you do?

1052
01:19:06,400 --> 01:19:11,880
Speaker 2: Not knowing that my lawyer was probably so much more

1053
01:19:11,920 --> 01:19:15,840
Speaker 2: involved in this than than I realized, I went to

1054
01:19:15,920 --> 01:19:22,720
Speaker 2: him and said, look, he says he doesn't have it.

1055
01:19:25,400 --> 01:19:29,559
Speaker 2: What can I do? And he said, well, you know,

1056
01:19:29,760 --> 01:19:32,760
Speaker 2: he should give you the deed to his house, you know,

1057
01:19:32,840 --> 01:19:36,640
Speaker 2: he should, you know. So basically I I got that,

1058
01:19:37,520 --> 01:19:41,240
Speaker 2: But the deed means nothing, you know. They were just

1059
01:19:41,280 --> 01:19:42,160
Speaker 2: placating me.

1060
01:19:42,840 --> 01:19:43,040
Speaker 1: You know.

1061
01:19:44,520 --> 01:19:49,600
Speaker 2: And so then within a short period of time after that,

1062
01:19:50,640 --> 01:19:53,559
Speaker 2: I realized that everyone was in on this, not Frank.

1063
01:19:54,880 --> 01:19:59,520
Speaker 2: Frank was a great man. I loved Frank. Frank Barcelona

1064
01:19:59,680 --> 01:20:04,200
Speaker 2: was a was a one of a kind, really great agent,

1065
01:20:04,240 --> 01:20:08,800
Speaker 2: but a great person human being, And he was not

1066
01:20:08,880 --> 01:20:13,200
Speaker 2: part of that at all, and he probably knew about

1067
01:20:13,200 --> 01:20:17,400
Speaker 2: it and what and you know, he was he was

1068
01:20:17,520 --> 01:20:21,600
Speaker 2: very loyal to me and me to him. And but

1069
01:20:24,080 --> 01:20:30,559
Speaker 2: so then I sued him and I got a huge

1070
01:20:30,600 --> 01:20:37,719
Speaker 2: you know, price Waterhouse did the financial you know thing,

1071
01:20:37,880 --> 01:20:43,000
Speaker 2: looking into all and they found so much stuff that

1072
01:20:43,120 --> 01:20:50,240
Speaker 2: he'd taken unfortunately advances of mind that he signed over

1073
01:20:50,280 --> 01:20:55,400
Speaker 2: to himself and things like that. So to think I've

1074
01:20:55,439 --> 01:20:59,120
Speaker 2: asked a couple of different people over the years how

1075
01:20:59,200 --> 01:21:05,679
Speaker 2: much they think he took from me. And in nineteen

1076
01:21:05,800 --> 01:21:10,360
Speaker 2: seventy dollars it was probably six million, wow.

1077
01:21:10,720 --> 01:21:12,760
Speaker 1: Which is like sixty million today.

1078
01:21:13,360 --> 01:21:20,599
Speaker 2: Right, So it was totally demoralizing the whole situation, and

1079
01:21:20,680 --> 01:21:25,080
Speaker 2: I felt like an idiot for not They know you

1080
01:21:25,200 --> 01:21:27,920
Speaker 2: love the music and that's all you're interested in. They

1081
01:21:28,040 --> 01:21:31,559
Speaker 2: know it. They know it, so they take advantage those

1082
01:21:31,680 --> 01:21:36,600
Speaker 2: that those that are think that way, they take advantage

1083
01:21:36,640 --> 01:21:43,200
Speaker 2: of you. And that has happened over and over and

1084
01:21:43,360 --> 01:21:46,840
Speaker 2: over again, you know, even up to Mateoff. You know

1085
01:21:47,160 --> 01:21:51,040
Speaker 2: who thought about that. You know, he was the chairman

1086
01:21:51,080 --> 01:21:55,639
Speaker 2: of the board in the financial board in New York

1087
01:21:55,760 --> 01:21:59,080
Speaker 2: and everybody thought he was the Bee's knees. You know,

1088
01:21:59,280 --> 01:22:04,200
Speaker 2: no one knew. And then it was the cards failed,

1089
01:22:04,200 --> 01:22:10,360
Speaker 2: didn't they So and so many people lost multimillions in

1090
01:22:10,360 --> 01:22:14,760
Speaker 2: that situation. But I did too, I guess. But so

1091
01:22:17,320 --> 01:22:21,160
Speaker 2: it was basically like starting all over again.

1092
01:22:28,400 --> 01:22:31,640
Speaker 1: Okay, So when you were done with the accounting in

1093
01:22:31,720 --> 01:22:34,920
Speaker 1: the lawsuit, did you get any cash?

1094
01:22:35,439 --> 01:22:39,720
Speaker 2: No? I didn't go ahead with the lawsuit because they

1095
01:22:39,760 --> 01:22:43,320
Speaker 2: were going to stop me my lawyer and other lawyers.

1096
01:22:43,640 --> 01:22:47,599
Speaker 2: I got a separate lawyer. I got a separate lawyer,

1097
01:22:48,720 --> 01:22:51,880
Speaker 2: new company to do all this. I didn't use my

1098
01:22:51,920 --> 01:22:54,240
Speaker 2: old lawyer because I didn't trust him at this point

1099
01:22:54,760 --> 01:23:00,240
Speaker 2: at all. And when I went into the meeting with

1100
01:23:00,280 --> 01:23:02,880
Speaker 2: the guy that was going to come into court with me,

1101
01:23:04,520 --> 01:23:07,840
Speaker 2: he said, he's going to say your gay, he's going

1102
01:23:07,920 --> 01:23:11,280
Speaker 2: to say you've got this disease. He's gonna They're gonna

1103
01:23:11,280 --> 01:23:18,080
Speaker 2: say shit that you wouldn't believe about you. And and

1104
01:23:18,160 --> 01:23:21,439
Speaker 2: I thought, I don't think I want to go through

1105
01:23:21,520 --> 01:23:26,880
Speaker 2: I've been through so much already. And I said, if

1106
01:23:26,880 --> 01:23:31,000
Speaker 2: he had the money and he could pay me, it

1107
01:23:31,040 --> 01:23:33,559
Speaker 2: would be one thing. It would be worth not being

1108
01:23:33,600 --> 01:23:36,639
Speaker 2: able to work for four years. But he doesn't have it.

1109
01:23:38,400 --> 01:23:44,719
Speaker 2: You know, we knew that because the man still worked

1110
01:23:44,760 --> 01:23:54,240
Speaker 2: for the mob, because you never leave. So the more

1111
01:23:54,320 --> 01:23:58,000
Speaker 2: money I earned, the more money he had to pay them.

1112
01:23:59,600 --> 01:24:02,680
Speaker 2: And that's where his money went. I think a lot

1113
01:24:02,720 --> 01:24:06,200
Speaker 2: of it, but he was he enjoyed spending it too.

1114
01:24:06,360 --> 01:24:07,519
Speaker 2: So my money.

1115
01:24:07,720 --> 01:24:10,640
Speaker 1: What about the songs and the royalty interest? Did you

1116
01:24:10,800 --> 01:24:13,920
Speaker 1: end up with all that? Because theoretically he owned fifty

1117
01:24:13,960 --> 01:24:14,559
Speaker 1: percent of the.

1118
01:24:14,560 --> 01:24:19,280
Speaker 2: Songs that in the settlement, we did a settlement he

1119
01:24:19,320 --> 01:24:22,840
Speaker 2: gave that all came back to me out of management,

1120
01:24:23,560 --> 01:24:26,720
Speaker 2: out of publishing, and I was still with A and M,

1121
01:24:26,840 --> 01:24:32,720
Speaker 2: so that was pristine. So I was still there. But

1122
01:24:33,880 --> 01:24:36,760
Speaker 2: so many people knew so much more than I did,

1123
01:24:37,040 --> 01:24:39,920
Speaker 2: because no one wants to tell the king he's not

1124
01:24:40,000 --> 01:24:45,080
Speaker 2: wearing any clothes, you know. And that's happened with friends

1125
01:24:45,080 --> 01:24:49,599
Speaker 2: of mine who are big stars that I've worked for

1126
01:24:49,720 --> 01:24:53,000
Speaker 2: that say what, will come to me and say why

1127
01:24:53,040 --> 01:24:57,200
Speaker 2: didn't you tell me about this guy? I said, no

1128
01:24:57,240 --> 01:25:02,479
Speaker 2: one wants to tell the king he's not wearing any clothes.

1129
01:25:02,640 --> 01:25:07,719
Speaker 2: That's the same thing, you know, because they shoot the messenger.

1130
01:25:08,000 --> 01:25:10,639
Speaker 2: You know. Oh that comfy. That's not true, I said, Well,

1131
01:25:11,439 --> 01:25:19,000
Speaker 2: so I kept my mouth shut in those situations. But yeah,

1132
01:25:19,040 --> 01:25:25,040
Speaker 2: it's yeah, okay.

1133
01:25:25,120 --> 01:25:29,640
Speaker 1: So you regained this decades later, very recently relative to

1134
01:25:29,720 --> 01:25:33,960
Speaker 1: your life. You sold all these assets, your publishing and

1135
01:25:34,000 --> 01:25:37,640
Speaker 1: your royalty stream to BMG. How did you decide to

1136
01:25:37,680 --> 01:25:37,960
Speaker 1: do that?

1137
01:25:42,160 --> 01:25:49,200
Speaker 2: Well, because the disease played a big part of it.

1138
01:25:49,880 --> 01:25:56,800
Speaker 2: That definitely was something I was thinking about and at

1139
01:25:56,840 --> 01:26:01,479
Speaker 2: the time that we would suggest suggested that I did it.

1140
01:26:02,840 --> 01:26:05,240
Speaker 2: The deals were very good. They're not as good anymore,

1141
01:26:05,640 --> 01:26:11,680
Speaker 2: but and I just I just thought that if I

1142
01:26:11,720 --> 01:26:14,760
Speaker 2: can get the amount they're talking about, which I'm not

1143
01:26:14,800 --> 01:26:18,160
Speaker 2: going to divulge, but if I can get that amount,

1144
01:26:18,400 --> 01:26:20,120
Speaker 2: I will be fine for the rest of my life,

1145
01:26:20,160 --> 01:26:25,240
Speaker 2: so will my family and anything I do. Knew from

1146
01:26:25,360 --> 01:26:32,559
Speaker 2: this point on touring New Record with new Record label, public,

1147
01:26:32,640 --> 01:26:35,160
Speaker 2: New Publishing, it's all come that that'll come to me too.

1148
01:26:35,360 --> 01:26:37,400
Speaker 2: Not that it will be a lot, I'm sure, but

1149
01:26:37,400 --> 01:26:42,599
Speaker 2: but it will be something that I will be assured

1150
01:26:42,640 --> 01:26:48,840
Speaker 2: of getting. You know. So it happened, and I got

1151
01:26:48,840 --> 01:26:53,719
Speaker 2: what I wanted, and it meant that if I handle

1152
01:26:53,800 --> 01:27:01,400
Speaker 2: things correctly with my management financial management team right now,

1153
01:27:01,920 --> 01:27:03,880
Speaker 2: who I wish as I said, I wish i'd had

1154
01:27:03,880 --> 01:27:08,519
Speaker 2: them in the seventies, I'll be fine. So I'm very

1155
01:27:08,600 --> 01:27:09,160
Speaker 2: very lucky.

1156
01:27:09,240 --> 01:27:10,479
Speaker 1: What did you do with the money?

1157
01:27:13,439 --> 01:27:14,960
Speaker 2: That's kind of personal too.

1158
01:27:15,080 --> 01:27:17,439
Speaker 1: No, let me let me be clear, because I don't

1159
01:27:17,560 --> 01:27:20,400
Speaker 1: need to know your an x amount of apple, but

1160
01:27:20,520 --> 01:27:23,080
Speaker 1: I do know people who've gotten tens of millions of

1161
01:27:23,120 --> 01:27:25,840
Speaker 1: dollars who've already blown through seventy five percent of it.

1162
01:27:26,400 --> 01:27:29,479
Speaker 1: Musicians are not great with their money. So the first

1163
01:27:29,560 --> 01:27:33,639
Speaker 1: question is you got the lump sum after taxes, did

1164
01:27:33,680 --> 01:27:40,360
Speaker 1: you treat yourself to any luxuries or desires?

1165
01:27:41,280 --> 01:27:46,040
Speaker 2: A couple of really nice vintage guitars. Oh that's about it.

1166
01:27:46,280 --> 01:27:53,080
Speaker 2: I haven't gone crazy, And basically I always live as

1167
01:27:53,080 --> 01:27:55,719
Speaker 2: if I because I've been up and I've been down,

1168
01:27:56,640 --> 01:27:58,639
Speaker 2: I mentally think that I don't have anything.

1169
01:28:00,240 --> 01:28:03,519
Speaker 1: Blackwell told me every musician thinks this is going to

1170
01:28:03,520 --> 01:28:07,960
Speaker 1: be the last payday.

1171
01:28:08,160 --> 01:28:15,240
Speaker 2: No they don't. I don't think so. No, you never

1172
01:28:15,240 --> 01:28:17,519
Speaker 2: think it's going to stop when you when you have

1173
01:28:17,600 --> 01:28:20,880
Speaker 2: that big success, you never think it's going to stop,

1174
01:28:21,080 --> 01:28:26,080
Speaker 2: and it does. It's you can't be the new success

1175
01:28:26,160 --> 01:28:30,200
Speaker 2: guy for more than it takes for another generation to

1176
01:28:30,200 --> 01:28:34,760
Speaker 2: come along. It's four to six years, you know, unless

1177
01:28:35,520 --> 01:28:38,880
Speaker 2: you are the Eagles, the Beatles, the store you know

1178
01:28:39,240 --> 01:28:45,679
Speaker 2: that that have managed to keep it going all these years,

1179
01:28:45,720 --> 01:28:50,160
Speaker 2: you know, and not had the the peaks and valleys

1180
01:28:50,200 --> 01:28:50,679
Speaker 2: I've had.

1181
01:28:51,120 --> 01:28:56,040
Speaker 1: So anyway, okay, let's go back to a little cleanup work.

1182
01:28:56,320 --> 01:28:59,639
Speaker 1: How did you decide to leave Humble Pie? How did

1183
01:28:59,680 --> 01:29:01,639
Speaker 1: you tell all the rest of the band and what

1184
01:29:01,720 --> 01:29:02,599
Speaker 1: did they say?

1185
01:29:05,439 --> 01:29:08,639
Speaker 2: Well, I can't actually say what they said on the radio,

1186
01:29:08,680 --> 01:29:16,320
Speaker 2: I don't think, but well, d Anthony came over to

1187
01:29:16,400 --> 01:29:21,519
Speaker 2: London with the mock up of rock in the film

1188
01:29:21,600 --> 01:29:24,880
Speaker 2: or cover. So the big sheets, you know, with the

1189
01:29:25,640 --> 01:29:28,479
Speaker 2: and the color code and all that, and I'm looking

1190
01:29:28,520 --> 01:29:32,360
Speaker 2: at it and it's fantastic cover, you know, love it

1191
01:29:33,200 --> 01:29:36,240
Speaker 2: And he said what do you think? I said, I

1192
01:29:36,280 --> 01:29:38,679
Speaker 2: love it. I love it. I've got something to tell you, though,

1193
01:29:39,080 --> 01:29:44,000
Speaker 2: He said, what I'm leaving? He said, you're not. I said,

1194
01:29:44,040 --> 01:29:47,920
Speaker 2: I am. You're crazy. Maybe I am, Maybe I'm not.

1195
01:29:49,120 --> 01:29:52,720
Speaker 2: We'll see. So he said, well, you better call him

1196
01:29:52,760 --> 01:29:54,840
Speaker 2: up right now and tell him. So I said I will.

1197
01:29:55,560 --> 01:30:02,920
Speaker 2: So Jerry and Steve uh at Steve's place as it happens,

1198
01:30:03,520 --> 01:30:08,960
Speaker 2: and called up, Hey, guys, how's it going. I've seen

1199
01:30:09,000 --> 01:30:13,480
Speaker 2: the cover. It's really good. You'll love it. But unfortunately,

1200
01:30:13,479 --> 01:30:18,200
Speaker 2: I have something to tell you, and I've decided to

1201
01:30:18,320 --> 01:30:23,080
Speaker 2: leave the band. And there was silence, and then there

1202
01:30:23,160 --> 01:30:27,800
Speaker 2: was screaming, and then there was profanity, which I expected.

1203
01:30:28,120 --> 01:30:31,240
Speaker 2: Why not. I would have been the same way too

1204
01:30:32,520 --> 01:30:34,800
Speaker 2: if it had been reversed and Steve had said he

1205
01:30:34,880 --> 01:30:44,000
Speaker 2: was leaving. So anyway, that's how it was. They weren't thrilled, obviously,

1206
01:30:44,400 --> 01:30:49,080
Speaker 2: But then when I got my band together, Frampton's Camel

1207
01:30:50,320 --> 01:30:55,400
Speaker 2: humble Pie did a tour of England and guess who

1208
01:30:55,520 --> 01:30:59,320
Speaker 2: opened for them? Just to show there was no you know,

1209
01:31:00,280 --> 01:31:03,280
Speaker 2: and they just was every night they stood on the

1210
01:31:03,360 --> 01:31:09,360
Speaker 2: side of the stage going throwing raspberries at me, so

1211
01:31:11,439 --> 01:31:13,559
Speaker 2: you know, it was all in jest, but they were hurt.

1212
01:31:14,000 --> 01:31:16,920
Speaker 2: I would be too, you know. But I didn't have

1213
01:31:17,080 --> 01:31:22,960
Speaker 2: any future whatsoever lined up, nothing, nothing except I was

1214
01:31:23,000 --> 01:31:25,920
Speaker 2: doing a lot of sessions and I was earning enough

1215
01:31:25,960 --> 01:31:30,320
Speaker 2: money to live without the advance from the next album

1216
01:31:30,400 --> 01:31:34,200
Speaker 2: from Humble Bye. So I was doing okay enough to

1217
01:31:34,240 --> 01:31:37,519
Speaker 2: get by, but I had no idea how I was

1218
01:31:37,600 --> 01:31:40,639
Speaker 2: going to live, you know. And I knew I wanted

1219
01:31:40,640 --> 01:31:42,599
Speaker 2: to record. I knew I wanted to form a band,

1220
01:31:43,240 --> 01:31:46,280
Speaker 2: but just went to d and said, look, will you

1221
01:31:46,720 --> 01:31:50,000
Speaker 2: still look after me? And Frank and I know Jerry

1222
01:31:50,040 --> 01:31:54,439
Speaker 2: said he'd stay with me, and so we started again.

1223
01:31:55,800 --> 01:31:59,640
Speaker 1: Okay, were you involved at all in finding your replacement?

1224
01:32:00,280 --> 01:32:04,480
Speaker 1: And then after rock in the film More Smoking comes out,

1225
01:32:04,720 --> 01:32:08,879
Speaker 1: which is a mega success, it's much more blue collar.

1226
01:32:09,400 --> 01:32:12,280
Speaker 1: Was any of that material worked up before you left

1227
01:32:12,280 --> 01:32:12,679
Speaker 1: the band?

1228
01:32:14,840 --> 01:32:19,479
Speaker 2: No? No, I had no hand in recruiting Clem. I

1229
01:32:19,520 --> 01:32:23,120
Speaker 2: thought he was a great choice because he's very good,

1230
01:32:23,160 --> 01:32:30,160
Speaker 2: but blues player not my style at all. But I

1231
01:32:30,280 --> 01:32:33,680
Speaker 2: thought for what they needed he was and still think

1232
01:32:33,720 --> 01:32:38,280
Speaker 2: he's a great player, but I guess it wasn't as

1233
01:32:38,920 --> 01:32:46,200
Speaker 2: unique sounding. The juxtaposition between me and Steve was more

1234
01:32:46,280 --> 01:32:53,160
Speaker 2: diverse than Clem and Steve. But and I think they

1235
01:32:53,280 --> 01:32:56,960
Speaker 2: cut most of Smoke in as a three piece and

1236
01:32:57,000 --> 01:33:01,880
Speaker 2: then brought in Clem to overdub on it because they

1237
01:33:01,920 --> 01:33:04,280
Speaker 2: were still looking for somebody. I could be wrong there,

1238
01:33:04,280 --> 01:33:09,240
Speaker 2: but I'm pretty sure. But uh yeah, And I say

1239
01:33:09,280 --> 01:33:12,880
Speaker 2: this all the time. Smoking is my favorite Humble Pie

1240
01:33:12,960 --> 01:33:17,400
Speaker 2: album and I'm not on it. It's a great, great album.

1241
01:33:18,000 --> 01:33:21,880
Speaker 2: And you know, because they always the crowd always shout

1242
01:33:21,920 --> 01:33:25,040
Speaker 2: out thirty Days in all and I have to go, Okay,

1243
01:33:25,560 --> 01:33:28,639
Speaker 2: let me just clear you in here, I had left

1244
01:33:28,640 --> 01:33:31,600
Speaker 2: the band. I would love to do thirty Days in

1245
01:33:31,640 --> 01:33:34,840
Speaker 2: a Hole for you, but I can't. So there you go.

1246
01:33:35,080 --> 01:33:38,840
Speaker 1: So okay, let's go back to AM and you. You

1247
01:33:38,920 --> 01:33:43,960
Speaker 1: have this unbelievable success, possibly the biggest success anyone has

1248
01:33:43,960 --> 01:33:47,800
Speaker 1: had in the seventies. Everyone knows you a have to

1249
01:33:47,880 --> 01:33:51,320
Speaker 1: make another album when you have that level of success.

1250
01:33:51,400 --> 01:33:54,200
Speaker 1: You had your hardcore fans who'd stuck with you the

1251
01:33:54,240 --> 01:33:57,200
Speaker 1: four solo albums, but there was a whole new audience

1252
01:33:57,560 --> 01:34:02,240
Speaker 1: of younger people you were had a teen idyl aspect,

1253
01:34:02,360 --> 01:34:06,160
Speaker 1: whether that was something you desired or not. The album

1254
01:34:06,200 --> 01:34:10,000
Speaker 1: that has ultimately comes out from a consumer standpoint, a

1255
01:34:10,000 --> 01:34:14,680
Speaker 1: fan standpoint, seems to play more to this younger Evans

1256
01:34:14,800 --> 01:34:19,679
Speaker 1: in demo than the traditional hardcore Frampton fan. On the cover,

1257
01:34:19,880 --> 01:34:25,120
Speaker 1: you're dressed in an appealing way to an audience that

1258
01:34:25,280 --> 01:34:27,519
Speaker 1: is not your traditional audience. What went on there?

1259
01:34:28,560 --> 01:34:31,519
Speaker 2: That was the little Lord funk Roy outfit. I call

1260
01:34:31,600 --> 01:34:47,599
Speaker 2: that one. Uh Okay. So when d made two phone

1261
01:34:47,640 --> 01:34:54,400
Speaker 2: calls to me that were uh one was totally I

1262
01:34:54,439 --> 01:34:58,120
Speaker 2: was totally ecstatic about and the second one scared the

1263
01:34:58,280 --> 01:35:02,559
Speaker 2: shit out of me. And that was the day it

1264
01:35:02,600 --> 01:35:09,360
Speaker 2: went to number one. The album was the first one,

1265
01:35:09,520 --> 01:35:14,840
Speaker 2: and then it seemed like the next day, but I'm

1266
01:35:14,880 --> 01:35:19,759
Speaker 2: sure it was a couple of months later. He called

1267
01:35:19,760 --> 01:35:24,720
Speaker 2: me again and said, you've just broken Carol King's Tapestry

1268
01:35:24,760 --> 01:35:29,799
Speaker 2: sales record. You're now the biggest record ever selling record

1269
01:35:29,920 --> 01:35:35,200
Speaker 2: in America and Canada. And the pit of my stomach

1270
01:35:35,280 --> 01:35:39,120
Speaker 2: just fell out. I didn't want to know that. I

1271
01:35:39,120 --> 01:35:42,759
Speaker 2: didn't want to be the biggest. I would have preferred

1272
01:35:42,760 --> 01:35:45,960
Speaker 2: it was at number two. I'd have preferred that it

1273
01:35:46,400 --> 01:35:51,600
Speaker 2: didn't sell as much as Tapestry because now the spotlight

1274
01:35:51,800 --> 01:35:56,160
Speaker 2: is on me. Like myself, I'm putting the spotlight on me.

1275
01:35:57,040 --> 01:36:01,360
Speaker 2: It's now made it so much more difficult to come

1276
01:36:01,439 --> 01:36:03,960
Speaker 2: up with another album. I did not want to. I

1277
01:36:04,080 --> 01:36:08,759
Speaker 2: wanted to. They say, you're as good as your last album. Well,

1278
01:36:09,360 --> 01:36:11,680
Speaker 2: until we released the next record, I'm as good as

1279
01:36:11,760 --> 01:36:18,080
Speaker 2: ram Who Comes Alive. So but well, everyone was saying, well,

1280
01:36:18,120 --> 01:36:20,439
Speaker 2: you don't want to leave it too long because you'll

1281
01:36:20,479 --> 01:36:23,599
Speaker 2: just get too scared and it'll And I said, well,

1282
01:36:23,680 --> 01:36:28,439
Speaker 2: I don't really have what I would call great songs.

1283
01:36:28,560 --> 01:36:34,120
Speaker 2: The material isn't up to pa. You know, I'm kind

1284
01:36:34,160 --> 01:36:39,600
Speaker 2: of writing it in the studio. It's I'm drinking, it's drugs,

1285
01:36:39,640 --> 01:36:50,160
Speaker 2: it's all this, all these distractions, and it was demoralizing.

1286
01:36:50,760 --> 01:36:57,000
Speaker 2: And I remember going into uh D's office with the

1287
01:36:57,160 --> 01:37:00,840
Speaker 2: two boxes A and the B side. I threw him

1288
01:37:00,880 --> 01:37:04,559
Speaker 2: at him. I said, they are I said, I don't

1289
01:37:04,560 --> 01:37:07,080
Speaker 2: want this out, but I know you guys are going

1290
01:37:07,120 --> 01:37:13,360
Speaker 2: to put it out. And then I should have been

1291
01:37:13,920 --> 01:37:17,360
Speaker 2: in jeans and a T shirt on the cover with

1292
01:37:17,479 --> 01:37:20,479
Speaker 2: a leather jacket or something, you know, but I was

1293
01:37:20,520 --> 01:37:23,360
Speaker 2: still in the lord front lay outfit with this with

1294
01:37:23,400 --> 01:37:27,479
Speaker 2: the satin pants, the white nurse's shoes and some god

1295
01:37:27,520 --> 01:37:32,400
Speaker 2: awful woman's top. You know, it's but they looked fine

1296
01:37:32,439 --> 01:37:37,320
Speaker 2: the year before, but now, you know, sex pistols are happening.

1297
01:37:38,920 --> 01:37:44,880
Speaker 2: Things have changed drastically overnight, you know. And and I'm

1298
01:37:44,920 --> 01:37:49,240
Speaker 2: behind the times already, you know, and out of sink.

1299
01:37:50,360 --> 01:37:57,280
Speaker 2: And that's that's what happened, basically, And I was just

1300
01:37:57,520 --> 01:38:04,160
Speaker 2: very disappointed that I couldn't have the time to spend

1301
01:38:04,200 --> 01:38:09,960
Speaker 2: another couple of years writing. You know, the Eagles don't

1302
01:38:10,160 --> 01:38:13,280
Speaker 2: dash into the studio every five minutes. They've had a

1303
01:38:13,320 --> 01:38:18,320
Speaker 2: handful of studio records as opposed to what you think

1304
01:38:18,360 --> 01:38:20,559
Speaker 2: they've had, but they don't go near the studio until

1305
01:38:20,600 --> 01:38:25,439
Speaker 2: they've got you know, ten number one hits because the

1306
01:38:25,520 --> 01:38:29,559
Speaker 2: reason is they can't stand each other, so they better

1307
01:38:29,640 --> 01:38:34,640
Speaker 2: have some good music to go in there. So I

1308
01:38:34,680 --> 01:38:36,599
Speaker 2: don't know if they love each other now, I don't know,

1309
01:38:36,680 --> 01:38:39,720
Speaker 2: but the documentary shot looked like they weren't thrilled with

1310
01:38:39,760 --> 01:38:46,800
Speaker 2: each other sometimes so but so I went against my

1311
01:38:47,000 --> 01:38:54,240
Speaker 2: gut and that was the beginning of the me learning

1312
01:38:54,280 --> 01:38:55,360
Speaker 2: to say no.

1313
01:38:56,120 --> 01:39:01,160
Speaker 1: Okay. The album comes out sells immediately I'm in You

1314
01:39:01,520 --> 01:39:05,599
Speaker 1: is the success, the single and the whole enterprise. Crash

1315
01:39:05,720 --> 01:39:09,800
Speaker 1: is very shortly thereafter. M. What was it like for you?

1316
01:39:10,840 --> 01:39:13,559
Speaker 2: Oh it's horrible. I mean, I've got to be honest,

1317
01:39:13,680 --> 01:39:15,800
Speaker 2: you know. It's not as if I didn't know that

1318
01:39:15,960 --> 01:39:18,640
Speaker 2: was going to happen because I didn't like what I

1319
01:39:18,720 --> 01:39:27,599
Speaker 2: just put out, you know. And then the next the

1320
01:39:27,640 --> 01:39:30,759
Speaker 2: next album, we go out on tour. All of a sudden,

1321
01:39:32,240 --> 01:39:37,000
Speaker 2: I realize, uh, oh, we can't have the private plane anymore.

1322
01:39:38,080 --> 01:39:41,639
Speaker 2: Why is that? Well, because you're not selling as many tickets.

1323
01:39:42,560 --> 01:39:50,519
Speaker 2: And so now I've gone from arena's busting over sold

1324
01:39:51,040 --> 01:39:56,920
Speaker 2: to not filling arenas you know. And it was horrible, feeling,

1325
01:39:57,520 --> 01:40:01,360
Speaker 2: totally demoralizing, and so we're back on the bus again,

1326
01:40:01,600 --> 01:40:13,240
Speaker 2: you know, and that's oh gosh, And it was I

1327
01:40:13,280 --> 01:40:16,559
Speaker 2: think I was self medicating at that point to the

1328
01:40:16,720 --> 01:40:20,439
Speaker 2: to to to the point where it was not good.

1329
01:40:21,200 --> 01:40:26,599
Speaker 2: And and really the next thing, I did one more

1330
01:40:26,600 --> 01:40:31,240
Speaker 2: album where I should be for an M and uh,

1331
01:40:31,360 --> 01:40:37,920
Speaker 2: then breaking all the rules with David Koshimo that that

1332
01:40:37,920 --> 01:40:40,759
Speaker 2: that was a rock album, that was a good album,

1333
01:40:41,120 --> 01:40:43,080
Speaker 2: should have been the one off, the should have been

1334
01:40:43,120 --> 01:40:47,400
Speaker 2: the one instead of I'm in You, and then and

1335
01:40:47,439 --> 01:40:53,360
Speaker 2: then I did one more album, The Art of Control.

1336
01:40:55,240 --> 01:41:04,320
Speaker 2: I had no control, and and and A and M

1337
01:41:04,400 --> 01:41:09,840
Speaker 2: dropped me. You know, I'm sure Jerry Mortis must did

1338
01:41:09,840 --> 01:41:14,000
Speaker 2: it with moist eyes, but he had to let me go.

1339
01:41:15,160 --> 01:41:18,480
Speaker 2: You know, it was it was so obvious, you know. Meanwhile,

1340
01:41:19,360 --> 01:41:22,040
Speaker 2: you know, A and M took up profit sharing after

1341
01:41:22,160 --> 01:41:25,719
Speaker 2: comes Alive and there's a building next to the Handsome

1342
01:41:25,800 --> 01:41:29,960
Speaker 2: Lock that's called the Frampton Building, which was Almo Irving

1343
01:41:30,040 --> 01:41:33,640
Speaker 2: Publishing building. And you know, so I've gone from a

1344
01:41:33,800 --> 01:41:38,160
Speaker 2: giant picture of me, you know, and then it all

1345
01:41:38,280 --> 01:41:40,400
Speaker 2: kind of faded into nothing. You know.

1346
01:41:41,160 --> 01:41:43,640
Speaker 1: Although on that album before the Kirshion Bomb album, you

1347
01:41:43,840 --> 01:41:46,280
Speaker 1: the opening track I Can't Stand It No More? That

1348
01:41:46,479 --> 01:41:47,639
Speaker 1: was classic for Hampton.

1349
01:41:48,240 --> 01:41:50,000
Speaker 2: Oh well, thank you, Yeah, I like that one.

1350
01:41:50,760 --> 01:41:56,080
Speaker 1: Tell me about Sergeant Pepper. Why well, the question becomes

1351
01:41:56,680 --> 01:42:00,519
Speaker 1: a why did you do it? B there's the beat

1352
01:42:01,120 --> 01:42:04,519
Speaker 1: is whether it was I'm in you or Sergeant Pepper

1353
01:42:05,080 --> 01:42:06,479
Speaker 1: put your career in the dumper?

1354
01:42:07,520 --> 01:42:11,479
Speaker 2: Both. I think they It was a tag team. I'm

1355
01:42:11,520 --> 01:42:13,640
Speaker 2: not gonna say too much about the movie except for

1356
01:42:13,680 --> 01:42:21,000
Speaker 2: the fact that I was told by Robert Stigwood that

1357
01:42:21,160 --> 01:42:26,400
Speaker 2: Paul McCartney was going to be the the savior of

1358
01:42:26,479 --> 01:42:31,040
Speaker 2: the hot Land and instead of.

1359
01:42:33,040 --> 01:42:38,480
Speaker 1: Billy Billy Shears, No, Billy Preston.

1360
01:42:38,520 --> 01:42:47,360
Speaker 2: Yes, Billy who I love dearly, and so I I

1361
01:42:47,400 --> 01:42:51,439
Speaker 2: when Stickwood said, as Paul is going to be in

1362
01:42:51,479 --> 01:42:56,680
Speaker 2: the movie, I said really, and I said, well, if

1363
01:42:56,680 --> 01:43:00,200
Speaker 2: a Beatle's going to be in the movie, he's sanctioned it,

1364
01:43:01,400 --> 01:43:05,519
Speaker 2: then it can't be bad. Well, I get to I

1365
01:43:05,560 --> 01:43:08,400
Speaker 2: fly out to Los Angeles, I go to the first

1366
01:43:08,479 --> 01:43:13,479
Speaker 2: meeting out there no Paul McCartney. So I was lied

1367
01:43:13,520 --> 01:43:24,160
Speaker 2: to and I did it because I'm how old am I?

1368
01:43:24,320 --> 01:43:24,439
Speaker 1: Then?

1369
01:43:24,520 --> 01:43:28,559
Speaker 2: I'm twenty seven now twenty six? When I got asked, probably,

1370
01:43:29,880 --> 01:43:33,760
Speaker 2: do you want to stir in a movie? I've got

1371
01:43:33,760 --> 01:43:39,680
Speaker 2: you this amount of money and it's about the Beatles,

1372
01:43:39,760 --> 01:43:43,160
Speaker 2: And I said, oh, it's about the Beatles really, And

1373
01:43:43,240 --> 01:43:47,200
Speaker 2: that was the only thing that worried me until Stickwood

1374
01:43:47,240 --> 01:43:51,920
Speaker 2: said Paul McCartney's going to be in it. So and

1375
01:43:51,960 --> 01:43:58,919
Speaker 2: then I realized from the first day of shooting, oh

1376
01:43:58,960 --> 01:44:04,599
Speaker 2: this was a disaster. You know. I didn't walk because

1377
01:44:04,640 --> 01:44:07,120
Speaker 2: I would have been sued to high hell, I guess,

1378
01:44:07,160 --> 01:44:13,080
Speaker 2: you know. But we all hated being in that movie.

1379
01:44:13,400 --> 01:44:14,519
Speaker 2: I mean the Beg's and I.

1380
01:44:15,880 --> 01:44:19,679
Speaker 1: Okay, Stickwood, for all his success, was somewhat of a mystery.

1381
01:44:20,479 --> 01:44:25,440
Speaker 1: What was your take on Stickwood?

1382
01:44:25,200 --> 01:44:30,160
Speaker 2: I didn't really I didn't really know him that well

1383
01:44:30,280 --> 01:44:32,680
Speaker 2: or no. I know that he was the manager and

1384
01:44:32,760 --> 01:44:38,320
Speaker 2: record label of Oh, record label for Cream, he was

1385
01:44:38,439 --> 01:44:44,439
Speaker 2: record label for the Beg's, he did Saturday Night Fever.

1386
01:44:44,600 --> 01:44:47,640
Speaker 2: I mean, he'd had a lot of successes, you know,

1387
01:44:47,880 --> 01:44:55,280
Speaker 2: so and Greece, you know, which hadn't which was being

1388
01:44:55,400 --> 01:44:59,880
Speaker 2: edited while we were doing Uh, Sergeant Pepper, I believe.

1389
01:45:00,120 --> 01:45:00,519
Speaker 3: And.

1390
01:45:01,840 --> 01:45:06,280
Speaker 2: So I just thought, well, he has to know what

1391
01:45:06,320 --> 01:45:09,920
Speaker 2: he's doing, you know, and everyone thought we couldn't fail

1392
01:45:11,000 --> 01:45:13,479
Speaker 2: and it would have been good. The only thing I'll

1393
01:45:13,520 --> 01:45:22,759
Speaker 2: say about it is there was no script and rest

1394
01:45:22,800 --> 01:45:27,559
Speaker 2: in peace. George Martin should not have been the guy

1395
01:45:27,600 --> 01:45:32,040
Speaker 2: to do the music because he imagine doing that with

1396
01:45:32,160 --> 01:45:36,280
Speaker 2: Jeff Emeric the Beatles, but you don't have the Beatles

1397
01:45:37,439 --> 01:45:41,120
Speaker 2: and you're trying to I would imagine they were not

1398
01:45:41,360 --> 01:45:50,120
Speaker 2: enjoying it. I never asked George that, but you know,

1399
01:45:50,800 --> 01:45:57,639
Speaker 2: nowadays Giles would have done it right. But anyway, Yes,

1400
01:45:58,280 --> 01:46:00,559
Speaker 2: another mistake of Frampton mistake there.

1401
01:46:01,479 --> 01:46:06,160
Speaker 1: Okay, you grew up in Bromley, David Bowie was on

1402
01:46:06,200 --> 01:46:09,920
Speaker 1: the scene. Was he that charismatic? Growing up? Did you

1403
01:46:10,080 --> 01:46:12,320
Speaker 1: feel this guy was going to be a star? I

1404
01:46:12,320 --> 01:46:14,320
Speaker 1: mean he was just another kid in the neighborhood.

1405
01:46:16,479 --> 01:46:20,400
Speaker 2: Well, I didn't meet him until I went My father

1406
01:46:21,680 --> 01:46:24,439
Speaker 2: was the head of the art department in a technical

1407
01:46:24,520 --> 01:46:27,559
Speaker 2: high school, meaning it's not so much on academics, it's

1408
01:46:27,600 --> 01:46:36,759
Speaker 2: more on art. Would work design all sorts of stuff,

1409
01:46:36,800 --> 01:46:42,679
Speaker 2: you know. And my father took me to the school

1410
01:46:42,680 --> 01:46:47,280
Speaker 2: on a weekend before I went there. I went there

1411
01:46:47,320 --> 01:46:50,000
Speaker 2: about a year and a half later than this what happened.

1412
01:46:50,280 --> 01:46:52,400
Speaker 2: So we went on a weekend and they were having

1413
01:46:52,400 --> 01:46:57,960
Speaker 2: a garden fate, which like a fair fete, and it's

1414
01:46:58,040 --> 01:47:05,200
Speaker 2: raising money for the school, you know, and pencils and whatever.

1415
01:47:05,600 --> 01:47:14,000
Speaker 2: And and so myself, uh, my father, my mother and

1416
01:47:14,080 --> 01:47:17,120
Speaker 2: my brother we walk in to the grounds and there's

1417
01:47:17,120 --> 01:47:20,519
Speaker 2: a band playing on the steps of the entrance to

1418
01:47:20,640 --> 01:47:23,400
Speaker 2: the school. And of course I'm going, who the hell

1419
01:47:23,520 --> 01:47:29,000
Speaker 2: is that? That sounds really good? And and I knew

1420
01:47:29,000 --> 01:47:31,640
Speaker 2: it was the Conrads because I'd heard of them. They

1421
01:47:31,640 --> 01:47:35,400
Speaker 2: were a big local band. And I said, Dad, who's

1422
01:47:35,479 --> 01:47:39,040
Speaker 2: the guy on the end playing the sacks? He said, oh,

1423
01:47:39,240 --> 01:47:52,040
Speaker 2: that's Jones, very creative, and and so I just you

1424
01:47:52,080 --> 01:47:56,599
Speaker 2: looked at the band, but you couldn't help but you're

1425
01:47:57,120 --> 01:48:01,040
Speaker 2: he had the charisma right there, right from the off,

1426
01:48:01,360 --> 01:48:06,400
Speaker 2: you know. And so yeah, year and a half later,

1427
01:48:06,479 --> 01:48:09,120
Speaker 2: I go to the school. I'm in the first first year,

1428
01:48:10,880 --> 01:48:14,840
Speaker 2: and lunchtime I make a bee line for Dave. So

1429
01:48:15,600 --> 01:48:18,960
Speaker 2: I go and Dave's sitting next to George Underwood, who

1430
01:48:19,000 --> 01:48:23,400
Speaker 2: does is also in my father's class. And for three

1431
01:48:23,479 --> 01:48:27,920
Speaker 2: years they were both in the art class. And George

1432
01:48:27,920 --> 01:48:33,080
Speaker 2: did the Ziggy start Us cover and he's a fine

1433
01:48:33,280 --> 01:48:37,120
Speaker 2: fine artist. Now have some of his work, and he

1434
01:48:37,160 --> 01:48:40,080
Speaker 2: did He's done a lot and for David over the years.

1435
01:48:40,160 --> 01:48:45,519
Speaker 2: And they were they were Frick and Frank till till

1436
01:48:45,520 --> 01:48:48,439
Speaker 2: we David left us, you know. So while I was there,

1437
01:48:48,439 --> 01:48:53,880
Speaker 2: it was kind of like the there was three of us,

1438
01:48:53,960 --> 01:48:56,040
Speaker 2: you know, and I would I don't know whether they

1439
01:48:56,120 --> 01:48:58,880
Speaker 2: liked me bugging them, but I was. I was there

1440
01:48:59,080 --> 01:49:01,760
Speaker 2: art teachers son, so they had to be good to me.

1441
01:49:03,280 --> 01:49:09,240
Speaker 2: But anyway, my dad would say, uh, hey you guys.

1442
01:49:09,560 --> 01:49:13,240
Speaker 2: Why didn't he wouldn't have said hey you guys, He said, Pedra,

1443
01:49:14,640 --> 01:49:18,720
Speaker 2: I know you're all very musical, he said, but I

1444
01:49:18,800 --> 01:49:21,800
Speaker 2: think will be a good idea for lunchtimes. Wouldn't you

1445
01:49:21,800 --> 01:49:24,880
Speaker 2: want to get your guitars out and play? And we've

1446
01:49:24,880 --> 01:49:28,640
Speaker 2: got those beautiful steps on the the hot the stairway

1447
01:49:28,720 --> 01:49:31,280
Speaker 2: on the on the art block has got a lovely

1448
01:49:31,320 --> 01:49:35,040
Speaker 2: echo there. Wouldn't you like to sit there? So I said, yeah,

1449
01:49:35,160 --> 01:49:37,519
Speaker 2: He said, so, tell David to bring his guitar or

1450
01:49:37,560 --> 01:49:40,040
Speaker 2: George to bring his guitar. So all brought our guitars.

1451
01:49:40,200 --> 01:49:43,000
Speaker 2: He stored them in his office and then at lunchtime

1452
01:49:43,040 --> 01:49:45,200
Speaker 2: he left the door open for us. So we went

1453
01:49:45,240 --> 01:49:47,680
Speaker 2: in there, got our guitars, sat on the steps of

1454
01:49:48,520 --> 01:49:53,040
Speaker 2: this beautiful stone stairs stairway and sang Buddy, Holly, numbers

1455
01:49:53,080 --> 01:49:56,040
Speaker 2: and everly brother, what you name it? All American, of course,

1456
01:49:56,479 --> 01:50:00,840
Speaker 2: And they taught me stuff and taught me Buddy Holly,

1457
01:50:02,680 --> 01:50:05,320
Speaker 2: George loved may I baby no.

1458
01:50:05,760 --> 01:50:08,240
Speaker 1: Maybe maybe baby whatever.

1459
01:50:07,960 --> 01:50:12,000
Speaker 2: Yeah, yeah whatever it is maybe baby yes, maybe baby yeah.

1460
01:50:12,360 --> 01:50:17,880
Speaker 2: And so anyway, that was it. So we became, you know,

1461
01:50:18,000 --> 01:50:22,200
Speaker 2: really close friends, and until we lost David. You know,

1462
01:50:22,240 --> 01:50:24,960
Speaker 2: I've been the three of us have been friends.

1463
01:50:25,439 --> 01:50:30,240
Speaker 1: Okay, you're a little younger than the first generation the Beatles,

1464
01:50:30,920 --> 01:50:33,799
Speaker 1: The Mercy bands. They were all born in the early forties.

1465
01:50:34,280 --> 01:50:38,479
Speaker 1: You're born almost ten years later. In addition, the scene

1466
01:50:38,520 --> 01:50:43,439
Speaker 1: is different in the UK. In America we have you know,

1467
01:50:43,600 --> 01:50:47,639
Speaker 1: Rocket Ada, Rock around the Clock, Elvis, then we had

1468
01:50:47,720 --> 01:50:51,000
Speaker 1: you know, Little Richard, then we have the teen Idols,

1469
01:50:51,000 --> 01:50:53,200
Speaker 1: then we have the Beach Boys. In the Four Seasons

1470
01:50:53,240 --> 01:50:57,320
Speaker 1: and sixty four the Beatles hit, whereas they talk about

1471
01:50:57,360 --> 01:51:01,519
Speaker 1: different acts in the UK Rory Storm, Cliff Richard, Beatles

1472
01:51:01,600 --> 01:51:05,240
Speaker 1: break in sixty two. What was it like in the

1473
01:51:05,360 --> 01:51:10,600
Speaker 1: music scene and were the Beatles this phenomenal force like

1474
01:51:10,680 --> 01:51:12,439
Speaker 1: they were in the US.

1475
01:51:13,720 --> 01:51:19,080
Speaker 2: Yes, they were. It didn't happen with the first single,

1476
01:51:19,160 --> 01:51:23,360
Speaker 2: which was Love Me Do here in America. In England,

1477
01:51:23,880 --> 01:51:27,080
Speaker 2: UK single first one Love Me Do, and the album

1478
01:51:27,160 --> 01:51:30,560
Speaker 2: was Please Please Me. But that didn't come out until

1479
01:51:32,200 --> 01:51:36,360
Speaker 2: In those days you had like bands would put a

1480
01:51:36,400 --> 01:51:38,719
Speaker 2: single out, if it was a hit, you'd put another

1481
01:51:38,760 --> 01:51:42,400
Speaker 2: single out, and if it was a hit, you'd put

1482
01:51:42,439 --> 01:51:45,280
Speaker 2: another record out and you'd be asked to do an album.

1483
01:51:45,760 --> 01:51:49,320
Speaker 2: None of those singles would be on the album. It

1484
01:51:49,360 --> 01:51:54,439
Speaker 2: was a completely separate entity, you know. So that's why

1485
01:51:54,479 --> 01:51:56,840
Speaker 2: I Love Me Do is not on Please Please Me.

1486
01:51:58,080 --> 01:51:59,880
Speaker 2: So the English I over here.

1487
01:52:00,160 --> 01:52:02,320
Speaker 1: No, yeah, yeah, yeah, but you're right. The English ones

1488
01:52:02,320 --> 01:52:04,720
Speaker 1: have become the standards at this point anyway.

1489
01:52:04,880 --> 01:52:11,720
Speaker 2: Right, right, So my band the True Beats, and yes

1490
01:52:11,800 --> 01:52:15,080
Speaker 2: I did think of the name, Sorry about that. I

1491
01:52:15,160 --> 01:52:19,840
Speaker 2: was twelve or twelve or thirteen, and the rest of

1492
01:52:19,920 --> 01:52:24,240
Speaker 2: them were all sixteen seventeen something like that. And so

1493
01:52:24,320 --> 01:52:27,920
Speaker 2: we were just doing every instrumental record you can think of,

1494
01:52:29,160 --> 01:52:35,760
Speaker 2: all the Shadows, all the Ventures, Nero and the Gladiators,

1495
01:52:36,320 --> 01:52:39,200
Speaker 2: all these names. We've probably never heard of, all these

1496
01:52:39,240 --> 01:52:42,559
Speaker 2: instrumental bands, but the Shadows and the Ventures were the

1497
01:52:42,960 --> 01:52:47,599
Speaker 2: two primo, and of course for me, as great as

1498
01:52:47,640 --> 01:52:50,080
Speaker 2: the Adventures are, I have to say I picked the

1499
01:52:50,120 --> 01:52:57,720
Speaker 2: Shadows because they're homegrown, and so we went from that,

1500
01:52:57,960 --> 01:53:00,439
Speaker 2: and then the Beatles came out. I remember of seeing

1501
01:53:00,479 --> 01:53:06,880
Speaker 2: them do Love Me Do on I forget what which

1502
01:53:07,040 --> 01:53:11,720
Speaker 2: which TV show it was, but in England, and I

1503
01:53:11,880 --> 01:53:15,479
Speaker 2: was mesmerized. It was such a different sound and the

1504
01:53:15,520 --> 01:53:20,880
Speaker 2: harmonica and obviously they've written it themselves and this was

1505
01:53:20,920 --> 01:53:25,360
Speaker 2: not the normal up until this point, you know. And

1506
01:53:25,400 --> 01:53:30,439
Speaker 2: then Please Please Me came out and went through the roof.

1507
01:53:31,880 --> 01:53:35,400
Speaker 2: So I don't know if that was still sixty two

1508
01:53:35,560 --> 01:53:37,519
Speaker 2: or whether it was sixty three, it was probably still

1509
01:53:37,520 --> 01:53:41,600
Speaker 2: sixty two. Please Please Me came out, and then it

1510
01:53:41,680 --> 01:53:44,360
Speaker 2: was an album. Then it was there, there's your album,

1511
01:53:44,439 --> 01:53:49,400
Speaker 2: Please Please Me album. And because they'd do like three

1512
01:53:49,479 --> 01:53:52,439
Speaker 2: or four singles a year, maybe more, you know, and

1513
01:53:52,479 --> 01:53:56,320
Speaker 2: they'd all be one, two, four and seven, you know

1514
01:53:56,439 --> 01:53:59,120
Speaker 2: in the British charts, we go, oh my god, I've

1515
01:53:59,160 --> 01:54:02,640
Speaker 2: never seen anything like well. I had seen Cliff at

1516
01:54:02,720 --> 01:54:05,599
Speaker 2: number one, Shadows at number two, Cliff at number three,

1517
01:54:05,680 --> 01:54:09,439
Speaker 2: Shadows at number four, had seen that, but this was

1518
01:54:09,520 --> 01:54:13,280
Speaker 2: going even further. This was like, oh my god, everything

1519
01:54:13,360 --> 01:54:16,599
Speaker 2: they do, so the true Beats had to start singing.

1520
01:54:17,080 --> 01:54:23,599
Speaker 2: So we did badly and so that was it. And

1521
01:54:23,640 --> 01:54:29,559
Speaker 2: then I didn't realize that when they went to America,

1522
01:54:30,080 --> 01:54:32,720
Speaker 2: the first single that came out was I Want to

1523
01:54:32,760 --> 01:54:36,760
Speaker 2: Hold Your Hand, because that when that came out in England,

1524
01:54:36,800 --> 01:54:42,080
Speaker 2: now we're we're above number one, we're like plus twenty

1525
01:54:42,360 --> 01:54:45,320
Speaker 2: the Beatles are, you know, in everybody's mind. It was

1526
01:54:45,480 --> 01:54:49,760
Speaker 2: phenomenon exactly like it it was here, you know. I mean,

1527
01:54:51,080 --> 01:54:53,800
Speaker 2: we loved them. They were ours and we loved them

1528
01:54:53,960 --> 01:54:55,880
Speaker 2: and we couldn't get enough of them.

1529
01:54:56,640 --> 01:54:59,400
Speaker 1: Okay, you've been living in the US for a long time.

1530
01:55:00,360 --> 01:55:04,520
Speaker 1: What's the difference between the UK and the US.

1531
01:55:05,040 --> 01:55:08,200
Speaker 2: Well, as you say I haven't lived in the UK

1532
01:55:08,800 --> 01:55:15,160
Speaker 2: for many years, I can't really answer that question. I

1533
01:55:15,160 --> 01:55:17,280
Speaker 2: don't know anymore because I haven't lived there.

1534
01:55:17,840 --> 01:55:20,880
Speaker 1: Well, let's change it. Did you move to the US

1535
01:55:21,080 --> 01:55:23,400
Speaker 1: for romance or did you want to live in the

1536
01:55:23,520 --> 01:55:25,720
Speaker 1: US both.

1537
01:55:25,720 --> 01:55:32,280
Speaker 2: I think I had my share of enjoyment touring with

1538
01:55:32,640 --> 01:55:37,879
Speaker 2: Humble Pie. It seemed like every time I went to America,

1539
01:55:37,960 --> 01:55:40,280
Speaker 2: I woke up, and every time I went back to

1540
01:55:40,320 --> 01:55:42,880
Speaker 2: England I went to sleep. It was like I was

1541
01:55:42,920 --> 01:55:46,680
Speaker 2: just waiting for the next tour or the next album

1542
01:55:46,720 --> 01:55:51,320
Speaker 2: or whatever. And there was something very exciting for us

1543
01:55:51,440 --> 01:55:55,280
Speaker 2: young English musicians. Look, we're coming to the country where

1544
01:55:56,040 --> 01:56:00,880
Speaker 2: you invented jazz, blues, gospel goes on, it goes on

1545
01:56:01,120 --> 01:56:03,760
Speaker 2: R and B. I mean it just, oh my god,

1546
01:56:03,920 --> 01:56:08,240
Speaker 2: you know, And we couldn't believe the radio stations. There's

1547
01:56:08,320 --> 01:56:11,440
Speaker 2: just just jazz on this one, and there's look, there's

1548
01:56:11,520 --> 01:56:14,600
Speaker 2: R and B just on this one, and there's you know,

1549
01:56:14,680 --> 01:56:17,200
Speaker 2: it was we couldn't believe it. So it was for

1550
01:56:17,480 --> 01:56:20,879
Speaker 2: a musician, I felt that they were much more involved.

1551
01:56:21,760 --> 01:56:27,760
Speaker 2: Music was much more important in America than it was

1552
01:56:27,800 --> 01:56:30,440
Speaker 2: in England, which is not true, but we just didn't

1553
01:56:30,440 --> 01:56:33,480
Speaker 2: have the outlets we had. We were used to the

1554
01:56:33,520 --> 01:56:38,120
Speaker 2: BBC having a playlist of five records a week, new record,

1555
01:56:38,240 --> 01:56:41,720
Speaker 2: five new records a week, and then luckily we had

1556
01:56:41,760 --> 01:56:46,600
Speaker 2: the pirate radio stations Caroline, London and all these guys

1557
01:56:46,640 --> 01:56:50,240
Speaker 2: throwing up on boats outside the three mile limit playing

1558
01:56:50,320 --> 01:56:54,920
Speaker 2: music until the GPO finally shut them down with the technicality.

1559
01:56:55,400 --> 01:57:00,920
Speaker 2: But that was like American radio absolutely and that we

1560
01:57:01,000 --> 01:57:04,760
Speaker 2: wouldn't have had the who I don't think the Stones

1561
01:57:04,800 --> 01:57:08,520
Speaker 2: would have been as big a small Faces Swinging Blue.

1562
01:57:09,040 --> 01:57:12,200
Speaker 2: So many bands that were part of the British Wave,

1563
01:57:12,440 --> 01:57:15,920
Speaker 2: the late latter British Wave wouldn't have made it had

1564
01:57:15,960 --> 01:57:19,120
Speaker 2: it not been for Radio Carolina, Radio London and all

1565
01:57:19,120 --> 01:57:24,080
Speaker 2: the others, because now you're in rotation, you know, and

1566
01:57:24,120 --> 01:57:31,240
Speaker 2: there's no BBC orchestra music, you know. So very that

1567
01:57:31,360 --> 01:57:37,520
Speaker 2: was a very, very important and it's this this year

1568
01:57:37,720 --> 01:57:42,160
Speaker 2: is the fiftieth year of Radio Caroline. Wow, it's yeah.

1569
01:57:42,200 --> 01:57:45,080
Speaker 2: So I just did an interview about with them about

1570
01:57:45,120 --> 01:57:46,919
Speaker 2: that because that changed everything.

1571
01:57:48,400 --> 01:57:50,920
Speaker 1: To what degree are you a gear head? You finally

1572
01:57:51,400 --> 01:57:55,800
Speaker 1: got your black less Paul back in your possession after decades.

1573
01:57:56,120 --> 01:57:57,600
Speaker 1: But are you the type of person who homes one

1574
01:57:57,640 --> 01:58:00,560
Speaker 1: hundred guitars has to have the leadest pedal? What kind

1575
01:58:00,600 --> 01:58:01,240
Speaker 1: of person are you?

1576
01:58:04,480 --> 01:58:08,440
Speaker 2: I don't have as many guitars as a lot of

1577
01:58:08,480 --> 01:58:16,120
Speaker 2: players have because you can only play one at a time. Well,

1578
01:58:16,240 --> 01:58:19,000
Speaker 2: actually you can actually put two on them play too. No,

1579
01:58:19,120 --> 01:58:26,280
Speaker 2: but I lost in the Nashville flood forty four guitars,

1580
01:58:27,240 --> 01:58:31,080
Speaker 2: and a lot of them were backups for backups, for backups,

1581
01:58:31,520 --> 01:58:35,240
Speaker 2: guitars given to me by companies that I had used

1582
01:58:35,280 --> 01:58:40,240
Speaker 2: at one point. So it wasn't all great my most

1583
01:58:40,320 --> 01:58:45,840
Speaker 2: favorite guitars, but it kind of cleared me out, cleaned

1584
01:58:45,880 --> 01:58:51,080
Speaker 2: me out and of instruments. So I was very lucky

1585
01:58:51,160 --> 01:58:55,520
Speaker 2: that my team that I have now. I was one

1586
01:58:55,520 --> 01:58:59,400
Speaker 2: of the very few people that stored their equipment at

1587
01:58:59,440 --> 01:59:04,839
Speaker 2: Soundcheck in Nashville who was insured for flood. The building

1588
01:59:04,960 --> 01:59:08,280
Speaker 2: wasn't insured. Sound Check was not insured for flood, and

1589
01:59:08,320 --> 01:59:13,080
Speaker 2: they're on the river, so I got I mean, I

1590
01:59:13,120 --> 01:59:19,040
Speaker 2: had to replace the entire back line, drums, keyboards, everything

1591
01:59:19,120 --> 01:59:22,760
Speaker 2: for the band. They'd lost everything right that I did first.

1592
01:59:24,160 --> 01:59:30,360
Speaker 2: So when we got enough equipment back replaced, then we

1593
01:59:30,800 --> 01:59:33,000
Speaker 2: were good to play. But then what I did was,

1594
01:59:33,240 --> 01:59:37,240
Speaker 2: instead of going out and replacing every guitar, I just said, well,

1595
01:59:37,240 --> 01:59:41,160
Speaker 2: I've always wanted one of these. So I went and

1596
01:59:41,200 --> 01:59:49,400
Speaker 2: got a Burst, a nineteen sixty Gibson to pick up

1597
01:59:50,800 --> 01:59:56,720
Speaker 2: Burst and which is a collector's item. It's very expensive,

1598
01:59:58,280 --> 02:00:00,600
Speaker 2: but I bought it a few years and ago, and

1599
02:00:00,640 --> 02:00:03,600
Speaker 2: I just got one of everything that I really like.

1600
02:00:04,120 --> 02:00:10,280
Speaker 2: One decent telecaster, one baritone guitar, a bunch of acoustics

1601
02:00:10,280 --> 02:00:17,240
Speaker 2: because they all sound different, but you know, one fifty nine,

1602
02:00:17,840 --> 02:00:22,480
Speaker 2: three thirty five, you know, beautiful. So I was able

1603
02:00:22,560 --> 02:00:28,040
Speaker 2: to give my replace the band's equipment. Plus I was

1604
02:00:28,080 --> 02:00:32,120
Speaker 2: able to go out and get a nice one of

1605
02:00:32,160 --> 02:00:35,520
Speaker 2: each that I desired to have. I didn't go get

1606
02:00:35,920 --> 02:00:40,040
Speaker 2: a million guitar. No, and I don't do that now.

1607
02:00:40,320 --> 02:00:43,440
Speaker 2: You know, every now and again, something or just I'll

1608
02:00:43,480 --> 02:00:47,960
Speaker 2: get a bug And as they say, you don't need

1609
02:00:47,960 --> 02:00:53,120
Speaker 2: another guitar, do you oars room for one more? So?

1610
02:00:53,480 --> 02:01:01,280
Speaker 2: You know, but no, I'm not a Joe Bonamasa or

1611
02:01:01,600 --> 02:01:02,360
Speaker 2: cheap Trick.

1612
02:01:04,040 --> 02:01:04,680
Speaker 1: Rick Nielsen.

1613
02:01:05,640 --> 02:01:11,400
Speaker 2: I'm not a Rick Nielsen. I love Rick Nielsen and Joe,

1614
02:01:11,680 --> 02:01:15,200
Speaker 2: but Rick Rick is more of a businessman. When he

1615
02:01:15,280 --> 02:01:17,600
Speaker 2: comes to that because he's been doing it a long

1616
02:01:17,880 --> 02:01:23,200
Speaker 2: time and he's he's had some amazing guitars. I'm not

1617
02:01:23,440 --> 02:01:30,640
Speaker 2: as into the instrument for what it represents, its value

1618
02:01:30,800 --> 02:01:35,760
Speaker 2: or anything. I'm into an instrument because it's comfortable and

1619
02:01:35,800 --> 02:01:39,240
Speaker 2: it sounds good and it makes me play good. You know.

1620
02:01:41,320 --> 02:01:44,240
Speaker 2: There are guitars that are worth a lot of money

1621
02:01:44,240 --> 02:01:46,800
Speaker 2: that I can't really get my hand around the neck

1622
02:01:46,840 --> 02:01:52,320
Speaker 2: it's so big, you know. So yeah, it's moderation. I'm

1623
02:01:52,360 --> 02:01:55,280
Speaker 2: a I'm a collector with moderate collector.

1624
02:01:55,880 --> 02:01:59,560
Speaker 1: Okay. The question, obviously is where's all the equipment stored down?

1625
02:01:59,640 --> 02:02:07,120
Speaker 2: Not this? No, No, we have our own we have

1626
02:02:07,200 --> 02:02:14,800
Speaker 2: our own locker within a whole consortium that is owned

1627
02:02:14,800 --> 02:02:15,720
Speaker 2: by Dolly Parton.

1628
02:02:16,400 --> 02:02:16,800
Speaker 4: Wow.

1629
02:02:17,400 --> 02:02:21,000
Speaker 2: And we've rehearsed at her nose it's called and we

1630
02:02:21,160 --> 02:02:23,320
Speaker 2: rehearse at her rehearsal Hall too.

1631
02:02:23,600 --> 02:02:26,240
Speaker 1: Well, you ended up playing on two songs on a record.

1632
02:02:26,280 --> 02:02:27,280
Speaker 1: How did that come together?

1633
02:02:28,320 --> 02:02:30,960
Speaker 2: I was with a friend having lunch and he said, oh,

1634
02:02:31,000 --> 02:02:34,400
Speaker 2: I just he's a great singer and guitar player, but

1635
02:02:34,480 --> 02:02:38,360
Speaker 2: he gets a lot of session singing jobs. And he said, well,

1636
02:02:39,640 --> 02:02:41,080
Speaker 2: I said what you been doing? I said, well, I

1637
02:02:41,200 --> 02:02:44,680
Speaker 2: just got I just got out of a session sang

1638
02:02:44,720 --> 02:02:49,240
Speaker 2: background on this song first Steven Tyler and Dolly Parton.

1639
02:02:49,320 --> 02:02:52,040
Speaker 2: I said, that's right, she's doing the album right now,

1640
02:02:52,640 --> 02:02:56,480
Speaker 2: the rock and roll album. I said, okay, wow. So anyway,

1641
02:02:56,480 --> 02:02:58,600
Speaker 2: I called my manager. I said, Ken, do you have

1642
02:02:58,640 --> 02:03:01,600
Speaker 2: any connection over there. I'm sure they've got all the

1643
02:03:01,680 --> 02:03:04,840
Speaker 2: duets done by now, but I'd love to offer a

1644
02:03:04,880 --> 02:03:08,880
Speaker 2: guitar solo. It would be such a thrill to be

1645
02:03:08,960 --> 02:03:12,720
Speaker 2: on that record. And so he gets me Kent Wells,

1646
02:03:13,160 --> 02:03:17,960
Speaker 2: who is a lovely man, her guitar player and also

1647
02:03:18,800 --> 02:03:22,720
Speaker 2: her producer, and he's producing these thirty tracks. So anyway,

1648
02:03:23,800 --> 02:03:28,280
Speaker 2: he calls me up. He said, oh, hi, man, you

1649
02:03:28,400 --> 02:03:31,880
Speaker 2: just want to do a guitar solo. I said, well,

1650
02:03:31,920 --> 02:03:36,040
Speaker 2: I'm lowballing with a guitar solo, but I figured you'd

1651
02:03:36,040 --> 02:03:39,320
Speaker 2: done all the duets. And he said, hold on a minute,

1652
02:03:39,480 --> 02:03:41,720
Speaker 2: would you ever do one of your songs? I said,

1653
02:03:41,880 --> 02:03:46,800
Speaker 2: let me think about that. Yes, and so he said,

1654
02:03:46,800 --> 02:03:50,000
Speaker 2: hold on a second, I'll call you right back. Five

1655
02:03:50,040 --> 02:03:54,000
Speaker 2: minutes go by. If that he calls me back, Dolly's

1656
02:03:54,040 --> 02:03:56,520
Speaker 2: screaming she wants to do baby, I love your way

1657
02:03:56,560 --> 02:03:58,600
Speaker 2: with you? Will you do it? I said, let me

1658
02:03:58,640 --> 02:04:02,840
Speaker 2: think about that. Yes, So that's how it came about,

1659
02:04:02,960 --> 02:04:06,440
Speaker 2: and my band cut the track. I sang it all

1660
02:04:06,440 --> 02:04:09,960
Speaker 2: the way through, gave it to Kent and said, dip

1661
02:04:10,000 --> 02:04:12,720
Speaker 2: me wherever you want me and have us sing whatever

1662
02:04:12,760 --> 02:04:14,680
Speaker 2: she wants to sing on it. And then I got

1663
02:04:14,760 --> 02:04:17,560
Speaker 2: it back. I got her vocal back, and I got

1664
02:04:17,640 --> 02:04:22,080
Speaker 2: chilled because she'd taken it to another level. You know,

1665
02:04:22,560 --> 02:04:26,760
Speaker 2: this is Dolly's version, you know, even though it's my song,

1666
02:04:26,880 --> 02:04:30,400
Speaker 2: and that's right. So she starts ad libbing with me

1667
02:04:30,560 --> 02:04:33,680
Speaker 2: and singing three part harmony with me, blew me away.

1668
02:04:33,760 --> 02:04:36,240
Speaker 2: So I had to redo some of my ad libs

1669
02:04:36,400 --> 02:04:41,680
Speaker 2: because I was definitely lackluster competitor, you know. So I

1670
02:04:42,000 --> 02:04:46,280
Speaker 2: so enjoyed doing that, and she's like, she called me up.

1671
02:04:46,320 --> 02:04:48,840
Speaker 2: We never met throughout the I've met her once, but

1672
02:04:48,920 --> 02:04:51,880
Speaker 2: we never met throughout the whole process. But she called

1673
02:04:51,880 --> 02:04:54,880
Speaker 2: me up after she'd finished the vocal and she was

1674
02:04:55,000 --> 02:04:57,920
Speaker 2: just like guff thoring how much she enjoyed it and

1675
02:04:58,280 --> 02:05:00,680
Speaker 2: all that. She's a lovely lady. We all know that,

1676
02:05:01,280 --> 02:05:04,560
Speaker 2: and she does so much great stuff for so many people.

1677
02:05:05,720 --> 02:05:06,720
Speaker 2: I applaud her.

1678
02:05:07,520 --> 02:05:10,680
Speaker 1: Just to finish the equipment where you at on amps,

1679
02:05:10,800 --> 02:05:13,640
Speaker 1: and generally speaking, where are you at on effects? Are

1680
02:05:13,640 --> 02:05:16,000
Speaker 1: you into effect or you like to be cleaner and

1681
02:05:16,080 --> 02:05:17,160
Speaker 1: just have the guitar.

1682
02:05:17,920 --> 02:05:22,800
Speaker 2: In the studio. I tend to play. I tend to

1683
02:05:22,840 --> 02:05:26,680
Speaker 2: play through an amp, straight into an amp. Might have

1684
02:05:26,760 --> 02:05:31,400
Speaker 2: one fuzzy effect or something, but use the studio effects.

1685
02:05:33,120 --> 02:05:37,000
Speaker 2: I find that that's cleaner. But then when you when

1686
02:05:37,040 --> 02:05:39,600
Speaker 2: you mix the album, you got all these different sounds

1687
02:05:39,600 --> 02:05:42,520
Speaker 2: on these different tracks. So I have a guitar rig

1688
02:05:42,840 --> 02:05:46,440
Speaker 2: that can handle all the effects I do use. So, yes,

1689
02:05:46,520 --> 02:05:49,040
Speaker 2: I do use effects, and I've got a huge rig.

1690
02:05:50,240 --> 02:06:02,600
Speaker 2: And she said, but anyway, I can't go anyway. So yeah,

1691
02:06:02,840 --> 02:06:06,200
Speaker 2: it's bigger than I'm trying to scale it down. But

1692
02:06:06,440 --> 02:06:12,200
Speaker 2: it sounds so good that I'm not downscaling for scaling

1693
02:06:12,200 --> 02:06:17,880
Speaker 2: it down for this tour. So but when we finish

1694
02:06:17,920 --> 02:06:20,760
Speaker 2: this one, I'm gonna build another rig just because I can,

1695
02:06:21,480 --> 02:06:22,080
Speaker 2: just in case.

1696
02:06:22,520 --> 02:06:25,800
Speaker 1: And are do you have a specific ant brand or

1697
02:06:25,840 --> 02:06:28,000
Speaker 1: you have one of different ones, just like you have

1698
02:06:28,160 --> 02:06:30,320
Speaker 1: guitars different ones.

1699
02:06:31,320 --> 02:06:38,840
Speaker 2: It's been Marshall for Marshall Fender. You know, John Suh

1700
02:06:40,400 --> 02:06:46,760
Speaker 2: makes a phenomenal amplifier and we've just we've just tuned

1701
02:06:46,800 --> 02:06:50,320
Speaker 2: one to me, So that'll be part of the rig.

1702
02:06:50,680 --> 02:06:57,960
Speaker 2: I'm hoping at some point soon. So yes, it's nice

1703
02:06:57,960 --> 02:07:01,400
Speaker 2: having It's like going having an amp tuned. It's like

1704
02:07:01,480 --> 02:07:04,320
Speaker 2: going for an eye test. It's like you're sitting there

1705
02:07:04,440 --> 02:07:07,680
Speaker 2: looking through the thing, or you're listening this right, and

1706
02:07:07,720 --> 02:07:10,120
Speaker 2: he's got the bottom off and he's got all these

1707
02:07:10,160 --> 02:07:20,280
Speaker 2: capacitors and he's going this one, uh yeah, or this one,

1708
02:07:20,600 --> 02:07:24,320
Speaker 2: go back, give me the other one. And then he

1709
02:07:24,600 --> 02:07:28,240
Speaker 2: unsolded that one and sold of this one. That one okay,

1710
02:07:28,680 --> 02:07:31,600
Speaker 2: number one or number two, number one, just like an

1711
02:07:31,600 --> 02:07:34,160
Speaker 2: eye exam. And he tuned this amp for this was

1712
02:07:34,200 --> 02:07:37,320
Speaker 2: only a month and a half ago, you know. And

1713
02:07:37,400 --> 02:07:40,520
Speaker 2: so yeah, I love all that. I'm so into sound.

1714
02:07:40,640 --> 02:07:42,000
Speaker 2: It's so important to me.

1715
02:07:42,760 --> 02:07:47,480
Speaker 1: And then you mentioned Dolly Parton. Tell me to pinch yourself.

1716
02:07:47,560 --> 02:07:50,360
Speaker 1: Moments where you've met people who were famous.

1717
02:07:53,320 --> 02:08:05,560
Speaker 3: Uh well, gosh, so many. But I mean, well, you

1718
02:08:05,600 --> 02:08:07,360
Speaker 3: can have more than two. I don't want to limit you.

1719
02:08:07,800 --> 02:08:11,440
Speaker 2: Well, but I have to. George Harrison has to be

1720
02:08:12,680 --> 02:08:14,800
Speaker 2: at the top of the list, you know, George and

1721
02:08:14,880 --> 02:08:20,400
Speaker 2: Ringo and Paul. But I never met John. But yeah,

1722
02:08:21,480 --> 02:08:25,840
Speaker 2: walking into a control room with my friend who worked

1723
02:08:25,840 --> 02:08:35,000
Speaker 2: for George, Terry, Dorian and rest in peace. And he said,

1724
02:08:35,040 --> 02:08:36,880
Speaker 2: you want to come and meet George. I said, George

1725
02:08:36,880 --> 02:08:43,200
Speaker 2: who he said, And they've all got they all had

1726
02:08:43,240 --> 02:08:45,680
Speaker 2: code names he would call him. I forget what he

1727
02:08:45,720 --> 02:08:51,160
Speaker 2: called him now, So anyway, I said, yeah, of course.

1728
02:08:51,760 --> 02:08:56,320
Speaker 2: So he said, well, they're recording it Trientent. So we

1729
02:08:56,360 --> 02:09:00,480
Speaker 2: walked down ward Oh Street. There's the little alleyway and

1730
02:09:00,560 --> 02:09:03,640
Speaker 2: Tried Studios is right there, and so we walk in

1731
02:09:04,480 --> 02:09:07,320
Speaker 2: and there's a little tiny office here. Then you walk

1732
02:09:07,400 --> 02:09:11,480
Speaker 2: straight ahead and the control room is door you open up.

1733
02:09:11,960 --> 02:09:15,400
Speaker 2: The control room is upstairs, and the studio is in

1734
02:09:15,440 --> 02:09:21,480
Speaker 2: the basement, so you look down into the studio. So

1735
02:09:21,560 --> 02:09:25,200
Speaker 2: as I walk in, I looked to my left and

1736
02:09:25,240 --> 02:09:30,760
Speaker 2: there's George Harrison Ade my first Beetle meeting. And he

1737
02:09:30,800 --> 02:09:34,680
Speaker 2: looks up and goes, hello, Pete. And I just couldn't

1738
02:09:35,480 --> 02:09:40,720
Speaker 2: Did he just say hello to me? How does he

1739
02:09:40,760 --> 02:09:44,040
Speaker 2: know why? Oh, I'm in a band, don't I? Yeah,

1740
02:09:44,080 --> 02:09:46,840
Speaker 2: he probably knows why. And all this is going through

1741
02:09:46,840 --> 02:09:51,000
Speaker 2: my head and I'm sweating profusely and shaking and wishing

1742
02:09:51,040 --> 02:09:54,960
Speaker 2: the floor would just open up. And I mean I

1743
02:09:55,000 --> 02:09:57,160
Speaker 2: didn't wipe my hand before I shook his hand and

1744
02:09:57,240 --> 02:09:58,000
Speaker 2: I'm sure.

1745
02:09:57,720 --> 02:09:59,560
Speaker 1: It was wet.

1746
02:10:01,120 --> 02:10:05,200
Speaker 2: With sweat, you know. And he just is so nice

1747
02:10:05,400 --> 02:10:08,560
Speaker 2: talks to me, and he said so nice for you

1748
02:10:08,640 --> 02:10:13,040
Speaker 2: to come on, and do you think you want to play?

1749
02:10:13,960 --> 02:10:18,640
Speaker 2: I said, what when on a session? Sometimes? He said no. Now,

1750
02:10:19,320 --> 02:10:20,960
Speaker 2: I said, but you're in the middle of a session.

1751
02:10:21,400 --> 02:10:23,640
Speaker 2: He said, well, we just I'm doing this album for

1752
02:10:23,720 --> 02:10:28,640
Speaker 2: Doris Troy and uh and we're we're Steve Stills and

1753
02:10:28,680 --> 02:10:31,640
Speaker 2: I have just and Doris have just finished this writing

1754
02:10:31,640 --> 02:10:35,000
Speaker 2: this song. I said, who, Steve Stills is down there?

1755
02:10:35,200 --> 02:10:37,560
Speaker 2: He said, yeah, Steven Steeles is down there. Doris and

1756
02:10:37,600 --> 02:10:40,520
Speaker 2: Doris had sang on shine On on the original version

1757
02:10:41,120 --> 02:10:43,400
Speaker 2: and as a background singer, and so I knew Doris.

1758
02:10:44,080 --> 02:10:50,160
Speaker 2: I'd met Steve once before, I think. And so he

1759
02:10:50,200 --> 02:10:53,920
Speaker 2: takes me down into the studio. I say hello to

1760
02:10:53,960 --> 02:10:57,080
Speaker 2: Stephen Stills, who's sitting there playing his gradge as I

1761
02:10:57,080 --> 02:11:02,600
Speaker 2: imagine he should. And there's a Princeton amp over here,

1762
02:11:03,280 --> 02:11:09,440
Speaker 2: and George hands me this sort of red looking les Paul,

1763
02:11:10,400 --> 02:11:14,440
Speaker 2: which is now we know is called Lucy, and it's

1764
02:11:14,480 --> 02:11:20,120
Speaker 2: the guitar that Eric gave to George but also played

1765
02:11:20,160 --> 02:11:24,040
Speaker 2: the solo for while my guitar gently weeps on this guitar.

1766
02:11:24,520 --> 02:11:27,360
Speaker 2: Thank god, I didn't know any of this at the time.

1767
02:11:29,760 --> 02:11:33,760
Speaker 2: So he gives me the guitar, plugs me in, and

1768
02:11:33,800 --> 02:11:36,240
Speaker 2: he starts. He's got a guitar and he's showing me

1769
02:11:36,320 --> 02:11:40,800
Speaker 2: the chords, and I'm a quick learner, so I picked

1770
02:11:40,800 --> 02:11:44,840
Speaker 2: it up really quick. So anyway, George goes over and

1771
02:11:44,960 --> 02:11:52,600
Speaker 2: we start we rehearse it, and and so I start

1772
02:11:52,640 --> 02:11:57,120
Speaker 2: playing very quiet rhythm. This is the Stephen Stills is

1773
02:11:57,240 --> 02:12:00,560
Speaker 2: right there like I could kick him if I moved

1774
02:12:00,560 --> 02:12:04,880
Speaker 2: my foot, and George, the Beatles lead guitarist, is over here,

1775
02:12:06,520 --> 02:12:12,040
Speaker 2: and I thought, play quiet rhythm, so I did so,

1776
02:12:12,600 --> 02:12:16,560
Speaker 2: and then halfway through George goes no, no, no, Pete,

1777
02:12:16,600 --> 02:12:19,360
Speaker 2: no no, I'm going to play rhythm. I want you

1778
02:12:19,400 --> 02:12:28,000
Speaker 2: to play lead. Another gut wrenching feeling. Oh my god.

1779
02:12:28,200 --> 02:12:31,240
Speaker 2: You know this is too much, too good to be true,

1780
02:12:31,360 --> 02:12:31,560
Speaker 2: you know.

1781
02:12:31,800 --> 02:12:33,520
Speaker 1: And so.

1782
02:12:35,440 --> 02:12:39,120
Speaker 2: The track is called Ain't That Cute? And it was

1783
02:12:39,160 --> 02:12:42,680
Speaker 2: the first single, and the first guitar you hear on

1784
02:12:42,760 --> 02:12:48,120
Speaker 2: it is me and George did a little slide solo

1785
02:12:48,160 --> 02:12:50,760
Speaker 2: in the middle afterwards, but all the lead licks in

1786
02:12:50,800 --> 02:12:56,880
Speaker 2: the whole song is me and I couldn't. I couldn't

1787
02:12:56,920 --> 02:12:59,240
Speaker 2: believe my luck, you know, what was going on. And

1788
02:12:59,280 --> 02:13:04,800
Speaker 2: then obviously I did pretty well for the audition and

1789
02:13:05,320 --> 02:13:08,040
Speaker 2: George comes over to me and says, at the end

1790
02:13:08,080 --> 02:13:10,760
Speaker 2: of the session, so we've got you know, we've got

1791
02:13:10,760 --> 02:13:12,880
Speaker 2: a few tracks to do left. Will you join us

1792
02:13:12,920 --> 02:13:16,000
Speaker 2: on the rest of the album? And I said, let

1793
02:13:16,080 --> 02:13:21,240
Speaker 2: me think about that, yes, you know, and ended up

1794
02:13:21,280 --> 02:13:25,760
Speaker 2: there's Ringos playing drums, Klaus Woman's on bass, Billy Presty,

1795
02:13:25,840 --> 02:13:30,400
Speaker 2: you know, Gary, right, but they're all They're all there.

1796
02:13:30,440 --> 02:13:36,080
Speaker 2: All the precursor to All Things Must Pass is right there,

1797
02:13:36,680 --> 02:13:41,680
Speaker 2: you know. And I don't think I slept that night.

1798
02:13:43,080 --> 02:13:48,600
Speaker 2: I was on such a high from not only meeting

1799
02:13:48,800 --> 02:13:51,800
Speaker 2: of Ethel and let's face it, you know, I was

1800
02:13:51,920 --> 02:13:55,320
Speaker 2: twelve when they came out, you know, and now I'm

1801
02:13:55,560 --> 02:14:04,320
Speaker 2: twenty twenty one maybe, and I'm still a huge Beatle

1802
02:14:04,520 --> 02:14:07,360
Speaker 2: obviously for the rest of my life, a huge Beatle fan.

1803
02:14:07,880 --> 02:14:13,400
Speaker 2: It shaped my music and everybody's music, you know, but

1804
02:14:13,520 --> 02:14:17,720
Speaker 2: in the form my formative years of playing music. So

1805
02:14:21,080 --> 02:14:24,520
Speaker 2: just and then I came back for all these other sessions,

1806
02:14:25,240 --> 02:14:33,800
Speaker 2: and then from that that's when that's when I get

1807
02:14:33,800 --> 02:14:37,880
Speaker 2: a call George has obviously given Harry Nielsen my phone number.

1808
02:14:38,120 --> 02:14:40,880
Speaker 2: I get a call from Harry Nielsen, you know, who's

1809
02:14:41,040 --> 02:14:46,080
Speaker 2: just had the huge, huge, huge hit and he's doing

1810
02:14:46,120 --> 02:14:49,720
Speaker 2: his next album, Son of Schmielsen, and I get to

1811
02:14:49,760 --> 02:14:53,680
Speaker 2: play on that whole album too, And meeting Harry was unbelievable.

1812
02:14:55,720 --> 02:15:02,839
Speaker 2: I just, you know, it's a it's hard to explain

1813
02:15:02,960 --> 02:15:07,920
Speaker 2: because I'm such a huge fan. I think that's why

1814
02:15:07,960 --> 02:15:13,160
Speaker 2: I'm part of my makeup that I don't think of

1815
02:15:13,240 --> 02:15:18,600
Speaker 2: myself as as being what these other people are. I

1816
02:15:18,640 --> 02:15:21,240
Speaker 2: think they're much better. They've got to be better than me.

1817
02:15:21,400 --> 02:15:23,800
Speaker 2: You know. It's like someone to look up to because

1818
02:15:23,800 --> 02:15:28,800
Speaker 2: they've done so much. And then I realize, gosh, actually

1819
02:15:28,880 --> 02:15:30,760
Speaker 2: people are looking up to me now for what I

1820
02:15:31,040 --> 02:15:35,040
Speaker 2: you know, and I realize now, and then I'll get

1821
02:15:35,840 --> 02:15:40,680
Speaker 2: young guitarists will come backstage, and I'll spend time with

1822
02:15:40,760 --> 02:15:44,120
Speaker 2: them because I know what it means. They say stuff

1823
02:15:44,240 --> 02:15:47,839
Speaker 2: like or the father or bring the young kid back. Literally,

1824
02:15:47,960 --> 02:15:51,040
Speaker 2: you know, this big he's he knows every solo you've

1825
02:15:51,040 --> 02:15:53,480
Speaker 2: ever played. I said, you're kidding me, and he will

1826
02:15:53,480 --> 02:15:56,120
Speaker 2: show me and he'll play one of myself, and it's like,

1827
02:15:56,400 --> 02:16:01,040
Speaker 2: oh my goodness, and the kids like shaking, sweating and

1828
02:16:01,160 --> 02:16:03,840
Speaker 2: wishing the floor would open up, just like me meeting

1829
02:16:04,760 --> 02:16:09,600
Speaker 2: George Harrison. So you pay it forwards, you know. And

1830
02:16:10,280 --> 02:16:13,200
Speaker 2: I've got so many I've had so many young players

1831
02:16:13,280 --> 02:16:18,560
Speaker 2: come up to me and the same way, and I've

1832
02:16:18,560 --> 02:16:21,400
Speaker 2: been through the same thing, and a lot of them

1833
02:16:21,400 --> 02:16:22,280
Speaker 2: I keep in touch with.

1834
02:16:22,480 --> 02:16:26,080
Speaker 1: So yeah, Now is it true that you wrote the

1835
02:16:26,200 --> 02:16:29,839
Speaker 1: legendary songs for the fourth album over a very short

1836
02:16:29,840 --> 02:16:34,240
Speaker 1: period of time in the Bahamas or the Caribbean whatever.

1837
02:16:35,000 --> 02:16:40,200
Speaker 2: Yes, I was there for three weeks to write. I

1838
02:16:40,240 --> 02:16:44,480
Speaker 2: had an acoustic and an electric. Steve's cottage was where

1839
02:16:44,520 --> 02:16:48,960
Speaker 2: I stayed, Steve Merrick's cottage, and he had an amplifier

1840
02:16:48,959 --> 02:16:52,440
Speaker 2: and upright piano, so I had everything I needed to write.

1841
02:16:52,680 --> 02:16:56,920
Speaker 2: And a boom box Sony five point fifty A, the

1842
02:16:56,920 --> 02:16:59,400
Speaker 2: one with those great mics and the limitter in it

1843
02:17:00,080 --> 02:17:04,240
Speaker 2: and everything you put down on acoustics sounded fantastic. So

1844
02:17:05,840 --> 02:17:09,959
Speaker 2: and I still have one. So yeah. So at the

1845
02:17:10,040 --> 02:17:16,120
Speaker 2: airport when I when I came in, I realized that

1846
02:17:16,240 --> 02:17:19,200
Speaker 2: Alvin Lee from ten years after was on the other

1847
02:17:19,280 --> 02:17:23,119
Speaker 2: side of baggage claim. So hey, you know, I vote

1848
02:17:23,160 --> 02:17:27,360
Speaker 2: with them many times and and with Humble Pie and

1849
02:17:27,600 --> 02:17:30,959
Speaker 2: with me, and so I said, uh, hey, Alvin, it's me,

1850
02:17:31,320 --> 02:17:35,160
Speaker 2: you know. So my three weeks ended up being the

1851
02:17:35,240 --> 02:17:41,600
Speaker 2: last eight days when they left town. We were we

1852
02:17:41,600 --> 02:17:46,200
Speaker 2: were partying and and I was procrastinating. So I had

1853
02:17:46,240 --> 02:17:51,720
Speaker 2: eight days before I had to go back, and I

1854
02:17:51,760 --> 02:17:56,000
Speaker 2: hadn't written anything, not that well, not what I would

1855
02:17:56,000 --> 02:18:01,720
Speaker 2: call up to standard. So I got up that first

1856
02:18:01,800 --> 02:18:08,480
Speaker 2: day of the last eight and picked up my acoustic

1857
02:18:09,360 --> 02:18:12,000
Speaker 2: and I thought, well, let's tune it to openg, just

1858
02:18:12,040 --> 02:18:16,119
Speaker 2: for something different, inspiring. And then I played played a chord,

1859
02:18:16,360 --> 02:18:20,400
Speaker 2: and I played another chord, and then I played another chord,

1860
02:18:21,840 --> 02:18:25,600
Speaker 2: and I went back to the first chord, dang ding

1861
02:18:25,840 --> 02:18:31,600
Speaker 2: getting ding ding, getting ding ding ding d ding. It's

1862
02:18:31,680 --> 02:18:33,680
Speaker 2: the beginning. It's the intro to show me the way.

1863
02:18:34,240 --> 02:18:39,560
Speaker 2: And so I thought, oh, this is good. This is

1864
02:18:39,600 --> 02:18:43,600
Speaker 2: better than anything I've written so far, and so got

1865
02:18:43,640 --> 02:18:47,080
Speaker 2: out the pad. Uh, first of all, put it down

1866
02:18:48,280 --> 02:18:50,240
Speaker 2: on the on the boombox so I didn't forget it.

1867
02:18:50,800 --> 02:18:53,800
Speaker 2: And then I got out my notepad and started writing

1868
02:18:54,480 --> 02:19:00,120
Speaker 2: the first verse and and the first chorus, and then

1869
02:19:00,160 --> 02:19:02,959
Speaker 2: I said, well, I'm into something here. Let me move on.

1870
02:19:03,600 --> 02:19:06,279
Speaker 2: So I had lunch. I was right on the beach.

1871
02:19:06,600 --> 02:19:11,920
Speaker 2: It's just me, nobody else on this wonderful beach, and

1872
02:19:12,040 --> 02:19:17,520
Speaker 2: I had a little table outside umbrella and I took

1873
02:19:17,560 --> 02:19:23,640
Speaker 2: my boombox about four o'clock after lunch in a swim,

1874
02:19:24,360 --> 02:19:30,080
Speaker 2: really hard writing session, and I brought the I brought

1875
02:19:30,120 --> 02:19:32,840
Speaker 2: the guitar out, sat down, I put it back to

1876
02:19:32,920 --> 02:19:35,800
Speaker 2: normal tuning. I thought, well, I don't want to write

1877
02:19:35,800 --> 02:19:42,480
Speaker 2: the same thing again, okay, So within another twenty minutes,

1878
02:19:42,720 --> 02:19:47,280
Speaker 2: I'd written the beginning of the intro to Baby, I

1879
02:19:47,320 --> 02:19:53,520
Speaker 2: Love Your Way, and I said, well that it's a

1880
02:19:53,520 --> 02:19:58,039
Speaker 2: bit like kind of the Blackbird chords there, Paul's Blackbird Chords,

1881
02:19:58,440 --> 02:20:04,119
Speaker 2: and they are a different order, and so I knew

1882
02:20:04,600 --> 02:20:09,680
Speaker 2: that I felt this is this is good. So ran

1883
02:20:09,720 --> 02:20:14,039
Speaker 2: back in, got the pad, pencil, and it's the sun

1884
02:20:14,120 --> 02:20:17,280
Speaker 2: is just about to set. And that's when I looked

1885
02:20:17,280 --> 02:20:22,080
Speaker 2: around and I went, shadows gross along before my eyes

1886
02:20:22,760 --> 02:20:31,000
Speaker 2: and they're moving across the page and go. So I

1887
02:20:31,080 --> 02:20:34,720
Speaker 2: knew I had another one. And then I went back

1888
02:20:34,760 --> 02:20:40,240
Speaker 2: in that night, same night, same same day, within a

1889
02:20:40,320 --> 02:20:42,840
Speaker 2: twenty four hour period, I went back and I picked

1890
02:20:42,879 --> 02:20:44,560
Speaker 2: up the electric and I said, well, let's try this.

1891
02:20:44,600 --> 02:20:49,000
Speaker 2: I plugged into Steve's am boombox again started jamming, and

1892
02:20:49,080 --> 02:20:52,920
Speaker 2: I came up with the chords for No Where's Too

1893
02:20:52,959 --> 02:20:56,119
Speaker 2: Far from My Baby, which is on Frampton too. And

1894
02:20:56,200 --> 02:20:59,760
Speaker 2: I didn't have a melody or anything, but I loved

1895
02:21:00,520 --> 02:21:04,560
Speaker 2: I had the I had the whole song in chords,

1896
02:21:04,560 --> 02:21:10,040
Speaker 2: no melody yet. And there's another person I met that

1897
02:21:10,160 --> 02:21:15,240
Speaker 2: I got chills. Eddie van Halen. You know, another guy

1898
02:21:15,240 --> 02:21:19,480
Speaker 2: who reinvented guitar, the nicest guy in the world. He

1899
02:21:19,560 --> 02:21:24,320
Speaker 2: was so sweet. And I got invited by the engineer

1900
02:21:24,320 --> 02:21:26,640
Speaker 2: to go to one of their sessions, and so I

1901
02:21:26,680 --> 02:21:29,040
Speaker 2: went in there and they're all over me. How did

1902
02:21:29,040 --> 02:21:30,119
Speaker 2: you do? What did you do? Want?

1903
02:21:30,560 --> 02:21:30,720
Speaker 1: You know?

1904
02:21:30,760 --> 02:21:37,440
Speaker 2: I thought? So? Uh, Eddie goes, come out, come out

1905
02:21:37,440 --> 02:21:38,600
Speaker 2: in the steert ive. Got to show you something, You've

1906
02:21:38,600 --> 02:21:43,000
Speaker 2: got to show you something. And so he picks up

1907
02:21:43,480 --> 02:21:48,080
Speaker 2: the guitar of his and he said this is Nowhere's

1908
02:21:48,120 --> 02:21:53,120
Speaker 2: too far right, And then he played me a Van

1909
02:21:53,160 --> 02:21:57,680
Speaker 2: Halen number that they were just recording. That's that backwards.

1910
02:21:58,680 --> 02:22:01,640
Speaker 2: I got it. So I was so inspired by the

1911
02:22:01,720 --> 02:22:04,440
Speaker 2: Frampton album. He said, I love what you play on that.

1912
02:22:04,959 --> 02:22:08,200
Speaker 2: He said, this is so cool man, And I forget

1913
02:22:08,280 --> 02:22:12,720
Speaker 2: which number it is, but I was just blown away

1914
02:22:12,840 --> 02:22:15,800
Speaker 2: that And then he's he's playing his guitar, you know,

1915
02:22:15,800 --> 02:22:17,959
Speaker 2: he's got the big rig in the studio, you know,

1916
02:22:18,160 --> 02:22:24,560
Speaker 2: and he goes, hey, try this. I go, okay, not

1917
02:22:24,720 --> 02:22:27,720
Speaker 2: wanting to play it all, and nothing comes out. You know,

1918
02:22:27,800 --> 02:22:33,760
Speaker 2: It's like, I am totally this isn't this isn't happening

1919
02:22:33,840 --> 02:22:36,320
Speaker 2: right now, is it? He's asking me to play his guitar.

1920
02:22:36,800 --> 02:22:38,800
Speaker 2: I can't do it. So I just played a couple

1921
02:22:38,840 --> 02:22:40,760
Speaker 2: of chords and gave it back to him straight away.

1922
02:22:42,400 --> 02:22:45,480
Speaker 2: It was very intimidating, but rightly so, because he was

1923
02:22:45,520 --> 02:22:46,279
Speaker 2: so good.

1924
02:22:47,240 --> 02:22:50,400
Speaker 1: Okay, you write these legendary songs in a brief period

1925
02:22:50,400 --> 02:22:53,000
Speaker 1: of time, and you talk about having like a month

1926
02:22:53,160 --> 02:22:56,279
Speaker 1: off to write songs when you're in your tour recording

1927
02:22:56,400 --> 02:23:00,879
Speaker 1: cycle generally speaking, is it like the ri for Satisfaction

1928
02:23:01,000 --> 02:23:03,560
Speaker 1: came to Keith Richards and you know when he was asleep,

1929
02:23:03,560 --> 02:23:06,920
Speaker 1: he woke up he recorded it. Has your process been

1930
02:23:07,720 --> 02:23:11,360
Speaker 1: there's a bolt, there's an inspiration or can you literally

1931
02:23:11,400 --> 02:23:14,039
Speaker 1: say I have to write, I'm gonna sit here and

1932
02:23:14,040 --> 02:23:15,080
Speaker 1: I'm gonna write something.

1933
02:23:15,840 --> 02:23:18,440
Speaker 2: I have to be in the right mood, I have

1934
02:23:18,560 --> 02:23:19,959
Speaker 2: to feel something coming.

1935
02:23:20,560 --> 02:23:20,680
Speaker 1: Uh.

1936
02:23:21,520 --> 02:23:25,440
Speaker 2: Recently, I've had this real creative streak. That's why I

1937
02:23:25,480 --> 02:23:27,240
Speaker 2: think that I'm going to be able to start to

1938
02:23:27,240 --> 02:23:33,320
Speaker 2: finish this album in the summer after this tour. Uh,

1939
02:23:33,360 --> 02:23:38,360
Speaker 2: And I pick up an acoustic or an electric, you know,

1940
02:23:38,640 --> 02:23:43,199
Speaker 2: and just jam on chords or riffs or whatever, and

1941
02:23:43,560 --> 02:23:47,119
Speaker 2: something will they either come to me or it won't.

1942
02:23:47,600 --> 02:23:50,360
Speaker 2: I either put it down I don't. I'm not a

1943
02:23:50,400 --> 02:23:54,440
Speaker 2: fighter for for I don't fight for a song. It's

1944
02:23:54,480 --> 02:24:01,640
Speaker 2: gonna come easy or it's not right. So finishing a

1945
02:24:01,720 --> 02:24:05,200
Speaker 2: song is difficult, no matter how easy it is to

1946
02:24:05,520 --> 02:24:11,400
Speaker 2: come up with the initial ideas. But lyrically is it's

1947
02:24:11,440 --> 02:24:20,960
Speaker 2: always harder for me. Getting much easier actually, because I'm

1948
02:24:21,000 --> 02:24:27,960
Speaker 2: just writing. I'm writing from my heart and I'm not

1949
02:24:28,040 --> 02:24:30,360
Speaker 2: trying to write a hit song. I'm just trying to

1950
02:24:30,360 --> 02:24:35,080
Speaker 2: write a great piece of music that I like. You

1951
02:24:35,200 --> 02:24:40,240
Speaker 2: might not think it's great, but I do. And that's

1952
02:24:41,280 --> 02:24:45,600
Speaker 2: that's it. I cannot force myself to write. It's not

1953
02:24:45,640 --> 02:24:50,920
Speaker 2: going to happen. But there is something that I was

1954
02:24:51,000 --> 02:24:53,760
Speaker 2: felt very pleased about when I wrote. When I read

1955
02:24:54,200 --> 02:24:59,480
Speaker 2: Chronicles one by Bob Dylan and which I loved, I

1956
02:24:59,480 --> 02:25:03,840
Speaker 2: thought it was great and he said, which I was

1957
02:25:04,000 --> 02:25:06,440
Speaker 2: thrilled to hear. He said he had a like an

1958
02:25:06,480 --> 02:25:15,160
Speaker 2: eighteen month two year period we couldn't write. And he said,

1959
02:25:15,360 --> 02:25:18,400
Speaker 2: that's it. I'm done for you know, you always think that,

1960
02:25:18,520 --> 02:25:23,240
Speaker 2: right when, oh god, I got write it. And then

1961
02:25:24,080 --> 02:25:26,959
Speaker 2: there came this time. I don't know how long it

1962
02:25:27,120 --> 02:25:30,920
Speaker 2: was total, and he said, I sat down in the

1963
02:25:31,600 --> 02:25:35,879
Speaker 2: dining room, I got out this pad and I wrote

1964
02:25:36,400 --> 02:25:39,840
Speaker 2: and wrote and wrote for ten days, two weeks straight,

1965
02:25:40,360 --> 02:25:44,640
Speaker 2: he said. And I opened the drawer in the dining room,

1966
02:25:44,720 --> 02:25:46,320
Speaker 2: I put the pad in there, and I said to

1967
02:25:46,360 --> 02:25:51,080
Speaker 2: my wife, that's my next album. And I thought, wow,

1968
02:25:51,600 --> 02:25:55,880
Speaker 2: that's pretty cool. And then he said it made him

1969
02:25:55,920 --> 02:26:01,440
Speaker 2: think about why now and why not for those two years?

1970
02:26:02,680 --> 02:26:06,120
Speaker 2: And he said, you don't have writer's block. There's no

1971
02:26:06,240 --> 02:26:10,960
Speaker 2: such thing as writer's block. And this is the best part.

1972
02:26:11,240 --> 02:26:16,880
Speaker 2: He said. You're either on input or you're on output,

1973
02:26:18,280 --> 02:26:22,160
Speaker 2: and you can't have output if you don't have input first.

1974
02:26:22,520 --> 02:26:27,480
Speaker 2: So those two years, he said, I was writing, But

1975
02:26:27,640 --> 02:26:31,080
Speaker 2: the culmination of those two years came two and a

1976
02:26:31,120 --> 02:26:34,359
Speaker 2: half years later. In those ten ten days to fourteenth

1977
02:26:34,440 --> 02:26:37,840
Speaker 2: two weeks. You know, so don't he said, I don't

1978
02:26:37,879 --> 02:26:41,400
Speaker 2: worry now if I can't write, because I know that

1979
02:26:41,440 --> 02:26:44,520
Speaker 2: there's a reason for that, that I don't have anything

1980
02:26:44,520 --> 02:26:48,000
Speaker 2: to say. Therefore I need to live a little, you know.

1981
02:26:48,360 --> 02:26:50,800
Speaker 2: And I thought that was that made all the difference

1982
02:26:50,840 --> 02:26:53,560
Speaker 2: in the world. And our poet Lauriate couldn't write for

1983
02:26:53,560 --> 02:26:54,160
Speaker 2: two years.

1984
02:26:54,440 --> 02:27:01,119
Speaker 1: Yeah, okay, Don Henley. I heard here him talking at

1985
02:27:01,160 --> 02:27:05,480
Speaker 1: Glen Fry's memorial service where he was somewhere in Asia.

1986
02:27:05,920 --> 02:27:09,640
Speaker 1: He went deep back into the bush and some person said,

1987
02:27:09,920 --> 02:27:14,360
Speaker 1: point it out. I said, Hotel California. What is your

1988
02:27:14,480 --> 02:27:19,000
Speaker 1: situation traveling the globe? If you're all of a sudden,

1989
02:27:19,040 --> 02:27:22,640
Speaker 1: you know, in Bozeman, Montana, and you're standing by the carousel,

1990
02:27:22,760 --> 02:27:27,720
Speaker 1: someone to say, Peter Frampton or can you be relatively anonymous?

1991
02:27:31,400 --> 02:27:31,520
Speaker 4: Oh?

1992
02:27:31,800 --> 02:27:38,920
Speaker 2: You mean just out and about. Yeah. Uh. If I'm

1993
02:27:38,959 --> 02:27:43,199
Speaker 2: in the city, we're playing, I'm going to get recognized

1994
02:27:43,240 --> 02:27:51,720
Speaker 2: because people are thinking about me. Sometimes I get recognized

1995
02:27:51,760 --> 02:27:58,240
Speaker 2: a lot, you know, But then sometimes I don't get recognized,

1996
02:27:58,879 --> 02:28:03,760
Speaker 2: And it's good because I can do I don't. I'm anonymous,

1997
02:28:04,520 --> 02:28:09,840
Speaker 2: and I found that out. I went from being the

1998
02:28:09,920 --> 02:28:15,240
Speaker 2: most recognizable person with the hair and you know, the

1999
02:28:15,240 --> 02:28:18,120
Speaker 2: perm and all that and too when I cut my

2000
02:28:18,200 --> 02:28:25,840
Speaker 2: hair and everything went into a ditch, and nobody recognized me,

2001
02:28:26,959 --> 02:28:30,160
Speaker 2: and nobody was thinking about me either. I was I

2002
02:28:30,200 --> 02:28:34,520
Speaker 2: was gone. I was a hasben, you know. And and

2003
02:28:34,560 --> 02:28:38,520
Speaker 2: there was a part of that. I really enjoyed being anonymous.

2004
02:28:38,800 --> 02:28:41,400
Speaker 2: But there's that other that that's this side and then

2005
02:28:41,480 --> 02:28:43,600
Speaker 2: the other side of the broad say, oh, but nobody's

2006
02:28:43,640 --> 02:28:53,440
Speaker 2: recognizes you. Yeah, but no, I uh I. It's something

2007
02:28:53,480 --> 02:28:56,520
Speaker 2: that I've grown used to. And my daughter will say,

2008
02:28:56,560 --> 02:28:59,120
Speaker 2: you know, everyone's looking at you, don't you are they?

2009
02:28:59,200 --> 02:29:02,920
Speaker 2: I don't know, you know, So you know, it's it's

2010
02:29:03,080 --> 02:29:09,119
Speaker 2: part of my life now, and it's something that happens,

2011
02:29:09,280 --> 02:29:12,959
Speaker 2: and sometimes it doesn't, you know, but it's h I

2012
02:29:13,040 --> 02:29:20,720
Speaker 2: tell you. I I went to I went to a

2013
02:29:20,760 --> 02:29:30,800
Speaker 2: party after an award show in the late seventies, and

2014
02:29:31,040 --> 02:29:35,080
Speaker 2: the party after the show was at Chasin's. Was the

2015
02:29:35,080 --> 02:29:37,119
Speaker 2: big place where everybody went, you know, the big restaurant.

2016
02:29:37,680 --> 02:29:39,080
Speaker 2: I'm not even sure if it's still there.

2017
02:29:40,240 --> 02:29:40,760
Speaker 1: No, it's not.

2018
02:29:41,440 --> 02:29:44,199
Speaker 2: No, Well there you go. So that dates me right there.

2019
02:29:44,879 --> 02:29:51,200
Speaker 2: So anyway, so we go to Chasin's and I got

2020
02:29:51,280 --> 02:29:57,480
Speaker 2: to think of his name. Okay, I'm sorry, I'm old. Okay,

2021
02:29:57,879 --> 02:30:01,280
Speaker 2: what was the name of his TV show. He was

2022
02:30:01,320 --> 02:30:04,480
Speaker 2: a private eye, lived in a in a caravan on

2023
02:30:04,520 --> 02:30:04,840
Speaker 2: the beach.

2024
02:30:04,879 --> 02:30:07,600
Speaker 1: Oh yeah, yeah, yeah. What was his name? Tom Selleck?

2025
02:30:08,160 --> 02:30:13,080
Speaker 2: No, not Tom Selleck the Oxford Files. Yes, okay, wrote him.

2026
02:30:13,160 --> 02:30:13,680
Speaker 2: Who's he?

2027
02:30:15,360 --> 02:30:19,080
Speaker 1: I'll look it up because I I'm aware of the show,

2028
02:30:19,160 --> 02:30:21,920
Speaker 1: but actually I didn't watch it, Jim. What's his name?

2029
02:30:22,240 --> 02:30:28,160
Speaker 2: James Garner? Right, okay, So out of I walk up

2030
02:30:28,200 --> 02:30:33,120
Speaker 2: the steps to Chasen's and and I'm out of the

2031
02:30:33,160 --> 02:30:37,400
Speaker 2: corner of my eye I see this relatively tall, thin

2032
02:30:37,480 --> 02:30:42,840
Speaker 2: guy coming over to me and it's it's James Garner.

2033
02:30:44,040 --> 02:30:45,840
Speaker 2: And he said, I don't wish to bother you, Peter,

2034
02:30:45,959 --> 02:30:50,760
Speaker 2: but would you mind signing this for my daughter? I said, yeah,

2035
02:30:50,840 --> 02:30:54,000
Speaker 2: what's her name? And I gave him and he was gone.

2036
02:30:55,080 --> 02:30:58,520
Speaker 2: He didn't he knew what it was like. He didn't

2037
02:30:58,560 --> 02:31:01,720
Speaker 2: hang around, and it's He's one of the only people

2038
02:31:01,760 --> 02:31:03,959
Speaker 2: I've ever wished would have stayed around a little bit.

2039
02:31:05,440 --> 02:31:08,480
Speaker 2: So that kind of stuff, it's kind of really neat.

2040
02:31:09,360 --> 02:31:12,720
Speaker 2: You know, this guy was asking for my autograph when

2041
02:31:13,280 --> 02:31:15,480
Speaker 2: I would like to ask for his autograph, you know,

2042
02:31:16,280 --> 02:31:20,640
Speaker 2: And because we're all fans, let's face it, well, I

2043
02:31:20,720 --> 02:31:24,640
Speaker 2: know there are some musicians that don't think of other

2044
02:31:24,800 --> 02:31:27,840
Speaker 2: artists and the way that I do. But I just

2045
02:31:28,000 --> 02:31:32,960
Speaker 2: know that for the artists that i'm whichever one I'm

2046
02:31:32,959 --> 02:31:39,800
Speaker 2: thinking about, that's had this illustrious career, they have been

2047
02:31:39,840 --> 02:31:44,520
Speaker 2: through the ringer, they have so much talent and they've

2048
02:31:44,560 --> 02:31:50,320
Speaker 2: done things right and they've had a wonderful career and

2049
02:31:50,680 --> 02:31:54,959
Speaker 2: I know they've you know, it didn't come easy to them. Therefore,

2050
02:31:55,520 --> 02:32:03,119
Speaker 2: you know, I don't want to bug them, you know sometimes,

2051
02:32:03,440 --> 02:32:05,959
Speaker 2: And there's some people that I have bugged that I

2052
02:32:06,000 --> 02:32:10,520
Speaker 2: wish I hadn't, you know, and have been rude, you know.

2053
02:32:10,720 --> 02:32:13,560
Speaker 2: So I prefer to think of myself as the James

2054
02:32:13,640 --> 02:32:14,879
Speaker 2: Ghana than the.

2055
02:32:18,400 --> 02:32:21,560
Speaker 1: So to what degree do you think about are you

2056
02:32:21,680 --> 02:32:22,920
Speaker 1: concerned with legacy?

2057
02:32:24,640 --> 02:32:30,000
Speaker 2: Oh gosh, I haven't really thought about that. I have

2058
02:32:30,080 --> 02:32:35,440
Speaker 2: no idea. I have to think that the one thing

2059
02:32:35,520 --> 02:32:38,600
Speaker 2: I will be I mean, it's lasted this long and

2060
02:32:38,640 --> 02:32:42,440
Speaker 2: it's it's still people's one of people's favorite albums of

2061
02:32:42,480 --> 02:32:46,000
Speaker 2: all time. So I'm going to be known for Comes Live,

2062
02:32:46,840 --> 02:32:48,640
Speaker 2: whether I like it or not, and I'm very proud

2063
02:32:48,680 --> 02:32:57,959
Speaker 2: of that. I'm known as a guitar player, which I

2064
02:32:58,000 --> 02:33:02,480
Speaker 2: hope you know. I'm always in the books for that,

2065
02:33:02,760 --> 02:33:10,120
Speaker 2: you know, and that's it. Really, I'm a singer, but

2066
02:33:10,120 --> 02:33:13,800
Speaker 2: another great singer. I'm not thrilled with my voice, but

2067
02:33:13,800 --> 02:33:17,600
Speaker 2: but I get by with it. And people when I

2068
02:33:17,640 --> 02:33:21,320
Speaker 2: say that, people say, oh, will you can about yourself now?

2069
02:33:21,360 --> 02:33:25,360
Speaker 2: I do you know? Hey, I'm honest. You know, I'm

2070
02:33:25,400 --> 02:33:30,240
Speaker 2: a great guitar player and I'm a great writer when

2071
02:33:30,240 --> 02:33:34,200
Speaker 2: I get to write, but my voice is okay.

2072
02:33:36,480 --> 02:33:40,600
Speaker 1: So one hundred years from now, do you care whether

2073
02:33:40,640 --> 02:33:42,959
Speaker 1: anybody knows who you are and your music or you

2074
02:33:43,000 --> 02:33:43,480
Speaker 1: don't care?

2075
02:33:45,160 --> 02:33:47,960
Speaker 2: I don't care. I don't.

2076
02:33:48,879 --> 02:33:51,480
Speaker 1: Well, we care, Peter, and I want to thank you

2077
02:33:51,600 --> 02:33:54,920
Speaker 1: so much for taking this time to be so revealing

2078
02:33:55,000 --> 02:33:56,879
Speaker 1: and go so deep from my audience.

2079
02:33:57,480 --> 02:34:01,880
Speaker 2: Well, you're very welcome and I've enjoyed this and I'm

2080
02:34:01,920 --> 02:34:03,680
Speaker 2: sure I'll regret it, but that's okay.

2081
02:34:04,680 --> 02:34:07,199
Speaker 5: Actually, I don't think you said you know. Sometimes people say,

2082
02:34:07,240 --> 02:34:10,480
Speaker 5: you know whatever. I think you were very straightforward. I

2083
02:34:10,520 --> 02:34:13,920
Speaker 5: mean it's interesting. I talk to a lot of people,

2084
02:34:14,800 --> 02:34:18,560
Speaker 5: and yes, you're self effacing nature and your humorous element,

2085
02:34:19,000 --> 02:34:23,600
Speaker 5: but also an intelligence radiates through, which is not something

2086
02:34:23,640 --> 02:34:27,760
Speaker 5: you always find with musicians, whether they're intelligent or not.

2087
02:34:27,800 --> 02:34:32,560
Speaker 5: They can't verbalize it, and I'm sure that that's somewhat

2088
02:34:32,600 --> 02:34:35,520
Speaker 5: frustrating to be in this world, which is not always

2089
02:34:35,959 --> 02:34:39,640
Speaker 5: such an intellectual world, but you're definitely a thinker.

2090
02:34:40,760 --> 02:34:44,960
Speaker 2: Well, thank you. I try. This has been great, Thank

2091
02:34:44,959 --> 02:34:45,520
Speaker 2: you very much.

2092
02:34:46,360 --> 02:34:50,240
Speaker 1: Absolutely till next time. This is Bob left sets