WEBVTT - Peter Frampton 0:00:08.600 --> 0:00:12.880 Welcome, Welcome, Welcome back to the Bob Left Search Podcast. 0:00:13.600 --> 0:00:17.920 My guest today is the one and only Peter Freempton. Peter, 0:00:18.400 --> 0:00:19.600 give us a health update. 0:00:20.480 --> 0:00:25.239 Oh yes, So, for those who don't know, I have 0:00:25.960 --> 0:00:30.680 what is called IBM inclusion body myascientists, and that is 0:00:30.760 --> 0:00:37.040 a muscle disease and I'm losing basically, I'm losing strength 0:00:37.080 --> 0:00:41.760 and my muscles are depleting. Luckily, I've had this probably 0:00:41.800 --> 0:00:45.560 for about twelve years now, and it moves very very 0:00:45.600 --> 0:00:50.040 slowly for me. For other people it can be very quick. 0:00:50.400 --> 0:00:56.000 So I'm very very lucky. And therefore when people say, well, 0:00:56.280 --> 0:00:59.160 you did the finale too, now you're doing another, and 0:00:59.160 --> 0:01:01.240 now you're doing another too, well, I have to wait 0:01:01.880 --> 0:01:04.760 until I can see how my hands are going to be, 0:01:04.880 --> 0:01:07.600 and then we just have to guess that it'll be 0:01:07.680 --> 0:01:10.399 okay by the time we booked the tour. So that's 0:01:10.440 --> 0:01:14.199 the way it's been. So that's why I can't put 0:01:14.240 --> 0:01:19.200 together something too far ahead. But I'm doing good. 0:01:19.600 --> 0:01:22.640 Is it the type of thing where it's progressive or 0:01:22.640 --> 0:01:24.240 one day is better than the next. 0:01:25.360 --> 0:01:32.280 No, it's it's a steady It's either we get plateaus 0:01:33.280 --> 0:01:37.080 and then we get progression, and I've just come out 0:01:37.080 --> 0:01:40.360 of a progression and I'm now in a plateau, which 0:01:40.400 --> 0:01:41.600 is very nice for the tour. 0:01:43.640 --> 0:01:47.040 How my are the plateaus proximately how long? 0:01:48.960 --> 0:01:52.520 I couldn't tell you. I mean, it's I just know 0:01:54.320 --> 0:01:58.760 some some points. When I'm working I work out every day. 0:01:58.840 --> 0:02:01.080 I have a gym upstairs, and I have two trainers 0:02:01.200 --> 0:02:04.800 a weekend uh and and a week trainer, so that 0:02:04.880 --> 0:02:07.200 because I wear them out if I have just one. 0:02:07.880 --> 0:02:16.160 So but yes, so it's while working out is where 0:02:16.200 --> 0:02:18.920 I feel it. You know all, I can't do this 0:02:19.040 --> 0:02:22.440 today like I could last week or something like that. 0:02:22.560 --> 0:02:26.960 You know. So. But but as I'm very pleased to say, 0:02:27.040 --> 0:02:29.120 I feel like we're in a We're in a plateau 0:02:29.280 --> 0:02:31.040 right now, which is very handy. 0:02:31.960 --> 0:02:35.360 So you're obviously a guitarist you need a certain amount 0:02:35.360 --> 0:02:39.519 of dexterity. But assuming you weren't a musician, how much 0:02:39.600 --> 0:02:43.240 functionality have you lost at this point? 0:02:43.760 --> 0:02:47.960 Well, I think because I'm a musician, I haven't lost 0:02:48.639 --> 0:02:56.600 the dexterity. In my IBM is is each side is 0:02:56.600 --> 0:03:03.680 is a different speed. So my left side is is 0:03:03.680 --> 0:03:07.119 is weaker than my right side, but not my hands, 0:03:07.720 --> 0:03:10.920 not my left hand which I've been playing guitar since 0:03:10.960 --> 0:03:17.400 I was eight years old, so you know, there's sixty 0:03:17.400 --> 0:03:20.560 odd years worth of playing there. Whenever I sit down 0:03:20.639 --> 0:03:22.960 to I might drop a tea cup or something in 0:03:23.000 --> 0:03:25.320 my left hand, but I sit down, I pick up 0:03:25.320 --> 0:03:30.440 a guitar and it's there. So the problem that, the 0:03:30.440 --> 0:03:35.000 only problem I'm having is that the pressure to put 0:03:35.040 --> 0:03:38.040 push down on the strings and to bend notes. So 0:03:38.160 --> 0:03:42.720 I work on I practice that every day, obviously, and 0:03:43.720 --> 0:03:51.120 so far it's it's remarkably good. So I have to 0:03:51.160 --> 0:03:54.160 say that, even though if you see me walking with 0:03:54.280 --> 0:03:57.000 a cane and everything, oh my god, he's really you know, 0:03:57.560 --> 0:04:01.440 things have gone down south, you know, so, But then no, 0:04:02.320 --> 0:04:04.240 it looks bad. But when I when I sit down 0:04:04.240 --> 0:04:05.320 and I play, it's fine. 0:04:06.000 --> 0:04:13.440 And what is the long term prognosis? Uh? 0:04:13.480 --> 0:04:19.560 Well, I know the endgame. It's I won't I'll be 0:04:19.839 --> 0:04:25.800 in a wheelchair and and one day I won't be 0:04:25.920 --> 0:04:30.599 able to even pick up the TV remote. So uh, 0:04:30.640 --> 0:04:31.800 that's that's the endgame. 0:04:32.279 --> 0:04:34.800 Well, do you die from this or do you die 0:04:35.000 --> 0:04:36.560 know something else while you have this? 0:04:37.440 --> 0:04:43.599 No, hopefully not. No. This this is a life changer, 0:04:43.880 --> 0:04:48.479 it's not a life ender. So that if it was 0:04:48.520 --> 0:04:56.520 something else ALS, which is a similar uh uh pro 0:04:57.839 --> 0:05:04.920 diagnosis to diagon knows someone with ALS and someone with IBM. 0:05:07.640 --> 0:05:12.320 The only difference is when you first are checking for 0:05:12.360 --> 0:05:18.440 it is that IBM is unbalanced. It's either side is 0:05:18.480 --> 0:05:26.320 a different thing, and whereas ALS is absolutely the same 0:05:26.440 --> 0:05:31.040 either side. Keep spacing on the word. But anyway, and 0:05:31.120 --> 0:05:35.000 of course ALS. The doctor when he told me I 0:05:35.040 --> 0:05:40.240 had IBM but needed confirmation, he said, I'm glad to 0:05:40.279 --> 0:05:42.479 tell you that you have IBM and not what I 0:05:42.480 --> 0:05:46.520 thought you had, which was ALS. So that was a 0:05:46.640 --> 0:05:54.240 huge bonus, but still scary, you know, obviously, because I'm thinking, wow, 0:05:55.400 --> 0:05:59.159 I play guitar, you know, and that was not a 0:05:59.200 --> 0:06:02.120 good feeling when I first heard it. But I'm this 0:06:02.880 --> 0:06:09.600 eternal optimist. My kids say to me, Dad, how come everything, 0:06:09.880 --> 0:06:13.680 little tiny things really like that should be over there? This, 0:06:14.000 --> 0:06:16.279 why aren't you doing that? This is you know, the 0:06:16.320 --> 0:06:18.960 bike should be over there in the garage. But the 0:06:19.040 --> 0:06:21.000 big things don't bother. 0:06:20.760 --> 0:06:21.320 You at all. 0:06:21.920 --> 0:06:25.480 And I said, well, because the big things there's usually 0:06:25.520 --> 0:06:29.200 nothing I can do about them. They so why worry 0:06:29.240 --> 0:06:33.720 about it? You know. So therefore I'm the eternal optimist, 0:06:34.200 --> 0:06:37.359 and I think we're going to find a drug. We 0:06:37.480 --> 0:06:41.039 don't have one right now, but my Peter Frampton Research 0:06:41.160 --> 0:06:45.960 Fund at Johns Hopkins. Thank you everybody who keeps sending 0:06:46.000 --> 0:06:50.760 money in for this wonderful fund. It's it's a lot 0:06:50.800 --> 0:06:55.400 of money now and it enables Johns Hopkins and the 0:06:55.440 --> 0:07:01.960 Maya Sidis Clinic to be able to hire all the 0:07:02.000 --> 0:07:06.039 people necessary to do the next trial drug trial that 0:07:06.080 --> 0:07:10.480 comes along. So that is really really helping, and I 0:07:10.600 --> 0:07:14.120 have to thank everybody for doing that. I know a 0:07:14.120 --> 0:07:18.840 lot of people have donated because someone in their family 0:07:18.880 --> 0:07:24.640 has it, or you know, they know they they want 0:07:24.680 --> 0:07:27.120 to help me, which is unbelievable. But a lot of 0:07:27.160 --> 0:07:32.640 people who and it is a very boutique disease, boutique 0:07:32.680 --> 0:07:43.000 in this case meaning few of us compared to Parkinson's cancer, dementia. 0:07:44.400 --> 0:07:48.520 You know, this is a they say fifty to seventy 0:07:48.520 --> 0:07:51.840 five thousand people in America, whereas the others I've mentioned 0:07:51.840 --> 0:08:00.480 are exponentially larger. You know, So yes, it's just something that. 0:08:02.120 --> 0:08:07.480 Yeah, okay. You know, typically males, although everyone is different, 0:08:07.520 --> 0:08:11.240 are in denial of physical problems. They're the last people 0:08:11.280 --> 0:08:14.480 to go to the doctor. What was your experience in 0:08:14.560 --> 0:08:19.520 terms of symptoms, diagnosis, and obviously you're in a relatively 0:08:19.720 --> 0:08:24.240 positive space right now, but how did you cope emotionally? 0:08:31.400 --> 0:08:39.960 The biography of this disease is basically round about two 0:08:40.080 --> 0:08:45.760 thy and twelve, we were touring summer tour and I did. 0:08:46.480 --> 0:08:49.120 We were doing some outdoor dates, obviously most of them 0:08:49.160 --> 0:08:54.600 were amphitheaters and small stadiums and things like that, and 0:08:57.320 --> 0:09:02.840 we were playing backstage sound check off soundcheck, we were 0:09:02.840 --> 0:09:08.320 playing frisbee and I couldn't run as fast as I thought. 0:09:08.600 --> 0:09:12.199 And I'd been on a hike with my son up 0:09:12.240 --> 0:09:17.840 northern California and usually I would beat him, but I 0:09:17.880 --> 0:09:22.440 couldn't come anywhere they're close. So those two things sort 0:09:22.440 --> 0:09:25.000 of said something to me, and I said, I don't know, 0:09:25.040 --> 0:09:29.280 maybe I'm wearing my jeans too tight. It's stupid stuff, 0:09:29.600 --> 0:09:32.040 you know, and all the things you think because we're 0:09:32.080 --> 0:09:34.600 not a doctor, and I've never played one on TV either, 0:09:34.720 --> 0:09:40.080 so but I mean so anyway, Unfortunately, what happened on 0:09:40.120 --> 0:09:44.000 the tour was someone you know, as they do, kicked 0:09:44.000 --> 0:09:47.600 a huge, you know, three foot foot beach ball up 0:09:47.640 --> 0:09:50.760 on the stage, and as you do, you go over 0:09:50.800 --> 0:09:53.400 and you kick it back to them. You know, well, 0:09:54.200 --> 0:09:57.160 this one of these balls is like light as air, 0:09:57.720 --> 0:10:00.640 and I went to kick it with my right foot 0:10:01.080 --> 0:10:04.520 and I went I fell backwards, and so we all laughed. 0:10:04.720 --> 0:10:08.040 We all thought it was highly hilarious. He's fallen and 0:10:08.080 --> 0:10:10.200 he can't get up, you know, the whole the hole, 0:10:10.640 --> 0:10:13.040 where's the beef, the whole thing, you know. So uh, 0:10:14.080 --> 0:10:20.360 and so that was, you know, I thought, well, something's 0:10:20.360 --> 0:10:25.200 going on here. But then two or three weeks later, 0:10:26.200 --> 0:10:29.600 I bent down on stage and I still use a 0:10:29.640 --> 0:10:34.840 guitar chord. I hate wirelesses and doesn't sound good. And 0:10:36.480 --> 0:10:39.280 my cable got shorter as I got to the ground 0:10:39.360 --> 0:10:41.560 and I stepped on it and then I went to 0:10:41.600 --> 0:10:45.960 stand up, and of course it kept me and I 0:10:46.000 --> 0:10:48.839 just went back again. So there wasn't so much laughter 0:10:48.960 --> 0:10:53.000 this time. And we had a ten day break coming up, 0:10:53.600 --> 0:10:56.320 and I decided. My doctor said, you need to see 0:10:56.320 --> 0:10:59.520 a neurologist. Let's see what's going on here. And so 0:10:59.640 --> 0:11:05.040 I went see the neurologist on the break and he 0:11:06.679 --> 0:11:12.160 the initial diagnosis was IBM and he said, so I said, well, okay, 0:11:12.400 --> 0:11:15.320 what do I do now? And he said, you call 0:11:15.440 --> 0:11:24.880 up doctor Christopher Stein at Johns Hopkins make an appointment, 0:11:25.080 --> 0:11:28.400 and she's the head of the Myacidas clinic and in 0:11:28.440 --> 0:11:33.960 this country, well in Johns Hopkins, and so I did. 0:11:34.520 --> 0:11:40.360 I went up and had a painful test that they 0:11:40.400 --> 0:11:47.160 do with electrodes and stuff to find this the it's inclusions. 0:11:47.200 --> 0:11:50.240 They're looking for these little tiny round things that are 0:11:50.280 --> 0:11:55.240 inside my muscles, and so in order to prove it 0:11:55.440 --> 0:12:00.600 one hundred percent, I had to have a muscle biopsy 0:12:01.040 --> 0:12:04.280 and where they found the most inclusions was in my 0:12:04.480 --> 0:12:07.400 arm up here, so I have a little little scar there. 0:12:07.920 --> 0:12:11.319 And but I have to say, as an aside, someone 0:12:11.440 --> 0:12:16.560 knew that I must be a guitar player. Because as 0:12:16.600 --> 0:12:20.560 they wheeled me into the operating room, or as we 0:12:20.559 --> 0:12:26.080 say in England the operating theater, Django Reinhart was playing 0:12:28.520 --> 0:12:32.240 and I said, all right, then, who's read my bio? 0:12:33.920 --> 0:12:40.439 So and I they said that that the nurse said, 0:12:40.480 --> 0:12:42.880 as soon as you were unconscious, the doctor said, let's 0:12:42.920 --> 0:12:46.439 get this shit off and let's put on some conws. 0:12:47.679 --> 0:12:51.079 So anyway that might be not an untruthed but it's 0:12:51.120 --> 0:12:55.079 a good joke. But so anyway, yes, and of course 0:12:55.120 --> 0:12:58.320 the the the test came back and it was positive. 0:12:58.840 --> 0:13:03.720 So I continued, and I didn't say anything for about 0:13:03.760 --> 0:13:10.320 four years until I went on vacation with my daughter 0:13:10.400 --> 0:13:15.800 Mia and we went to Hawaii, went to Maui and 0:13:15.840 --> 0:13:17.720 some people took us out on their boat, which was 0:13:17.800 --> 0:13:22.560 very nice, and I fell on the boat and I 0:13:22.559 --> 0:13:28.520 I broke a bone in my back, and I said, 0:13:28.960 --> 0:13:32.560 I think I ought to slow down here. Now this 0:13:32.760 --> 0:13:36.320 is getting a little crazy. So I was the next week, 0:13:36.360 --> 0:13:38.560 I was going up to New York to meet with 0:13:38.640 --> 0:13:45.400 Ken Levitton, my manager, and we were shopping a book deal. 0:13:45.480 --> 0:13:49.280 We were looking for a publisher, which we found well 0:13:49.840 --> 0:13:53.760 in between in each cab, right between the publishers. We 0:13:53.760 --> 0:13:59.000 were talking and and I said, Ken, I think I 0:13:59.040 --> 0:14:02.280 think we You know, we were scheduled to do a tour, 0:14:03.240 --> 0:14:07.280 a co headline tour with Alice and a dear friend, 0:14:07.440 --> 0:14:12.240 wonderful man and friend for so long, and his lovely wife. 0:14:12.360 --> 0:14:16.800 And Ken said, I think we ought to cancel that 0:14:17.400 --> 0:14:20.480 and make this your finale tour, because if we don't 0:14:20.520 --> 0:14:24.200 know how long this, no one has any idea. That's 0:14:24.280 --> 0:14:27.000 the problem with this. So no one had any idea 0:14:27.040 --> 0:14:30.480 of how long I would be able to play. And 0:14:31.160 --> 0:14:36.360 I had always thought I don't want to be one 0:14:36.440 --> 0:14:40.480 of those guys that goes out and can play one note. 0:14:40.760 --> 0:14:43.320 And you know, I said, I want to quit while 0:14:43.320 --> 0:14:49.920 I'm doing well, and I'm playing well. And then when 0:14:49.920 --> 0:14:55.800 we did the after the Finale tour, we got shut 0:14:55.920 --> 0:15:00.480 down because it was twenty nineteen, we did American Canada 0:15:01.160 --> 0:15:07.520 and we were going to play the Albert Hall and 0:15:07.840 --> 0:15:12.360 the rest of England and Europe in May Well got 0:15:12.360 --> 0:15:16.960 shut down in March. Everybody got shut down. So I thought, 0:15:17.840 --> 0:15:20.880 I'm never going to get to England to you know, 0:15:20.960 --> 0:15:25.920 say goodbye to the old country, you know, Blighty. And 0:15:26.560 --> 0:15:29.280 it was a little disappointing, but I said, you know, 0:15:29.360 --> 0:15:31.680 everyone has the same situation right now as far as 0:15:31.680 --> 0:15:34.480 not being able to work, so I can't. That's it's 0:15:34.560 --> 0:15:38.160 something else I have that means so much to me, obviously. 0:15:38.600 --> 0:15:45.120 And so when COVID two and a half years later, 0:15:47.040 --> 0:15:52.480 my agent dangled a Royal Albert Hall date at me 0:15:53.680 --> 0:15:55.760 and I said, oh my god, well, I don't know, 0:15:55.840 --> 0:15:58.880 I don't know if I can do this, you know, 0:15:59.440 --> 0:16:04.160 so or by the time it was a few months before, 0:16:04.320 --> 0:16:05.720 you know, because you have you have to book it 0:16:05.760 --> 0:16:09.440 in advance. So that's always the problem, you know, I 0:16:09.480 --> 0:16:12.000 can book it now. But will I be okay? Then? Well, 0:16:12.800 --> 0:16:16.840 I made sure that I was okay because that's the 0:16:16.880 --> 0:16:21.560 way I am, and I don't let stuff get to 0:16:21.600 --> 0:16:24.560 me too much, and my moments don't get me wrong. 0:16:25.040 --> 0:16:31.920 But practicing and has my playing changed, I would say 0:16:31.920 --> 0:16:36.200 to myself, Yes, but what I'm playing now I think 0:16:36.320 --> 0:16:41.600 is almost better. It might not be as fast, but 0:16:41.720 --> 0:16:48.280 it's less notes, more soul. And I just we started 0:16:48.320 --> 0:16:50.960 rehearsing and I was just having the time of my life, 0:16:51.000 --> 0:16:54.680 you know, So I thought, well, because it it gives 0:16:54.720 --> 0:16:58.200 me so much enjoyment, I'm gonna whether I can play 0:16:58.240 --> 0:17:01.960 like I could before or not. If I like what 0:17:02.040 --> 0:17:05.000 I'm playing, it's okay. But when I get to the 0:17:05.040 --> 0:17:08.720 point where it's like Kim and Pete, that's that's not good, 0:17:10.520 --> 0:17:14.919 then I'll stay home. But right now, I still feel 0:17:14.960 --> 0:17:19.080 that I've got uh at least this tour, these four 0:17:19.119 --> 0:17:25.000 weeks in this in the spring, and I know it's 0:17:25.040 --> 0:17:25.879 going to be great. 0:17:26.840 --> 0:17:31.200 Okay, you live in Nashville. Do you live alone? 0:17:32.600 --> 0:17:37.560 I live with a big black dog who's sleeping over 0:17:37.600 --> 0:17:40.840 there right now, Bigsby. Yes, I do live alone. 0:17:42.400 --> 0:17:42.920 I have. 0:17:44.600 --> 0:17:49.119 Had a relationship recently that unfortunately broke up, but but 0:17:49.200 --> 0:17:51.200 we both have our own house. I think the way 0:17:51.200 --> 0:17:54.080 it used to be in relationships when you started to 0:17:54.080 --> 0:17:56.919 get a little wise, was okay, well, if you're going 0:17:56.960 --> 0:17:59.440 to live in the same house, at least two sinks 0:17:59.480 --> 0:18:02.240 in the barroom. And then it got to a point 0:18:02.280 --> 0:18:08.320 where at least two bathrooms, and now it's separate houses. 0:18:08.440 --> 0:18:12.920 In the relationship last a lot longer. So that's where 0:18:12.920 --> 0:18:15.800 I'm at. I don't think I could actually I'm not 0:18:15.840 --> 0:18:19.800 sure I could actually cohabitate with anybody anymore. 0:18:20.640 --> 0:18:21.119 But I. 0:18:23.840 --> 0:18:27.080 Look forward to a you know, a relationship in the 0:18:27.119 --> 0:18:27.840 near future. 0:18:28.480 --> 0:18:30.919 Well, I guess I'm asking, since you have a progressive 0:18:31.040 --> 0:18:36.320 disease and you might need aid help, do you feel 0:18:36.359 --> 0:18:38.840 that being single leaves you at a loss. 0:18:42.720 --> 0:18:48.080 I have a wonderful family and my daughter who lived 0:18:48.119 --> 0:18:52.920 in Manhattan with her husband Sat Jade and Sam. They 0:18:52.960 --> 0:18:58.760 got this wonderful small place up in Manhattan on the 0:18:58.800 --> 0:19:02.000 east Upper East Side, and they were in Seventh Heaven 0:19:02.520 --> 0:19:08.800 and then Jay got pregnant and she gave birth on 0:19:10.000 --> 0:19:16.760 April the sixth, twenty twenty, in the absolute peak of 0:19:16.880 --> 0:19:21.480 Manhattan's COVID, which, if you remember, it was the worst 0:19:21.520 --> 0:19:26.440 place in the country, and only that morning did the 0:19:26.480 --> 0:19:32.840 governor give partners or husbands or white whatever permission to 0:19:32.880 --> 0:19:36.720 actually be in the birthing room while so she was 0:19:36.760 --> 0:19:40.000 allowed to have her husband in there. Sam was allowed in, 0:19:40.440 --> 0:19:47.280 but as soon as el was born, he had to leave. 0:19:47.600 --> 0:19:53.640 And there wasn't a lot of help for Jay because 0:19:54.720 --> 0:19:57.560 all the nurses were you nowhere in the hospital dealing 0:19:57.600 --> 0:20:02.960 with what was going on and anyway, So as soon 0:20:03.000 --> 0:20:05.520 as she got home and spent a couple of months 0:20:05.520 --> 0:20:09.520 home in the apartment during still during COVID, I get 0:20:09.560 --> 0:20:14.560 the call we're moving. I said, what, but you said 0:20:14.600 --> 0:20:18.280 you'd never leave Manhattan. You're just Sam group was born 0:20:18.280 --> 0:20:22.520 in Manhattan's yeah, now with the baby. I said, well, 0:20:22.520 --> 0:20:25.879 where can you be moving to? She said, Nashville. I said, 0:20:25.960 --> 0:20:30.000 oh my god, that's fantastic. I said, great, we'll get 0:20:30.000 --> 0:20:32.320 your place around the corner. And we did. We've got 0:20:32.400 --> 0:20:35.280 them a house around the corner. And so I see 0:20:35.400 --> 0:20:40.960 my granddaughter and my daughter and her husband, the family. 0:20:41.000 --> 0:20:44.720 I see them just about every day. And my daughter 0:20:44.760 --> 0:20:48.440 works for me. Now. She left her job in Manhattan 0:20:48.640 --> 0:20:52.480 and she's got a full time job with l obviously, 0:20:52.520 --> 0:20:55.440 but she works part time for me and comes over 0:20:55.520 --> 0:20:58.680 and helps me during the day. So I'm okay. At 0:20:58.720 --> 0:21:02.359 some point, I probably we will need a nurse or 0:21:02.600 --> 0:21:07.480 someone at night, you know, to to help me. But 0:21:08.040 --> 0:21:11.720 as of the moment, no, I've I've got the family here, 0:21:11.760 --> 0:21:13.960 so I'm I'm very lucky. 0:21:19.600 --> 0:21:23.879 Okay, you lived in Cincinnati. How did you ultimately decide 0:21:23.960 --> 0:21:29.640 to move to Nashville? And obviously you have physical issues 0:21:29.680 --> 0:21:33.400 at this point, but to what degree did you interact 0:21:33.440 --> 0:21:36.240 to the scene in Nashville as opposed to just being 0:21:36.280 --> 0:21:38.359 Peter Freempt that I happened to live in Nashville. 0:21:39.160 --> 0:21:42.080 Yes, we lived there because of family reasons. We were 0:21:42.160 --> 0:21:48.399 living that's my previous wife. We were living in Cincinnati 0:21:48.520 --> 0:21:53.800 during to due to family reasons. We'd lost granddad, so 0:21:54.680 --> 0:22:00.200 our daughter Mia and Tina wanted to be close. I 0:22:01.040 --> 0:22:03.320 knew it. I said, we're moving back. I got it. 0:22:03.960 --> 0:22:07.760 It's it's the right thing to do. And I met 0:22:07.800 --> 0:22:11.480 a lot of musicians in Cincinnati, went to clubs and 0:22:11.520 --> 0:22:14.920 stuff like that. There's great music up there, a lot 0:22:14.960 --> 0:22:19.639 of jazz and blues and R and B and stuff 0:22:19.680 --> 0:22:24.240 like that, which was right up my alley. So but 0:22:24.840 --> 0:22:32.800 and then at one point when we lost George Harrison, 0:22:33.720 --> 0:22:36.640 which was November. I forget exactly the year. 0:22:36.920 --> 0:22:39.320 I think it was two thousand and maybe nineteen ninety, 0:22:39.320 --> 0:22:40.520 and I think it was one of those. 0:22:41.080 --> 0:22:46.320 Right, And I had said that I wanted to do 0:22:48.000 --> 0:22:55.720 a concert to raise money for local venues and things 0:22:55.800 --> 0:22:59.960 like that for the community and do a free show 0:23:00.400 --> 0:23:05.760 and have every good local band on and I'd be 0:23:05.800 --> 0:23:10.840 the headliner. And so it was very very successful and 0:23:11.000 --> 0:23:15.760 we raised a lot of money and that that the 0:23:15.880 --> 0:23:19.800 night before I called the band members up and I said, look, 0:23:22.880 --> 0:23:25.639 I think I would like to do a tribute to 0:23:25.720 --> 0:23:31.160 George at this show and for the last number, can 0:23:31.200 --> 0:23:34.680 you all listen to while my guitar gently weeps, And 0:23:34.840 --> 0:23:37.879 we rehearsed it at the soundcheck, and we did it 0:23:37.960 --> 0:23:42.720 that night, and the audience didn't shut up. I mean, 0:23:42.800 --> 0:23:44.880 it went on and on and on and on and on. 0:23:45.000 --> 0:23:48.440 It was so emotional because we only a couple of months. 0:23:48.600 --> 0:23:52.359 This was in January, we'd lost George in November. I think, 0:23:52.800 --> 0:23:58.440 so very emotional. But we've played that number every night 0:23:58.840 --> 0:24:02.280 ever since as the last a kiss off, as it were, 0:24:02.480 --> 0:24:08.480 saying goodbye to everybody. And yes, so Cincinnati was very 0:24:08.520 --> 0:24:11.480 important in many ways. I mean, I had a wonderful 0:24:11.480 --> 0:24:14.440 studio in my house in my basement. I recorded three 0:24:14.480 --> 0:24:19.520 of my albums there. So yeah, it was. It was 0:24:19.720 --> 0:24:24.840 very instrumental in my career at that point. But when 0:24:25.119 --> 0:24:28.960 finally I we got divorced, I ended up with the 0:24:29.040 --> 0:24:33.320 house and there I am in this wonderful house with 0:24:33.400 --> 0:24:37.640 the studio in Cincinnati. But I'm living alone now, and 0:24:39.440 --> 0:24:42.320 I thought, well, I'm going to just move back to Nashville. 0:24:42.520 --> 0:24:47.080 So I said, we're all my museo friends are, and 0:24:47.080 --> 0:24:50.000 and so that that's why I moved back down here. 0:24:50.480 --> 0:24:54.280 And I didn't build a studio this time. Well this 0:24:54.359 --> 0:24:58.200 is my music room, but I bought a studio because 0:24:58.200 --> 0:25:01.760 at that time when I bought here, two thousand and 0:25:01.800 --> 0:25:07.120 eight wasn't too far in the distance, and things had 0:25:07.280 --> 0:25:15.479 plummeted obviously, so and studios, smaller studios were while they 0:25:15.480 --> 0:25:18.680 weren't getting so much work because everybody's got pro tools 0:25:19.119 --> 0:25:22.320 on their iPad, you know, in the bathroom, you know, 0:25:22.440 --> 0:25:29.879 let alone the garage. And so someone said to me, 0:25:30.440 --> 0:25:32.120 you should go. And I was looking for a place 0:25:32.160 --> 0:25:35.200 to just dump my recording stuff in a room somewhere 0:25:35.200 --> 0:25:38.640 in rent space, you know, And and so someone said 0:25:38.680 --> 0:25:41.199 we should go and look at the studio. So I said, well, 0:25:41.240 --> 0:25:44.359 I can't buy anything, you know, I just bought a 0:25:44.400 --> 0:25:50.440 condo and so anyway, I went there and fantastic place, 0:25:50.520 --> 0:25:53.199 you know, so and I thought, oh gosh, wouldn't this 0:25:53.280 --> 0:25:59.480 be amazing? So I said, so, who's your business manager 0:25:59.520 --> 0:26:03.920 to the owner and he said, Gary Haber. I said, 0:26:05.920 --> 0:26:09.560 that's my business manager too. Maybe we can work something out. 0:26:09.760 --> 0:26:14.200 So he needed something, I needed something, and I ended 0:26:14.280 --> 0:26:17.040 up with the studio for a very fair price. And 0:26:17.080 --> 0:26:19.840 I still have it now, and it's it's been improved, 0:26:19.880 --> 0:26:23.240 and lots of people recording there now so apart from me, 0:26:23.440 --> 0:26:28.080 so it's it's phenomenal. So I'm I'm a studio owner 0:26:28.119 --> 0:26:28.879 in Nashville. 0:26:30.880 --> 0:26:36.080 Okay, you talk about getting divorced A you're a rock star, 0:26:36.760 --> 0:26:40.439 be you've married three times. What can you tell us 0:26:40.480 --> 0:26:42.560 about relationships? 0:26:46.200 --> 0:26:56.159 Oh gosh, Well, I'm I'm a person who jumps into things, 0:26:58.119 --> 0:27:02.359 probably ahead of the time. I should and I should 0:27:02.400 --> 0:27:07.320 think more about certain things to do with a relationship. 0:27:08.119 --> 0:27:14.840 And I think for me, I had been living with 0:27:14.880 --> 0:27:19.679 my parents. I left when I was sixteen seventeen. I 0:27:19.760 --> 0:27:23.720 moved out with a lot of screaming going on from 0:27:23.720 --> 0:27:26.600 my dad and mom. I moved out with and moved 0:27:26.600 --> 0:27:31.360 into a flat in London with my girlfriend, who then 0:27:31.400 --> 0:27:37.679 became my wife, and we are still the best of 0:27:37.720 --> 0:27:42.359 friends and lifelong friends. Maybe we should have met later on, 0:27:44.240 --> 0:27:48.960 but I think that. And then yeah, my point is, 0:27:49.440 --> 0:27:54.919 so I go straight from living at home to living 0:27:55.080 --> 0:28:00.680 with my girlfriend get married. Then that ends. I moved 0:28:00.680 --> 0:28:05.000 straight in with another girlfriend. We don't get married, thank god, 0:28:05.600 --> 0:28:13.000 and then that ends viciously. And then I was alone 0:28:13.040 --> 0:28:20.520 for a while and let's see, yes, then met somebody 0:28:20.560 --> 0:28:24.240 else very quickly and moved in with them, and they 0:28:24.280 --> 0:28:27.879 moved in with me, and we started having children. And 0:28:29.800 --> 0:28:33.960 my wife, Barbara, who is the second one, we're still 0:28:34.320 --> 0:28:37.760 incredibly good friends. And she's moved to Nashville now too, 0:28:37.880 --> 0:28:47.080 so she's so. But as far as I needed, I 0:28:47.200 --> 0:28:53.440 never because I was so obsessed with music and I 0:28:53.680 --> 0:28:59.240 just needed a relationship to get into, to have ground, 0:28:59.800 --> 0:29:02.960 you know, to have a basis for living, I think, 0:29:03.360 --> 0:29:10.040 and and I didn't really I've never thought about is 0:29:10.080 --> 0:29:13.600 this right for me or if you know. It's weird 0:29:13.640 --> 0:29:19.440 to say, but it's it's like I took things. I 0:29:19.480 --> 0:29:25.160 didn't take things seriously enough, I think, and if i'd 0:29:25.160 --> 0:29:31.840 have played the field like most people do, most guys 0:29:31.920 --> 0:29:35.960 or girls do when they first leave home and get 0:29:35.960 --> 0:29:38.880 their they get their apartment on their own, and then 0:29:38.920 --> 0:29:41.680 they play the field. And then hopefully I didn't do that. 0:29:41.760 --> 0:29:45.680 I just I short circuited all that and just would 0:29:45.800 --> 0:29:48.440 just move straight in, you know. And I think that's 0:29:48.480 --> 0:29:51.040 where I made my mistakes other you know, I can't 0:29:51.040 --> 0:29:53.840 say for other people, you know, but that for me. 0:29:54.200 --> 0:30:00.920 Wash yeah, impulsive, Yes I am. 0:30:01.920 --> 0:30:05.520 How did these relationships end? Uh? 0:30:08.520 --> 0:30:10.480 Well, that's rather personal, Bob. 0:30:11.800 --> 0:30:14.320 Well, I guess I wasn't looking for it. Let me 0:30:14.440 --> 0:30:20.160 just go halfway. Everyone says it's equal, but it never is. 0:30:21.080 --> 0:30:23.880 You have multiple relationships. Are you the one who leaves? 0:30:23.920 --> 0:30:26.840 Are they the one who leaves? Or every relationship is different? 0:30:28.080 --> 0:30:34.200 Oh, every relationship is different. I think I've ended and 0:30:34.280 --> 0:30:38.800 I've been ended. Okay, I've played both sides of the fence, 0:30:38.880 --> 0:30:43.720 as it were, or the ending. So I've experienced both, 0:30:43.920 --> 0:30:47.560 and neither one is what I would call enjoyable. 0:30:47.680 --> 0:30:56.760 So okay, you have this incredible upbeat attitude, and I 0:30:56.800 --> 0:31:00.440 have only known you subsequent to your incredible success. 0:31:01.000 --> 0:31:03.400 Were you always this bright? Sunny guy. 0:31:05.520 --> 0:31:19.680 No, I was very introverted and insecure all that stuff. Well, 0:31:19.720 --> 0:31:22.680 I'm probably still insecure, but not to the group degree 0:31:22.720 --> 0:31:26.280 I was when I was seventeen eighteen. Yeah, I went 0:31:26.320 --> 0:31:32.160 from being as a child, you know, I was, I 0:31:32.240 --> 0:31:36.120 was a normal child, you know, crazy, and then when 0:31:36.120 --> 0:31:40.200 it got to twelve thirteen, that that time period where 0:31:40.320 --> 0:31:44.840 music was becoming all important to me, I kind of 0:31:47.760 --> 0:31:54.080 became antisocial. I think because I was I'd much prefer 0:31:54.920 --> 0:31:58.920 to be in my room learning another Eric Clapton solo. 0:31:59.040 --> 0:32:01.280 Then I would be to go out and see a 0:32:01.320 --> 0:32:05.640 movie with my friends or do whatever. So I kind 0:32:05.680 --> 0:32:09.400 of cut myself off from people that way. And the 0:32:09.440 --> 0:32:14.240 only person at that time that I saw well about 0:32:14.280 --> 0:32:18.360 when I was fifteen or sixteen was Mary, was my 0:32:18.400 --> 0:32:22.080 first ended up being my first wife, and she was 0:32:22.200 --> 0:32:26.160 very instrumental in helping me at that time in many ways, 0:32:26.320 --> 0:32:27.840 so with my career. 0:32:28.560 --> 0:32:34.320 And but yeah, well I guess I'm saying, when did 0:32:34.400 --> 0:32:39.560 things turn such that you became relative to someone as 0:32:39.600 --> 0:32:45.080 successful as yourself, very easy going, have a laugh at yourself. 0:32:45.240 --> 0:32:46.280 When did that happen? 0:32:53.480 --> 0:32:56.200 Well, I've always been a little bit like that, But 0:32:56.320 --> 0:33:02.520 I think when I think being successful with the first band, 0:33:02.560 --> 0:33:07.920 The Herd, gave me confidence in myself that I've achieved something, 0:33:08.560 --> 0:33:13.040 you know, and that it's not this a wonder. It's 0:33:13.120 --> 0:33:18.480 not a wonder anymore. It's I did. I did put 0:33:18.480 --> 0:33:21.320 a record out with this band, and and we've had 0:33:21.400 --> 0:33:27.080 three big hits. You know. I'm now in a successful band. 0:33:27.200 --> 0:33:32.200 This is I never imagined that. I never I never 0:33:32.280 --> 0:33:35.160 knew it would happen. I imagined it, but I never knew 0:33:35.200 --> 0:33:37.960 it would happen. And when it happened, I think it 0:33:38.120 --> 0:33:42.960 just opened me up and gave me that when you 0:33:43.040 --> 0:33:45.640 go out on stage and you get like so many 0:33:45.680 --> 0:33:49.040 thousand people clap in and shout shouting your name, it 0:33:49.080 --> 0:33:52.080 gives you a nice feeling, you know. And that started 0:33:52.120 --> 0:33:57.800 happening in The Herd and continued, you know, with Humble 0:33:57.840 --> 0:34:03.320 Pie and so and by the time I was a 0:34:03.360 --> 0:34:08.080 solo artist, I kind of went back. I had because 0:34:08.080 --> 0:34:14.080 I'd spent two to three years with Humble Pie, leaving 0:34:14.160 --> 0:34:17.439 before the live album Humble Pie's live album came out 0:34:18.520 --> 0:34:20.840 was everyone thought I was crazy, but it was the 0:34:20.880 --> 0:34:24.120 right time for me to leave. Then after mixing that 0:34:25.520 --> 0:34:28.680 album with Eddie Kramer, I left and then I knew 0:34:28.719 --> 0:34:32.400 it was going to be their first really successful album. 0:34:32.400 --> 0:34:35.359 We just knew it was. It was so evident that 0:34:35.560 --> 0:34:39.440 we were giving the audience what they wanted, which was 0:34:39.480 --> 0:34:46.920 our live show. And so yeah, I think then I 0:34:47.200 --> 0:34:50.160 got a little bit, went back into my shell a 0:34:50.200 --> 0:34:54.880 little bit, and and had to start at the bottom 0:34:55.239 --> 0:34:57.960 of the ladder again. Okay, I was a couple of 0:34:58.040 --> 0:35:04.399 rungs up, but only couple. And then you know, it 0:35:04.480 --> 0:35:10.359 wasn't for another four to five years before well four 0:35:10.440 --> 0:35:13.920 years and the Frampton album came out, which had shown 0:35:13.920 --> 0:35:15.920 me the way and Baby, I'll have your Way studio 0:35:16.080 --> 0:35:20.680 versions on it, and that all of a sudden took 0:35:20.719 --> 0:35:26.320 off regionally now you know, and I know what regional breakout, 0:35:30.120 --> 0:35:34.759 but nobody else does anymore. But we were huge. I 0:35:34.960 --> 0:35:42.480 was huge in San Francisco first and foremost. For some reason, Kasan, 0:35:43.080 --> 0:35:48.000 the aor top station in the Bay Area, took to 0:35:48.120 --> 0:35:53.000 the Frampton album like you wouldn't believe. And I was 0:35:53.200 --> 0:35:55.600 all of a sudden, I was on the air like 0:35:56.200 --> 0:35:58.839 twenty four to seven in San Francisco, a little bit 0:35:59.239 --> 0:36:03.279 less in New US and probably the same as New 0:36:03.360 --> 0:36:08.400 York in in Detroit. Those three places were I was 0:36:08.400 --> 0:36:13.560 having a regional breakout. It's not a disease, folks, It's 0:36:13.680 --> 0:36:18.480 it's the fact that all of a sudden, radio stations 0:36:18.520 --> 0:36:22.640 weren't programmed by one person for the whole country or 0:36:22.680 --> 0:36:27.720 a company, you know, they were each area, Each region 0:36:28.080 --> 0:36:31.680 was in charge of its own playlist, which meant that 0:36:31.800 --> 0:36:37.279 you could have a regional breakout in San Francisco and 0:36:37.400 --> 0:36:40.279 in New York. They wouldn't know anything about you, you know, 0:36:40.360 --> 0:36:43.040 but you could be huge and be headlining in San 0:36:43.040 --> 0:36:46.480 Francisco and opening the bill in in New York or 0:36:47.280 --> 0:36:55.040 Philadelphia wherever. And it was. It was very interesting that 0:36:55.040 --> 0:36:58.359 that whole thing. And I think when we went up 0:36:59.200 --> 0:37:07.320 to seventy five to play Winterland, which was to promote 0:37:07.360 --> 0:37:12.680 the Frampton album, it wasn't we decided that we would 0:37:12.840 --> 0:37:18.759 record and do possibly do a live album because I 0:37:18.920 --> 0:37:22.680 was following the template of Humble Pie. Humble Pie, we'd 0:37:22.680 --> 0:37:28.600 had four solo albums and then everyone said, Jerry Mors 0:37:28.920 --> 0:37:31.960 de'anthony the band, we also we should do a live album, 0:37:32.320 --> 0:37:37.520 so we did. And I always think of of Rock 0:37:37.600 --> 0:37:41.240 on the album before that as like my Frampton album, 0:37:41.640 --> 0:37:45.880 and it was that Rock on Album also was breaking 0:37:45.920 --> 0:37:49.640 out regionally, and so we knew that we could do 0:37:49.800 --> 0:37:55.799 a live album and it's good. There was a good 0:37:55.920 --> 0:37:58.640 chance it was going to be successful. How successful we 0:37:58.640 --> 0:38:07.399 didn't know. And uh So at that point, uh I've left, 0:38:08.200 --> 0:38:12.120 it becomes a huge hit and I'm on back on 0:38:12.160 --> 0:38:16.560 the back, on the bottom rung again. But it took me, 0:38:17.520 --> 0:38:22.480 uh the same amount of time it took uh two 0:38:24.120 --> 0:38:27.400 to write those songs that are on the live record 0:38:27.600 --> 0:38:30.879 was a six year period. One year of humble Pie 0:38:30.920 --> 0:38:35.160 for shine On and then the rest are all cherry 0:38:35.160 --> 0:38:40.080 picking from my four solo records and and then a 0:38:40.120 --> 0:38:48.879 cover of the Stones. And so at that point when 0:38:48.920 --> 0:38:51.759 I when we walked out on stage for the very 0:38:51.840 --> 0:39:00.560 first time headlining in a major city like San Francisco Interland, 0:39:00.960 --> 0:39:04.439 there's like eight thousand people there where you can hear 0:39:04.520 --> 0:39:07.399 on the album what it sounded like, you know, and 0:39:08.680 --> 0:39:13.800 we were taken aback by the reaction. And I think 0:39:13.840 --> 0:39:18.839 that through humble Pie, the herd, humble Pie and now 0:39:18.960 --> 0:39:24.520 this acceptance, I think it definitely gives you more confidence, 0:39:25.000 --> 0:39:27.279 but it also worries you, what are you going to 0:39:27.360 --> 0:39:34.279 do next? So but yeah, I think that I just 0:39:34.400 --> 0:39:38.520 grew up and got more confident along the way. And 0:39:38.600 --> 0:39:46.680 I actually think the downs, the pitfalls were more important 0:39:46.880 --> 0:39:54.319 than the successes, because I, you know, talking about comes 0:39:54.360 --> 0:39:59.719 Alive inasmuch as you go down to from being the 0:39:59.760 --> 0:40:04.760 bigiggest thing in the world for eighteen months two years 0:40:05.200 --> 0:40:12.240 to who wein, you know, by nineteen eighty one or something. 0:40:12.360 --> 0:40:16.040 We're talking about. Seventy six is when the album came out, 0:40:16.280 --> 0:40:22.040 So seventy nine eighty eighty one, it was deteriorating. The 0:40:22.160 --> 0:40:25.160 music I was putting out after that wasn't as good. 0:40:25.800 --> 0:40:28.439 I was being rushed into recording and stuff like that. 0:40:28.960 --> 0:40:35.120 And so I think that my character building time was 0:40:35.880 --> 0:40:42.160 mostly the time it took me from the early eighties 0:40:43.640 --> 0:40:50.960 to the two thousands to come back and to get 0:40:50.960 --> 0:40:54.680 a Grammy for doing for not singing, for playing guitar. 0:40:55.040 --> 0:40:58.600 You know, in two thousand and six I got the 0:40:59.680 --> 0:41:04.120 ground me for Best Pop Instrumental Album, not just the track, 0:41:04.200 --> 0:41:10.200 the whole album, which again stuff like that. I never 0:41:10.280 --> 0:41:14.399 thought that there was a possibility again after the Big 0:41:14.480 --> 0:41:17.880 four of anything like that. And I remember as I 0:41:18.000 --> 0:41:24.200 was walking out, numb with this big shit eating grin 0:41:24.280 --> 0:41:27.200 on my face, thinking what the hell just happened? I'm 0:41:27.280 --> 0:41:35.319 holding a Grammy and I see this guitar player. No, 0:41:35.800 --> 0:41:37.799 I didn't know it was guitar player. I saw these 0:41:37.840 --> 0:41:41.440 two people, this guy and this lady running towards me, 0:41:42.600 --> 0:41:46.680 and I suddenly realized it's Larry Carlton and his wife. 0:41:47.520 --> 0:41:51.360 And he just launches himself on me and gives me 0:41:51.440 --> 0:41:54.040 the biggest hug because I just beat him out in 0:41:54.080 --> 0:41:59.399 the category too. And it doesn't get any better or 0:41:59.640 --> 0:42:03.799 make you feel like King Kong when the guitarists guitarist 0:42:04.239 --> 0:42:07.239 who's played on all those Steely Dan records that we 0:42:07.400 --> 0:42:10.400 all love and wonder how he did those solos, comes 0:42:10.440 --> 0:42:13.560 and gives you a big hug that I think was 0:42:13.680 --> 0:42:21.919 almost more important to me than the Grammy. And from 0:42:21.920 --> 0:42:28.880 that moment on, I've always been this happy, go lucky guy. 0:42:33.600 --> 0:42:37.800 Just to stay on this one point for years now. 0:42:39.000 --> 0:42:41.879 You know you mentioned when you're on stage as part 0:42:41.880 --> 0:42:44.799 of a song, you change the lyric I've lost my hair. 0:42:45.320 --> 0:42:49.520 You poke fun at yourself, whereas your contemporary some household names. 0:42:50.080 --> 0:42:52.440 Some are wearing wigs even though people don't know it. 0:42:52.520 --> 0:42:53.040 I know it. 0:42:53.920 --> 0:42:58.239 Others have gotten plastic surgery. You were also known for 0:42:58.440 --> 0:43:02.160 your hair. Is that just your personality? To make fun 0:43:02.160 --> 0:43:03.640 of yourself or how did you own that? 0:43:05.040 --> 0:43:08.520 Oh? I think it comes from my parents and our family. 0:43:08.880 --> 0:43:12.359 We never took ourselves too seriously, and we were all 0:43:12.600 --> 0:43:17.319 always making fun of each other and of ourselves, you know. 0:43:17.640 --> 0:43:20.640 My father was like that, you know, he would he 0:43:20.680 --> 0:43:23.200 would make himself the butt of the joke, you know. 0:43:23.719 --> 0:43:27.160 And my mother too, So we had great humor in 0:43:27.200 --> 0:43:34.439 our household. And my mother is the of the two 0:43:34.480 --> 0:43:37.640 of them. My mother was the one that I think 0:43:37.680 --> 0:43:45.680 I got the eternal optimism from. And I remember I 0:43:45.800 --> 0:43:49.280 was being forced in to do this record I'm Innew 0:43:50.120 --> 0:43:53.120 which shouldn't have come out for another four years as 0:43:53.120 --> 0:43:57.279 far as I'm concerned. But anyway, and I said, oh, 0:43:58.760 --> 0:44:01.520 and they were. They were staying my parents were staying 0:44:01.520 --> 0:44:03.400 with me at the time in New York up in Westchester, 0:44:03.480 --> 0:44:07.160 and I was getting ready to do I was starting 0:44:07.160 --> 0:44:10.440 to record an Electric Lady, I'm in You. And I said, gosh, 0:44:10.520 --> 0:44:15.400 I wish I could get Stevie Wonder to, you know, 0:44:16.239 --> 0:44:19.480 play a harmonica solo for me and my mom just 0:44:19.640 --> 0:44:25.680 in SA call him up. I said, I can't. Just yes, 0:44:25.719 --> 0:44:30.160 you can, I said, well, how do I call? Call Motown? 0:44:31.600 --> 0:44:36.080 They'll know who you are now, Peter. So I called 0:44:36.160 --> 0:44:41.880 up Motown and lo and behold. A few minutes later, 0:44:42.160 --> 0:44:49.920 I get a call from Stevie Wonder and I'm I'm speechless, 0:44:50.080 --> 0:44:53.919 but I'm trying very hard to converse with him. And 0:44:54.960 --> 0:44:56.920 I said, he said, what can I do for you? Know? 0:44:57.360 --> 0:45:06.080 So congratulations, Oh thank you, Stevie wondered. And and so 0:45:06.880 --> 0:45:10.200 I said, do you think there's any possibility? I mean, 0:45:10.719 --> 0:45:15.600 I think you understand what a big fan I am 0:45:15.920 --> 0:45:18.439 and we all are of you. Would you ever think 0:45:18.440 --> 0:45:22.160 about coming and doing some harmonica for me? And he 0:45:22.200 --> 0:45:23.959 said when do you want me there? 0:45:24.360 --> 0:45:24.880 Oh? 0:45:25.400 --> 0:45:31.560 Gosh? So and then there is there's a human story 0:45:31.920 --> 0:45:39.080 out of out of that. And my birthday was about 0:45:39.120 --> 0:45:42.560 after that. He came to the session played Mick Jagger 0:45:42.600 --> 0:45:44.319 was in the room while he was doing it. Was 0:45:44.440 --> 0:45:47.799 it was just very heavy stuff, you know, and I'm 0:45:47.880 --> 0:45:52.200 jumping up and down and it's just all my birthdays 0:45:52.200 --> 0:45:56.520 and Christmases came at once. Seeing Stevie Wonder playing harmonica 0:45:56.560 --> 0:45:58.319 out there in the studio for me, you know, it 0:45:58.400 --> 0:46:02.000 was wonderful. And so anyway, my birthday was a couple 0:46:02.000 --> 0:46:04.919 of weeks later, and some people brought me a cake 0:46:05.000 --> 0:46:09.080 and stuff, and then we're trying to record and then 0:46:09.120 --> 0:46:15.600 the door opens and I see Calvin Stevie's brother, and I, oh, no. 0:46:16.360 --> 0:46:21.640 Stevie came to my birthday party and brought me a Nakamichi, 0:46:22.760 --> 0:46:26.920 the high end cassette player, you know, stereo, big big thing. 0:46:27.040 --> 0:46:29.960 It was huge, but it was like really pro and 0:46:30.080 --> 0:46:33.760 these headphones that had microphones in them, so you could 0:46:33.960 --> 0:46:36.919 have the headphones plug it into the Nakamichi and you'd 0:46:36.960 --> 0:46:39.200 hear you you could record what you were playing, you know. 0:46:39.840 --> 0:46:44.640 So I couldn't believe that. And we had some champagne 0:46:44.640 --> 0:46:46.880 going around and I asked him, would you sing some backup? 0:46:46.920 --> 0:46:50.279 He said, I'm too drunk now, So that was I 0:46:50.320 --> 0:46:53.960 didn't get him to sing. But but anyway, and then 0:46:56.440 --> 0:47:00.560 the story is I had a horrible car crash in 0:47:00.680 --> 0:47:08.680 nineteen seventy seven. All right, I'm not sure now, wow, 0:47:08.880 --> 0:47:11.920 I usually know that right off. But it was July second, 0:47:12.760 --> 0:47:15.759 seventy seven or seventy eight, and I was in the 0:47:15.760 --> 0:47:20.160 Bahamas and I was broken. I was a broken mess. 0:47:20.560 --> 0:47:23.800 And they sent a plane down for me, my doctor 0:47:23.840 --> 0:47:27.319 from New York and my manager came put me in 0:47:27.320 --> 0:47:30.640 a lear jet took me back to Lennox Hill and 0:47:32.080 --> 0:47:37.280 they started to mend me, you know. And so it's 0:47:37.360 --> 0:47:41.720 I have a private nurse at night just in case, 0:47:41.960 --> 0:47:46.640 and two guards outside my door, who one of them 0:47:46.719 --> 0:47:50.279 used to take my mother. My mother stayed with me too, 0:47:50.320 --> 0:47:53.720 which was wonderful, and she was staying at the hotel 0:47:54.239 --> 0:47:57.239 right down the street, so he would take her home 0:47:57.280 --> 0:48:02.680 every night at night. And anyway, and so this nurse, 0:48:02.719 --> 0:48:07.040 my nurse comes in and said, mister Frampton, you have 0:48:07.080 --> 0:48:09.520 a phone call. I said, what time is it. She 0:48:09.600 --> 0:48:13.319 said it's three thirty am, mister Frampton. Uh, you don't 0:48:13.320 --> 0:48:15.239 want to take this to you. I said, well, who 0:48:15.320 --> 0:48:24.120 is it? And she said it's a mister wonder So 0:48:24.280 --> 0:48:28.000 he'd gone to all the trouble to find out what 0:48:28.280 --> 0:48:33.120 hospital I'm in and actually get to my floor where 0:48:33.160 --> 0:48:35.920 the nurses so they brought you know, they plugged me 0:48:35.960 --> 0:48:41.040 in and everything, and it's Stevie and he said, man, 0:48:41.120 --> 0:48:43.319 I'm so sorry to hear about Hey. I just called 0:48:43.320 --> 0:48:46.960 you up to cheer you up, man. And and what 0:48:47.040 --> 0:48:49.960 he then did was he was either in the studio 0:48:50.040 --> 0:48:52.359 or in his music room at home, and he said, 0:48:52.360 --> 0:48:55.000 I've just recorded these three tracks, but I haven't put 0:48:55.040 --> 0:48:58.160 the vocal on yet. You want to hear them? What 0:48:58.200 --> 0:48:59.799 are you going to say? 0:49:00.120 --> 0:49:00.400 Say no? 0:49:01.760 --> 0:49:05.480 So he's singing into the phone with these back in 0:49:05.600 --> 0:49:10.680 tracks going, and to this day I have never heard 0:49:11.080 --> 0:49:16.759 those three tracks. They are still in the archives, and 0:49:16.840 --> 0:49:21.759 they were, of course unbelievable, especially when you're getting a 0:49:21.840 --> 0:49:27.080 live vocal from from the West Coast at three point 0:49:27.080 --> 0:49:31.360 thirty in the morning in New York. And so it 0:49:31.400 --> 0:49:34.200 doesn't life doesn't get better than that. So it's very 0:49:35.440 --> 0:49:38.760 it's very hard for me to take things too seriously 0:49:38.800 --> 0:49:40.200 when stuff like that happens. 0:49:40.239 --> 0:49:43.040 You know, let's go back to the double live album 0:49:43.160 --> 0:49:46.840 seventy six. You know, there are a lot of rumors 0:49:47.440 --> 0:49:51.200 that not all the tracks were recorded where they said 0:49:51.320 --> 0:49:54.480 they were. That was an era, you know, in nineteen 0:49:54.560 --> 0:49:57.399 sixty eight, Big Brother they record a live album, it's 0:49:57.480 --> 0:50:01.000 unusable and they ultimately create a live album of the studio, 0:50:01.680 --> 0:50:05.759 that double live album. To what degree was it's swedened 0:50:05.760 --> 0:50:07.560 in the studio changed? If it all? 0:50:08.560 --> 0:50:14.440 Okay? I made a rule that if it made it 0:50:14.480 --> 0:50:21.319 to the truck, we would not replace it. If it 0:50:21.440 --> 0:50:25.799 didn't make it to the truck for whatever reason, we 0:50:25.840 --> 0:50:28.520 would have to put it on because it wasn't there. 0:50:28.719 --> 0:50:35.440 So the piano on Go to the Sun was, you know, crackling. 0:50:35.560 --> 0:50:39.040 It was intermittent all the way through. So Bob Mayo 0:50:40.560 --> 0:50:45.600 had to go into Electric Lady, and I don't know 0:50:45.640 --> 0:50:49.040 how he did it, but he had to play exactly 0:50:49.080 --> 0:50:52.960 what he played live, you know, and redid that okay. 0:50:53.239 --> 0:50:57.640 On Show Me the Way is the only time I 0:50:57.800 --> 0:51:02.440 used a different amplifier for my guitar, and but they 0:51:02.480 --> 0:51:05.680 forgot to move the microphone to the other amplifier because 0:51:05.680 --> 0:51:08.960 they didn't have that many mics those days. So my 0:51:09.200 --> 0:51:12.080 rhythm guitar on Show Me the Way had to be 0:51:12.160 --> 0:51:17.680 replaced because it didn't exist. Same thing with the acoustic 0:51:19.640 --> 0:51:23.680 Baby Out of Your Way, it was intermittent again, crackling. 0:51:23.920 --> 0:51:34.880 So that's about it. Anything anything else. You can't replace 0:51:35.000 --> 0:51:41.720 lead vocals, even though I might have replaced a part 0:51:41.880 --> 0:51:46.319 of Something's Happening vocal the very beginning because I was 0:51:46.480 --> 0:51:53.200 the clemped, but that was it. But anything else that 0:51:53.320 --> 0:51:56.640 didn't make it to tape we left. You can't redoce 0:51:56.760 --> 0:51:59.960 solos because you wouldn't be able to have or vocals 0:52:00.160 --> 0:52:02.719 because you wouldn't be able to have the audience up 0:52:02.760 --> 0:52:05.120 that loud, you'd hear it, you'd hear the other track. 0:52:05.560 --> 0:52:10.759 So I would say ninety seven ninety eight percent of 0:52:10.800 --> 0:52:16.240 Frampton Comes Alive is absolutely live. And there are three 0:52:16.320 --> 0:52:23.240 places where I'm sorry, four places where stuff came from. 0:52:23.719 --> 0:52:28.200 The bulk of the show comes from Winterland, the acoustic 0:52:28.480 --> 0:52:33.080 section because it was a slightly better acoustics for the 0:52:33.120 --> 0:52:39.759 acoustics in Marine Civic Center. So those three songs, those 0:52:39.760 --> 0:52:44.920 three songs came from Marin. We went back mixed a 0:52:44.960 --> 0:52:49.840 single live album. Then Jerry Moss, the m of A 0:52:49.960 --> 0:52:55.160 and M came and listened to the single album and 0:52:55.200 --> 0:52:57.360 he just said, oh my god, he said, where's the rest? 0:52:57.560 --> 0:53:00.480 We said, what do you mean the rest? Said, well, 0:53:00.880 --> 0:53:04.600 we didn't want to do a double album because I 0:53:04.640 --> 0:53:07.319 haven't really earned you that much money. I was worried 0:53:07.320 --> 0:53:11.680 they were going to drop me, you know, and so 0:53:11.800 --> 0:53:14.720 he gave me the go ahead, go out and record 0:53:14.800 --> 0:53:17.560 some let's make it a double album. Oh gosh, okay. 0:53:17.800 --> 0:53:22.960 So the ones we redid or where they came from, 0:53:23.239 --> 0:53:26.960 we went out and did about six more shows Comac 0:53:27.080 --> 0:53:31.600 Long Island. The arena there that the hockey arena that 0:53:31.640 --> 0:53:34.279 doesn't exist anymore, is where show Me the Way it 0:53:34.320 --> 0:53:39.480 comes from and that was engineered by Eddie Kramer, and 0:53:39.560 --> 0:53:45.040 Baby I Love Your Way comes from and New York 0:53:45.840 --> 0:53:53.040 University Plattsburgh in Plattsburgh, and I think the ticket price 0:53:53.120 --> 0:53:58.560 then was like three twenty five and out of that, 0:53:58.600 --> 0:54:06.440 and Chris Kimsey was in the chart for that. So yes, 0:54:06.760 --> 0:54:12.200 So we came back and right before Christmas in seventy five, 0:54:13.000 --> 0:54:16.520 we mixed those and the other ones that we hadn't 0:54:16.960 --> 0:54:19.920 the acoustics said would have changed all that stuff. We 0:54:20.040 --> 0:54:24.560 recorded more. We mixed more stuff. And because they were 0:54:24.560 --> 0:54:27.000 only on the original live album, the single one there 0:54:27.000 --> 0:54:29.920 was only five tracks, and Show Me the Way and 0:54:30.000 --> 0:54:32.239 Baby I Love Your Way were not on it. 0:54:34.120 --> 0:54:37.239 Just to stay on the live album. My favorite cut 0:54:37.239 --> 0:54:39.520 of yours, though I love I Want to Go to 0:54:39.560 --> 0:54:42.319 the Sun, is the opening cut on the second side 0:54:42.320 --> 0:54:44.080 of the first album, All I Want to Be Is 0:54:44.160 --> 0:54:47.239 by your Side. The second half of that is a 0:54:47.280 --> 0:54:52.920 long electric instrumental. How did this become an acoustic number? 0:54:58.160 --> 0:55:03.480 Okay, there's a very good reason for them. You have 0:55:03.520 --> 0:55:04.600 to see this face here. 0:55:05.719 --> 0:55:10.480 Wow, that's Peter's dog. We're audio only, but very well 0:55:10.480 --> 0:55:13.520 behaved in uh, very hairy. 0:55:14.360 --> 0:55:17.080 Very hairy, he's a he's a black golden doodle. 0:55:18.200 --> 0:55:18.520 Wow. 0:55:18.719 --> 0:55:21.880 Look at that love He's so lovely. Anyway, sorry about that, 0:55:23.840 --> 0:55:25.360 I forgot what we're talking about now. 0:55:25.320 --> 0:55:27.200 Which about all I want to be is by yourself, all. 0:55:27.200 --> 0:55:34.000 Right, right, right? So we didn't have we were we 0:55:34.000 --> 0:55:38.360 were not headlining, so we were doing forty five minutes 0:55:38.640 --> 0:55:44.440 to an hour, and then all of a sudden, in 0:55:44.480 --> 0:55:47.919 the middle of the tour, we have this headline gig 0:55:49.080 --> 0:55:52.680 at Winterland and we need at least an hour and 0:55:52.719 --> 0:55:57.759 a half. So that's when I said, well, I've got 0:55:57.920 --> 0:56:00.640 a penny few thoughts. I could do all I want 0:56:00.640 --> 0:56:03.759 to be acoustic, and I could do Wind of Change acoustic. 0:56:04.000 --> 0:56:06.520 So we got those three and then I think we 0:56:06.640 --> 0:56:10.040 added I'm not sure what other number we added, but 0:56:10.320 --> 0:56:14.560 an electric one as well. But that's how it became acoustic. 0:56:14.640 --> 0:56:17.400 And now we're back to doing it electric on stage, 0:56:17.560 --> 0:56:18.640 which is so good. 0:56:18.880 --> 0:56:23.720 So to what de we playing today? Do you feel 0:56:23.800 --> 0:56:26.640 that you have to deliver what the audience wants in 0:56:26.719 --> 0:56:29.719 terms of song choices and to what deg we? Is 0:56:29.800 --> 0:56:31.560 that fine with you? Or would you like to put 0:56:31.560 --> 0:56:32.520 other material in? 0:56:34.320 --> 0:56:37.160 It's up to me. It's I'm out there to enjoy myself. 0:56:38.719 --> 0:56:41.200 I'm lucky that they seem to like what I choose 0:56:41.200 --> 0:56:45.400 to play. But there's no way they're not going to 0:56:45.480 --> 0:56:51.480 hear songs that they really like. You know that they've 0:56:51.520 --> 0:56:55.760 known me for so I do it all. I don't 0:56:55.760 --> 0:56:57.680 hold back. I don't say I'm not doing my single. 0:56:59.000 --> 0:57:02.640 I can't stand that. Uh no, that's that's not me. 0:57:02.760 --> 0:57:07.399 I get do. I enjoy doing show Me the Way 0:57:07.440 --> 0:57:10.560 and Baby, I Love you Way, Yes, because I enjoy 0:57:10.640 --> 0:57:15.440 seeing the faces of the people and the couples looking 0:57:15.480 --> 0:57:19.680 at each other and going you know, and they've obviously 0:57:19.760 --> 0:57:23.000 either got married to it or I don't know what. 0:57:23.400 --> 0:57:28.240 But there's so many wonderful stories. This last tour, which 0:57:28.400 --> 0:57:33.040 was the never Say Never to, because I had said 0:57:33.040 --> 0:57:38.600 at the end of the finale tour, I'm gonna fight this, 0:57:40.080 --> 0:57:45.520 so never say never, and everybody went all right, you know, 0:57:45.880 --> 0:57:48.760 and so obviously I called it. They never say never 0:57:48.840 --> 0:57:51.200 to And this one is to never ever say never 0:57:51.280 --> 0:57:53.919 to her. We'll stop there. If I do more, it'll 0:57:53.920 --> 0:57:58.680 be different. But so anyway, yeah, he's not ill at 0:57:58.720 --> 0:58:06.240 all anymore to he so but so uh yes, so 0:58:07.040 --> 0:58:09.400 Rob my bandleader, and I robbed Rob Arthur and I 0:58:09.440 --> 0:58:14.560 got to got together and we listened to a bunch 0:58:14.560 --> 0:58:18.080 of my solo albums, which was painful for me, but 0:58:19.560 --> 0:58:23.360 just to find find a couple that we'd never done 0:58:23.440 --> 0:58:31.720 before ever, you know, so I decided we decided to 0:58:31.880 --> 0:58:34.240 do uh I Got My Eyes on You, which is 0:58:34.280 --> 0:58:38.400 the opening cut from Frampton's Camel and it's such a 0:58:38.920 --> 0:58:43.280 so great to play, never played it live before. And 0:58:43.280 --> 0:58:49.680 and also one from the Frampton record that's very low 0:58:49.720 --> 0:58:54.160 key jazzy, the crying clown and they go nuts for 0:58:54.200 --> 0:58:59.800 the crying clown. It's it's it's wild actually, how so 0:58:59.840 --> 0:59:03.040 I anyway, those are two I didn't really choose those 0:59:03.120 --> 0:59:06.840 because people had said to me, you know, we'd love 0:59:06.880 --> 0:59:08.800 to hear this, or love to hear It's what I 0:59:08.880 --> 0:59:16.240 want to do, you know. It's like this this album 0:59:16.560 --> 0:59:20.520 that I wrote you about that I'm working on now 0:59:20.600 --> 0:59:27.120 that when will you know it's very well, I'll know 0:59:28.440 --> 0:59:32.680 when it's ready, when I'm happy with it, And I 0:59:32.720 --> 0:59:36.120 really don't care if anybody else is happy with it 0:59:36.160 --> 0:59:39.960 at all. It's what I feel is what I need 0:59:39.960 --> 0:59:42.880 to be doing right now. Like I'm sitting in the 0:59:42.960 --> 0:59:46.400 room where I'm putting all these songs together over quite 0:59:46.440 --> 0:59:49.680 a few years already, but it took me a lot 0:59:49.680 --> 0:59:52.840 of years to do those write those songs Comes of Live. 0:59:53.280 --> 0:59:58.760 So I'm in no rush. Obviously. I have another an 0:59:58.760 --> 1:00:00.960 IBM clock as well that I'll be able to play. 1:00:01.400 --> 1:00:06.760 But I'm playing guitar on these demos as we as 1:00:06.800 --> 1:00:09.520 we go along, so I'm making sure that there's something 1:00:09.560 --> 1:00:15.240 there always. But it's I had so many people telling 1:00:15.280 --> 1:00:17.800 me what they thought was best for me in the 1:00:17.840 --> 1:00:22.720 seventies after the success of Comes Alive that and I 1:00:22.760 --> 1:00:25.960 listened to all of them, and I made terrible mistakes. 1:00:26.480 --> 1:00:32.480 So I I have an area of my stomach that 1:00:32.800 --> 1:00:35.600 lights up with a certain feeling when I know this 1:00:35.680 --> 1:00:38.760 is something I shouldn't be doing. And I hope we 1:00:38.960 --> 1:00:42.320 all go by our gut because and I went against 1:00:42.360 --> 1:00:49.200 it many times early on, and now I just do 1:00:49.320 --> 1:00:51.520 what I want to do when I want to do it. 1:00:51.520 --> 1:00:54.600 It's I'm lucky that I can. It's not like I'm 1:00:54.600 --> 1:00:59.400 making this album to have you know, a mega you know, 1:01:00.120 --> 1:01:02.440 and I'm selling out. No, No, I know that's not 1:01:02.440 --> 1:01:09.600 gonna happen. But it's it's gotta be what what I 1:01:09.840 --> 1:01:14.160 want it to be. My my level of perfection, and 1:01:14.440 --> 1:01:16.640 I'll throw a song out that I've been working on 1:01:16.800 --> 1:01:19.800 for three weeks if I get to a point where 1:01:19.840 --> 1:01:23.280 I say, well, I don't think it's cutting it now. 1:01:23.360 --> 1:01:25.520 I thought I liked it, but so I'll move on 1:01:25.800 --> 1:01:29.760 gone next. So I don't. I don't. I don't baby 1:01:29.800 --> 1:01:34.720 those songs anymore. It's either in or it's out. And 1:01:34.720 --> 1:01:37.800 and I tend to write the lyrics. I'll have a 1:01:37.800 --> 1:01:40.680 song title, but I tend to write the lyrics after 1:01:40.720 --> 1:01:43.920 I write the music. I'm that kind of way. And 1:01:44.440 --> 1:01:49.000 so I can have a great track and great melody, 1:01:49.400 --> 1:01:51.560 and I know I'm gonna write words to that, but 1:01:51.640 --> 1:01:53.600 I can if it's not a great track and a 1:01:53.600 --> 1:01:57.560 great melody and it's turning me on like crazy, I'm 1:01:57.640 --> 1:02:00.520 I'm not going to finish it, because why you know? 1:02:07.480 --> 1:02:08.680 How did you mean? The year. 1:02:10.720 --> 1:02:15.360 I knew he'd saved the good stuff for last de 1:02:15.520 --> 1:02:23.600 Anthony humble Pie were with Andrew Oldham. We had signed 1:02:23.600 --> 1:02:28.000 management and record label. I don't think we'd even signed anything. Actually, 1:02:28.400 --> 1:02:32.680 I'm not sure. Probably the record label and the publishing. 1:02:33.240 --> 1:02:35.800 I don't think we signed a management contract, but who knows. 1:02:36.200 --> 1:02:46.480 And he Unfortunately Immediate Records went broke and he uh, 1:02:46.520 --> 1:02:48.880 he led us out of our contract so that we 1:02:48.920 --> 1:02:53.760 could go and get We'd had two albums, the Safest 1:02:53.840 --> 1:02:56.360 Yesterday is in Town and Country. We'd had one big 1:02:56.440 --> 1:03:04.160 hit in England and Europe, natural Bornboogie. And so he 1:03:04.160 --> 1:03:06.320 he shouldn't have let us out of our contract because 1:03:06.360 --> 1:03:10.080 we were an asset to the company, but he did. 1:03:10.440 --> 1:03:13.240 But he couldn't let us have our publishing because he said, 1:03:13.280 --> 1:03:17.160 I got to give them something, so which we got 1:03:17.160 --> 1:03:20.680 back in the end, but it took a while. But 1:03:20.800 --> 1:03:24.920 what he did do and Andrew's a terrific friend and 1:03:26.440 --> 1:03:30.560 we text all the time. He's wonderful did dear lifelong 1:03:30.600 --> 1:03:36.120 friend and and uh so he said, okay, you're going 1:03:36.200 --> 1:03:39.120 to go and see all. You're going to see Warner Brothers, 1:03:39.240 --> 1:03:43.480 A and M Atlantic, Uh, this one, that one, and 1:03:43.880 --> 1:03:47.920 this is what you want to ask for? And so 1:03:49.720 --> 1:03:53.160 he said, you want, uh, you want to ask for 1:03:53.240 --> 1:04:00.919 three hundred thousand advance for four years, two albums a year. 1:04:01.840 --> 1:04:06.520 And I forget what the percentage was that at that point. 1:04:06.800 --> 1:04:11.800 So Steve Merritt and I went to see every record 1:04:11.880 --> 1:04:17.160 label in London, American or British and we gave the 1:04:17.200 --> 1:04:20.880 same story until we got to A and M. Jerry 1:04:20.920 --> 1:04:25.240 Greenberg and Armat Erdigon, who was one of my dearest 1:04:25.280 --> 1:04:29.640 I loved Armen and he was very very nice to me, 1:04:31.040 --> 1:04:39.720 phenomenal and as a friend and anyway, and they left 1:04:39.760 --> 1:04:43.440 and went back to to New York thinking they got. 1:04:43.320 --> 1:04:45.120 Us Atlantic records. 1:04:45.440 --> 1:04:51.640 Yes, and so the next day we go and see 1:04:52.120 --> 1:04:57.360 Larry Yaskell, the UK president of A and M Records. 1:04:58.040 --> 1:05:01.600 So we're given the spiel, what do you want? And 1:05:02.960 --> 1:05:06.320 to my surprise, you know, Andrews said three hundred thousand. 1:05:07.800 --> 1:05:11.360 Asked for three hundred thousand and so and I'm going, well, 1:05:11.360 --> 1:05:19.040 we'd like to and Steve goes four hundred thousand, and 1:05:19.320 --> 1:05:21.440 I didn't, you know, obviously I didn't flinch because I 1:05:21.440 --> 1:05:24.080 didn't want to give the game away, you know. And 1:05:24.440 --> 1:05:26.320 Larry said, well, I think let me. I think I 1:05:26.360 --> 1:05:28.760 should call Jerry right now and see if we've got 1:05:28.760 --> 1:05:31.040 a deal here. So he goes out of the room 1:05:31.320 --> 1:05:34.320 and I look step from oh my god, you just 1:05:34.760 --> 1:05:38.440 up to thee hundred grand and he said, well, all 1:05:38.480 --> 1:05:42.120 I could do is say now. So he was right, 1:05:42.920 --> 1:05:47.800 and that's bravado for you. And Larry comes back in 1:05:48.200 --> 1:05:53.840 ten minutes later we've got a deal. So we all 1:05:53.880 --> 1:05:57.120 got one hundred grand out of that each, you know, 1:05:57.560 --> 1:06:00.040 over four years. You know, well I didn't get the 1:06:00.120 --> 1:06:03.200 last years because I left, but but we all did 1:06:03.400 --> 1:06:09.720 extremely well out of that, and thanks to Andrew first 1:06:09.720 --> 1:06:16.080 of all, and then Steve for upping it. So and 1:06:16.120 --> 1:06:18.200 I've forgotten the question, but I know this was leading 1:06:18.280 --> 1:06:24.680 up to it. D Anthony all right, yeah, so there 1:06:24.720 --> 1:06:28.160 were going, okay, well, Andrew can't be our manager anymore. Okay, 1:06:28.200 --> 1:06:33.160 all right, So Greg Ridley, who was formerly with Spooky Tooth, 1:06:34.640 --> 1:06:41.880 had been to America and toured. They were an island 1:06:42.000 --> 1:06:46.680 act Chris Blackwell. But Chris Blackwell didn't want to be 1:06:46.760 --> 1:06:52.080 the manager in America. He needed a manager, a co 1:06:52.240 --> 1:06:58.200 manager and an agency. Well, he went straight to Frank Barcelona, 1:06:58.480 --> 1:07:01.240 Premier Talent, the biggest stages in the world at that 1:07:01.400 --> 1:07:02.200 at that time. 1:07:02.440 --> 1:07:02.840 And. 1:07:04.360 --> 1:07:09.320 He said, well, I'll manage Spooky Tooth Joe Corker, you 1:07:09.360 --> 1:07:12.600 know he did The Mad Dogs and Englishman to all that. 1:07:12.720 --> 1:07:15.480 Well a little bit slower. You mentioned Frank, but you 1:07:15.520 --> 1:07:17.400 didn't say how d came into it. 1:07:17.560 --> 1:07:23.480 Oh sorry, sorry, Okay, So therefore Frank Hauld ask D 1:07:24.000 --> 1:07:28.439 T can you manage these acts from Chris Blackwell over here? 1:07:28.600 --> 1:07:31.840 He doesn't want to handle that here, so D gets involved. 1:07:32.960 --> 1:07:38.760 Therefore he gets spooky tooth as well. And obviously they 1:07:38.800 --> 1:07:41.040 did very well. When they were over there with D 1:07:41.920 --> 1:07:45.320 and Greg said well, I know this. You know one 1:07:45.360 --> 1:07:49.080 America manager and he's he's really good, I think, you know. 1:07:49.960 --> 1:07:54.960 And so we said, well, let's call him up see Ifield. 1:07:55.040 --> 1:07:59.000 And so he came over to England and met with us, 1:08:01.560 --> 1:08:04.800 and you know, he kind of reminded me of a 1:08:04.840 --> 1:08:12.439 mob boss, you know, but but very funny, very amiable, uh, 1:08:14.040 --> 1:08:17.800 very on it music. And he was already working with 1:08:18.280 --> 1:08:24.400 Jay Giles and so and they were they'd already just 1:08:24.479 --> 1:08:27.320 had a hit with their live album, I think the 1:08:27.320 --> 1:08:32.120 first one single live album. So anyway, uh he then 1:08:32.680 --> 1:08:37.240 D then said well, I've called Frank Barcelona and he'll 1:08:37.280 --> 1:08:40.719 be your agent over there. So that's how the whole 1:08:40.760 --> 1:08:44.720 thing got set up. And then but in the in 1:08:45.160 --> 1:08:47.839 the same time we got all got the same lawyer 1:08:47.880 --> 1:09:00.280 and all got the same business manager. Mmm. So that 1:09:00.400 --> 1:09:03.320 was ominous. We didn't realize when you've got no money, 1:09:04.000 --> 1:09:07.599 no one can seal it from you. So everything went 1:09:07.640 --> 1:09:10.639 swimmingly for a long time until all of a sudden, 1:09:12.040 --> 1:09:15.639 rock On comes out and we start doing really well. 1:09:15.760 --> 1:09:20.280 You know, we're not opening the bill, we're middle spot 1:09:20.320 --> 1:09:24.760 and sometimes you know, small theater headline, you know, so uh, 1:09:26.160 --> 1:09:29.280 you know, everything everything started to happen at that point, 1:09:29.360 --> 1:09:32.280 and we all thought. We all thought D was a genius, 1:09:32.800 --> 1:09:37.560 you know, and Frank, and we were very thankful to 1:09:37.760 --> 1:09:43.519 be involved with them, you know, So yes, and that 1:09:43.520 --> 1:09:44.759 that's how it all started. 1:09:45.680 --> 1:09:49.200 Okay, D is the manager for Humble Pie. How does 1:09:49.240 --> 1:09:53.080 the end up becoming your personal manager when you go solo? 1:09:53.720 --> 1:09:56.040 And then what happens? 1:09:56.680 --> 1:10:03.120 Well, luckily Jerry Moss wanted to keep me as a 1:10:03.120 --> 1:10:08.439 solo artist, so I was. I was, I think, on 1:10:08.520 --> 1:10:11.439 the same contract as I was under Humble Pie, but 1:10:11.600 --> 1:10:14.160 just because I was signed individually as well. So that 1:10:14.320 --> 1:10:20.920 was okay, And then D said he'd still manage me. 1:10:21.000 --> 1:10:25.599 I said, great, Frank's still there. So I went back 1:10:25.680 --> 1:10:28.639 and started at the bottom again and opened the bill 1:10:28.800 --> 1:10:30.800 for as many people as I can remember, you know, 1:10:31.720 --> 1:10:35.200 or anybody can remember. If you name a band from 1:10:35.200 --> 1:10:38.720 that era, I've opened for them, you know. And I've 1:10:38.760 --> 1:10:42.760 never been I've never been afraid of hard work. And 1:10:43.200 --> 1:10:48.040 playing live is my love. So, you know, off I go, 1:10:49.439 --> 1:10:55.800 and every every year I take a little bit of time. 1:10:56.920 --> 1:10:59.240 Every year to eighteen months, I take a little bit 1:10:59.240 --> 1:11:02.840 of time off, not enough to write and record. The 1:11:02.880 --> 1:11:07.640 next album, Wind of Change, was done over quite a 1:11:07.640 --> 1:11:12.240 long period. Actually, in came out in seventy two. It 1:11:12.280 --> 1:11:16.320 was done in seventy one, and that was during my 1:11:17.640 --> 1:11:23.160 session period where I was part of the George Harrison 1:11:23.520 --> 1:11:28.040 kind of session team and you know, played with a 1:11:28.040 --> 1:11:30.200 lot of a lot of artists and and a lot 1:11:30.240 --> 1:11:38.200 with with George obviously. But so then having taken my 1:11:38.320 --> 1:11:41.880 time over Wind of Change, whether it was it wasn't 1:11:41.960 --> 1:11:45.200 loaded with hits, that's for sure, but it was loaded 1:11:45.240 --> 1:11:48.120 with what I wanted to be on the album, which 1:11:48.160 --> 1:11:49.880 is kind of where I'm at now, you know. So, 1:11:51.840 --> 1:11:57.600 and it came out and to a little fanfare. I 1:11:57.640 --> 1:12:00.120 think I toured a little late coming over because I 1:12:00.120 --> 1:12:02.799 had to get the band together and rehearse it and 1:12:02.840 --> 1:12:06.599 all that. But that's how it started out. And then 1:12:06.640 --> 1:12:10.960 every every now and again, time would be to write, 1:12:11.320 --> 1:12:16.240 do another time to do Frampton's Camel and then it 1:12:16.280 --> 1:12:18.920 was time to do something's happening and touring in between 1:12:19.040 --> 1:12:21.880 so tour album to an album to an album to 1:12:21.920 --> 1:12:29.200 a no no break, you know, except for the time 1:12:30.479 --> 1:12:35.960 allotted to writing, and it was usually a month so 1:12:37.800 --> 1:12:39.840 and then back on the road again month to right 1:12:40.040 --> 1:12:42.519 six weeks to do the album, back on tour. 1:12:42.960 --> 1:12:49.640 So that was it? Okay? If d Anthony had not 1:12:49.880 --> 1:12:53.800 been your manager, would you have had the same success? 1:12:55.560 --> 1:13:03.040 I will truthfully say I don't believe so, because because 1:13:04.280 --> 1:13:09.400 he was bombastic in his he would fight tooth and 1:13:09.479 --> 1:13:14.240 nail for his artist. And he would even even as 1:13:14.280 --> 1:13:20.520 well as Jerry Moss and Gil Frieson and Frank Barcelona 1:13:20.720 --> 1:13:24.680 and he got along. He would ruffle feathers along the 1:13:24.680 --> 1:13:26.800 way if he thought any of them weren't doing a 1:13:26.800 --> 1:13:30.960 good job. You know it was he could be ferocious 1:13:31.120 --> 1:13:36.080 to a fault, you know, and but he got the 1:13:36.160 --> 1:13:41.960 job done, you know. So what about the money, Well, 1:13:43.280 --> 1:13:45.360 as I said, first of all, there was no money, 1:13:46.240 --> 1:13:50.439 and A and M was giving me to a support. 1:13:50.520 --> 1:13:55.360 That means they were giving me the shortfall of so 1:13:55.439 --> 1:13:59.240 that I didn't I didn't lose money that we would 1:13:59.240 --> 1:14:04.000 break even because we're in those days. We were doing 1:14:04.080 --> 1:14:06.759 them a favor by going out to promote the album, 1:14:06.840 --> 1:14:13.320 by working I don't worry that way anymore. So then 1:14:13.680 --> 1:14:17.559 we get to the Frampton album and I've still got 1:14:18.880 --> 1:14:26.840 same business manager, same lawyer, And that's not good right there. 1:14:27.400 --> 1:14:32.200 And and I'm a novice when it comes to business. 1:14:32.280 --> 1:14:35.600 I've never I'm not really interested in never been interested 1:14:35.640 --> 1:14:40.439 in finance, unfortunately, you know, that's just the way I am. 1:14:40.680 --> 1:14:48.000 I am now, but no back then anyway, So I'm 1:14:48.000 --> 1:14:54.400 in you comes out and he's sending me. All the 1:14:54.400 --> 1:14:58.559 money went to d not to the business manager, but 1:14:58.880 --> 1:15:03.519 all moneys went to the manager. And then it's when 1:15:03.520 --> 1:15:06.759 you have it in front of you, it's very hard 1:15:06.800 --> 1:15:10.559 to go but I owe this person how much? Do I? Well, 1:15:11.120 --> 1:15:14.439 let's just give them this amount, you know, because I 1:15:14.439 --> 1:15:18.320 want to keep this for me. You know. It's it's 1:15:18.400 --> 1:15:20.920 very very hard when it's there on the table and 1:15:21.680 --> 1:15:27.640 virtually in cash, you know. And but you know I 1:15:27.680 --> 1:15:32.519 wouldn't be like that, you know, most people the team 1:15:32.560 --> 1:15:36.720 I have now, that would never happen, obviously, because what 1:15:36.800 --> 1:15:41.559 he did was you could have had He always used 1:15:41.560 --> 1:15:44.680 to say, a career. You got to think about longevity, 1:15:45.400 --> 1:15:48.160 You got to think about the road I had. You 1:15:48.280 --> 1:15:52.360 can't manage you for now, you know, Meanwhile, if you 1:15:52.560 --> 1:15:56.720 rip the artist off, now what does that say for 1:15:56.760 --> 1:15:58.760 the longevity because he's going to leave you when he 1:15:58.800 --> 1:16:03.840 finds out. So that's a conundrum right there, you know. 1:16:04.360 --> 1:16:10.639 So so anyway, I was waiting for my publishing money 1:16:10.680 --> 1:16:15.360 because obviously I did the publishing company through him. Fram 1:16:15.439 --> 1:16:20.000 D Music supposed to be fifty to fifty, but it 1:16:20.120 --> 1:16:25.000 was what I signed and my lawyer said it was fine, 1:16:25.280 --> 1:16:30.360 which was D's lawyer. Yeah, you get fifty to fifty 1:16:30.360 --> 1:16:33.160 on this of the company and you and your writers. 1:16:34.120 --> 1:16:41.400 I just got my writers. So anyway, even with that, 1:16:45.760 --> 1:16:48.360 I wondered where my publishing was for the last six 1:16:48.439 --> 1:16:51.439 months when we were I think I'd just done I'm 1:16:51.479 --> 1:16:56.519 in you, and it was in six months. It was 1:16:56.560 --> 1:17:01.840 seven hundred and fifty thousand dollars and which was a 1:17:01.920 --> 1:17:08.519 chunk of change back then. And so I called. I 1:17:08.560 --> 1:17:10.960 called my lawyer and I said, where's my money, where's 1:17:10.960 --> 1:17:15.000 my publishing money? He said, well, let me call D. 1:17:15.720 --> 1:17:18.160 So he calls D. God alone knows how they what 1:17:18.200 --> 1:17:23.800 they were into together, I don't know. But so D 1:17:23.920 --> 1:17:27.800 always used to say to me, you know, when you're 1:17:27.880 --> 1:17:32.120 owe some more money and they come to you and 1:17:32.160 --> 1:17:35.439 they say where's my money? You just say I don't 1:17:35.520 --> 1:17:40.599 have it. And so I said to D, I said, D, 1:17:40.720 --> 1:17:46.320 where's my money? And I know you have it and 1:17:46.360 --> 1:17:48.840 he said, I don't. I don't have it. I don't. 1:17:49.200 --> 1:17:53.040 And the sick thing was he didn't have it because 1:17:53.080 --> 1:17:57.759 we did forensic accountancy into his bank accounts and unless 1:17:57.800 --> 1:18:02.320 he'd hidden it so well, he not that ever. So 1:18:03.400 --> 1:18:07.400 he was just a the opposite of a spendthrift. He 1:18:07.560 --> 1:18:13.200 was a throwaway. He I mean in the Beverly Hills Hotel, 1:18:13.280 --> 1:18:16.880 if the two of us were staying there, from the 1:18:17.280 --> 1:18:23.000 suite to the car, he would tip everybody fifty bucks. 1:18:23.479 --> 1:18:27.040 They would come out of the woodwork. Oh, mister Anthony's 1:18:27.160 --> 1:18:33.000 checking out, okay. And he would have a role in 1:18:33.040 --> 1:18:35.960 his That was the old the mob thing, right, you'd 1:18:36.000 --> 1:18:38.479 have the big role. One hundreds and fifties, you know. 1:18:39.439 --> 1:18:43.080 Take that, take that and that. No, no, you you 1:18:43.160 --> 1:18:46.360 were really good. So God alone knows how much of 1:18:46.439 --> 1:18:49.280 my money he gave people as we were going to 1:18:49.320 --> 1:18:53.040 the car, you know. So that's that shows you. So 1:18:53.360 --> 1:18:54.479 that's how he lived his life. 1:18:55.320 --> 1:18:55.519 You know. 1:18:55.600 --> 1:18:58.120 He overspent all the time. My money. 1:18:58.920 --> 1:19:02.400 Okay, So when did you realize We're being ripped off, 1:19:02.439 --> 1:19:03.639 and what did you do? 1:19:06.400 --> 1:19:11.880 Not knowing that my lawyer was probably so much more 1:19:11.920 --> 1:19:15.840 involved in this than than I realized, I went to 1:19:15.920 --> 1:19:22.720 him and said, look, he says he doesn't have it. 1:19:25.400 --> 1:19:29.559 What can I do? And he said, well, you know, 1:19:29.760 --> 1:19:32.760 he should give you the deed to his house, you know, 1:19:32.840 --> 1:19:36.640 he should, you know. So basically I I got that, 1:19:37.520 --> 1:19:41.240 But the deed means nothing, you know. They were just 1:19:41.280 --> 1:19:42.160 placating me. 1:19:42.840 --> 1:19:43.040 You know. 1:19:44.520 --> 1:19:49.600 And so then within a short period of time after that, 1:19:50.640 --> 1:19:53.559 I realized that everyone was in on this, not Frank. 1:19:54.880 --> 1:19:59.520 Frank was a great man. I loved Frank. Frank Barcelona 1:19:59.680 --> 1:20:04.200 was a was a one of a kind, really great agent, 1:20:04.240 --> 1:20:08.800 but a great person human being, And he was not 1:20:08.880 --> 1:20:13.200 part of that at all, and he probably knew about 1:20:13.200 --> 1:20:17.400 it and what and you know, he was he was 1:20:17.520 --> 1:20:21.600 very loyal to me and me to him. And but 1:20:24.080 --> 1:20:30.559 so then I sued him and I got a huge 1:20:30.600 --> 1:20:37.719 you know, price Waterhouse did the financial you know thing, 1:20:37.880 --> 1:20:43.000 looking into all and they found so much stuff that 1:20:43.120 --> 1:20:50.240 he'd taken unfortunately advances of mind that he signed over 1:20:50.280 --> 1:20:55.400 to himself and things like that. So to think I've 1:20:55.439 --> 1:20:59.120 asked a couple of different people over the years how 1:20:59.200 --> 1:21:05.679 much they think he took from me. And in nineteen 1:21:05.800 --> 1:21:10.360 seventy dollars it was probably six million, wow. 1:21:10.720 --> 1:21:12.760 Which is like sixty million today. 1:21:13.360 --> 1:21:20.599 Right, So it was totally demoralizing the whole situation, and 1:21:20.680 --> 1:21:25.080 I felt like an idiot for not They know you 1:21:25.200 --> 1:21:27.920 love the music and that's all you're interested in. They 1:21:28.040 --> 1:21:31.559 know it. They know it, so they take advantage those 1:21:31.680 --> 1:21:36.600 that those that are think that way, they take advantage 1:21:36.640 --> 1:21:43.200 of you. And that has happened over and over and 1:21:43.360 --> 1:21:46.840 over again, you know, even up to Mateoff. You know 1:21:47.160 --> 1:21:51.040 who thought about that. You know, he was the chairman 1:21:51.080 --> 1:21:55.639 of the board in the financial board in New York 1:21:55.760 --> 1:21:59.080 and everybody thought he was the Bee's knees. You know, 1:21:59.280 --> 1:22:04.200 no one knew. And then it was the cards failed, 1:22:04.200 --> 1:22:10.360 didn't they So and so many people lost multimillions in 1:22:10.360 --> 1:22:14.760 that situation. But I did too, I guess. But so 1:22:17.320 --> 1:22:21.160 it was basically like starting all over again. 1:22:28.400 --> 1:22:31.640 Okay, So when you were done with the accounting in 1:22:31.720 --> 1:22:34.920 the lawsuit, did you get any cash? 1:22:35.439 --> 1:22:39.720 No? I didn't go ahead with the lawsuit because they 1:22:39.760 --> 1:22:43.320 were going to stop me my lawyer and other lawyers. 1:22:43.640 --> 1:22:47.599 I got a separate lawyer. I got a separate lawyer, 1:22:48.720 --> 1:22:51.880 new company to do all this. I didn't use my 1:22:51.920 --> 1:22:54.240 old lawyer because I didn't trust him at this point 1:22:54.760 --> 1:23:00.240 at all. And when I went into the meeting with 1:23:00.280 --> 1:23:02.880 the guy that was going to come into court with me, 1:23:04.520 --> 1:23:07.840 he said, he's going to say your gay, he's going 1:23:07.920 --> 1:23:11.280 to say you've got this disease. He's gonna They're gonna 1:23:11.280 --> 1:23:18.080 say shit that you wouldn't believe about you. And and 1:23:18.160 --> 1:23:21.439 I thought, I don't think I want to go through 1:23:21.520 --> 1:23:26.880 I've been through so much already. And I said, if 1:23:26.880 --> 1:23:31.000 he had the money and he could pay me, it 1:23:31.040 --> 1:23:33.559 would be one thing. It would be worth not being 1:23:33.600 --> 1:23:36.639 able to work for four years. But he doesn't have it. 1:23:38.400 --> 1:23:44.719 You know, we knew that because the man still worked 1:23:44.760 --> 1:23:54.240 for the mob, because you never leave. So the more 1:23:54.320 --> 1:23:58.000 money I earned, the more money he had to pay them. 1:23:59.600 --> 1:24:02.680 And that's where his money went. I think a lot 1:24:02.720 --> 1:24:06.200 of it, but he was he enjoyed spending it too. 1:24:06.360 --> 1:24:07.519 So my money. 1:24:07.720 --> 1:24:10.640 What about the songs and the royalty interest? Did you 1:24:10.800 --> 1:24:13.920 end up with all that? Because theoretically he owned fifty 1:24:13.960 --> 1:24:14.559 percent of the. 1:24:14.560 --> 1:24:19.280 Songs that in the settlement, we did a settlement he 1:24:19.320 --> 1:24:22.840 gave that all came back to me out of management, 1:24:23.560 --> 1:24:26.720 out of publishing, and I was still with A and M, 1:24:26.840 --> 1:24:32.720 so that was pristine. So I was still there. But 1:24:33.880 --> 1:24:36.760 so many people knew so much more than I did, 1:24:37.040 --> 1:24:39.920 because no one wants to tell the king he's not 1:24:40.000 --> 1:24:45.080 wearing any clothes, you know. And that's happened with friends 1:24:45.080 --> 1:24:49.599 of mine who are big stars that I've worked for 1:24:49.720 --> 1:24:53.000 that say what, will come to me and say why 1:24:53.040 --> 1:24:57.200 didn't you tell me about this guy? I said, no 1:24:57.240 --> 1:25:02.479 one wants to tell the king he's not wearing any clothes. 1:25:02.640 --> 1:25:07.719 That's the same thing, you know, because they shoot the messenger. 1:25:08.000 --> 1:25:10.639 You know. Oh that comfy. That's not true, I said, Well, 1:25:11.439 --> 1:25:19.000 so I kept my mouth shut in those situations. But yeah, 1:25:19.040 --> 1:25:25.040 it's yeah, okay. 1:25:25.120 --> 1:25:29.640 So you regained this decades later, very recently relative to 1:25:29.720 --> 1:25:33.960 your life. You sold all these assets, your publishing and 1:25:34.000 --> 1:25:37.640 your royalty stream to BMG. How did you decide to 1:25:37.680 --> 1:25:37.960 do that? 1:25:42.160 --> 1:25:49.200 Well, because the disease played a big part of it. 1:25:49.880 --> 1:25:56.800 That definitely was something I was thinking about and at 1:25:56.840 --> 1:26:01.479 the time that we would suggest suggested that I did it. 1:26:02.840 --> 1:26:05.240 The deals were very good. They're not as good anymore, 1:26:05.640 --> 1:26:11.680 but and I just I just thought that if I 1:26:11.720 --> 1:26:14.760 can get the amount they're talking about, which I'm not 1:26:14.800 --> 1:26:18.160 going to divulge, but if I can get that amount, 1:26:18.400 --> 1:26:20.120 I will be fine for the rest of my life, 1:26:20.160 --> 1:26:25.240 so will my family and anything I do. Knew from 1:26:25.360 --> 1:26:32.559 this point on touring New Record with new Record label, public, 1:26:32.640 --> 1:26:35.160 New Publishing, it's all come that that'll come to me too. 1:26:35.360 --> 1:26:37.400 Not that it will be a lot, I'm sure, but 1:26:37.400 --> 1:26:42.599 but it will be something that I will be assured 1:26:42.640 --> 1:26:48.840 of getting. You know. So it happened, and I got 1:26:48.840 --> 1:26:53.719 what I wanted, and it meant that if I handle 1:26:53.800 --> 1:27:01.400 things correctly with my management financial management team right now, 1:27:01.920 --> 1:27:03.880 who I wish as I said, I wish i'd had 1:27:03.880 --> 1:27:08.519 them in the seventies, I'll be fine. So I'm very 1:27:08.600 --> 1:27:09.160 very lucky. 1:27:09.240 --> 1:27:10.479 What did you do with the money? 1:27:13.439 --> 1:27:14.960 That's kind of personal too. 1:27:15.080 --> 1:27:17.439 No, let me let me be clear, because I don't 1:27:17.560 --> 1:27:20.400 need to know your an x amount of apple, but 1:27:20.520 --> 1:27:23.080 I do know people who've gotten tens of millions of 1:27:23.120 --> 1:27:25.840 dollars who've already blown through seventy five percent of it. 1:27:26.400 --> 1:27:29.479 Musicians are not great with their money. So the first 1:27:29.560 --> 1:27:33.639 question is you got the lump sum after taxes, did 1:27:33.680 --> 1:27:40.360 you treat yourself to any luxuries or desires? 1:27:41.280 --> 1:27:46.040 A couple of really nice vintage guitars. Oh that's about it. 1:27:46.280 --> 1:27:53.080 I haven't gone crazy, And basically I always live as 1:27:53.080 --> 1:27:55.719 if I because I've been up and I've been down, 1:27:56.640 --> 1:27:58.639 I mentally think that I don't have anything. 1:28:00.240 --> 1:28:03.519 Blackwell told me every musician thinks this is going to 1:28:03.520 --> 1:28:07.960 be the last payday. 1:28:08.160 --> 1:28:15.240 No they don't. I don't think so. No, you never 1:28:15.240 --> 1:28:17.519 think it's going to stop when you when you have 1:28:17.600 --> 1:28:20.880 that big success, you never think it's going to stop, 1:28:21.080 --> 1:28:26.080 and it does. It's you can't be the new success 1:28:26.160 --> 1:28:30.200 guy for more than it takes for another generation to 1:28:30.200 --> 1:28:34.760 come along. It's four to six years, you know, unless 1:28:35.520 --> 1:28:38.880 you are the Eagles, the Beatles, the store you know 1:28:39.240 --> 1:28:45.679 that that have managed to keep it going all these years, 1:28:45.720 --> 1:28:50.160 you know, and not had the the peaks and valleys 1:28:50.200 --> 1:28:50.679 I've had. 1:28:51.120 --> 1:28:56.040 So anyway, okay, let's go back to a little cleanup work. 1:28:56.320 --> 1:28:59.639 How did you decide to leave Humble Pie? How did 1:28:59.680 --> 1:29:01.639 you tell all the rest of the band and what 1:29:01.720 --> 1:29:02.599 did they say? 1:29:05.439 --> 1:29:08.639 Well, I can't actually say what they said on the radio, 1:29:08.680 --> 1:29:16.320 I don't think, but well, d Anthony came over to 1:29:16.400 --> 1:29:21.519 London with the mock up of rock in the film 1:29:21.600 --> 1:29:24.880 or cover. So the big sheets, you know, with the 1:29:25.640 --> 1:29:28.479 and the color code and all that, and I'm looking 1:29:28.520 --> 1:29:32.360 at it and it's fantastic cover, you know, love it 1:29:33.200 --> 1:29:36.240 And he said what do you think? I said, I 1:29:36.280 --> 1:29:38.679 love it. I love it. I've got something to tell you, though, 1:29:39.080 --> 1:29:44.000 He said, what I'm leaving? He said, you're not. I said, 1:29:44.040 --> 1:29:47.920 I am. You're crazy. Maybe I am, Maybe I'm not. 1:29:49.120 --> 1:29:52.720 We'll see. So he said, well, you better call him 1:29:52.760 --> 1:29:54.840 up right now and tell him. So I said I will. 1:29:55.560 --> 1:30:02.920 So Jerry and Steve uh at Steve's place as it happens, 1:30:03.520 --> 1:30:08.960 and called up, Hey, guys, how's it going. I've seen 1:30:09.000 --> 1:30:13.480 the cover. It's really good. You'll love it. But unfortunately, 1:30:13.479 --> 1:30:18.200 I have something to tell you, and I've decided to 1:30:18.320 --> 1:30:23.080 leave the band. And there was silence, and then there 1:30:23.160 --> 1:30:27.800 was screaming, and then there was profanity, which I expected. 1:30:28.120 --> 1:30:31.240 Why not. I would have been the same way too 1:30:32.520 --> 1:30:34.800 if it had been reversed and Steve had said he 1:30:34.880 --> 1:30:44.000 was leaving. So anyway, that's how it was. They weren't thrilled, obviously, 1:30:44.400 --> 1:30:49.080 But then when I got my band together, Frampton's Camel 1:30:50.320 --> 1:30:55.400 humble Pie did a tour of England and guess who 1:30:55.520 --> 1:30:59.320 opened for them? Just to show there was no you know, 1:31:00.280 --> 1:31:03.280 and they just was every night they stood on the 1:31:03.360 --> 1:31:09.360 side of the stage going throwing raspberries at me, so 1:31:11.439 --> 1:31:13.559 you know, it was all in jest, but they were hurt. 1:31:14.000 --> 1:31:16.920 I would be too, you know. But I didn't have 1:31:17.080 --> 1:31:22.960 any future whatsoever lined up, nothing, nothing except I was 1:31:23.000 --> 1:31:25.920 doing a lot of sessions and I was earning enough 1:31:25.960 --> 1:31:30.320 money to live without the advance from the next album 1:31:30.400 --> 1:31:34.200 from Humble Bye. So I was doing okay enough to 1:31:34.240 --> 1:31:37.519 get by, but I had no idea how I was 1:31:37.600 --> 1:31:40.639 going to live, you know. And I knew I wanted 1:31:40.640 --> 1:31:42.599 to record. I knew I wanted to form a band, 1:31:43.240 --> 1:31:46.280 but just went to d and said, look, will you 1:31:46.720 --> 1:31:50.000 still look after me? And Frank and I know Jerry 1:31:50.040 --> 1:31:54.439 said he'd stay with me, and so we started again. 1:31:55.800 --> 1:31:59.640 Okay, were you involved at all in finding your replacement? 1:32:00.280 --> 1:32:04.480 And then after rock in the film More Smoking comes out, 1:32:04.720 --> 1:32:08.879 which is a mega success, it's much more blue collar. 1:32:09.400 --> 1:32:12.280 Was any of that material worked up before you left 1:32:12.280 --> 1:32:12.679 the band? 1:32:14.840 --> 1:32:19.479 No? No, I had no hand in recruiting Clem. I 1:32:19.520 --> 1:32:23.120 thought he was a great choice because he's very good, 1:32:23.160 --> 1:32:30.160 but blues player not my style at all. But I 1:32:30.280 --> 1:32:33.680 thought for what they needed he was and still think 1:32:33.720 --> 1:32:38.280 he's a great player, but I guess it wasn't as 1:32:38.920 --> 1:32:46.200 unique sounding. The juxtaposition between me and Steve was more 1:32:46.280 --> 1:32:53.160 diverse than Clem and Steve. But and I think they 1:32:53.280 --> 1:32:56.960 cut most of Smoke in as a three piece and 1:32:57.000 --> 1:33:01.880 then brought in Clem to overdub on it because they 1:33:01.920 --> 1:33:04.280 were still looking for somebody. I could be wrong there, 1:33:04.280 --> 1:33:09.240 but I'm pretty sure. But uh yeah, And I say 1:33:09.280 --> 1:33:12.880 this all the time. Smoking is my favorite Humble Pie 1:33:12.960 --> 1:33:17.400 album and I'm not on it. It's a great, great album. 1:33:18.000 --> 1:33:21.880 And you know, because they always the crowd always shout 1:33:21.920 --> 1:33:25.040 out thirty Days in all and I have to go, Okay, 1:33:25.560 --> 1:33:28.639 let me just clear you in here, I had left 1:33:28.640 --> 1:33:31.600 the band. I would love to do thirty Days in 1:33:31.640 --> 1:33:34.840 a Hole for you, but I can't. So there you go. 1:33:35.080 --> 1:33:38.840 So okay, let's go back to AM and you. You 1:33:38.920 --> 1:33:43.960 have this unbelievable success, possibly the biggest success anyone has 1:33:43.960 --> 1:33:47.800 had in the seventies. Everyone knows you a have to 1:33:47.880 --> 1:33:51.320 make another album when you have that level of success. 1:33:51.400 --> 1:33:54.200 You had your hardcore fans who'd stuck with you the 1:33:54.240 --> 1:33:57.200 four solo albums, but there was a whole new audience 1:33:57.560 --> 1:34:02.240 of younger people you were had a teen idyl aspect, 1:34:02.360 --> 1:34:06.160 whether that was something you desired or not. The album 1:34:06.200 --> 1:34:10.000 that has ultimately comes out from a consumer standpoint, a 1:34:10.000 --> 1:34:14.680 fan standpoint, seems to play more to this younger Evans 1:34:14.800 --> 1:34:19.679 in demo than the traditional hardcore Frampton fan. On the cover, 1:34:19.880 --> 1:34:25.120 you're dressed in an appealing way to an audience that 1:34:25.280 --> 1:34:27.519 is not your traditional audience. What went on there? 1:34:28.560 --> 1:34:31.519 That was the little Lord funk Roy outfit. I call 1:34:31.600 --> 1:34:47.599 that one. Uh Okay. So when d made two phone 1:34:47.640 --> 1:34:54.400 calls to me that were uh one was totally I 1:34:54.439 --> 1:34:58.120 was totally ecstatic about and the second one scared the 1:34:58.280 --> 1:35:02.559 shit out of me. And that was the day it 1:35:02.600 --> 1:35:09.360 went to number one. The album was the first one, 1:35:09.520 --> 1:35:14.840 and then it seemed like the next day, but I'm 1:35:14.880 --> 1:35:19.759 sure it was a couple of months later. He called 1:35:19.760 --> 1:35:24.720 me again and said, you've just broken Carol King's Tapestry 1:35:24.760 --> 1:35:29.799 sales record. You're now the biggest record ever selling record 1:35:29.920 --> 1:35:35.200 in America and Canada. And the pit of my stomach 1:35:35.280 --> 1:35:39.120 just fell out. I didn't want to know that. I 1:35:39.120 --> 1:35:42.759 didn't want to be the biggest. I would have preferred 1:35:42.760 --> 1:35:45.960 it was at number two. I'd have preferred that it 1:35:46.400 --> 1:35:51.600 didn't sell as much as Tapestry because now the spotlight 1:35:51.800 --> 1:35:56.160 is on me. Like myself, I'm putting the spotlight on me. 1:35:57.040 --> 1:36:01.360 It's now made it so much more difficult to come 1:36:01.439 --> 1:36:03.960 up with another album. I did not want to. I 1:36:04.080 --> 1:36:08.759 wanted to. They say, you're as good as your last album. Well, 1:36:09.360 --> 1:36:11.680 until we released the next record, I'm as good as 1:36:11.760 --> 1:36:18.080 ram Who Comes Alive. So but well, everyone was saying, well, 1:36:18.120 --> 1:36:20.439 you don't want to leave it too long because you'll 1:36:20.479 --> 1:36:23.599 just get too scared and it'll And I said, well, 1:36:23.680 --> 1:36:28.439 I don't really have what I would call great songs. 1:36:28.560 --> 1:36:34.120 The material isn't up to pa. You know, I'm kind 1:36:34.160 --> 1:36:39.600 of writing it in the studio. It's I'm drinking, it's drugs, 1:36:39.640 --> 1:36:50.160 it's all this, all these distractions, and it was demoralizing. 1:36:50.760 --> 1:36:57.000 And I remember going into uh D's office with the 1:36:57.160 --> 1:37:00.840 two boxes A and the B side. I threw him 1:37:00.880 --> 1:37:04.559 at him. I said, they are I said, I don't 1:37:04.560 --> 1:37:07.080 want this out, but I know you guys are going 1:37:07.120 --> 1:37:13.360 to put it out. And then I should have been 1:37:13.920 --> 1:37:17.360 in jeans and a T shirt on the cover with 1:37:17.479 --> 1:37:20.479 a leather jacket or something, you know, but I was 1:37:20.520 --> 1:37:23.360 still in the lord front lay outfit with this with 1:37:23.400 --> 1:37:27.479 the satin pants, the white nurse's shoes and some god 1:37:27.520 --> 1:37:32.400 awful woman's top. You know, it's but they looked fine 1:37:32.439 --> 1:37:37.320 the year before, but now, you know, sex pistols are happening. 1:37:38.920 --> 1:37:44.880 Things have changed drastically overnight, you know. And and I'm 1:37:44.920 --> 1:37:49.240 behind the times already, you know, and out of sink. 1:37:50.360 --> 1:37:57.280 And that's that's what happened, basically, And I was just 1:37:57.520 --> 1:38:04.160 very disappointed that I couldn't have the time to spend 1:38:04.200 --> 1:38:09.960 another couple of years writing. You know, the Eagles don't 1:38:10.160 --> 1:38:13.280 dash into the studio every five minutes. They've had a 1:38:13.320 --> 1:38:18.320 handful of studio records as opposed to what you think 1:38:18.360 --> 1:38:20.559 they've had, but they don't go near the studio until 1:38:20.600 --> 1:38:25.439 they've got you know, ten number one hits because the 1:38:25.520 --> 1:38:29.559 reason is they can't stand each other, so they better 1:38:29.640 --> 1:38:34.640 have some good music to go in there. So I 1:38:34.680 --> 1:38:36.599 don't know if they love each other now, I don't know, 1:38:36.680 --> 1:38:39.720 but the documentary shot looked like they weren't thrilled with 1:38:39.760 --> 1:38:46.800 each other sometimes so but so I went against my 1:38:47.000 --> 1:38:54.240 gut and that was the beginning of the me learning 1:38:54.280 --> 1:38:55.360 to say no. 1:38:56.120 --> 1:39:01.160 Okay. The album comes out sells immediately I'm in You 1:39:01.520 --> 1:39:05.599 is the success, the single and the whole enterprise. Crash 1:39:05.720 --> 1:39:09.800 is very shortly thereafter. M. What was it like for you? 1:39:10.840 --> 1:39:13.559 Oh it's horrible. I mean, I've got to be honest, 1:39:13.680 --> 1:39:15.800 you know. It's not as if I didn't know that 1:39:15.960 --> 1:39:18.640 was going to happen because I didn't like what I 1:39:18.720 --> 1:39:27.599 just put out, you know. And then the next the 1:39:27.640 --> 1:39:30.759 next album, we go out on tour. All of a sudden, 1:39:32.240 --> 1:39:37.000 I realize, uh, oh, we can't have the private plane anymore. 1:39:38.080 --> 1:39:41.639 Why is that? Well, because you're not selling as many tickets. 1:39:42.560 --> 1:39:50.519 And so now I've gone from arena's busting over sold 1:39:51.040 --> 1:39:56.920 to not filling arenas you know. And it was horrible, feeling, 1:39:57.520 --> 1:40:01.360 totally demoralizing, and so we're back on the bus again, 1:40:01.600 --> 1:40:13.240 you know, and that's oh gosh, And it was I 1:40:13.280 --> 1:40:16.559 think I was self medicating at that point to the 1:40:16.720 --> 1:40:20.439 to to to the point where it was not good. 1:40:21.200 --> 1:40:26.599 And and really the next thing, I did one more 1:40:26.600 --> 1:40:31.240 album where I should be for an M and uh, 1:40:31.360 --> 1:40:37.920 then breaking all the rules with David Koshimo that that 1:40:37.920 --> 1:40:40.759 that was a rock album, that was a good album, 1:40:41.120 --> 1:40:43.080 should have been the one off, the should have been 1:40:43.120 --> 1:40:47.400 the one instead of I'm in You, and then and 1:40:47.439 --> 1:40:53.360 then I did one more album, The Art of Control. 1:40:55.240 --> 1:41:04.320 I had no control, and and and A and M 1:41:04.400 --> 1:41:09.840 dropped me. You know, I'm sure Jerry Mortis must did 1:41:09.840 --> 1:41:14.000 it with moist eyes, but he had to let me go. 1:41:15.160 --> 1:41:18.480 You know, it was it was so obvious, you know. Meanwhile, 1:41:19.360 --> 1:41:22.040 you know, A and M took up profit sharing after 1:41:22.160 --> 1:41:25.719 comes Alive and there's a building next to the Handsome 1:41:25.800 --> 1:41:29.960 Lock that's called the Frampton Building, which was Almo Irving 1:41:30.040 --> 1:41:33.640 Publishing building. And you know, so I've gone from a 1:41:33.800 --> 1:41:38.160 giant picture of me, you know, and then it all 1:41:38.280 --> 1:41:40.400 kind of faded into nothing. You know. 1:41:41.160 --> 1:41:43.640 Although on that album before the Kirshion Bomb album, you 1:41:43.840 --> 1:41:46.280 the opening track I Can't Stand It No More? That 1:41:46.479 --> 1:41:47.639 was classic for Hampton. 1:41:48.240 --> 1:41:50.000 Oh well, thank you, Yeah, I like that one. 1:41:50.760 --> 1:41:56.080 Tell me about Sergeant Pepper. Why well, the question becomes 1:41:56.680 --> 1:42:00.519 a why did you do it? B there's the beat 1:42:01.120 --> 1:42:04.519 is whether it was I'm in you or Sergeant Pepper 1:42:05.080 --> 1:42:06.479 put your career in the dumper? 1:42:07.520 --> 1:42:11.479 Both. I think they It was a tag team. I'm 1:42:11.520 --> 1:42:13.640 not gonna say too much about the movie except for 1:42:13.680 --> 1:42:21.000 the fact that I was told by Robert Stigwood that 1:42:21.160 --> 1:42:26.400 Paul McCartney was going to be the the savior of 1:42:26.479 --> 1:42:31.040 the hot Land and instead of. 1:42:33.040 --> 1:42:38.480 Billy Billy Shears, No, Billy Preston. 1:42:38.520 --> 1:42:47.360 Yes, Billy who I love dearly, and so I I 1:42:47.400 --> 1:42:51.439 when Stickwood said, as Paul is going to be in 1:42:51.479 --> 1:42:56.680 the movie, I said really, and I said, well, if 1:42:56.680 --> 1:43:00.200 a Beatle's going to be in the movie, he's sanctioned it, 1:43:01.400 --> 1:43:05.519 then it can't be bad. Well, I get to I 1:43:05.560 --> 1:43:08.400 fly out to Los Angeles, I go to the first 1:43:08.479 --> 1:43:13.479 meeting out there no Paul McCartney. So I was lied 1:43:13.520 --> 1:43:24.160 to and I did it because I'm how old am I? 1:43:24.320 --> 1:43:24.439 Then? 1:43:24.520 --> 1:43:28.559 I'm twenty seven now twenty six? When I got asked, probably, 1:43:29.880 --> 1:43:33.760 do you want to stir in a movie? I've got 1:43:33.760 --> 1:43:39.680 you this amount of money and it's about the Beatles, 1:43:39.760 --> 1:43:43.160 And I said, oh, it's about the Beatles really, And 1:43:43.240 --> 1:43:47.200 that was the only thing that worried me until Stickwood 1:43:47.240 --> 1:43:51.920 said Paul McCartney's going to be in it. So and 1:43:51.960 --> 1:43:58.919 then I realized from the first day of shooting, oh 1:43:58.960 --> 1:44:04.599 this was a disaster. You know. I didn't walk because 1:44:04.640 --> 1:44:07.120 I would have been sued to high hell, I guess, 1:44:07.160 --> 1:44:13.080 you know. But we all hated being in that movie. 1:44:13.400 --> 1:44:14.519 I mean the Beg's and I. 1:44:15.880 --> 1:44:19.679 Okay, Stickwood, for all his success, was somewhat of a mystery. 1:44:20.479 --> 1:44:25.440 What was your take on Stickwood? 1:44:25.200 --> 1:44:30.160 I didn't really I didn't really know him that well 1:44:30.280 --> 1:44:32.680 or no. I know that he was the manager and 1:44:32.760 --> 1:44:38.320 record label of Oh, record label for Cream, he was 1:44:38.439 --> 1:44:44.439 record label for the Beg's, he did Saturday Night Fever. 1:44:44.600 --> 1:44:47.640 I mean, he'd had a lot of successes, you know, 1:44:47.880 --> 1:44:55.280 so and Greece, you know, which hadn't which was being 1:44:55.400 --> 1:44:59.880 edited while we were doing Uh, Sergeant Pepper, I believe. 1:45:00.120 --> 1:45:00.519 And. 1:45:01.840 --> 1:45:06.280 So I just thought, well, he has to know what 1:45:06.320 --> 1:45:09.920 he's doing, you know, and everyone thought we couldn't fail 1:45:11.000 --> 1:45:13.479 and it would have been good. The only thing I'll 1:45:13.520 --> 1:45:22.759 say about it is there was no script and rest 1:45:22.800 --> 1:45:27.559 in peace. George Martin should not have been the guy 1:45:27.600 --> 1:45:32.040 to do the music because he imagine doing that with 1:45:32.160 --> 1:45:36.280 Jeff Emeric the Beatles, but you don't have the Beatles 1:45:37.439 --> 1:45:41.120 and you're trying to I would imagine they were not 1:45:41.360 --> 1:45:50.120 enjoying it. I never asked George that, but you know, 1:45:50.800 --> 1:45:57.639 nowadays Giles would have done it right. But anyway, Yes, 1:45:58.280 --> 1:46:00.559 another mistake of Frampton mistake there. 1:46:01.479 --> 1:46:06.160 Okay, you grew up in Bromley, David Bowie was on 1:46:06.200 --> 1:46:09.920 the scene. Was he that charismatic? Growing up? Did you 1:46:10.080 --> 1:46:12.320 feel this guy was going to be a star? I 1:46:12.320 --> 1:46:14.320 mean he was just another kid in the neighborhood. 1:46:16.479 --> 1:46:20.400 Well, I didn't meet him until I went My father 1:46:21.680 --> 1:46:24.439 was the head of the art department in a technical 1:46:24.520 --> 1:46:27.559 high school, meaning it's not so much on academics, it's 1:46:27.600 --> 1:46:36.759 more on art. Would work design all sorts of stuff, 1:46:36.800 --> 1:46:42.679 you know. And my father took me to the school 1:46:42.680 --> 1:46:47.280 on a weekend before I went there. I went there 1:46:47.320 --> 1:46:50.000 about a year and a half later than this what happened. 1:46:50.280 --> 1:46:52.400 So we went on a weekend and they were having 1:46:52.400 --> 1:46:57.960 a garden fate, which like a fair fete, and it's 1:46:58.040 --> 1:47:05.200 raising money for the school, you know, and pencils and whatever. 1:47:05.600 --> 1:47:14.000 And and so myself, uh, my father, my mother and 1:47:14.080 --> 1:47:17.120 my brother we walk in to the grounds and there's 1:47:17.120 --> 1:47:20.519 a band playing on the steps of the entrance to 1:47:20.640 --> 1:47:23.400 the school. And of course I'm going, who the hell 1:47:23.520 --> 1:47:29.000 is that? That sounds really good? And and I knew 1:47:29.000 --> 1:47:31.640 it was the Conrads because I'd heard of them. They 1:47:31.640 --> 1:47:35.400 were a big local band. And I said, Dad, who's 1:47:35.479 --> 1:47:39.040 the guy on the end playing the sacks? He said, oh, 1:47:39.240 --> 1:47:52.040 that's Jones, very creative, and and so I just you 1:47:52.080 --> 1:47:56.599 looked at the band, but you couldn't help but you're 1:47:57.120 --> 1:48:01.040 he had the charisma right there, right from the off, 1:48:01.360 --> 1:48:06.400 you know. And so yeah, year and a half later, 1:48:06.479 --> 1:48:09.120 I go to the school. I'm in the first first year, 1:48:10.880 --> 1:48:14.840 and lunchtime I make a bee line for Dave. So 1:48:15.600 --> 1:48:18.960 I go and Dave's sitting next to George Underwood, who 1:48:19.000 --> 1:48:23.400 does is also in my father's class. And for three 1:48:23.479 --> 1:48:27.920 years they were both in the art class. And George 1:48:27.920 --> 1:48:33.080 did the Ziggy start Us cover and he's a fine 1:48:33.280 --> 1:48:37.120 fine artist. Now have some of his work, and he 1:48:37.160 --> 1:48:40.080 did He's done a lot and for David over the years. 1:48:40.160 --> 1:48:45.519 And they were they were Frick and Frank till till 1:48:45.520 --> 1:48:48.439 we David left us, you know. So while I was there, 1:48:48.439 --> 1:48:53.880 it was kind of like the there was three of us, 1:48:53.960 --> 1:48:56.040 you know, and I would I don't know whether they 1:48:56.120 --> 1:48:58.880 liked me bugging them, but I was. I was there 1:48:59.080 --> 1:49:01.760 art teachers son, so they had to be good to me. 1:49:03.280 --> 1:49:09.240 But anyway, my dad would say, uh, hey you guys. 1:49:09.560 --> 1:49:13.240 Why didn't he wouldn't have said hey you guys, He said, Pedra, 1:49:14.640 --> 1:49:18.720 I know you're all very musical, he said, but I 1:49:18.800 --> 1:49:21.800 think will be a good idea for lunchtimes. Wouldn't you 1:49:21.800 --> 1:49:24.880 want to get your guitars out and play? And we've 1:49:24.880 --> 1:49:28.640 got those beautiful steps on the the hot the stairway 1:49:28.720 --> 1:49:31.280 on the on the art block has got a lovely 1:49:31.320 --> 1:49:35.040 echo there. Wouldn't you like to sit there? So I said, yeah, 1:49:35.160 --> 1:49:37.519 He said, so, tell David to bring his guitar or 1:49:37.560 --> 1:49:40.040 George to bring his guitar. So all brought our guitars. 1:49:40.200 --> 1:49:43.000 He stored them in his office and then at lunchtime 1:49:43.040 --> 1:49:45.200 he left the door open for us. So we went 1:49:45.240 --> 1:49:47.680 in there, got our guitars, sat on the steps of 1:49:48.520 --> 1:49:53.040 this beautiful stone stairs stairway and sang Buddy, Holly, numbers 1:49:53.080 --> 1:49:56.040 and everly brother, what you name it? All American, of course, 1:49:56.479 --> 1:50:00.840 And they taught me stuff and taught me Buddy Holly, 1:50:02.680 --> 1:50:05.320 George loved may I baby no. 1:50:05.760 --> 1:50:08.240 Maybe maybe baby whatever. 1:50:07.960 --> 1:50:12.000 Yeah, yeah whatever it is maybe baby yes, maybe baby yeah. 1:50:12.360 --> 1:50:17.880 And so anyway, that was it. So we became, you know, 1:50:18.000 --> 1:50:22.200 really close friends, and until we lost David. You know, 1:50:22.240 --> 1:50:24.960 I've been the three of us have been friends. 1:50:25.439 --> 1:50:30.240 Okay, you're a little younger than the first generation the Beatles, 1:50:30.920 --> 1:50:33.799 The Mercy bands. They were all born in the early forties. 1:50:34.280 --> 1:50:38.479 You're born almost ten years later. In addition, the scene 1:50:38.520 --> 1:50:43.439 is different in the UK. In America we have you know, 1:50:43.600 --> 1:50:47.639 Rocket Ada, Rock around the Clock, Elvis, then we had 1:50:47.720 --> 1:50:51.000 you know, Little Richard, then we have the teen Idols, 1:50:51.000 --> 1:50:53.200 then we have the Beach Boys. In the Four Seasons 1:50:53.240 --> 1:50:57.320 and sixty four the Beatles hit, whereas they talk about 1:50:57.360 --> 1:51:01.519 different acts in the UK Rory Storm, Cliff Richard, Beatles 1:51:01.600 --> 1:51:05.240 break in sixty two. What was it like in the 1:51:05.360 --> 1:51:10.600 music scene and were the Beatles this phenomenal force like 1:51:10.680 --> 1:51:12.439 they were in the US. 1:51:13.720 --> 1:51:19.080 Yes, they were. It didn't happen with the first single, 1:51:19.160 --> 1:51:23.360 which was Love Me Do here in America. In England, 1:51:23.880 --> 1:51:27.080 UK single first one Love Me Do, and the album 1:51:27.160 --> 1:51:30.560 was Please Please Me. But that didn't come out until 1:51:32.200 --> 1:51:36.360 In those days you had like bands would put a 1:51:36.400 --> 1:51:38.719 single out, if it was a hit, you'd put another 1:51:38.760 --> 1:51:42.400 single out, and if it was a hit, you'd put 1:51:42.439 --> 1:51:45.280 another record out and you'd be asked to do an album. 1:51:45.760 --> 1:51:49.320 None of those singles would be on the album. It 1:51:49.360 --> 1:51:54.439 was a completely separate entity, you know. So that's why 1:51:54.479 --> 1:51:56.840 I Love Me Do is not on Please Please Me. 1:51:58.080 --> 1:51:59.880 So the English I over here. 1:52:00.160 --> 1:52:02.320 No, yeah, yeah, yeah, but you're right. The English ones 1:52:02.320 --> 1:52:04.720 have become the standards at this point anyway. 1:52:04.880 --> 1:52:11.720 Right, right, So my band the True Beats, and yes 1:52:11.800 --> 1:52:15.080 I did think of the name, Sorry about that. I 1:52:15.160 --> 1:52:19.840 was twelve or twelve or thirteen, and the rest of 1:52:19.920 --> 1:52:24.240 them were all sixteen seventeen something like that. And so 1:52:24.320 --> 1:52:27.920 we were just doing every instrumental record you can think of, 1:52:29.160 --> 1:52:35.760 all the Shadows, all the Ventures, Nero and the Gladiators, 1:52:36.320 --> 1:52:39.200 all these names. We've probably never heard of, all these 1:52:39.240 --> 1:52:42.559 instrumental bands, but the Shadows and the Ventures were the 1:52:42.960 --> 1:52:47.599 two primo, and of course for me, as great as 1:52:47.640 --> 1:52:50.080 the Adventures are, I have to say I picked the 1:52:50.120 --> 1:52:57.720 Shadows because they're homegrown, and so we went from that, 1:52:57.960 --> 1:53:00.439 and then the Beatles came out. I remember of seeing 1:53:00.479 --> 1:53:06.880 them do Love Me Do on I forget what which 1:53:07.040 --> 1:53:11.720 which TV show it was, but in England, and I 1:53:11.880 --> 1:53:15.479 was mesmerized. It was such a different sound and the 1:53:15.520 --> 1:53:20.880 harmonica and obviously they've written it themselves and this was 1:53:20.920 --> 1:53:25.360 not the normal up until this point, you know. And 1:53:25.400 --> 1:53:30.439 then Please Please Me came out and went through the roof. 1:53:31.880 --> 1:53:35.400 So I don't know if that was still sixty two 1:53:35.560 --> 1:53:37.519 or whether it was sixty three, it was probably still 1:53:37.520 --> 1:53:41.600 sixty two. Please Please Me came out, and then it 1:53:41.680 --> 1:53:44.360 was an album. Then it was there, there's your album, 1:53:44.439 --> 1:53:49.400 Please Please Me album. And because they'd do like three 1:53:49.479 --> 1:53:52.439 or four singles a year, maybe more, you know, and 1:53:52.479 --> 1:53:56.320 they'd all be one, two, four and seven, you know 1:53:56.439 --> 1:53:59.120 in the British charts, we go, oh my god, I've 1:53:59.160 --> 1:54:02.640 never seen anything like well. I had seen Cliff at 1:54:02.720 --> 1:54:05.599 number one, Shadows at number two, Cliff at number three, 1:54:05.680 --> 1:54:09.439 Shadows at number four, had seen that, but this was 1:54:09.520 --> 1:54:13.280 going even further. This was like, oh my god, everything 1:54:13.360 --> 1:54:16.599 they do, so the true Beats had to start singing. 1:54:17.080 --> 1:54:23.599 So we did badly and so that was it. And 1:54:23.640 --> 1:54:29.559 then I didn't realize that when they went to America, 1:54:30.080 --> 1:54:32.720 the first single that came out was I Want to 1:54:32.760 --> 1:54:36.760 Hold Your Hand, because that when that came out in England, 1:54:36.800 --> 1:54:42.080 now we're we're above number one, we're like plus twenty 1:54:42.360 --> 1:54:45.320 the Beatles are, you know, in everybody's mind. It was 1:54:45.480 --> 1:54:49.760 phenomenon exactly like it it was here, you know. I mean, 1:54:51.080 --> 1:54:53.800 we loved them. They were ours and we loved them 1:54:53.960 --> 1:54:55.880 and we couldn't get enough of them. 1:54:56.640 --> 1:54:59.400 Okay, you've been living in the US for a long time. 1:55:00.360 --> 1:55:04.520 What's the difference between the UK and the US. 1:55:05.040 --> 1:55:08.200 Well, as you say I haven't lived in the UK 1:55:08.800 --> 1:55:15.160 for many years, I can't really answer that question. I 1:55:15.160 --> 1:55:17.280 don't know anymore because I haven't lived there. 1:55:17.840 --> 1:55:20.880 Well, let's change it. Did you move to the US 1:55:21.080 --> 1:55:23.400 for romance or did you want to live in the 1:55:23.520 --> 1:55:25.720 US both. 1:55:25.720 --> 1:55:32.280 I think I had my share of enjoyment touring with 1:55:32.640 --> 1:55:37.879 Humble Pie. It seemed like every time I went to America, 1:55:37.960 --> 1:55:40.280 I woke up, and every time I went back to 1:55:40.320 --> 1:55:42.880 England I went to sleep. It was like I was 1:55:42.920 --> 1:55:46.680 just waiting for the next tour or the next album 1:55:46.720 --> 1:55:51.320 or whatever. And there was something very exciting for us 1:55:51.440 --> 1:55:55.280 young English musicians. Look, we're coming to the country where 1:55:56.040 --> 1:56:00.880 you invented jazz, blues, gospel goes on, it goes on 1:56:01.120 --> 1:56:03.760 R and B. I mean it just, oh my god, 1:56:03.920 --> 1:56:08.240 you know, And we couldn't believe the radio stations. There's 1:56:08.320 --> 1:56:11.440 just just jazz on this one, and there's look, there's 1:56:11.520 --> 1:56:14.600 R and B just on this one, and there's you know, 1:56:14.680 --> 1:56:17.200 it was we couldn't believe it. So it was for 1:56:17.480 --> 1:56:20.879 a musician, I felt that they were much more involved. 1:56:21.760 --> 1:56:27.760 Music was much more important in America than it was 1:56:27.800 --> 1:56:30.440 in England, which is not true, but we just didn't 1:56:30.440 --> 1:56:33.480 have the outlets we had. We were used to the 1:56:33.520 --> 1:56:38.120 BBC having a playlist of five records a week, new record, 1:56:38.240 --> 1:56:41.720 five new records a week, and then luckily we had 1:56:41.760 --> 1:56:46.600 the pirate radio stations Caroline, London and all these guys 1:56:46.640 --> 1:56:50.240 throwing up on boats outside the three mile limit playing 1:56:50.320 --> 1:56:54.920 music until the GPO finally shut them down with the technicality. 1:56:55.400 --> 1:57:00.920 But that was like American radio absolutely and that we 1:57:01.000 --> 1:57:04.760 wouldn't have had the who I don't think the Stones 1:57:04.800 --> 1:57:08.520 would have been as big a small Faces Swinging Blue. 1:57:09.040 --> 1:57:12.200 So many bands that were part of the British Wave, 1:57:12.440 --> 1:57:15.920 the late latter British Wave wouldn't have made it had 1:57:15.960 --> 1:57:19.120 it not been for Radio Carolina, Radio London and all 1:57:19.120 --> 1:57:24.080 the others, because now you're in rotation, you know, and 1:57:24.120 --> 1:57:31.240 there's no BBC orchestra music, you know. So very that 1:57:31.360 --> 1:57:37.520 was a very, very important and it's this this year 1:57:37.720 --> 1:57:42.160 is the fiftieth year of Radio Caroline. Wow, it's yeah. 1:57:42.200 --> 1:57:45.080 So I just did an interview about with them about 1:57:45.120 --> 1:57:46.919 that because that changed everything. 1:57:48.400 --> 1:57:50.920 To what degree are you a gear head? You finally 1:57:51.400 --> 1:57:55.800 got your black less Paul back in your possession after decades. 1:57:56.120 --> 1:57:57.600 But are you the type of person who homes one 1:57:57.640 --> 1:58:00.560 hundred guitars has to have the leadest pedal? What kind 1:58:00.600 --> 1:58:01.240 of person are you? 1:58:04.480 --> 1:58:08.440 I don't have as many guitars as a lot of 1:58:08.480 --> 1:58:16.120 players have because you can only play one at a time. Well, 1:58:16.240 --> 1:58:19.000 actually you can actually put two on them play too. No, 1:58:19.120 --> 1:58:26.280 but I lost in the Nashville flood forty four guitars, 1:58:27.240 --> 1:58:31.080 and a lot of them were backups for backups, for backups, 1:58:31.520 --> 1:58:35.240 guitars given to me by companies that I had used 1:58:35.280 --> 1:58:40.240 at one point. So it wasn't all great my most 1:58:40.320 --> 1:58:45.840 favorite guitars, but it kind of cleared me out, cleaned 1:58:45.880 --> 1:58:51.080 me out and of instruments. So I was very lucky 1:58:51.160 --> 1:58:55.520 that my team that I have now. I was one 1:58:55.520 --> 1:58:59.400 of the very few people that stored their equipment at 1:58:59.440 --> 1:59:04.839 Soundcheck in Nashville who was insured for flood. The building 1:59:04.960 --> 1:59:08.280 wasn't insured. Sound Check was not insured for flood, and 1:59:08.320 --> 1:59:13.080 they're on the river, so I got I mean, I 1:59:13.120 --> 1:59:19.040 had to replace the entire back line, drums, keyboards, everything 1:59:19.120 --> 1:59:22.760 for the band. They'd lost everything right that I did first. 1:59:24.160 --> 1:59:30.360 So when we got enough equipment back replaced, then we 1:59:30.800 --> 1:59:33.000 were good to play. But then what I did was, 1:59:33.240 --> 1:59:37.240 instead of going out and replacing every guitar, I just said, well, 1:59:37.240 --> 1:59:41.160 I've always wanted one of these. So I went and 1:59:41.200 --> 1:59:49.400 got a Burst, a nineteen sixty Gibson to pick up 1:59:50.800 --> 1:59:56.720 Burst and which is a collector's item. It's very expensive, 1:59:58.280 --> 2:00:00.600 but I bought it a few years and ago, and 2:00:00.640 --> 2:00:03.600 I just got one of everything that I really like. 2:00:04.120 --> 2:00:10.280 One decent telecaster, one baritone guitar, a bunch of acoustics 2:00:10.280 --> 2:00:17.240 because they all sound different, but you know, one fifty nine, 2:00:17.840 --> 2:00:22.480 three thirty five, you know, beautiful. So I was able 2:00:22.560 --> 2:00:28.040 to give my replace the band's equipment. Plus I was 2:00:28.080 --> 2:00:32.120 able to go out and get a nice one of 2:00:32.160 --> 2:00:35.520 each that I desired to have. I didn't go get 2:00:35.920 --> 2:00:40.040 a million guitar. No, and I don't do that now. 2:00:40.320 --> 2:00:43.440 You know, every now and again, something or just I'll 2:00:43.480 --> 2:00:47.960 get a bug And as they say, you don't need 2:00:47.960 --> 2:00:53.120 another guitar, do you oars room for one more? So? 2:00:53.480 --> 2:01:01.280 You know, but no, I'm not a Joe Bonamasa or 2:01:01.600 --> 2:01:02.360 cheap Trick. 2:01:04.040 --> 2:01:04.680 Rick Nielsen. 2:01:05.640 --> 2:01:11.400 I'm not a Rick Nielsen. I love Rick Nielsen and Joe, 2:01:11.680 --> 2:01:15.200 but Rick Rick is more of a businessman. When he 2:01:15.280 --> 2:01:17.600 comes to that because he's been doing it a long 2:01:17.880 --> 2:01:23.200 time and he's he's had some amazing guitars. I'm not 2:01:23.440 --> 2:01:30.640 as into the instrument for what it represents, its value 2:01:30.800 --> 2:01:35.760 or anything. I'm into an instrument because it's comfortable and 2:01:35.800 --> 2:01:39.240 it sounds good and it makes me play good. You know. 2:01:41.320 --> 2:01:44.240 There are guitars that are worth a lot of money 2:01:44.240 --> 2:01:46.800 that I can't really get my hand around the neck 2:01:46.840 --> 2:01:52.320 it's so big, you know. So yeah, it's moderation. I'm 2:01:52.360 --> 2:01:55.280 a I'm a collector with moderate collector. 2:01:55.880 --> 2:01:59.560 Okay. The question, obviously is where's all the equipment stored down? 2:01:59.640 --> 2:02:07.120 Not this? No, No, we have our own we have 2:02:07.200 --> 2:02:14.800 our own locker within a whole consortium that is owned 2:02:14.800 --> 2:02:15.720 by Dolly Parton. 2:02:16.400 --> 2:02:16.800 Wow. 2:02:17.400 --> 2:02:21.000 And we've rehearsed at her nose it's called and we 2:02:21.160 --> 2:02:23.320 rehearse at her rehearsal Hall too. 2:02:23.600 --> 2:02:26.240 Well, you ended up playing on two songs on a record. 2:02:26.280 --> 2:02:27.280 How did that come together? 2:02:28.320 --> 2:02:30.960 I was with a friend having lunch and he said, oh, 2:02:31.000 --> 2:02:34.400 I just he's a great singer and guitar player, but 2:02:34.480 --> 2:02:38.360 he gets a lot of session singing jobs. And he said, well, 2:02:39.640 --> 2:02:41.080 I said what you been doing? I said, well, I 2:02:41.200 --> 2:02:44.680 just got I just got out of a session sang 2:02:44.720 --> 2:02:49.240 background on this song first Steven Tyler and Dolly Parton. 2:02:49.320 --> 2:02:52.040 I said, that's right, she's doing the album right now, 2:02:52.640 --> 2:02:56.480 the rock and roll album. I said, okay, wow. So anyway, 2:02:56.480 --> 2:02:58.600 I called my manager. I said, Ken, do you have 2:02:58.640 --> 2:03:01.600 any connection over there. I'm sure they've got all the 2:03:01.680 --> 2:03:04.840 duets done by now, but I'd love to offer a 2:03:04.880 --> 2:03:08.880 guitar solo. It would be such a thrill to be 2:03:08.960 --> 2:03:12.720 on that record. And so he gets me Kent Wells, 2:03:13.160 --> 2:03:17.960 who is a lovely man, her guitar player and also 2:03:18.800 --> 2:03:22.720 her producer, and he's producing these thirty tracks. So anyway, 2:03:23.800 --> 2:03:28.280 he calls me up. He said, oh, hi, man, you 2:03:28.400 --> 2:03:31.880 just want to do a guitar solo. I said, well, 2:03:31.920 --> 2:03:36.040 I'm lowballing with a guitar solo, but I figured you'd 2:03:36.040 --> 2:03:39.320 done all the duets. And he said, hold on a minute, 2:03:39.480 --> 2:03:41.720 would you ever do one of your songs? I said, 2:03:41.880 --> 2:03:46.800 let me think about that. Yes, and so he said, 2:03:46.800 --> 2:03:50.000 hold on a second, I'll call you right back. Five 2:03:50.040 --> 2:03:54.000 minutes go by. If that he calls me back, Dolly's 2:03:54.040 --> 2:03:56.520 screaming she wants to do baby, I love your way 2:03:56.560 --> 2:03:58.600 with you? Will you do it? I said, let me 2:03:58.640 --> 2:04:02.840 think about that. Yes, So that's how it came about, 2:04:02.960 --> 2:04:06.440 and my band cut the track. I sang it all 2:04:06.440 --> 2:04:09.960 the way through, gave it to Kent and said, dip 2:04:10.000 --> 2:04:12.720 me wherever you want me and have us sing whatever 2:04:12.760 --> 2:04:14.680 she wants to sing on it. And then I got 2:04:14.760 --> 2:04:17.560 it back. I got her vocal back, and I got 2:04:17.640 --> 2:04:22.080 chilled because she'd taken it to another level. You know, 2:04:22.560 --> 2:04:26.760 this is Dolly's version, you know, even though it's my song, 2:04:26.880 --> 2:04:30.400 and that's right. So she starts ad libbing with me 2:04:30.560 --> 2:04:33.680 and singing three part harmony with me, blew me away. 2:04:33.760 --> 2:04:36.240 So I had to redo some of my ad libs 2:04:36.400 --> 2:04:41.680 because I was definitely lackluster competitor, you know. So I 2:04:42.000 --> 2:04:46.280 so enjoyed doing that, and she's like, she called me up. 2:04:46.320 --> 2:04:48.840 We never met throughout the I've met her once, but 2:04:48.920 --> 2:04:51.880 we never met throughout the whole process. But she called 2:04:51.880 --> 2:04:54.880 me up after she'd finished the vocal and she was 2:04:55.000 --> 2:04:57.920 just like guff thoring how much she enjoyed it and 2:04:58.280 --> 2:05:00.680 all that. She's a lovely lady. We all know that, 2:05:01.280 --> 2:05:04.560 and she does so much great stuff for so many people. 2:05:05.720 --> 2:05:06.720 I applaud her. 2:05:07.520 --> 2:05:10.680 Just to finish the equipment where you at on amps, 2:05:10.800 --> 2:05:13.640 and generally speaking, where are you at on effects? Are 2:05:13.640 --> 2:05:16.000 you into effect or you like to be cleaner and 2:05:16.080 --> 2:05:17.160 just have the guitar. 2:05:17.920 --> 2:05:22.800 In the studio. I tend to play. I tend to 2:05:22.840 --> 2:05:26.680 play through an amp, straight into an amp. Might have 2:05:26.760 --> 2:05:31.400 one fuzzy effect or something, but use the studio effects. 2:05:33.120 --> 2:05:37.000 I find that that's cleaner. But then when you when 2:05:37.040 --> 2:05:39.600 you mix the album, you got all these different sounds 2:05:39.600 --> 2:05:42.520 on these different tracks. So I have a guitar rig 2:05:42.840 --> 2:05:46.440 that can handle all the effects I do use. So, yes, 2:05:46.520 --> 2:05:49.040 I do use effects, and I've got a huge rig. 2:05:50.240 --> 2:06:02.600 And she said, but anyway, I can't go anyway. So yeah, 2:06:02.840 --> 2:06:06.200 it's bigger than I'm trying to scale it down. But 2:06:06.440 --> 2:06:12.200 it sounds so good that I'm not downscaling for scaling 2:06:12.200 --> 2:06:17.880 it down for this tour. So but when we finish 2:06:17.920 --> 2:06:20.760 this one, I'm gonna build another rig just because I can, 2:06:21.480 --> 2:06:22.080 just in case. 2:06:22.520 --> 2:06:25.800 And are do you have a specific ant brand or 2:06:25.840 --> 2:06:28.000 you have one of different ones, just like you have 2:06:28.160 --> 2:06:30.320 guitars different ones. 2:06:31.320 --> 2:06:38.840 It's been Marshall for Marshall Fender. You know, John Suh 2:06:40.400 --> 2:06:46.760 makes a phenomenal amplifier and we've just we've just tuned 2:06:46.800 --> 2:06:50.320 one to me, So that'll be part of the rig. 2:06:50.680 --> 2:06:57.960 I'm hoping at some point soon. So yes, it's nice 2:06:57.960 --> 2:07:01.400 having It's like going having an amp tuned. It's like 2:07:01.480 --> 2:07:04.320 going for an eye test. It's like you're sitting there 2:07:04.440 --> 2:07:07.680 looking through the thing, or you're listening this right, and 2:07:07.720 --> 2:07:10.120 he's got the bottom off and he's got all these 2:07:10.160 --> 2:07:20.280 capacitors and he's going this one, uh yeah, or this one, 2:07:20.600 --> 2:07:24.320 go back, give me the other one. And then he 2:07:24.600 --> 2:07:28.240 unsolded that one and sold of this one. That one okay, 2:07:28.680 --> 2:07:31.600 number one or number two, number one, just like an 2:07:31.600 --> 2:07:34.160 eye exam. And he tuned this amp for this was 2:07:34.200 --> 2:07:37.320 only a month and a half ago, you know. And 2:07:37.400 --> 2:07:40.520 so yeah, I love all that. I'm so into sound. 2:07:40.640 --> 2:07:42.000 It's so important to me. 2:07:42.760 --> 2:07:47.480 And then you mentioned Dolly Parton. Tell me to pinch yourself. 2:07:47.560 --> 2:07:50.360 Moments where you've met people who were famous. 2:07:53.320 --> 2:08:05.560 Uh well, gosh, so many. But I mean, well, you 2:08:05.600 --> 2:08:07.360 can have more than two. I don't want to limit you. 2:08:07.800 --> 2:08:11.440 Well, but I have to. George Harrison has to be 2:08:12.680 --> 2:08:14.800 at the top of the list, you know, George and 2:08:14.880 --> 2:08:20.400 Ringo and Paul. But I never met John. But yeah, 2:08:21.480 --> 2:08:25.840 walking into a control room with my friend who worked 2:08:25.840 --> 2:08:35.000 for George, Terry, Dorian and rest in peace. And he said, 2:08:35.040 --> 2:08:36.880 you want to come and meet George. I said, George 2:08:36.880 --> 2:08:43.200 who he said, And they've all got they all had 2:08:43.240 --> 2:08:45.680 code names he would call him. I forget what he 2:08:45.720 --> 2:08:51.160 called him now, So anyway, I said, yeah, of course. 2:08:51.760 --> 2:08:56.320 So he said, well, they're recording it Trientent. So we 2:08:56.360 --> 2:09:00.480 walked down ward Oh Street. There's the little alleyway and 2:09:00.560 --> 2:09:03.640 Tried Studios is right there, and so we walk in 2:09:04.480 --> 2:09:07.320 and there's a little tiny office here. Then you walk 2:09:07.400 --> 2:09:11.480 straight ahead and the control room is door you open up. 2:09:11.960 --> 2:09:15.400 The control room is upstairs, and the studio is in 2:09:15.440 --> 2:09:21.480 the basement, so you look down into the studio. So 2:09:21.560 --> 2:09:25.200 as I walk in, I looked to my left and 2:09:25.240 --> 2:09:30.760 there's George Harrison Ade my first Beetle meeting. And he 2:09:30.800 --> 2:09:34.680 looks up and goes, hello, Pete. And I just couldn't 2:09:35.480 --> 2:09:40.720 Did he just say hello to me? How does he 2:09:40.760 --> 2:09:44.040 know why? Oh, I'm in a band, don't I? Yeah, 2:09:44.080 --> 2:09:46.840 he probably knows why. And all this is going through 2:09:46.840 --> 2:09:51.000 my head and I'm sweating profusely and shaking and wishing 2:09:51.040 --> 2:09:54.960 the floor would just open up. And I mean I 2:09:55.000 --> 2:09:57.160 didn't wipe my hand before I shook his hand and 2:09:57.240 --> 2:09:58.000 I'm sure. 2:09:57.720 --> 2:09:59.560 It was wet. 2:10:01.120 --> 2:10:05.200 With sweat, you know. And he just is so nice 2:10:05.400 --> 2:10:08.560 talks to me, and he said so nice for you 2:10:08.640 --> 2:10:13.040 to come on, and do you think you want to play? 2:10:13.960 --> 2:10:18.640 I said, what when on a session? Sometimes? He said no. Now, 2:10:19.320 --> 2:10:20.960 I said, but you're in the middle of a session. 2:10:21.400 --> 2:10:23.640 He said, well, we just I'm doing this album for 2:10:23.720 --> 2:10:28.640 Doris Troy and uh and we're we're Steve Stills and 2:10:28.680 --> 2:10:31.640 I have just and Doris have just finished this writing 2:10:31.640 --> 2:10:35.000 this song. I said, who, Steve Stills is down there? 2:10:35.200 --> 2:10:37.560 He said, yeah, Steven Steeles is down there. Doris and 2:10:37.600 --> 2:10:40.520 Doris had sang on shine On on the original version 2:10:41.120 --> 2:10:43.400 and as a background singer, and so I knew Doris. 2:10:44.080 --> 2:10:50.160 I'd met Steve once before, I think. And so he 2:10:50.200 --> 2:10:53.920 takes me down into the studio. I say hello to 2:10:53.960 --> 2:10:57.080 Stephen Stills, who's sitting there playing his gradge as I 2:10:57.080 --> 2:11:02.600 imagine he should. And there's a Princeton amp over here, 2:11:03.280 --> 2:11:09.440 and George hands me this sort of red looking les Paul, 2:11:10.400 --> 2:11:14.440 which is now we know is called Lucy, and it's 2:11:14.480 --> 2:11:20.120 the guitar that Eric gave to George but also played 2:11:20.160 --> 2:11:24.040 the solo for while my guitar gently weeps on this guitar. 2:11:24.520 --> 2:11:27.360 Thank god, I didn't know any of this at the time. 2:11:29.760 --> 2:11:33.760 So he gives me the guitar, plugs me in, and 2:11:33.800 --> 2:11:36.240 he starts. He's got a guitar and he's showing me 2:11:36.320 --> 2:11:40.800 the chords, and I'm a quick learner, so I picked 2:11:40.800 --> 2:11:44.840 it up really quick. So anyway, George goes over and 2:11:44.960 --> 2:11:52.600 we start we rehearse it, and and so I start 2:11:52.640 --> 2:11:57.120 playing very quiet rhythm. This is the Stephen Stills is 2:11:57.240 --> 2:12:00.560 right there like I could kick him if I moved 2:12:00.560 --> 2:12:04.880 my foot, and George, the Beatles lead guitarist, is over here, 2:12:06.520 --> 2:12:12.040 and I thought, play quiet rhythm, so I did so, 2:12:12.600 --> 2:12:16.560 and then halfway through George goes no, no, no, Pete, 2:12:16.600 --> 2:12:19.360 no no, I'm going to play rhythm. I want you 2:12:19.400 --> 2:12:28.000 to play lead. Another gut wrenching feeling. Oh my god. 2:12:28.200 --> 2:12:31.240 You know this is too much, too good to be true, 2:12:31.360 --> 2:12:31.560 you know. 2:12:31.800 --> 2:12:33.520 And so. 2:12:35.440 --> 2:12:39.120 The track is called Ain't That Cute? And it was 2:12:39.160 --> 2:12:42.680 the first single, and the first guitar you hear on 2:12:42.760 --> 2:12:48.120 it is me and George did a little slide solo 2:12:48.160 --> 2:12:50.760 in the middle afterwards, but all the lead licks in 2:12:50.800 --> 2:12:56.880 the whole song is me and I couldn't. I couldn't 2:12:56.920 --> 2:12:59.240 believe my luck, you know, what was going on. And 2:12:59.280 --> 2:13:04.800 then obviously I did pretty well for the audition and 2:13:05.320 --> 2:13:08.040 George comes over to me and says, at the end 2:13:08.080 --> 2:13:10.760 of the session, so we've got you know, we've got 2:13:10.760 --> 2:13:12.880 a few tracks to do left. Will you join us 2:13:12.920 --> 2:13:16.000 on the rest of the album? And I said, let 2:13:16.080 --> 2:13:21.240 me think about that, yes, you know, and ended up 2:13:21.280 --> 2:13:25.760 there's Ringos playing drums, Klaus Woman's on bass, Billy Presty, 2:13:25.840 --> 2:13:30.400 you know, Gary, right, but they're all They're all there. 2:13:30.440 --> 2:13:36.080 All the precursor to All Things Must Pass is right there, 2:13:36.680 --> 2:13:41.680 you know. And I don't think I slept that night. 2:13:43.080 --> 2:13:48.600 I was on such a high from not only meeting 2:13:48.800 --> 2:13:51.800 of Ethel and let's face it, you know, I was 2:13:51.920 --> 2:13:55.320 twelve when they came out, you know, and now I'm 2:13:55.560 --> 2:14:04.320 twenty twenty one maybe, and I'm still a huge Beatle 2:14:04.520 --> 2:14:07.360 obviously for the rest of my life, a huge Beatle fan. 2:14:07.880 --> 2:14:13.400 It shaped my music and everybody's music, you know, but 2:14:13.520 --> 2:14:17.720 in the form my formative years of playing music. So 2:14:21.080 --> 2:14:24.520 just and then I came back for all these other sessions, 2:14:25.240 --> 2:14:33.800 and then from that that's when that's when I get 2:14:33.800 --> 2:14:37.880 a call George has obviously given Harry Nielsen my phone number. 2:14:38.120 --> 2:14:40.880 I get a call from Harry Nielsen, you know, who's 2:14:41.040 --> 2:14:46.080 just had the huge, huge, huge hit and he's doing 2:14:46.120 --> 2:14:49.720 his next album, Son of Schmielsen, and I get to 2:14:49.760 --> 2:14:53.680 play on that whole album too, And meeting Harry was unbelievable. 2:14:55.720 --> 2:15:02.839 I just, you know, it's a it's hard to explain 2:15:02.960 --> 2:15:07.920 because I'm such a huge fan. I think that's why 2:15:07.960 --> 2:15:13.160 I'm part of my makeup that I don't think of 2:15:13.240 --> 2:15:18.600 myself as as being what these other people are. I 2:15:18.640 --> 2:15:21.240 think they're much better. They've got to be better than me. 2:15:21.400 --> 2:15:23.800 You know. It's like someone to look up to because 2:15:23.800 --> 2:15:28.800 they've done so much. And then I realize, gosh, actually 2:15:28.880 --> 2:15:30.760 people are looking up to me now for what I 2:15:31.040 --> 2:15:35.040 you know, and I realize now, and then I'll get 2:15:35.840 --> 2:15:40.680 young guitarists will come backstage, and I'll spend time with 2:15:40.760 --> 2:15:44.120 them because I know what it means. They say stuff 2:15:44.240 --> 2:15:47.839 like or the father or bring the young kid back. Literally, 2:15:47.960 --> 2:15:51.040 you know, this big he's he knows every solo you've 2:15:51.040 --> 2:15:53.480 ever played. I said, you're kidding me, and he will 2:15:53.480 --> 2:15:56.120 show me and he'll play one of myself, and it's like, 2:15:56.400 --> 2:16:01.040 oh my goodness, and the kids like shaking, sweating and 2:16:01.160 --> 2:16:03.840 wishing the floor would open up, just like me meeting 2:16:04.760 --> 2:16:09.600 George Harrison. So you pay it forwards, you know. And 2:16:10.280 --> 2:16:13.200 I've got so many I've had so many young players 2:16:13.280 --> 2:16:18.560 come up to me and the same way, and I've 2:16:18.560 --> 2:16:21.400 been through the same thing, and a lot of them 2:16:21.400 --> 2:16:22.280 I keep in touch with. 2:16:22.480 --> 2:16:26.080 So yeah, Now is it true that you wrote the 2:16:26.200 --> 2:16:29.839 legendary songs for the fourth album over a very short 2:16:29.840 --> 2:16:34.240 period of time in the Bahamas or the Caribbean whatever. 2:16:35.000 --> 2:16:40.200 Yes, I was there for three weeks to write. I 2:16:40.240 --> 2:16:44.480 had an acoustic and an electric. Steve's cottage was where 2:16:44.520 --> 2:16:48.960 I stayed, Steve Merrick's cottage, and he had an amplifier 2:16:48.959 --> 2:16:52.440 and upright piano, so I had everything I needed to write. 2:16:52.680 --> 2:16:56.920 And a boom box Sony five point fifty A, the 2:16:56.920 --> 2:16:59.400 one with those great mics and the limitter in it 2:17:00.080 --> 2:17:04.240 and everything you put down on acoustics sounded fantastic. So 2:17:05.840 --> 2:17:09.959 and I still have one. So yeah. So at the 2:17:10.040 --> 2:17:16.120 airport when I when I came in, I realized that 2:17:16.240 --> 2:17:19.200 Alvin Lee from ten years after was on the other 2:17:19.280 --> 2:17:23.119 side of baggage claim. So hey, you know, I vote 2:17:23.160 --> 2:17:27.360 with them many times and and with Humble Pie and 2:17:27.600 --> 2:17:30.959 with me, and so I said, uh, hey, Alvin, it's me, 2:17:31.320 --> 2:17:35.160 you know. So my three weeks ended up being the 2:17:35.240 --> 2:17:41.600 last eight days when they left town. We were we 2:17:41.600 --> 2:17:46.200 were partying and and I was procrastinating. So I had 2:17:46.240 --> 2:17:51.720 eight days before I had to go back, and I 2:17:51.760 --> 2:17:56.000 hadn't written anything, not that well, not what I would 2:17:56.000 --> 2:18:01.720 call up to standard. So I got up that first 2:18:01.800 --> 2:18:08.480 day of the last eight and picked up my acoustic 2:18:09.360 --> 2:18:12.000 and I thought, well, let's tune it to openg, just 2:18:12.040 --> 2:18:16.119 for something different, inspiring. And then I played played a chord, 2:18:16.360 --> 2:18:20.400 and I played another chord, and then I played another chord, 2:18:21.840 --> 2:18:25.600 and I went back to the first chord, dang ding 2:18:25.840 --> 2:18:31.600 getting ding ding, getting ding ding ding d ding. It's 2:18:31.680 --> 2:18:33.680 the beginning. It's the intro to show me the way. 2:18:34.240 --> 2:18:39.560 And so I thought, oh, this is good. This is 2:18:39.600 --> 2:18:43.600 better than anything I've written so far, and so got 2:18:43.640 --> 2:18:47.080 out the pad. Uh, first of all, put it down 2:18:48.280 --> 2:18:50.240 on the on the boombox so I didn't forget it. 2:18:50.800 --> 2:18:53.800 And then I got out my notepad and started writing 2:18:54.480 --> 2:19:00.120 the first verse and and the first chorus, and then 2:19:00.160 --> 2:19:02.959 I said, well, I'm into something here. Let me move on. 2:19:03.600 --> 2:19:06.279 So I had lunch. I was right on the beach. 2:19:06.600 --> 2:19:11.920 It's just me, nobody else on this wonderful beach, and 2:19:12.040 --> 2:19:17.520 I had a little table outside umbrella and I took 2:19:17.560 --> 2:19:23.640 my boombox about four o'clock after lunch in a swim, 2:19:24.360 --> 2:19:30.080 really hard writing session, and I brought the I brought 2:19:30.120 --> 2:19:32.840 the guitar out, sat down, I put it back to 2:19:32.920 --> 2:19:35.800 normal tuning. I thought, well, I don't want to write 2:19:35.800 --> 2:19:42.480 the same thing again, okay, So within another twenty minutes, 2:19:42.720 --> 2:19:47.280 I'd written the beginning of the intro to Baby, I 2:19:47.320 --> 2:19:53.520 Love Your Way, and I said, well that it's a 2:19:53.520 --> 2:19:58.039 bit like kind of the Blackbird chords there, Paul's Blackbird Chords, 2:19:58.440 --> 2:20:04.119 and they are a different order, and so I knew 2:20:04.600 --> 2:20:09.680 that I felt this is this is good. So ran 2:20:09.720 --> 2:20:14.039 back in, got the pad, pencil, and it's the sun 2:20:14.120 --> 2:20:17.280 is just about to set. And that's when I looked 2:20:17.280 --> 2:20:22.080 around and I went, shadows gross along before my eyes 2:20:22.760 --> 2:20:31.000 and they're moving across the page and go. So I 2:20:31.080 --> 2:20:34.720 knew I had another one. And then I went back 2:20:34.760 --> 2:20:40.240 in that night, same night, same same day, within a 2:20:40.320 --> 2:20:42.840 twenty four hour period, I went back and I picked 2:20:42.879 --> 2:20:44.560 up the electric and I said, well, let's try this. 2:20:44.600 --> 2:20:49.000 I plugged into Steve's am boombox again started jamming, and 2:20:49.080 --> 2:20:52.920 I came up with the chords for No Where's Too 2:20:52.959 --> 2:20:56.119 Far from My Baby, which is on Frampton too. And 2:20:56.200 --> 2:20:59.760 I didn't have a melody or anything, but I loved 2:21:00.520 --> 2:21:04.560 I had the I had the whole song in chords, 2:21:04.560 --> 2:21:10.040 no melody yet. And there's another person I met that 2:21:10.160 --> 2:21:15.240 I got chills. Eddie van Halen. You know, another guy 2:21:15.240 --> 2:21:19.480 who reinvented guitar, the nicest guy in the world. He 2:21:19.560 --> 2:21:24.320 was so sweet. And I got invited by the engineer 2:21:24.320 --> 2:21:26.640 to go to one of their sessions, and so I 2:21:26.680 --> 2:21:29.040 went in there and they're all over me. How did 2:21:29.040 --> 2:21:30.119 you do? What did you do? Want? 2:21:30.560 --> 2:21:30.720 You know? 2:21:30.760 --> 2:21:37.440 I thought? So? Uh, Eddie goes, come out, come out 2:21:37.440 --> 2:21:38.600 in the steert ive. Got to show you something, You've 2:21:38.600 --> 2:21:43.000 got to show you something. And so he picks up 2:21:43.480 --> 2:21:48.080 the guitar of his and he said this is Nowhere's 2:21:48.120 --> 2:21:53.120 too far right, And then he played me a Van 2:21:53.160 --> 2:21:57.680 Halen number that they were just recording. That's that backwards. 2:21:58.680 --> 2:22:01.640 I got it. So I was so inspired by the 2:22:01.720 --> 2:22:04.440 Frampton album. He said, I love what you play on that. 2:22:04.959 --> 2:22:08.200 He said, this is so cool man, And I forget 2:22:08.280 --> 2:22:12.720 which number it is, but I was just blown away 2:22:12.840 --> 2:22:15.800 that And then he's he's playing his guitar, you know, 2:22:15.800 --> 2:22:17.959 he's got the big rig in the studio, you know, 2:22:18.160 --> 2:22:24.560 and he goes, hey, try this. I go, okay, not 2:22:24.720 --> 2:22:27.720 wanting to play it all, and nothing comes out. You know, 2:22:27.800 --> 2:22:33.760 It's like, I am totally this isn't this isn't happening 2:22:33.840 --> 2:22:36.320 right now, is it? He's asking me to play his guitar. 2:22:36.800 --> 2:22:38.800 I can't do it. So I just played a couple 2:22:38.840 --> 2:22:40.760 of chords and gave it back to him straight away. 2:22:42.400 --> 2:22:45.480 It was very intimidating, but rightly so, because he was 2:22:45.520 --> 2:22:46.279 so good. 2:22:47.240 --> 2:22:50.400 Okay, you write these legendary songs in a brief period 2:22:50.400 --> 2:22:53.000 of time, and you talk about having like a month 2:22:53.160 --> 2:22:56.279 off to write songs when you're in your tour recording 2:22:56.400 --> 2:23:00.879 cycle generally speaking, is it like the ri for Satisfaction 2:23:01.000 --> 2:23:03.560 came to Keith Richards and you know when he was asleep, 2:23:03.560 --> 2:23:06.920 he woke up he recorded it. Has your process been 2:23:07.720 --> 2:23:11.360 there's a bolt, there's an inspiration or can you literally 2:23:11.400 --> 2:23:14.039 say I have to write, I'm gonna sit here and 2:23:14.040 --> 2:23:15.080 I'm gonna write something. 2:23:15.840 --> 2:23:18.440 I have to be in the right mood, I have 2:23:18.560 --> 2:23:19.959 to feel something coming. 2:23:20.560 --> 2:23:20.680 Uh. 2:23:21.520 --> 2:23:25.440 Recently, I've had this real creative streak. That's why I 2:23:25.480 --> 2:23:27.240 think that I'm going to be able to start to 2:23:27.240 --> 2:23:33.320 finish this album in the summer after this tour. Uh, 2:23:33.360 --> 2:23:38.360 And I pick up an acoustic or an electric, you know, 2:23:38.640 --> 2:23:43.199 and just jam on chords or riffs or whatever, and 2:23:43.560 --> 2:23:47.119 something will they either come to me or it won't. 2:23:47.600 --> 2:23:50.360 I either put it down I don't. I'm not a 2:23:50.400 --> 2:23:54.440 fighter for for I don't fight for a song. It's 2:23:54.480 --> 2:24:01.640 gonna come easy or it's not right. So finishing a 2:24:01.720 --> 2:24:05.200 song is difficult, no matter how easy it is to 2:24:05.520 --> 2:24:11.400 come up with the initial ideas. But lyrically is it's 2:24:11.440 --> 2:24:20.960 always harder for me. Getting much easier actually, because I'm 2:24:21.000 --> 2:24:27.960 just writing. I'm writing from my heart and I'm not 2:24:28.040 --> 2:24:30.360 trying to write a hit song. I'm just trying to 2:24:30.360 --> 2:24:35.080 write a great piece of music that I like. You 2:24:35.200 --> 2:24:40.240 might not think it's great, but I do. And that's 2:24:41.280 --> 2:24:45.600 that's it. I cannot force myself to write. It's not 2:24:45.640 --> 2:24:50.920 going to happen. But there is something that I was 2:24:51.000 --> 2:24:53.760 felt very pleased about when I wrote. When I read 2:24:54.200 --> 2:24:59.480 Chronicles one by Bob Dylan and which I loved, I 2:24:59.480 --> 2:25:03.840 thought it was great and he said, which I was 2:25:04.000 --> 2:25:06.440 thrilled to hear. He said he had a like an 2:25:06.480 --> 2:25:15.160 eighteen month two year period we couldn't write. And he said, 2:25:15.360 --> 2:25:18.400 that's it. I'm done for you know, you always think that, 2:25:18.520 --> 2:25:23.240 right when, oh god, I got write it. And then 2:25:24.080 --> 2:25:26.959 there came this time. I don't know how long it 2:25:27.120 --> 2:25:30.920 was total, and he said, I sat down in the 2:25:31.600 --> 2:25:35.879 dining room, I got out this pad and I wrote 2:25:36.400 --> 2:25:39.840 and wrote and wrote for ten days, two weeks straight, 2:25:40.360 --> 2:25:44.640 he said. And I opened the drawer in the dining room, 2:25:44.720 --> 2:25:46.320 I put the pad in there, and I said to 2:25:46.360 --> 2:25:51.080 my wife, that's my next album. And I thought, wow, 2:25:51.600 --> 2:25:55.880 that's pretty cool. And then he said it made him 2:25:55.920 --> 2:26:01.440 think about why now and why not for those two years? 2:26:02.680 --> 2:26:06.120 And he said, you don't have writer's block. There's no 2:26:06.240 --> 2:26:10.960 such thing as writer's block. And this is the best part. 2:26:11.240 --> 2:26:16.880 He said. You're either on input or you're on output, 2:26:18.280 --> 2:26:22.160 and you can't have output if you don't have input first. 2:26:22.520 --> 2:26:27.480 So those two years, he said, I was writing, But 2:26:27.640 --> 2:26:31.080 the culmination of those two years came two and a 2:26:31.120 --> 2:26:34.359 half years later. In those ten ten days to fourteenth 2:26:34.440 --> 2:26:37.840 two weeks. You know, so don't he said, I don't 2:26:37.879 --> 2:26:41.400 worry now if I can't write, because I know that 2:26:41.440 --> 2:26:44.520 there's a reason for that, that I don't have anything 2:26:44.520 --> 2:26:48.000 to say. Therefore I need to live a little, you know. 2:26:48.360 --> 2:26:50.800 And I thought that was that made all the difference 2:26:50.840 --> 2:26:53.560 in the world. And our poet Lauriate couldn't write for 2:26:53.560 --> 2:26:54.160 two years. 2:26:54.440 --> 2:27:01.119 Yeah, okay, Don Henley. I heard here him talking at 2:27:01.160 --> 2:27:05.480 Glen Fry's memorial service where he was somewhere in Asia. 2:27:05.920 --> 2:27:09.640 He went deep back into the bush and some person said, 2:27:09.920 --> 2:27:14.360 point it out. I said, Hotel California. What is your 2:27:14.480 --> 2:27:19.000 situation traveling the globe? If you're all of a sudden, 2:27:19.040 --> 2:27:22.640 you know, in Bozeman, Montana, and you're standing by the carousel, 2:27:22.760 --> 2:27:27.720 someone to say, Peter Frampton or can you be relatively anonymous? 2:27:31.400 --> 2:27:31.520 Oh? 2:27:31.800 --> 2:27:38.920 You mean just out and about. Yeah. Uh. If I'm 2:27:38.959 --> 2:27:43.199 in the city, we're playing, I'm going to get recognized 2:27:43.240 --> 2:27:51.720 because people are thinking about me. Sometimes I get recognized 2:27:51.760 --> 2:27:58.240 a lot, you know, But then sometimes I don't get recognized, 2:27:58.879 --> 2:28:03.760 And it's good because I can do I don't. I'm anonymous, 2:28:04.520 --> 2:28:09.840 and I found that out. I went from being the 2:28:09.920 --> 2:28:15.240 most recognizable person with the hair and you know, the 2:28:15.240 --> 2:28:18.120 perm and all that and too when I cut my 2:28:18.200 --> 2:28:25.840 hair and everything went into a ditch, and nobody recognized me, 2:28:26.959 --> 2:28:30.160 and nobody was thinking about me either. I was I 2:28:30.200 --> 2:28:34.520 was gone. I was a hasben, you know. And and 2:28:34.560 --> 2:28:38.520 there was a part of that. I really enjoyed being anonymous. 2:28:38.800 --> 2:28:41.400 But there's that other that that's this side and then 2:28:41.480 --> 2:28:43.600 the other side of the broad say, oh, but nobody's 2:28:43.640 --> 2:28:53.440 recognizes you. Yeah, but no, I uh I. It's something 2:28:53.480 --> 2:28:56.520 that I've grown used to. And my daughter will say, 2:28:56.560 --> 2:28:59.120 you know, everyone's looking at you, don't you are they? 2:28:59.200 --> 2:29:02.920 I don't know, you know, So you know, it's it's 2:29:03.080 --> 2:29:09.119 part of my life now, and it's something that happens, 2:29:09.280 --> 2:29:12.959 and sometimes it doesn't, you know, but it's h I 2:29:13.040 --> 2:29:20.720 tell you. I I went to I went to a 2:29:20.760 --> 2:29:30.800 party after an award show in the late seventies, and 2:29:31.040 --> 2:29:35.080 the party after the show was at Chasin's. Was the 2:29:35.080 --> 2:29:37.119 big place where everybody went, you know, the big restaurant. 2:29:37.680 --> 2:29:39.080 I'm not even sure if it's still there. 2:29:40.240 --> 2:29:40.760 No, it's not. 2:29:41.440 --> 2:29:44.199 No, Well there you go. So that dates me right there. 2:29:44.879 --> 2:29:51.200 So anyway, so we go to Chasin's and I got 2:29:51.280 --> 2:29:57.480 to think of his name. Okay, I'm sorry, I'm old. Okay, 2:29:57.879 --> 2:30:01.280 what was the name of his TV show. He was 2:30:01.320 --> 2:30:04.480 a private eye, lived in a in a caravan on 2:30:04.520 --> 2:30:04.840 the beach. 2:30:04.879 --> 2:30:07.600 Oh yeah, yeah, yeah. What was his name? Tom Selleck? 2:30:08.160 --> 2:30:13.080 No, not Tom Selleck the Oxford Files. Yes, okay, wrote him. 2:30:13.160 --> 2:30:13.680 Who's he? 2:30:15.360 --> 2:30:19.080 I'll look it up because I I'm aware of the show, 2:30:19.160 --> 2:30:21.920 but actually I didn't watch it, Jim. What's his name? 2:30:22.240 --> 2:30:28.160 James Garner? Right, okay, So out of I walk up 2:30:28.200 --> 2:30:33.120 the steps to Chasen's and and I'm out of the 2:30:33.160 --> 2:30:37.400 corner of my eye I see this relatively tall, thin 2:30:37.480 --> 2:30:42.840 guy coming over to me and it's it's James Garner. 2:30:44.040 --> 2:30:45.840 And he said, I don't wish to bother you, Peter, 2:30:45.959 --> 2:30:50.760 but would you mind signing this for my daughter? I said, yeah, 2:30:50.840 --> 2:30:54.000 what's her name? And I gave him and he was gone. 2:30:55.080 --> 2:30:58.520 He didn't he knew what it was like. He didn't 2:30:58.560 --> 2:31:01.720 hang around, and it's He's one of the only people 2:31:01.760 --> 2:31:03.959 I've ever wished would have stayed around a little bit. 2:31:05.440 --> 2:31:08.480 So that kind of stuff, it's kind of really neat. 2:31:09.360 --> 2:31:12.720 You know, this guy was asking for my autograph when 2:31:13.280 --> 2:31:15.480 I would like to ask for his autograph, you know, 2:31:16.280 --> 2:31:20.640 And because we're all fans, let's face it, well, I 2:31:20.720 --> 2:31:24.640 know there are some musicians that don't think of other 2:31:24.800 --> 2:31:27.840 artists and the way that I do. But I just 2:31:28.000 --> 2:31:32.960 know that for the artists that i'm whichever one I'm 2:31:32.959 --> 2:31:39.800 thinking about, that's had this illustrious career, they have been 2:31:39.840 --> 2:31:44.520 through the ringer, they have so much talent and they've 2:31:44.560 --> 2:31:50.320 done things right and they've had a wonderful career and 2:31:50.680 --> 2:31:54.959 I know they've you know, it didn't come easy to them. Therefore, 2:31:55.520 --> 2:32:03.119 you know, I don't want to bug them, you know sometimes, 2:32:03.440 --> 2:32:05.959 And there's some people that I have bugged that I 2:32:06.000 --> 2:32:10.520 wish I hadn't, you know, and have been rude, you know. 2:32:10.720 --> 2:32:13.560 So I prefer to think of myself as the James 2:32:13.640 --> 2:32:14.879 Ghana than the. 2:32:18.400 --> 2:32:21.560 So to what degree do you think about are you 2:32:21.680 --> 2:32:22.920 concerned with legacy? 2:32:24.640 --> 2:32:30.000 Oh gosh, I haven't really thought about that. I have 2:32:30.080 --> 2:32:35.440 no idea. I have to think that the one thing 2:32:35.520 --> 2:32:38.600 I will be I mean, it's lasted this long and 2:32:38.640 --> 2:32:42.440 it's it's still people's one of people's favorite albums of 2:32:42.480 --> 2:32:46.000 all time. So I'm going to be known for Comes Live, 2:32:46.840 --> 2:32:48.640 whether I like it or not, and I'm very proud 2:32:48.680 --> 2:32:57.959 of that. I'm known as a guitar player, which I 2:32:58.000 --> 2:33:02.480 hope you know. I'm always in the books for that, 2:33:02.760 --> 2:33:10.120 you know, and that's it. Really, I'm a singer, but 2:33:10.120 --> 2:33:13.800 another great singer. I'm not thrilled with my voice, but 2:33:13.800 --> 2:33:17.600 but I get by with it. And people when I 2:33:17.640 --> 2:33:21.320 say that, people say, oh, will you can about yourself now? 2:33:21.360 --> 2:33:25.360 I do you know? Hey, I'm honest. You know, I'm 2:33:25.400 --> 2:33:30.240 a great guitar player and I'm a great writer when 2:33:30.240 --> 2:33:34.200 I get to write, but my voice is okay. 2:33:36.480 --> 2:33:40.600 So one hundred years from now, do you care whether 2:33:40.640 --> 2:33:42.959 anybody knows who you are and your music or you 2:33:43.000 --> 2:33:43.480 don't care? 2:33:45.160 --> 2:33:47.960 I don't care. I don't. 2:33:48.879 --> 2:33:51.480 Well, we care, Peter, and I want to thank you 2:33:51.600 --> 2:33:54.920 so much for taking this time to be so revealing 2:33:55.000 --> 2:33:56.879 and go so deep from my audience. 2:33:57.480 --> 2:34:01.880 Well, you're very welcome and I've enjoyed this and I'm 2:34:01.920 --> 2:34:03.680 sure I'll regret it, but that's okay. 2:34:04.680 --> 2:34:07.199 Actually, I don't think you said you know. Sometimes people say, 2:34:07.240 --> 2:34:10.480 you know whatever. I think you were very straightforward. I 2:34:10.520 --> 2:34:13.920 mean it's interesting. I talk to a lot of people, 2:34:14.800 --> 2:34:18.560 and yes, you're self effacing nature and your humorous element, 2:34:19.000 --> 2:34:23.600 but also an intelligence radiates through, which is not something 2:34:23.640 --> 2:34:27.760 you always find with musicians, whether they're intelligent or not. 2:34:27.800 --> 2:34:32.560 They can't verbalize it, and I'm sure that that's somewhat 2:34:32.600 --> 2:34:35.520 frustrating to be in this world, which is not always 2:34:35.959 --> 2:34:39.640 such an intellectual world, but you're definitely a thinker. 2:34:40.760 --> 2:34:44.960 Well, thank you. I try. This has been great, Thank 2:34:44.959 --> 2:34:45.520 you very much. 2:34:46.360 --> 2:34:50.240 Absolutely till next time. This is Bob left sets