WEBVTT - Simon Kirke

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Search podcast.

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<v Speaker 1>My guest today is that one and only Simon Kirk,

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<v Speaker 1>drummer of Bad Company and Free. Simon, how do you

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<v Speaker 1>feel about Bad Company not being in the Rock and

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<v Speaker 1>Roll Hall of Fame?

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<v Speaker 2>You don't hang around, Bob, do you know. I think

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<v Speaker 2>it's such travesty. Quite honestly, I mean not just that,

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<v Speaker 2>but Free Free certainly should be because you know, I mean,

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<v Speaker 2>Free has been around since nineteen sixty eight and we've

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<v Speaker 2>the two bands have been responsible for influencing a lot

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<v Speaker 2>of a lot of bands who are already in the Hall.

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<v Speaker 2>So it's you know, I feel pretty bad about it,

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<v Speaker 2>but I'm not going to go on too much about it.

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<v Speaker 2>It's just I think we should be in, certainly, Free,

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<v Speaker 2>and I think Paul Paul Rodgers should be in on

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<v Speaker 2>his own merits. I mean, as one of the great

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<v Speaker 2>rock vocalists of all time. You know, if Eric Captain

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<v Speaker 2>and Rodge Stewart and Jeff Jeff Beck and be inducted

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<v Speaker 2>as solo artists, and certainly Paul Rodgers should be in there.

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<v Speaker 2>So that's my two cents.

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<v Speaker 1>I completely agree with you, certainly in both bands. I think,

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<v Speaker 1>you know, the focus has become the Music Hall of

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<v Speaker 1>Fame because you can't have a rock I've been back

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<v Speaker 1>and forth with the members. I'm not a voting member

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<v Speaker 1>or anything, but it's a travesty, as you put it.

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<v Speaker 1>So what's the status of Bad Company today? Are they

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<v Speaker 1>going to ever be any more live dates?

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<v Speaker 2>I honestly I doubt it, and I'll tell you why.

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<v Speaker 2>I think a lot of people now already know that

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<v Speaker 2>Paul Rodgers has had health problems. He went public with

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<v Speaker 2>it a couple of weeks ago on CBS. They flew

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<v Speaker 2>him out to New York and he came out with

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<v Speaker 2>the fact that he has had some severe health problems

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<v Speaker 2>in the last couple of years, a couple of strokes,

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<v Speaker 2>quite a few mini strokes and heart troubles. And I

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<v Speaker 2>honestly think that our Bad Company's days are pretty much over.

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<v Speaker 1>Okay, Just on this same point, there have been conversations

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<v Speaker 1>or talking about Mick Ralf's health. How is his health?

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<v Speaker 2>Oh, Mick, we'll mix uffered a stroke about six or

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<v Speaker 2>seven years ago and it's paralyzed his left side, as

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<v Speaker 2>most strokes do, so he's really out of commission. He's

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<v Speaker 2>in a home in a nursing home in England. Several

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<v Speaker 2>people have seen him recently. I'm going to go over

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<v Speaker 2>next year, so he's really health is not good and

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<v Speaker 2>it's certainly his playing days are over. So you know,

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<v Speaker 2>we had a good run and I think we're going

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<v Speaker 2>to lay the old bad company to rest pretty soon.

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<v Speaker 1>Okay, this begs a question, how's your health? Well?

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<v Speaker 2>Touch would? I'm great? I am cleaning sober quite a

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<v Speaker 2>few years now at last, and I don't smoke, I

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<v Speaker 2>don't drink, I eat well, I do yoga and I

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<v Speaker 2>have smoothies and my wife make sure that I'm living

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<v Speaker 2>another twenty four hours. So thanks for asking. I'm in

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<v Speaker 2>pretty good shape.

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<v Speaker 1>So tell me about getting sober well.

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<v Speaker 2>I think it's common knowledge that you know, I had

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<v Speaker 2>troubles with substance abuse for many years, and back in

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<v Speaker 2>the day, you know, in the seventies and eighties, it

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<v Speaker 2>was something that was kept. Yeah, you didn't really broadcast

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<v Speaker 2>in whereas nowadays you know it's part of one cv

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<v Speaker 2>as it were, that you know you're in the program

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<v Speaker 2>or you're clean and sober. It's something that is something

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<v Speaker 2>that is to be congratulated rather than hidden under a rock.

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<v Speaker 2>So I've been I hadn't done blow for twenty seven years.

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<v Speaker 2>I gave up drinking about eight years ago. Finally I

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<v Speaker 2>had a little sip down again, La la la. But really,

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<v Speaker 2>to be totally clean and sober, you've got to give

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<v Speaker 2>everything up. And it's the best thing I did. I mean,

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<v Speaker 2>I you know, back in those days, the seventies and

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<v Speaker 2>eighties were really crazy days, but I was a lot younger.

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<v Speaker 2>I could get away with it and it didn't never

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<v Speaker 2>really impeded my drumming. You could just sort of get

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<v Speaker 2>away with that shit, you know. But now, Nah, I

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<v Speaker 2>don't miss at all, Bob. Quite honestly, I wish I'd

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<v Speaker 2>done it sooner, but you know, better late than never.

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<v Speaker 1>Well, let's talk about the drugs. How did you finally

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<v Speaker 1>decide to stop? Oh?

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<v Speaker 2>I nearly died, to put it in a nutshell, I mean,

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<v Speaker 2>I was on a tour bus and we pulled into Nashville,

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<v Speaker 2>and I've been taking ativan with swigging it with Jack

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<v Speaker 2>Daniels and doing blow and all sorts of stuff. And

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<v Speaker 2>I was passed out in the bunk, one of the bunks,

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<v Speaker 2>and they left me there. I mean, everyone was out

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<v Speaker 2>of it. We sort of staggering into They staggered into

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<v Speaker 2>the hotel to get their rooms, and I was left

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<v Speaker 2>with this girlfriend of mine, who God bless her. I mean,

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<v Speaker 2>she saved my life. And she dragged me out of

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<v Speaker 2>the bunk and walked me around, slapping me, and I

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<v Speaker 2>nearly died that night, and that's when I thought, Okay,

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<v Speaker 2>now you know this has got to stop. So it

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<v Speaker 2>really took a near death experience to give the hard

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<v Speaker 2>stuff up. And I say this only as a personal thing,

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<v Speaker 2>but coke exacerbates drinking and drug taking because if you

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<v Speaker 2>do a line, you want to drink five times as

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<v Speaker 2>much as you normally would. If you want to sleep,

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<v Speaker 2>you've got to take valume or you've got to take

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<v Speaker 2>something to come down. In the morning, you're sort of groggy,

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<v Speaker 2>so you do another line and the whole thing starts again.

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<v Speaker 2>But I was at that stage. This is in nineteen

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<v Speaker 2>ninety six. I was forty seven, and I was a lunatic,

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<v Speaker 2>a functioning lunatic, because I went to the gym every

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<v Speaker 2>day and I jogged, you know, and then I'd come

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<v Speaker 2>back and do a line. It's stupid, really.

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<v Speaker 1>So you have this near death experience, did you stop

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<v Speaker 1>cold Turkey. Did you go to rehab?

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<v Speaker 2>Nose. I went to rehab. I couldn't have done it

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<v Speaker 2>without rehab. I've been to several and now I'm on

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<v Speaker 2>the board of you know, I help kids with addiction.

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<v Speaker 2>I'm on the board of a foundation called Road Recovery,

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<v Speaker 2>which helps teenagers and adolescents with drug addiction. And I'm

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<v Speaker 2>on the board of Right Turn, which is based in Boston,

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<v Speaker 2>and we help musicians people in the theatrical business with addiction.

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<v Speaker 2>So I'm just passing it on, you know, I'm helping it.

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<v Speaker 2>And I see kids, Bob. I mean, there's kids in

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<v Speaker 2>seventeen or eighteen, They've got three years sober. You know,

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<v Speaker 2>they are sidestepping all that ridiculous black hole that waits

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<v Speaker 2>for people who get hooked, and they're getting sober in

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<v Speaker 2>their late teens. And I thank people. I have to

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<v Speaker 2>thank people like Eric Clapton. Elton Alice Cooper was one

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<v Speaker 2>of the first people in my business that got sober.

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<v Speaker 2>You know, he's been sober like forty five years. Because

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<v Speaker 2>you know, we were all lunatics. Everyone dragged it la

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<v Speaker 2>la la la. And then suddenly someone puts a hand

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<v Speaker 2>up and says, you know, I'm Vince, Vince Fernier with

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<v Speaker 2>Alice's real name, and I'm an addict. Eric puts his

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<v Speaker 2>hand ups. I'm an addict, and without people like that

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<v Speaker 2>to help people like myself, I probably would have been dead,

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<v Speaker 2>quite honestly. So I'm just passing it on to the youngsters.

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<v Speaker 2>Saying don't go down the road is a waste of time,

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<v Speaker 2>complete waste of time.

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<v Speaker 1>Well, let's go back to the beginning in the sixties

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<v Speaker 1>and then seventies, when did mean, yeah, everybody was smoking

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<v Speaker 1>marijuana or whatever, But when did your drug increase intake increase?

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<v Speaker 2>Oh, when I started doing coke, no question, because yeah,

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<v Speaker 2>the sixties, you know, we didn't have grass in England.

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<v Speaker 2>We had hash. It would come over from Amsterdam and Germany,

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<v Speaker 2>so grass was very very rare. But we did hash.

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<v Speaker 2>So we all smoked, we dragged beer. You know, we

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<v Speaker 2>were teenagers. That's what teenagers did. But when I met

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<v Speaker 2>some people from Brazil in nineteen seventy two, there was

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<v Speaker 2>a little enclave of Brazilians living in London, and I

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<v Speaker 2>got very friendly with one of the ladies. She became

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<v Speaker 2>nearly became my wife, and they turned me on to

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<v Speaker 2>blow and it was fuck me. It was pure. It

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<v Speaker 2>was amazing. I mean it really was amazing. But once again,

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<v Speaker 2>once I did a line instead of you know, a

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<v Speaker 2>bottle of beer would last one minute, whereas before it

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<v Speaker 2>would last maybe a couple of hours. So suddenly I'm woh, wow,

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<v Speaker 2>where is the stuff? Well drumming, Yeah, come on, let's go.

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<v Speaker 2>Boom boom boom. Everything was ramped up. It was like

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<v Speaker 2>a Keystone Cops movie. Everything's sped up, and pretty soon

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<v Speaker 2>I was I was doing a lot of it. And

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<v Speaker 2>then I went to Brazil and I got really really

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<v Speaker 2>screwed up, but I still managed to function. You know,

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<v Speaker 2>there was still there was still a part of me

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<v Speaker 2>that was like, this is ridiculous. You know, you've got

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<v Speaker 2>to stop this, or at least put it on a

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<v Speaker 2>back burner. You got a career ahead of you, and

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<v Speaker 2>no one wants to hang out with druggies except other druggies.

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<v Speaker 2>And I started getting isolated from the general the sober

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<v Speaker 2>population I would have. I would avoid people who were sober.

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<v Speaker 2>I got to meet Derek Clapton at the Alba Hall

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<v Speaker 2>backstage right, and I was so nervous because I had

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<v Speaker 2>a glass of wine in my head and I opted

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<v Speaker 2>out not to meet one of the great musicians of

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<v Speaker 2>all time, you know, because I is embarrassed because I

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<v Speaker 2>was drunk, you know, just stupid things like huh so, yeah,

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<v Speaker 2>that's what That was the turning point doing the blow,

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<v Speaker 2>and I did blow for twenty years. You know.

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<v Speaker 1>The average person has no idea of what it's like

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<v Speaker 1>being on the road. You have the same group of

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<v Speaker 1>people you've known for years in the band, you're kind

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<v Speaker 1>of tired of them. You go on on the stage

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<v Speaker 1>to vast applause and it's a high that people who

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<v Speaker 1>haven't done it have no idea. Then you go back

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<v Speaker 1>with the same people in the bus. You can't fall asleep,

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<v Speaker 1>and then the sun comes up. To what degree did

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<v Speaker 1>drugs help you cope with that?

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<v Speaker 2>Well? What it was, Bob, That's a very good question.

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<v Speaker 2>It was pouring gasoline on a flame because you come

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<v Speaker 2>off and most of Bad Company shows were great. I

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<v Speaker 2>mean we came off to being bay in this applause encores.

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<v Speaker 2>I mean the group is the whole adulation la la lah,

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<v Speaker 2>and we didn't want it to stop. We're in the

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<v Speaker 2>dressing room like brah whoh man. That was great enough.

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<v Speaker 2>Get the lines out and suddenly you know, we're like,

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<v Speaker 2>we've gone to another level of euphoria. You get back,

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<v Speaker 2>get on the bush. It's a four hour bus, like,

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<v Speaker 2>oh god, all right, come on, get the guitars out.

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<v Speaker 2>Another line, la lah lah. You know, just stupid, stupid

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<v Speaker 2>stuff really but a bit nothing really, nothing compared with that.

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<v Speaker 2>A good show. And it should have stopped right there.

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<v Speaker 2>You know, that should have been enough. That should have

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<v Speaker 2>been the reward in itself, going down so well in

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<v Speaker 2>ten thousand people applauding you. But as we know that

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<v Speaker 2>it wasn't enough.

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<v Speaker 1>Okay, So how did you decide give up drinking?

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<v Speaker 2>Well, when I stopped doing blow, everything else tape it off,

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<v Speaker 2>and I still I always loved drinking wine. I love wine,

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<v Speaker 2>but I have an addicted personality. And even though I

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<v Speaker 2>managed to stop blowing, it was the best thing I

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<v Speaker 2>ever did. I still like drinking wine. And one glass

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<v Speaker 2>was never enough. Two was never enough. And when I

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<v Speaker 2>when I remarried, I had been sober for a couple

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<v Speaker 2>of years, and I remarried and I thought, well, he's

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<v Speaker 2>a lovely lady, and maybe I can And I told

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<v Speaker 2>her up front, you know, look, I've been in several

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<v Speaker 2>rehabs La la Lah. So well, I experimented and thought, well,

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<v Speaker 2>you know what, and you know what, for a couple

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<v Speaker 2>of couple of months it was okay. And then I

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<v Speaker 2>went to two glasses and then three and it just

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<v Speaker 2>started going as we say in England, it start going

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<v Speaker 2>pair shaped and it was really affecting my life and

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<v Speaker 2>my relationship. And I had a new wife and I

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<v Speaker 2>didn't really want that to impinge and effect this lovely

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<v Speaker 2>lady and my relationship with this lovely lady Maria. So

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<v Speaker 2>I said, that's it. And I've been going to meetings

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<v Speaker 2>for many, many years. They ow meetings. I don't mind

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<v Speaker 2>telling people about my drug use and drinking if it

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<v Speaker 2>helps other people, you know, because the landscape has changed.

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<v Speaker 2>As I said, you know, fifty years ago to say

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<v Speaker 2>you were an addict or an alcoholic was like whoa,

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<v Speaker 2>But you know nowadays, yeah, it's no big deal. We're

0:14:48.680 --> 0:14:49.600
<v Speaker 2>just helping each other.

0:14:50.520 --> 0:14:55.080
<v Speaker 1>To what degree did drug use and other substance abuse

0:14:55.680 --> 0:14:58.680
<v Speaker 1>affect the ending of your previous marriage?

0:15:00.080 --> 0:15:05.960
<v Speaker 2>Oh? I mean it was a sledgehammer, because well it was.

0:15:06.080 --> 0:15:09.000
<v Speaker 2>It was cyclical. I would get out of it, and

0:15:09.080 --> 0:15:12.920
<v Speaker 2>I was not the faithful husband. It was a terrible husband.

0:15:13.400 --> 0:15:16.320
<v Speaker 2>Then I get found out because drunks are not very

0:15:16.320 --> 0:15:20.120
<v Speaker 2>good at hiding their you know, their trail, so I

0:15:20.240 --> 0:15:22.560
<v Speaker 2>get found out. So then I'd leave the house and

0:15:22.600 --> 0:15:25.680
<v Speaker 2>go on some binge and it would all start again.

0:15:25.840 --> 0:15:31.640
<v Speaker 2>So it ruined my marriage, no question. And it's something

0:15:31.680 --> 0:15:34.120
<v Speaker 2>that I regret to this day. And I've been trying

0:15:34.120 --> 0:15:38.360
<v Speaker 2>to make amends to my daughters. I have three girls, Domino,

0:15:38.480 --> 0:15:43.360
<v Speaker 2>Jamiah and Lola, and you know, I've apologized to them

0:15:44.440 --> 0:15:49.200
<v Speaker 2>and it's just an ongoing thing. But no question of it,

0:15:49.200 --> 0:15:55.280
<v Speaker 2>it dealt a body blow to my marriage throughout throughout

0:15:55.440 --> 0:15:57.240
<v Speaker 2>the marriage thirty three years.

0:15:57.720 --> 0:16:00.720
<v Speaker 1>Okay, I have three daughters. All of them were successful

0:16:00.880 --> 0:16:04.160
<v Speaker 1>the arts of the role. Right, how did that happen?

0:16:06.480 --> 0:16:08.840
<v Speaker 2>I don't know of I'm very proud of them, I

0:16:08.880 --> 0:16:13.200
<v Speaker 2>have to say. I mean, we've got Jemima who's film actress.

0:16:13.240 --> 0:16:15.840
<v Speaker 2>She was in Girls and she's been in quite a

0:16:15.840 --> 0:16:21.720
<v Speaker 2>few movies. Lola who's done several quite a few movies,

0:16:21.760 --> 0:16:27.120
<v Speaker 2>but she's now a country and Western artist and very successful.

0:16:27.400 --> 0:16:32.760
<v Speaker 2>And Domino, who is she had a career, a singing career,

0:16:32.840 --> 0:16:35.360
<v Speaker 2>but she became a mum very at a young age

0:16:35.680 --> 0:16:39.440
<v Speaker 2>and that kind of sidelined her career. But she's a duela.

0:16:39.680 --> 0:16:45.920
<v Speaker 2>She delivers babies, and I'm so proud of her because,

0:16:47.480 --> 0:16:51.280
<v Speaker 2>you know, to bring children into the world man that is.

0:16:51.960 --> 0:16:56.000
<v Speaker 2>I think she's delivered about two hundred kids. So yeah,

0:16:56.320 --> 0:16:58.760
<v Speaker 2>I'm just knocked out with all of them. I love

0:16:58.800 --> 0:16:59.440
<v Speaker 2>them to bits.

0:17:00.120 --> 0:17:03.360
<v Speaker 1>How did you come up with the names with them?

0:17:04.000 --> 0:17:06.960
<v Speaker 1>They're sort of unique names or names that hadn't been

0:17:06.960 --> 0:17:07.960
<v Speaker 1>in use for a while.

0:17:09.760 --> 0:17:15.040
<v Speaker 2>Ah. It was obviously a two way street with me

0:17:15.119 --> 0:17:21.360
<v Speaker 2>and my previous wife, Lorraine Domino. There was a movie

0:17:21.680 --> 0:17:27.879
<v Speaker 2>called Shark's Machine with Burt Reynolds back in nineteen eighty

0:17:28.520 --> 0:17:31.360
<v Speaker 2>and Domino was born in eighty two, and I think

0:17:31.440 --> 0:17:34.200
<v Speaker 2>my ex had a little crush on Burt Reynolds and

0:17:34.240 --> 0:17:39.920
<v Speaker 2>the star of that film her name was Domino, so

0:17:39.960 --> 0:17:43.080
<v Speaker 2>she said, oh, that would be a lovely name. I

0:17:43.119 --> 0:17:45.879
<v Speaker 2>wanted to call her Emily. I don't know why. It

0:17:45.920 --> 0:17:52.360
<v Speaker 2>was a very English name, but no, Domino came out

0:17:52.400 --> 0:17:55.280
<v Speaker 2>of a hat, and that's what we settled with. Jemima.

0:17:56.560 --> 0:18:01.080
<v Speaker 2>There was an English series of books called mi'ma Puddle Duck,

0:18:02.119 --> 0:18:05.920
<v Speaker 2>and there was something that me and Lorain agreed on.

0:18:06.000 --> 0:18:08.680
<v Speaker 2>No Jemimah. But it's a lovely name. And of course

0:18:08.720 --> 0:18:12.320
<v Speaker 2>we didn't know about the big fat black lady over here,

0:18:13.920 --> 0:18:19.040
<v Speaker 2>Aunt Jemima so and when we moved over here in

0:18:19.119 --> 0:18:22.360
<v Speaker 2>ninety seven, permanently everyone was like, oh, you don't look

0:18:22.400 --> 0:18:26.360
<v Speaker 2>anything like Aunt Jemilah is Who the fuck's aren't Jamala

0:18:27.520 --> 0:18:31.240
<v Speaker 2>and Lola? I don't know. I think maybe the Kinks

0:18:31.240 --> 0:18:38.000
<v Speaker 2>song Lo Lo Lo Lo Lola. So, yeah, they're cool names.

0:18:38.160 --> 0:18:40.280
<v Speaker 1>Okay, how'd you meet your new wife?

0:18:41.800 --> 0:18:47.399
<v Speaker 2>Okay, good story. I'm a good friend of Ronnie Wood

0:18:47.600 --> 0:18:51.040
<v Speaker 2>and I was over in England and he said, look,

0:18:51.080 --> 0:18:53.439
<v Speaker 2>I'm coming to New York. We're doing a tribute to

0:18:53.560 --> 0:18:57.320
<v Speaker 2>Jimmy Reid the Cutting Room, which is a great club

0:18:57.400 --> 0:19:00.199
<v Speaker 2>in New York City, and I lived in New York.

0:19:00.280 --> 0:19:03.240
<v Speaker 2>I was just visiting. The said you want to play drums?

0:19:03.280 --> 0:19:05.119
<v Speaker 2>I said, well, I'd love to run it. You know,

0:19:05.800 --> 0:19:09.600
<v Speaker 2>she's our cooper on Hammond. We got a great bass

0:19:09.600 --> 0:19:12.960
<v Speaker 2>player and a couple of guests. Mick Taylor's on guitar. Yeah,

0:19:13.240 --> 0:19:16.000
<v Speaker 2>I'm in. So I went down to the Cutting Room

0:19:16.680 --> 0:19:20.640
<v Speaker 2>for a sound check and as I walked in, there

0:19:20.680 --> 0:19:23.639
<v Speaker 2>was a lady, a greeter, you know, taking the names

0:19:23.640 --> 0:19:29.160
<v Speaker 2>on the door, and this was Maria, Maria Figuretta, and

0:19:29.320 --> 0:19:34.240
<v Speaker 2>my jaw just dropped because she was so beautiful, and I,

0:19:34.680 --> 0:19:37.720
<v Speaker 2>you know, I mean, I didn't say anything. I was

0:19:37.760 --> 0:19:40.480
<v Speaker 2>so tongue tied, and I just went down into the

0:19:40.520 --> 0:19:44.200
<v Speaker 2>dressing room, got ready, and I couldn't get her out

0:19:44.240 --> 0:19:47.200
<v Speaker 2>of my brain. And then blur and behold she walks

0:19:47.280 --> 0:19:52.399
<v Speaker 2>in the dressing room was the manager's office. She needed

0:19:52.440 --> 0:19:55.800
<v Speaker 2>to get something from the office, and my first words

0:19:55.840 --> 0:19:59.879
<v Speaker 2>to her were hallo, hello, Hello. That was the first

0:20:00.040 --> 0:20:03.560
<v Speaker 2>words to my future wife. And she got all flustered

0:20:03.600 --> 0:20:06.600
<v Speaker 2>and said, oh, I've just got to get some and

0:20:07.160 --> 0:20:11.560
<v Speaker 2>kind of fled the office because she said later, I've

0:20:11.800 --> 0:20:16.280
<v Speaker 2>kind of embarrassed him. We were kind of mutually smitten,

0:20:17.080 --> 0:20:19.000
<v Speaker 2>and at the end of the show, you know, I

0:20:19.080 --> 0:20:21.280
<v Speaker 2>got a number and I was still married. I mean

0:20:21.359 --> 0:20:24.560
<v Speaker 2>I was, but it was on the rocks. So we

0:20:24.680 --> 0:20:29.399
<v Speaker 2>started this love affair. Really that lasted for a couple

0:20:29.400 --> 0:20:32.199
<v Speaker 2>of years until we finally got married and the divorce

0:20:32.280 --> 0:20:40.760
<v Speaker 2>came through and we married six years ago.

0:20:42.760 --> 0:20:48.680
<v Speaker 1>Okay, now, with Nick indisposed, Paul having his health problems,

0:20:49.080 --> 0:20:50.160
<v Speaker 1>what does that leave you?

0:20:52.600 --> 0:20:56.879
<v Speaker 2>Aha, Well, I'm like a dog without a tail at

0:20:56.920 --> 0:21:01.720
<v Speaker 2>the moment. I'm but what I am doing is I'm

0:21:02.000 --> 0:21:06.480
<v Speaker 2>co writing a rock opera, a rock musical about addiction

0:21:07.560 --> 0:21:13.320
<v Speaker 2>called rock Bottom, and we're putting it together and yeah, thanks,

0:21:13.359 --> 0:21:16.600
<v Speaker 2>So everyone I say is that's a great name, and

0:21:16.640 --> 0:21:20.960
<v Speaker 2>it's about addiction, and it's I'm writing it with an

0:21:21.000 --> 0:21:27.280
<v Speaker 2>interventionist drug counselor and he's a drummer with the Delf

0:21:27.359 --> 0:21:32.320
<v Speaker 2>Fegos up in Boston. His name's Woody Geeseman and a

0:21:32.320 --> 0:21:37.240
<v Speaker 2>comedian called Tony Viveros. And we've done the script. We've

0:21:37.240 --> 0:21:42.239
<v Speaker 2>written about fifteen songs and we're honing it as we

0:21:42.320 --> 0:21:47.520
<v Speaker 2>speak with We have bi weekly writing sessions. The songs

0:21:47.520 --> 0:21:51.240
<v Speaker 2>are pretty much recorded and it's really shaping up nicely.

0:21:51.280 --> 0:21:53.840
<v Speaker 2>It's taking up a lot of my time. But that

0:21:54.040 --> 0:21:58.360
<v Speaker 2>being said, you know, I do miss playing. I love playing,

0:21:58.520 --> 0:22:02.400
<v Speaker 2>and you know, plays some shows with g Smith, great

0:22:02.440 --> 0:22:09.399
<v Speaker 2>guitar player who lives in Long Island, and we do

0:22:09.440 --> 0:22:13.800
<v Speaker 2>the occasional show together. I would never start a group again.

0:22:13.880 --> 0:22:15.560
<v Speaker 2>I'm too old. I don't want to go through all

0:22:15.560 --> 0:22:21.440
<v Speaker 2>that rigmarole. But I would happily do shows with other

0:22:21.560 --> 0:22:24.600
<v Speaker 2>people if they want me around. You know, I'm seventy four.

0:22:24.640 --> 0:22:28.080
<v Speaker 2>I don't know how much time I've got left actual playing.

0:22:28.240 --> 0:22:31.680
<v Speaker 2>But you look people like Ringo who still plays well.

0:22:32.640 --> 0:22:36.240
<v Speaker 2>I mean, he's another example. I should have mentioned him

0:22:36.240 --> 0:22:40.719
<v Speaker 2>back in the sobriety section. Ringo is a huge example

0:22:40.840 --> 0:22:44.840
<v Speaker 2>of getting me sober and he still plays well. So

0:22:45.320 --> 0:22:49.440
<v Speaker 2>he still plays great. Actually, So I'm around and I'm

0:22:49.440 --> 0:22:53.480
<v Speaker 2>getting into film scoring. I really love I've scored a

0:22:53.520 --> 0:22:57.000
<v Speaker 2>couple of independent movies. I really love doing that. I've

0:22:57.040 --> 0:23:00.959
<v Speaker 2>got a studio here, I've got all the you know,

0:23:01.040 --> 0:23:04.359
<v Speaker 2>all the toys, and I'm a big, big fan of

0:23:05.080 --> 0:23:08.719
<v Speaker 2>movie scoring, So that's what I want to do. And songwriting.

0:23:08.840 --> 0:23:10.160
<v Speaker 2>I love writing song.

0:23:10.920 --> 0:23:17.000
<v Speaker 1>Okay, you talk about all this drug use and that

0:23:17.080 --> 0:23:20.959
<v Speaker 1>eats up a lot of cash. So where does that

0:23:21.080 --> 0:23:22.320
<v Speaker 1>leave you financially?

0:23:23.600 --> 0:23:27.000
<v Speaker 2>Well, not just that, but also the rehabs and I

0:23:27.040 --> 0:23:31.560
<v Speaker 2>you know, I've written a lot of songs about about

0:23:32.720 --> 0:23:35.880
<v Speaker 2>getting sober and the most expensive songs out of the road.

0:23:36.560 --> 0:23:39.920
<v Speaker 2>Where does that leave me? Well, rehabs about fifty grand

0:23:39.920 --> 0:23:42.280
<v Speaker 2>a pop. Now, you know, so I've been to seven.

0:23:42.400 --> 0:23:46.560
<v Speaker 2>So do the math. Where does it leave me financially?

0:23:46.880 --> 0:23:51.440
<v Speaker 2>I'm okay, uncomfortable. I'm not rich by any stretch. I'm

0:23:51.640 --> 0:23:55.680
<v Speaker 2>square over the irs, that's the main thing. I mean,

0:23:55.680 --> 0:23:59.600
<v Speaker 2>a lot of my contemporaries and Beata Grant, my old manager,

0:24:00.000 --> 0:24:03.200
<v Speaker 2>I mean he and I found out that. I mean,

0:24:03.280 --> 0:24:07.240
<v Speaker 2>he was well in hock to the the Vatman the

0:24:07.359 --> 0:24:12.480
<v Speaker 2>VAT in England, which is pretty pretty much allied with

0:24:12.600 --> 0:24:15.639
<v Speaker 2>the irs. He was in hock for millions. He had

0:24:15.680 --> 0:24:18.760
<v Speaker 2>to sell his houselah la lah. So I always remember,

0:24:19.240 --> 0:24:23.600
<v Speaker 2>keep square with the irs, because they are piranas. They

0:24:23.640 --> 0:24:27.520
<v Speaker 2>will come after you. So I'm okay. I mean it's

0:24:28.119 --> 0:24:30.560
<v Speaker 2>you know, money is like sleep and sex. You can

0:24:30.600 --> 0:24:32.880
<v Speaker 2>always do with a little bit more. But I'm quite

0:24:32.920 --> 0:24:33.920
<v Speaker 2>happy with what I got.

0:24:35.160 --> 0:24:42.480
<v Speaker 1>Okay, in the seventies, you're recognizably famous now years later,

0:24:43.240 --> 0:24:46.480
<v Speaker 1>anybody ever recognize you when you say who you are?

0:24:47.119 --> 0:24:49.640
<v Speaker 1>Do they realize who you are? What's it like being

0:24:49.760 --> 0:24:51.600
<v Speaker 1>a rock star at this point in time.

0:24:52.280 --> 0:24:55.320
<v Speaker 2>Well, I'm not a rock star anymore. I'm well known

0:24:55.560 --> 0:25:00.760
<v Speaker 2>in the industry. I've had a good run. And oddly enough,

0:25:00.920 --> 0:25:05.320
<v Speaker 2>here's the weird thing. I got recognized in two places.

0:25:05.400 --> 0:25:07.840
<v Speaker 2>You would not believe. I was walking in the jungle

0:25:07.920 --> 0:25:11.639
<v Speaker 2>in Brazil, right on a hike while I was staying

0:25:11.840 --> 0:25:16.000
<v Speaker 2>with one of my daughters at a camp, some adventure camp,

0:25:16.080 --> 0:25:18.080
<v Speaker 2>and we're doing a hike through the jungle and there's

0:25:18.080 --> 0:25:22.040
<v Speaker 2>another four or five people coming the other way towards us,

0:25:22.320 --> 0:25:26.520
<v Speaker 2>and as we drew abreast, the guy says, you'll signing, Kirk.

0:25:27.080 --> 0:25:30.000
<v Speaker 2>You've got to be kidding. I swear to God. He said,

0:25:30.080 --> 0:25:32.960
<v Speaker 2>I love you playing man, Thanks God bless and off

0:25:33.040 --> 0:25:35.800
<v Speaker 2>he went the other direction. And then I was in

0:25:35.960 --> 0:25:42.200
<v Speaker 2>Cuba with my wife, whose father is Cuban, and with him,

0:25:42.600 --> 0:25:45.080
<v Speaker 2>and we were in this little village and we were

0:25:45.119 --> 0:25:47.320
<v Speaker 2>having a couple of coffee somewhere. It's about one in

0:25:47.400 --> 0:25:51.040
<v Speaker 2>the afternoon. They sitting around a table, and these guys

0:25:51.119 --> 0:25:54.160
<v Speaker 2>were walking carrying a guitar case and a little drum

0:25:54.280 --> 0:26:00.000
<v Speaker 2>case and they started. I said wow, and they said,

0:26:00.160 --> 0:26:03.439
<v Speaker 2>look with rehearsing, you want to come and play with us.

0:26:04.119 --> 0:26:08.240
<v Speaker 2>I couldn't say no. So it does happen very occasionally,

0:26:08.359 --> 0:26:12.080
<v Speaker 2>and it's nice. But you know, being in the drama, Bob,

0:26:12.440 --> 0:26:16.480
<v Speaker 2>you're always hidden by behind the symbols and the rat Tom.

0:26:16.920 --> 0:26:20.320
<v Speaker 2>No one really knows. Yeah, it's not like I'm Paul

0:26:20.400 --> 0:26:23.600
<v Speaker 2>Rodgers or Mick Row. It's okay.

0:26:24.359 --> 0:26:27.800
<v Speaker 1>So at this point, do you only play drums when

0:26:27.920 --> 0:26:31.080
<v Speaker 1>someone calls you, like gee, whatever? Or do you ever

0:26:31.200 --> 0:26:34.240
<v Speaker 1>play for your own fun? Oh?

0:26:34.359 --> 0:26:36.920
<v Speaker 2>Yeah, I mean I I still have a kit next

0:26:37.000 --> 0:26:41.320
<v Speaker 2>door in my my, my basement. I'm speaking to you

0:26:41.480 --> 0:26:44.560
<v Speaker 2>from a little room next to the basement where I

0:26:44.640 --> 0:26:48.240
<v Speaker 2>have all my keyboards and guitar. But I'll put on

0:26:48.400 --> 0:26:51.320
<v Speaker 2>some Motis reading or Wilson Pickett or Bonnie Rait. I

0:26:51.440 --> 0:26:54.600
<v Speaker 2>love Bonnie raight, and I'll play along to her, or

0:26:54.720 --> 0:26:58.080
<v Speaker 2>then just to I just love playing drums. It's just

0:26:58.800 --> 0:27:03.080
<v Speaker 2>when you're playing drum by yourself, it doesn't really achieve

0:27:03.200 --> 0:27:06.480
<v Speaker 2>that much. It's not like playing piano where you can

0:27:06.560 --> 0:27:10.760
<v Speaker 2>really get lost. But I was never one for practicing.

0:27:11.480 --> 0:27:15.080
<v Speaker 2>I'm a field drummer. I'm not a progressive rock drummer

0:27:15.119 --> 0:27:18.719
<v Speaker 2>who needs to do paradidls and double flams and all

0:27:18.800 --> 0:27:22.600
<v Speaker 2>that stuff. I lead that to people like Simon Phillips

0:27:22.760 --> 0:27:27.440
<v Speaker 2>or Dave Weckel or Vinicolo Uto who plays with Sting.

0:27:27.640 --> 0:27:31.720
<v Speaker 2>I mean, those guys are like whoa. But you know,

0:27:32.119 --> 0:27:36.280
<v Speaker 2>I'm a musician just happens to play a few instruments.

0:27:37.359 --> 0:27:39.240
<v Speaker 1>So let's go back to the beginning. So where did

0:27:39.320 --> 0:27:39.800
<v Speaker 1>you grow up.

0:27:41.359 --> 0:27:43.879
<v Speaker 2>I grew up. I was born in London, and then

0:27:43.920 --> 0:27:47.520
<v Speaker 2>when I was about nine, we moved to the border

0:27:47.600 --> 0:27:50.720
<v Speaker 2>of Wales on the English side, about one hundred and

0:27:50.760 --> 0:27:53.960
<v Speaker 2>fifty miles northwest of London, and I was there for

0:27:54.520 --> 0:27:55.040
<v Speaker 2>ten years.

0:27:55.240 --> 0:27:56.960
<v Speaker 1>What was that like? Was it like being in the

0:27:57.040 --> 0:28:02.680
<v Speaker 1>boonies or was it sophistically? No, it was not.

0:28:02.920 --> 0:28:05.879
<v Speaker 2>We had no electricity or running water for seven years.

0:28:07.760 --> 0:28:10.480
<v Speaker 1>You grew up in London. Why did your parents move

0:28:11.080 --> 0:28:11.560
<v Speaker 1>out there?

0:28:12.520 --> 0:28:16.280
<v Speaker 2>Well, I think my dad owed some money, I'll be honest.

0:28:16.760 --> 0:28:21.040
<v Speaker 2>We suddenly almost overnight. I was about seven or eight

0:28:22.119 --> 0:28:24.960
<v Speaker 2>nineteen fifty seven. I was eight years old. We moved

0:28:25.000 --> 0:28:29.320
<v Speaker 2>in nineteen fifty seven and it was a big adventure

0:28:29.359 --> 0:28:31.239
<v Speaker 2>for me and my brothers. I mean, we didn't give

0:28:31.280 --> 0:28:36.160
<v Speaker 2>a shit. It's great, but I'll never forget this. Bob.

0:28:36.440 --> 0:28:39.760
<v Speaker 2>And I was only eight and our dad had gone ahead,

0:28:40.000 --> 0:28:45.760
<v Speaker 2>maybe a few weeks prior, and he telegrammed, Mum, so

0:28:45.960 --> 0:28:47.959
<v Speaker 2>I had a house, la la lah, come on up

0:28:49.080 --> 0:28:52.320
<v Speaker 2>and we met us at the station. We had a

0:28:52.360 --> 0:28:54.600
<v Speaker 2>couple of suitcases who were a bit like the Beverly

0:28:54.720 --> 0:28:58.040
<v Speaker 2>Hill Billies, and he had the shitty old Austin seven

0:28:58.160 --> 0:29:01.440
<v Speaker 2>car and we drove and drove and drove hours to

0:29:01.560 --> 0:29:05.240
<v Speaker 2>this little cottage on a hill. It sounds very romantic,

0:29:05.800 --> 0:29:10.440
<v Speaker 2>but I'll never forget. It was dusk was falling, maybe

0:29:10.560 --> 0:29:13.920
<v Speaker 2>six o'clock in the evening, and mom he opened the

0:29:14.000 --> 0:29:17.320
<v Speaker 2>door and she scraped the wall with her hand for

0:29:17.440 --> 0:29:21.320
<v Speaker 2>a light switch, and there was no light switch. And

0:29:21.480 --> 0:29:23.800
<v Speaker 2>Dad said, well, I didn't tell you this, but we

0:29:23.880 --> 0:29:27.120
<v Speaker 2>have no electricity, and she said, well, you mean the

0:29:27.200 --> 0:29:30.240
<v Speaker 2>bill hasn't been paid, So no, this house does not

0:29:30.600 --> 0:29:34.440
<v Speaker 2>have electricity. And by the way, there's no run in

0:29:34.520 --> 0:29:36.600
<v Speaker 2>water either. We have to get water from the well.

0:29:37.720 --> 0:29:41.640
<v Speaker 2>And that was my home for about six years. So

0:29:43.000 --> 0:29:46.880
<v Speaker 2>for a kid who actually wasn't that bad. We read

0:29:46.960 --> 0:29:51.640
<v Speaker 2>by a candlelight, we had a little gas lamp, and

0:29:51.800 --> 0:29:53.720
<v Speaker 2>we walked to school. I mean, it was quite a

0:29:53.840 --> 0:29:58.760
<v Speaker 2>spartan existence, but it really taught me a lot about

0:29:58.840 --> 0:30:03.960
<v Speaker 2>self sufficiency and just being thankful for today's luxuries, you know.

0:30:04.240 --> 0:30:06.760
<v Speaker 2>But it was tough on my mom. She was only

0:30:06.800 --> 0:30:11.760
<v Speaker 2>about thirty six, beautiful woman, and she'd been dragged from London,

0:30:12.640 --> 0:30:15.680
<v Speaker 2>leaving her friends behind. I think he owed money, quite honestly.

0:30:16.080 --> 0:30:18.040
<v Speaker 2>He was a bit of than they're do well. My

0:30:18.200 --> 0:30:21.640
<v Speaker 2>dad but there it is. How many kids were in

0:30:21.680 --> 0:30:24.520
<v Speaker 2>the family, three brothers.

0:30:24.400 --> 0:30:25.800
<v Speaker 1>And where are you in the hierarchy?

0:30:26.640 --> 0:30:28.680
<v Speaker 2>I was in the middle, middle child.

0:30:28.800 --> 0:30:31.120
<v Speaker 1>Okay, I'm a middle kid too. Usually you're kind of

0:30:31.200 --> 0:30:34.360
<v Speaker 1>caught lost of the shovel. But I know, man hoten

0:30:34.440 --> 0:30:36.960
<v Speaker 1>dreams are in the oldest one. The other one's a baby.

0:30:37.560 --> 0:30:40.480
<v Speaker 1>So what kind of kid were you? A good school,

0:30:40.680 --> 0:30:44.680
<v Speaker 1>bad school athlete? Friend that was good.

0:30:45.000 --> 0:30:47.480
<v Speaker 2>I you know, they say I'm the people pleaser. I

0:30:47.520 --> 0:30:51.920
<v Speaker 2>don't like that. I'm a people respector. And I always

0:30:51.960 --> 0:30:54.480
<v Speaker 2>wanted to do well. Number one. I wanted to get

0:30:54.560 --> 0:30:58.120
<v Speaker 2>the hell out of that. It was not our you know,

0:30:58.240 --> 0:31:02.560
<v Speaker 2>we were city folk, and it became pretty apparent to

0:31:02.680 --> 0:31:06.200
<v Speaker 2>me quite quickly that we didn't really fit in there.

0:31:06.520 --> 0:31:09.680
<v Speaker 2>You know, this was way out in this like Idaho.

0:31:09.880 --> 0:31:12.719
<v Speaker 2>We were way out in the boonies, and we had

0:31:12.800 --> 0:31:16.240
<v Speaker 2>this plumbing accent. This we stuck out like sore thumbs.

0:31:17.120 --> 0:31:21.720
<v Speaker 2>And even though it was a beautiful part of the world,

0:31:22.000 --> 0:31:24.880
<v Speaker 2>it just wasn't for me. And by the time I

0:31:25.080 --> 0:31:28.520
<v Speaker 2>was about thirteen and the Beatles came along in sixty

0:31:28.600 --> 0:31:33.080
<v Speaker 2>two sixty three and music kind of grabbed me. I

0:31:33.200 --> 0:31:36.680
<v Speaker 2>knew that I needed to get out of that area

0:31:36.960 --> 0:31:40.880
<v Speaker 2>in Shropshire and go back down to London and try

0:31:40.880 --> 0:31:42.440
<v Speaker 2>and make a go of being a musician.

0:31:43.840 --> 0:31:48.040
<v Speaker 1>Okay, you know English radio market's completely different. You didn't

0:31:48.040 --> 0:31:51.200
<v Speaker 1>have any electricity, so you can't play the records.

0:31:51.880 --> 0:31:52.080
<v Speaker 3>Yeah.

0:31:52.360 --> 0:31:54.600
<v Speaker 1>How many radio stations? I mean, how did you hear

0:31:54.760 --> 0:31:55.240
<v Speaker 1>the music?

0:31:56.560 --> 0:31:59.560
<v Speaker 2>Well, a great question. We had little transistor radios which

0:31:59.720 --> 0:32:03.520
<v Speaker 2>ran on a batteries and there was this one, thank

0:32:03.640 --> 0:32:07.120
<v Speaker 2>god for it, there was this one radio station called

0:32:07.200 --> 0:32:10.480
<v Speaker 2>Radio Luxembourg on the AM dial two to eight to.

0:32:11.560 --> 0:32:15.400
<v Speaker 2>And Luxembourg is a tiny country sandwich between France and Belgium.

0:32:16.160 --> 0:32:19.080
<v Speaker 2>And for some reason, I think it catered to the

0:32:21.120 --> 0:32:24.320
<v Speaker 2>the American forces who were stationed after the Second World

0:32:24.320 --> 0:32:29.080
<v Speaker 2>War were stationed all over Europe, so they played they

0:32:29.400 --> 0:32:33.360
<v Speaker 2>played black music. They pretty much played black music. I mean,

0:32:34.320 --> 0:32:39.720
<v Speaker 2>if you remember Good Morning Vietnam, right, remember when yeah

0:32:39.800 --> 0:32:42.800
<v Speaker 2>Robin comes on, they're playing Lawrence Welk and they're playing

0:32:42.800 --> 0:32:46.840
<v Speaker 2>in these little waltzits and shit, and then Robin Williams

0:32:46.920 --> 0:32:49.720
<v Speaker 2>comes on and the whole place. Well that's what Radio

0:32:49.800 --> 0:32:52.720
<v Speaker 2>Luxembourg was, and you could hear it on your little

0:32:52.760 --> 0:32:57.120
<v Speaker 2>transistor radio. And then and I keep forgetting to mention this.

0:32:57.440 --> 0:33:03.160
<v Speaker 2>The pirate radio stations took up residents just off the

0:33:03.280 --> 0:33:07.040
<v Speaker 2>three mile limit around England and they could play whatever

0:33:07.080 --> 0:33:10.840
<v Speaker 2>they want because they were outside, they were in international waters.

0:33:11.120 --> 0:33:15.719
<v Speaker 2>So Radio Caroline Radio Veronica were the two big pirate

0:33:15.800 --> 0:33:21.240
<v Speaker 2>stations and they started playing real albums, not just single

0:33:22.080 --> 0:33:26.120
<v Speaker 2>So you had this perfect storm of the pirate radio stations,

0:33:26.400 --> 0:33:31.920
<v Speaker 2>Radio Luxembourg and then the Beatles in sixty three. And

0:33:32.800 --> 0:33:37.640
<v Speaker 2>in sixty three I was fourteen, and my interest in

0:33:38.320 --> 0:33:44.280
<v Speaker 2>drumming took off because having played on little pots and

0:33:44.400 --> 0:33:48.800
<v Speaker 2>pans and books on my bed with my transistor radio earpiece.

0:33:50.000 --> 0:33:54.320
<v Speaker 2>We moved to a house that actually had electricity after

0:33:55.600 --> 0:33:59.680
<v Speaker 2>six years of living in this cottage, and we got

0:33:59.680 --> 0:34:01.960
<v Speaker 2>in a a dem I got a very first TV

0:34:03.560 --> 0:34:06.000
<v Speaker 2>and one of the first programs I ever saw was

0:34:06.160 --> 0:34:08.440
<v Speaker 2>it was a black and white set and it was

0:34:08.480 --> 0:34:12.840
<v Speaker 2>this program called All That Jazz and it featured big bands.

0:34:14.120 --> 0:34:18.439
<v Speaker 2>And I'll never ever forget this. Seeing the curtains drew

0:34:18.520 --> 0:34:22.440
<v Speaker 2>back and there was this huge band, maybe twenty piece band,

0:34:22.800 --> 0:34:26.080
<v Speaker 2>and the drums, I was like, Wow, what is this

0:34:26.280 --> 0:34:30.399
<v Speaker 2>guy playing? And I'll never forget it. And I think

0:34:30.480 --> 0:34:34.239
<v Speaker 2>that was the lightning bolt which zap me. And that's

0:34:34.320 --> 0:34:36.360
<v Speaker 2>when I really that's what I wanted to do, be

0:34:36.480 --> 0:34:37.000
<v Speaker 2>a drummer.

0:34:37.880 --> 0:34:41.440
<v Speaker 1>Okay, then there are a couple of steps A getting

0:34:41.520 --> 0:34:45.560
<v Speaker 1>a drum kit, b forming a band. So what was

0:34:45.640 --> 0:34:47.160
<v Speaker 1>happening out there in Shropshire.

0:34:48.360 --> 0:34:53.560
<v Speaker 2>Well, I should write a book about this. I got

0:34:53.640 --> 0:34:57.279
<v Speaker 2>in a band, a high school band. I got a

0:34:57.320 --> 0:35:00.960
<v Speaker 2>little snare drum my parents bought me for Christmas and

0:35:01.040 --> 0:35:03.960
<v Speaker 2>I started just bashing on this little snare drum and

0:35:04.440 --> 0:35:07.080
<v Speaker 2>every like most high schools throughout the world, we'd have

0:35:07.160 --> 0:35:10.040
<v Speaker 2>an annual concert at the end of every year, every

0:35:10.520 --> 0:35:13.759
<v Speaker 2>and every school year. And I did, I don't know,

0:35:14.320 --> 0:35:20.000
<v Speaker 2>wipe out the Safaris Doom Doom Doom, Doom, Doom Doom do.

0:35:20.800 --> 0:35:23.759
<v Speaker 2>And that became a party piece. And there was a

0:35:23.800 --> 0:35:27.720
<v Speaker 2>little drum kit that they had in the school. Anyway,

0:35:28.200 --> 0:35:30.680
<v Speaker 2>So I'm coming back on the school bus, which you know,

0:35:30.840 --> 0:35:33.680
<v Speaker 2>back from from the school to my house about a

0:35:33.960 --> 0:35:37.160
<v Speaker 2>six mile drive, and I'm getting off the bus and

0:35:37.280 --> 0:35:41.680
<v Speaker 2>the bus driver says, oh, Simon, I hear you play drums.

0:35:42.320 --> 0:35:45.080
<v Speaker 2>I said, well, yeah, I do. Yeah. He said, well,

0:35:45.080 --> 0:35:47.080
<v Speaker 2>look do you want to come and play with me?

0:35:47.640 --> 0:35:50.040
<v Speaker 2>What what the fuck. He said, well, I have a

0:35:50.080 --> 0:35:53.200
<v Speaker 2>little This was before disco, so the word didn't come up.

0:35:53.280 --> 0:35:55.960
<v Speaker 2>He said, I have a stack of records which I

0:35:56.080 --> 0:35:59.799
<v Speaker 2>go around the village halls and I play on my turntable.

0:36:00.360 --> 0:36:02.920
<v Speaker 2>And I think it would be a good idea, novelty

0:36:03.600 --> 0:36:06.560
<v Speaker 2>if you brought your little drum kit and sat next

0:36:06.600 --> 0:36:09.960
<v Speaker 2>to me and played along with it. I said, wow,

0:36:10.920 --> 0:36:13.080
<v Speaker 2>And you know, Bob, that's what I did. For two years.

0:36:14.400 --> 0:36:18.840
<v Speaker 2>They got permission for my parents, and I played my

0:36:18.960 --> 0:36:23.239
<v Speaker 2>little drum kit, playing along to Can't Buy Me Love,

0:36:23.719 --> 0:36:28.360
<v Speaker 2>or the Supremes, or Jim Clark Country and Western, the

0:36:28.480 --> 0:36:33.520
<v Speaker 2>occasional waltz, and I played for about two two hours

0:36:33.600 --> 0:36:36.800
<v Speaker 2>every night, and I had to keep in time otherwise

0:36:36.880 --> 0:36:39.759
<v Speaker 2>it would be a train wreck. And that's where I

0:36:39.880 --> 0:36:42.400
<v Speaker 2>think I had developed this. I got a pretty good

0:36:42.520 --> 0:36:46.240
<v Speaker 2>sense of time. But those two years of playing along

0:36:46.320 --> 0:36:51.640
<v Speaker 2>to those records were an invaluable education for me. And

0:36:51.800 --> 0:36:54.840
<v Speaker 2>that really and people applauded. I mean, they weren't just

0:36:54.920 --> 0:36:57.759
<v Speaker 2>doing it out of kindness, because country folk can be

0:36:57.840 --> 0:37:00.959
<v Speaker 2>pretty tough, especially when they played it hard earned money.

0:37:01.640 --> 0:37:05.320
<v Speaker 2>They don't want some little wet behind the ears idiot

0:37:05.520 --> 0:37:11.279
<v Speaker 2>ruining their dance. So you know, wherever I went, they said,

0:37:11.320 --> 0:37:14.279
<v Speaker 2>oh this new kids are really good and that's what

0:37:14.520 --> 0:37:18.400
<v Speaker 2>gave me the idea. I really wanted to be a drummer,

0:37:18.520 --> 0:37:23.000
<v Speaker 2>at least given my give it a shot. So a

0:37:23.120 --> 0:37:27.719
<v Speaker 2>quick sideline. In England, there's two tiers of education. There's

0:37:27.840 --> 0:37:33.359
<v Speaker 2>O level Ordinary level, these are like exams, or there's

0:37:33.360 --> 0:37:36.799
<v Speaker 2>A level Advanced level and with A levels you can

0:37:36.840 --> 0:37:41.480
<v Speaker 2>get into pretty good colleges or university. O level you

0:37:41.640 --> 0:37:43.920
<v Speaker 2>finish at sixteen and you go off and you get

0:37:44.280 --> 0:37:47.200
<v Speaker 2>so and so I wanted to leave school at sixteen

0:37:47.760 --> 0:37:51.000
<v Speaker 2>because I wanted to go down to London. My mum

0:37:51.040 --> 0:37:55.600
<v Speaker 2>and dad said no, because if you fail at what

0:37:55.719 --> 0:37:59.040
<v Speaker 2>you're doing and you come back to Shwropshire with only

0:37:59.200 --> 0:38:02.160
<v Speaker 2>two or three O levels, you can't get you get

0:38:02.239 --> 0:38:06.360
<v Speaker 2>into community college, you can't do anything. Stay another two years,

0:38:06.719 --> 0:38:11.240
<v Speaker 2>get A levels and then we'll give you two years.

0:38:11.719 --> 0:38:14.680
<v Speaker 2>You leave school at eighteen, we'll give you two years

0:38:15.200 --> 0:38:17.840
<v Speaker 2>to do what you want, try and be a success,

0:38:18.520 --> 0:38:20.400
<v Speaker 2>and then you come back at the age of twenty

0:38:20.560 --> 0:38:23.279
<v Speaker 2>with I got three A levels, you can go to

0:38:23.360 --> 0:38:27.680
<v Speaker 2>a decent college. So that's what I did. I had

0:38:27.680 --> 0:38:31.440
<v Speaker 2>to put my plans on the shelf for two years

0:38:32.400 --> 0:38:36.560
<v Speaker 2>and I stayed the extra sixteen seventeen eighteen and I

0:38:36.680 --> 0:38:40.080
<v Speaker 2>got a levels and that's when I left home and

0:38:40.280 --> 0:38:43.279
<v Speaker 2>fingers crossed, I went down to London to give it

0:38:43.360 --> 0:38:43.480
<v Speaker 2>a go.

0:38:43.600 --> 0:38:46.640
<v Speaker 1>Wait wait, wait, before you go to London, you're playing

0:38:46.680 --> 0:38:49.520
<v Speaker 1>with the bus driver or on to records. Oh yeah,

0:38:49.680 --> 0:38:51.200
<v Speaker 1>did you ever form any beer?

0:38:51.520 --> 0:38:51.719
<v Speaker 3>Yeah?

0:38:51.840 --> 0:38:52.040
<v Speaker 1>Yeah.

0:38:52.280 --> 0:38:54.759
<v Speaker 2>I was in two bands. One was called the Maniacs,

0:38:54.880 --> 0:38:57.279
<v Speaker 2>which I still think is one of the greatest band

0:38:57.400 --> 0:39:02.919
<v Speaker 2>names ever. They have seen me at doing my little

0:39:03.080 --> 0:39:06.200
<v Speaker 2>disco drumming and this guy came up and he said, yeah,

0:39:06.280 --> 0:39:09.759
<v Speaker 2>he played really good mate for a kid. You want

0:39:09.800 --> 0:39:13.440
<v Speaker 2>to be in our band? And I said yes please.

0:39:14.400 --> 0:39:17.920
<v Speaker 2>And this band had one amp. There was four of us,

0:39:18.040 --> 0:39:22.560
<v Speaker 2>now five of us. This amp had twelve inputs, the

0:39:22.680 --> 0:39:26.640
<v Speaker 2>only the only amp ever made with twelve inputs. We

0:39:26.760 --> 0:39:28.560
<v Speaker 2>all went through this one app can you believe it?

0:39:29.719 --> 0:39:34.239
<v Speaker 2>Until it burst into flames on one show. So after

0:39:34.360 --> 0:39:38.080
<v Speaker 2>the Maniacs, I joined a band called the heat Wave

0:39:38.920 --> 0:39:41.600
<v Speaker 2>after Martha and the Van Della's song. And it was

0:39:41.640 --> 0:39:46.120
<v Speaker 2>a trio me singing Tony Lansit on guitar and Stuart

0:39:46.200 --> 0:39:49.960
<v Speaker 2>McDonald on bass and we got pretty good. We went

0:39:50.040 --> 0:39:53.680
<v Speaker 2>all over the little tri state area and that lasted

0:39:53.719 --> 0:39:57.400
<v Speaker 2>about eighteen months and then I got ready to go

0:39:57.560 --> 0:40:01.560
<v Speaker 2>down to the big city and give myself a shot.

0:40:01.680 --> 0:40:05.840
<v Speaker 1>Okay, the problem with the drummer is the equipment. Usually

0:40:05.960 --> 0:40:08.360
<v Speaker 1>they have a station wagon. You got a show, so

0:40:08.520 --> 0:40:11.080
<v Speaker 1>you're going to leave Shropshire. How do you get to

0:40:11.160 --> 0:40:13.200
<v Speaker 1>get your drum kit to London? And where are you

0:40:13.280 --> 0:40:13.920
<v Speaker 1>going to stay?

0:40:16.120 --> 0:40:20.160
<v Speaker 2>Well, this is where serendipity kicks in. Because my one

0:40:20.200 --> 0:40:24.160
<v Speaker 2>of my distatblatives, Lovely Lady, she's no longer with us.

0:40:24.680 --> 0:40:28.239
<v Speaker 2>Her family offered to put me up down in Twickenham,

0:40:28.280 --> 0:40:31.400
<v Speaker 2>which was a suburb of London, and her son was

0:40:31.440 --> 0:40:33.719
<v Speaker 2>a drummer. Can you believe that he had a kit?

0:40:34.440 --> 0:40:37.040
<v Speaker 2>So I could, you know, practice or whatever. And when

0:40:37.080 --> 0:40:41.160
<v Speaker 2>I went to auditions there were drums there, so no,

0:40:41.480 --> 0:40:45.319
<v Speaker 2>I didn't have to schlep you know my kit down.

0:40:45.680 --> 0:40:47.600
<v Speaker 2>I didn't really have it. I had a tiny little

0:40:47.680 --> 0:40:50.680
<v Speaker 2>kit in the country. So I left all that behind

0:40:51.400 --> 0:40:55.759
<v Speaker 2>and you know, I answered auditions, I answered ads in

0:40:55.880 --> 0:41:01.680
<v Speaker 2>the Melody Maker, disc New Musical Express, all trades and

0:41:03.080 --> 0:41:06.520
<v Speaker 2>nothing really for two years, you know, I just slogged

0:41:06.520 --> 0:41:13.839
<v Speaker 2>around doing menial jobs, construction, demolition, car washing, all the time,

0:41:14.000 --> 0:41:19.440
<v Speaker 2>answering ads, and nothing really came of it until the

0:41:19.600 --> 0:41:22.600
<v Speaker 2>twenty third month of the twenty four months that my

0:41:22.840 --> 0:41:27.239
<v Speaker 2>parents had given me, and I saw an ad for

0:41:27.360 --> 0:41:29.919
<v Speaker 2>a band called the Black pat Bones, and I thought,

0:41:29.960 --> 0:41:32.799
<v Speaker 2>what a great name. That's a great name. And you've

0:41:32.800 --> 0:41:36.080
<v Speaker 2>got to remember, back in sixty eight, the blues scene

0:41:36.520 --> 0:41:41.360
<v Speaker 2>in London was huge. It was all Carric Clapton, John Mail,

0:41:41.640 --> 0:41:45.399
<v Speaker 2>Peter Green. It was blues, blues, blues. Everywhere you went

0:41:45.480 --> 0:41:50.439
<v Speaker 2>it was blues club. So now this club was way

0:41:50.480 --> 0:41:54.040
<v Speaker 2>across London, like twenty miles on a subway, a long

0:41:54.080 --> 0:41:58.040
<v Speaker 2>way away. But I thought, wow, I really want to

0:41:58.080 --> 0:42:01.640
<v Speaker 2>go and see this band. So I tossed a coin, literally,

0:42:01.719 --> 0:42:05.000
<v Speaker 2>I touched a coin. If it comes downtails, I'll stay

0:42:05.680 --> 0:42:06.919
<v Speaker 2>and write some letters home.

0:42:07.440 --> 0:42:07.560
<v Speaker 1>You know.

0:42:07.600 --> 0:42:09.759
<v Speaker 2>I got to get up early in the morning. It

0:42:09.880 --> 0:42:12.839
<v Speaker 2>came down heads. I thought, screw it, and I went

0:42:12.880 --> 0:42:16.160
<v Speaker 2>to see this band. And I walked in. They were okay,

0:42:16.360 --> 0:42:21.080
<v Speaker 2>they weren't great. They were doing covers. But the guitarist, wo,

0:42:21.520 --> 0:42:26.000
<v Speaker 2>he was wonderful and he's a little fella, and I

0:42:26.200 --> 0:42:28.160
<v Speaker 2>collared him during the break. I say you know what,

0:42:29.040 --> 0:42:32.399
<v Speaker 2>you You're really good, mate, really good, but your drummers shit.

0:42:34.800 --> 0:42:37.160
<v Speaker 2>I was desperate, and he said, well, it's funny shud

0:42:37.160 --> 0:42:40.759
<v Speaker 2>say that, because tonight is his last night. He's leaving

0:42:40.880 --> 0:42:44.960
<v Speaker 2>us and we're holding auditions here in this pub tomorrow

0:42:45.000 --> 0:42:47.640
<v Speaker 2>if you want to come along. And that was Paul Kossof.

0:42:49.800 --> 0:42:52.800
<v Speaker 2>So I came back the next day, another twenty miles

0:42:52.840 --> 0:42:56.919
<v Speaker 2>on the subway, and I auditioned. There was another guy,

0:42:58.280 --> 0:43:01.520
<v Speaker 2>another drummer there, and we played a of blues numbers

0:43:01.640 --> 0:43:04.479
<v Speaker 2>and I got the job. So I was with Paul

0:43:04.520 --> 0:43:07.720
<v Speaker 2>coss Off and Black Cat Bones for about six months,

0:43:08.840 --> 0:43:11.560
<v Speaker 2>and then he took me aside one day and said, listen,

0:43:12.239 --> 0:43:15.840
<v Speaker 2>I've just met this singer who is so good, and

0:43:15.920 --> 0:43:18.800
<v Speaker 2>I fed up with playing these same old standards. I

0:43:18.920 --> 0:43:21.440
<v Speaker 2>want to form a band with this guy. And this

0:43:21.640 --> 0:43:25.120
<v Speaker 2>was Paul Rogers and that was the beginnings of Free.

0:43:31.040 --> 0:43:34.840
<v Speaker 1>Okay. So everybody was very young.

0:43:35.880 --> 0:43:38.200
<v Speaker 2>Very young. I was the oldest and I was nineteen,

0:43:39.840 --> 0:43:43.520
<v Speaker 2>you know, and we had to get andy. Well, here's

0:43:43.560 --> 0:43:47.200
<v Speaker 2>the thing. Alexis Corner was the sort of godfather of

0:43:47.320 --> 0:43:53.239
<v Speaker 2>the blues of the English, the London blues scene, and

0:43:53.520 --> 0:43:59.839
<v Speaker 2>he had Paul coss Off. He knew Paul, and he said, look,

0:44:00.480 --> 0:44:02.799
<v Speaker 2>I know this. He's a kid, by the way, He's

0:44:02.920 --> 0:44:06.960
<v Speaker 2>just he's just played with John mail Wow. They just

0:44:07.280 --> 0:44:09.040
<v Speaker 2>he got the sack from John Mayle. I said, well,

0:44:09.080 --> 0:44:10.919
<v Speaker 2>if he got the sack, he couldn't have been that good.

0:44:11.360 --> 0:44:15.719
<v Speaker 2>But John was always changing personnel. It was no big deal.

0:44:16.000 --> 0:44:18.000
<v Speaker 2>The fact that this kid had played with John Mayle

0:44:18.360 --> 0:44:20.640
<v Speaker 2>meant that he was good. And I said, yeah, all right,

0:44:21.160 --> 0:44:25.640
<v Speaker 2>and Alexis said, but he's fifteen. I said, what, he's

0:44:25.680 --> 0:44:29.239
<v Speaker 2>fifteen years old. Wow, But you got to see him.

0:44:29.800 --> 0:44:32.160
<v Speaker 2>So me and Paul cross Off and Paul Rodgers went

0:44:32.200 --> 0:44:36.040
<v Speaker 2>down to see Andy, who was playing at a show

0:44:36.360 --> 0:44:41.759
<v Speaker 2>in London, and he was amazing. He was incredible. So

0:44:41.960 --> 0:44:45.200
<v Speaker 2>we called him backstage after the gig and we said, look,

0:44:45.239 --> 0:44:48.120
<v Speaker 2>we're forming a band. You want to come in and

0:44:48.239 --> 0:44:50.000
<v Speaker 2>he said, well, let me think about it. You know,

0:44:50.120 --> 0:44:53.719
<v Speaker 2>it's very cagey. He didn't know any of us. And

0:44:53.840 --> 0:44:56.920
<v Speaker 2>we had a rehearsal the next day at that same

0:44:57.000 --> 0:45:01.080
<v Speaker 2>pub where I met Paul kross Off a few weeks prior,

0:45:02.040 --> 0:45:07.200
<v Speaker 2>and we got on so well. And during that first rehearsal,

0:45:08.320 --> 0:45:11.560
<v Speaker 2>Alexis corner came in and he was knocked out. He said,

0:45:11.600 --> 0:45:14.239
<v Speaker 2>you guys are amazing. You've been it's like you've been

0:45:14.280 --> 0:45:20.520
<v Speaker 2>playing together months and this was our first ever jam session.

0:45:21.440 --> 0:45:23.960
<v Speaker 2>And he said, well, what are you going to call yourself?

0:45:24.040 --> 0:45:28.960
<v Speaker 2>He said, well, hang on, are we a band? We

0:45:29.120 --> 0:45:31.399
<v Speaker 2>kind of looked at each other and he said, yeah,

0:45:31.480 --> 0:45:35.359
<v Speaker 2>why not, and he Alexis used to have a band

0:45:35.400 --> 0:45:38.919
<v Speaker 2>called Free at Last with Ginger Baker and Graham Bond,

0:45:40.080 --> 0:45:42.920
<v Speaker 2>and he said, well, you can't call yourself Free at Last,

0:45:43.080 --> 0:45:44.640
<v Speaker 2>how about three?

0:45:45.120 --> 0:45:47.120
<v Speaker 1>So we Alexis came up with a name.

0:45:48.120 --> 0:45:52.560
<v Speaker 2>Yeah, oh yeah, yeah, yeah, he came up with it,

0:45:52.680 --> 0:45:56.279
<v Speaker 2>and we thought, okay, why not. But the only trouble was,

0:45:56.400 --> 0:45:58.799
<v Speaker 2>you see, back in those days, Bob, you had these

0:45:58.960 --> 0:46:05.040
<v Speaker 2>nebulous names like Yes and Clouds and Taste and you know,

0:46:05.280 --> 0:46:09.400
<v Speaker 2>it's like, you know, the Grateful Dead, these weird names.

0:46:09.880 --> 0:46:14.120
<v Speaker 2>So Free wasn't that too far removed from reality. But

0:46:15.360 --> 0:46:18.560
<v Speaker 2>promoters and club owners were not happy because they put

0:46:19.120 --> 0:46:21.560
<v Speaker 2>free and people were thinking, oh, we don't have to pay,

0:46:22.440 --> 0:46:25.960
<v Speaker 2>so we were getting this feedback, so they've got to

0:46:25.960 --> 0:46:29.800
<v Speaker 2>call themselves the free oh God, which we had to

0:46:29.880 --> 0:46:33.560
<v Speaker 2>do occasionally. But we stuck it out and Free became

0:46:35.040 --> 0:46:41.479
<v Speaker 2>a well loved band in England in the United Kingdom. Yeah,

0:46:41.680 --> 0:46:42.799
<v Speaker 2>I love Free.

0:46:42.920 --> 0:46:48.880
<v Speaker 1>So how long until you start playing original tunes? And

0:46:49.080 --> 0:46:51.320
<v Speaker 1>how long until you hook up with Chris Blackwell?

0:46:51.800 --> 0:46:56.560
<v Speaker 2>No, not long at all. We started, I mean, Paul

0:46:56.600 --> 0:47:00.160
<v Speaker 2>and Andy were the main songwriters. They Paul had in

0:47:00.239 --> 0:47:02.800
<v Speaker 2>my shadow from the get go. I mean, that was

0:47:02.840 --> 0:47:06.000
<v Speaker 2>one of the first songs we practiced, boom boom, bump

0:47:06.080 --> 0:47:08.840
<v Speaker 2>bum bum bump, barb boom, and that was one of

0:47:08.880 --> 0:47:11.920
<v Speaker 2>the first songs we played at the rehearsal. Was so

0:47:12.480 --> 0:47:16.000
<v Speaker 2>from the very first rehearsal we were doing original stuff.

0:47:16.680 --> 0:47:20.759
<v Speaker 2>Then we got a residency at the Marquee, which was

0:47:20.880 --> 0:47:26.560
<v Speaker 2>this hallowed club in London where all the big names played,

0:47:27.440 --> 0:47:30.719
<v Speaker 2>and we got a residency on Monday Night, which was

0:47:30.800 --> 0:47:34.399
<v Speaker 2>the sort of wasteland of the seven nights of the week,

0:47:34.840 --> 0:47:38.080
<v Speaker 2>but it was still the Marquee. And word have gotten

0:47:38.160 --> 0:47:41.560
<v Speaker 2>out I think through Alexis, because Alexis was known and

0:47:41.680 --> 0:47:44.440
<v Speaker 2>loved in the industry and he put the word out

0:47:44.480 --> 0:47:46.879
<v Speaker 2>You've got to see this band Free, they really are good.

0:47:47.360 --> 0:47:52.040
<v Speaker 2>And Muff Windward, Steve's brother was the an r head

0:47:52.400 --> 0:47:55.040
<v Speaker 2>of Island Records. He came down to see us. We

0:47:55.120 --> 0:47:58.000
<v Speaker 2>didn't know he came to see us one Monday night

0:47:58.440 --> 0:48:01.160
<v Speaker 2>and went back to Chris Black and said, you got

0:48:01.200 --> 0:48:04.759
<v Speaker 2>to see this band because they are the next big thing.

0:48:05.680 --> 0:48:09.360
<v Speaker 2>So Andy, who was the sort of business manager in

0:48:09.440 --> 0:48:13.439
<v Speaker 2>the band, got a call from Chris and said, would

0:48:13.480 --> 0:48:16.480
<v Speaker 2>you like to come and we discuss. I mean, I've

0:48:16.560 --> 0:48:19.840
<v Speaker 2>heard about you and like to have a chat and

0:48:19.960 --> 0:48:22.799
<v Speaker 2>see if we can go to the next level. Wow,

0:48:23.120 --> 0:48:27.000
<v Speaker 2>Chris blackwell, ah, you know you had traffic, Joe Cocker.

0:48:28.160 --> 0:48:30.960
<v Speaker 2>They were a big label. Island were a really big

0:48:31.080 --> 0:48:34.319
<v Speaker 2>label back in the day. So the four of us

0:48:34.440 --> 0:48:40.319
<v Speaker 2>went to the Island Records in Oxford Street and here's

0:48:40.360 --> 0:48:43.600
<v Speaker 2>the weird thing. We had to climb the stairs past

0:48:44.120 --> 0:48:49.960
<v Speaker 2>an organization called rack r Ak, owned by Peter Grant

0:48:50.960 --> 0:48:55.680
<v Speaker 2>and Mickey Mose who knew that five years later we'd

0:48:55.719 --> 0:49:01.279
<v Speaker 2>be inca hoots with Peter Grant anyway, and that's where

0:49:01.360 --> 0:49:04.120
<v Speaker 2>who work with rat Now those people don't know I

0:49:04.280 --> 0:49:05.600
<v Speaker 2>know you who were exactly.

0:49:06.120 --> 0:49:08.600
<v Speaker 1>So you go to Chris and how does that meeting

0:49:08.719 --> 0:49:09.120
<v Speaker 1>turn out?

0:49:10.000 --> 0:49:11.759
<v Speaker 2>Well, he said that he said, I've heard a lot

0:49:11.840 --> 0:49:16.600
<v Speaker 2>about you. You know, I trust Muff Winwards judgment and

0:49:16.640 --> 0:49:19.920
<v Speaker 2>he says, he says, you're great, la la lah, but

0:49:20.040 --> 0:49:22.680
<v Speaker 2>we've got a problem with the name. And we thought,

0:49:22.719 --> 0:49:27.680
<v Speaker 2>oh oh. He said, the name doesn't fly. How about

0:49:27.719 --> 0:49:33.320
<v Speaker 2>the heavy metal kids were what you're fucking killing? And

0:49:33.480 --> 0:49:36.439
<v Speaker 2>we kind of looked at each other and said, nah, nah,

0:49:36.680 --> 0:49:40.279
<v Speaker 2>it's got to be free or nothing. And he leaned

0:49:40.320 --> 0:49:45.640
<v Speaker 2>in and said, then there's nothing more to discuss ship

0:49:45.800 --> 0:49:50.319
<v Speaker 2>and now just reliving that, my stomach sort of goes

0:49:50.360 --> 0:49:53.759
<v Speaker 2>a little cold, and we will, all right. So we

0:49:53.880 --> 0:49:56.719
<v Speaker 2>stood up and we sort of turned on our heel

0:49:56.760 --> 0:49:59.440
<v Speaker 2>and left the office, and we as soon as the

0:49:59.480 --> 0:50:01.360
<v Speaker 2>door closed, we looked at it and said, what the

0:50:01.520 --> 0:50:04.800
<v Speaker 2>fuck have we done? We just turned down Island Records

0:50:04.840 --> 0:50:08.600
<v Speaker 2>because of the name. But deep in our hearts, Bob,

0:50:08.719 --> 0:50:12.520
<v Speaker 2>we knew that we'd done the right thing. We'd we'd

0:50:12.680 --> 0:50:18.160
<v Speaker 2>acted as a group, as a unified band, and we said, no,

0:50:18.360 --> 0:50:21.280
<v Speaker 2>it's going to be free or nothing. That same evening

0:50:22.280 --> 0:50:24.520
<v Speaker 2>and you've got a call from Chris. He said, we'll

0:50:24.520 --> 0:50:28.520
<v Speaker 2>give you a six month contract. You go out as free,

0:50:28.640 --> 0:50:30.960
<v Speaker 2>see how it goes, and we'll take it from there

0:50:32.200 --> 0:50:35.520
<v Speaker 2>and the rest is history. We you know, we stayed

0:50:35.560 --> 0:50:35.959
<v Speaker 2>as free.

0:50:36.560 --> 0:50:41.480
<v Speaker 1>Okay, so you get a record deal, you have a band,

0:50:42.280 --> 0:50:45.400
<v Speaker 1>how are you supporting yourself as the band playing live

0:50:45.719 --> 0:50:47.800
<v Speaker 1>or people working d jobs? What's going on?

0:50:48.520 --> 0:50:53.120
<v Speaker 2>No, we were fully professional and we we slogged around

0:50:53.160 --> 0:50:56.080
<v Speaker 2>the country. We had a little van, we had a costs.

0:50:56.280 --> 0:51:00.480
<v Speaker 2>Pul coss Off did all the driving. We played seven

0:51:00.640 --> 0:51:05.040
<v Speaker 2>pretty much seven nights a week, and we gathered this

0:51:05.800 --> 0:51:09.560
<v Speaker 2>fan base. We went all over England, Scotland and Wales.

0:51:10.200 --> 0:51:14.239
<v Speaker 2>Never went to Ireland and not until late anyway, a

0:51:14.320 --> 0:51:17.680
<v Speaker 2>little foray into France or Germany, but mainly we just

0:51:17.840 --> 0:51:22.279
<v Speaker 2>slogged around England, United Kingdom and we built up this

0:51:23.360 --> 0:51:27.600
<v Speaker 2>great fan base. I mean especially in the north, Middlesburn, Newcastle,

0:51:28.440 --> 0:51:33.080
<v Speaker 2>Durham where Paul was from Middlesbrough, so Paul Rodgers, so

0:51:33.840 --> 0:51:40.040
<v Speaker 2>we had a special connection to the Northeast. And we

0:51:40.200 --> 0:51:42.279
<v Speaker 2>released a couple of albums. They didn't do a lot,

0:51:42.440 --> 0:51:43.440
<v Speaker 2>they didn't do great.

0:51:43.840 --> 0:51:47.440
<v Speaker 1>Well that's a little bit slower. Yeah, first album. What

0:51:47.680 --> 0:51:51.240
<v Speaker 1>was the experience there comes out meant nothing in America?

0:51:51.400 --> 0:51:55.759
<v Speaker 2>What was the experience in tons of subs, tons of subs? Well,

0:51:55.800 --> 0:52:00.239
<v Speaker 2>basically it was just our it was our set, It

0:52:00.360 --> 0:52:04.480
<v Speaker 2>was our fifty minute set. You know, Chris black Will said, look,

0:52:04.800 --> 0:52:08.480
<v Speaker 2>I got this producer, Guy Stevens, who was a genius

0:52:08.600 --> 0:52:12.120
<v Speaker 2>but a little looney, and he said, I've seen your set.

0:52:12.360 --> 0:52:15.719
<v Speaker 2>Just play the set. And that's basically what we did.

0:52:15.960 --> 0:52:18.160
<v Speaker 2>It was a live set and we did a few

0:52:18.239 --> 0:52:22.000
<v Speaker 2>overdubs and it was great, I mean, but it really

0:52:22.160 --> 0:52:25.080
<v Speaker 2>didn't do It didn't make a dent. It was like

0:52:25.160 --> 0:52:28.440
<v Speaker 2>a musical calling card. People were aware that there was

0:52:28.480 --> 0:52:33.520
<v Speaker 2>a bankle Free, but it really didn't do anything. And

0:52:35.200 --> 0:52:39.839
<v Speaker 2>so that was a bit of a disappointment. So after

0:52:39.920 --> 0:52:43.400
<v Speaker 2>about six or seven months, we released another album just

0:52:43.480 --> 0:52:47.640
<v Speaker 2>called Free, which had ninety percent I believe maybe one

0:52:47.680 --> 0:52:49.720
<v Speaker 2>hundred percent original material.

0:52:50.680 --> 0:52:53.759
<v Speaker 1>Okay, that album you saw on the bins in the

0:52:53.960 --> 0:52:59.320
<v Speaker 1>US had no impact, But you know, there's this, there's this.

0:53:00.040 --> 0:53:02.400
<v Speaker 1>About thirty years ago, they put out a compilation in

0:53:02.520 --> 0:53:07.080
<v Speaker 1>A and M Free Molten Gold, which is anybody just

0:53:07.160 --> 0:53:11.000
<v Speaker 1>got to get this. It was a double CD set, unbelievable. Now,

0:53:11.840 --> 0:53:16.560
<v Speaker 1>on that album, the Free album, I know I'd heard

0:53:16.719 --> 0:53:19.279
<v Speaker 1>I'll be Creeping on an A and M stampler in

0:53:19.400 --> 0:53:23.360
<v Speaker 1>nineteen seventy called Friends Never Forgotten It. But also on

0:53:23.480 --> 0:53:28.600
<v Speaker 1>that album's songs of Yesterday Woman in broad Daylight, I mean,

0:53:29.040 --> 0:53:31.240
<v Speaker 1>oh wow, great stuff on that record.

0:53:31.520 --> 0:53:35.080
<v Speaker 2>Yeah, yeah, you know your stuff, boll but yeah, that's great. Yeah.

0:53:36.040 --> 0:53:39.799
<v Speaker 2>Well I'll be creeping songs of Yesterday. I mean that's

0:53:39.840 --> 0:53:45.080
<v Speaker 2>when Paul and Andy really started yelling as songwrites. Is

0:53:46.280 --> 0:53:52.719
<v Speaker 2>Woman broad Daylight? Well, that's that's another thing. I'm just

0:53:52.880 --> 0:53:56.960
<v Speaker 2>never crazy about that song. That was when singles ruled

0:53:57.000 --> 0:53:59.080
<v Speaker 2>the roost and you had to have a single, and

0:53:59.200 --> 0:54:01.959
<v Speaker 2>I to this, I will go to my grade saying

0:54:02.000 --> 0:54:06.400
<v Speaker 2>that was the worst possible choice for a single. But

0:54:06.600 --> 0:54:11.600
<v Speaker 2>never mind. It kind of established us as not a

0:54:11.680 --> 0:54:14.839
<v Speaker 2>flash in the pan. I mean, Paul and Andy were

0:54:14.880 --> 0:54:17.840
<v Speaker 2>writing really really good stuff. We were getting better and

0:54:17.920 --> 0:54:21.520
<v Speaker 2>better as we went around the country and Europe, and

0:54:21.719 --> 0:54:27.320
<v Speaker 2>we started getting really really good. We just needed a

0:54:27.440 --> 0:54:27.960
<v Speaker 2>hit single.

0:54:28.200 --> 0:54:32.520
<v Speaker 1>Okay. Before we get to the hit single, the credits

0:54:32.560 --> 0:54:35.640
<v Speaker 1>say Chris Blackwell produced the second record? Did he really

0:54:35.719 --> 0:54:36.160
<v Speaker 1>produce it?

0:54:37.320 --> 0:54:43.080
<v Speaker 2>Look? For me, when it comes to producing, a producer

0:54:43.480 --> 0:54:46.560
<v Speaker 2>is someone, especially if you were wet behind the ears,

0:54:46.920 --> 0:54:51.520
<v Speaker 2>newbie in the studio. He you know, he controls everything.

0:54:51.680 --> 0:54:57.000
<v Speaker 2>He's the full crumb or the hinge around which everything revolves.

0:54:58.000 --> 0:55:00.640
<v Speaker 2>When you've written all the songs are rain all the songs,

0:55:00.640 --> 0:55:03.240
<v Speaker 2>and you're performing all the songs. You produced the album

0:55:03.280 --> 0:55:08.480
<v Speaker 2>as far as I'm concerned. Now, Chris became a producer.

0:55:09.280 --> 0:55:11.920
<v Speaker 2>You'd have to ask him about that, but he owned

0:55:11.920 --> 0:55:15.680
<v Speaker 2>the company. He was very musically astute, and he could

0:55:15.719 --> 0:55:18.320
<v Speaker 2>tell the hit from a non hit, and he was

0:55:18.600 --> 0:55:21.640
<v Speaker 2>like a dad father figure to us. So I don't

0:55:21.640 --> 0:55:24.320
<v Speaker 2>give him producer credit. But when it comes to actually,

0:55:25.160 --> 0:55:28.560
<v Speaker 2>all the albums in my career we produced, as far

0:55:28.640 --> 0:55:29.520
<v Speaker 2>as I'm concerned.

0:55:29.680 --> 0:55:32.520
<v Speaker 1>So the only thing I'll say is I spoke with Chris,

0:55:33.280 --> 0:55:35.080
<v Speaker 1>and I forget how we put it. How I put

0:55:35.120 --> 0:55:37.640
<v Speaker 1>the question. I asked him about the one band on

0:55:37.880 --> 0:55:40.640
<v Speaker 1>Island that he was most excited about, and he said

0:55:40.640 --> 0:55:41.400
<v Speaker 1>it was Free.

0:55:43.040 --> 0:55:43.360
<v Speaker 2>Blessing.

0:55:43.840 --> 0:55:47.040
<v Speaker 1>So the second album comes out, as I say, very

0:55:47.080 --> 0:55:50.120
<v Speaker 1>little penetration in the US. I can't speak to the UK.

0:55:51.000 --> 0:55:54.520
<v Speaker 1>But is Chrys still excited? How do you get the

0:55:54.719 --> 0:55:58.120
<v Speaker 1>right to produce the next record in how does Fire

0:55:58.200 --> 0:55:59.240
<v Speaker 1>and Water come together?

0:56:00.760 --> 0:56:04.920
<v Speaker 2>Well, by the end of I have to look in

0:56:05.000 --> 0:56:08.160
<v Speaker 2>my notes, but after two years of slogging, we had

0:56:08.239 --> 0:56:11.319
<v Speaker 2>this huge fan base. I mean, they weren't just huge, Bob,

0:56:11.400 --> 0:56:15.200
<v Speaker 2>but they were vociferous. They were passionate. I mean a

0:56:15.320 --> 0:56:16.120
<v Speaker 2>free fan.

0:56:16.239 --> 0:56:17.040
<v Speaker 1>Was like whoa.

0:56:18.520 --> 0:56:21.439
<v Speaker 2>And we could do no wrong, particularly in the North.

0:56:22.560 --> 0:56:25.640
<v Speaker 2>But we did one show and ironically enough, it was

0:56:25.719 --> 0:56:29.640
<v Speaker 2>in Durham, which is in the North, and we came

0:56:29.719 --> 0:56:33.120
<v Speaker 2>off to the sound of our own footsteps of the stage.

0:56:33.400 --> 0:56:37.719
<v Speaker 2>It was like desultory applause, which was and we had

0:56:37.760 --> 0:56:40.279
<v Speaker 2>to walk through the It was unusual because we had

0:56:40.320 --> 0:56:42.000
<v Speaker 2>to walk through the crowd to get to the dressing

0:56:42.040 --> 0:56:45.239
<v Speaker 2>room at the back of the hall, a different configuration.

0:56:45.680 --> 0:56:47.920
<v Speaker 2>So by the time we got even halfway through the crowd,

0:56:48.800 --> 0:56:52.000
<v Speaker 2>there was no applause. So we died of death basically.

0:56:52.680 --> 0:56:55.399
<v Speaker 2>And we got into the dressing room and we kind

0:56:55.440 --> 0:56:58.600
<v Speaker 2>of threw ourselves on the benches and said, you know,

0:56:58.760 --> 0:57:01.640
<v Speaker 2>we need a song, a song that they can dance to.

0:57:02.800 --> 0:57:06.560
<v Speaker 2>We need to we need something. We we had this

0:57:06.640 --> 0:57:11.760
<v Speaker 2>sort of mid tempo to go back. Bat got nothing

0:57:11.840 --> 0:57:13.840
<v Speaker 2>that you could really you could nod your head to,

0:57:14.000 --> 0:57:17.120
<v Speaker 2>but you could really dance to it. So and I

0:57:17.280 --> 0:57:19.800
<v Speaker 2>truly believe it all right now is born in that

0:57:19.960 --> 0:57:25.480
<v Speaker 2>dressing room there and then because Andy said, oh now, baby,

0:57:26.040 --> 0:57:29.440
<v Speaker 2>and he's bopping around the showers and the dressing room

0:57:29.480 --> 0:57:33.280
<v Speaker 2>of the hooks and more, and he's becomes this possessed

0:57:33.280 --> 0:57:37.600
<v Speaker 2>a little lad. He's only seventeen, drumming on his body

0:57:37.720 --> 0:57:42.000
<v Speaker 2>all right now. And he said that's it. And him

0:57:42.040 --> 0:57:46.480
<v Speaker 2>and Paul they took that seed and they honed it

0:57:46.600 --> 0:57:48.800
<v Speaker 2>and it became all right now and we rehearsed it

0:57:48.920 --> 0:57:55.200
<v Speaker 2>in sound checks and it became this monster literally monster hit.

0:57:56.880 --> 0:58:00.920
<v Speaker 1>And did you know, I mean one of the stories

0:58:00.960 --> 0:58:04.160
<v Speaker 1>on this, I remember talking to Al Cooper and got

0:58:04.240 --> 0:58:06.000
<v Speaker 1>a call saying, we want to come up to the

0:58:06.040 --> 0:58:09.360
<v Speaker 1>studio Atlanta. We got a new song first, Leonard Skinnered

0:58:09.360 --> 0:58:11.600
<v Speaker 1>album had just come out, and the new song was

0:58:12.320 --> 0:58:15.560
<v Speaker 1>sweet Home Alabama didn't come out for a year. And

0:58:15.720 --> 0:58:18.280
<v Speaker 1>I said, did you know it was a hit? And

0:58:18.400 --> 0:58:22.280
<v Speaker 1>he go, Al says it was sweet Home Alabama. So

0:58:23.400 --> 0:58:25.840
<v Speaker 1>I asked the same thing with all right now. I mean,

0:58:26.160 --> 0:58:28.440
<v Speaker 1>you talk about a one listed hit. You didn't even

0:58:28.520 --> 0:58:30.720
<v Speaker 1>have to get all the way through the song to

0:58:30.800 --> 0:58:33.040
<v Speaker 1>get it. Did you guys know what you had?

0:58:34.520 --> 0:58:36.760
<v Speaker 2>I knew it. I knew it pretty much. I'll tell

0:58:36.760 --> 0:58:40.080
<v Speaker 2>you how I knew because every time he played it,

0:58:40.480 --> 0:58:46.400
<v Speaker 2>it kind of re recharge yourself. We did that although

0:58:46.480 --> 0:58:48.360
<v Speaker 2>we were a lot younger back then, but we did

0:58:48.560 --> 0:58:51.360
<v Speaker 2>all right. Now it was about twenty seven takes and

0:58:51.440 --> 0:58:56.200
<v Speaker 2>I just don't but but you know, it's a physical

0:58:56.320 --> 0:59:00.520
<v Speaker 2>song to play, and we'd be a bright down or

0:59:00.680 --> 0:59:03.080
<v Speaker 2>something that would go wrong with someone with a wrong note.

0:59:03.120 --> 0:59:06.240
<v Speaker 2>We'd started all over again. We never got tired of it,

0:59:06.520 --> 0:59:11.360
<v Speaker 2>never on playbacks. So I think we used track five

0:59:11.520 --> 0:59:16.760
<v Speaker 2>or six, take five or six, and we we came

0:59:16.840 --> 0:59:20.240
<v Speaker 2>in and the engineer he looked at us and said,

0:59:20.400 --> 0:59:23.640
<v Speaker 2>fucking hell guys. So we said it hit that play

0:59:23.800 --> 0:59:27.040
<v Speaker 2>and we listened to it and I thought, wow, man,

0:59:27.160 --> 0:59:30.880
<v Speaker 2>this is great because it was unlike anything we'd done before. Bob,

0:59:31.240 --> 0:59:34.760
<v Speaker 2>you know, it was us, but in a different genre,

0:59:34.800 --> 0:59:37.440
<v Speaker 2>of different whatever you want to call it. It had life.

0:59:37.560 --> 0:59:41.320
<v Speaker 2>It had so much life. So now here's a lot

0:59:41.360 --> 0:59:43.360
<v Speaker 2>of people don't know this, but this was in Basing

0:59:43.440 --> 0:59:46.160
<v Speaker 2>Street and Island Island Records was in Basing Street, an

0:59:46.200 --> 0:59:50.400
<v Speaker 2>old converted church, and Chris Blackwell had an apartment above

0:59:50.880 --> 0:59:54.120
<v Speaker 2>studio number one. And that's just about two in the

0:59:54.240 --> 0:59:58.880
<v Speaker 2>morning and the engineer says, we've got to get Crystal

0:59:58.960 --> 1:00:01.400
<v Speaker 2>listening to this. Are you kidding? It's two o'clock in

1:00:01.440 --> 1:00:04.880
<v Speaker 2>the morning. The matter, get him out of bed. So

1:00:05.480 --> 1:00:09.400
<v Speaker 2>I said, all right, what the hell? So he the engineer,

1:00:09.480 --> 1:00:14.200
<v Speaker 2>called him and he said the band wanted to hear something, Chris,

1:00:14.760 --> 1:00:16.760
<v Speaker 2>and something like, you know what fucking time it is?

1:00:17.960 --> 1:00:20.720
<v Speaker 2>They really, really you got to come and hear this. Now,

1:00:21.040 --> 1:00:25.280
<v Speaker 2>luckily he's only a staircase away. So he comes down

1:00:26.440 --> 1:00:30.280
<v Speaker 2>and he says something like it's better be good. So

1:00:30.440 --> 1:00:34.920
<v Speaker 2>he's sitting there and we hit the plane and now

1:00:34.920 --> 1:00:38.080
<v Speaker 2>it's five minutes nearly nearly six minutes long. So the

1:00:38.160 --> 1:00:40.080
<v Speaker 2>whole six minutes, I don't want to look at him,

1:00:40.280 --> 1:00:42.520
<v Speaker 2>you know, we're trying not to look him and see

1:00:42.560 --> 1:00:46.440
<v Speaker 2>his reaction. So the end of the six minutes end

1:00:46.520 --> 1:00:53.560
<v Speaker 2>of the song, he said, guys, it's a hit. Wow,

1:00:54.240 --> 1:00:58.480
<v Speaker 2>it's a hit, but it's too long boom, And he's right,

1:00:58.760 --> 1:01:01.040
<v Speaker 2>I mean, as you know, it's six minutes. At our

1:01:01.160 --> 1:01:05.040
<v Speaker 2>top of the pops was ruled the roost nothing under

1:01:05.080 --> 1:01:08.840
<v Speaker 2>three minutes would be allowed. We had to cut a

1:01:09.080 --> 1:01:12.120
<v Speaker 2>huge section out of the song. Now, I'd never done

1:01:12.120 --> 1:01:13.840
<v Speaker 2>an edit in my life. I didn't know what it

1:01:14.520 --> 1:01:17.800
<v Speaker 2>consisted of, how to do it, and we were like, no, no,

1:01:18.000 --> 1:01:20.720
<v Speaker 2>you can't do it. Kind of Chris said, I want

1:01:20.760 --> 1:01:23.720
<v Speaker 2>you to leave the studio. Come back. I'll call you.

1:01:23.720 --> 1:01:26.000
<v Speaker 2>You know, I'll send a guy. There's an all night

1:01:26.080 --> 1:01:29.080
<v Speaker 2>cafe around a corner. Come back in half an hour.

1:01:29.120 --> 1:01:30.680
<v Speaker 2>I'll let you know when to come back. It'll be

1:01:30.720 --> 1:01:34.600
<v Speaker 2>about half an hour. So he's cutting up our baby.

1:01:36.480 --> 1:01:40.760
<v Speaker 2>And most people who are pretty you know, pretty good

1:01:40.800 --> 1:01:44.000
<v Speaker 2>at engineering will know that the edit on All Right

1:01:44.080 --> 1:01:47.000
<v Speaker 2>Now is not very good. But it did the trick.

1:01:47.120 --> 1:01:50.480
<v Speaker 2>It snipped out about two and a half minutes, and

1:01:50.800 --> 1:01:52.640
<v Speaker 2>we came back and we listened to it. It was

1:01:52.680 --> 1:01:57.640
<v Speaker 2>a bit clunky, but wow, it's still sounded good. And

1:01:58.560 --> 1:02:02.280
<v Speaker 2>he said, there it is, and I believe they released

1:02:02.320 --> 1:02:04.600
<v Speaker 2>it the next week. Now, we had trouble with the BBC.

1:02:05.800 --> 1:02:09.280
<v Speaker 2>You know, the BBC at this very strict, stern people

1:02:09.760 --> 1:02:13.040
<v Speaker 2>and everyone thought Paul had said let's raise the fucking rent,

1:02:14.120 --> 1:02:17.439
<v Speaker 2>when actually he said it was let's raise the parking rate.

1:02:18.880 --> 1:02:21.040
<v Speaker 2>So we had to get one of their guys come down.

1:02:21.200 --> 1:02:24.280
<v Speaker 2>We had to isolate the vocal track. We were all there,

1:02:24.920 --> 1:02:28.720
<v Speaker 2>little guy with a notebook and pen, No, I just

1:02:28.800 --> 1:02:32.760
<v Speaker 2>want to hit the vocal track. So we did and

1:02:32.920 --> 1:02:37.800
<v Speaker 2>said and Paul kind of fluffed the p it's like

1:02:38.080 --> 1:02:43.520
<v Speaker 2>parking bar, parking parking rate. But anyway, the guy said,

1:02:43.560 --> 1:02:47.120
<v Speaker 2>all right, I'm satisfied, la lah lah, we can put

1:02:47.200 --> 1:02:49.360
<v Speaker 2>this on top of the pops And the next thing,

1:02:49.440 --> 1:02:50.640
<v Speaker 2>you know, it was this huge hit.

1:02:57.880 --> 1:03:01.240
<v Speaker 1>Okay, there was a version of the radio in the States,

1:03:01.480 --> 1:03:05.360
<v Speaker 1>and then there was the version on the album with

1:03:08.080 --> 1:03:12.080
<v Speaker 1>little Paul cast Off solo. The version on the album.

1:03:12.280 --> 1:03:14.800
<v Speaker 1>Is that the complete song? Or is that correct?

1:03:15.720 --> 1:03:18.640
<v Speaker 2>No? Correct? Okay, that's the full one. And I'm glad

1:03:18.720 --> 1:03:21.400
<v Speaker 2>you mentioned cos because I really think he should have

1:03:21.440 --> 1:03:25.000
<v Speaker 2>got a credit on that song because his guitar solo

1:03:25.760 --> 1:03:28.960
<v Speaker 2>was one of the best ever guitar solos ever recorded.

1:03:29.280 --> 1:03:33.000
<v Speaker 2>And I'll never forget seeing him, you know, And I

1:03:33.080 --> 1:03:36.760
<v Speaker 2>think we spliced together maybe two takes, but it's one

1:03:36.760 --> 1:03:40.280
<v Speaker 2>of the all time great guitar solos and it made

1:03:40.560 --> 1:03:41.600
<v Speaker 2>it made the song.

1:03:41.920 --> 1:03:46.080
<v Speaker 1>As far as I'm also talking to Paul, who's played

1:03:46.240 --> 1:03:51.480
<v Speaker 1>with Jimmy Page, who's played with Brian May so many

1:03:51.600 --> 1:03:54.800
<v Speaker 1>of the legends. He said, cast Off was the best

1:03:54.960 --> 1:03:58.320
<v Speaker 1>guitarist you ever played, was the most talented. You have

1:03:58.400 --> 1:03:59.000
<v Speaker 1>a take on that.

1:04:00.920 --> 1:04:04.720
<v Speaker 2>I'm not of the school of the best in anything.

1:04:05.080 --> 1:04:07.640
<v Speaker 2>I never you know, music to me is very nebul

1:04:07.680 --> 1:04:10.480
<v Speaker 2>listened to say that someone is the best at anything.

1:04:11.600 --> 1:04:17.200
<v Speaker 2>Coss when he was on, was the most satisfying guitarist

1:04:17.320 --> 1:04:21.360
<v Speaker 2>to play with. Whether or not he was better than Jimmy,

1:04:21.480 --> 1:04:24.680
<v Speaker 2>or Page was better than Hendricks, or Bet was better

1:04:24.760 --> 1:04:27.440
<v Speaker 2>than Jimmy or La La Lai. You could go on

1:04:27.520 --> 1:04:31.120
<v Speaker 2>and on. But at the time, because Coss was a

1:04:31.280 --> 1:04:34.240
<v Speaker 2>dear brother and a friend of mine and I loved

1:04:34.280 --> 1:04:37.480
<v Speaker 2>him to death before the drugs really took over. When

1:04:37.520 --> 1:04:40.360
<v Speaker 2>he was on, he made me weep. He was just

1:04:40.600 --> 1:04:44.479
<v Speaker 2>so good. So yeah, Coss is one of the great

1:04:44.680 --> 1:04:48.480
<v Speaker 2>guitarists of all time. And considering he was only around

1:04:50.400 --> 1:04:53.800
<v Speaker 2>not even five or six years, the impact that he

1:04:53.920 --> 1:04:56.520
<v Speaker 2>had on guitar playing is staggering.

1:04:57.560 --> 1:05:02.280
<v Speaker 1>So what was it like having a world wide number

1:05:02.520 --> 1:05:03.560
<v Speaker 1>one record?

1:05:05.880 --> 1:05:07.720
<v Speaker 2>What do they say, be careful what you wish for.

1:05:10.560 --> 1:05:13.840
<v Speaker 2>It was amazing at the time. It was everything that

1:05:14.000 --> 1:05:17.680
<v Speaker 2>we wanted. Bob, You know, why does a band get

1:05:17.720 --> 1:05:21.280
<v Speaker 2>together in the first place To have fun, to pull girls,

1:05:21.440 --> 1:05:24.800
<v Speaker 2>to have drinking, to travel la la la. But ultimately,

1:05:24.880 --> 1:05:27.480
<v Speaker 2>you want to be a success, and you want to

1:05:27.600 --> 1:05:30.080
<v Speaker 2>earn money, you want to travel to different countries, and

1:05:30.200 --> 1:05:33.720
<v Speaker 2>you want to play the thousands of people, and we did.

1:05:33.840 --> 1:05:36.480
<v Speaker 2>We got all that, We got all that, and we

1:05:36.800 --> 1:05:39.360
<v Speaker 2>you know, we got the Golden Ring. We managed to

1:05:39.440 --> 1:05:43.200
<v Speaker 2>get it and then the ship Yeah tell me tell

1:05:43.240 --> 1:05:45.200
<v Speaker 2>me the shit hit the fan. Well, the shit hit

1:05:45.240 --> 1:05:47.920
<v Speaker 2>the fan because we couldn't follow it up. And this

1:05:48.200 --> 1:05:52.120
<v Speaker 2>was not just the top fifty hit in some country

1:05:52.280 --> 1:05:56.400
<v Speaker 2>or so, this was a top three hit around the world.

1:05:57.320 --> 1:06:00.760
<v Speaker 2>It was huge and it was, like I said, everything

1:06:00.800 --> 1:06:04.600
<v Speaker 2>we wanted, but suddenly we had to follow it up.

1:06:04.720 --> 1:06:09.200
<v Speaker 2>How do you follow all right Now? You can't. It's

1:06:09.400 --> 1:06:13.600
<v Speaker 2>just impossible because you set the bar. You set the

1:06:13.640 --> 1:06:16.960
<v Speaker 2>bar so high. Because we wanted a band too, We

1:06:17.080 --> 1:06:21.040
<v Speaker 2>wanted a song quote that people could dance to. Well,

1:06:21.320 --> 1:06:24.480
<v Speaker 2>we've ticked that box. How do you follow that with

1:06:25.440 --> 1:06:30.240
<v Speaker 2>another song of that success? So we couldn't. Fire and

1:06:30.320 --> 1:06:32.360
<v Speaker 2>Water was a huge success, or right Now. It was

1:06:32.400 --> 1:06:36.080
<v Speaker 2>a huge success. To follow up to the single all

1:06:36.160 --> 1:06:39.320
<v Speaker 2>Right Now was the Steeler, which was a great song,

1:06:40.040 --> 1:06:43.920
<v Speaker 2>but it wasn't nowhere near. It didn't have the attraction

1:06:45.040 --> 1:06:50.120
<v Speaker 2>that all Right Now had a highway. Although musically a

1:06:50.320 --> 1:06:54.600
<v Speaker 2>beautiful album and one of my favorite free albums, it

1:06:54.840 --> 1:06:58.960
<v Speaker 2>just died a death. So we came down to a

1:06:59.760 --> 1:07:03.120
<v Speaker 2>very very quickly. And because of the success of All

1:07:03.240 --> 1:07:06.600
<v Speaker 2>Right Now, we were playing different countries every night, not

1:07:06.760 --> 1:07:09.280
<v Speaker 2>just different towns. We were going around the world. We

1:07:09.360 --> 1:07:11.400
<v Speaker 2>were doing this and that, we were doing press comfries

1:07:11.440 --> 1:07:15.440
<v Speaker 2>and we were getting burned out, and Ireland wanted to

1:07:15.640 --> 1:07:21.440
<v Speaker 2>capitalize as businessmen, I want to do and they kept

1:07:21.480 --> 1:07:24.520
<v Speaker 2>booking us more shows, more shows. We're getting bet up

1:07:24.560 --> 1:07:27.200
<v Speaker 2>with it. Paul Rogers was the first to say, I

1:07:27.360 --> 1:07:30.840
<v Speaker 2>want to rest. I'm tired of this. I've had enough.

1:07:30.880 --> 1:07:34.920
<v Speaker 2>I want to rest. But no, they wouldn't do it.

1:07:35.600 --> 1:07:39.040
<v Speaker 2>So and I really think this is where the management

1:07:39.120 --> 1:07:39.760
<v Speaker 2>dropped the ball.

1:07:40.200 --> 1:07:43.200
<v Speaker 1>Who was the manager, Well, it was Chris.

1:07:43.120 --> 1:07:47.920
<v Speaker 2>Black, Chris and John Glover, and they should have listened

1:07:47.960 --> 1:07:52.480
<v Speaker 2>to us. And I've told Chris to his face that

1:07:52.880 --> 1:07:56.640
<v Speaker 2>you know, they should have given us a rest. You know,

1:07:56.800 --> 1:07:59.160
<v Speaker 2>six months. Six months is nothing in rock and roll.

1:07:59.200 --> 1:08:01.360
<v Speaker 2>It's not a big deal. We should have had arrest

1:08:01.640 --> 1:08:06.640
<v Speaker 2>and they didn't. So we came in to me and

1:08:06.880 --> 1:08:09.680
<v Speaker 2>Paul Kossoff, we were living together. We came into one

1:08:09.760 --> 1:08:14.040
<v Speaker 2>of the mixing sessions for my brother Jake, which was

1:08:14.080 --> 1:08:18.280
<v Speaker 2>a single, and the atmosphere of Paul and Andy Paul

1:08:18.320 --> 1:08:20.840
<v Speaker 2>Rodgers and Andy were there with the engineer and the

1:08:20.880 --> 1:08:25.800
<v Speaker 2>atmosphere was terrible. Hey guys, how you doing that? Okay, oh,

1:08:26.520 --> 1:08:29.600
<v Speaker 2>what's up? And then he said, you know when we

1:08:29.880 --> 1:08:33.040
<v Speaker 2>when we reached Australia, that's going to be our last show,

1:08:34.479 --> 1:08:37.720
<v Speaker 2>and me, of course went what. Yeah, we're tired, we

1:08:37.840 --> 1:08:39.800
<v Speaker 2>fed up with it. I said, well, let's just have

1:08:39.920 --> 1:08:44.160
<v Speaker 2>a break. No no, no, musically I forget the actual words,

1:08:44.200 --> 1:08:46.519
<v Speaker 2>but we've come to the end of our road. We're

1:08:46.560 --> 1:08:50.719
<v Speaker 2>breaking up the band. And I was I was stunned.

1:08:51.040 --> 1:08:56.439
<v Speaker 2>I mean wow, and we kept it. Now this is

1:08:56.479 --> 1:08:59.040
<v Speaker 2>where we dropped the ball because we should have told management,

1:08:59.760 --> 1:09:01.640
<v Speaker 2>and I think there was a certain fuck you. You know,

1:09:01.880 --> 1:09:03.800
<v Speaker 2>you're not listening to us, so we're not going to

1:09:03.840 --> 1:09:07.479
<v Speaker 2>talk to you. And thinking about it now, it's the

1:09:07.560 --> 1:09:09.320
<v Speaker 2>first time I thought about it. We should have. I

1:09:09.400 --> 1:09:12.040
<v Speaker 2>should have gone to Johnny Glover and Chris. I said, hey,

1:09:12.600 --> 1:09:15.200
<v Speaker 2>you're in danger of losing this band unless you light

1:09:15.240 --> 1:09:19.000
<v Speaker 2>it up. But once Paul Rodgers makes up his mind,

1:09:20.000 --> 1:09:24.840
<v Speaker 2>you can't change it. So we didn't tell Johnny. We

1:09:25.000 --> 1:09:28.840
<v Speaker 2>left for Japan and Australia, we didn't tell Johnny Glover

1:09:28.920 --> 1:09:32.040
<v Speaker 2>that we would breaking up until we'd taken off of Japan.

1:09:32.160 --> 1:09:36.000
<v Speaker 2>We were in mid air, Paul went up to and

1:09:36.120 --> 1:09:39.080
<v Speaker 2>whatever he said to him, and Johnny's face fell a

1:09:39.160 --> 1:09:42.160
<v Speaker 2>thousand miles. So we had to go through the whole

1:09:42.240 --> 1:09:47.000
<v Speaker 2>of the Japanese tour and the Australian to knowing that

1:09:47.200 --> 1:09:50.640
<v Speaker 2>when we got to Randwick Race Course in Sydney that

1:09:50.680 --> 1:09:55.880
<v Speaker 2>would be our final show. And it was until we reformed.

1:09:55.960 --> 1:09:57.040
<v Speaker 2>But that's another story.

1:09:58.720 --> 1:10:04.639
<v Speaker 1>Okay, you re formed, it ultimately doesn't take Let's jump forward.

1:10:05.520 --> 1:10:07.360
<v Speaker 1>How do you form bad company?

1:10:08.880 --> 1:10:14.880
<v Speaker 2>Okay, so yeah, free fell apart. Coss developed this dreadful

1:10:14.920 --> 1:10:18.400
<v Speaker 2>drug problem, et cetera said, and we we said enough,

1:10:18.520 --> 1:10:21.479
<v Speaker 2>we can't do it anymore. So I went to Brazil.

1:10:21.520 --> 1:10:23.320
<v Speaker 2>I stayed there for a few months. Paul went to

1:10:23.439 --> 1:10:29.800
<v Speaker 2>Japan when a lady married her and formed his own

1:10:29.880 --> 1:10:31.040
<v Speaker 2>band called Peace.

1:10:31.800 --> 1:10:35.880
<v Speaker 1>Before we get there. Had you made any money in

1:10:36.000 --> 1:10:36.960
<v Speaker 1>this whole success?

1:10:37.320 --> 1:10:41.360
<v Speaker 2>No? Not really. Yeah, I mean not a lot. But

1:10:41.520 --> 1:10:45.759
<v Speaker 2>I was single. I had enough to get into trouble nicely.

1:10:46.880 --> 1:10:48.679
<v Speaker 2>But no, no, I didn't have a lot of money.

1:10:48.680 --> 1:10:52.400
<v Speaker 2>I didn't write the songs. I just saved money from

1:10:52.479 --> 1:10:57.360
<v Speaker 2>personal concerts and royalties. Mechanical waters, but no, not a

1:10:57.400 --> 1:10:58.200
<v Speaker 2>lot of money at all.

1:10:58.640 --> 1:11:02.720
<v Speaker 1>Okay, So Paul forums piece, he forms.

1:11:02.520 --> 1:11:04.599
<v Speaker 2>Peace and they go on the road with Mot the Hoople.

1:11:05.000 --> 1:11:08.599
<v Speaker 2>He's opening for Mo the Hoople and during this time

1:11:09.320 --> 1:11:13.679
<v Speaker 2>What the Hoople are huge, huge band, all the young dudes,

1:11:13.720 --> 1:11:17.160
<v Speaker 2>as you know, the David Bowie connection, a la big band.

1:11:18.240 --> 1:11:22.000
<v Speaker 2>But Mick Ralphs, the guitarist, is very unhappy. He's been

1:11:22.200 --> 1:11:25.320
<v Speaker 2>you know, he's not getting on with Ian Hunter, and

1:11:25.560 --> 1:11:30.080
<v Speaker 2>him and Paul developed this relationship, this friendship, and they

1:11:30.160 --> 1:11:33.679
<v Speaker 2>start jamming together in the dressing room before the shows,

1:11:33.760 --> 1:11:36.760
<v Speaker 2>La la lah. Mick brings him this little real to

1:11:36.920 --> 1:11:40.720
<v Speaker 2>real of this song called Can't Get Enough, and he says,

1:11:40.880 --> 1:11:43.760
<v Speaker 2>Ian doesn't want to do it, and Mick plays it

1:11:43.840 --> 1:11:46.200
<v Speaker 2>to Paul and said, Paul says, fucking hell, this is

1:11:46.439 --> 1:11:49.640
<v Speaker 2>this is amazing, and he starts singing along with it.

1:11:49.720 --> 1:11:52.360
<v Speaker 2>And Mick told me, he told me later, he said,

1:11:52.400 --> 1:11:55.720
<v Speaker 2>when Paul started singing along to Can't Get Enough, his

1:11:55.920 --> 1:12:00.719
<v Speaker 2>heart just soared because Paul just did what Paul Rodgers

1:12:00.800 --> 1:12:03.559
<v Speaker 2>does to a song. He just elevated it. So anyway,

1:12:03.800 --> 1:12:06.960
<v Speaker 2>long story short, at the end of that tour, mix

1:12:07.000 --> 1:12:10.479
<v Speaker 2>ses I'm leaving mat the Hoople, Paul breaks up his

1:12:10.960 --> 1:12:13.080
<v Speaker 2>band Peace and they formed us.

1:12:13.120 --> 1:12:16.320
<v Speaker 1>Because it hasn't been covered. After he left Martha Hoople,

1:12:16.439 --> 1:12:18.840
<v Speaker 1>they got aerie old Bender, the guy from Spooky Tooth.

1:12:18.880 --> 1:12:21.479
<v Speaker 1>They never had, They never had teple a little says,

1:12:22.040 --> 1:12:25.360
<v Speaker 1>did Ian Hunter care that Mick Ralph's left to.

1:12:25.400 --> 1:12:30.120
<v Speaker 2>The degree, you know, I honestly don't know. I don't know.

1:12:30.439 --> 1:12:34.360
<v Speaker 1>So in any event, Mick leaves Mark the Hoople and

1:12:34.680 --> 1:12:37.920
<v Speaker 1>Paul breaks up Peace continue. Yeah.

1:12:38.720 --> 1:12:42.479
<v Speaker 2>So they started this friendship and they started writing songs together.

1:12:42.600 --> 1:12:46.920
<v Speaker 2>And I called Paul from Brazil just to see it.

1:12:47.040 --> 1:12:50.400
<v Speaker 2>We always got on very well. Free was dead and gone,

1:12:50.640 --> 1:12:52.439
<v Speaker 2>and I just wanted to see what he was up to.

1:12:52.960 --> 1:12:55.919
<v Speaker 2>You've got to remember we were still in our early twenties.

1:12:56.080 --> 1:12:59.080
<v Speaker 2>I was twenty five. Paul is six months younger than me,

1:12:59.800 --> 1:13:02.960
<v Speaker 2>so we were both in our late you know, twenty

1:13:03.000 --> 1:13:05.760
<v Speaker 2>four to twenty five. He said, well, I'm you know,

1:13:05.800 --> 1:13:08.040
<v Speaker 2>I'm getting a band together with Mick. You know, you

1:13:08.120 --> 1:13:12.240
<v Speaker 2>want to play drums. I loved him, man, and I

1:13:12.360 --> 1:13:14.839
<v Speaker 2>flew back to England and I went to Paul's cottage.

1:13:14.880 --> 1:13:18.360
<v Speaker 2>He's got a little cottage outside London for a little

1:13:18.439 --> 1:13:21.519
<v Speaker 2>get together. With Mick, and Mick was lovely and I

1:13:21.640 --> 1:13:24.160
<v Speaker 2>love him to this day. He was a sweetheart. He

1:13:24.240 --> 1:13:29.040
<v Speaker 2>is funny, great player, very underrated player, but he just

1:13:29.120 --> 1:13:34.080
<v Speaker 2>had this wonderful humanitarian vibe about him and nothing could

1:13:34.160 --> 1:13:39.400
<v Speaker 2>be too much sub for him. He was great. And

1:13:39.880 --> 1:13:41.600
<v Speaker 2>we had this song. He had this song moving on,

1:13:42.360 --> 1:13:46.000
<v Speaker 2>this thing in open Sea tuning. He had this guitar

1:13:46.120 --> 1:13:50.400
<v Speaker 2>tune to open Sea and he did this wow, wow wow,

1:13:51.520 --> 1:13:54.439
<v Speaker 2>And I started playing drums for that. Wow, that's two

1:13:54.560 --> 1:13:57.840
<v Speaker 2>songs we've got. Can't get enough and moving on. And

1:13:57.960 --> 1:14:02.800
<v Speaker 2>then Paull had rock Steady Barn and suddenly we're like,

1:14:03.000 --> 1:14:06.320
<v Speaker 2>hocking hell. We got some songs here. And then the

1:14:06.479 --> 1:14:11.760
<v Speaker 2>quest for a bass player started. But before that we

1:14:11.920 --> 1:14:15.120
<v Speaker 2>needed a manager because we knew it was like you

1:14:15.280 --> 1:14:18.439
<v Speaker 2>go back five years when Free was in that little pub.

1:14:19.080 --> 1:14:23.200
<v Speaker 2>We knew he had something. Now this was Mick Rause,

1:14:23.200 --> 1:14:28.200
<v Speaker 2>Paul Rogers and myself, and we knew our road manager

1:14:29.080 --> 1:14:32.800
<v Speaker 2>who was floating road manager with Free was a New

1:14:32.920 --> 1:14:36.400
<v Speaker 2>Zealander who had a friend from New Zealand who was

1:14:36.520 --> 1:14:39.880
<v Speaker 2>roading for Led Zeppelin. And this is where the tie

1:14:40.160 --> 1:14:44.160
<v Speaker 2>comes in. And Clive, who rode it for Led Zeppelin

1:14:44.840 --> 1:14:49.920
<v Speaker 2>gave Paul Rodgers Peter Grant's number, because Paul, being Paul, says,

1:14:50.360 --> 1:14:53.120
<v Speaker 2>who's the biggest ban in the world, Led Zeppelin, who

1:14:53.240 --> 1:14:57.240
<v Speaker 2>manages led Zepplin, Peter Grant, Let's call Peter Grant. So

1:14:57.400 --> 1:15:02.840
<v Speaker 2>he did, and Peter Grant said, I've heard already, have

1:15:02.960 --> 1:15:07.880
<v Speaker 2>heard about about you guys. What we haven't even got

1:15:07.880 --> 1:15:09.840
<v Speaker 2>a bass player, so it doesn't matter. I want to

1:15:09.880 --> 1:15:13.000
<v Speaker 2>come and see you. So Peter Grant came to see

1:15:13.080 --> 1:15:15.560
<v Speaker 2>us in a little village hall and he did a

1:15:15.680 --> 1:15:19.519
<v Speaker 2>very clever thing. Bob. We're waiting and there's no cell

1:15:19.600 --> 1:15:22.040
<v Speaker 2>phones in those days. Peter Grant said, I'll be there

1:15:22.040 --> 1:15:25.680
<v Speaker 2>at two o'clock. Two o'clock comes, we're playing. It's just me,

1:15:26.080 --> 1:15:28.840
<v Speaker 2>Paul and Mick and a bass player who actually didn't

1:15:28.880 --> 1:15:31.840
<v Speaker 2>get the job. We play the same ten songs. Three

1:15:31.880 --> 1:15:36.160
<v Speaker 2>o'clock comes, no Peter, play the same ten songs. Four o'clock,

1:15:36.360 --> 1:15:40.280
<v Speaker 2>no Peter. Finally four point thirty, Peter Grant walks in

1:15:40.360 --> 1:15:45.880
<v Speaker 2>and hello, and we said, well, take a seat, we'll

1:15:45.920 --> 1:15:48.160
<v Speaker 2>play you the set. He said, don't worry, I've heard

1:15:48.240 --> 1:15:51.240
<v Speaker 2>it what he said. I've been in the car park.

1:15:52.120 --> 1:15:54.280
<v Speaker 2>He says, I've been in the car park listening to

1:15:54.400 --> 1:15:57.240
<v Speaker 2>you through the open window. He said, I knew you'd

1:15:57.280 --> 1:16:00.840
<v Speaker 2>be nervous, so I just didn't want to you guys off.

1:16:01.240 --> 1:16:03.360
<v Speaker 2>I've heard what you can do, and I think you're

1:16:03.400 --> 1:16:06.120
<v Speaker 2>fucking great. You want to be on our new label

1:16:06.320 --> 1:16:09.400
<v Speaker 2>called Swan Song. We said, yes. Please.

1:16:10.960 --> 1:16:14.160
<v Speaker 1>Let me ask you this. Do you think this is,

1:16:14.320 --> 1:16:16.720
<v Speaker 1>you know, kind of obscure. But do you think if

1:16:16.800 --> 1:16:21.040
<v Speaker 1>you hadn't been on Swan Song you get more respect

1:16:21.520 --> 1:16:23.200
<v Speaker 1>and you might have been in the rock and Roll

1:16:23.280 --> 1:16:25.920
<v Speaker 1>Hall of Fame? Or did you get wrapped up in

1:16:26.000 --> 1:16:29.120
<v Speaker 1>the Hall led Zeppelin thing and therefore people didn't give

1:16:29.160 --> 1:16:30.080
<v Speaker 1>you the same respect.

1:16:30.880 --> 1:16:33.599
<v Speaker 2>I don't know. I don't No one's ever answering that before.

1:16:34.080 --> 1:16:38.680
<v Speaker 2>Short answer, I don't know. I don't want to get

1:16:38.680 --> 1:16:43.080
<v Speaker 2>into hot water here. But you know, Zeppelin were in

1:16:43.160 --> 1:16:45.160
<v Speaker 2>the Hall of Fame. I mean, there's no way you

1:16:45.240 --> 1:16:48.920
<v Speaker 2>could not have Zeppelin the Hall of Fame. Jimmy, Yeah,

1:16:49.080 --> 1:16:51.160
<v Speaker 2>but I mean one of the great guitarists of all time,

1:16:52.240 --> 1:16:55.320
<v Speaker 2>Peter Grant was not a popular man. And we all

1:16:55.400 --> 1:16:59.600
<v Speaker 2>know Peter's reputation and he's no longer with us, but

1:16:59.720 --> 1:17:02.000
<v Speaker 2>he had a fearsome reputation. He pissed off a lot

1:17:02.080 --> 1:17:07.040
<v Speaker 2>of people in America. But I think, also, ah, what

1:17:07.160 --> 1:17:13.400
<v Speaker 2>the hell I think? Because of bad companies changing lineups

1:17:13.800 --> 1:17:16.960
<v Speaker 2>over the fifty years that we've been together, it kind

1:17:17.000 --> 1:17:21.000
<v Speaker 2>of devalued our currency a little bit. And you know,

1:17:21.120 --> 1:17:23.120
<v Speaker 2>you had the Brian Howe era, you had the Paul

1:17:23.200 --> 1:17:26.840
<v Speaker 2>Rodgers era one and two. When Paul rejoined the band,

1:17:27.040 --> 1:17:32.000
<v Speaker 2>we had Robert Hart. So I honestly don't know why

1:17:32.920 --> 1:17:38.200
<v Speaker 2>we have not been nominated, not even inducted. You have

1:17:38.280 --> 1:17:41.639
<v Speaker 2>to be nominated first, as you know. But I never

1:17:41.760 --> 1:17:45.120
<v Speaker 2>thought about the connection with the I mean, Arma Urtigan

1:17:45.479 --> 1:17:47.800
<v Speaker 2>was one of the founder members of the Hall of Fame,

1:17:47.920 --> 1:17:50.920
<v Speaker 2>and him and Peter Grant were like two p's in

1:17:51.000 --> 1:17:54.800
<v Speaker 2>a bard. I mean, they were great friends. So I

1:17:55.000 --> 1:17:58.200
<v Speaker 2>really can't answer that succinctly, quite honestly.

1:17:58.320 --> 1:18:00.759
<v Speaker 1>Okay, let's start for a second talk about Peter Grit.

1:18:01.280 --> 1:18:02.679
<v Speaker 1>What was up with Peter Grit?

1:18:03.600 --> 1:18:08.320
<v Speaker 2>Oh, if he was in your corner, you couldn't ask

1:18:08.360 --> 1:18:11.280
<v Speaker 2>for a better friend. And I loved him. I mean

1:18:11.360 --> 1:18:13.679
<v Speaker 2>he was a father figure. Even though he was only

1:18:14.360 --> 1:18:17.000
<v Speaker 2>a couple of years older than me. He was like

1:18:17.080 --> 1:18:21.760
<v Speaker 2>the father figure. But he wheah. He had a drug

1:18:21.840 --> 1:18:25.840
<v Speaker 2>problem up the wazoo. I mean, he was what I

1:18:25.960 --> 1:18:30.040
<v Speaker 2>didn't like about the whole Swan song, the whole Peter

1:18:30.200 --> 1:18:37.879
<v Speaker 2>Grant thing was the thuggishness, the violence, the thunder and lightning,

1:18:38.000 --> 1:18:41.479
<v Speaker 2>the whole thing about, you know, intimidating people.

1:18:42.040 --> 1:18:43.799
<v Speaker 1>And I saw that many.

1:18:43.720 --> 1:18:48.719
<v Speaker 2>Many times with the whole Peter Grant organization. He hired thugs,

1:18:49.479 --> 1:18:54.160
<v Speaker 2>he hired violent men around him and they were all

1:18:54.240 --> 1:18:56.679
<v Speaker 2>doing blow. We all did it, and that made people

1:18:56.760 --> 1:19:02.320
<v Speaker 2>even worse. And I'm just telling it. I'm telling things

1:19:02.400 --> 1:19:04.760
<v Speaker 2>that a lot of people know anyway. That you know,

1:19:04.880 --> 1:19:07.720
<v Speaker 2>he had a guy called John Bindon who was a

1:19:08.160 --> 1:19:11.599
<v Speaker 2>convicted murderer. I mean he he could knock people out

1:19:11.640 --> 1:19:15.360
<v Speaker 2>with one punch. He was not a nice guy. And

1:19:15.479 --> 1:19:19.120
<v Speaker 2>I think it all it's calm it. It came back

1:19:19.200 --> 1:19:22.680
<v Speaker 2>on him because he developed this drug problem Peter did.

1:19:24.080 --> 1:19:27.880
<v Speaker 2>He became a recluse. He couldn't lose weight. He was

1:19:28.000 --> 1:19:30.960
<v Speaker 2>very He's always a very big guy, became obese and

1:19:31.080 --> 1:19:33.840
<v Speaker 2>that was his excuse. You I don't want to eat

1:19:33.920 --> 1:19:36.160
<v Speaker 2>so much, so you know, I'll do blow or whatever.

1:19:38.080 --> 1:19:40.880
<v Speaker 2>But in a rage, you didn't want to be around him.

1:19:41.000 --> 1:19:44.599
<v Speaker 2>He was not a nice guy, but when he when

1:19:44.640 --> 1:19:48.360
<v Speaker 2>he loved you, he was he was a great company.

1:19:48.400 --> 1:19:50.200
<v Speaker 2>I have to say, you know.

1:19:50.280 --> 1:19:53.320
<v Speaker 1>You've been around how sharp a guy was he is

1:19:53.400 --> 1:19:54.120
<v Speaker 1>a manager?

1:19:55.760 --> 1:20:00.680
<v Speaker 2>I think he had this this street wise qualit to him.

1:20:02.040 --> 1:20:04.160
<v Speaker 2>You'd have to ask people who did deals with him.

1:20:04.240 --> 1:20:07.760
<v Speaker 2>I mean, he was fiersome, he looks. He changed the

1:20:07.840 --> 1:20:13.600
<v Speaker 2>whole touring right scene. You know, where promoters got the

1:20:13.760 --> 1:20:17.719
<v Speaker 2>lion's share of a gate. Suddenly when it was Zeppelin,

1:20:17.800 --> 1:20:22.479
<v Speaker 2>it was ninety Zeppelin ten percent for the who is

1:20:22.560 --> 1:20:27.000
<v Speaker 2>it conscious West with the big promoters. So he changed

1:20:27.000 --> 1:20:30.600
<v Speaker 2>that whole scene. And now I'm not saying that that

1:20:30.800 --> 1:20:34.320
<v Speaker 2>was relevant to across the board, but he did turn

1:20:34.439 --> 1:20:39.080
<v Speaker 2>things around in favor of the artists, no question. So

1:20:39.200 --> 1:20:41.920
<v Speaker 2>I think he was a very sharp business man, no question.

1:20:42.840 --> 1:20:44.719
<v Speaker 1>Let's go back. So how'd you get Barz Burrell?

1:20:45.920 --> 1:20:49.479
<v Speaker 2>Ah, well, Buzz. We had a list of sixteen bass

1:20:49.520 --> 1:20:52.639
<v Speaker 2>players and Buzz was in King Crimson. And we never

1:20:52.840 --> 1:20:55.880
<v Speaker 2>liked King Crimson except for the name. I got to say,

1:20:56.040 --> 1:20:58.400
<v Speaker 2>one of the great, one of the great band names

1:20:58.439 --> 1:21:01.000
<v Speaker 2>of all time. But it was in our cup of tea.

1:21:01.280 --> 1:21:04.280
<v Speaker 2>You know, I was raised on stacks and motown and

1:21:04.960 --> 1:21:08.960
<v Speaker 2>you know, soul black music. So King Crimson anyway, Bars

1:21:09.080 --> 1:21:11.519
<v Speaker 2>was at the very bottom. And we went through fifteen

1:21:11.560 --> 1:21:14.800
<v Speaker 2>other bass players and none of them worked, and we thought,

1:21:14.920 --> 1:21:17.639
<v Speaker 2>fuck it, and we called him up and we met

1:21:17.760 --> 1:21:22.360
<v Speaker 2>in a rehearsal place off the King's Road, and I

1:21:22.479 --> 1:21:25.320
<v Speaker 2>believe he came down and he was a great looking guy,

1:21:25.680 --> 1:21:30.000
<v Speaker 2>very funny and amenable and gracious, and he said, let's

1:21:30.040 --> 1:21:31.559
<v Speaker 2>not play for it, but let's go to the pub

1:21:31.600 --> 1:21:33.120
<v Speaker 2>and have a drink and get to know each other,

1:21:33.920 --> 1:21:35.560
<v Speaker 2>all right. So we went and had a couple of

1:21:35.640 --> 1:21:39.800
<v Speaker 2>pints and then we came back and we did a

1:21:39.880 --> 1:21:42.920
<v Speaker 2>little Little Misfortune, which was a B side of a

1:21:43.000 --> 1:21:46.400
<v Speaker 2>Bad Company song, and mix says here Boss goes from

1:21:46.560 --> 1:21:48.280
<v Speaker 2>G to sit and Boss says, no, no, no, I

1:21:48.320 --> 1:21:52.040
<v Speaker 2>don't tell me the chords. I'll figure it out all right.

1:21:53.280 --> 1:21:56.320
<v Speaker 2>And he played. Yeah, he played great, and we liked

1:21:56.400 --> 1:22:00.519
<v Speaker 2>him from the get go, and we offered him the

1:22:00.600 --> 1:22:02.599
<v Speaker 2>job at the end of the session. He was so good.

1:22:03.960 --> 1:22:08.880
<v Speaker 1>Okay, the title album, the title cut Bad Company, which

1:22:09.000 --> 1:22:12.599
<v Speaker 1>I prefer to can't get enough. You're a credited as

1:22:12.640 --> 1:22:16.280
<v Speaker 1>a Colt writer. How did Bad Company come about? Well?

1:22:16.320 --> 1:22:19.880
<v Speaker 2>The interesting thing about Bad Company was Paul came up

1:22:20.040 --> 1:22:24.200
<v Speaker 2>the piano riff, and it's an unusual rock song because

1:22:24.200 --> 1:22:27.720
<v Speaker 2>it's an E flat minor, and any keyboard player will

1:22:27.760 --> 1:22:29.719
<v Speaker 2>tell you that E flat miner was all the black

1:22:29.800 --> 1:22:32.880
<v Speaker 2>notes on a piano, and most rock songs are in

1:22:33.040 --> 1:22:37.720
<v Speaker 2>A or E or G or whatever. C can't get

1:22:37.800 --> 1:22:40.439
<v Speaker 2>enough as in C and C is what they call

1:22:40.479 --> 1:22:43.640
<v Speaker 2>the people's chord. It's kind of a common chord. So

1:22:43.800 --> 1:22:46.920
<v Speaker 2>E flat miner it was. And Paul had this great

1:22:47.040 --> 1:22:48.880
<v Speaker 2>bomb bomb bomb and he played it to me on

1:22:48.960 --> 1:22:53.120
<v Speaker 2>the piano. The Wow, it's nice. It's set a mood,

1:22:53.360 --> 1:22:56.240
<v Speaker 2>and as soon as you hear it on it whatever

1:22:56.439 --> 1:23:00.240
<v Speaker 2>radio or high file or sonas or whatever, as soon

1:23:00.280 --> 1:23:03.639
<v Speaker 2>as you hear then opening chords, it really clicks something

1:23:03.720 --> 1:23:05.599
<v Speaker 2>in you and still does to this day.

1:23:06.200 --> 1:23:08.720
<v Speaker 1>So we just, you know, we tossed.

1:23:08.520 --> 1:23:11.559
<v Speaker 2>Ideas around and I came up with one line, Paul

1:23:11.640 --> 1:23:14.599
<v Speaker 2>came up with another line, and I think we did

1:23:14.640 --> 1:23:17.519
<v Speaker 2>it in about twenty minutes and a glass of beer

1:23:17.560 --> 1:23:18.080
<v Speaker 2>and a joint.

1:23:25.120 --> 1:23:28.880
<v Speaker 1>Okay, Ready for Love had been on the first Martha

1:23:29.160 --> 1:23:33.320
<v Speaker 1>Ball Columbia album, sung by Mick. How did you guys

1:23:33.400 --> 1:23:36.360
<v Speaker 1>decide to do that? On the first Bad Company, right well.

1:23:36.720 --> 1:23:39.479
<v Speaker 2>One of one of mixed, one of the best songs

1:23:39.520 --> 1:23:44.320
<v Speaker 2>ever written. And as soon as Paul heard it, he said, well,

1:23:44.520 --> 1:23:46.120
<v Speaker 2>I want to do it, and Mix said, well, we've

1:23:46.120 --> 1:23:49.640
<v Speaker 2>done it already. I don't give a shit. I'm going

1:23:49.720 --> 1:23:52.439
<v Speaker 2>to sing this. We're gonna we're going to revitalize it

1:23:52.760 --> 1:23:56.720
<v Speaker 2>because the Mamma Hooper version is not great, but the

1:23:56.800 --> 1:24:00.320
<v Speaker 2>way Paul sings it and the whole piano solo, it's

1:24:00.360 --> 1:24:03.560
<v Speaker 2>a beautiful and we were when we were playing it,

1:24:03.880 --> 1:24:07.599
<v Speaker 2>Bowie was in the next studio. We were in Olympic

1:24:07.680 --> 1:24:12.040
<v Speaker 2>Studios in Barns in London and Bowie came in and

1:24:12.479 --> 1:24:14.840
<v Speaker 2>we didn't know he was there. He was just sat down.

1:24:15.320 --> 1:24:17.599
<v Speaker 2>We walked in and Bo said, he said, that song

1:24:17.920 --> 1:24:23.040
<v Speaker 2>is so fucking good. So hey, if if it's all

1:24:23.120 --> 1:24:25.080
<v Speaker 2>right by David, it's going on the album.

1:24:26.160 --> 1:24:28.960
<v Speaker 1>And of course one more Seagull. What can you tell

1:24:29.000 --> 1:24:31.720
<v Speaker 1>me about the Well Seagull was one.

1:24:31.720 --> 1:24:37.479
<v Speaker 2>Hundred Paul, and you know, he had this beautiful song

1:24:37.600 --> 1:24:40.040
<v Speaker 2>and it's still to this day. I mean, whenever he

1:24:40.120 --> 1:24:43.479
<v Speaker 2>plays it, people just go into raptures. It's a very

1:24:43.600 --> 1:24:47.400
<v Speaker 2>simple song in D major and he sings the hell

1:24:47.439 --> 1:24:49.600
<v Speaker 2>out of it, and it's it's just one of the

1:24:49.680 --> 1:24:51.599
<v Speaker 2>all time beautiful acoustic songs.

1:24:52.280 --> 1:24:56.120
<v Speaker 1>Okay, So from this side of the fence as a fan,

1:24:57.160 --> 1:25:02.280
<v Speaker 1>I can't get enough hit the FM radio. The album

1:25:02.479 --> 1:25:07.840
<v Speaker 1>comes out very shortly thereafter, huge success from minute one.

1:25:08.760 --> 1:25:11.840
<v Speaker 1>That was a paradigm that was not happening back then

1:25:12.560 --> 1:25:16.920
<v Speaker 1>for something usually a percolated FM radio you played because

1:25:16.960 --> 1:25:20.519
<v Speaker 1>this thing was a monster from day one. What was

1:25:20.600 --> 1:25:22.880
<v Speaker 1>the experience on your side of the fence.

1:25:23.760 --> 1:25:27.040
<v Speaker 2>Well, you know, you had this perfect storm, Bob. You know,

1:25:27.560 --> 1:25:32.719
<v Speaker 2>you had the release of the launch of Swansong Records.

1:25:33.400 --> 1:25:39.320
<v Speaker 2>Zeppelin publicity machine goes into overdrive. We had these launch

1:25:39.400 --> 1:25:43.760
<v Speaker 2>parties in Beverly Hills and New York City. We're the

1:25:43.920 --> 1:25:49.519
<v Speaker 2>first band other than Zeppelin on Swanson Records. We had

1:25:49.600 --> 1:25:53.800
<v Speaker 2>this out of the box amazing album from the get go.

1:25:53.960 --> 1:25:56.920
<v Speaker 2>I mean it just we're all good looking lads, we're

1:25:56.960 --> 1:26:00.599
<v Speaker 2>in our mid twenties. We've all come from very well

1:26:00.680 --> 1:26:04.559
<v Speaker 2>known bands in England and to a lesser degree in America.

1:26:05.240 --> 1:26:09.120
<v Speaker 2>So it couldn't really fail. And you've got to remember

1:26:09.200 --> 1:26:12.240
<v Speaker 2>that we we could back it up. It's all. It's

1:26:12.320 --> 1:26:14.479
<v Speaker 2>one thing having a great album but unless you can

1:26:14.560 --> 1:26:18.160
<v Speaker 2>go out on the stage and produce a live show

1:26:18.960 --> 1:26:22.120
<v Speaker 2>that is as good as that album, then it's going

1:26:22.200 --> 1:26:27.040
<v Speaker 2>to fall. So every book was tipped. We had the publicity,

1:26:27.360 --> 1:26:30.760
<v Speaker 2>We had Zeppelin. We were riding on their coattails. If

1:26:30.800 --> 1:26:36.320
<v Speaker 2>you wish, if you will, we did a tour. We

1:26:36.360 --> 1:26:39.040
<v Speaker 2>went all over the States, opening for other people, by

1:26:39.080 --> 1:26:41.720
<v Speaker 2>the way, and at the end of the tour we

1:26:41.840 --> 1:26:43.040
<v Speaker 2>had our first gold album.

1:26:44.320 --> 1:26:48.720
<v Speaker 1>Okay, unlike in Free you do follow it up with

1:26:48.880 --> 1:26:53.479
<v Speaker 1>Street Shooter, which is actually bigger than the first album.

1:26:53.880 --> 1:26:58.439
<v Speaker 1>Feel Like Making Love just takes over and feel Like

1:26:58.560 --> 1:27:01.880
<v Speaker 1>Making Love there's not sound like can't get enough. So

1:27:02.040 --> 1:27:04.040
<v Speaker 1>tell me how you get that song, and tell me

1:27:04.120 --> 1:27:05.280
<v Speaker 1>more about the second album.

1:27:06.080 --> 1:27:09.400
<v Speaker 2>Well, but Paul had Paul and Mick had these two

1:27:09.479 --> 1:27:12.720
<v Speaker 2>separate songs. I'll never forget. I think Mick had a

1:27:12.760 --> 1:27:18.760
<v Speaker 2>little country d T G B. And then Paul had

1:27:18.800 --> 1:27:23.880
<v Speaker 2>this great riff. He might be the other way around.

1:27:23.920 --> 1:27:26.080
<v Speaker 2>I'm not sure who had it, But I said, you

1:27:26.160 --> 1:27:30.840
<v Speaker 2>know what, because neither of the ideas was going anywhere,

1:27:31.080 --> 1:27:33.840
<v Speaker 2>So why don't you just marry the two have the

1:27:34.000 --> 1:27:37.360
<v Speaker 2>versus a little country thing and have the chorus as

1:27:37.439 --> 1:27:40.320
<v Speaker 2>this riff so we ran it a few times and

1:27:40.439 --> 1:27:44.400
<v Speaker 2>you know what, it took off. So that was feeling't

1:27:44.439 --> 1:27:47.880
<v Speaker 2>making Love. Still to this day, I believe if you

1:27:48.000 --> 1:27:52.719
<v Speaker 2>go on Pandora, I think it's next to Bad Company.

1:27:52.720 --> 1:27:55.479
<v Speaker 2>It's the most played Bad Company song ever.

1:27:56.280 --> 1:27:59.080
<v Speaker 1>So yeah, the only time I've sung karaoke in my

1:27:59.200 --> 1:28:01.320
<v Speaker 1>life was on a boat, and the only song I

1:28:01.479 --> 1:28:02.920
<v Speaker 1>sang was feel like making Love.

1:28:04.560 --> 1:28:06.080
<v Speaker 2>I want to see a YouTube of that.

1:28:07.439 --> 1:28:10.840
<v Speaker 1>God, it doesn't exist. Can you tell me anything about

1:28:10.920 --> 1:28:11.599
<v Speaker 1>Shooting Star?

1:28:13.240 --> 1:28:17.679
<v Speaker 2>Oh yeah, yeah, probably my one of my favorite songs

1:28:17.880 --> 1:28:21.160
<v Speaker 2>of Paul. Well, we were going on to our next tour.

1:28:21.479 --> 1:28:24.880
<v Speaker 2>We were in He Throw, He Throw Airport and we

1:28:24.960 --> 1:28:26.800
<v Speaker 2>all got there as the start of our second tour.

1:28:26.880 --> 1:28:30.800
<v Speaker 2>Everyone's like, well, can't wait, and Paul is sort of

1:28:30.920 --> 1:28:35.360
<v Speaker 2>sequested himself away in a corner of the departure or

1:28:35.439 --> 1:28:40.519
<v Speaker 2>he's got his little guitar and he's and they're calling

1:28:40.560 --> 1:28:45.240
<v Speaker 2>the flights in flight seven three to New York. Paul,

1:28:45.320 --> 1:28:48.439
<v Speaker 2>come on, So I'm nearly finished. I'm nearly finished, and

1:28:48.560 --> 1:28:53.439
<v Speaker 2>he's finishing the last verse to Shooting Star, which he

1:28:53.520 --> 1:28:58.320
<v Speaker 2>played when he finally arrived in New York. He played

1:28:58.400 --> 1:29:00.920
<v Speaker 2>us and it was just John he was a schoolboy

1:29:01.520 --> 1:29:05.640
<v Speaker 2>when he heard his first Beatle song and it was,

1:29:06.040 --> 1:29:08.840
<v Speaker 2>oh man, one of the great I think, one of

1:29:08.920 --> 1:29:12.160
<v Speaker 2>his finest songs because it's still relevant today. I mean

1:29:12.200 --> 1:29:16.040
<v Speaker 2>it's fifty years later, it still rings a bell and

1:29:16.800 --> 1:29:20.080
<v Speaker 2>addiction and the price of fame and so on and

1:29:20.200 --> 1:29:23.679
<v Speaker 2>so forth. So you feel like I'm making love, shooting

1:29:23.760 --> 1:29:28.599
<v Speaker 2>star good, loving one bad. I mean, three stellar tracks.

1:29:29.040 --> 1:29:36.759
<v Speaker 2>And that's why for me, what's the name? The second

1:29:36.800 --> 1:29:38.599
<v Speaker 2>album is my favorite album?

1:29:39.120 --> 1:29:41.600
<v Speaker 1>Well, the funny thing is the hits are on the

1:29:41.760 --> 1:29:47.080
<v Speaker 1>first side, but once you burn that out Paul's vocal

1:29:47.680 --> 1:29:51.200
<v Speaker 1>and deal with the preacher and then I wild fire

1:29:51.240 --> 1:29:58.000
<v Speaker 1>a woman really astounding. Okay, Run with the Pack is

1:29:58.080 --> 1:30:01.519
<v Speaker 1>the next album I got. I ask you because this

1:30:01.720 --> 1:30:03.719
<v Speaker 1>is my favorite Bad Company song.

1:30:03.880 --> 1:30:03.920
<v Speaker 2>You.

1:30:04.240 --> 1:30:06.920
<v Speaker 1>I don't know if there's any story but simple man.

1:30:08.040 --> 1:30:12.040
<v Speaker 1>Oh well, yeah, freedom is the only thing that means

1:30:12.080 --> 1:30:13.439
<v Speaker 1>a damn to me, to.

1:30:13.520 --> 1:30:16.519
<v Speaker 2>Me, yeah, especially if you live in New Hampshire.

1:30:16.560 --> 1:30:17.360
<v Speaker 1>What is it? Yeah?

1:30:19.040 --> 1:30:19.240
<v Speaker 2>Die?

1:30:19.360 --> 1:30:19.559
<v Speaker 1>Yeah?

1:30:20.880 --> 1:30:23.800
<v Speaker 2>That was I think that was a definitely a fifty

1:30:23.840 --> 1:30:26.479
<v Speaker 2>to fifty collaboration with Mick because Mick came up with

1:30:26.560 --> 1:30:33.920
<v Speaker 2>that the beautiful guitar riff, that descending riff and then Paul.

1:30:34.600 --> 1:30:38.599
<v Speaker 2>When Paul sung this, I mean whoa when he hit

1:30:38.720 --> 1:30:44.599
<v Speaker 2>that that final verse, I'm but a simple man. God Wow, yeah,

1:30:45.000 --> 1:30:48.080
<v Speaker 2>I'm Yeah. Not much else I can say about it.

1:30:48.160 --> 1:30:49.719
<v Speaker 2>It's a joy to play.

1:30:50.320 --> 1:30:54.200
<v Speaker 1>Okay, you have three big hits in the album. The

1:30:54.439 --> 1:31:00.840
<v Speaker 1>next album is Burning Sky. I like the remember Robert

1:31:00.920 --> 1:31:03.240
<v Speaker 1>Hilbert not that just because I live in LA. It

1:31:03.400 --> 1:31:06.519
<v Speaker 1>was trashing the lyrics whatever of leaving you, but it

1:31:06.600 --> 1:31:09.800
<v Speaker 1>had Bernard's guy had an incredible sound. What was the

1:31:09.920 --> 1:31:13.960
<v Speaker 1>experience you had? Did you feel that it wasn't as successful?

1:31:14.640 --> 1:31:15.439
<v Speaker 1>Was it all blur?

1:31:15.680 --> 1:31:18.760
<v Speaker 2>What was it like? Well, it was, you know, we'd

1:31:19.000 --> 1:31:22.280
<v Speaker 2>come full circle. Really we had three great albums and

1:31:22.360 --> 1:31:25.720
<v Speaker 2>then we started getting tired. We were we were doing

1:31:25.800 --> 1:31:29.280
<v Speaker 2>that whole round the world thing again, and we were

1:31:29.640 --> 1:31:33.000
<v Speaker 2>we were contracted to do an album. We had a

1:31:33.160 --> 1:31:38.559
<v Speaker 2>deadline to meet, and we were being the young rap

1:31:38.640 --> 1:31:42.240
<v Speaker 2>scallions that we were. We were unaware. We come off

1:31:42.280 --> 1:31:45.639
<v Speaker 2>this third American tour where we'd done like one hundred,

1:31:46.560 --> 1:31:50.840
<v Speaker 2>one hundred shows in four months, something ridiculous, and we said,

1:31:50.880 --> 1:31:53.720
<v Speaker 2>oh now let's have a break. And the guys went,

1:31:53.880 --> 1:31:57.519
<v Speaker 2>uh uh, you got an album to make what yeah,

1:31:57.720 --> 1:32:00.800
<v Speaker 2>by the end of October or you get penalty of

1:32:00.920 --> 1:32:08.639
<v Speaker 2>some bullshit. So when we convened in the chateau Ville

1:32:08.840 --> 1:32:14.760
<v Speaker 2>just outside Parish to what were what would become Bernie Sky,

1:32:15.640 --> 1:32:18.360
<v Speaker 2>we only had I think four four and a half

1:32:18.560 --> 1:32:22.320
<v Speaker 2>songs and most of them weren't really that good, quite honestly.

1:32:23.200 --> 1:32:26.519
<v Speaker 2>So yeah, and we got panned. I mean the album

1:32:27.040 --> 1:32:29.720
<v Speaker 2>Bernie Sky was great, and I think that was one

1:32:29.840 --> 1:32:33.519
<v Speaker 2>song that Paul had finished and done and that was

1:32:33.640 --> 1:32:36.680
<v Speaker 2>really good. But there were a couple of jams we

1:32:36.800 --> 1:32:39.760
<v Speaker 2>did to make up for it, and we were we

1:32:39.840 --> 1:32:42.800
<v Speaker 2>were getting tired, a bit ragged, and it was a

1:32:42.880 --> 1:32:46.120
<v Speaker 2>lot of fun, I have to say, but we came

1:32:46.240 --> 1:32:49.400
<v Speaker 2>ill prepared and it did show in that album.

1:32:50.120 --> 1:32:52.519
<v Speaker 1>So it takes two years for the next album to

1:32:52.640 --> 1:32:55.520
<v Speaker 1>come out. What goes on in those two years.

1:32:56.880 --> 1:33:03.080
<v Speaker 2>That would be Desolation Angels, right, Yeah, well same ORed.

1:33:03.200 --> 1:33:06.200
<v Speaker 2>I mean, the drugs started. I started getting into the drugs.

1:33:06.360 --> 1:33:09.760
<v Speaker 2>We all do, quite honestly, except for Paul. I'll put

1:33:09.800 --> 1:33:12.880
<v Speaker 2>my hand up there straight away. Paul stopped doing drugs

1:33:12.920 --> 1:33:16.280
<v Speaker 2>in nineteen seventy six. But me, but Mick and Boz

1:33:16.640 --> 1:33:20.400
<v Speaker 2>we were, you know, I was still in my I

1:33:20.560 --> 1:33:24.200
<v Speaker 2>was twenty eight, yeah, twenty eight, twenty nine. Boz was

1:33:24.240 --> 1:33:26.720
<v Speaker 2>a couple of years older. Mick was maybe in his

1:33:26.840 --> 1:33:31.360
<v Speaker 2>early thirties. We were still rocking, you know, partying, to

1:33:31.560 --> 1:33:37.439
<v Speaker 2>use a euphemism, and we we were resting on our laurels.

1:33:37.920 --> 1:33:40.920
<v Speaker 2>We wanted a break. We deserved it. We had four

1:33:41.120 --> 1:33:44.080
<v Speaker 2>platinum albums in a row, bollocks. We weren't going to

1:33:44.160 --> 1:33:47.559
<v Speaker 2>do anything, and we had to do a tax year

1:33:47.680 --> 1:33:53.800
<v Speaker 2>out because of the crippling taxes in in England. So

1:33:54.080 --> 1:33:56.880
<v Speaker 2>we just kind of twiddled out armas for a couple

1:33:56.880 --> 1:33:59.439
<v Speaker 2>of years. I think we did a tour we will

1:33:59.520 --> 1:34:01.360
<v Speaker 2>you know the thing we touched. We still had to

1:34:01.479 --> 1:34:04.479
<v Speaker 2>mind us touch, but we were getting a little burned

1:34:04.520 --> 1:34:10.640
<v Speaker 2>out and it took rock and roll fantasy to rejuvenate us.

1:34:11.200 --> 1:34:16.160
<v Speaker 2>Paul once again came up gold with rock andron fantasy

1:34:16.760 --> 1:34:20.719
<v Speaker 2>and Destination Angels was a pretty damn good album.

1:34:21.080 --> 1:34:26.720
<v Speaker 1>So Desolation Angels is an incredible record. They they hit

1:34:26.840 --> 1:34:30.320
<v Speaker 1>the ship. Ratio on that album is beyond belief. It's

1:34:30.400 --> 1:34:33.320
<v Speaker 1>you know, been forgot, It's got rock and roll fantasy,

1:34:33.360 --> 1:34:35.840
<v Speaker 1>and it's got Atlanta. The best song on the album,

1:34:35.840 --> 1:34:39.720
<v Speaker 1>I don't get Lonely for Your Love is just incredible,

1:34:40.840 --> 1:34:48.280
<v Speaker 1>and then Evil Wind and Rhythm. I mean that album love. Yeah,

1:34:48.520 --> 1:34:54.679
<v Speaker 1>it's labeled as bad Company goes Synth, but that's just strong,

1:34:54.880 --> 1:34:57.800
<v Speaker 1>if not stronger in its own way than Straight Shooter.

1:34:58.080 --> 1:35:00.080
<v Speaker 1>It was a surprise. I mean I was shocked how

1:35:00.120 --> 1:35:02.920
<v Speaker 1>good it was. And I did not buy it, Unlike

1:35:03.000 --> 1:35:06.240
<v Speaker 1>the previous three albums, I bought exactly when they came out.

1:35:06.320 --> 1:35:08.760
<v Speaker 1>I waited a little while before I bought that one.

1:35:09.479 --> 1:35:14.800
<v Speaker 1>But there were synthesizers on that album. How did those?

1:35:15.400 --> 1:35:17.160
<v Speaker 1>It was out an argument. Everybody said, oh, this is

1:35:17.240 --> 1:35:18.640
<v Speaker 1>the sound, We're going to go for it.

1:35:19.280 --> 1:35:24.840
<v Speaker 3>No, I've always had a love affair with strings, and

1:35:26.280 --> 1:35:28.479
<v Speaker 3>back on Straight Shooter, you know, I had a couple

1:35:28.520 --> 1:35:30.800
<v Speaker 3>of songs, one of which was Weep No More.

1:35:30.680 --> 1:35:33.720
<v Speaker 2>And we used a full orchestra. So fast forward to

1:35:37.680 --> 1:35:41.240
<v Speaker 2>to rock and roll Fantasy, I mean Desinats and Angels.

1:35:41.720 --> 1:35:45.200
<v Speaker 2>I think we used since because we just maybe got

1:35:45.240 --> 1:35:47.840
<v Speaker 2>a little bit bored with the regular lineup. We just

1:35:47.920 --> 1:35:50.599
<v Speaker 2>wanted a little bit of a different taste of something

1:35:50.680 --> 1:35:54.559
<v Speaker 2>here and there. And Mick and Paul have always been

1:35:54.800 --> 1:35:58.600
<v Speaker 2>decent keyboard players, so we just, you know, just for

1:35:58.720 --> 1:36:00.680
<v Speaker 2>the shaer fun of it, of it to do it.

1:36:02.280 --> 1:36:06.600
<v Speaker 1>Okay, that's a huge success. Next album comes out Rough Diamonds.

1:36:07.040 --> 1:36:11.240
<v Speaker 1>There is a hit electrically in but the original band

1:36:11.320 --> 1:36:13.479
<v Speaker 1>fall support. So what goes on there?

1:36:13.640 --> 1:36:16.400
<v Speaker 2>Yeah, yeah, Well, we were pretty much at the end

1:36:16.439 --> 1:36:19.680
<v Speaker 2>of our row. And I'm glad you mentioned electric Land

1:36:19.720 --> 1:36:23.479
<v Speaker 2>because it's one of Baul's great great songs. But we

1:36:23.680 --> 1:36:27.280
<v Speaker 2>were pretty much burned out by then, and we had

1:36:27.280 --> 1:36:34.280
<v Speaker 2>a fist fight. And when unless you're skinnered some Southern band,

1:36:34.880 --> 1:36:37.320
<v Speaker 2>when an English band has a fist fight, that's pretty

1:36:37.360 --> 1:36:41.439
<v Speaker 2>much the end of it. And we did and it

1:36:41.560 --> 1:36:44.040
<v Speaker 2>all fell apart. We were all doing way too much,

1:36:44.760 --> 1:36:47.280
<v Speaker 2>too many drugs. We were kind of screwed up. I

1:36:47.439 --> 1:36:52.320
<v Speaker 2>was drinking, and what happened. You had this one two

1:36:52.479 --> 1:36:57.759
<v Speaker 2>punch of Lenon being shot and Bonzo dying and Zeppelin

1:36:57.840 --> 1:37:01.639
<v Speaker 2>breaking up. Peter Grant goes the seclusion. This whole house

1:37:01.760 --> 1:37:08.760
<v Speaker 2>of cards just implodes and collapses, and you know, we

1:37:09.760 --> 1:37:19.320
<v Speaker 2>invoked a managerial clause. Robert and Jimmy from Zepp backed

1:37:19.320 --> 1:37:23.080
<v Speaker 2>out from away from Peter. Grant all did the same thing,

1:37:23.400 --> 1:37:27.920
<v Speaker 2>and we we kind of recused ourselves from Peter. We

1:37:28.000 --> 1:37:30.120
<v Speaker 2>wanted him to get better. We wanted us all to

1:37:30.160 --> 1:37:32.960
<v Speaker 2>get better. Zeppelin had broken up and it was a

1:37:33.000 --> 1:37:38.280
<v Speaker 2>horrible time. Nineteen eighty was a ghastly time and that

1:37:38.439 --> 1:37:39.320
<v Speaker 2>was it for us. Really.

1:37:40.640 --> 1:37:47.840
<v Speaker 1>Okay, ultimately you reconstitute the band. Bud Prager is the

1:37:47.920 --> 1:37:53.160
<v Speaker 1>mean Okay, Brian Howe who comes first? Bud or Brian.

1:37:56.200 --> 1:38:01.000
<v Speaker 2>Kind of one too? Yeah, yeah, Well, Bud managed and

1:38:01.160 --> 1:38:04.280
<v Speaker 2>Lou Graham and Mick Jones weren't getting on and Mick

1:38:04.520 --> 1:38:07.679
<v Speaker 2>wanted to groom this guy called Brian ow to take

1:38:07.760 --> 1:38:11.920
<v Speaker 2>over from Lou. Well, they kind of made up and Paul,

1:38:12.640 --> 1:38:16.439
<v Speaker 2>you know, Paul went into the Sunset and I became

1:38:16.560 --> 1:38:18.559
<v Speaker 2>very friendly with Mick because he became a good friend

1:38:18.600 --> 1:38:20.360
<v Speaker 2>of mine. And I said, yeah, we're looking for around,

1:38:20.600 --> 1:38:23.240
<v Speaker 2>maybe someone to replace Paul, And he said, I got

1:38:23.280 --> 1:38:26.800
<v Speaker 2>this great guy well, and he introduced me to Brian,

1:38:27.040 --> 1:38:30.160
<v Speaker 2>and Brian at the time was decent. He wasn't the

1:38:30.240 --> 1:38:33.559
<v Speaker 2>same style of singer, but he was eager, he was hungry,

1:38:33.640 --> 1:38:35.760
<v Speaker 2>he wanted to work. He was a good looking guy,

1:38:37.240 --> 1:38:40.280
<v Speaker 2>you know, he was. Yeah, So we took him on

1:38:40.400 --> 1:38:45.920
<v Speaker 2>board and it just nah, it didn't work. And to

1:38:46.040 --> 1:38:49.000
<v Speaker 2>this day, I don't mind saying that my time of life.

1:38:49.120 --> 1:38:52.360
<v Speaker 2>It was a mistake. We made some good music, and

1:38:52.479 --> 1:38:55.559
<v Speaker 2>oddly enough, when Brian passed away a couple of years ago,

1:38:56.240 --> 1:38:59.920
<v Speaker 2>a lot of people were introduced to Bad Company when

1:39:00.080 --> 1:39:03.120
<v Speaker 2>Brian was a singer. You have to remember we've been

1:39:03.160 --> 1:39:06.479
<v Speaker 2>around fifty years and a lot of people who now

1:39:06.520 --> 1:39:10.720
<v Speaker 2>are in their forties late thirties hadn't heard of the

1:39:10.760 --> 1:39:14.519
<v Speaker 2>original Bad Company with Paul Rodgers. So for them it

1:39:14.680 --> 1:39:20.080
<v Speaker 2>was here comes Trouble, Holy Water. That was bad Company

1:39:20.160 --> 1:39:23.560
<v Speaker 2>for them. And he got a lot of accolades and

1:39:24.240 --> 1:39:26.720
<v Speaker 2>tributes to Brian when he passed away, So I'm not

1:39:26.800 --> 1:39:28.519
<v Speaker 2>going to speak ill of him, you know, I don't

1:39:28.520 --> 1:39:32.320
<v Speaker 2>speak ill of the dead. We didn't get on and

1:39:33.200 --> 1:39:36.599
<v Speaker 2>even though we kept the name alive, we did quite

1:39:36.600 --> 1:39:39.759
<v Speaker 2>a few tours, We did quite a few albums with Brian.

1:39:40.640 --> 1:39:42.960
<v Speaker 2>It just wasn't the Bad Company that I grew up

1:39:43.040 --> 1:39:46.320
<v Speaker 2>with and I came to know and love and hate

1:39:46.400 --> 1:39:49.760
<v Speaker 2>at the same time. Does that make sense? But it

1:39:49.880 --> 1:39:52.599
<v Speaker 2>wasn't Bad Company, nah. It was a different Bad Company,

1:39:52.720 --> 1:39:54.519
<v Speaker 2>but not the one with Paul Rodgers.

1:39:54.800 --> 1:39:59.000
<v Speaker 1>So what was it like having Bud priegerism minature as

1:39:59.080 --> 1:40:00.640
<v Speaker 1>opposed to Peter Grant.

1:40:02.040 --> 1:40:06.280
<v Speaker 2>Well, I like Bud. You know the I got to

1:40:06.400 --> 1:40:10.280
<v Speaker 2>be scared of Peter Grant, and you can't be scared

1:40:10.320 --> 1:40:13.559
<v Speaker 2>of someone who looks after you, I mean really scared.

1:40:14.880 --> 1:40:18.120
<v Speaker 2>Bud was a straight up and up, nice Jewish guy.

1:40:19.640 --> 1:40:22.599
<v Speaker 2>I don't know if he had You know, I won't

1:40:22.600 --> 1:40:24.479
<v Speaker 2>speak ill of him because he was always very good

1:40:24.520 --> 1:40:31.200
<v Speaker 2>to me. He'd steered foreigner to want a great success.

1:40:31.920 --> 1:40:34.000
<v Speaker 2>He was always ready, he was always on the phone.

1:40:34.240 --> 1:40:36.040
<v Speaker 2>I mean, you call Peter up, you'd have to wait

1:40:36.160 --> 1:40:39.760
<v Speaker 2>days to get a response. So I liked I like

1:40:39.920 --> 1:40:44.040
<v Speaker 2>Bud Prager. We played golf together. He was a stand

1:40:44.160 --> 1:40:46.000
<v Speaker 2>up guy, and I was sorry to hear when he

1:40:46.080 --> 1:40:51.120
<v Speaker 2>passed away. You play golfer, I played golf. I'm crazy

1:40:51.160 --> 1:40:51.479
<v Speaker 2>about it.

1:40:51.600 --> 1:40:53.000
<v Speaker 1>How did you become a golfer?

1:40:54.479 --> 1:40:57.000
<v Speaker 2>Well, when I sobered up, I would wake up at

1:40:57.040 --> 1:40:59.720
<v Speaker 2>eight o'clock in the morning, bob without a hangover, and

1:41:00.000 --> 1:41:01.720
<v Speaker 2>I got to wait twelve hours before I go to

1:41:01.800 --> 1:41:04.519
<v Speaker 2>the bloody concert. So I took up gold.

1:41:05.080 --> 1:41:06.200
<v Speaker 1>How good a golfer are you?

1:41:07.439 --> 1:41:08.920
<v Speaker 2>I'm not very good, but I love it.

1:41:09.600 --> 1:41:10.680
<v Speaker 1>How often you play? Now?

1:41:11.840 --> 1:41:14.880
<v Speaker 2>Not often? I haven't played this year. I just watched

1:41:14.920 --> 1:41:17.600
<v Speaker 2>it on TV. I had you know the COVID and

1:41:17.680 --> 1:41:19.920
<v Speaker 2>I had something wrong with my knee and I just

1:41:20.000 --> 1:41:22.080
<v Speaker 2>never got out. And you've got to remember up here

1:41:22.080 --> 1:41:25.600
<v Speaker 2>in the Northeast, the season is only you know, like

1:41:25.800 --> 1:41:28.360
<v Speaker 2>April through October and then it was too cold.

1:41:29.280 --> 1:41:33.520
<v Speaker 1>Okay, first record with Brian, you work with Keith Olson's

1:41:33.560 --> 1:41:36.800
<v Speaker 1>got a lot of history, especially with Fleetwood. Back then

1:41:36.880 --> 1:41:40.880
<v Speaker 1>you worked with Terry Thomas. It's interesting because he had

1:41:40.920 --> 1:41:44.799
<v Speaker 1>a band called Charlie, had a couple of very good records,

1:41:44.920 --> 1:41:47.559
<v Speaker 1>never broke through. Can you tell us anything about Terry?

1:41:48.439 --> 1:41:51.880
<v Speaker 2>Well, what you don't know is that he also had

1:41:51.920 --> 1:41:55.720
<v Speaker 2>a band called Maten's Magic Mixture, and that was one

1:41:55.720 --> 1:41:58.880
<v Speaker 2>of the bands that I auditioned with before Free came along,

1:41:59.400 --> 1:42:04.240
<v Speaker 2>like thirty years prior. And when when I when when

1:42:04.439 --> 1:42:07.240
<v Speaker 2>Bud told me about this guy called Terry Thomas, I said,

1:42:07.280 --> 1:42:09.880
<v Speaker 2>don't tell me he's a guitar player. He said, yeah,

1:42:10.040 --> 1:42:13.840
<v Speaker 2>I said, I know him. My god. Terry was very good,

1:42:14.840 --> 1:42:18.479
<v Speaker 2>very professional, and once we got gotten over the fact

1:42:18.520 --> 1:42:22.479
<v Speaker 2>that we'd actually played together all those years before, we

1:42:23.479 --> 1:42:26.160
<v Speaker 2>him and Brian kind of took over the writing duties

1:42:26.920 --> 1:42:29.920
<v Speaker 2>and he was good. I mean, he knew his way

1:42:29.960 --> 1:42:33.240
<v Speaker 2>around a console, he knew what would work and what

1:42:33.360 --> 1:42:36.360
<v Speaker 2>didn't work. He was, you know, he didn't drink or

1:42:36.439 --> 1:42:38.479
<v Speaker 2>drug much yet a little drink now and again, la

1:42:38.600 --> 1:42:42.880
<v Speaker 2>la lah. But he was good for the band. But

1:42:43.120 --> 1:42:46.679
<v Speaker 2>he formed this alliance with Brian, and the whole writing

1:42:46.920 --> 1:42:49.760
<v Speaker 2>got taken away pretty much from Mick. And I've got

1:42:49.840 --> 1:42:52.960
<v Speaker 2>to be honest, Mick, Mick and me were We were

1:42:53.160 --> 1:42:55.760
<v Speaker 2>still drinking a lot, and Mick was not the writer

1:42:55.960 --> 1:43:00.439
<v Speaker 2>that he used to be. He missed Paul terribly. He

1:43:00.600 --> 1:43:04.360
<v Speaker 2>needed someone to write with, and of course Paul wasn't around,

1:43:05.120 --> 1:43:10.120
<v Speaker 2>So the writing duties got taken away from from Mick,

1:43:11.840 --> 1:43:14.639
<v Speaker 2>and we made you know, we made some good albums

1:43:14.720 --> 1:43:18.040
<v Speaker 2>with Terry. I mean, very good guitar guitarist in his

1:43:18.160 --> 1:43:22.360
<v Speaker 2>own right. So I mean I don't really listen to those.

1:43:22.400 --> 1:43:25.280
<v Speaker 2>I don't listen to our Bad Company albums anymore anyway,

1:43:26.160 --> 1:43:30.679
<v Speaker 2>But I have to say take my hat off to Terry.

1:43:30.720 --> 1:43:33.439
<v Speaker 2>He did a good job with what he had and

1:43:34.240 --> 1:43:36.800
<v Speaker 2>and I'll take my own hat off. I kept it

1:43:36.880 --> 1:43:39.439
<v Speaker 2>together whenever I played I never played out of it.

1:43:39.960 --> 1:43:43.439
<v Speaker 2>I never played stone. Only one time I ever did

1:43:43.479 --> 1:43:47.000
<v Speaker 2>a line of coke, and that was in Detroit before

1:43:47.040 --> 1:43:49.160
<v Speaker 2>I went on stage, the biggest mistake of my life.

1:43:49.680 --> 1:43:52.320
<v Speaker 2>But I kept it together and we made some good.

1:43:52.200 --> 1:43:55.040
<v Speaker 1>Albums and then why Robert Hard After that?

1:43:56.120 --> 1:44:00.479
<v Speaker 2>Well, Robert, I don't know. We had a second guitarists

1:44:00.520 --> 1:44:04.320
<v Speaker 2>called Dave Bucket Coldwell, who knew Robert Robert was in

1:44:04.400 --> 1:44:06.960
<v Speaker 2>another band, and he said, you've got to hear we

1:44:07.320 --> 1:44:10.120
<v Speaker 2>weren't getting on with Brian now. I didn't like your

1:44:10.160 --> 1:44:12.720
<v Speaker 2>style of singing. It was getting too heavy metal and

1:44:12.840 --> 1:44:16.360
<v Speaker 2>to Motley Crewe for us, you know, it was not

1:44:16.560 --> 1:44:19.639
<v Speaker 2>our thing. And Dave said, I know this great guy.

1:44:19.680 --> 1:44:21.599
<v Speaker 2>He sings just like Paul and he's a great guy.

1:44:21.720 --> 1:44:25.000
<v Speaker 2>La la h. So whenever Brian would leave the rehearsal

1:44:25.120 --> 1:44:28.560
<v Speaker 2>to go home, we'd call Robert and saying come on,

1:44:28.720 --> 1:44:31.720
<v Speaker 2>get in here, and he come in and do rock

1:44:31.800 --> 1:44:34.639
<v Speaker 2>steady and he'd been out in the car park waiting

1:44:34.680 --> 1:44:36.840
<v Speaker 2>for the call. So he do a couple of bad

1:44:36.880 --> 1:44:39.640
<v Speaker 2>Company songs and we go ooh, this is more like it.

1:44:40.560 --> 1:44:43.599
<v Speaker 2>And Robert was great. I really liked Robert. I loved

1:44:43.640 --> 1:44:47.160
<v Speaker 2>having him on board. But there's only so many personnel

1:44:47.280 --> 1:44:51.720
<v Speaker 2>changes that a band can endure. And we did one

1:44:51.960 --> 1:44:55.240
<v Speaker 2>one album, two albums with Robert and a couple of

1:44:55.320 --> 1:44:58.479
<v Speaker 2>tours and it was good, but it just I was

1:44:58.560 --> 1:45:01.880
<v Speaker 2>getting tired of it. It was you know, I wanted

1:45:01.960 --> 1:45:05.120
<v Speaker 2>Paul back in the van, quite honestly, and he did it,

1:45:05.200 --> 1:45:05.839
<v Speaker 2>came back.

1:45:06.000 --> 1:45:11.360
<v Speaker 1>Paul comes back, and then ultimately there's a concert in Florida.

1:45:12.080 --> 1:45:15.680
<v Speaker 1>The press said you had to play the maintain ownership

1:45:15.760 --> 1:45:17.719
<v Speaker 1>of the name. Is that true?

1:45:18.800 --> 1:45:22.200
<v Speaker 2>Well, we we would. Let me get this right. The

1:45:22.320 --> 1:45:26.280
<v Speaker 2>record company wanted to release a compendium, a double album

1:45:27.040 --> 1:45:32.360
<v Speaker 2>of uh Back Company's greatest hits, and there was a

1:45:32.520 --> 1:45:36.080
<v Speaker 2>time constraint which if we went over that time constraint,

1:45:36.840 --> 1:45:39.559
<v Speaker 2>the the merchandise or.

1:45:39.560 --> 1:45:44.200
<v Speaker 1>The the whatever you call it, mechanical.

1:45:44.880 --> 1:45:51.240
<v Speaker 2>Not mechanical, the the registered trademark would expire. Oh yeah yeah,

1:45:51.280 --> 1:45:55.200
<v Speaker 2>and people could could take could take the name. So yeah,

1:45:55.920 --> 1:45:59.400
<v Speaker 2>there was a certain legal stipulation in there that we

1:45:59.520 --> 1:46:02.920
<v Speaker 2>had to Anyway, it was an excuse for us to

1:46:03.040 --> 1:46:05.960
<v Speaker 2>call Paul and say, hey, man, come on, it's been

1:46:06.080 --> 1:46:09.719
<v Speaker 2>twelve years, and he came in. We had a rehearsal

1:46:09.880 --> 1:46:12.640
<v Speaker 2>down in the country, and as soon as he plugged in,

1:46:12.920 --> 1:46:16.519
<v Speaker 2>I think we did rock and off. Fancy. Wow. It

1:46:16.640 --> 1:46:19.400
<v Speaker 2>was like slipping into a pair of old shoes again,

1:46:19.479 --> 1:46:23.120
<v Speaker 2>you know, comfortable shoes. It was just felt right and

1:46:23.760 --> 1:46:26.519
<v Speaker 2>so we reunited and it was so good to have

1:46:26.680 --> 1:46:29.920
<v Speaker 2>him back. There was still a little animosity. I don't

1:46:29.960 --> 1:46:34.360
<v Speaker 2>blame him for taking on these other singers, but by

1:46:34.439 --> 1:46:39.600
<v Speaker 2>the same token, you know, we felt justified because he

1:46:39.800 --> 1:46:42.960
<v Speaker 2>just left. I mean there was no discussion. He just

1:46:43.320 --> 1:46:45.519
<v Speaker 2>left and that was it. But we made up.

1:46:45.960 --> 1:46:46.080
<v Speaker 3>Now.

1:46:46.160 --> 1:46:50.040
<v Speaker 1>I saw the band with Howard Lease and Rich Robinson

1:46:50.160 --> 1:46:53.519
<v Speaker 1>from the Black Crows. It was unbelievable. How did those

1:46:53.560 --> 1:46:54.320
<v Speaker 1>two guys get in?

1:46:54.560 --> 1:46:54.680
<v Speaker 3>Oh?

1:46:54.840 --> 1:46:58.280
<v Speaker 2>Yeah, good players, good player. Yeah. I love Howard and

1:46:58.479 --> 1:47:00.840
<v Speaker 2>Rich was very good, very good guitar player in his

1:47:00.960 --> 1:47:06.200
<v Speaker 2>own right. We needed Howard always wanted a second guitarists.

1:47:06.400 --> 1:47:09.880
<v Speaker 2>You know, the original band was just Mick Boz, myself

1:47:09.960 --> 1:47:13.960
<v Speaker 2>and Paul, but Howard just felt that his playing needed

1:47:13.960 --> 1:47:16.599
<v Speaker 2>a little bit of beefing up. I don't know how

1:47:16.720 --> 1:47:19.360
<v Speaker 2>Rich fitted in, but he was a southern gentleman. We

1:47:19.600 --> 1:47:22.080
<v Speaker 2>liked him. He got on very well with him, and

1:47:22.280 --> 1:47:24.960
<v Speaker 2>he was I think they were having trouble with the

1:47:25.040 --> 1:47:28.040
<v Speaker 2>Crows so he was out on a limb and he

1:47:28.240 --> 1:47:31.960
<v Speaker 2>joined the band just for a tour. He was very good.

1:47:32.000 --> 1:47:33.559
<v Speaker 2>I liked him very much. Good player.

1:47:34.080 --> 1:47:38.800
<v Speaker 1>Okay, now Bad Company is playing and then Paul is

1:47:38.960 --> 1:47:42.680
<v Speaker 1>playing with his own band. What was going on there?

1:47:44.320 --> 1:47:46.160
<v Speaker 2>Well, he's always had this, you know, they had a

1:47:46.240 --> 1:47:52.120
<v Speaker 2>solo career for a long long time now, and he

1:47:52.280 --> 1:47:57.120
<v Speaker 2>managed to juggle the two. I know that we went.

1:47:57.240 --> 1:47:59.280
<v Speaker 2>The last time Back Company played in Japan. It was

1:47:59.320 --> 1:48:02.760
<v Speaker 2>originally going to be a Paul Rodgers' solo tour, but

1:48:02.920 --> 1:48:06.679
<v Speaker 2>quite honestly, I don't think the tickets were doing that well.

1:48:07.479 --> 1:48:09.680
<v Speaker 2>So his manager at the time said, well, let's make

1:48:09.680 --> 1:48:13.880
<v Speaker 2>it a Bad Company tour. So me and I was

1:48:14.000 --> 1:48:17.920
<v Speaker 2>brought on and it became a Bad Company to him,

1:48:18.040 --> 1:48:23.639
<v Speaker 2>it did really well. So you know, Paul has always

1:48:23.680 --> 1:48:26.200
<v Speaker 2>had this solo career, and then we do a Bad Company.

1:48:26.280 --> 1:48:30.800
<v Speaker 2>Then he go back out again as solo, and he's

1:48:31.040 --> 1:48:33.639
<v Speaker 2>had a very very good career. Good for him.

1:48:33.920 --> 1:48:36.639
<v Speaker 1>And at those times, would you be sitting at home saying,

1:48:36.840 --> 1:48:39.679
<v Speaker 1>come on, Paul, let's go back out as far Bad Company?

1:48:41.560 --> 1:48:43.760
<v Speaker 2>Well no, not really. I mean the one time I

1:48:44.400 --> 1:48:46.599
<v Speaker 2>would have liked to have been involved, and I'll be honest,

1:48:47.840 --> 1:48:50.200
<v Speaker 2>he did a thing called the Free Spirit Tour in

1:48:51.360 --> 1:48:55.360
<v Speaker 2>in England where he did all free songs and I

1:48:55.439 --> 1:48:57.360
<v Speaker 2>would have I would have loved to have been on that,

1:48:57.520 --> 1:49:02.200
<v Speaker 2>I have to say, But there it is. It's it

1:49:02.320 --> 1:49:04.240
<v Speaker 2>didn't happen, and just get on with it.

1:49:04.840 --> 1:49:05.920
<v Speaker 1>So where do you live now?

1:49:07.240 --> 1:49:10.919
<v Speaker 2>I live. I divide my time between Manhattan and Montalk

1:49:11.280 --> 1:49:11.960
<v Speaker 2>in Long Island.

1:49:12.880 --> 1:49:16.240
<v Speaker 1>Why mon talk? Man Talk is the furthest out Robert? Yeah,

1:49:16.600 --> 1:49:17.920
<v Speaker 1>Shelter Island after that?

1:49:18.360 --> 1:49:22.840
<v Speaker 2>Yeah, right, that's why mon Talk. I don't know. It's

1:49:22.960 --> 1:49:25.720
<v Speaker 2>just far enough away from from the city. It's a

1:49:26.080 --> 1:49:30.240
<v Speaker 2>three three hour drive, beautiful weather, well when it's not

1:49:30.400 --> 1:49:33.040
<v Speaker 2>blowing a gale, and it's just lovely. It's a lovely

1:49:33.120 --> 1:49:36.759
<v Speaker 2>golf course next door. And it's a nice, nice place,

1:49:36.920 --> 1:49:40.160
<v Speaker 2>nice people, beautiful, clean air. I love it.

1:49:40.960 --> 1:49:44.560
<v Speaker 1>And you're remarried, you talk about Maria, you're doing the

1:49:45.680 --> 1:49:50.840
<v Speaker 1>musical and you're playing drums to records. Are you the

1:49:50.960 --> 1:49:54.040
<v Speaker 1>type of guy whose networked, who's talking to all the

1:49:54.240 --> 1:49:57.760
<v Speaker 1>people who you've ever played with run into or you're

1:49:57.800 --> 1:50:00.760
<v Speaker 1>more of a homebody just with your wife. What's your

1:50:00.840 --> 1:50:01.840
<v Speaker 1>life looking like now?

1:50:02.360 --> 1:50:05.320
<v Speaker 2>I'm pretty goog garious. I mean, look, I'm a Leo.

1:50:06.280 --> 1:50:08.880
<v Speaker 2>We don't like hiding our light under a bushel. And

1:50:09.120 --> 1:50:12.000
<v Speaker 2>I'm not very good at the social media. I leave

1:50:12.040 --> 1:50:14.600
<v Speaker 2>that to my wife. She's very good at that Instagram

1:50:14.760 --> 1:50:19.439
<v Speaker 2>and Twitter or x or whatever it is now, and

1:50:19.800 --> 1:50:22.679
<v Speaker 2>we have quite a good social life. I go into

1:50:22.720 --> 1:50:26.000
<v Speaker 2>the city a lot, and you know, I see my kids,

1:50:26.600 --> 1:50:31.640
<v Speaker 2>I go to little functions. So I'm not ready to

1:50:31.720 --> 1:50:33.880
<v Speaker 2>become a hermit. I was never that sort of guy.

1:50:34.120 --> 1:50:38.200
<v Speaker 2>I like other people, and I still love playing.

1:50:39.040 --> 1:50:41.960
<v Speaker 1>Love playing well, Simon, I want to thank you so

1:50:42.160 --> 1:50:44.559
<v Speaker 1>much for taking the time to talk to her audience.

1:50:45.000 --> 1:50:47.160
<v Speaker 1>Great memories, great storyteller.

1:50:48.000 --> 1:50:51.720
<v Speaker 2>Well, an interview is only as good as the questions, Bob,

1:50:51.800 --> 1:50:54.559
<v Speaker 2>and you've been a wonderful host. I have to say

1:50:54.680 --> 1:50:56.960
<v Speaker 2>so thank you very much, and.

1:50:57.120 --> 1:50:59.520
<v Speaker 1>Thank you for being so honest and forthcoming.

1:51:00.080 --> 1:51:02.439
<v Speaker 2>All right, my friend, until the next time.

1:51:03.040 --> 1:51:05.320
<v Speaker 1>Until next time. This is Bob lofstecks

1:51:27.520 --> 1:51:27.560
<v Speaker 2>H