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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Uh, Ladies

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Speaker 1: and gentlemen. I can already tell this is gonna be.

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Speaker 2: A classic episode already, just based on the pre interviews.

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Speaker 2: I usually try to discourage any small talk because I

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Speaker 2: always know that something magical is gonna happen and we

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Speaker 2: don't have it.

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Speaker 1: But it's already happened on folks. But that doesn't mean

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Speaker 1: that you can't continue.

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Speaker 2: Welcome to another episode of Quest Love Supremest Love. We

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Speaker 2: are here with Team Supreme while yeah, you are back

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Speaker 2: in Los Angeles or you're in Philly right now.

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Speaker 3: I'm back in Los Angeles where you damn?

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Speaker 4: Okay, No, I was just saying, it's been a long

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Speaker 4: I've been that four states and three days of line.

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Speaker 1: Oh you use it on award tour with Muhammed your man.

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Speaker 3: Okay, I.

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Speaker 1: See all right. Well it's good. Glad, you bet glad

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Speaker 1: to see the familiar settings on paid bill. You do

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Speaker 1: it very one.

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Speaker 5: Cool, rocking the suburbs, rocking the suburbs. I can't stop

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Speaker 5: doing laundry. I'm fantastic. Everything's good. Did you receive your

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Speaker 5: Tony yet or is it still waiting? No September Tony

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Speaker 5: September and then you and me go to the Oscars.

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Speaker 1: We're going to Oscars. Son, Wait, what you got? What

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Speaker 1: you got going on? What you got going on?

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Speaker 6: That?

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Speaker 1: Damn forgot? All right? All right, I forgot you seats

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Speaker 1: right next to each other. It'll be great, all right,

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Speaker 1: fan Tickeolo. How's it going.

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Speaker 7: I'm good, bro, I'm down thirty yes, okay, hey, let's

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Speaker 7: hear you. I'm keeping it going, man. I'm taking this

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Speaker 7: week right now from what's tonight's dinner. I'm drinking leak, fennol, zucchini,

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Speaker 7: tomato and lemon. Y. I gotta drink my salads, y'all.

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Speaker 7: I gotta drink my salads.

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Speaker 1: Because I didn't eat mine.

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Speaker 2: I got so you can't do like tass and then

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Speaker 2: like that that I could, But then I'll be lying,

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Speaker 2: Grace be like you eat your slish and I'm like, yeah,

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Speaker 2: sure I did.

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Speaker 3: And then you know it's faster to just take it

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Speaker 3: down I.

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Speaker 2: Rather just drink it, because you know, I'm I'm that guy.

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Speaker 2: It's easier for me to drink myself. Man, get it,

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Speaker 2: get it, how you live, bro?

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Speaker 6: I love it.

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Speaker 2: We should we should acknowledge that in the five year

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Speaker 2: history of the show. Sugar Steve is sitting this one

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Speaker 2: out for the first time ever. Sugar Steve's personal friend

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Speaker 2: Paul Simon has offered Paul Simon and his wife Edie

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Speaker 2: Brucel have offered Steve his Yankee tickets, and so you know,

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Speaker 2: that's that's where Steve is right now.

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Speaker 3: Amazing sentence.

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Speaker 5: I feel like Steve should have been like, hell, no,

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Speaker 5: I got a show to do. I'm not going with

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Speaker 5: Paul Simon to the Yankees.

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Speaker 3: No.

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Speaker 1: I know, man, but you know this is once in

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Speaker 1: a lifetime. You know, he lives with baseball.

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Speaker 2: So I will start by saying those that are very

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Speaker 2: familiar with podcast know my tendency to ramble on about

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Speaker 2: a lot of things, especially all things Soul Trained. I'm

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Speaker 2: extreme obsession with it, every aspect of the show, not

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Speaker 2: just being a hippus trip in America, but actually being

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Speaker 2: a you know, the science behind how the show works.

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Speaker 2: And I also learned about the business of how relationships

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Speaker 2: are crucial to making a project work. For instance, you know,

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Speaker 2: the first two seasons of Soul Trained, Don Cornelius had

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Speaker 2: sort of leaned on all his resources from Chicago to

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Speaker 2: help get the show off. The Road, so you'd see

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Speaker 2: like a lot of Chicago heavy Curtis lou Verrawl's Gene Chandler,

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Speaker 2: Jackie Wilson, all Chicago artists that you know, and nearby Indiana, Ohio.

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Speaker 2: So once the show got really hitting by season three

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Speaker 2: and season four, I started to notice several themes like

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Speaker 2: the Philly International shows and the Motown shows and all

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Speaker 2: the Barry White acts. So all that's saying, even with

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Speaker 2: my personal entry into the music business, you know, sometimes

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Speaker 2: as a new act, you have to have someone vouch

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Speaker 2: for you and strong arm and muscle you into situations.

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Speaker 2: For instance, for my situation, my agent Carol Lewis, world

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Speaker 2: famous Carol Lewis from Paid and Fool Caro Lewis, you know,

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Speaker 2: before a promoter can even think of getting the Hard

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Speaker 2: Not Life tour or the Doctor dre Snoop up and

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Speaker 2: Smoke join, you know, she would force promoters to take

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Speaker 2: like seven high paying roots gigs just to even have

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Speaker 2: a conversation about having a jay Z show whatever.

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Speaker 1: So that said, I was always curious to know.

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Speaker 2: How an unknown Rufus and Shaka Khan became like majestic

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Speaker 2: almost slightly overnight, like two or three years whatever. So

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Speaker 2: I would actually look up the histories of the unknown

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Speaker 2: artists that were coming on Soul Train and realized that

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Speaker 2: most of them had a name in common. And that name,

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Speaker 2: of course, was the world famous Bob Ellis, who at

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Speaker 2: the time, uh you know, in addition to uh managing

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Speaker 2: his then wife Diana Ross, also with Billy Preston, comedian

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Speaker 2: Franklin Azai, I believe, but even like with Ron Wood,

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Speaker 2: Ron Wood being on soul Train with Billy Preston, that

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Speaker 2: was like how that happened? Meet Loaf status quo for

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Speaker 2: all you J dillaheads, many status quot samples on his mixtapes.

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Speaker 2: Our guest today has pretty much, you know ushered in

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Speaker 2: a very important era for a lot of acts in

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Speaker 2: the seventies that we've grown up listening to and not

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Speaker 2: to mention sprogeny. One of our favorite people on earth,

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Speaker 2: Tracy Ellis Ross. You know her father. We are very

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Speaker 2: very honored to have on our show today. All Right,

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Speaker 2: shall I name it with your proper name or how

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Speaker 2: I've known you as just Bob Ellis, because is just.

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Speaker 6: Bob Ellis's call?

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Speaker 1: Because I was like, do I call you Robert Elvis Stilberstine.

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Speaker 6: Or you know I dropped sil Verristine. Uh, you know

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Speaker 6: what I think of When I was an intern for

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Speaker 6: a PR firm when I moved to Los Angeles. I'll

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Speaker 6: tell you real quick, uh, and then we'll get into

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Speaker 6: Billy and Chaka.

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Speaker 1: So I was an take over you know. Wait, can

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Speaker 1: I say your name first? Yeah? Please, and tell me

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Speaker 1: welcome Bob ellis to question hit me all right, hit me, honor.

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Speaker 6: But I don't know how fast you want to tell

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Speaker 6: these stories.

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Speaker 1: But the least talking I do, the better.

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Speaker 6: Intern you know, at a PR firm, and I basically

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Speaker 6: was delivering mail, delivering tickets, you know, to famous actors,

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Speaker 6: and they said, what you know, this young kid one

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Speaker 6: of you know. That's when the Beach Boys and the

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Speaker 6: Beatles were making all this noise, and I'm sure you

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Speaker 6: know Motown was started. And so the first client that

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Speaker 6: came to this PR firm was Billy Preston and so

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Speaker 6: I started to do his PR and then I went

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Speaker 6: to England with him and quest I'm telling you that

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Speaker 6: within eight weeks I was his manager, okay, and he

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Speaker 6: couldn't get off that road. Alan Klein wouldn't release him.

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Speaker 6: And James Taylor okay but we were doing I've got

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Speaker 6: gold records. We get back, my sweet lord. You know

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Speaker 6: I did Bangladesh with George Harrison, So I owe everything

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Speaker 6: to Billy Preston. You know, I knew James Cleveland and

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Speaker 6: I went to James's church. Billy was the band behind

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Speaker 6: James Cleveland. I did a concert with James Cleveland in

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Speaker 6: Chicago where eighteen nineteen thousand people came with tam Marines.

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Speaker 1: So wait a minute, Billy Preston used to play with

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Speaker 1: James Cleveland.

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Speaker 6: Yeah, do I need to say anymore?

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Speaker 1: Say it again?

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Speaker 6: No? No? Do I need to say anymore because you're smiling? No?

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Speaker 8: No, no, no?

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Speaker 2: Is this all everything seems to be falling in line now? Okay,

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Speaker 2: well what I kind of want to start with the beginning?

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Speaker 2: Where were you born in?

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Speaker 6: Long Brunch, New Jersey? Really yeah, Jersey Shore Asbrey Park Deal,

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Speaker 6: Long Brunch.

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Speaker 1: Okay, what do you know what your what was your

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Speaker 1: first musical memory?

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Speaker 6: H Bobby v Mon mirtha K.

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Speaker 2: Yes, because my dad, my dad is is kind of

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Speaker 2: a tri state do Wop legend. I know all those names,

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Speaker 2: so you know.

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Speaker 6: What was the same Frankie Crawford, Crockerie proper you know,

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Speaker 6: I think Wendy was on BLS two, you know, over

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Speaker 6: the years. Anyway, that's how I got started, and it's

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Speaker 6: all because of Billy Preston saying what you manage me?

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Speaker 6: Then I got involved with the Beatles, and then I

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Speaker 6: you know, but I flew. I took a loan out

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Speaker 6: and bought two plane tickets and we went to George

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Speaker 6: Harrison's out Billy and I.

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Speaker 1: But I went and.

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Speaker 6: I got a letter, and I know if I got

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Speaker 6: George Harrison to sign it, you know that Allan Klein

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Speaker 6: couldn't say anything. And I had already got an okay

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Speaker 6: from herb Alert and Jerry Moss over at A and M.

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Speaker 6: You remember them on Librea. And so we flew to

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Speaker 6: Henley on Thames where George lived. We stayed overnight, we

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Speaker 6: sat in his kitchen. We explained to him the situation

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Speaker 6: and they were unaware of the way things were being,

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Speaker 6: you know, run over heavy road and apple and he

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Speaker 6: and you know, we flew back and the next two days,

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Speaker 6: you know, we've had a deal with A and M

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Speaker 6: Records and came out without a space.

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Speaker 2: Can I ask the question, though, since you had dealings

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Speaker 2: with him, can you I've always heard sort of Albert

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Speaker 2: Klein's name and throughout the years, especially with the way

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Speaker 2: that sort of Paul McCartney speaks of how the ATV

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Speaker 2: publishing situation went down with Michael Jackson or the lack

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Speaker 2: of control that they had, like what was the the

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Speaker 2: sort of the business operandi of managers back then, as in,

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Speaker 2: like did the Beatles sign a particular contract on which

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Speaker 2: they gave all their publishing away before they knew how

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Speaker 2: valuable those songs were going to be?

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Speaker 6: Or well, don't quote me on this, but I believe

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Speaker 6: they were. They were signed as songwriters, you know, like

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Speaker 6: a regular job that was better than working in a

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Speaker 6: grocery store. So they were a songwriters. So sort of

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Speaker 6: like the Brill Building or like exactly the Brill Building,

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Speaker 6: you know, with Carol King and and you know, I

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Speaker 6: could name them all, but I'm trying to concentrate.

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Speaker 8: You know.

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Speaker 6: And uh uh And so you know, I just saw

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Speaker 6: that's on Hulu, the one two three with Rick Rubin

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Speaker 6: that just came out. I think, so sold of Summers

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Speaker 6: on Hulu too, right or it is? Yeah, And so

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Speaker 6: you know, I just noticed in the last month or

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Speaker 6: so quest that the janitor used to pick up the

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Speaker 6: lyrics at South of These at Southern The's as a function.

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Speaker 6: You know, Paul didn't know about it. Howard Howard Stern

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Speaker 6: as him. How did that guy end up with the lyrics?

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Speaker 6: You know when we were songwriters, we just ripped the page,

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Speaker 6: ripped the page and throw it on the floor. He

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Speaker 6: happen't let it be you know or yesterday you know,

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Speaker 6: and they went for a million dollars had written lyrics.

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Speaker 6: So it was you know back then. Oh, Sharon Osborne's

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Speaker 6: father was a big deal in England. Uh as a manager.

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Speaker 6: I think he's the first one to hang somebody out

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Speaker 6: the window because they weren't weren't doing the right thing

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Speaker 6: with with with his acts. You know, the record label.

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Speaker 6: We all have heard that story. You know, I was

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Speaker 6: around with priority then did he did it? But there

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Speaker 6: was always that, you know, everybody was trying to live

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Speaker 6: up trust me. It was Sharon Osborne's father that did

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Speaker 6: it first.

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Speaker 4: You know.

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Speaker 6: So so like most acts you know that have been

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Speaker 6: taken advantage of, you know, back then, you know, they

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Speaker 6: didn't pay it. They were happy to get three percent royalty,

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Speaker 6: you know, they were happy to be a songwriter. Well,

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Speaker 6: these people were becoming the publishers and co songwriters, you know,

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Speaker 6: and and and it was just a way of doing business.

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Speaker 6: I don't want to say that it's so you know,

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Speaker 6: it's the way they did business back then.

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Speaker 1: Can I ask you what year?

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Speaker 2: What year did that sort of strong arming mob mentality

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Speaker 2: sort of stop? Like in other words, like when did

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Speaker 2: the music industry become Starbucks where you couldn't mob your

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Speaker 2: way with a baseball bat if you want to into

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Speaker 2: a situation was like the in the mom and pop

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Speaker 2: labels or or is it still happening?

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Speaker 4: You know?

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Speaker 6: There was Chess Records, uh Mars Chicago, yeahago, you know,

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Speaker 6: and his father, Marshall's father was a strong arm kind

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Speaker 6: of guy. We had when I first signed Rufus, which

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Speaker 6: was Billy Preston's band, and they found this girl in

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Speaker 6: Chicago who could see, you know, and just to just

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Speaker 6: to you know, lighten up the conversation, we made a

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Speaker 6: record deal at a company called ABC Records. What was

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Speaker 6: his name, Otis Otis Smith was the black guy at

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Speaker 6: the company. Let's call it urban, but they didn't use

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Speaker 6: the word urban. That was R and B. There was

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Speaker 6: no rap back then, you know, And so we were

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Speaker 6: in the studio I think a record plan alf of

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Speaker 6: Losianga and Shaka could sing so clearly, and Stevie Wonder

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Speaker 6: happened to be in the other studio and so he

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Speaker 6: could hear through the walls because he was Stevie Wonder,

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Speaker 6: you know, and so he had to come in and

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Speaker 6: he said, tell me something good, and then she raised

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Speaker 6: the note. Tell me, you know I can't sing. Obviously

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Speaker 6: I played the telephone. But they were back and forth

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Speaker 6: before you know it. You know, Shaka was clever at songwriting,

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Speaker 6: and Steve was touching her, trying to get feeling for it,

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Speaker 6: and they're going back and forth with notes. Billy used

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Speaker 6: to do that with Ray Charles. We'd go to a

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Speaker 6: show and in between songs, he would sing out a note.

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Speaker 6: Ray could hear him in the audience, and then play

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Speaker 6: that note on the piano, and then Billy would go

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Speaker 6: down the piano and play another note from his voice,

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Speaker 6: and then go back and forth. And he said, come

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Speaker 6: on up here. You know the incredible stuff, you know.

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Speaker 6: Going back then, I mean, Billy was involved with Ike Turner,

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Speaker 6: Billy was involved with sly Stone. I can remember Phil

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Speaker 6: Specterter not being happy with the lights so he just

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Speaker 6: shot him out. I do remember, don't know I'm in

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Speaker 6: this shit. It's just it's just dope. I mean, this

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Speaker 6: stuff really happened, you know, Jesus separating the board from

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Speaker 6: the studio. Well, they wanted to get a real drum

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Speaker 6: sound in the in the where the boards, so they

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Speaker 6: knocked the glass out and brought the drums into the board.

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Speaker 6: I mean everything been there and done it and then again.

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Speaker 6: But that's how Billy was responsible for me just getting involved,

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Speaker 6: you know, from got Ronnie Wood. Then in nineteen seventy

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Speaker 6: six or seventy five, after we had done all the

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Speaker 6: Beatles stuff, the Stones wanted Billy and Mick Taylor just

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Speaker 6: quit the Stones. He was the guitar player Brian Jones.

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Speaker 6: Then they got Mick Taylor, and so when they asked

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Speaker 6: me about Billy, Ronnie Wood was with Faces at the

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Speaker 6: time and unhappy, and so they both were side men

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Speaker 6: on the Goat's Head Soup tour in nineteen seventy six.

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Speaker 6: I have pictures and so, and then obviously Billy wanted

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Speaker 6: his own career, but we still the Beatles. Billy was

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Speaker 6: playing for everybody. That's how if it wasn't for him,

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Speaker 6: I wouldn't have met anybody.

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Speaker 2: Wait, wait, you're jumping everywhere. We're going to get to

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Speaker 2: all that. We're going to go through all that. What

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Speaker 2: I want to do is, well, one, what were you

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Speaker 2: doing right before you managed Billy Preston?

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Speaker 1: What do you think it was about you that asked

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Speaker 1: you to be his manager?

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Speaker 2: Like in terms of was it your organizational skills or

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Speaker 2: like did you pursue him?

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Speaker 1: Did he pursue you?

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Speaker 6: It started with pr But let me even go back.

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Speaker 6: I was I was a gifted athlete. I played football, basketball,

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Speaker 6: and baseball.

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Speaker 1: You play football.

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Speaker 6: I was an end. I went on to West Virginia

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Speaker 6: University and played on.

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Speaker 1: A scholarship defensive in or tight end.

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Speaker 6: At that time. It was a tight end end guys,

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Speaker 6: you know. And so I had all these teammates growing

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Speaker 6: up from the little league to the Babe Ruth. I

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Speaker 6: didn't come from you know, Blonge Branches, a diverse community,

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Speaker 6: and so you know, I was comfortable with everybody. It

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Speaker 6: didn't you know, I didn't look at somebody, you know,

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Speaker 6: he was, you know, my teammate. And so to my comfortable,

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Speaker 6: you know, my my my being you know, was was teammates.

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Speaker 6: You know, sports was my the only thing in my

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Speaker 6: life until I got hurt plant in college. So maybe

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Speaker 6: there was a comfortable zone that Billy and I had.

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Speaker 6: But I have that kind of personality, you know that

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Speaker 6: you know, you either like me or you don't. You know,

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Speaker 6: it's that simple.

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Speaker 4: You know, I.

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Speaker 6: Throw a lot of emotion into whatever I do. I

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Speaker 6: don't know how to do anything one hundred percent. I

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Speaker 6: have to do it one hundred and twenty percent if

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Speaker 6: at sixty or seventy, I don't even want to be involved, man,

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Speaker 6: I don't want to. I just delive it, breathe it,

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Speaker 6: and do it. And I kind of got that way

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Speaker 6: with Billy. You know, I saw how people were taking

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Speaker 6: advantage of them. I saw how the Stones were just

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Speaker 6: paying them as a sideman.

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Speaker 4: You know.

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Speaker 6: Yes, they would give him a gold record and so

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Speaker 6: the you know, I met you know, Nick and George

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Speaker 6: and Paul and Ringo, and you know, he'd sit there.

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Speaker 6: They didn't give him music. He just played from a feeling.

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Speaker 6: He could read music, you know, and so we just

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Speaker 6: hit it off, and Uh, I made him a publishing deal.

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Speaker 6: I made him a record deal, and then you know,

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Speaker 6: then his band was Bobby Watson and Andre uh Andre Fisher,

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Speaker 6: Watson and Tony Maiden.

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Speaker 1: Okay.

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Speaker 2: Was this was this before George and Lewis Johnson, the

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Speaker 2: brothers Johnson came into play or were they were the

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Speaker 2: Rufous guys with him before the brothers Johnson guys were there.

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Speaker 6: We only had one Johnson and that was the first.

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Speaker 6: Then he you know, then we were getting touring opportunities

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Speaker 6: and Johnson brothers were talented, so they went on their own.

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Speaker 6: So he replaced them with Tony and Bobby, Tony Watson

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Speaker 6: and Bob Okay. So that's how it came to be.

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Speaker 6: That was Rufous Okay. His rhythm section was Rufus and

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Speaker 6: then Okay jukka and so in the beginning, if you

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Speaker 6: look at the records, it was just Rufus, you know,

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Speaker 6: and then like I don't want to make comparisons, but

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Speaker 6: the Supremes and then they you know, to keep everybody happy.

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Speaker 6: It was Diana Ross and the Cyprians right supremes when

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Speaker 6: she still was a supreme.

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Speaker 2: Right, I see when we called Preston the fifth beetle,

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Speaker 2: was there actual? I mean, of course we know they

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Speaker 2: imploded in seventy seventy one seventy, but was there actual

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Speaker 2: serious talk about literally making him a fifth Beetle or

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Speaker 2: did that fifth Beatle talk sort of happen after the fact,

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Speaker 2: like after they broke up.

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Speaker 6: No, it was all part of Billy Preston's magic. He

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Speaker 6: even in England he was known as he was the

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Speaker 6: only one that was around them that wasn't a Beatle

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Speaker 6: and so it was his ability to play and not

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Speaker 6: have to hear a note. But add to their music,

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Speaker 6: George and Billy were the closest George Harrison and you

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Speaker 6: know there was that myth in you know, there was

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Speaker 6: a music Express I can't remember, but there were so

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Speaker 6: many you know, there were so many magazines in England

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Speaker 6: that were music oriented because of what was happening, you

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Speaker 6: know with Pink Floyd, you know, Queen led Zeppelin. You know,

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Speaker 6: there was just what he was into it. You know,

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Speaker 6: the boy bands came, you know, and then it just

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Speaker 6: morphed into something different. It's kind of like like clothing

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Speaker 6: with you know. Now I see that Pandora's got the

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Speaker 6: new station a Studio fifty four. You know, they're bringing

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Speaker 6: back disco and I'm not man, I remember there were

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Speaker 6: burning disco records, you know in the stadium you know,

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Speaker 6: because everybody had had it. I don't even remember what

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Speaker 6: stadium it was. Okay, I'll let you ask the questions.

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Speaker 6: I get too excited, Yeah, because I still want to know.

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Speaker 4: I'm still tripping on the fact that it might have

380
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Speaker 4: been a black beatle at some point. Is that what

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Speaker 4: y'all was saying, like that would have been? Was that

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Speaker 4: really a conversation?

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Speaker 1: Yeah?

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Speaker 2: I mean he basically Billy Preston came to prominence even

385
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Speaker 2: before as a solo artist because he was he was

386
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Speaker 2: there for their very last show.

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Speaker 1: Were you there on that Rooftop show?

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Speaker 9: I was not there at the Rooftop Show. I was

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Speaker 9: there for the Let It Be Sessions though, correct? Yes,

390
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Speaker 9: Can you describe what those last days were like?

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Speaker 2: Was their tension in the air, like, how how especially

392
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Speaker 2: with Phil Spector as a producer, like what was the

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Speaker 2: just the general let It Be sessions like, especially with

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Speaker 2: Preston's involvement with it.

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Speaker 6: You know, there was no you know, everybody had their quirks, everybody,

396
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Speaker 6: you know, but the one thing in common was music.

397
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Speaker 6: You know, nobody told anybody what to play. It was

398
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Speaker 6: all done by Felix Crush you you know what I'm

399
00:23:06,320 --> 00:23:08,879
Speaker 6: you know, kind of leading when you're writing a song,

400
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Speaker 6: you know the trailer or Paul McCartney, is you know

401
00:23:14,840 --> 00:23:17,359
Speaker 6: the road? He says, pass me the Salt and Pepper.

402
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Speaker 6: I'm sure you've seen it. And Paul says, sergeant Pepper's

403
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Speaker 6: what are you talking to me? He said, no, the

404
00:23:23,040 --> 00:23:26,520
Speaker 6: Salt and Pepper man. And so Paul then says, you

405
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Speaker 6: know it's I haven't seen it. But it's the kind

406
00:23:29,880 --> 00:23:32,399
Speaker 6: of thing you know, when you feed off of one another.

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Speaker 6: It's it's unless your studio. I remember, I'm not a musician, So.

408
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Speaker 2: But did you send tension in the air like because

409
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Speaker 2: they basically broke up on the record that Billy was

410
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Speaker 2: involved with the most.

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Speaker 1: So I'm just trying to figure out, like how I

412
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Speaker 1: did not?

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Speaker 6: I did not anything, you know, it was just a

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Speaker 6: team of people playing music.

415
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Speaker 2: Can you describe what working with Jerry Moss and and

416
00:24:05,920 --> 00:24:09,200
Speaker 2: Herb Albert were like in the sort of this the

417
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Speaker 2: seventies incarnation of A and M Records.

418
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Speaker 6: There was another guy to Gil Frieson. I don't know

419
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Speaker 6: what he does now, you know, but they were just

420
00:24:19,080 --> 00:24:24,040
Speaker 6: absolutely incredible. You know, they had Lou Adler with what

421
00:24:24,280 --> 00:24:27,120
Speaker 6: was his he had a record label within the Moss.

422
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Speaker 6: So it was a I don't know if you remember

423
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Speaker 6: they bought the I'm gonna say Laurel and Hardy studios.

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Speaker 1: So this Charlie Chaplin, Charlie Chaplin, Yeah, yeah, but.

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Speaker 6: Kind of a unique place in charn Carol Adler, Billy Preston,

426
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Speaker 6: you know, the you know, all of the acts. Everybody

427
00:24:53,000 --> 00:24:55,240
Speaker 6: was on the lot. You know, you had to reserve

428
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Speaker 6: the studio. Sly wanted to record there. It became like

429
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Speaker 6: a record plant the place to record.

430
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Speaker 4: You know, like that's crazy because you know we take

431
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Speaker 4: an episode with Shaka at that building, you did.

432
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Speaker 6: Yeah, yeah, Shaka is up for.

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Speaker 1: Hall of Fame this year live Well she was nominated,

434
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Speaker 1: but I'll try for next year.

435
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Speaker 6: You know.

436
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Speaker 1: I mean it's you know, it's you. That's a long story.

437
00:25:26,080 --> 00:25:31,119
Speaker 6: That's when you're when you're when you're getting the you know,

438
00:25:31,440 --> 00:25:35,240
Speaker 6: the people to vote or however one gets on the

439
00:25:35,760 --> 00:25:38,399
Speaker 6: Hall of Fame. Maybe maybe I can remind him that

440
00:25:38,720 --> 00:25:43,920
Speaker 6: Diana hasn't been nominated us what that's right, Well, she's.

441
00:25:43,760 --> 00:25:45,520
Speaker 1: Not there as a solo act, but she's there as

442
00:25:45,560 --> 00:25:46,679
Speaker 1: a supreme right, But the.

443
00:25:46,720 --> 00:25:49,000
Speaker 3: Same argument as Tina in a way, right, Like.

444
00:25:49,640 --> 00:25:52,480
Speaker 2: I mean, my personal opinion is it's like, once you're

445
00:25:52,480 --> 00:25:53,960
Speaker 2: in the Hall of Fame, you should be in the

446
00:25:54,040 --> 00:25:58,600
Speaker 2: Hall of Fame. I meant for me to do solo

447
00:25:58,760 --> 00:26:01,480
Speaker 2: acts in that I mean, and that's basically just too

448
00:26:02,640 --> 00:26:07,040
Speaker 2: nuanced the Hall of Fame as an entity, like, Okay,

449
00:26:07,720 --> 00:26:08,800
Speaker 2: we need somebody exciting.

450
00:26:08,960 --> 00:26:09,320
Speaker 1: I don't know.

451
00:26:09,440 --> 00:26:11,959
Speaker 4: I kind of feel like, once you're in your bodies

452
00:26:12,000 --> 00:26:14,399
Speaker 4: of work, isn't it like a body of work with

453
00:26:15,680 --> 00:26:17,680
Speaker 4: But he had our whole body of work by ourself.

454
00:26:18,000 --> 00:26:18,520
Speaker 1: I get it.

455
00:26:18,600 --> 00:26:21,320
Speaker 2: But my whole thing is like, but when when we

456
00:26:21,440 --> 00:26:25,760
Speaker 2: start like double dipping, then that just takes other other

457
00:26:26,000 --> 00:26:28,920
Speaker 2: slots away from other people. Like in other words, if Tina,

458
00:26:29,000 --> 00:26:30,840
Speaker 2: who's already in the rock and Roll Hall of Fame,

459
00:26:31,840 --> 00:26:36,160
Speaker 2: weren't there, then I'm certain that Chicago, Chicago's Sokka would

460
00:26:36,200 --> 00:26:40,720
Speaker 2: have been an easy ushering. I mean, it's it's I know,

461
00:26:41,040 --> 00:26:43,720
Speaker 2: it's it's it's hard. I'm just trying to fix it,

462
00:26:46,840 --> 00:26:47,159
Speaker 2: fix it.

463
00:26:47,480 --> 00:26:50,600
Speaker 6: I'm aware of it. There's two sides to every maybe

464
00:26:50,640 --> 00:26:54,320
Speaker 6: three sides to every. And it's political too, you know,

465
00:26:54,600 --> 00:26:57,720
Speaker 6: it's very political. You know, it's like the Grammys finally

466
00:26:57,800 --> 00:27:00,920
Speaker 6: they made a chance, you know, I mean, you know,

467
00:27:01,040 --> 00:27:03,720
Speaker 6: we could bring up the weekend, but you know, let's

468
00:27:03,800 --> 00:27:06,960
Speaker 6: just stay focused here because I'm going then do you

469
00:27:07,080 --> 00:27:08,960
Speaker 6: want to so?

470
00:27:09,440 --> 00:27:14,399
Speaker 2: Okay, So walk me through the process of in the

471
00:27:14,560 --> 00:27:17,119
Speaker 2: early seventies, walk me through the process of.

472
00:27:18,720 --> 00:27:22,800
Speaker 1: What it really takes to break an artist open.

473
00:27:23,520 --> 00:27:27,080
Speaker 2: Now today we have a different mentality, of course, uh

474
00:27:27,320 --> 00:27:29,919
Speaker 2: to be uh you know, you break your artists out

475
00:27:29,920 --> 00:27:34,400
Speaker 2: on social media, which spreads faster. But in the seventies,

476
00:27:34,480 --> 00:27:37,479
Speaker 2: with limited resources, as far as like talk shows are concern,

477
00:27:38,160 --> 00:27:43,640
Speaker 2: music shows are concerned, like how do you strategize breaking

478
00:27:44,600 --> 00:27:48,720
Speaker 2: enact like Billy Preston open, especially when like three of

479
00:27:48,840 --> 00:27:53,040
Speaker 2: his biggest hits were instrumentals, right, speaking of space phrase,

480
00:27:53,080 --> 00:27:56,359
Speaker 2: speaking of like all the all those all those like

481
00:27:56,520 --> 00:28:00,840
Speaker 2: early songs of his. So how can you walk us

482
00:28:00,880 --> 00:28:04,400
Speaker 2: through what your strategy was in breaking him wide open?

483
00:28:05,160 --> 00:28:09,520
Speaker 6: Independence? Do you remember the old independent? Do you know

484
00:28:09,640 --> 00:28:11,800
Speaker 6: that would promote your record, that could guarantee you a

485
00:28:11,920 --> 00:28:12,879
Speaker 6: top fifty record?

486
00:28:13,920 --> 00:28:17,160
Speaker 2: Okay, walk us through that for our artists who doesn't know. Okay,

487
00:28:17,600 --> 00:28:19,960
Speaker 2: So let's take a let's take a we'll it go

488
00:28:20,280 --> 00:28:22,080
Speaker 2: or sing a simple I sing a simple no no, no,

489
00:28:22,200 --> 00:28:23,640
Speaker 2: let's do we'll go round in circles.

490
00:28:23,920 --> 00:28:26,000
Speaker 1: So okay, we'll go round in circles?

491
00:28:26,680 --> 00:28:30,800
Speaker 2: Is complete it? Now, how do you break that open?

492
00:28:31,200 --> 00:28:33,480
Speaker 2: What's the first thing that happens? What's the first phone

493
00:28:33,520 --> 00:28:34,000
Speaker 2: call you make?

494
00:28:35,160 --> 00:28:40,760
Speaker 6: Jerry gill herb All believed in this song. There was rhythm,

495
00:28:41,120 --> 00:28:42,920
Speaker 6: you know, there was a rhythm to it. It was

496
00:28:43,000 --> 00:28:47,040
Speaker 6: something that you would repeat afterwards. And it was like

497
00:28:47,160 --> 00:28:50,080
Speaker 6: the perfect song for them to get behind. And so

498
00:28:50,280 --> 00:28:56,560
Speaker 6: they hired the promotion department had I would say, twenty

499
00:28:57,760 --> 00:29:02,200
Speaker 6: independent guys that could program directors. Got to remember, there

500
00:29:02,320 --> 00:29:06,880
Speaker 6: wasn't radio. Each didy had their own R and B.

501
00:29:07,360 --> 00:29:09,640
Speaker 6: You know, it was either a black record or a

502
00:29:09,760 --> 00:29:12,200
Speaker 6: white record or you know, every once in a while,

503
00:29:12,280 --> 00:29:16,120
Speaker 6: like you know, you didn't know. But so you could buy,

504
00:29:16,760 --> 00:29:18,720
Speaker 6: you know, if the record was good and it was

505
00:29:18,800 --> 00:29:22,720
Speaker 6: getting play on both stations, both sides of the you know,

506
00:29:23,080 --> 00:29:28,040
Speaker 6: you could buy, you buy program directors. Now they used

507
00:29:28,200 --> 00:29:31,000
Speaker 6: everything from cash to trips.

508
00:29:31,280 --> 00:29:36,640
Speaker 1: You know, walkas walkas like whatever. You're allowed to say.

509
00:29:36,720 --> 00:29:40,320
Speaker 2: What I mean, it's been written about a hitman, So okay,

510
00:29:40,440 --> 00:29:42,160
Speaker 2: So at the time when you're hearing the song, are

511
00:29:42,200 --> 00:29:45,800
Speaker 2: you guys instantly saying this song has the right elements

512
00:29:45,840 --> 00:29:48,480
Speaker 2: to actually be a pop hit, or you're just like,

513
00:29:48,640 --> 00:29:50,840
Speaker 2: let's establish him on the R and B chart first

514
00:29:50,840 --> 00:29:54,840
Speaker 2: of all. It's like with with with his Beatles sort

515
00:29:54,880 --> 00:29:59,680
Speaker 2: of pedigree, with with Billy Preston's Beatles pedigree. Are you

516
00:29:59,720 --> 00:30:03,120
Speaker 2: guys instantly thinking that, okay, that's enough to just instantly

517
00:30:03,240 --> 00:30:05,640
Speaker 2: take him to the pop charts, or you like, Okay,

518
00:30:06,040 --> 00:30:08,760
Speaker 2: let's establish his black roots first and then we cross

519
00:30:08,800 --> 00:30:09,760
Speaker 2: over to pop like.

520
00:30:10,440 --> 00:30:14,200
Speaker 6: We never thought. We always thought of pop and R

521
00:30:14,240 --> 00:30:17,440
Speaker 6: and B at the time. We never we never categorized

522
00:30:17,560 --> 00:30:20,840
Speaker 6: Billy as an R and B act or as you know,

523
00:30:21,000 --> 00:30:25,040
Speaker 6: as a pop act. We just categorized him because of

524
00:30:25,120 --> 00:30:27,840
Speaker 6: the Beatles, because of the interviews, and everybody wanted to

525
00:30:27,920 --> 00:30:29,680
Speaker 6: know what it was like to play with the Beatles.

526
00:30:30,000 --> 00:30:32,560
Speaker 6: We had some momentum, you know, is that wave you're

527
00:30:32,600 --> 00:30:36,320
Speaker 6: waiting for? So now how do we ride that wave?

528
00:30:36,960 --> 00:30:39,320
Speaker 6: You know? So the you know, we knew we had

529
00:30:39,360 --> 00:30:41,920
Speaker 6: to get a I didn't pay for it, Billy didn't

530
00:30:41,920 --> 00:30:44,360
Speaker 6: pay for it. It was a matter of doing business.

531
00:30:44,720 --> 00:30:47,960
Speaker 6: You got these ten independents that could buy major cities,

532
00:30:48,280 --> 00:30:51,240
Speaker 6: and then all the small cities would follow the major cities.

533
00:30:51,520 --> 00:30:54,760
Speaker 6: Playing those twenty records. You know, and it was paid for.

534
00:30:54,880 --> 00:30:55,920
Speaker 6: It was called paola.

535
00:30:56,600 --> 00:30:59,600
Speaker 3: You know, I didn't know they use that word out loud.

536
00:31:01,200 --> 00:31:03,280
Speaker 6: Yeah, that's an old term that I don't, you know,

537
00:31:03,760 --> 00:31:10,120
Speaker 6: use it. TikTok is used now, that's what it was.

538
00:31:10,240 --> 00:31:12,840
Speaker 6: I don't even know the algorithm for TikTok, but you

539
00:31:12,960 --> 00:31:16,520
Speaker 6: know you got people popping up selling fifty million downloads,

540
00:31:16,920 --> 00:31:19,840
Speaker 6: you know, from TikTok. I think somebody's selling algorithms.

541
00:31:20,600 --> 00:31:23,000
Speaker 1: You know, I always always wondered, I think.

542
00:31:22,920 --> 00:31:25,680
Speaker 3: That over a million TikTok to right box.

543
00:31:25,960 --> 00:31:29,320
Speaker 6: You know, driver's license is good, but come on, man,

544
00:31:29,480 --> 00:31:30,160
Speaker 6: I mean you know.

545
00:31:32,080 --> 00:31:38,560
Speaker 2: You got Olivia Rodrigo smoke already nice, yeah, Rodrigo, And just.

546
00:31:38,640 --> 00:31:41,880
Speaker 6: Like that with anybody. You could take ten top artists

547
00:31:42,080 --> 00:31:45,240
Speaker 6: and they didn't sell that many downloads, you know, So

548
00:31:45,800 --> 00:31:49,520
Speaker 6: you know it's paola. I don't know. Maybe uh, maybe

549
00:31:51,160 --> 00:31:55,080
Speaker 6: you know, the Chinese are selling the algorithms like Facebook doesn't.

550
00:31:55,120 --> 00:31:59,600
Speaker 6: I don't even know anymore. But Iola was was you know,

551
00:32:00,120 --> 00:32:02,360
Speaker 6: you remember going to court. Did I hied them?

552
00:32:02,440 --> 00:32:02,480
Speaker 1: No?

553
00:32:02,640 --> 00:32:05,160
Speaker 6: I didn't hire them. All the record companies did, you know?

554
00:32:05,200 --> 00:32:07,480
Speaker 6: And they all got their hands slapped and then for

555
00:32:07,600 --> 00:32:11,280
Speaker 6: a minute it never stopped until iHeart, or until there

556
00:32:11,400 --> 00:32:15,640
Speaker 6: was one program director across the country. You know, I

557
00:32:15,760 --> 00:32:17,640
Speaker 6: can't remember when it starts.

558
00:32:17,960 --> 00:32:20,800
Speaker 3: Think like the early two thousands, Like early.

559
00:32:20,840 --> 00:32:24,560
Speaker 2: Thousands, I'm gonna sound scan, Yeah, I think one sound

560
00:32:24,600 --> 00:32:25,480
Speaker 2: scan came into play.

561
00:32:25,640 --> 00:32:27,360
Speaker 1: Then you couldn't just independently.

562
00:32:28,040 --> 00:32:30,760
Speaker 6: No, I was after that the man, I can't even

563
00:32:30,880 --> 00:32:34,320
Speaker 6: give you a date because they're they're kind of convoluted.

564
00:32:35,160 --> 00:32:35,440
Speaker 1: Okay.

565
00:32:35,680 --> 00:32:38,520
Speaker 2: I've been on a couple of until at the time,

566
00:32:39,520 --> 00:32:42,840
Speaker 2: and I know that for a lot of black acts

567
00:32:43,240 --> 00:32:46,520
Speaker 2: in the seventies, it seemed like a whole new world

568
00:32:46,800 --> 00:32:49,320
Speaker 2: of It's a whole new playing field because all the

569
00:32:49,400 --> 00:32:54,600
Speaker 2: limitations that were there in the sixties, as far as

570
00:32:54,920 --> 00:32:57,440
Speaker 2: non motown black acts in the fifties and forties and

571
00:32:57,480 --> 00:33:01,000
Speaker 2: thirties and twenties and before the seventies, subtenly.

572
00:33:02,080 --> 00:33:04,240
Speaker 1: A brand new type of playing field.

573
00:33:04,280 --> 00:33:06,360
Speaker 2: I won't say that's an even level playing field, but

574
00:33:06,400 --> 00:33:08,240
Speaker 2: I'll say that it was a new type of playing field,

575
00:33:08,960 --> 00:33:15,160
Speaker 2: whereas black acts could sort of experience the kind of

576
00:33:15,480 --> 00:33:19,720
Speaker 2: accolades and bells and whistles that were there for their

577
00:33:19,840 --> 00:33:23,160
Speaker 2: rock or white counterparts. So that said, I know that

578
00:33:24,280 --> 00:33:27,480
Speaker 2: in the seventies there was you there was Sheep Gordon,

579
00:33:28,520 --> 00:33:35,360
Speaker 2: there was Freddy Demand, Bob Cavello, Ruffalo, and I forget yeah,

580
00:33:35,440 --> 00:33:39,120
Speaker 2: for all those cats. Is it the equivalent of trying

581
00:33:39,160 --> 00:33:42,640
Speaker 2: to muscle a rebound in an NBA game?

582
00:33:43,320 --> 00:33:45,400
Speaker 1: Like as far as.

583
00:33:45,880 --> 00:33:48,160
Speaker 8: As far as sports metaphors go, Well, no, no, no,

584
00:33:48,360 --> 00:33:51,040
Speaker 8: I just mean in terms well, I'm just saying in

585
00:33:51,200 --> 00:33:54,000
Speaker 8: terms of you know, someone's the big dog, you know,

586
00:33:54,240 --> 00:33:57,240
Speaker 8: and you someone's the big dog in the game, and

587
00:33:57,400 --> 00:33:59,800
Speaker 8: then you got to figure out how to also muscle

588
00:33:59,840 --> 00:34:00,440
Speaker 8: your way.

589
00:34:00,320 --> 00:34:03,400
Speaker 10: Into a situation so that your act does get on

590
00:34:03,520 --> 00:34:06,040
Speaker 10: Dinah Shore, or your act does get on Don Christmas

591
00:34:06,160 --> 00:34:09,600
Speaker 10: Rock Concert, or your act does get his fifty spins

592
00:34:09,600 --> 00:34:12,400
Speaker 10: a week on in particular radio station, like as far

593
00:34:12,440 --> 00:34:14,919
Speaker 10: as your peers were concerned, at least for those those

594
00:34:15,080 --> 00:34:18,440
Speaker 10: acts I name, am I naming the correct acts of

595
00:34:18,920 --> 00:34:22,480
Speaker 10: managers that were the super like who who in your opinion,

596
00:34:22,600 --> 00:34:28,320
Speaker 10: were like the top five managers for black acts that

597
00:34:28,560 --> 00:34:32,600
Speaker 10: were crossover. I mean, do you agree that Demand, Freddie

598
00:34:32,640 --> 00:34:34,960
Speaker 10: DeMann and Shep Gordon Madonna?

599
00:34:36,400 --> 00:34:39,240
Speaker 6: I think back then, but Shep Gordon was my friend,

600
00:34:40,680 --> 00:34:44,719
Speaker 6: so so through Luther I had an act. You know,

601
00:34:45,880 --> 00:34:52,759
Speaker 6: I think that Billy introduced me to Donnie Hathaway. Really yeah,

602
00:34:55,160 --> 00:34:58,160
Speaker 6: but Luther was Shep's act that so was Alice Cooper.

603
00:34:58,320 --> 00:35:02,960
Speaker 6: But I in a guy's a big accountant, accountant's office

604
00:35:03,000 --> 00:35:07,799
Speaker 6: called Bert Padell, and yeah, you know what I mean.

605
00:35:07,880 --> 00:35:12,080
Speaker 6: So it was on Broadway and Earl the prol Monroe

606
00:35:12,200 --> 00:35:19,319
Speaker 6: had his little record company up there, and uh yeah, yeah,

607
00:35:21,960 --> 00:35:26,080
Speaker 6: Michael Lang from Woodstock had Joe Cocker. That's how he

608
00:35:26,200 --> 00:35:29,200
Speaker 6: did You Are So Beautiful. That's how I got that hit.

609
00:35:29,480 --> 00:35:32,080
Speaker 6: Billy wrote it, of course, you know about God, and

610
00:35:32,200 --> 00:35:36,239
Speaker 6: then Joe Cocker made it, you know, more popular. You know,

611
00:35:38,040 --> 00:35:40,840
Speaker 6: it's just it's being in the right place at the

612
00:35:41,040 --> 00:35:44,360
Speaker 6: right time and had some look you know, I know,

613
00:35:44,800 --> 00:35:47,080
Speaker 6: you know, you work your you work together. That A

614
00:35:47,360 --> 00:35:50,000
Speaker 6: side the publishing. Then the B side is just a

615
00:35:50,120 --> 00:35:52,759
Speaker 6: B side, but everybody knows the A side is a hit.

616
00:35:53,200 --> 00:35:55,880
Speaker 6: And then the directors play the B side, but at

617
00:35:55,960 --> 00:35:59,600
Speaker 6: least nide. But do you go with it and say, oh,

618
00:35:59,680 --> 00:36:01,440
Speaker 6: you know, that was the right song all the way.

619
00:36:01,480 --> 00:36:03,440
Speaker 6: And you know, we always believe in the you know,

620
00:36:03,520 --> 00:36:06,080
Speaker 6: we like that song too. Everybody take credit for being

621
00:36:06,160 --> 00:36:08,759
Speaker 6: lucky and be at the right place at the right time.

622
00:36:09,400 --> 00:36:12,480
Speaker 6: Four or five times that I can remember, even with Billy,

623
00:36:12,960 --> 00:36:16,200
Speaker 6: you know, everybody's for sure everything sounds good in the studio.

624
00:36:16,280 --> 00:36:20,880
Speaker 6: I used to take the cassette outside and put it

625
00:36:20,960 --> 00:36:24,240
Speaker 6: in my car and say, you know, it's one listening

626
00:36:24,280 --> 00:36:26,840
Speaker 6: to the studio because let me see it sounds in

627
00:36:26,920 --> 00:36:30,400
Speaker 6: the car. You know, sounds corny. But I wanted to

628
00:36:30,480 --> 00:36:33,279
Speaker 6: know how that cassette or a track sounded in the car.

629
00:36:33,400 --> 00:36:37,160
Speaker 6: I can't even remember, you know. And then not that

630
00:36:37,320 --> 00:36:40,440
Speaker 6: I could even influence a Phil Specter or a Billy

631
00:36:40,560 --> 00:36:44,360
Speaker 6: Preston or whoever else I worked with, But you know

632
00:36:44,760 --> 00:36:47,920
Speaker 6: I was involved in it, you know, from the beginning,

633
00:36:48,280 --> 00:36:51,960
Speaker 6: you know, go into the studio, to go into the

634
00:36:52,080 --> 00:36:56,880
Speaker 6: record label. You know, I'm just it's total involvement. You know,

635
00:36:56,960 --> 00:36:59,719
Speaker 6: it's a commitment that you make, you know, with even

636
00:37:00,040 --> 00:37:03,480
Speaker 6: even with Neat Loaf, with Shaka, with Rufus, with Billy,

637
00:37:03,920 --> 00:37:07,400
Speaker 6: you know, with the English acts that I've had, you know,

638
00:37:08,760 --> 00:37:11,600
Speaker 6: there's a tremendous commitment. You know, I'd go on the road,

639
00:37:11,640 --> 00:37:14,080
Speaker 6: I'd be flying, you know, four or five days a week,

640
00:37:14,120 --> 00:37:16,000
Speaker 6: so I get to me. Then I have children, and

641
00:37:16,160 --> 00:37:20,200
Speaker 6: then it's not like my ex didn't you know, tour

642
00:37:20,880 --> 00:37:22,720
Speaker 6: you know that was the height of her touring days,

643
00:37:23,160 --> 00:37:26,320
Speaker 6: so you know it was a constant commitment. But I

644
00:37:26,400 --> 00:37:28,200
Speaker 6: will tell you that I just brought up a story

645
00:37:28,280 --> 00:37:31,680
Speaker 6: because you mentioned that the Philly Sound I sold out

646
00:37:31,800 --> 00:37:35,799
Speaker 6: Shase Stadium forty years ago with Shaka and the OJS.

647
00:37:36,480 --> 00:37:36,719
Speaker 1: Wow.

648
00:37:37,400 --> 00:37:41,720
Speaker 6: Really yeah, for ten other acts. But I was involved

649
00:37:41,719 --> 00:37:43,680
Speaker 6: with a promoter and I can't think of his name.

650
00:37:43,840 --> 00:37:46,400
Speaker 6: Maybe it was Rob Delsner. Question, do you know who

651
00:37:46,480 --> 00:37:47,320
Speaker 6: Ron Delsner is?

652
00:37:47,840 --> 00:37:52,200
Speaker 1: I've heard the name. Uh not, I've heard his name before.

653
00:37:52,480 --> 00:37:55,399
Speaker 6: Just then, he's the first one to do Central Park,

654
00:37:55,960 --> 00:37:57,880
Speaker 6: He's the first one to clean it up. He did

655
00:37:57,960 --> 00:38:00,719
Speaker 6: Elton John and Eric Clapton at Chase State during the

656
00:38:00,840 --> 00:38:03,400
Speaker 6: summer and then we re saw the outfield while they

657
00:38:03,719 --> 00:38:06,360
Speaker 6: had three away games. I mean, he is a legend,

658
00:38:06,840 --> 00:38:10,600
Speaker 6: it and then Live Nation was formed from his He

659
00:38:10,760 --> 00:38:13,640
Speaker 6: has still has the lease on Joan's Beech, which is

660
00:38:13,680 --> 00:38:17,960
Speaker 6: a public you know, it's a state you know. And

661
00:38:18,040 --> 00:38:21,200
Speaker 6: then with Live Day brought pace and bought you know

662
00:38:21,400 --> 00:38:24,480
Speaker 6: that there was before a e g. It was before

663
00:38:26,080 --> 00:38:30,239
Speaker 6: Clancy and uh the Bowery Ballroom do you do you know?

664
00:38:30,400 --> 00:38:34,040
Speaker 6: I mean the ball reductions, you know, so you know

665
00:38:34,920 --> 00:38:39,160
Speaker 6: then I had theaters with Delsner during that forty second redevelopment.

666
00:38:39,400 --> 00:38:40,600
Speaker 1: What was your phone book like?

667
00:38:40,800 --> 00:38:44,600
Speaker 2: Because I also know that relationships like just to be

668
00:38:44,719 --> 00:38:48,040
Speaker 2: a manager, and you're naming all these names, I'm certain,

669
00:38:48,360 --> 00:38:50,440
Speaker 2: And that's just like New York connections, I'm certain, like

670
00:38:50,640 --> 00:38:54,360
Speaker 2: with Philly with Larry Marshak and all these like Ticket

671
00:38:54,400 --> 00:38:55,680
Speaker 2: Tron and all all these other.

672
00:38:55,760 --> 00:39:00,720
Speaker 1: Spots, Billy Preston right too, Yeah, and the early seventies.

673
00:39:00,960 --> 00:39:08,920
Speaker 2: So it's just how exhausting is it maintaining relationships, especially

674
00:39:09,000 --> 00:39:11,880
Speaker 2: when this is such a favor for a favor of business.

675
00:39:13,040 --> 00:39:17,600
Speaker 6: I'm still doing it, Crest, Okay, you know what I mean.

676
00:39:17,680 --> 00:39:20,680
Speaker 6: I mean it's you know, I mean, I'll match my

677
00:39:20,880 --> 00:39:23,040
Speaker 6: contacts to your contacts on my phone.

678
00:39:23,120 --> 00:39:23,239
Speaker 1: Man.

679
00:39:23,640 --> 00:39:25,680
Speaker 6: I mean, I'm still doing it. You know, I'm still

680
00:39:25,760 --> 00:39:28,080
Speaker 6: friends with the guy that made the deal for Priority

681
00:39:28,200 --> 00:39:31,080
Speaker 6: to go to EMI. You know, I stayed in this house.

682
00:39:31,200 --> 00:39:35,120
Speaker 6: That was thirty years ago. He was also the CEO

683
00:39:35,239 --> 00:39:38,279
Speaker 6: and Arista Records. You know, he was the CEO for

684
00:39:38,719 --> 00:39:42,880
Speaker 6: Blackwell when Chris brought Bob Marley to America Island Records,

685
00:39:44,600 --> 00:39:48,040
Speaker 6: Yellow Man, all of those people you too. I mean,

686
00:39:48,080 --> 00:39:49,680
Speaker 6: I can go on and on how many acts that

687
00:39:49,719 --> 00:39:52,879
Speaker 6: I've been around, but I developed these relates yellow man.

688
00:39:53,000 --> 00:39:59,520
Speaker 3: Wow, it's fascinating how your story is.

689
00:39:59,600 --> 00:40:02,920
Speaker 4: Chep's sounds so similar, especially in your beginnings, because it

690
00:40:02,960 --> 00:40:04,879
Speaker 4: seemed like both of y'all had artists that just looked,

691
00:40:05,080 --> 00:40:06,279
Speaker 4: I don't want to say, just looked at you, but

692
00:40:06,360 --> 00:40:08,480
Speaker 4: had a conversation, looked at you and said you should

693
00:40:08,520 --> 00:40:10,799
Speaker 4: be a manager, and it just built from there.

694
00:40:11,239 --> 00:40:11,439
Speaker 6: Yeah.

695
00:40:11,520 --> 00:40:13,080
Speaker 11: What do you think it is that those artists saw

696
00:40:13,160 --> 00:40:16,480
Speaker 11: and you, Bob that made them say like, hey, we

697
00:40:16,600 --> 00:40:17,360
Speaker 11: trust you to do this.

698
00:40:18,520 --> 00:40:23,520
Speaker 6: You know, I I have that that that you know

699
00:40:24,080 --> 00:40:27,800
Speaker 6: Cresh plays the drugs. You know, you don't have some

700
00:40:28,600 --> 00:40:31,400
Speaker 6: uh some hidden tell it. You know, I see on

701
00:40:32,360 --> 00:40:35,000
Speaker 6: you know American Scott telling an autistic and can see

702
00:40:35,400 --> 00:40:37,719
Speaker 6: can't talk, you know, when they'll sit in the sit

703
00:40:37,800 --> 00:40:40,520
Speaker 6: at the piano and sound like Elton Job. I don't know,

704
00:40:40,800 --> 00:40:43,400
Speaker 6: maybe I was, you know, you know the way Billy

705
00:40:43,640 --> 00:40:45,759
Speaker 6: was taught by God to play the piano. You know,

706
00:40:46,040 --> 00:40:48,480
Speaker 6: I don't think you can somebody to play baseball or

707
00:40:48,560 --> 00:40:50,759
Speaker 6: basketball to either have it. You know, I don't care

708
00:40:50,760 --> 00:40:53,440
Speaker 6: if you coach them or tennis, whatever it is. I

709
00:40:53,560 --> 00:40:55,680
Speaker 6: think that you know, you kind of find your way.

710
00:40:55,760 --> 00:40:58,400
Speaker 6: I was lucky enough to find my way in life

711
00:40:59,320 --> 00:41:02,480
Speaker 6: and take advance that I had away with people. You

712
00:41:02,600 --> 00:41:05,880
Speaker 6: know that they went away, that they that they liked me,

713
00:41:06,080 --> 00:41:10,000
Speaker 6: but I genuinely liked them. And I never started networking.

714
00:41:10,080 --> 00:41:12,759
Speaker 6: I mean, you know, question, you know I've been. I

715
00:41:12,920 --> 00:41:16,520
Speaker 6: had a rap label with Africambada and a guy called

716
00:41:16,600 --> 00:41:20,560
Speaker 6: Rockey Buchanan in nineteen eighty five called Strong City.

717
00:41:20,960 --> 00:41:24,319
Speaker 1: That the guy from Wait a minute, you were part

718
00:41:24,360 --> 00:41:25,040
Speaker 1: of Strong City.

719
00:41:25,440 --> 00:41:26,440
Speaker 6: I was half owner.

720
00:41:26,560 --> 00:41:30,800
Speaker 1: Yeah shit, okay, know that that's a busy B and

721
00:41:31,560 --> 00:41:32,440
Speaker 1: yeah bussy.

722
00:41:32,239 --> 00:41:35,759
Speaker 6: B Lady B for Philadelphia, Yes, lady B. Well, I

723
00:41:35,840 --> 00:41:37,040
Speaker 6: had a crush on her man.

724
00:41:40,440 --> 00:41:41,200
Speaker 1: We all did.

725
00:41:41,920 --> 00:41:45,200
Speaker 2: She still looks timeless. Wait okay, so since we're talking

726
00:41:45,200 --> 00:41:49,680
Speaker 2: about that, can you what is your general rule of

727
00:41:49,840 --> 00:41:54,640
Speaker 2: thumb for management? I know STEP's whole thing was like, uh,

728
00:41:55,120 --> 00:41:59,440
Speaker 2: don't forget the cash. Rule number two is remember to

729
00:41:59,520 --> 00:42:03,320
Speaker 2: always ever forget. Don't forget the cash. And then world number.

730
00:42:03,160 --> 00:42:07,360
Speaker 1: Three is always remember to never forget, don't get to

731
00:42:07,680 --> 00:42:08,280
Speaker 1: get the cash.

732
00:42:08,960 --> 00:42:14,120
Speaker 2: But for you because even okay, like I know that

733
00:42:14,920 --> 00:42:19,360
Speaker 2: even though I'm social, I don't really I'm a reluctant

734
00:42:19,400 --> 00:42:23,360
Speaker 2: people person Like, I know that with managing, you have

735
00:42:23,560 --> 00:42:25,319
Speaker 2: to sit and talk to people one on one.

736
00:42:26,000 --> 00:42:27,480
Speaker 1: You gotta talk with you, you gotta spend time.

737
00:42:28,920 --> 00:42:31,080
Speaker 2: I'm I'm personally I'm kind of a hands off guy

738
00:42:31,200 --> 00:42:34,200
Speaker 2: and like I'll do just enough, just a nuanced a relationship.

739
00:42:34,320 --> 00:42:37,799
Speaker 2: But I mean, was there ever a time in your

740
00:42:38,160 --> 00:42:42,440
Speaker 2: especially in those like first ten years, where you got

741
00:42:42,520 --> 00:42:44,880
Speaker 2: an eye roll because you gotta take this guy out

742
00:42:44,920 --> 00:42:48,400
Speaker 2: to dinner in order to get spends here, or you know,

743
00:42:48,520 --> 00:42:52,400
Speaker 2: whatever you did to negotiate Billy Preston for that Fast

744
00:42:52,440 --> 00:42:54,240
Speaker 2: Break movie in the seventies or whatever.

745
00:42:55,520 --> 00:42:57,360
Speaker 1: What are your general rules of management?

746
00:42:58,280 --> 00:43:00,960
Speaker 6: There were no rules. I try to they liked people.

747
00:43:01,040 --> 00:43:04,359
Speaker 6: Don Cornelius and I were friends before he put Billy

748
00:43:04,440 --> 00:43:08,560
Speaker 6: Preston on. Don Cornelius and I played basketball with Mary

749
00:43:08,719 --> 00:43:12,759
Speaker 6: Wilson's second husband, Pedro. You know, we had a regular game.

750
00:43:12,840 --> 00:43:15,279
Speaker 6: I was up in Don's house a lot. He Don

751
00:43:15,400 --> 00:43:17,160
Speaker 6: had a record label. I don't know if you know this,

752
00:43:17,760 --> 00:43:20,000
Speaker 6: don't have a record label, and that he needed me

753
00:43:20,160 --> 00:43:22,840
Speaker 6: in New York, you know, and you know I'm not

754
00:43:22,920 --> 00:43:25,719
Speaker 6: going to be obvious, but I'll be obvious. You know,

755
00:43:25,920 --> 00:43:29,560
Speaker 6: he knew that he needed somebody a jew in New York,

756
00:43:30,440 --> 00:43:35,960
Speaker 6: you know, to go New York, New York.

757
00:43:36,120 --> 00:43:38,440
Speaker 3: Thank you. We need it. Seemed like everybody needs.

758
00:43:39,560 --> 00:43:44,120
Speaker 6: And recording quest. I have a story that you might

759
00:43:44,200 --> 00:43:45,880
Speaker 6: not think it's funny, but you know that's me.

760
00:43:46,400 --> 00:43:47,200
Speaker 3: Let's go, let's go.

761
00:43:47,320 --> 00:43:50,840
Speaker 1: Oh yeah, the understand.

762
00:43:51,160 --> 00:43:57,319
Speaker 6: Okay. So it just came to me, all right. So, uh,

763
00:43:57,760 --> 00:44:00,120
Speaker 6: Diana and I are friends. She was picking out a

764
00:44:00,200 --> 00:44:02,080
Speaker 6: gift for Barry Gordy. I happen to be in a

765
00:44:02,160 --> 00:44:06,160
Speaker 6: clothing store. So the first time I meet Berry and

766
00:44:06,360 --> 00:44:09,360
Speaker 6: Smoky and all of those people from Motown that Berry

767
00:44:09,680 --> 00:44:12,479
Speaker 6: have them. You had an entourage, and We're having dinner

768
00:44:12,520 --> 00:44:15,480
Speaker 6: at Diana South, and I'm really cool. This is fifty two,

769
00:44:15,600 --> 00:44:18,839
Speaker 6: fifty three years ago, and so we're eating soul food

770
00:44:18,880 --> 00:44:21,040
Speaker 6: and you know, I mean, you know, I'd already been

771
00:44:21,120 --> 00:44:26,080
Speaker 6: used to it, but under the crest at that moment,

772
00:44:26,239 --> 00:44:28,760
Speaker 6: at that time, I said, passed me the colored greens.

773
00:44:30,680 --> 00:44:30,799
Speaker 1: Yo.

774
00:44:31,480 --> 00:44:31,960
Speaker 6: There is.

775
00:44:34,160 --> 00:44:35,520
Speaker 1: Animation, good life.

776
00:44:37,719 --> 00:44:40,839
Speaker 2: There is our animation right there, laid and gentlemen, Oh

777
00:44:40,920 --> 00:44:43,360
Speaker 2: my god, imagine.

778
00:44:42,920 --> 00:44:43,960
Speaker 6: The way they carried on.

779
00:44:45,280 --> 00:44:47,600
Speaker 3: And then Diana, I mean, Diana was feeling you. That's

780
00:44:47,640 --> 00:44:50,000
Speaker 3: so much embarrassment. It's so much from something places.

781
00:44:50,920 --> 00:44:53,319
Speaker 1: Yeah, I just want to say, that's what we call

782
00:44:53,400 --> 00:45:03,359
Speaker 1: it Colin Greens from here on out. That's ye. Wait,

783
00:45:03,520 --> 00:45:06,320
Speaker 1: it's only almost an hour and we only got to

784
00:45:06,400 --> 00:45:06,960
Speaker 1: one client.

785
00:45:07,600 --> 00:45:11,600
Speaker 2: Okay, with with Rufus and Shaka Khan, I gotta I

786
00:45:11,640 --> 00:45:13,160
Speaker 2: gotta skip to rufins in Shaka Khan.

787
00:45:14,239 --> 00:45:16,480
Speaker 1: Yeah, what at what point do you enter?

788
00:45:16,560 --> 00:45:19,640
Speaker 2: Because I know that Rufus was a band on Epic

789
00:45:19,719 --> 00:45:22,759
Speaker 2: Records before they went to ABC. How did how did

790
00:45:22,800 --> 00:45:26,879
Speaker 2: you enter into uh managing Rufus in Shaka Khan.

791
00:45:27,480 --> 00:45:30,200
Speaker 6: I'm not sure if it was Bobby Watching or Tony Maiden.

792
00:45:31,080 --> 00:45:34,239
Speaker 6: I was really close with one of them. I think

793
00:45:34,320 --> 00:45:36,400
Speaker 6: it was Tony the guitar player because he used to

794
00:45:36,480 --> 00:45:40,399
Speaker 6: play you remember they used to go mouth Easton put

795
00:45:40,440 --> 00:45:48,960
Speaker 6: the chords and somehow yeah, yeah, you know, and so

796
00:45:49,120 --> 00:45:53,920
Speaker 6: we have this relationship and Tony or Bobby found Shaka

797
00:45:54,080 --> 00:45:56,719
Speaker 6: and it was Rufus and would I be interested in

798
00:45:56,880 --> 00:45:59,520
Speaker 6: managing them? And you know, I had to worry about

799
00:45:59,600 --> 00:46:02,840
Speaker 6: Billy being jealous or you know, I don't have to

800
00:46:02,920 --> 00:46:05,200
Speaker 6: say that if a manager has ten X and one

801
00:46:05,239 --> 00:46:07,440
Speaker 6: of them is doing better, you know than the other.

802
00:46:07,600 --> 00:46:11,800
Speaker 6: So Shaka and Rufus were opening for Billy Preston, and

803
00:46:11,960 --> 00:46:14,280
Speaker 6: so you know, it was a fine line there before,

804
00:46:14,320 --> 00:46:17,279
Speaker 6: you know. And then obviously, just like your children, one

805
00:46:17,920 --> 00:46:20,840
Speaker 6: more successful than the other. And so I watched the

806
00:46:20,960 --> 00:46:24,040
Speaker 6: scales just turn and then Billy was the opening act

807
00:46:24,120 --> 00:46:27,040
Speaker 6: and I was able to deal with it. I mean

808
00:46:27,120 --> 00:46:29,480
Speaker 6: I never went out and said, you know, I could

809
00:46:29,560 --> 00:46:33,239
Speaker 6: manage you better. You know, meat Loaf came to me

810
00:46:33,400 --> 00:46:37,239
Speaker 6: because I was, you know, considered a real serious kind

811
00:46:37,280 --> 00:46:40,040
Speaker 6: of guy when it came you know, I'm playful. Yeah,

812
00:46:40,200 --> 00:46:42,800
Speaker 6: but you know we all did in the seventies, you know.

813
00:46:42,960 --> 00:46:44,640
Speaker 6: But but when it came to work, I didn't want

814
00:46:44,640 --> 00:46:46,080
Speaker 6: to get high with my lawyer. I didn't want to

815
00:46:46,080 --> 00:46:50,520
Speaker 6: get high with my accountant business, you know.

816
00:46:51,040 --> 00:46:51,200
Speaker 7: You know.

817
00:46:51,360 --> 00:46:53,680
Speaker 6: So so it was, you know, I always went to

818
00:46:53,920 --> 00:46:56,439
Speaker 6: if I didn't know something, I always got somebody better.

819
00:46:56,600 --> 00:47:00,320
Speaker 6: Now I get people that are analytical strategic planners, you know.

820
00:47:00,480 --> 00:47:03,680
Speaker 6: I never, you know, by the accountant that I got

821
00:47:03,719 --> 00:47:07,719
Speaker 6: from Rufus. I never touched anybody's money. Never I get

822
00:47:07,760 --> 00:47:10,680
Speaker 6: a and M to pay me my commission direct I had.

823
00:47:10,840 --> 00:47:13,760
Speaker 6: They had an accountant that was an IRS agent, Billy

824
00:47:13,840 --> 00:47:16,360
Speaker 6: and Shock, and they had total control over their money.

825
00:47:17,160 --> 00:47:21,839
Speaker 6: Couldn fat Meat Love never got involved with his violences,

826
00:47:22,440 --> 00:47:24,960
Speaker 6: you know, always through the record company, And I think

827
00:47:25,080 --> 00:47:27,480
Speaker 6: that's the mistake a lot of artists make. We hear

828
00:47:27,560 --> 00:47:30,719
Speaker 6: about Elton John as manager now has a hotel chain,

829
00:47:31,160 --> 00:47:32,880
Speaker 6: you know in the Bahamas, and then they took his

830
00:47:32,960 --> 00:47:36,239
Speaker 6: American Express card away. Billy Joel lost all of us

831
00:47:36,320 --> 00:47:42,400
Speaker 6: from publishing to his brother in law, his sisters, you know,

832
00:47:42,600 --> 00:47:45,919
Speaker 6: and couldn't make his house payments, you know, and took

833
00:47:46,120 --> 00:47:49,319
Speaker 6: years to straighten it out. And so it's one thing,

834
00:47:49,719 --> 00:47:54,239
Speaker 6: you know, I just was aware of other people. Maybe

835
00:47:54,280 --> 00:47:56,600
Speaker 6: I'm lucky that I had a mom and dad that

836
00:47:56,760 --> 00:48:00,279
Speaker 6: taught me right from wrong, that gave me no boundaries. Yeah,

837
00:48:00,280 --> 00:48:01,080
Speaker 6: I'm really lucky.

838
00:48:06,000 --> 00:48:09,360
Speaker 2: Let me let me ask you. In the in the

839
00:48:09,520 --> 00:48:14,680
Speaker 2: imaging of Shaka Khan in the very beginning, you know,

840
00:48:14,800 --> 00:48:18,560
Speaker 2: the group was kind of quote unquote green, and then

841
00:48:18,719 --> 00:48:22,960
Speaker 2: you know, one or two three records in you know,

842
00:48:23,320 --> 00:48:29,760
Speaker 2: this new image of Shaka, which is I guess probably

843
00:48:29,840 --> 00:48:36,320
Speaker 2: the perfect balance of Betty Davis, who was totally wild,

844
00:48:37,160 --> 00:48:39,919
Speaker 2: so wild in her imaging that you know she really

845
00:48:40,080 --> 00:48:43,600
Speaker 2: kind of couldn't be marketed, and that of Tina Turner,

846
00:48:44,120 --> 00:48:47,319
Speaker 2: like she sort of rode the middle of it. How

847
00:48:47,560 --> 00:48:53,200
Speaker 2: how instrumental were you in sort of encouraging Shaka? And

848
00:48:53,320 --> 00:48:56,360
Speaker 2: I'm kind of saying in a business way, but I

849
00:48:56,440 --> 00:49:01,600
Speaker 2: mean Chicago was, I mean, Shako was very flamboyant and

850
00:49:01,680 --> 00:49:04,279
Speaker 2: wow with their outfits and whatnot, you know, And I

851
00:49:04,440 --> 00:49:08,320
Speaker 2: know that was kind of a first for a mainstream

852
00:49:08,440 --> 00:49:12,200
Speaker 2: artist to really, especially a black woman, to do those things,

853
00:49:12,239 --> 00:49:15,920
Speaker 2: even though Tina Turner and Betty Davis were kind of

854
00:49:15,960 --> 00:49:19,640
Speaker 2: out the gate, but she Shackle like perfected it. How

855
00:49:19,760 --> 00:49:23,920
Speaker 2: instrumental were you in sort of encouraging like the wild

856
00:49:24,040 --> 00:49:28,000
Speaker 2: outfits and the and just her general imaging.

857
00:49:29,000 --> 00:49:33,000
Speaker 6: Well, if you notice on her early records, I tried

858
00:49:33,080 --> 00:49:36,680
Speaker 6: to create a logo to keep her happy and Rufus

859
00:49:36,760 --> 00:49:41,160
Speaker 6: happy and touring with the Stones. Those lips everybody today

860
00:49:41,239 --> 00:49:43,719
Speaker 6: still knows all of those are the Rolling Stones. So

861
00:49:43,800 --> 00:49:48,960
Speaker 6: if you look on the early albums, their logo were

862
00:49:49,040 --> 00:49:53,480
Speaker 6: Shopa's Mouth. Okay, you'll see that red logo.

863
00:49:53,840 --> 00:49:57,960
Speaker 2: And I tried to drive it home and then I

864
00:49:58,400 --> 00:50:02,560
Speaker 2: do that that that gave five year old mean nightmares

865
00:50:04,280 --> 00:50:08,680
Speaker 2: with that big ass poster on the wall in the dark, Like, no,

866
00:50:08,920 --> 00:50:09,920
Speaker 2: you can blame me for that.

867
00:50:10,160 --> 00:50:15,080
Speaker 6: Honestly, gosh that okay, well no, no, but she you know,

868
00:50:15,320 --> 00:50:16,400
Speaker 6: she was wonderful.

869
00:50:17,120 --> 00:50:17,320
Speaker 4: You know.

870
00:50:17,600 --> 00:50:20,040
Speaker 6: I had this idea that she needed to be This

871
00:50:20,280 --> 00:50:24,960
Speaker 6: is way before costumes and you know, and I thought

872
00:50:25,000 --> 00:50:27,200
Speaker 6: she needed to be different, so I dressed her up.

873
00:50:28,160 --> 00:50:31,120
Speaker 6: She kind of had this wild Indian look, and I

874
00:50:31,160 --> 00:50:34,560
Speaker 6: happened to be in Denver, and you know, it started

875
00:50:34,600 --> 00:50:36,759
Speaker 6: with a headdress and then it became an outfit and

876
00:50:36,840 --> 00:50:39,160
Speaker 6: then you know, we built on it, you know. And

877
00:50:39,239 --> 00:50:41,360
Speaker 6: she was really good to work with. I mean, she

878
00:50:41,560 --> 00:50:45,040
Speaker 6: was you know, she was open to ideas. I can't

879
00:50:45,080 --> 00:50:48,040
Speaker 6: say that there were a lot of those were my ideas,

880
00:50:48,080 --> 00:50:50,440
Speaker 6: but she made the final decision. I would never tell

881
00:50:50,480 --> 00:50:53,000
Speaker 6: you you got to record a song, or why don't

882
00:50:53,040 --> 00:50:55,799
Speaker 6: you bring back Donnie Hathaway or why don't you I'm

883
00:50:55,960 --> 00:50:58,480
Speaker 6: very good friends with l She's got some El Barner,

884
00:50:59,000 --> 00:51:01,640
Speaker 6: you know. Do you know Jimmy Varner at all?

885
00:51:02,120 --> 00:51:04,680
Speaker 1: I know Jimmy Her father used to be in The Quick?

886
00:51:05,560 --> 00:51:12,240
Speaker 1: Really her father? Click? Wait, didn't he play Jackie Wilson

887
00:51:12,600 --> 00:51:13,719
Speaker 1: in and.

888
00:51:14,120 --> 00:51:16,319
Speaker 6: Some Motown stuff? Yeah? He was. He was fun.

889
00:51:16,560 --> 00:51:20,520
Speaker 2: Played Jackie Wilson in a movie singing stop Dogging Me Around.

890
00:51:20,560 --> 00:51:23,040
Speaker 1: I forget one of those.

891
00:51:23,680 --> 00:51:29,000
Speaker 2: Was it not lebamb but like he yeah, I remember L. L.

892
00:51:29,120 --> 00:51:31,759
Speaker 2: Varner's dad was in a group called Click.

893
00:51:32,440 --> 00:51:36,200
Speaker 6: They're friends of mine, you know, And I'm just I'm

894
00:51:36,320 --> 00:51:39,560
Speaker 6: just thinking how I could keep me entertaining and and

895
00:51:39,800 --> 00:51:45,600
Speaker 6: throw some stuff out there. Shaka Shaka was really easy, uh,

896
00:51:45,760 --> 00:51:47,799
Speaker 6: and you got her. Remember I'm traveling around with Nick

897
00:51:47,880 --> 00:51:51,759
Speaker 6: Jagger and Nobody. Nobody. I mean, they're better live than

898
00:51:51,800 --> 00:51:59,279
Speaker 6: they are by records. You know, I I absorb a lot.

899
00:51:59,440 --> 00:52:01,920
Speaker 6: I take it in like a sponge. And so I'm

900
00:52:01,960 --> 00:52:05,280
Speaker 6: watching Nick. You know, they're not selling all these records,

901
00:52:05,360 --> 00:52:08,279
Speaker 6: but you know there's crowds of people. You can't we

902
00:52:08,400 --> 00:52:12,120
Speaker 6: filled stadiums forty forty years ago.

903
00:52:12,640 --> 00:52:17,400
Speaker 2: We were just talking about like marketing Shaka's wildness in

904
00:52:17,520 --> 00:52:19,920
Speaker 2: a way that you know, I mean, in my opinion,

905
00:52:20,840 --> 00:52:23,840
Speaker 2: like she definitely was one of the first artists that

906
00:52:23,960 --> 00:52:28,640
Speaker 2: really in a nuanced way sold her sexuality in a

907
00:52:28,719 --> 00:52:32,400
Speaker 2: way that was definitely pushing the envelope, but not like

908
00:52:33,360 --> 00:52:35,360
Speaker 2: where Prince would really take it further, and you know

909
00:52:35,520 --> 00:52:38,160
Speaker 2: the eighties. But I mean for me, that was revolutionary

910
00:52:38,239 --> 00:52:38,920
Speaker 2: in the seventies.

911
00:52:39,200 --> 00:52:41,400
Speaker 4: Sexy, sweet and kind of in natural in a way where.

912
00:52:41,280 --> 00:52:41,879
Speaker 3: You look at all them.

913
00:52:42,560 --> 00:52:45,520
Speaker 2: Yeah, but no, I mean I'm watching all like she

914
00:52:45,960 --> 00:52:49,040
Speaker 2: you know, yes, I got it, Yeah, yeah, yeah she

915
00:52:49,360 --> 00:52:52,120
Speaker 2: you know, she used what she got to get what

916
00:52:52,239 --> 00:52:52,520
Speaker 2: she want.

917
00:52:52,880 --> 00:52:56,640
Speaker 6: That was all influenced by and and the way he

918
00:52:56,800 --> 00:52:59,799
Speaker 6: pranstaged and the boas and the stuff that he wore.

919
00:53:00,160 --> 00:53:02,680
Speaker 6: That's around the time of David Bowie, you know. And

920
00:53:02,719 --> 00:53:04,920
Speaker 6: if you would, Mike, you see David or you know.

921
00:53:05,320 --> 00:53:05,520
Speaker 4: You know.

922
00:53:05,680 --> 00:53:08,919
Speaker 6: So I saw this happening and I tried to bring

923
00:53:09,000 --> 00:53:11,880
Speaker 6: it out into in Shaka. I thought she was beautiful

924
00:53:12,280 --> 00:53:16,200
Speaker 6: and she was sexy and without being you know, today

925
00:53:16,280 --> 00:53:20,879
Speaker 6: it's almost overdone. You know, we didn't we working back then,

926
00:53:21,400 --> 00:53:26,160
Speaker 6: but we can be from and want to see more.

927
00:53:26,719 --> 00:53:30,360
Speaker 6: So I was always careful not to offend anybody, you know.

928
00:53:32,120 --> 00:53:34,560
Speaker 6: You know, we all remember the Shannon Jackson and the

929
00:53:34,800 --> 00:53:37,480
Speaker 6: Justin Timberlake. I mean, so many stories pressed the flood

930
00:53:37,560 --> 00:53:38,399
Speaker 6: in and out of my head.

931
00:53:39,600 --> 00:53:42,480
Speaker 2: There's the question I always wanted to know though, Like

932
00:53:42,600 --> 00:53:46,479
Speaker 2: one of my all time favorite records, Rufus and Chaka

933
00:53:46,560 --> 00:53:50,960
Speaker 2: Khan was their album Asked Rufus in seventy seven. But

934
00:53:51,040 --> 00:53:57,600
Speaker 2: I also know that the group imploded that year. And

935
00:53:57,719 --> 00:54:01,720
Speaker 2: that's before you know, they had to you know, replace

936
00:54:02,000 --> 00:54:07,040
Speaker 2: musicians and whatnot. Can you what was the situation like

937
00:54:07,600 --> 00:54:11,960
Speaker 2: in seventy seven that broke the band, the original incarnation

938
00:54:12,120 --> 00:54:13,600
Speaker 2: of Rufus and Shaka Khan?

939
00:54:14,239 --> 00:54:14,600
Speaker 3: What was that?

940
00:54:14,760 --> 00:54:17,960
Speaker 1: What was the situation that made that happen? If you

941
00:54:18,040 --> 00:54:18,680
Speaker 1: can get into it.

942
00:54:18,719 --> 00:54:23,640
Speaker 6: Every band, every band goes through this, you know, every band,

943
00:54:24,040 --> 00:54:26,160
Speaker 6: you know, when they get too old, you can't get

944
00:54:26,239 --> 00:54:31,279
Speaker 6: back together. But I see Journeys playing Jon's speech. You know,

945
00:54:31,400 --> 00:54:35,880
Speaker 6: they all start to think. With success, you know, they

946
00:54:36,000 --> 00:54:39,360
Speaker 6: all have opinions that they didn't have before. You know,

947
00:54:39,480 --> 00:54:43,000
Speaker 6: when you're trying to make it, it's not so easy,

948
00:54:43,520 --> 00:54:49,560
Speaker 6: you know, to explain. But I saw the friction, you know,

949
00:54:49,800 --> 00:54:52,040
Speaker 6: as it was happening, and I you know, then we

950
00:54:52,160 --> 00:54:55,200
Speaker 6: take Shaka and it's Rufus with Shaka God. And then

951
00:54:55,400 --> 00:54:59,480
Speaker 6: of course with the success, you know, people are filling

952
00:54:59,560 --> 00:55:02,480
Speaker 6: her ears. She doesn't need Rufous, you'll make, you know,

953
00:55:02,680 --> 00:55:05,759
Speaker 6: instead of splitting it five ways, I don't know. I

954
00:55:05,920 --> 00:55:09,040
Speaker 6: felt the friction. I tried to separate it with Rufous

955
00:55:09,120 --> 00:55:12,000
Speaker 6: and Chakakan, but to reached a point where she was

956
00:55:12,080 --> 00:55:15,080
Speaker 6: writing and then you know, she had a boyfriend, and

957
00:55:15,440 --> 00:55:20,000
Speaker 6: it just became very convoluted, and as much as I

958
00:55:20,080 --> 00:55:23,240
Speaker 6: wanted to keep it together because it was a huge fess.

959
00:55:23,600 --> 00:55:25,719
Speaker 6: You know, we could do two gigs in a day

960
00:55:26,239 --> 00:55:28,560
Speaker 6: at her height, we didn't know where I had a plan.

961
00:55:29,040 --> 00:55:32,160
Speaker 6: You know, She'd played afternoon festival and we'd fly to

962
00:55:32,239 --> 00:55:35,920
Speaker 6: another gig at night. I mean, the weekends were ridiculous

963
00:55:35,960 --> 00:55:39,760
Speaker 6: that during the summer with her, you know, and honest

964
00:55:39,800 --> 00:55:42,560
Speaker 6: to God, I mean I filled shay Stadium with her

965
00:55:42,640 --> 00:55:45,440
Speaker 6: and the OJS and some five or six other acts.

966
00:55:46,120 --> 00:55:48,799
Speaker 2: How much babysitting did you have to do as far

967
00:55:48,880 --> 00:55:51,640
Speaker 2: as like, did you have to operate out of your

968
00:55:51,719 --> 00:55:56,000
Speaker 2: office or was it like mandatory for you to be

969
00:55:56,320 --> 00:55:59,720
Speaker 2: on site at all times to make sure that everything

970
00:55:59,840 --> 00:56:01,120
Speaker 2: right swimming?

971
00:56:02,239 --> 00:56:07,120
Speaker 6: I had an office, you know, building Johnny Kershner with

972
00:56:07,239 --> 00:56:13,120
Speaker 6: my tenants. Yeah, per Sugarman. Do you know who that is?

973
00:56:13,640 --> 00:56:17,400
Speaker 1: Yes? No pursum in Midnight Special, Yes, Yeah, I was.

974
00:56:17,560 --> 00:56:17,759
Speaker 6: I was.

975
00:56:18,040 --> 00:56:19,799
Speaker 2: I was a kid that had to go to bed

976
00:56:19,840 --> 00:56:22,719
Speaker 2: at eight o'clock, but his parents were cool enough to

977
00:56:22,719 --> 00:56:25,520
Speaker 2: wake him up at like midnight to watch all those shows.

978
00:56:25,920 --> 00:56:28,600
Speaker 2: So I go to bed at eight, they wake me

979
00:56:28,680 --> 00:56:30,920
Speaker 2: up at eleven forty five. I watched those shows till

980
00:56:30,960 --> 00:56:34,600
Speaker 2: two am, then go back to sleep. So we didn't

981
00:56:34,600 --> 00:56:36,480
Speaker 2: have We didn't have VCRs back then, so it's sort

982
00:56:36,480 --> 00:56:38,279
Speaker 2: of like, this is your only chances. The earth went fire,

983
00:56:38,360 --> 00:56:38,840
Speaker 2: so we.

984
00:56:38,880 --> 00:56:41,000
Speaker 6: Got in trouble. He didn't have streaming, we didn't have

985
00:56:41,120 --> 00:56:43,600
Speaker 6: cell phones. If you're in Houston, Texas, what are you

986
00:56:43,680 --> 00:56:46,560
Speaker 6: gonna do? So, you know, I would always organize that

987
00:56:46,640 --> 00:56:48,960
Speaker 6: we take the two one bedroom suites that make one

988
00:56:49,040 --> 00:56:52,160
Speaker 6: big living room. So we would get sledge hammers and

989
00:56:52,480 --> 00:56:55,000
Speaker 6: because you you know, when you're in Atlanta, there's nothing

990
00:56:55,080 --> 00:56:57,920
Speaker 6: to do, so we'd remove the wall and have a

991
00:56:58,080 --> 00:57:00,719
Speaker 6: big giant suite, you know, so it would be a

992
00:57:00,760 --> 00:57:03,279
Speaker 6: two bedroom with an enormous suite. But we get the

993
00:57:03,400 --> 00:57:05,640
Speaker 6: roadies and we evacuum it. We were really proud of it.

994
00:57:06,040 --> 00:57:07,759
Speaker 6: You know that we did a really nice job.

995
00:57:08,239 --> 00:57:09,080
Speaker 1: You could do that.

996
00:57:11,600 --> 00:57:12,120
Speaker 6: Break them out.

997
00:57:12,160 --> 00:57:14,480
Speaker 1: You could just sledge hammer a room down and the

998
00:57:14,600 --> 00:57:15,959
Speaker 1: hotel be like all right, cool.

999
00:57:16,360 --> 00:57:18,760
Speaker 6: So to make the two living rooms one big room. Yeah,

1000
00:57:18,800 --> 00:57:19,400
Speaker 6: all the time.

1001
00:57:19,880 --> 00:57:21,040
Speaker 1: So hotel damaging.

1002
00:57:21,240 --> 00:57:23,760
Speaker 2: Was this the seventies thing, like okay, well we'll pay

1003
00:57:23,840 --> 00:57:27,400
Speaker 2: the Keith Moon he was he was scared of me.

1004
00:57:28,040 --> 00:57:30,760
Speaker 1: Yes, I know who of.

1005
00:57:30,840 --> 00:57:37,480
Speaker 2: All your clients, who was the most unruly in terms

1006
00:57:37,600 --> 00:57:42,920
Speaker 2: of gotta get bail money or gotta make sure the

1007
00:57:42,960 --> 00:57:46,400
Speaker 2: press doesn't hear about this, or all right, how much

1008
00:57:46,480 --> 00:57:50,800
Speaker 2: hotel damage did they do? Or the plane or without

1009
00:57:51,120 --> 00:57:53,880
Speaker 2: saying stories, can you just say the one artist that

1010
00:57:54,040 --> 00:57:56,000
Speaker 2: you kind of had to have an eye on more

1011
00:57:56,080 --> 00:57:56,680
Speaker 2: than the other.

1012
00:57:56,600 --> 00:58:05,080
Speaker 6: One, Billy Preston. Okay, I'm with you. Do him a favor.

1013
00:58:05,160 --> 00:58:07,760
Speaker 6: In between his houses, I registered his car to my

1014
00:58:07,920 --> 00:58:10,480
Speaker 6: office building. It was still in his name, but so

1015
00:58:10,640 --> 00:58:12,800
Speaker 6: that we could get insurance on his cars because he

1016
00:58:12,960 --> 00:58:16,000
Speaker 6: was moving into Japanga Canyon. I will tell you he

1017
00:58:16,120 --> 00:58:18,840
Speaker 6: was in the studio with sly Stone with Phil Spector

1018
00:58:18,920 --> 00:58:20,680
Speaker 6: when they did all of this crazy stuff.

1019
00:58:20,720 --> 00:58:21,600
Speaker 1: That's all you have to say.

1020
00:58:21,840 --> 00:58:26,880
Speaker 6: Don't know they need beer. So Billy has a little

1021
00:58:26,920 --> 00:58:29,960
Speaker 6: friend and he goes to the seven eleven. Hypothetically, I

1022
00:58:30,000 --> 00:58:32,920
Speaker 6: don't know where he went. He runs over ten people

1023
00:58:33,280 --> 00:58:39,360
Speaker 6: and hits about fifteen cars and brings back studio okay,

1024
00:58:39,640 --> 00:58:40,840
Speaker 6: and never says a thing.

1025
00:58:42,320 --> 00:58:52,160
Speaker 2: Wait, as warmer time, please say that story one more time.

1026
00:58:52,200 --> 00:58:53,600
Speaker 1: That makes sure I heard it correctly.

1027
00:58:54,800 --> 00:59:00,440
Speaker 6: So they want some Cavasier and some beer. So they

1028
00:59:00,560 --> 00:59:04,000
Speaker 6: send out one of the roadies or whatever you want to,

1029
00:59:04,160 --> 00:59:07,280
Speaker 6: you know, one of Billy's friends, and they send them

1030
00:59:07,320 --> 00:59:10,800
Speaker 6: out in Billy's car to go and buy beer. Well,

1031
00:59:10,840 --> 00:59:14,880
Speaker 6: he ran over you know, six or seven people. He

1032
00:59:15,080 --> 00:59:18,840
Speaker 6: hit about fifteen cars and then came back never said

1033
00:59:18,880 --> 00:59:22,240
Speaker 6: a thing. Luckily, my roommate was Bob Shapiro.

1034
00:59:22,880 --> 00:59:27,080
Speaker 3: Okay before wait wait wait wait wait wait wait.

1035
00:59:29,560 --> 00:59:33,040
Speaker 6: He that was your roommate with the assistant district attorney

1036
00:59:33,160 --> 00:59:37,360
Speaker 6: after Brad Well, somebody introduced me and I said, could

1037
00:59:37,400 --> 00:59:39,680
Speaker 6: I stay there for a week. I'm just getting acclimated.

1038
00:59:39,880 --> 00:59:44,800
Speaker 6: And I stayed there for two years? Okay, yeah, And

1039
00:59:45,040 --> 00:59:49,920
Speaker 6: so you know, so I mean with Billy, with Shaka,

1040
00:59:50,480 --> 00:59:53,800
Speaker 6: I mean he was on speed dial with everybody would

1041
00:59:53,840 --> 00:59:57,120
Speaker 6: call me because from my roommate was Bob Shapiro.

1042
00:59:57,400 --> 01:00:00,880
Speaker 3: Oh ja, I mean I don't know, oh ja, legal zoom,

1043
01:00:01,000 --> 01:00:01,640
Speaker 3: thank you, Bob.

1044
01:00:01,840 --> 01:00:04,160
Speaker 1: That's right, yes, yes.

1045
01:00:04,320 --> 01:00:07,840
Speaker 6: The Honest company with Jessica album. You don't know that.

1046
01:00:08,120 --> 01:00:13,680
Speaker 6: That's Jesus Christ. Oh you're the greed is nothing compared

1047
01:00:13,680 --> 01:00:17,000
Speaker 6: to Honest. But there are eight hundred lawyers. But you know,

1048
01:00:17,320 --> 01:00:20,520
Speaker 6: and so Billy was, you know, that's just one of

1049
01:00:20,760 --> 01:00:24,800
Speaker 6: many stories. Okay, Billy Preston, but that's a good one,

1050
01:00:26,240 --> 01:00:29,520
Speaker 6: thank you. Okay, she's I.

1051
01:00:29,520 --> 01:00:31,800
Speaker 4: Just want to know that there was anybody who who

1052
01:00:32,120 --> 01:00:33,720
Speaker 4: they wanted you to manage them and you were like,

1053
01:00:34,760 --> 01:00:35,520
Speaker 4: it's not a good fit.

1054
01:00:35,760 --> 01:00:37,960
Speaker 1: Yeah, who did you turn away that asked you demanded

1055
01:00:38,000 --> 01:00:38,800
Speaker 1: the best one?

1056
01:00:38,880 --> 01:00:41,240
Speaker 6: And for a Dean will tell you. You know, when

1057
01:00:41,240 --> 01:00:42,840
Speaker 6: they came to me, I said, I'm too busy.

1058
01:00:43,480 --> 01:00:47,920
Speaker 3: Oh wow, wow at the time, who were you busy with?

1059
01:00:48,040 --> 01:00:48,320
Speaker 1: Billy?

1060
01:00:48,440 --> 01:00:52,360
Speaker 6: And he'll say, you know, maybe you know, fifty years later,

1061
01:00:52,560 --> 01:00:55,160
Speaker 6: maybe you should have thought about managing me because they're

1062
01:00:55,520 --> 01:00:59,200
Speaker 6: round and they're still unbelievable lives that part.

1063
01:00:59,320 --> 01:00:59,520
Speaker 3: Wow.

1064
01:01:00,280 --> 01:01:04,080
Speaker 2: Wait, this is the question I always had wanted to know,

1065
01:01:05,160 --> 01:01:07,200
Speaker 2: and even when I played with him, I forgot to ask.

1066
01:01:07,960 --> 01:01:12,120
Speaker 2: I'm asking about ron Wood right now, his very first record.

1067
01:01:12,360 --> 01:01:16,280
Speaker 2: I've got my own album to do. Were you his

1068
01:01:16,640 --> 01:01:20,200
Speaker 2: manager at the time in Faces and Small Faces or

1069
01:01:21,120 --> 01:01:24,120
Speaker 2: were you as manager at the top of ron Wood's career.

1070
01:01:25,240 --> 01:01:28,720
Speaker 6: I was not. That was the end of Ronnie Wood's career.

1071
01:01:28,840 --> 01:01:33,440
Speaker 6: That's going back, that's even back before Billy the Faces

1072
01:01:33,560 --> 01:01:34,800
Speaker 6: and Rod Stewart.

1073
01:01:35,680 --> 01:01:39,400
Speaker 2: Okay, so you you came to ride ron at the

1074
01:01:39,440 --> 01:01:42,040
Speaker 2: beginning of his solo career after he left Faces.

1075
01:01:42,800 --> 01:01:46,040
Speaker 6: Yes, well not even he had a solo career, I

1076
01:01:46,120 --> 01:01:48,520
Speaker 6: want to be correct. He had a solo career and

1077
01:01:48,680 --> 01:01:51,200
Speaker 6: had an album out I think on Warner Brothers, but

1078
01:01:51,760 --> 01:01:55,080
Speaker 6: you know, it wasn't it wasn't going anywhere. He didn't

1079
01:01:55,120 --> 01:02:00,400
Speaker 6: really have a manager. Uh, they're a manager, and then

1080
01:02:00,440 --> 01:02:05,040
Speaker 6: there's managers, you know, and so there are agents, agents

1081
01:02:05,080 --> 01:02:06,640
Speaker 6: and of course I don't have to tell you you've

1082
01:02:06,640 --> 01:02:09,000
Speaker 6: probably been through a few over the years.

1083
01:02:10,160 --> 01:02:11,240
Speaker 2: So just one.

1084
01:02:13,080 --> 01:02:15,920
Speaker 1: Right, That's how I am. One person.

1085
01:02:17,360 --> 01:02:21,479
Speaker 6: Respect loyalty man, I really do. But you know, wood

1086
01:02:21,520 --> 01:02:26,240
Speaker 6: he came to me through a divorce and I knew

1087
01:02:26,280 --> 01:02:30,200
Speaker 6: the Stones. The Stones contacted me because of Billy pressed

1088
01:02:30,240 --> 01:02:32,960
Speaker 6: it okay, and then I found out they needed a

1089
01:02:33,040 --> 01:02:36,240
Speaker 6: guitar player and they interviewed Jeff Beck but he was

1090
01:02:36,320 --> 01:02:41,360
Speaker 6: out there and they interviewed Jeff Beck. I remember flying

1091
01:02:41,400 --> 01:02:45,520
Speaker 6: to Amsterdam. I remember flying Woody to Amsterdam, I remember.

1092
01:02:45,840 --> 01:02:48,960
Speaker 6: And he had that personality to clicked with Keith like

1093
01:02:49,080 --> 01:02:52,880
Speaker 6: Billy did. And uh, you know, they they had to

1094
01:02:53,000 --> 01:02:58,280
Speaker 6: earn the respect with Keith. Uh. And so I was

1095
01:02:58,360 --> 01:03:04,960
Speaker 6: able to do that Sideman deal on that seventy six tour.

1096
01:03:05,960 --> 01:03:08,640
Speaker 6: Then the next tour came out. But Bill, Billy had

1097
01:03:08,640 --> 01:03:12,360
Speaker 6: a career maybe nineteen seventy and Wood he stayed with them,

1098
01:03:12,400 --> 01:03:15,480
Speaker 6: and then eventually they made him a Stone because he

1099
01:03:15,560 --> 01:03:18,760
Speaker 6: fit in. He had his own personality and we call

1100
01:03:18,880 --> 01:03:22,000
Speaker 6: him followers today. But he brought more followers, you know,

1101
01:03:22,160 --> 01:03:26,760
Speaker 6: to the Stones, more you know, more personality, let's say,

1102
01:03:27,680 --> 01:03:30,520
Speaker 6: gave it a new face. I didn't make the deal.

1103
01:03:30,720 --> 01:03:33,320
Speaker 6: I made the deal, the first deal for him to

1104
01:03:33,440 --> 01:03:37,120
Speaker 6: join as a sideman with Billy Preston in nineteen seventy six.

1105
01:03:37,360 --> 01:03:41,000
Speaker 6: I didn make that deal. So that's how Ron was

1106
01:03:41,040 --> 01:03:44,320
Speaker 6: on soul train. I get it absolutely. And Ron stayed

1107
01:03:44,360 --> 01:03:47,360
Speaker 6: with me in Malibu. But you got to remember Rod

1108
01:03:47,480 --> 01:03:52,200
Speaker 6: was living in Los Angeles and so Wood he was,

1109
01:03:53,000 --> 01:03:54,840
Speaker 6: you know, we're spending a lot of time in LA

1110
01:03:55,160 --> 01:03:59,760
Speaker 6: but he didn't have a home. And I said, you know, Colonda,

1111
01:04:01,040 --> 01:04:03,600
Speaker 6: you know, so we lived together for the summer. And

1112
01:04:03,720 --> 01:04:05,840
Speaker 6: that was one heck of a summer because as well

1113
01:04:05,920 --> 01:04:08,480
Speaker 6: known as Billy was, you know, Wood, he was from

1114
01:04:08,960 --> 01:04:14,000
Speaker 6: England and you know, and uh, you know, from the

1115
01:04:14,080 --> 01:04:17,600
Speaker 6: house in Malibu colony, and I mean, you cannot believe

1116
01:04:17,720 --> 01:04:22,000
Speaker 6: the people that were coming by, you know, Stephen Tyler

1117
01:04:22,080 --> 01:04:26,360
Speaker 6: and you know to Keith Moon. Uh what's her name? Uh?

1118
01:04:27,840 --> 01:04:31,680
Speaker 6: Bonnie Raid. Wait a minute, who else? The girl? She

1119
01:04:31,840 --> 01:04:33,800
Speaker 6: was dating the governor at the time. She was a

1120
01:04:33,920 --> 01:04:41,160
Speaker 6: regular Thank you, thank you, But yeah, it went by it.

1121
01:04:41,240 --> 01:04:45,600
Speaker 6: Now you're just on it, man, that's the ESPN.

1122
01:04:47,720 --> 01:04:51,120
Speaker 1: I'm on it. Can you settle this debate?

1123
01:04:51,800 --> 01:04:55,760
Speaker 2: Is it true that Billy Preston is really one of

1124
01:04:55,840 --> 01:04:58,040
Speaker 2: the co authors of the Stones Miss You?

1125
01:04:59,440 --> 01:04:59,560
Speaker 6: You know?

1126
01:04:59,640 --> 01:05:01,320
Speaker 1: And that's one became a monstrous hit.

1127
01:05:01,440 --> 01:05:04,440
Speaker 2: I've heard rumors and stories that they were Tory in

1128
01:05:04,520 --> 01:05:07,840
Speaker 2: Paris or whatever. And then Billy Preston played a riff

1129
01:05:07,920 --> 01:05:09,920
Speaker 2: and then Mick was like, what's that was?

1130
01:05:09,960 --> 01:05:10,000
Speaker 10: That?

1131
01:05:10,240 --> 01:05:10,360
Speaker 6: Was that?

1132
01:05:10,560 --> 01:05:11,280
Speaker 1: Let's work on it.

1133
01:05:12,120 --> 01:05:16,600
Speaker 2: Was he ever properly compensated or included as a songwriter

1134
01:05:16,840 --> 01:05:17,280
Speaker 2: or miss You?

1135
01:05:17,520 --> 01:05:20,320
Speaker 1: Or was it just all glimmer twins and we'll just

1136
01:05:20,400 --> 01:05:21,200
Speaker 1: keep you on payroll?

1137
01:05:22,040 --> 01:05:26,200
Speaker 6: Glimmer twins. Damn, yeah, Glimmer twins.

1138
01:05:27,920 --> 01:05:30,960
Speaker 1: Thanks. Are there any other stories similar to that? Like

1139
01:05:31,080 --> 01:05:33,240
Speaker 1: what did he co write My Sweet Lord to?

1140
01:05:33,480 --> 01:05:41,080
Speaker 6: Or No, My Sweet Lords is all Billy? That's okay, damn,

1141
01:05:41,240 --> 01:05:44,160
Speaker 6: that's all you know, That's that's his roots. That's from

1142
01:05:44,320 --> 01:05:47,760
Speaker 6: growing up in James Cleveland's church, you know, that's that's

1143
01:05:47,840 --> 01:05:51,720
Speaker 6: what he believed in, you know, the Joe cockerhead. I mean,

1144
01:05:52,080 --> 01:05:55,520
Speaker 6: you know Billy played cake walk. I mean I learned

1145
01:05:55,560 --> 01:05:56,280
Speaker 6: how to cakewalk.

1146
01:05:57,320 --> 01:05:59,920
Speaker 3: No, it's funny because I was, like, you know, when.

1147
01:05:59,760 --> 01:06:01,720
Speaker 6: You of the music, you get up and your parents

1148
01:06:01,760 --> 01:06:03,400
Speaker 6: are in a in a in a black church.

1149
01:06:04,280 --> 01:06:09,000
Speaker 1: Okay, are you just when is the last time a

1150
01:06:09,040 --> 01:06:11,680
Speaker 1: white person taught us the black ship? Never happen before?

1151
01:06:11,760 --> 01:06:13,520
Speaker 6: Ever. This is a big night. If it was going

1152
01:06:13,600 --> 01:06:17,800
Speaker 6: to be somebody you got to see me moon walk

1153
01:06:19,040 --> 01:06:19,240
Speaker 6: and you.

1154
01:06:19,280 --> 01:06:23,120
Speaker 3: Get more walk to Okay, so walk walk moon walk.

1155
01:06:23,160 --> 01:06:24,200
Speaker 1: Okay, we got it all.

1156
01:06:24,520 --> 01:06:26,760
Speaker 4: So wait, Bob, I'm sorry, I mean said not what

1157
01:06:26,840 --> 01:06:28,280
Speaker 4: I'll be a crass, but I have a feeling like,

1158
01:06:28,600 --> 01:06:30,000
Speaker 4: was was Diana your first sister?

1159
01:06:30,760 --> 01:06:33,080
Speaker 3: Was was Diana your first sister?

1160
01:06:34,880 --> 01:06:37,280
Speaker 6: Yes? Really? Yes?

1161
01:06:37,680 --> 01:06:38,440
Speaker 3: Was she your last?

1162
01:06:40,720 --> 01:06:40,919
Speaker 6: Yes?

1163
01:06:42,120 --> 01:06:42,440
Speaker 7: Really?

1164
01:06:45,480 --> 01:06:45,760
Speaker 6: Books?

1165
01:06:49,120 --> 01:06:52,600
Speaker 2: Okay, actually say I do have a question. Did you

1166
01:06:52,760 --> 01:06:55,120
Speaker 2: manage Diana Ross or was she just your wife at

1167
01:06:55,120 --> 01:06:55,400
Speaker 2: the time?

1168
01:06:55,960 --> 01:06:58,560
Speaker 6: She was just my wife at the time, and the

1169
01:06:58,760 --> 01:07:02,240
Speaker 6: very worthy Diana think was just too strong, you know

1170
01:07:03,480 --> 01:07:07,240
Speaker 6: found yes, you know she went to RCA, you know,

1171
01:07:07,560 --> 01:07:10,080
Speaker 6: so did Michael go to you know, Columbia. You know,

1172
01:07:11,320 --> 01:07:13,840
Speaker 6: you know, I have the I have nothing but respect

1173
01:07:14,560 --> 01:07:19,120
Speaker 6: from what Barry created and the whole thing. I'll just

1174
01:07:19,240 --> 01:07:22,400
Speaker 6: leave it at that, you know. But people grow up,

1175
01:07:23,000 --> 01:07:26,360
Speaker 6: you know, and start to ask questions. And so from

1176
01:07:26,440 --> 01:07:30,200
Speaker 6: the seventies to the eighties we see as we see

1177
01:07:30,240 --> 01:07:33,560
Speaker 6: a change. And then of course Prince you know, you know,

1178
01:07:33,680 --> 01:07:36,440
Speaker 6: felt he was a slave to was it Warner brothers

1179
01:07:36,640 --> 01:07:41,480
Speaker 6: you know, and just went on strike, you know, slowly

1180
01:07:41,600 --> 01:07:44,720
Speaker 6: but surely. There were groundbreaking moments like that. But the

1181
01:07:44,880 --> 01:07:48,400
Speaker 6: Stones always paid homage to Muddy and Waters, B B. King,

1182
01:07:48,880 --> 01:07:51,240
Speaker 6: you know, all of those John Lee Hooker, I mean,

1183
01:07:51,320 --> 01:07:55,480
Speaker 6: they would I can remember going with you know where

1184
01:07:55,680 --> 01:08:00,200
Speaker 6: Woody and Keith and Nick you know, just would get

1185
01:08:00,240 --> 01:08:03,040
Speaker 6: on the stage and pay their you know respect. Of course,

1186
01:08:03,080 --> 01:08:09,280
Speaker 6: they took all the licks from them, you know. You know,

1187
01:08:09,520 --> 01:08:12,440
Speaker 6: Eric Clapton the same thing, you know, but he'd not

1188
01:08:12,720 --> 01:08:15,640
Speaker 6: deny it. Eric Clapton will tell you that he learned

1189
01:08:15,680 --> 01:08:19,439
Speaker 6: from John Lee Hooker and Muddy Waters. And they don't

1190
01:08:19,520 --> 01:08:22,120
Speaker 6: deny it. They honor these guys, yeah.

1191
01:08:21,920 --> 01:08:24,280
Speaker 4: But they also did they understand their position and why

1192
01:08:24,600 --> 01:08:27,559
Speaker 4: you know, they kind of been pushed forward even past.

1193
01:08:27,640 --> 01:08:29,840
Speaker 4: You know, it's interesting in that way, right because they

1194
01:08:29,920 --> 01:08:33,560
Speaker 4: have succeeded and sold more record than because of this.

1195
01:08:34,280 --> 01:08:36,120
Speaker 6: You know, what can I say? You know a lot

1196
01:08:36,160 --> 01:08:39,200
Speaker 6: of people, a lot of people got rich on the

1197
01:08:39,360 --> 01:08:41,960
Speaker 6: on the back of other people. You know, it's it

1198
01:08:42,040 --> 01:08:44,360
Speaker 6: doesn't it's not only the music business. Look at the

1199
01:08:44,400 --> 01:08:47,640
Speaker 6: basketball players, the foot players. Look at this guy that

1200
01:08:47,760 --> 01:08:50,240
Speaker 6: did sixty minutes with the baseball players coming out of

1201
01:08:50,400 --> 01:08:53,639
Speaker 6: d R and Cuba, you know, giving them the advance

1202
01:08:53,760 --> 01:08:56,120
Speaker 6: because there's you know, eight people sleep into a room,

1203
01:08:56,400 --> 01:08:59,360
Speaker 6: but you know they know who's important. But you know,

1204
01:08:59,479 --> 01:09:02,479
Speaker 6: then they have to I don't know if anybody sold

1205
01:09:02,560 --> 01:09:06,479
Speaker 6: that baseball guy that has a public company that invests

1206
01:09:06,520 --> 01:09:08,799
Speaker 6: in the players and you sign away twenty five percent,

1207
01:09:09,040 --> 01:09:10,840
Speaker 6: but he takes gover of your family now and he

1208
01:09:10,960 --> 01:09:14,360
Speaker 6: takes so he's hitting like six out of the guys

1209
01:09:14,680 --> 01:09:17,280
Speaker 6: making it to the major leagues, and he's got a

1210
01:09:17,360 --> 01:09:20,719
Speaker 6: hedge fund that you know, takes advantage of these Hispanic

1211
01:09:20,840 --> 01:09:24,800
Speaker 6: ball players. You know, but that'll change too. But they're

1212
01:09:24,800 --> 01:09:27,000
Speaker 6: getting out of Cuba and they're getting out of dr.

1213
01:09:27,479 --> 01:09:30,320
Speaker 6: But you go down to the DR and baseball diamonds

1214
01:09:30,360 --> 01:09:33,400
Speaker 6: are like you know, soccer fields in England. You know,

1215
01:09:33,720 --> 01:09:37,519
Speaker 6: everybody's playing baseball. It's the way out. It's you know,

1216
01:09:37,720 --> 01:09:40,040
Speaker 6: we're just open to it. You know. The Internet has

1217
01:09:40,120 --> 01:09:43,679
Speaker 6: made us aware of all of this, uh, this nonsense

1218
01:09:43,760 --> 01:09:48,800
Speaker 6: that's going on, and it seems to be not connecting us,

1219
01:09:49,000 --> 01:09:50,760
Speaker 6: you know, but separating us.

1220
01:09:50,880 --> 01:09:52,599
Speaker 4: Well, yeah, because the way you just broke it down

1221
01:09:52,640 --> 01:09:55,759
Speaker 4: to Bob is like based on at least Billy Preston's story.

1222
01:09:55,800 --> 01:09:57,960
Speaker 4: And what we just talked about is like with Muddy

1223
01:09:58,000 --> 01:10:00,000
Speaker 4: Waters and all those folks, it's like this music business

1224
01:10:00,200 --> 01:10:01,640
Speaker 4: was on their backs and you know most of them

1225
01:10:01,680 --> 01:10:08,160
Speaker 4: didn't receive accolades. Are cool, but again, right, and that

1226
01:10:08,280 --> 01:10:10,400
Speaker 4: still is what it is when the music business become.

1227
01:10:10,240 --> 01:10:13,240
Speaker 3: A billion trillion dollar situation. So it's just it's fascinating

1228
01:10:13,280 --> 01:10:15,080
Speaker 3: in the music business in that way. How it's just

1229
01:10:15,479 --> 01:10:16,519
Speaker 3: literally on their backs.

1230
01:10:16,880 --> 01:10:20,440
Speaker 6: You know, we've seen a tremendous change. You know when

1231
01:10:20,479 --> 01:10:24,200
Speaker 6: the Apple came along with the iPod, you know, when

1232
01:10:24,640 --> 01:10:27,800
Speaker 6: then there was a Spotify. But before that, there was

1233
01:10:27,840 --> 01:10:31,559
Speaker 6: a company at Australia that was playing songs on the internet.

1234
01:10:32,280 --> 01:10:36,000
Speaker 6: Uh it was actually a Facebook movie because he was

1235
01:10:36,040 --> 01:10:37,720
Speaker 6: one of the investors in Facebook.

1236
01:10:37,960 --> 01:10:38,599
Speaker 1: What was then.

1237
01:10:40,360 --> 01:10:44,000
Speaker 6: Yes, thank you, thank you. Do you know, do you

1238
01:10:44,120 --> 01:10:52,400
Speaker 6: remember any of those stories. Napster was the first streaming

1239
01:10:52,520 --> 01:10:55,280
Speaker 6: service for music, but you didn't nobody got paid. It

1240
01:10:55,439 --> 01:10:58,600
Speaker 6: was like the boats off of England that could broadcast

1241
01:10:59,800 --> 01:11:06,240
Speaker 6: you know, rock and roll music, pirate radio. Yeah, I've

1242
01:11:06,320 --> 01:11:10,000
Speaker 6: seen some headshaking you you remember those stories. Yeah, of

1243
01:11:10,080 --> 01:11:11,720
Speaker 6: course there was a film done.

1244
01:11:12,760 --> 01:11:14,479
Speaker 3: I love that film. I saw that it was good

1245
01:11:14,840 --> 01:11:15,160
Speaker 3: about the.

1246
01:11:16,680 --> 01:11:18,479
Speaker 6: You know, we're going about fifty five years.

1247
01:11:23,720 --> 01:11:29,960
Speaker 2: What was it about meat Loof that told you, all right,

1248
01:11:30,680 --> 01:11:34,120
Speaker 2: I'm gonna take a chance on this guy, because you know,

1249
01:11:34,400 --> 01:11:38,680
Speaker 2: even with even with sort of Todd Rundron And I

1250
01:11:38,840 --> 01:11:42,439
Speaker 2: said that, uh, incorrect, because Steve's not here to correct me.

1251
01:11:43,160 --> 01:11:48,120
Speaker 2: He gets mad when I mispronounced Tod's name. My pelt Philadelphia. No, no, no,

1252
01:11:48,280 --> 01:11:52,519
Speaker 2: But how what was it about meat Loaf? Because I,

1253
01:11:52,760 --> 01:11:55,959
Speaker 2: I mean, I know that, you know, in the seventies

1254
01:11:56,000 --> 01:11:58,200
Speaker 2: you could sell any artists. I sort of feel like

1255
01:11:58,640 --> 01:12:02,920
Speaker 2: after Christopher crossed the Grammys in the eighties, that's when

1256
01:12:04,400 --> 01:12:07,200
Speaker 2: the age of the mami artist was over.

1257
01:12:07,720 --> 01:12:10,080
Speaker 1: Like you had to have a look, a good look

1258
01:12:10,800 --> 01:12:12,479
Speaker 1: or a unique look, memorable look.

1259
01:12:14,000 --> 01:12:16,679
Speaker 2: After that point, now we're sort of like getting away

1260
01:12:16,680 --> 01:12:18,040
Speaker 2: from body steaming all those things.

1261
01:12:18,080 --> 01:12:20,360
Speaker 1: But it was like at the time.

1262
01:12:20,560 --> 01:12:25,640
Speaker 2: When you're being approached by Meatloaf, like what was it

1263
01:12:25,760 --> 01:12:29,479
Speaker 2: about him that said, you know what, this is gonna work?

1264
01:12:31,840 --> 01:12:32,000
Speaker 6: You know?

1265
01:12:32,200 --> 01:12:35,439
Speaker 1: And how did you get twelve million people to agree

1266
01:12:35,479 --> 01:12:35,680
Speaker 1: with you?

1267
01:12:36,840 --> 01:12:37,000
Speaker 4: You know?

1268
01:12:37,280 --> 01:12:40,320
Speaker 6: Once again, you know, I was around. I got to

1269
01:12:40,360 --> 01:12:45,920
Speaker 6: see the Who Do Tommy, which is the first opera

1270
01:12:46,360 --> 01:12:48,600
Speaker 6: rock and roll opera. Tina Turner was.

1271
01:12:49,360 --> 01:12:54,400
Speaker 1: Acid Queen a Queen Theater, High Theater, yeah, Radio City and.

1272
01:12:56,920 --> 01:12:59,760
Speaker 6: At the Palladium or whatever it was in England. You know.

1273
01:12:59,840 --> 01:13:03,120
Speaker 6: I I think that helped her career, you know, by

1274
01:13:03,320 --> 01:13:06,320
Speaker 6: being involved crossover kind of. I don't know if it

1275
01:13:06,360 --> 01:13:09,760
Speaker 6: crossed over, but this rock and roll opera, and I

1276
01:13:09,840 --> 01:13:13,800
Speaker 6: knew that there was something there, you know, and neat Loaf,

1277
01:13:14,720 --> 01:13:19,880
Speaker 6: although I wasn't the first manager, but Todd Rundgod was,

1278
01:13:20,080 --> 01:13:24,639
Speaker 6: you know, was Jim Steinman and Todd are the reason

1279
01:13:25,280 --> 01:13:29,160
Speaker 6: that this rock opera happened, you know. And because I'm

1280
01:13:29,200 --> 01:13:33,040
Speaker 6: aware of the Who and Townshend, you know, and Daltry,

1281
01:13:33,560 --> 01:13:36,439
Speaker 6: and I'm watching these live performances because I'm part of

1282
01:13:36,520 --> 01:13:40,840
Speaker 6: that inner circle, you know, I'm hearing something, you know,

1283
01:13:41,360 --> 01:13:43,720
Speaker 6: where it doesn't have to be a whole opera, so

1284
01:13:44,040 --> 01:13:45,680
Speaker 6: it has to be an extravaganza.

1285
01:13:45,760 --> 01:13:45,880
Speaker 4: You know.

1286
01:13:45,960 --> 01:13:49,599
Speaker 6: It's when we had Biro, when Emerson Lake and Palmer,

1287
01:13:49,640 --> 01:13:52,559
Speaker 6: the piano would go around while he's playing the grand piano,

1288
01:13:52,680 --> 01:13:55,639
Speaker 6: The entire piano was going around. If you ever saw

1289
01:13:57,479 --> 01:14:00,960
Speaker 6: some of those bands, and the special effect that they

1290
01:14:01,160 --> 01:14:04,479
Speaker 6: had was incredible. So I mean, I'm seeing at Zeppelin

1291
01:14:04,560 --> 01:14:08,200
Speaker 6: ping Floyd. You remember they used to fly things in

1292
01:14:08,320 --> 01:14:13,799
Speaker 6: the air that he was there. You know, I'm aware

1293
01:14:13,840 --> 01:14:15,800
Speaker 6: of it. So I tried to bring it into a

1294
01:14:15,920 --> 01:14:21,880
Speaker 6: stage performance where you know, I had a forty foot motorcycle.

1295
01:14:22,360 --> 01:14:24,960
Speaker 6: You know that actually you could ride and smoke came

1296
01:14:25,040 --> 01:14:27,600
Speaker 6: out of the you know, smoke came out of the

1297
01:14:28,000 --> 01:14:30,680
Speaker 6: there's you know, it was part of the stage. It

1298
01:14:30,800 --> 01:14:34,479
Speaker 6: was part of the staging. Back then, you know, you

1299
01:14:34,600 --> 01:14:36,960
Speaker 6: had to you know, we were competing, you know, to

1300
01:14:37,320 --> 01:14:40,519
Speaker 6: draw attention. But in England, you know, whatever he did,

1301
01:14:41,439 --> 01:14:43,479
Speaker 6: you know, he was on the charters for two years.

1302
01:14:44,000 --> 01:14:46,600
Speaker 6: You know, it was absolutely incredible. So we moved, We

1303
01:14:46,800 --> 01:14:51,599
Speaker 6: moved to England. We were lucky enough to be put

1304
01:14:51,680 --> 01:14:54,400
Speaker 6: up in England and then we just we could tour England.

1305
01:14:54,600 --> 01:14:57,720
Speaker 6: You know, go around the entire country Scotland, you know,

1306
01:14:59,280 --> 01:15:01,880
Speaker 6: Ireland and then come back. Or we could do you know,

1307
01:15:02,000 --> 01:15:04,680
Speaker 6: we could do Wembley Stadium again, not the stadium, but

1308
01:15:04,880 --> 01:15:05,599
Speaker 6: the indoor.

1309
01:15:06,320 --> 01:15:08,920
Speaker 1: But what I want to know is that ba Al

1310
01:15:08,960 --> 01:15:10,360
Speaker 1: of Hell was his first record.

1311
01:15:10,880 --> 01:15:15,639
Speaker 2: So it's like I would think in breaking an artist

1312
01:15:15,760 --> 01:15:18,519
Speaker 2: like you start off small, like you, you know, you

1313
01:15:18,920 --> 01:15:21,599
Speaker 2: play the troubadour, you play the thing. But I mean,

1314
01:15:22,040 --> 01:15:27,000
Speaker 2: am I to believe that this unknown, unproven act just

1315
01:15:27,120 --> 01:15:31,080
Speaker 2: comes out the gate and you're instantly thinking, and I

1316
01:15:31,160 --> 01:15:34,720
Speaker 2: know it had to be costly expensive rock opera and

1317
01:15:34,920 --> 01:15:36,759
Speaker 2: we're gonna sell gazillion units.

1318
01:15:36,920 --> 01:15:39,200
Speaker 6: It's not even gonna believe this story, and you can't

1319
01:15:39,240 --> 01:15:44,240
Speaker 6: make this stuff up. Then if the rented comes out, okay,

1320
01:15:45,040 --> 01:15:48,920
Speaker 6: you know he's an ex football player, aligneman, I mean,

1321
01:15:48,960 --> 01:15:53,479
Speaker 6: he's bigger than life, okay, and it's time to tour

1322
01:15:53,800 --> 01:15:57,000
Speaker 6: and he loses his voice for eight months, do you

1323
01:15:57,120 --> 01:15:59,800
Speaker 6: hear me? He can't talk. Nothing comes out of this

1324
01:16:00,080 --> 01:16:02,880
Speaker 6: out for eight months, and the record starting to climb

1325
01:16:03,160 --> 01:16:07,519
Speaker 6: and climb, and we're going to vocal coaches, psychiatrist, We're

1326
01:16:07,560 --> 01:16:10,040
Speaker 6: going to try and figure out what's the matter with

1327
01:16:10,160 --> 01:16:12,400
Speaker 6: his voice and we couldn't get his voice back.

1328
01:16:13,080 --> 01:16:14,559
Speaker 1: Was he psychosomatic? Do you think?

1329
01:16:15,200 --> 01:16:16,840
Speaker 6: Oh? I think we all are.

1330
01:16:18,439 --> 01:16:18,679
Speaker 1: Okay.

1331
01:16:19,560 --> 01:16:21,599
Speaker 2: I was about to say eight months and losing your voice.

1332
01:16:21,640 --> 01:16:23,360
Speaker 2: That's that's fear right there.

1333
01:16:24,160 --> 01:16:27,720
Speaker 6: That's fear. Fear of success, fear of everything. But I

1334
01:16:27,800 --> 01:16:29,920
Speaker 6: mean it came out in a way where it wasn't

1335
01:16:30,080 --> 01:16:33,560
Speaker 6: nerves or not sleep. It came out where he he

1336
01:16:33,640 --> 01:16:38,160
Speaker 6: couldn't sing. I'm telling you he couldn't sing. And so

1337
01:16:38,760 --> 01:16:41,240
Speaker 6: once again being at the right place and timing and everything,

1338
01:16:41,520 --> 01:16:44,160
Speaker 6: So what's happening is that there's who's meat up? Where

1339
01:16:44,240 --> 01:16:46,240
Speaker 6: is he? Why doesn't he perform? He can't even do

1340
01:16:46,360 --> 01:16:48,240
Speaker 6: TV or any of that. And then when he got

1341
01:16:48,280 --> 01:16:50,200
Speaker 6: his voice back, man, we went to England where the

1342
01:16:50,240 --> 01:16:52,360
Speaker 6: record was number one for twenty weeks in a row,

1343
01:16:52,920 --> 01:16:56,519
Speaker 6: you know, And that's how he burst onto the scene.

1344
01:16:57,800 --> 01:16:59,920
Speaker 2: So he had an eight month sort of build up thing,

1345
01:17:00,280 --> 01:17:02,480
Speaker 2: six or eight months, remember.

1346
01:17:03,720 --> 01:17:11,320
Speaker 6: Yeah, no, but David Sonnenberg was the original manager. But

1347
01:17:11,760 --> 01:17:14,479
Speaker 6: you know, he had successful acts and didn't want to

1348
01:17:14,520 --> 01:17:18,639
Speaker 6: deal with somebody. You know, it all happened kind of suddenly,

1349
01:17:19,200 --> 01:17:21,960
Speaker 6: and of course he lost his voice, and then you know,

1350
01:17:22,080 --> 01:17:24,760
Speaker 6: I met him and I said, Oh my gosh, you know,

1351
01:17:25,479 --> 01:17:27,640
Speaker 6: I know his voice is going to come back, right,

1352
01:17:28,320 --> 01:17:31,080
Speaker 6: and that's how that that's how come he came onto

1353
01:17:31,120 --> 01:17:35,360
Speaker 6: the scene. But I had the experience of watching Freddie Mercury,

1354
01:17:35,760 --> 01:17:39,560
Speaker 6: of watching Who, of watching that Zeppelin, you know, I

1355
01:17:39,640 --> 01:17:43,080
Speaker 6: mean my time at that time, my favorite song for

1356
01:17:43,200 --> 01:17:46,000
Speaker 6: a moment was Stairway to Heaven. Of course, now it's

1357
01:17:46,080 --> 01:17:49,280
Speaker 6: become my theme shot being there's a new meaning to

1358
01:17:49,439 --> 01:17:50,800
Speaker 6: stare Away to Heaven for me.

1359
01:17:52,400 --> 01:17:56,840
Speaker 1: Now you're here now, so wait were you? Were you

1360
01:17:57,000 --> 01:17:57,719
Speaker 1: his manager?

1361
01:17:58,040 --> 01:18:01,720
Speaker 2: Also between both album because I know that after a

1362
01:18:01,760 --> 01:18:04,280
Speaker 2: bat out of the hell he took an eight to

1363
01:18:05,240 --> 01:18:07,520
Speaker 2: well break, I believe before.

1364
01:18:07,960 --> 01:18:12,120
Speaker 6: We went to Tom down at Criteria. Do you remember

1365
01:18:12,160 --> 01:18:17,400
Speaker 6: Criteria in you know, Tom Dowd was like the Wall

1366
01:18:17,479 --> 01:18:21,280
Speaker 6: of Sound with Phil Spector, Tom Dowd and Muscle Shoals.

1367
01:18:21,280 --> 01:18:23,120
Speaker 6: I don't know if you have ever seen the Netflix

1368
01:18:23,800 --> 01:18:27,720
Speaker 6: special on that white rhythm section that was doing a

1369
01:18:28,160 --> 01:18:32,120
Speaker 6: great black artists. You know they were realies, but man,

1370
01:18:32,439 --> 01:18:36,120
Speaker 6: you know that sound was all Muscle Shoals. It's a

1371
01:18:36,240 --> 01:18:40,240
Speaker 6: great uh Netflix uh special, Because I mean I looked

1372
01:18:40,280 --> 01:18:43,479
Speaker 6: at it, I couldn't believe it, you know, and people

1373
01:18:43,520 --> 01:18:47,080
Speaker 6: were flying in you know, uh, you know James Brown,

1374
01:18:47,120 --> 01:18:50,040
Speaker 6: I mean some ridiculous names were flying to muscle shows,

1375
01:18:50,439 --> 01:18:54,040
Speaker 6: muscle shows for that studio and that sound, and so

1376
01:18:55,439 --> 01:18:58,720
Speaker 6: you know Tom down. And then what happens is that,

1377
01:18:59,160 --> 01:19:02,040
Speaker 6: you know, everything is recoupable. And that's a word that

1378
01:19:02,120 --> 01:19:03,679
Speaker 6: you probably know of quest.

1379
01:19:04,240 --> 01:19:08,760
Speaker 1: I mean I barely know it. Yes, I know the

1380
01:19:08,880 --> 01:19:09,320
Speaker 1: hard way.

1381
01:19:10,320 --> 01:19:12,120
Speaker 6: You know, do the video. You want to spend one

1382
01:19:12,160 --> 01:19:16,560
Speaker 6: hundred Brad, here's one hundred grad. But it's recoupable. And

1383
01:19:16,720 --> 01:19:19,679
Speaker 6: before you knew it, you know, he was in debt

1384
01:19:19,880 --> 01:19:23,640
Speaker 6: to Colombia to Epic in such yet there was no

1385
01:19:23,800 --> 01:19:25,840
Speaker 6: way if he had another bat out of hell, that

1386
01:19:25,960 --> 01:19:29,240
Speaker 6: he could pay them back. And so you know, there

1387
01:19:29,360 --> 01:19:31,720
Speaker 6: was a way to get out of that debt and

1388
01:19:31,840 --> 01:19:35,160
Speaker 6: that was called bankruptcy. And then your contracts became null

1389
01:19:35,200 --> 01:19:35,599
Speaker 6: and void.

1390
01:19:36,000 --> 01:19:36,240
Speaker 11: And so.

1391
01:19:38,280 --> 01:19:41,960
Speaker 1: Eight years I get it, wow, really with a new deal,

1392
01:19:42,120 --> 01:19:45,639
Speaker 1: but I didn't say it. So he could he could.

1393
01:19:45,479 --> 01:19:49,040
Speaker 2: Survive for eight years without neither hit North and he

1394
01:19:49,120 --> 01:19:52,439
Speaker 2: didn't care like the age of videos going by and

1395
01:19:52,479 --> 01:19:53,120
Speaker 2: all those things.

1396
01:19:53,160 --> 01:19:55,799
Speaker 1: And I mean, you know he came back with whatever,

1397
01:19:56,560 --> 01:19:57,160
Speaker 1: I won't do that.

1398
01:19:57,280 --> 01:20:00,680
Speaker 2: I forget the name of the sign came I mean

1399
01:20:00,760 --> 01:20:04,080
Speaker 2: he came back, but still that that's a hell of

1400
01:20:04,160 --> 01:20:06,520
Speaker 2: a risk just for bankruptcy.

1401
01:20:07,160 --> 01:20:10,759
Speaker 6: Well, you know, like Billy Preston had A and M records,

1402
01:20:10,840 --> 01:20:14,080
Speaker 6: we had Aristo records England that couldn't wait to sign them.

1403
01:20:14,320 --> 01:20:16,639
Speaker 6: And I don't think it was eight years. I think

1404
01:20:16,640 --> 01:20:20,080
Speaker 6: it was more like five or six years in between records.

1405
01:20:20,160 --> 01:20:23,040
Speaker 6: But what brought him back a second time was that

1406
01:20:23,160 --> 01:20:26,880
Speaker 6: he went back to Jim Steinman. Bonnie Tyler had which

1407
01:20:27,000 --> 01:20:31,760
Speaker 6: was meat Love's song, but that was really for meat Love,

1408
01:20:32,400 --> 01:20:36,800
Speaker 6: but they were few likes and Chocolate everybody else like

1409
01:20:36,920 --> 01:20:41,240
Speaker 6: the Beatles, like Foreigner, like Journey. I mean, you know,

1410
01:20:41,320 --> 01:20:44,800
Speaker 6: it's just going on and on, and so Steman gave

1411
01:20:44,840 --> 01:20:46,840
Speaker 6: it to Bonnie Tyler. She did a hell of the job.

1412
01:20:47,600 --> 01:20:51,000
Speaker 1: You're so right, dude, totally Clips of the Heart is

1413
01:20:51,200 --> 01:20:52,760
Speaker 1: such a total song.

1414
01:20:54,400 --> 01:20:54,960
Speaker 3: More hero.

1415
01:20:59,160 --> 01:21:00,960
Speaker 6: Hero ship.

1416
01:21:07,520 --> 01:21:12,000
Speaker 2: That stop after twelve seconds by right, right, Okay, I

1417
01:21:12,120 --> 01:21:16,280
Speaker 2: do all right. My last two main questions. I know

1418
01:21:16,439 --> 01:21:18,920
Speaker 2: that Franklin as I was also one of your clients.

1419
01:21:18,960 --> 01:21:21,400
Speaker 2: Hele were there any other clients clients that you have

1420
01:21:21,479 --> 01:21:23,960
Speaker 2: that we don't know about or for a brief time.

1421
01:21:25,439 --> 01:21:28,000
Speaker 6: I had I was spending so much time in England,

1422
01:21:28,040 --> 01:21:32,560
Speaker 6: I made friends with other masters. I can't think of

1423
01:21:32,640 --> 01:21:37,200
Speaker 6: his name, but Whim was one of his groups. Curiosity

1424
01:21:37,360 --> 01:21:40,920
Speaker 6: Killed the Cat, the Stranglers. If you look at the Stranglers,

1425
01:21:41,040 --> 01:21:45,080
Speaker 6: they were like, you know, like some of those uh

1426
01:21:46,600 --> 01:21:51,320
Speaker 6: punk rock fans that had a bit of success, but

1427
01:21:52,080 --> 01:21:55,280
Speaker 6: you the guy didn't want to travel back to New

1428
01:21:55,360 --> 01:21:58,760
Speaker 6: York or the United States. So I would handle not that,

1429
01:21:58,920 --> 01:22:02,120
Speaker 6: you know, I only commissioned the touring in America. So

1430
01:22:02,320 --> 01:22:06,120
Speaker 6: I was involved with a lot of English bands and

1431
01:22:06,240 --> 01:22:09,360
Speaker 6: I had, you know a lot of success as being

1432
01:22:09,400 --> 01:22:13,040
Speaker 6: a reasonable guy to deal and represent the managers in

1433
01:22:13,120 --> 01:22:15,360
Speaker 6: England that didn't want to be bothered coming over.

1434
01:22:16,600 --> 01:22:18,880
Speaker 2: So when their actually come to the States, you sort

1435
01:22:18,920 --> 01:22:22,520
Speaker 2: of tag team and sort of co manage.

1436
01:22:22,640 --> 01:22:27,040
Speaker 6: The agents to the whole nine yards. I was able

1437
01:22:27,120 --> 01:22:33,120
Speaker 6: to handle their their American tours. Yes, at what point, well.

1438
01:22:33,000 --> 01:22:35,760
Speaker 2: You mentioned when at all did you have to deal

1439
01:22:35,800 --> 01:22:39,320
Speaker 2: with them when when those albums were first coming out

1440
01:22:39,439 --> 01:22:42,240
Speaker 2: or make It Big or the Fantastic record the beginning.

1441
01:22:42,760 --> 01:22:46,960
Speaker 6: No, I was. I was very good friends with their manager,

1442
01:22:48,760 --> 01:22:51,400
Speaker 6: and so it brought me into the you know, into

1443
01:22:51,479 --> 01:22:56,760
Speaker 6: the chip boardens of England, you know, and so one

1444
01:22:56,840 --> 01:22:59,920
Speaker 6: relationship led to another relationship. You can remember. It was

1445
01:23:00,080 --> 01:23:04,680
Speaker 6: my life, you know, and so you know I was

1446
01:23:04,880 --> 01:23:09,360
Speaker 6: very comfortable in England in the music industry. You know,

1447
01:23:10,320 --> 01:23:13,480
Speaker 6: of course, traveling with uh you know, with the Stones,

1448
01:23:14,400 --> 01:23:17,360
Speaker 6: and you know I was I was part of that.

1449
01:23:18,080 --> 01:23:21,760
Speaker 6: You know that Clive Davis going back to Columbia. Uh,

1450
01:23:22,600 --> 01:23:25,040
Speaker 6: you know this is before Tommy Mottola.

1451
01:23:25,520 --> 01:23:25,640
Speaker 4: Uh.

1452
01:23:26,800 --> 01:23:31,160
Speaker 6: You know, I Walter was a very good friend. In fact,

1453
01:23:31,560 --> 01:23:33,800
Speaker 6: you brought up a name, Howling at the Moon. Did

1454
01:23:33,840 --> 01:23:34,719
Speaker 6: you ever read his book?

1455
01:23:36,160 --> 01:23:37,840
Speaker 2: I just got done read that was one of my

1456
01:23:38,000 --> 01:23:41,440
Speaker 2: pandemic books. Yes, that's a crazy story.

1457
01:23:41,680 --> 01:23:44,240
Speaker 6: It's absolutely crazy. We're not going to go there. But

1458
01:23:44,479 --> 01:23:49,400
Speaker 6: trust me, I was the Moon, you know he was.

1459
01:23:50,320 --> 01:23:53,400
Speaker 6: He was a great friend of mine. As crazy as

1460
01:23:53,439 --> 01:23:55,680
Speaker 6: he was, he was loyal. Uh he was.

1461
01:23:55,800 --> 01:23:56,000
Speaker 3: You know.

1462
01:23:56,160 --> 01:23:59,000
Speaker 6: I have the most respect for him. And a lot

1463
01:23:59,040 --> 01:24:02,479
Speaker 6: of the English fan that I managed in this country

1464
01:24:02,600 --> 01:24:05,040
Speaker 6: came through Walter. In fact, he put me up from

1465
01:24:05,080 --> 01:24:11,360
Speaker 6: Curiosity Killed the Cat. Okay, so a three hit miracle

1466
01:24:11,400 --> 01:24:13,960
Speaker 6: bad all three good looking kids you know that could

1467
01:24:14,040 --> 01:24:17,320
Speaker 6: really sing like BTS or something like that. But you know,

1468
01:24:18,040 --> 01:24:22,080
Speaker 6: forty years ago, but you read Holly Howy at the Moon.

1469
01:24:23,520 --> 01:24:23,960
Speaker 1: I've read it.

1470
01:24:24,040 --> 01:24:28,240
Speaker 2: Trust me, there is there a point where was there

1471
01:24:28,320 --> 01:24:31,800
Speaker 2: ever a point in the eighties or the nineties where

1472
01:24:31,800 --> 01:24:36,240
Speaker 2: you're just like, I'm lost, Like every manager sort of

1473
01:24:36,360 --> 01:24:40,600
Speaker 2: has a breaking point with even with label CEOs. You

1474
01:24:40,640 --> 01:24:43,680
Speaker 2: mentioned Walter yet in a coffin. You know, he's very

1475
01:24:44,720 --> 01:24:49,519
Speaker 2: forthcoming with like his cocaine addiction and that sort of

1476
01:24:49,680 --> 01:24:53,960
Speaker 2: like sort of did him under. Shep of course made

1477
01:24:54,000 --> 01:24:59,719
Speaker 2: it known that, you know, having almost two cardiac arrests total.

1478
01:24:59,800 --> 01:25:02,040
Speaker 2: My it slowed down and he just took on Alice

1479
01:25:02,080 --> 01:25:04,000
Speaker 2: and no one else was there.

1480
01:25:04,920 --> 01:25:08,960
Speaker 6: Shep did one other thing. He discovered chefs, so Emerald

1481
01:25:09,000 --> 01:25:13,240
Speaker 6: Lagassi before there were chefs the men, so his special

1482
01:25:13,720 --> 01:25:16,960
Speaker 6: it's very special because he's he's the one that kind

1483
01:25:17,000 --> 01:25:20,559
Speaker 6: of created the chefs for the Food Network. There wouldn't

1484
01:25:20,560 --> 01:25:23,479
Speaker 6: have been to Gordon Ramsey, there wouldn't have been Bobby Flay,

1485
01:25:23,760 --> 01:25:27,960
Speaker 6: there wouldn't have been you if it wasn't for chef.

1486
01:25:30,240 --> 01:25:32,879
Speaker 2: That's how I got connected with Shep. My my friendship

1487
01:25:32,960 --> 01:25:35,720
Speaker 2: with him was actually in his food world. And then

1488
01:25:37,000 --> 01:25:39,839
Speaker 2: you know he told me about Teddy Pintograss and everyone beforehand.

1489
01:25:39,920 --> 01:25:42,760
Speaker 2: But yeah, in the food world, that's you know that

1490
01:25:42,960 --> 01:25:45,360
Speaker 2: was his pivot. Did you did you wind up having

1491
01:25:45,400 --> 01:25:48,439
Speaker 2: any other? Well, I know now you're you're involved in

1492
01:25:48,479 --> 01:25:53,120
Speaker 2: the the the long overdue hip Hop Museum.

1493
01:25:53,760 --> 01:25:55,200
Speaker 1: First of all, what can you explain?

1494
01:25:55,320 --> 01:25:58,600
Speaker 2: What what the what the general plan is with the

1495
01:25:58,840 --> 01:26:03,240
Speaker 2: Hip Hop Museum and and as far as like building

1496
01:26:03,280 --> 01:26:04,160
Speaker 2: in and structuring it.

1497
01:26:05,439 --> 01:26:09,639
Speaker 6: We broke round, you know, about three or four months ago.

1498
01:26:10,160 --> 01:26:10,800
Speaker 6: H L.

1499
01:26:11,680 --> 01:26:16,799
Speaker 1: I wasn't invited, but okay, yeah, email if.

1500
01:26:16,680 --> 01:26:21,160
Speaker 6: We couldn't get your even even with the d M.

1501
01:26:21,280 --> 01:26:23,240
Speaker 6: Finally we were able to communicate.

1502
01:26:23,760 --> 01:26:28,719
Speaker 12: But down in the I did real snarky on Twitter

1503
01:26:28,840 --> 01:26:31,640
Speaker 12: before I got an answer back, But go ahead, No,

1504
01:26:32,920 --> 01:26:33,840
Speaker 12: I was working that day.

1505
01:26:34,520 --> 01:26:37,400
Speaker 6: No, No, it's fine, it's fine. Look at we're together now,

1506
01:26:37,520 --> 01:26:40,160
Speaker 6: that's what's important, you know what I mean. And so

1507
01:26:41,240 --> 01:26:44,960
Speaker 6: we had nas, we had Slick Rick, uh, Fat Joe,

1508
01:26:45,280 --> 01:26:46,880
Speaker 6: a lot of these. You know, I think Noazz is

1509
01:26:46,920 --> 01:26:51,080
Speaker 6: from Queen's Fat Joe Bronx. But hip hop started in

1510
01:26:51,200 --> 01:26:54,240
Speaker 6: the Bronx. I mean, there's no doubt about that, you know.

1511
01:26:56,240 --> 01:26:59,800
Speaker 6: And of course we lost Biz Marquee. Uh. This we

1512
01:27:00,920 --> 01:27:06,559
Speaker 6: so Rocky's dream for the last nine years, and once

1513
01:27:06,560 --> 01:27:09,600
Speaker 6: again I did Strong City with Rocky Butanan, it is

1514
01:27:09,720 --> 01:27:13,519
Speaker 6: his dream, it is his idea. He's the CEO of

1515
01:27:13,680 --> 01:27:17,400
Speaker 6: this nonprofit. He wants to do a Hall of Fame

1516
01:27:17,600 --> 01:27:20,920
Speaker 6: for hip hop artists. He wants to do the Walk

1517
01:27:20,920 --> 01:27:24,120
Speaker 6: of Fame with hip hop artists. It's it was a

1518
01:27:24,240 --> 01:27:28,120
Speaker 6: little hard touching on we're able to close a Microsoft deal,

1519
01:27:28,560 --> 01:27:32,000
Speaker 6: but it wasn't just money. It was their technology that

1520
01:27:32,080 --> 01:27:37,200
Speaker 6: would make this an AI museum, an interactive experience where

1521
01:27:37,240 --> 01:27:40,800
Speaker 6: you could actually tag the subway car but it would disappear,

1522
01:27:40,840 --> 01:27:43,080
Speaker 6: but you could get that selfie like the pink wall.

1523
01:27:43,600 --> 01:27:47,120
Speaker 6: So you know, they have a machine that you could

1524
01:27:47,160 --> 01:27:50,040
Speaker 6: tell what you you know, the kind of music that

1525
01:27:50,160 --> 01:27:52,679
Speaker 6: you liked from the best and the and the present,

1526
01:27:53,160 --> 01:27:56,760
Speaker 6: and it'll actually give you a playlist on Spotify automatic,

1527
01:27:56,960 --> 01:27:59,960
Speaker 6: you know. And so it's it's a dream of rock.

1528
01:28:00,080 --> 01:28:02,320
Speaker 6: He's just going to be a theater. There's going to

1529
01:28:02,479 --> 01:28:05,040
Speaker 6: We're talk we're hoping that, you know, we've got a

1530
01:28:05,080 --> 01:28:09,519
Speaker 6: commitment from the state, commitment from uh from the city.

1531
01:28:09,840 --> 01:28:12,479
Speaker 6: We're up to about thirty five million. We've just got

1532
01:28:12,560 --> 01:28:17,680
Speaker 6: the interior design and we're hoping that more people will

1533
01:28:17,720 --> 01:28:22,360
Speaker 6: get involved. But it's off to a great start. We're

1534
01:28:22,439 --> 01:28:28,720
Speaker 6: about seventy percent there and we broke ground. And uh,

1535
01:28:29,320 --> 01:28:31,880
Speaker 6: there's so much more that Rocky can tell you about.

1536
01:28:32,760 --> 01:28:35,439
Speaker 6: But but but everything is going in the right direction.

1537
01:28:35,600 --> 01:28:38,000
Speaker 6: And I see, you know, we'll be done by twenty

1538
01:28:38,200 --> 01:28:40,880
Speaker 6: twenty four. We've brought on the right people. There are

1539
01:28:40,960 --> 01:28:46,800
Speaker 6: some companies that all have diversity departments. Now, yeah, right,

1540
01:28:47,280 --> 01:28:49,760
Speaker 6: what about do you think Adidas or something to the

1541
01:28:49,840 --> 01:28:53,800
Speaker 6: rap community? Do you think Nike owns oh something to

1542
01:28:53,920 --> 01:28:59,240
Speaker 6: the raps? We can go on, you know, pull up

1543
01:28:59,320 --> 01:29:03,520
Speaker 6: the quote. I mean, how long have they taken advantage

1544
01:29:03,600 --> 01:29:05,760
Speaker 6: of a pivop and not given back?

1545
01:29:06,439 --> 01:29:08,240
Speaker 3: Is that why you decided to be on the on

1546
01:29:08,320 --> 01:29:08,879
Speaker 3: the committee?

1547
01:29:09,160 --> 01:29:11,800
Speaker 6: Oh no, but I mean Rocky's my friend for thirty year.

1548
01:29:12,320 --> 01:29:14,600
Speaker 6: But I mean, come on, man, I mean you know,

1549
01:29:14,920 --> 01:29:17,920
Speaker 6: I mean, you know sometimes you know, Rocky needed help

1550
01:29:18,000 --> 01:29:22,160
Speaker 6: with Song City. I went to Universal and this is

1551
01:29:22,479 --> 01:29:25,719
Speaker 6: you know, this to me. If I can help Rocky, Wow,

1552
01:29:25,840 --> 01:29:27,800
Speaker 6: what a way to go out, you know, I mean,

1553
01:29:28,920 --> 01:29:32,080
Speaker 6: so keeping me really active. You know, we're trying to

1554
01:29:32,160 --> 01:29:36,439
Speaker 6: put on Orchard Beach. Uh and welcome back to New York.

1555
01:29:36,439 --> 01:29:38,840
Speaker 6: When they're doing the Great Lawn, Clive Davis is doing

1556
01:29:39,720 --> 01:29:44,320
Speaker 6: the Great Lawn, you know, with Springing and Paul Simon,

1557
01:29:44,720 --> 01:29:47,519
Speaker 6: Nas is on that show earth Winded Fire, Jennifer Hudson.

1558
01:29:47,920 --> 01:29:51,599
Speaker 6: But you know, we just got George Clinton for Forest

1559
01:29:51,720 --> 01:29:56,120
Speaker 6: Hills and the Folkadelics. It's his fiftieth anniversary or something.

1560
01:29:56,560 --> 01:29:59,000
Speaker 6: But we're got a lot of guests, you know, to

1561
01:29:59,120 --> 01:30:03,879
Speaker 6: participate in that show. We've got the Peer in in Brooklyn.

1562
01:30:04,640 --> 01:30:08,400
Speaker 6: I don't have the list, uh, but you know, Next

1563
01:30:08,479 --> 01:30:11,560
Speaker 6: Friday is the deadline for everything. And then we have

1564
01:30:12,960 --> 01:30:16,759
Speaker 6: the Hip Hop Museum is doing Staten Island, Brooklyn Queens

1565
01:30:16,840 --> 01:30:22,280
Speaker 6: and the Bronx and they're gonna give us three minutes

1566
01:30:22,760 --> 01:30:25,720
Speaker 6: on the big screen for CNN is going to broadcast

1567
01:30:25,920 --> 01:30:28,920
Speaker 6: live from the Great Lawn, So when Nas comes on,

1568
01:30:30,320 --> 01:30:33,080
Speaker 6: they're gonna give us two and a half minutes of

1569
01:30:33,240 --> 01:30:35,599
Speaker 6: the history of hip hop, which we're putting together now.

1570
01:30:37,000 --> 01:30:39,680
Speaker 6: So that would be kind of cool for everybody to

1571
01:30:39,800 --> 01:30:43,200
Speaker 6: see where hip hop, you know, originated.

1572
01:30:44,040 --> 01:30:46,360
Speaker 1: Twenty four We used to see completion on this.

1573
01:30:46,760 --> 01:30:49,400
Speaker 6: Yes, absolutely, all right, I'm.

1574
01:30:49,240 --> 01:30:51,479
Speaker 1: Gonna get my contribution on so I can earn the

1575
01:30:51,800 --> 01:30:53,280
Speaker 1: quest level wing like.

1576
01:30:56,720 --> 01:31:00,720
Speaker 6: To be involved. We don't want your money, we want

1577
01:31:00,800 --> 01:31:02,960
Speaker 6: you I feel you, feel you.

1578
01:31:03,600 --> 01:31:04,600
Speaker 3: Okay, because I just want to know.

1579
01:31:04,640 --> 01:31:06,400
Speaker 4: Okay, so you know, as you know, one of the

1580
01:31:06,439 --> 01:31:08,559
Speaker 4: reasons that we brought you to the show is because

1581
01:31:08,600 --> 01:31:10,840
Speaker 4: we were talking to your daughter Tracy, and I have

1582
01:31:11,080 --> 01:31:14,640
Speaker 4: forgot yes, and I have to ask you because if

1583
01:31:14,640 --> 01:31:17,960
Speaker 4: anybody follows you on Instagram, you're the ultimate grandpa. You

1584
01:31:18,080 --> 01:31:21,519
Speaker 4: the ultimate girl dad with Ronda and Chutney and Tracy

1585
01:31:21,600 --> 01:31:24,519
Speaker 4: of course, but I want to know for you and Diana,

1586
01:31:24,560 --> 01:31:26,880
Speaker 4: because Tracy talks about her upbringing and how she never

1587
01:31:27,000 --> 01:31:29,719
Speaker 4: felt at a loss like her mom was a superstar,

1588
01:31:29,800 --> 01:31:32,400
Speaker 4: her dad is a superstar manager. But she never felt

1589
01:31:32,439 --> 01:31:34,160
Speaker 4: like she didn't see her parents. She never felt like

1590
01:31:34,240 --> 01:31:37,080
Speaker 4: she wasn't raised in a wholesome environment. I wanted to know, like,

1591
01:31:37,160 --> 01:31:40,320
Speaker 4: what conscious choices did you two make as parents, because

1592
01:31:40,320 --> 01:31:42,280
Speaker 4: you're torn. You done told us for an hour and

1593
01:31:42,320 --> 01:31:44,160
Speaker 4: a half, all these places that you've been, but you

1594
01:31:44,320 --> 01:31:46,000
Speaker 4: still to her are the best daddy ever.

1595
01:31:46,400 --> 01:31:49,559
Speaker 3: How did you make a conscious decision to make sure

1596
01:31:49,600 --> 01:31:50,080
Speaker 3: that happened.

1597
01:31:51,640 --> 01:31:57,320
Speaker 6: We both saw our weaknesses. I was lucky enough to

1598
01:31:57,400 --> 01:32:01,240
Speaker 6: go to college. You know. Diana stand started six singing

1599
01:32:01,320 --> 01:32:04,920
Speaker 6: when she was sixteen. We never saw other people. We

1600
01:32:05,080 --> 01:32:08,320
Speaker 6: never saw color in our house. We saw other people.

1601
01:32:08,439 --> 01:32:11,240
Speaker 6: We were able to talk about it. You know, that's

1602
01:32:11,320 --> 01:32:14,919
Speaker 6: fifty three years ago. We just celebrated. I didn't celebrate.

1603
01:32:15,040 --> 01:32:19,360
Speaker 6: I mean, I just this past January. I married her

1604
01:32:19,479 --> 01:32:22,360
Speaker 6: fifty years ago. You know, I know her for fifty

1605
01:32:22,520 --> 01:32:27,320
Speaker 6: three years. We were conscious of the way they were

1606
01:32:27,360 --> 01:32:30,680
Speaker 6: going to raise because they were mixed. You know, we

1607
01:32:30,800 --> 01:32:34,760
Speaker 6: were conscious that we had to educate them. It was

1608
01:32:34,840 --> 01:32:37,599
Speaker 6: a lot different back then. I think maybe two years

1609
01:32:37,640 --> 01:32:40,240
Speaker 6: before I got married. It was illegal. You know, there

1610
01:32:40,360 --> 01:32:43,280
Speaker 6: was just Sammy Davis and I. You know that we're

1611
01:32:43,360 --> 01:32:47,240
Speaker 6: out there that publicized that. There's been movies, some great movies,

1612
01:32:47,640 --> 01:32:51,040
Speaker 6: you know, of illegally. But you know, you know, I

1613
01:32:51,160 --> 01:32:53,920
Speaker 6: think when did I get married? Sixty nine or something

1614
01:32:54,000 --> 01:32:57,799
Speaker 6: like that. I can't even do the numbers. So Diana

1615
01:32:57,880 --> 01:33:01,639
Speaker 6: took the children everywhere I spent, you know, even when

1616
01:33:01,640 --> 01:33:04,800
Speaker 6: we were divorced, I had them every weekend. You know,

1617
01:33:06,240 --> 01:33:08,880
Speaker 6: we were on top of it. You know, I can

1618
01:33:08,920 --> 01:33:11,519
Speaker 6: remember one of putting Tracy out of the car, you know,

1619
01:33:11,840 --> 01:33:15,360
Speaker 6: because she she has my personality.

1620
01:33:15,600 --> 01:33:16,240
Speaker 3: Yes it does.

1621
01:33:17,960 --> 01:33:21,599
Speaker 6: Yeah, I was on ninety five. I'll never forget this story. Well,

1622
01:33:21,640 --> 01:33:23,400
Speaker 6: one time on the way to school, she was telling

1623
01:33:23,439 --> 01:33:25,200
Speaker 6: me which way to go and she had her foot

1624
01:33:25,280 --> 01:33:26,560
Speaker 6: up on the seat. I took a shoe and I

1625
01:33:26,600 --> 01:33:31,479
Speaker 6: threw it out on Park Avenue Tracy store. She bought

1626
01:33:31,560 --> 01:33:34,000
Speaker 6: some pants. She put it twenty five. She needs the

1627
01:33:34,080 --> 01:33:36,040
Speaker 6: pants dead. Can you pick them up? Can you pick

1628
01:33:36,080 --> 01:33:39,920
Speaker 6: them up? A Parisuaye pants? The guy said there was seventh.

1629
01:33:39,960 --> 01:33:43,759
Speaker 6: Now you gotta remember, you know, she's sixteen or fourteen.

1630
01:33:44,080 --> 01:33:47,040
Speaker 6: And I pick up a par of Suey pants. There's

1631
01:33:47,080 --> 01:33:49,880
Speaker 6: about seven hundred dollars and all she just puts it.

1632
01:33:50,160 --> 01:33:53,040
Speaker 6: She needed them, she had them shortened. And she's always

1633
01:33:53,080 --> 01:33:56,960
Speaker 6: been into clothes. You know, we've always had this. We

1634
01:33:57,080 --> 01:34:00,920
Speaker 6: are so much alike in so many ways. Is you know,

1635
01:34:01,120 --> 01:34:04,559
Speaker 6: Ronda and I have a special bond, and Chudney's the baby,

1636
01:34:04,840 --> 01:34:07,519
Speaker 6: and I don't know, I don't see I still see

1637
01:34:07,560 --> 01:34:10,439
Speaker 6: them as young girls. You know. We just had the

1638
01:34:11,120 --> 01:34:17,000
Speaker 6: opportunity of the three grandchildren and my three daughters at

1639
01:34:17,120 --> 01:34:22,240
Speaker 6: Rober's apartment for a great get together and pictures. You

1640
01:34:22,360 --> 01:34:26,720
Speaker 6: know that we can compare when Tracy and Ronda and

1641
01:34:27,080 --> 01:34:32,880
Speaker 6: before Chudny was even born. It's just being in touch now.

1642
01:34:32,960 --> 01:34:38,360
Speaker 6: I text and I do these robots with my grandson, and.

1643
01:34:38,920 --> 01:34:40,240
Speaker 3: It's a star all day.

1644
01:34:41,439 --> 01:34:44,120
Speaker 6: You know, I'm making what is the name hero, I

1645
01:34:44,240 --> 01:34:47,600
Speaker 6: make my own robots with their own costumes, and I

1646
01:34:47,680 --> 01:34:51,360
Speaker 6: try it out and do them. So it's staying involved.

1647
01:34:51,439 --> 01:34:55,639
Speaker 6: It's being aware. It's just it's it's a strange time

1648
01:34:55,840 --> 01:34:59,360
Speaker 6: in this country, and so you know, some things you

1649
01:34:59,439 --> 01:35:01,400
Speaker 6: want to share, some things you don't want to share

1650
01:35:01,800 --> 01:35:06,880
Speaker 6: with children. It's just being aware and you know, everybody's

1651
01:35:06,920 --> 01:35:09,960
Speaker 6: got to get together. It's all about love. I mean,

1652
01:35:10,040 --> 01:35:10,720
Speaker 6: it really is.

1653
01:35:11,560 --> 01:35:14,840
Speaker 1: There you go, you know there it is.

1654
01:35:15,720 --> 01:35:18,680
Speaker 2: Well, you know I was told not to call you

1655
01:35:19,200 --> 01:35:23,479
Speaker 2: mister Ellis. No, no, you're you're my pal, Bob. Bob,

1656
01:35:23,840 --> 01:35:28,280
Speaker 2: thank you for coming on the show once again. Ladies

1657
01:35:28,280 --> 01:35:31,880
Speaker 2: and gentlemen, give it up for Bob Ellis, uh On

1658
01:35:32,080 --> 01:35:38,240
Speaker 2: behalf of Sugar, Steve and Fon, Tigelow and unpaid Bill

1659
01:35:38,400 --> 01:35:42,560
Speaker 2: and like, yeah, uh this is Quest Love another educational

1660
01:35:43,240 --> 01:35:44,120
Speaker 2: Quest Love Supreme.

1661
01:35:44,479 --> 01:35:47,040
Speaker 1: We we will see you. Oh wait did I say something.

1662
01:35:47,720 --> 01:35:49,719
Speaker 3: No, I was I was agreeing with you want education.

1663
01:35:49,840 --> 01:35:52,960
Speaker 13: I'm sorry my bad thought. I was like, wait, this

1664
01:35:53,080 --> 01:35:59,000
Speaker 13: is Quest Love Supreme and we will see you on

1665
01:35:59,040 --> 01:36:00,920
Speaker 13: the next go round. All right, thank you very much.

1666
01:36:02,880 --> 01:36:03,000
Speaker 6: Yo.

1667
01:36:03,160 --> 01:36:03,439
Speaker 1: What's up?

1668
01:36:03,479 --> 01:36:05,760
Speaker 11: This is Fante Make sure you keep up with us

1669
01:36:05,800 --> 01:36:08,479
Speaker 11: on Instagram at QLs and let us know what you

1670
01:36:08,560 --> 01:36:10,320
Speaker 11: think and who should be next to sit down with us.

1671
01:36:10,640 --> 01:36:13,719
Speaker 1: Don't forget to subscribe to our podcast, all Right Peace.

1672
01:36:22,360 --> 01:36:25,200
Speaker 1: Bost Love Supreme is a production of iHeartRadio.

1673
01:36:28,120 --> 01:36:32,520
Speaker 2: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1674
01:36:32,960 --> 01:36:34,639
Speaker 2: or wherever you listen to your favorite shows.