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Speaker 1: Welcome, Welcome, Welcome back to the Bob Left Set's podcast.

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Speaker 1: My guest today is Paul Dean of lover Boy. Paul,

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Speaker 1: do you have a new lover Boy movie?

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Speaker 2: Tell me about it. You know, we recorded this back

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Speaker 2: in eighty eighty one, I guess eighty two, yeah, because

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Speaker 2: it's called Live in eighty two. So yeah, it was

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Speaker 2: eighty two in Vancouver where I am right now, and

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Speaker 2: we recorded it on film. I think that probably the

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Speaker 2: only thing that we've ever recorded on film, other than

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Speaker 2: maybe a local thing boy back, but nothing that I

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Speaker 2: had had access to. And it was it was released

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Speaker 2: back in the day on super low Deth. You know

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Speaker 2: what it was like back back in eighty two. It

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Speaker 2: was one dot per inch kind of definition of pretty low.

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Speaker 2: And I somehow got hold of the film. There was

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Speaker 2: something like fifteen cans of film, and I can't remember

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Speaker 2: how I got them. And I carried them around and

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Speaker 2: I lived in I lived in Calgary, and I lived it,

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Speaker 2: I lived everywhere, and I carried these things around with me.

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Speaker 2: Moved four or five houses. And what am I carrying?

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Speaker 2: These big can It was like three big cans, like

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Speaker 2: massive cans with all these little guys inside I don't

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Speaker 2: even think I looked inside them all. I thought I

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Speaker 2: had three majrou you know, two inch. I didn't know

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Speaker 2: what was in them. So anyway, I opened them up

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Speaker 2: and I went, oh, that's cool. And I didn't really

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Speaker 2: know what to do with it, but you know, I

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Speaker 2: was keeping kept getting these messages on Facebook going, how

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Speaker 2: come you guys don't have a you never released a

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Speaker 2: live DVD or and I it was just that was

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Speaker 2: a great idea. I don't know why. So I took

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Speaker 2: the film out and I found a place here in

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Speaker 2: Vancouver and they transferred it. It took me two or

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Speaker 2: three places to find the right place, and they took

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Speaker 2: it and they transferred it. This is to It was

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Speaker 2: sixteen milimeter film to digital, and that was great. And

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Speaker 2: the beauty of it was we recorded twenty four track

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Speaker 2: at the same time and for the original recording, so

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Speaker 2: and somehow I had that tape too, and I had

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Speaker 2: that transferred to digital when I was in Calgary, not

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Speaker 2: knowing what I was going to do it along with

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Speaker 2: my other two hundred and thirty two inch tapes from

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Speaker 2: the Lover, but I had the whole archive that I

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Speaker 2: once again carried it around with these three tape cans

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Speaker 2: from town to town, and so yeah, I found a

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Speaker 2: studio they gave me a great rate in Calgary and

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Speaker 2: we bounced it or recorded it on the digital. So

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Speaker 2: I had forty years of music, including fairly relative you know,

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Speaker 2: the last what do you call it? The analog recordings

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Speaker 2: I did on two track or two inches, and that

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Speaker 2: was what year would I don't know, eighty something. So

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Speaker 2: I had all those and I put them on one

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Speaker 2: hard drive. So from two hundred and thirty tapes to

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Speaker 2: one little hard drive. It's like insane and super high

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Speaker 2: deft as well. So I had that and I just

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Speaker 2: had this idea says, you know, this is let me

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Speaker 2: see what it looks like. I didn't even I had

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Speaker 2: no idea what ook. I knew what was on it

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Speaker 2: because I'd seen it before. Obviously it was I've seen

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Speaker 2: the laser disc and it's pretty low deaf, and of

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Speaker 2: course there was on It's still on YouTube and it's

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Speaker 2: super low deaf. So I figured, let me see what

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Speaker 2: I can do with this, and so I got brought

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Speaker 2: it all home. I learned how to edit it. And

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Speaker 2: the kicker was, there was no this is getting a

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Speaker 2: little high tech stuff. But there was no timecode on

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Speaker 2: any of the songs, so I had to read Reno's

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Speaker 2: lips to find out even what song we were in

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Speaker 2: little you know, and then what section? And okay, there's

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Speaker 2: a solo? What am I playing? What song is this?

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Speaker 2: And there's Matt doing this amazing drum fill and I

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Speaker 2: think that might be you know, it's your life or something.

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Speaker 2: So that was a real that was a big job.

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Speaker 2: It was during the pandemic, so by nothing but time anyway,

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Speaker 2: So that was cool, but it was it was a

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Speaker 2: real mind burner. You know. I'd work on it for

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Speaker 2: like twenty minutes at a time and I'd just get

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Speaker 2: I'd get brainedd for it after twenty minutes agoing, Okay,

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Speaker 2: what song is this? Where's it going? Nudget a little bit,

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Speaker 2: get it in time with it with the try and

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Speaker 2: it's a little bit slower. Now I got to just

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Speaker 2: move it a little bit. And it was, it was,

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Speaker 2: it was. It was a great learning experience, but man,

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Speaker 2: it was a it was a brain frier. But it

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Speaker 2: took me a long time to do it. It took me.

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Speaker 2: I don't know how many hours I put in it.

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Speaker 2: But once again, like I said, I was the pandemic

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Speaker 2: and I wasn't playing live, and I wasn't seeing any

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Speaker 2: of my friends. We're homebound, house bound for like whatever.

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Speaker 2: It was two years unreal. So I learned how to

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Speaker 2: edit it in Da vinci uh and I uh also

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Speaker 2: learned how to do a surround sound mix with in logic,

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Speaker 2: So it was like a I was self taught. I

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Speaker 2: went back. I went back to school for a couple

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Speaker 2: of years and learned all this high tech stuff how

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Speaker 2: to do it, and I finally got it to where

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Speaker 2: I thought it worked well. I got all the edits

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Speaker 2: and give everybody in the band equal time as much

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Speaker 2: as I could and uh uh. Then I found a

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Speaker 2: couple of places here in town in Vancouver, one that that,

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Speaker 2: like as I say, did the transfer. And then I

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Speaker 2: took it to this studio and they did a thing

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Speaker 2: what they call color correction. They make the blacks black

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Speaker 2: instead of gray, and the reds like everything really bright

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Speaker 2: and and uh vibrants. So they did that and uh

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Speaker 2: the same place they did the h I gave him

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Speaker 2: my what they call stamps. I gave him the six stamps,

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Speaker 2: two surround tracks and the left right and then the

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Speaker 2: center for Reno and me singing, and and then the

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Speaker 2: sub for the kick drum, a little bit of bass,

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Speaker 2: a little bit of synthesizer, and they they took all that,

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Speaker 2: all the elements, all the the place called it is

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Speaker 2: called the elemental Posts. It's a funny thing to be

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Speaker 2: coincidentally called that. So I took all the elements there,

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Speaker 2: and they put it together and gave me a reference.

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Speaker 2: Try a reference. Blu Ray finally had a blue ray,

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Speaker 2: not just a DVD, but a blue ray, so full Death,

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Speaker 2: and I just thought it was time to do it,

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Speaker 2: and that we shopped it around and ear music out

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Speaker 2: of Germany loves it. Then we're putting it out in June.

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Speaker 1: Okay, so you have a band. A lot of this

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Speaker 1: you did at home, but how do you agree to

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Speaker 1: get the band to pay for it? And how does

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Speaker 1: the band ultimately approve it.

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Speaker 2: I started to Reno that I paid for it. It

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Speaker 2: was it wasn't that much money. It was like two sessions,

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Speaker 2: one session to do the transfer, and then a couple

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Speaker 2: of sessions, and then I went back and we retouched

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Speaker 2: it and I played it for Reno and he blew

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Speaker 2: him away, and that's it.

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Speaker 1: Okay, So you talk about Facebook. How active are you

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Speaker 1: on social media and how active are the over Boy fans? Well,

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Speaker 1: pretty active. I have my own my own Facebook page.

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Speaker 1: I'm very rarely on it, but I got a couple

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Speaker 1: of things to talk about, so I'm going to probably

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Speaker 1: get back on it again shortly. When you say you

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Speaker 1: have a couple of things, talk about the movie, what else.

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Speaker 2: I'm working on a instrumental album myself. It's it's going

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Speaker 2: to be we're going to call it lover Boy Instrumental,

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Speaker 2: which is it's kind of these songs are instrumental to

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Speaker 2: my success, and I wanted to record them soundtracks see

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Speaker 2: if anybody wanted to use it, because you know, a

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Speaker 2: lot of times when you have a like if you

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Speaker 2: have working for the weekend or something on a movie

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Speaker 2: they want they got to turn it way down because

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Speaker 2: they don't want it to interfere with the dialogue. So

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Speaker 2: I figured, let me see if anybody's interested, and and

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Speaker 2: it plus, it's for our fans. It's all lover boys

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Speaker 2: playing on it. The only one who's not on it,

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Speaker 2: ironically is Reno, and he's totally he's done with it.

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Speaker 2: He's totally cool with it. With their concept and some

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Speaker 2: that's that's in the works. That's been in the works

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Speaker 2: for a while. I started recording it on the road

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Speaker 2: last summer with Foreigner in my hotel room and I

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Speaker 2: once again, it's took a lot of those tracks off

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Speaker 2: that one hard drive from from a lot from our

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Speaker 2: archives from way back. There's two or three tracks with

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Speaker 2: Scott Smith playing bass on it, and uh so I'm

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Speaker 2: doing that and I have a I have another band

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Speaker 2: that I that.

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Speaker 1: Were wait before we get to the other band. Yeah, yeah,

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Speaker 1: this is an instrumental version of lover boy music. Is

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Speaker 1: it stuff that was all previously recorded or you re

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Speaker 1: recording it?

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Speaker 2: It's all been it was all it was all recorded.

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Speaker 2: It was it's all live recordings that I've recorded over

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Speaker 2: the years.

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Speaker 1: Okay, but they're without vocals, correct. And you say there's

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Speaker 1: a demand for this with stinks, with movies, et cetera.

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Speaker 2: I'm hoping. I mean, we've working for the weekend and

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Speaker 2: Jemy Lucy has been a lot of movies and a

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Speaker 2: lot of commercials and stuff like that, and it's just

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Speaker 2: something once again that you know, when I'm not touring

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Speaker 2: or even what I am to and it's just something

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Speaker 2: I like to do. I like to really like to

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Speaker 2: keep busy. I'm a bit of a I guess you

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Speaker 2: could call me a workaholic perhaps.

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Speaker 1: Okay, since you're a workaholic. Are you married?

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Speaker 2: Oh? I am, and I have a son, and yeah.

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Speaker 1: How many times you've been married?

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Speaker 2: Well, you know what, I got to admit it, we're

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Speaker 2: not really married. We've been living together for fifty one years.

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Speaker 1: Okay, So just to stop here for a second, as

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Speaker 1: your has your partner ever been married before she was

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Speaker 1: with you?

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Speaker 2: Nope?

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Speaker 1: Have you ever been married before you were with her?

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Speaker 2: Nope?

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Speaker 1: And you choose not to get married because.

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Speaker 2: I don't want to be rude here, but none of

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Speaker 2: your goddamn business, Bob, No, that's not Wait.

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Speaker 1: If you don't have to answer anything, you don't want

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Speaker 1: to answer them. I have been married, and I am divorced,

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Speaker 1: and my girlfriend is has been divorced twice. We lived together,

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Speaker 1: it's been nineteen years, and we're not married.

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Speaker 2: There you go.

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Speaker 1: So on some level, I don't want to go through

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Speaker 1: another divorce. On another level, I come from the Joni

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Speaker 1: Mitchell school. If we don't need no piece of paper

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Speaker 1: from the upstairs choir keeping his tide and true.

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Speaker 2: So I was just asking.

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Speaker 1: Okay, that's why I was asking. I'm not probing for

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Speaker 1: any dirty.

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Speaker 2: I know, I'm just giving you a hard time, but

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Speaker 2: the exactly how I feel it's really it's it's between

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Speaker 2: Denise and me. It's got nothing to do with anybody else,

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Speaker 2: you know. And I don't need to go and take

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Speaker 2: a bow, and I make my bow to her. I

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Speaker 2: don't make it to anybody else.

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Speaker 1: Well, the reason I bring up marriage, you say you're

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Speaker 1: a workaholic, You're a touring musician that is hard on relationships.

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Speaker 1: So how does it end up working in your relationship

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Speaker 1: which obviously works for fifty one years?

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Speaker 2: Hey, Denise, no, wow. I like to think that we're

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Speaker 2: pretty reasonable people. And she is really Denise is really giving,

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Speaker 2: and she understands and she wants she's a fan. She

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Speaker 2: wants me to succeed she and she supports me in

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Speaker 2: whatever I do. And I call her level one. She's

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Speaker 2: she's kind of you know, what do you think about

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Speaker 2: this idea? And she'll just she'll either love it or

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Speaker 2: she'll luke warm it or she'll hate it. And I

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Speaker 2: really lean on that on those those decisions, you know

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Speaker 2: those She's pretty smart cookie.

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Speaker 1: And what is your son up to.

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Speaker 2: He's right now. He's working on getting a making a

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Speaker 2: board game. He's written that board game and he's a

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Speaker 2: he said, he said artist as well, and he's worked.

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Speaker 2: That's what he's working on. So we'll see where that comes.

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Speaker 2: I support him on that. I think it would be

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Speaker 2: pretty cool. He bought a Dungeons and Dragons game I

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Speaker 2: think it was, AND's this massive box in all this

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Speaker 2: friends play it and everybody has fun. And this you know,

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Speaker 2: it comes with three hundred pieces of men and and

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Speaker 2: maps and a rule book like like like the Bible.

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Speaker 2: And he's basically he's written the rule book. And I'm

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Speaker 2: you know, supporting them. And I'm saying, come on, if this,

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Speaker 2: if these guys can put this box out, I look,

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Speaker 2: I tell him. He says, you know, I started as

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Speaker 2: a as a guitar player, but I started as a songwriter.

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Speaker 2: I didn't have anything. I didn't know what I was doing.

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Speaker 2: I just started doing it. Eventually I figured it out,

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Speaker 2: and this is a really good start. I said, I

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Speaker 2: support this creative thing because either or do you know

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Speaker 2: you want to work a Best Buy again? And no, Dad,

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Speaker 2: So that's what he's doing.

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Speaker 1: Okay, let's go back to the sync your songs? Do

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Speaker 1: you own your rights in your songs?

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Speaker 2: I own all the rights to the live recordings.

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Speaker 1: I guess, so, I guess what I'm saying is the

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Speaker 1: songs themselves turn it loose, working for the weekend, etc.

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Speaker 1: There's a right in the song. Sometimes people have publishing

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Speaker 1: deals so they just have the writers share. There could

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Speaker 1: be in America there's a reversion.

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Speaker 2: Right.

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Speaker 1: Then there are people who sell the rights. So at

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Speaker 1: this point in time those songs, who owns those songs?

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Speaker 2: Sony owns the masters, the original masters that we recorded

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Speaker 2: in up until eighty what was eighty five? I guess

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Speaker 2: Love and Every Minute of It, or maybe maybe a

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Speaker 2: couple albums after that, they owned the rights of those

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Speaker 2: because we were under contract with them. But since then

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Speaker 2: we own everything. We own all the all the rights,

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Speaker 2: all the publishing, all the masters, all everything.

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Speaker 1: Well, the songs are a separate right from the albums.

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Speaker 2: That's right.

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Speaker 1: Does Sony own the songs or do you own the songs?

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Speaker 2: We have? We share them with Sony? Okay, but I

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Speaker 2: think maybe you're you might be getting at Do I

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Speaker 2: want to sell my catalog? How come I haven't sold

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Speaker 2: my cattle? I don't know if you wanted to go

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Speaker 2: there or not, but.

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Speaker 1: Well I wanted to go there. That was not where

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Speaker 1: they You know, I was asking earlier because a lot

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Speaker 1: of people have been through twists and turns. They've given

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Speaker 1: up things they didn't want to give, et cetera. But

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Speaker 1: since you brought it up, would you sell your rights?

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Speaker 2: I don't think it's worth it, really, to be honest. Plus,

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Speaker 2: the way I look at it, my son he's young enough,

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Speaker 2: and he would he can benefit from this fifteen, eighteen,

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Speaker 2: twenty years old. Whatever is the going rate, and they're

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Speaker 2: not from my experience or from what I've looked into,

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Speaker 2: is you're going to get what you make times those years.

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Speaker 2: And then in other words, if you make I won't

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Speaker 2: throw any figures out, but whatever you make, if you

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Speaker 2: multiply that times twenty or fifteen or whatever, that's the

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Speaker 2: size of your check, and then you give a big

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Speaker 2: chunk of that to the government, then well you do

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Speaker 2: that anyway, that's no big deal. But in twenty years

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Speaker 2: from now, when my son is, you know, still going

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Speaker 2: he's going to you're twenty one, he's still going to

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Speaker 2: be making the same amount of money tax wise, it's

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Speaker 2: a little different, but there's still going to be an

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Speaker 2: income coming from that. So that's that's kind of how

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Speaker 2: I look at it.

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Speaker 1: I don't believe in selling either. Are your songs lucrative

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Speaker 1: enough that you don't have to have other sources of income?

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Speaker 2: Yeah? I make a really good living off my publishing

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Speaker 2: for sure, off of my song working for the Weekend

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Speaker 2: in particular, it's ridiculous how much a song that's forty

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Speaker 2: years old can still generate. It's really great, amazing.

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Speaker 1: Okay, talking about record royalties, you know, people are bitching

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Speaker 1: about Spotify payments and in truth, a lot of people

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Speaker 1: never even made it into royalties in the old days.

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Speaker 1: Do you still get royalties on the records that Sony

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Speaker 1: owns or do they say you're still in a negative position.

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Speaker 2: No. I think the negative position would be you haven't

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Speaker 2: recouped yet, you haven't paid back what invest And that

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Speaker 2: was long ago, like that was the first six months

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Speaker 2: the way they were recouped. And so yeah, we get

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Speaker 2: paid from Sony and from all these different collection agencies

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Speaker 2: for sure.

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Speaker 1: And now that COVID is over, when or how frequently

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Speaker 1: might people be able to see lover Boy?

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Speaker 2: We have right now, we're sitting at close to fifty

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Speaker 2: shows coming up, and we typically in non COVID years

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Speaker 2: will play fifty shows. Fifties pretty comfy. Sixties Still okay,

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Speaker 2: we did. We did a tour, We did eighty shows,

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Speaker 2: and I really didn't want to play Turn Me Loose

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Speaker 2: again that year. By the end of the hour, I

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Speaker 2: was pretty much done, for example. But fifty or sixty

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Speaker 2: plus it. You know, if you're on the if you've

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Speaker 2: got eighty shows, that means you're and getting back to

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Speaker 2: marriage and everything. That means you're on the road for

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Speaker 2: more than half the year. And if it's if it's

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Speaker 2: in the States, then then immigration doesn't smile too kindly

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Speaker 2: if you're If you're more than half a year in

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Speaker 2: the US, there it's not a good thing.

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Speaker 1: So at this point, how do the members of the

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Speaker 1: band get along? There are a lot of bands where

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Speaker 1: they hate each other, but they do it for the money.

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Speaker 1: How about Lover Boy.

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Speaker 2: I'm sure the money is a factor, there's no question

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Speaker 2: about it. But I can only speak for myself. I

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Speaker 2: just love to play, and I'm not real crazy about

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Speaker 2: the hours in spent flying around and busting around, but

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Speaker 2: that's the price should pay for the joy of playing music.

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Speaker 2: I love to play guitar, and I love to play.

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Speaker 2: My songs are songs, I should say, and I love

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Speaker 2: to play with these guys. I mean, it's a hell

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Speaker 2: of a band. It's a really good band. And I

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Speaker 2: make sure it's different every night. For me, it's different

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Speaker 2: every night, even though we play basically the same songs forever,

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Speaker 2: you know, but there's little things and different different crowds

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Speaker 2: and different mixes, and but I try to play it

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Speaker 2: slightly different every day. There's certain things that you don't

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Speaker 2: want to mess with, you know, don down down, down

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Speaker 2: down down. You don't you know, you got to play

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Speaker 2: the theme. But the rest of it it's pretty much open,

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Speaker 2: open season, you know.

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Speaker 1: And do you rehearse when you're not on the road.

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Speaker 1: Do you play the guitar?

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Speaker 2: I practice at home. I working on new songs, griffs,

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Speaker 2: physically working on my guitar. I'm a I'm a tinkerer.

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Speaker 2: I guess I'm called. I built my first guitar in

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Speaker 2: the twelfth grade and the teacher said, if it works,

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Speaker 2: you pass, and I passed. So that was but I'd

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Speaker 2: already been playing guitar. I remember I bought a Fender

358
00:20:48,080 --> 00:20:51,639
Speaker 2: jazz Master was five hundred and forty bucks, and this

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00:20:51,720 --> 00:20:54,720
Speaker 2: is in nineteen sixty two. I bought a brand new,

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Speaker 2: brand new jazz Master. I was. I was raised in

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Speaker 2: the in the in the mountains of British Columbia, and

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Speaker 2: we used to go into Calgary twice a year and

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Speaker 2: one of those times I went, I was looking for

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Speaker 2: a strat like the I wanted to get a salmon

365
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Speaker 2: colored strat like the Shadows played. At the time. I

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Speaker 2: was ah still ambit was a huge Shadows fan, but

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Speaker 2: they didn't have any so they had a jazz Matter

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Speaker 2: which was kind of a Ventures guitar, and I was

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Speaker 2: a big fan of the Adventures too, so I brought

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Speaker 2: bought that guitar with my I the way I got

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Speaker 2: paid working for my parents at this twenty two acre

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Speaker 2: resort that they bought for forty thousand dollars in nineteen

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Speaker 2: fifty three on the on the lake front, if you

374
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Speaker 2: can imagine that forty grand but anyway, and we had

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Speaker 2: we had sixteen cabins and a campground and my job

376
00:21:48,040 --> 00:21:50,879
Speaker 2: was to deliver They all had wood stove, so my

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00:21:51,000 --> 00:21:54,359
Speaker 2: job was to deliver paper and kindling and a little bit

378
00:21:54,400 --> 00:21:56,600
Speaker 2: of wood and take the garbage out every day. That

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Speaker 2: would be the thing. And I had this cart that

380
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Speaker 2: I would carry around shard, I should say. And the

381
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Speaker 2: and the way I got paid was I would collect

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Speaker 2: all the beer bottles. And my dad said, you can

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Speaker 2: have all the money from the beer bottles. And so

384
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Speaker 2: I was making, you know, through four hundred dollars a summer,

385
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Speaker 2: just a kid, a kid, A seventeen year old kid,

386
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Speaker 2: sixteen year old kid, you know, uh, throw out of

387
00:22:20,040 --> 00:22:22,159
Speaker 2: money back then. Plus I was living at home or whatever.

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Speaker 2: And I remember I brought that I had the jazz Master.

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Speaker 2: Man I wanted to figure out how it worked, so

390
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Speaker 2: I took it all apart complete.

391
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Speaker 1: Since since we're on the jazz Master, what were you

392
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Speaker 1: doing for an amp if you had what.

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Speaker 2: I started out with a with a silver tone amp

394
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Speaker 2: that I got from the catalog the Eating series. It

395
00:22:46,720 --> 00:22:48,560
Speaker 2: was just actually it was called I think it's either

396
00:22:48,640 --> 00:22:51,280
Speaker 2: Sears or Eating. So I can't remember, but we'll say

397
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Speaker 2: serious because it's a everybody can relate to what that is.

398
00:22:54,680 --> 00:22:58,080
Speaker 2: So I had a harmony guitar, a two pickup harmony

399
00:22:58,119 --> 00:23:03,359
Speaker 2: guitar like a guitar, and uh, this this amplifier, and

400
00:23:03,960 --> 00:23:06,439
Speaker 2: so I graduated to this this jazz master, and I

401
00:23:06,440 --> 00:23:08,280
Speaker 2: brought it home and I took it all apart, and

402
00:23:08,320 --> 00:23:10,600
Speaker 2: my mom and dad came in, and my mom and

403
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Speaker 2: she was freaking, what have you done. You've taken this

404
00:23:14,320 --> 00:23:16,639
Speaker 2: five hundred and forty dollars guitar and you're completely apart?

405
00:23:16,720 --> 00:23:20,680
Speaker 2: Are you insane? Well? And then I, I was working

406
00:23:20,680 --> 00:23:23,840
Speaker 2: in an industrial arts and I painted it. I repainted it,

407
00:23:24,119 --> 00:23:27,959
Speaker 2: I painted it. I don't know. I painted a baby

408
00:23:28,000 --> 00:23:29,840
Speaker 2: blue to start with, and I went and I put

409
00:23:29,840 --> 00:23:32,280
Speaker 2: it back together. I went, oh, that sucks. And then

410
00:23:32,280 --> 00:23:34,520
Speaker 2: I painted it red and I went, yeah, that's the

411
00:23:34,800 --> 00:23:38,119
Speaker 2: that's that's me, that's a that's a good good color

412
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Speaker 2: for me. So and that I had that guitar for

413
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Speaker 2: for a long time.

414
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Speaker 1: Okay, you brought the guitar home, you stripped it all down.

415
00:23:49,160 --> 00:23:53,159
Speaker 1: There was no fear, no hesitation in the process, no

416
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Speaker 1: worry that you might have screwed it up.

417
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Speaker 2: No, And that's what That's exactly what my mom was saying.

418
00:23:59,800 --> 00:24:02,359
Speaker 2: I'm sure is what have you done? You idiot? And

419
00:24:02,840 --> 00:24:04,520
Speaker 2: she didn't say that, but she was cool if you

420
00:24:04,560 --> 00:24:08,920
Speaker 2: never said that. But yeah, I wasn't worried about it.

421
00:24:09,040 --> 00:24:12,840
Speaker 2: So on the strength of that knowing how the mechanics work.

422
00:24:12,920 --> 00:24:16,200
Speaker 2: I was confident in building a guitar and industrial arts

423
00:24:16,240 --> 00:24:16,919
Speaker 2: in grade twelve.

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Speaker 1: Okay, let's go back to the beginning. Did your parents

425
00:24:20,320 --> 00:24:24,320
Speaker 1: bought this resort at age seven? Where did you live

426
00:24:24,440 --> 00:24:25,080
Speaker 1: before that?

427
00:24:26,600 --> 00:24:31,159
Speaker 2: Born in Vancouver, lived here for two years, for two

428
00:24:31,280 --> 00:24:32,720
Speaker 2: or four years, I don't know, and then we moved

429
00:24:32,720 --> 00:24:37,199
Speaker 2: to Calgary. My dad was a salesman for Johnson's Wax.

430
00:24:37,280 --> 00:24:39,480
Speaker 2: He was a traveling salesman. He would take the train

431
00:24:39,920 --> 00:24:43,200
Speaker 2: from Calgary to Edmonton and Regina and Saskatoon, and I

432
00:24:43,240 --> 00:24:44,919
Speaker 2: don't know if you got as far as Winnipeg. But

433
00:24:44,960 --> 00:24:47,439
Speaker 2: that was his gig. And he was like me, except

434
00:24:47,520 --> 00:24:50,480
Speaker 2: him I work on the weekends. He would be working

435
00:24:50,480 --> 00:24:53,480
Speaker 2: for the weekend. He would be out selling this Johnson's

436
00:24:53,520 --> 00:24:56,480
Speaker 2: wax and he would come home every weekend and he

437
00:24:56,520 --> 00:25:01,760
Speaker 2: went Eventually, I guess we're speaking to continuing the marriage thing.

438
00:25:02,600 --> 00:25:05,000
Speaker 2: I don't know whether my mom and he had a

439
00:25:05,200 --> 00:25:08,640
Speaker 2: serious talk and my mom took him to task and say, look, look, pal,

440
00:25:10,080 --> 00:25:13,520
Speaker 2: it's either you start staying home with the family or

441
00:25:13,640 --> 00:25:16,080
Speaker 2: we're out of here. I really doubt it, but who knows.

442
00:25:16,560 --> 00:25:20,399
Speaker 2: But they had this discussion unbeknownst to me, but they

443
00:25:20,480 --> 00:25:23,679
Speaker 2: must have had it because we stayed at this resort.

444
00:25:23,720 --> 00:25:25,439
Speaker 2: We had two weeks. So we stayed at this resort

445
00:25:25,440 --> 00:25:28,000
Speaker 2: in I think in fifty two and fifty three, and

446
00:25:28,040 --> 00:25:30,879
Speaker 2: then I guess it was in fifty four. Maybe I

447
00:25:30,880 --> 00:25:33,080
Speaker 2: can't remember. It was fifty three or fifty four that

448
00:25:33,160 --> 00:25:36,120
Speaker 2: they said, let's see if this place is for sale

449
00:25:36,119 --> 00:25:38,640
Speaker 2: where we always stayed these cabins. Let me let's see

450
00:25:38,640 --> 00:25:41,560
Speaker 2: if we can if the guys would sell it, and

451
00:25:41,640 --> 00:25:45,840
Speaker 2: they the guy says forty K and my dad somehow

452
00:25:46,480 --> 00:25:49,320
Speaker 2: raised the down payment and made pay You know, I

453
00:25:49,359 --> 00:25:50,720
Speaker 2: what did I know. I was just a kid. I

454
00:25:51,040 --> 00:25:53,600
Speaker 2: wasn't tuned into that stuff at all, So I just

455
00:25:54,119 --> 00:25:57,800
Speaker 2: I had my daily chores of delivering kindling.

456
00:25:58,440 --> 00:26:01,880
Speaker 1: Okay, not everybody south of the border is super sophisticated

457
00:26:02,040 --> 00:26:06,840
Speaker 1: about Canada in general, never mind the geography. So from

458
00:26:06,880 --> 00:26:12,120
Speaker 1: this camp, how far to the nearest town, how far

459
00:26:12,280 --> 00:26:13,800
Speaker 1: to the next major town?

460
00:26:15,000 --> 00:26:19,360
Speaker 2: Calgary was a major town, three hour drive, and that's

461
00:26:19,359 --> 00:26:21,560
Speaker 2: where we went. We would we would go into Calgary,

462
00:26:22,000 --> 00:26:24,159
Speaker 2: or in Spokane, we would go down to Spokane. It

463
00:26:24,200 --> 00:26:27,120
Speaker 2: was pretty much the same distance. So if you could

464
00:26:27,200 --> 00:26:29,960
Speaker 2: kind of triangulate that it's on the It's in the

465
00:26:30,080 --> 00:26:33,720
Speaker 2: Columbia River Valley on the Columbia River in British Columbia,

466
00:26:33,720 --> 00:26:36,360
Speaker 2: in between the Selkirk and Rocky Mountains.

467
00:26:36,880 --> 00:26:40,199
Speaker 1: Okay, so you're living there. Is there a community? What

468
00:26:40,359 --> 00:26:43,560
Speaker 1: about school, et cetera. Yeah, we had a school. We

469
00:26:43,600 --> 00:26:45,720
Speaker 1: had a school bus that I would walk up the

470
00:26:45,800 --> 00:26:50,080
Speaker 1: hill fifty five below fahrenheit one morning, I remember the

471
00:26:50,119 --> 00:26:52,520
Speaker 1: coldest day I have every experienced walking up the hill.

472
00:26:52,560 --> 00:26:54,440
Speaker 1: It was a quarter mile walk from the lake where

473
00:26:54,440 --> 00:26:56,560
Speaker 1: we lived up to the highway and I would catch

474
00:26:56,560 --> 00:27:00,159
Speaker 1: the school bus and I would do that except on

475
00:27:00,160 --> 00:27:03,840
Speaker 1: my fourteenth birthday. I missed the Boss because on my

476
00:27:03,920 --> 00:27:07,399
Speaker 1: fourteenth birthday was my parents gave me an acoustic guitar,

477
00:27:08,320 --> 00:27:11,880
Speaker 1: and I'm probably, I'm sure I missed the Boss that day.

478
00:27:12,000 --> 00:27:15,840
Speaker 1: I was over the moon on this finally got a guitar.

479
00:27:16,880 --> 00:27:21,960
Speaker 1: And Okay, well, let's let's stay on that topic. So

480
00:27:22,400 --> 00:27:24,960
Speaker 1: was there music in the house. When did you become

481
00:27:25,160 --> 00:27:26,159
Speaker 1: enamored of music?

482
00:27:27,960 --> 00:27:33,840
Speaker 2: My mom got her singing voice from her dad, my grandpa,

483
00:27:34,560 --> 00:27:37,440
Speaker 2: and she's a pretty good, really nice voice, and could

484
00:27:37,440 --> 00:27:39,720
Speaker 2: play the piano a little bit. And my sister could

485
00:27:39,720 --> 00:27:42,480
Speaker 2: play the piano a little bit. She could do a

486
00:27:42,520 --> 00:27:47,040
Speaker 2: little bit of the left hand, do it that kind

487
00:27:47,040 --> 00:27:49,919
Speaker 2: of rock and thing, you know, And she and I

488
00:27:49,960 --> 00:27:52,560
Speaker 2: would play some tunes soil. We'd play these old folk

489
00:27:52,640 --> 00:27:55,920
Speaker 2: songs and so that that's kind of how I got

490
00:27:55,960 --> 00:27:59,800
Speaker 2: my feet got started in you know, playing with other people.

491
00:28:00,280 --> 00:28:02,280
Speaker 2: But before that, I was just playing the records like

492
00:28:02,640 --> 00:28:07,399
Speaker 2: the aforementioned Shadows and Ventures and Johnny the Hurricanes.

493
00:28:06,880 --> 00:28:10,600
Speaker 1: And okay, you're in the hinter lands. Most people in

494
00:28:10,640 --> 00:28:13,560
Speaker 1: that era learnt about music from the radio. What was

495
00:28:13,600 --> 00:28:14,760
Speaker 1: the radio situation.

496
00:28:15,880 --> 00:28:19,080
Speaker 2: K x l Y Spokane was a country station and

497
00:28:19,160 --> 00:28:21,879
Speaker 2: the only station we could get, and that was only

498
00:28:21,880 --> 00:28:23,840
Speaker 2: on a clear night, and you know, it would fade

499
00:28:23,880 --> 00:28:26,359
Speaker 2: out during the day. So that was that was my

500
00:28:27,160 --> 00:28:31,600
Speaker 2: That was my first real you know, Johnny Cash and

501
00:28:32,640 --> 00:28:35,240
Speaker 2: uh Don't take your Guns to Town and and uh

502
00:28:36,240 --> 00:28:39,720
Speaker 2: walk the Line and those those two. I learned how

503
00:28:39,760 --> 00:28:44,000
Speaker 2: to play all those instrumentally. It wasn't it wasn't any

504
00:28:44,120 --> 00:28:46,560
Speaker 2: singing at the time. I just was into learning how

505
00:28:46,600 --> 00:28:51,640
Speaker 2: to play guitar boogyrself down and and probably a lot

506
00:28:51,720 --> 00:28:55,600
Speaker 2: slower than that. But that's that's how where I started playing,

507
00:28:56,240 --> 00:28:59,440
Speaker 2: and and then I then then on one of those

508
00:28:59,480 --> 00:29:02,000
Speaker 2: trips to Calgary, I would I hit one of the

509
00:29:02,080 --> 00:29:06,720
Speaker 2: music stores and I discovered the Ventures and the Shadows

510
00:29:07,120 --> 00:29:14,040
Speaker 2: and the what was that other band? Oh man, it'll

511
00:29:14,040 --> 00:29:16,080
Speaker 2: come to me there was an another band from I

512
00:29:16,080 --> 00:29:21,440
Speaker 2: think sata Fe someplace. Anyway, it'll it'll spring into spring

513
00:29:21,480 --> 00:29:25,280
Speaker 2: to mind, hopefully. And I just learned learned all those twos.

514
00:29:25,280 --> 00:29:26,560
Speaker 2: I learned all the parts. I had a set of

515
00:29:26,600 --> 00:29:29,480
Speaker 2: drums set up. I learned how to how to play drums.

516
00:29:30,480 --> 00:29:32,840
Speaker 2: Much to my parents' chagrin. They moved me out out

517
00:29:32,840 --> 00:29:35,280
Speaker 2: of the house into the shed in the back. But

518
00:29:35,720 --> 00:29:38,680
Speaker 2: at least I got the Actually I ended up playing

519
00:29:38,720 --> 00:29:42,000
Speaker 2: one gig on drums. I only had one gig on

520
00:29:42,080 --> 00:29:46,000
Speaker 2: drums as a drummer when I moved to Vancouver years later.

521
00:29:46,040 --> 00:29:51,080
Speaker 2: But so I you know, I dissected these instrumental albums.

522
00:29:51,080 --> 00:29:53,320
Speaker 2: There are two guitars, bass and drums, all of them,

523
00:29:53,520 --> 00:29:55,440
Speaker 2: and maybe they one of them would have a sax,

524
00:29:56,320 --> 00:29:58,400
Speaker 2: and one of them and they might have an organ.

525
00:29:58,440 --> 00:30:01,760
Speaker 2: But mainly my favorite get our favorite, I should say,

526
00:30:01,800 --> 00:30:04,720
Speaker 2: bands two guitarist, bas and drums. And of course the

527
00:30:04,720 --> 00:30:06,920
Speaker 2: Beatles said the same thing, and I learned the Beatles songs.

528
00:30:07,320 --> 00:30:10,480
Speaker 1: Oh okay, so you didn't play an instrument until you

529
00:30:10,480 --> 00:30:11,160
Speaker 1: were fourteen.

530
00:30:12,680 --> 00:30:15,720
Speaker 2: I got a I gotta wind up ukulele, I think

531
00:30:16,120 --> 00:30:20,400
Speaker 2: for my thirteenth Christmas, I'm guessing, which is two months

532
00:30:20,440 --> 00:30:22,760
Speaker 2: before my birthday. It was the weirdest thing. It had

533
00:30:22,800 --> 00:30:24,600
Speaker 2: a little crank on it. It would you turn and

534
00:30:24,640 --> 00:30:29,800
Speaker 2: god that it was, and it had a cowboy motif

535
00:30:29,840 --> 00:30:32,640
Speaker 2: on it. It was the crazy. But at least they played.

536
00:30:32,640 --> 00:30:36,120
Speaker 2: They had nylon strings, and I learned how to play

537
00:30:36,480 --> 00:30:39,800
Speaker 2: oh my dar and oh my d like these two

538
00:30:39,960 --> 00:30:44,080
Speaker 2: chord songs, learned how to pick those out. It kind

539
00:30:44,080 --> 00:30:44,720
Speaker 2: of went from there.

540
00:30:45,240 --> 00:30:47,320
Speaker 1: So you didn't play any bands in high school?

541
00:30:47,760 --> 00:30:49,680
Speaker 2: I did. I was in two bands.

542
00:30:50,600 --> 00:30:55,280
Speaker 1: Okay. How many people lived in this community? About a

543
00:30:55,360 --> 00:30:59,040
Speaker 1: thousand maybe, Okay, so people from the community, you put

544
00:30:59,040 --> 00:31:03,560
Speaker 1: together a band of music. We're playing instrumentals, surf music,

545
00:31:03,800 --> 00:31:06,080
Speaker 1: it's all all. We didn't have a bass player. We

546
00:31:06,080 --> 00:31:09,280
Speaker 1: had two guitars and drums. But the first man I

547
00:31:09,360 --> 00:31:12,840
Speaker 1: was in we were called Chicks Country Gentleman, and he

548
00:31:12,960 --> 00:31:16,320
Speaker 1: was the guitar player, a guitar that he built and

549
00:31:16,360 --> 00:31:18,840
Speaker 1: he played through an amplifier that he built. So that

550
00:31:18,960 --> 00:31:20,160
Speaker 1: was a real inspiration to me.

551
00:31:21,000 --> 00:31:23,960
Speaker 2: And I was playing excuse me, I was playing a

552
00:31:24,000 --> 00:31:27,440
Speaker 2: bass that he built through and once again an amplifier

553
00:31:27,480 --> 00:31:30,000
Speaker 2: that he built. And he took what he did. He

554
00:31:30,040 --> 00:31:33,240
Speaker 2: took a he took a juke box apart to build

555
00:31:33,280 --> 00:31:34,880
Speaker 2: to make the bass app and then build a little

556
00:31:34,920 --> 00:31:37,160
Speaker 2: box of the speaker and used to use the app

557
00:31:37,240 --> 00:31:40,360
Speaker 2: for the from the from the jukebox. So I played

558
00:31:40,400 --> 00:31:43,800
Speaker 2: bass and when he would he would play trumpet on

559
00:31:43,800 --> 00:31:45,400
Speaker 2: one tun and then I would move over to guitar

560
00:31:45,480 --> 00:31:49,560
Speaker 2: and we would do it was called we would play

561
00:31:49,560 --> 00:31:52,720
Speaker 2: the twist or something like that. It's we're talking the

562
00:31:53,160 --> 00:31:56,560
Speaker 2: Chubby Checker era. And uh so I played bass and

563
00:31:57,240 --> 00:31:59,400
Speaker 2: I think I played sacks in one track on one

564
00:31:59,440 --> 00:32:03,520
Speaker 2: cut too one one song, and that was that was

565
00:32:03,800 --> 00:32:06,320
Speaker 2: And then then then we rebelled that the drummer was

566
00:32:06,320 --> 00:32:09,880
Speaker 2: his son, and he we rebelled. We got we hired

567
00:32:09,920 --> 00:32:12,840
Speaker 2: another guitar, got a whole of another guitar player, so

568
00:32:12,880 --> 00:32:15,200
Speaker 2: we had two guitars and drums, and we started another

569
00:32:15,280 --> 00:32:19,320
Speaker 2: band called the Twilighters because we wanted to do something

570
00:32:19,320 --> 00:32:22,560
Speaker 2: a little more current. Back in Chicks Kunter Gentlemen, we

571
00:32:22,560 --> 00:32:28,720
Speaker 2: were playing red sales in the sun set that sleepy time.

572
00:32:29,120 --> 00:32:31,640
Speaker 2: But we wanted a rock out, so we we got

573
00:32:31,680 --> 00:32:33,440
Speaker 2: the two guitars and drums.

574
00:32:33,920 --> 00:32:36,760
Speaker 1: So how did you first hear the Beatles?

575
00:32:40,400 --> 00:32:46,600
Speaker 2: Had to be radio. But that's a really good question. Wow.

576
00:32:47,760 --> 00:32:50,720
Speaker 2: I just remember hearing I Want to Hold Your Hand

577
00:32:50,800 --> 00:32:54,360
Speaker 2: and being blown away by the rhythm track. I guess

578
00:32:54,360 --> 00:33:00,080
Speaker 2: it was Lennon playing rhythm. It was so cooking. We

579
00:33:00,080 --> 00:33:02,200
Speaker 2: we had we used to have saw cops at the

580
00:33:02,240 --> 00:33:04,840
Speaker 2: school and I was the I was the empty I would,

581
00:33:04,840 --> 00:33:09,400
Speaker 2: I was I would, that was the jock jockey, and

582
00:33:09,440 --> 00:33:11,760
Speaker 2: we had the we had the house PA set the

583
00:33:11,840 --> 00:33:14,320
Speaker 2: gym PA, and we had a little turntable on I

584
00:33:14,360 --> 00:33:17,400
Speaker 2: remember where it was a saw cop at noon. We'd

585
00:33:17,480 --> 00:33:20,000
Speaker 2: have them every Thursday or every Friday in the gym

586
00:33:20,080 --> 00:33:24,240
Speaker 2: for an hour and at noon. And so I remember,

587
00:33:24,440 --> 00:33:26,000
Speaker 2: I can't remember what tune it was, but I remember

588
00:33:26,000 --> 00:33:29,120
Speaker 2: playing the Beatles and I couldn't believe it. You know,

589
00:33:30,080 --> 00:33:32,760
Speaker 2: you know how the Beatles would be playing along you

590
00:33:32,920 --> 00:33:34,720
Speaker 2: you you'd be watching a video today, you watch a

591
00:33:34,800 --> 00:33:37,920
Speaker 2: video and they'd be playing a long and then this

592
00:33:37,920 --> 00:33:40,640
Speaker 2: this tension would build up with the girls and it

593
00:33:40,640 --> 00:33:42,240
Speaker 2: would build and build and building. Then it was the

594
00:33:42,320 --> 00:33:45,000
Speaker 2: explode into a scream. Everybody would scream at the same time,

595
00:33:45,280 --> 00:33:47,560
Speaker 2: and then I would kind of die die down on it.

596
00:33:47,880 --> 00:33:50,440
Speaker 2: Then it would slowly build up again. So three or

597
00:33:50,440 --> 00:33:53,640
Speaker 2: four times during the tune, whether it was Paul McCartney

598
00:33:53,720 --> 00:33:57,560
Speaker 2: doing the high falsetto scream or or they can imagine,

599
00:33:57,760 --> 00:34:01,320
Speaker 2: well I don't. I don't even know if they must

600
00:34:01,360 --> 00:34:04,360
Speaker 2: have been on Ed Sullivan, so maybe they imagine it

601
00:34:04,440 --> 00:34:07,880
Speaker 2: was Ringo shaking his head in this part. But so

602
00:34:07,920 --> 00:34:10,879
Speaker 2: I'm playing the record and there's no other reference. It's

603
00:34:10,880 --> 00:34:13,719
Speaker 2: not live, there's no video to go by, and the

604
00:34:13,760 --> 00:34:16,880
Speaker 2: tension is building, and I swear to god, all the

605
00:34:16,920 --> 00:34:20,719
Speaker 2: girls screaming at the same time. I want what is

606
00:34:20,800 --> 00:34:26,200
Speaker 2: going on here? And it's just just an observation. I

607
00:34:26,320 --> 00:34:28,880
Speaker 2: just it was just blew me away. The psychology, I

608
00:34:28,880 --> 00:34:32,200
Speaker 2: guess of it. How that can how how does that happen?

609
00:34:32,400 --> 00:34:32,640
Speaker 2: You know?

610
00:34:33,920 --> 00:34:36,759
Speaker 1: And Okay, so you graduate from high school, what's your

611
00:34:36,800 --> 00:34:37,279
Speaker 1: next move?

612
00:34:39,160 --> 00:34:42,640
Speaker 2: Or do UBC said goodbye to my mom, got on

613
00:34:42,680 --> 00:34:45,920
Speaker 2: the my mom and dad. My mom was had tears,

614
00:34:46,040 --> 00:34:50,239
Speaker 2: you know, because her little boy was leaving forever, as

615
00:34:50,239 --> 00:34:56,839
Speaker 2: it turns out, And so I I got to got

616
00:34:56,840 --> 00:35:00,440
Speaker 2: to my staying at a friend's place, and I went

617
00:35:00,480 --> 00:35:03,280
Speaker 2: to a I guess they call it a mixer where

618
00:35:03,320 --> 00:35:06,200
Speaker 2: it's like a frost week of freshman week. I don't

619
00:35:06,200 --> 00:35:08,080
Speaker 2: know what what do you guys call it, but call

620
00:35:08,120 --> 00:35:12,279
Speaker 2: it Frost week. So the big big community, the big

621
00:35:12,320 --> 00:35:16,919
Speaker 2: hall at the UBC, and I'm there and uh, there's

622
00:35:16,920 --> 00:35:18,520
Speaker 2: a band play and then they're you know, there are

623
00:35:18,680 --> 00:35:21,480
Speaker 2: me band And I have no idea what rhythm and

624
00:35:21,560 --> 00:35:23,319
Speaker 2: blues is. I don't have a clue about that. I'm

625
00:35:23,320 --> 00:35:27,319
Speaker 2: a surf guy. I've been playing surf for three four

626
00:35:27,400 --> 00:35:32,080
Speaker 2: years something like that. And uh, and I knew the

627
00:35:32,120 --> 00:35:34,279
Speaker 2: sax player. He was a friend of the family of

628
00:35:34,440 --> 00:35:39,000
Speaker 2: Brian Tansley, and he, you know, we started talking to me.

629
00:35:39,000 --> 00:35:41,040
Speaker 2: He said, he says, you know, I play guitar. Now

630
00:35:41,040 --> 00:35:43,040
Speaker 2: he says, really, he says, we're actually looking for a

631
00:35:43,080 --> 00:35:45,760
Speaker 2: guitar player or this guitar player. Our guitar players quitting

632
00:35:45,800 --> 00:35:49,480
Speaker 2: next week. Would you want to check it out? So

633
00:35:49,600 --> 00:35:53,200
Speaker 2: I joined that band, the band with the three Bryan's

634
00:35:53,360 --> 00:35:58,799
Speaker 2: and and me and me and the drummer, and did

635
00:35:58,800 --> 00:36:01,719
Speaker 2: that end try to figure out what R and B was,

636
00:36:02,080 --> 00:36:06,000
Speaker 2: what that groove was, and how to play rhythm guitar.

637
00:36:06,400 --> 00:36:09,719
Speaker 2: I didn't really have a clue. I was into playing lead,

638
00:36:09,800 --> 00:36:12,799
Speaker 2: you know, and just soul look, but I didn't know

639
00:36:12,800 --> 00:36:15,120
Speaker 2: how to play a hold on a rhythm. But I

640
00:36:15,160 --> 00:36:17,520
Speaker 2: figured it out, you know, and they were really patient

641
00:36:17,560 --> 00:36:20,840
Speaker 2: with me. And we did that for a while, and

642
00:36:20,880 --> 00:36:23,839
Speaker 2: then we got a singer, Kenny Steele, so we were

643
00:36:23,880 --> 00:36:28,040
Speaker 2: called Kenny Steele and the Chantells. Jamaican guy. He funny,

644
00:36:28,120 --> 00:36:31,040
Speaker 2: hilarious guy and a great He was a James Brown

645
00:36:32,400 --> 00:36:35,120
Speaker 2: fan and he would do all James Brown steps and

646
00:36:35,680 --> 00:36:38,200
Speaker 2: the splits and I'm sure he split his fans more

647
00:36:38,200 --> 00:36:41,640
Speaker 2: than once doing that on stage. And we were part

648
00:36:41,680 --> 00:36:43,680
Speaker 2: of the R and B scene in Vancouver. There was

649
00:36:44,400 --> 00:36:48,200
Speaker 2: probably eight of us or something eight of these bands,

650
00:36:48,239 --> 00:36:50,960
Speaker 2: and we'd do the circuit. We'd play, we'd play at

651
00:36:50,960 --> 00:36:53,680
Speaker 2: the UBC, at the frats and those were a blast.

652
00:36:54,320 --> 00:36:57,400
Speaker 2: You'd get just ship faced at those. There was a

653
00:36:57,400 --> 00:37:04,640
Speaker 2: lot of fun and and we played we played the arenas,

654
00:37:05,239 --> 00:37:09,520
Speaker 2: uh with multi band things. I promoted one when I

655
00:37:09,600 --> 00:37:12,279
Speaker 2: was in with Candy Steel. I promoted it Kendy Soon

656
00:37:12,320 --> 00:37:14,799
Speaker 2: I promoted it and we hired the other bands and

657
00:37:14,800 --> 00:37:20,000
Speaker 2: we hired a hall and it's called Land of a

658
00:37:20,040 --> 00:37:23,640
Speaker 2: Thousand Dances or something after the after the Wilson Pickett song.

659
00:37:23,920 --> 00:37:26,120
Speaker 2: I can't remember what what they what they gig was called,

660
00:37:26,120 --> 00:37:28,360
Speaker 2: but it caught on, and I think we might have

661
00:37:28,400 --> 00:37:31,440
Speaker 2: even got a bet of radio radio stuff. And we

662
00:37:31,520 --> 00:37:33,160
Speaker 2: hired it. Like I said, we hired this hall and

663
00:37:33,200 --> 00:37:36,320
Speaker 2: we there was like four or five R and B bands,

664
00:37:36,320 --> 00:37:39,759
Speaker 2: and we probably I'm pretty sure we headlined it. I mean,

665
00:37:39,760 --> 00:37:43,920
Speaker 2: why wouldn't we. We took a big chance. But and

666
00:37:43,920 --> 00:37:45,920
Speaker 2: it worked out great. Yeah, So that was that was

667
00:37:45,920 --> 00:37:47,439
Speaker 2: a fun thing to do. I've ember doing that.

668
00:37:47,960 --> 00:37:49,920
Speaker 1: And what about school? Were you going to school?

669
00:37:50,920 --> 00:37:54,640
Speaker 2: Yeah? Kind of, you know, I want to you. I

670
00:37:54,680 --> 00:37:58,480
Speaker 2: went to UBC. You know, I figured since I'm a writer,

671
00:37:59,120 --> 00:38:01,160
Speaker 2: I was. I figured I was pretty literate kind of

672
00:38:01,200 --> 00:38:03,319
Speaker 2: guy at the time, so I didn't really pay much

673
00:38:03,320 --> 00:38:06,560
Speaker 2: attention to English, but I aced everything else. I'd ace it.

674
00:38:06,640 --> 00:38:08,839
Speaker 2: I passed everything else at physics and history and all

675
00:38:08,840 --> 00:38:12,080
Speaker 2: this other stuff. But I didn't pay attention to English,

676
00:38:12,120 --> 00:38:15,120
Speaker 2: so I flunked English, so I couldn't go on the

677
00:38:15,239 --> 00:38:20,360
Speaker 2: second year. So I went. So I I think it

678
00:38:20,400 --> 00:38:22,239
Speaker 2: was it was something like that's a long time ago

679
00:38:22,280 --> 00:38:25,440
Speaker 2: about it's a really long time ago. But so I

680
00:38:25,600 --> 00:38:29,080
Speaker 2: I did that, but it wasn't it wasn't happening. I

681
00:38:29,160 --> 00:38:31,120
Speaker 2: my heart wasn't it. I just wanted to play music.

682
00:38:31,960 --> 00:38:35,440
Speaker 2: And from there I went to UH. I went to

683
00:38:35,480 --> 00:38:37,279
Speaker 2: b C i T, and I was I wanted to

684
00:38:37,320 --> 00:38:41,840
Speaker 2: get into I wanted to get into into it's a

685
00:38:41,840 --> 00:38:44,600
Speaker 2: British Columbia Institute Technology. I wanted to be a cameraman,

686
00:38:45,440 --> 00:38:47,320
Speaker 2: like in a TV studio. That's kind of what I

687
00:38:47,320 --> 00:38:50,239
Speaker 2: thought would be a really cool, cool show, cool gig dab.

688
00:38:51,280 --> 00:38:53,279
Speaker 2: But I couldn't. I couldn't get into b C I

689
00:38:53,320 --> 00:38:55,600
Speaker 2: T because my marks weren't good enough in high school.

690
00:38:56,239 --> 00:38:59,000
Speaker 2: I guess that's yeah. That was after after UBC, so

691
00:38:59,800 --> 00:39:05,759
Speaker 2: I enrolled in a night class. Of the task was

692
00:39:06,080 --> 00:39:11,160
Speaker 2: create a campaign to sell craft peanut butter and jel jam.

693
00:39:11,400 --> 00:39:14,960
Speaker 2: So that was you know, me and my three partners.

694
00:39:14,960 --> 00:39:18,000
Speaker 2: We came up with this this this I don't know

695
00:39:18,760 --> 00:39:20,680
Speaker 2: thing to do, not a great story.

696
00:39:28,160 --> 00:39:30,680
Speaker 1: So you wanted to become a cameraman. You were playing

697
00:39:30,800 --> 00:39:34,400
Speaker 1: this R and B band. At what point do you say, no,

698
00:39:34,520 --> 00:39:36,240
Speaker 1: I'm just going to focus on the music.

699
00:39:37,760 --> 00:39:38,920
Speaker 2: You know. I had a lot of a lot of

700
00:39:39,040 --> 00:39:44,759
Speaker 2: jobs I I went. I had my last job. I

701
00:39:45,080 --> 00:39:47,520
Speaker 2: was working on a bunch of warehouses. My last job,

702
00:39:47,600 --> 00:39:50,120
Speaker 2: I was working for the Coca Cola company. Were delivering

703
00:39:50,120 --> 00:39:54,520
Speaker 2: I was the delivery guy and six o'clock wake up

704
00:39:54,800 --> 00:39:57,719
Speaker 2: and seven o'clock start and we would drive her on

705
00:39:57,840 --> 00:40:00,440
Speaker 2: in the truck and you know, all these cases of

706
00:40:00,520 --> 00:40:04,200
Speaker 2: Fanta and whatever and take him into the local stores.

707
00:40:05,160 --> 00:40:09,440
Speaker 2: And I, because I was playing at night, I would

708
00:40:09,480 --> 00:40:11,960
Speaker 2: had had a gig. I don't think it was with

709
00:40:12,000 --> 00:40:14,960
Speaker 2: the Chantellas, there was. It was a splinter group from that,

710
00:40:15,680 --> 00:40:17,560
Speaker 2: and I was playing. I got a gig playing six

711
00:40:17,640 --> 00:40:21,200
Speaker 2: nights a week in a club in Vancouver, well Ken Harry's.

712
00:40:21,800 --> 00:40:24,840
Speaker 2: We had a we had a trio, guitar, bass and drums,

713
00:40:25,000 --> 00:40:27,960
Speaker 2: really great band. And I was doing that every night.

714
00:40:27,960 --> 00:40:31,640
Speaker 2: And then I was driving home, uh, staying with my

715
00:40:31,640 --> 00:40:35,000
Speaker 2: aunt uncles, and that was like a half hour drive

716
00:40:35,120 --> 00:40:38,200
Speaker 2: or whatever. Get into bed at three, up at six.

717
00:40:38,480 --> 00:40:42,400
Speaker 2: You know how long that lasted. So I fell asleep

718
00:40:42,400 --> 00:40:44,560
Speaker 2: in the cab and then the guy they fired me

719
00:40:44,640 --> 00:40:47,719
Speaker 2: right there on the spot and I'm you're useless, get

720
00:40:47,760 --> 00:40:50,640
Speaker 2: out here. That was my last gig. I went, you

721
00:40:50,640 --> 00:40:53,680
Speaker 2: know what, I'm just gonna I'll be okay, I'm just

722
00:40:53,680 --> 00:40:55,680
Speaker 2: going to play this, play these six nights a week,

723
00:40:55,880 --> 00:40:58,320
Speaker 2: having a blast loving it. What do I want to

724
00:40:58,080 --> 00:41:04,440
Speaker 2: have a street gig for? Okay, So what's the next band?

725
00:41:07,840 --> 00:41:10,320
Speaker 2: Well I got I got a job playing bass again

726
00:41:11,160 --> 00:41:13,279
Speaker 2: in a in a band called Glasshouse, and we were

727
00:41:13,280 --> 00:41:16,359
Speaker 2: playing the what was the name of it, I can't

728
00:41:16,400 --> 00:41:19,080
Speaker 2: remember the name of the club, and six nights a

729
00:41:19,080 --> 00:41:22,120
Speaker 2: week we had. There's no shortage of work in Vancouver

730
00:41:22,160 --> 00:41:24,440
Speaker 2: at the time. There were so many clubs playing six

731
00:41:24,560 --> 00:41:28,319
Speaker 2: nights a week, three sets. It was fantastic never you know,

732
00:41:28,400 --> 00:41:31,400
Speaker 2: and then Sunday off and then back at it. And

733
00:41:33,000 --> 00:41:37,960
Speaker 2: so this this trio that I had it, uh, I

734
00:41:37,960 --> 00:41:40,120
Speaker 2: don't really I can't remember the timeline if if the

735
00:41:40,160 --> 00:41:43,279
Speaker 2: trio was before it, or I suspect it was probably after.

736
00:41:43,400 --> 00:41:47,080
Speaker 2: But anyway, I had this gig, and now it's coming

737
00:41:47,080 --> 00:41:49,160
Speaker 2: to me. I had this gig with the drummer and

738
00:41:50,000 --> 00:41:52,319
Speaker 2: I was playing bass with the guitar player. There's probably

739
00:41:52,360 --> 00:41:57,320
Speaker 2: a key opener or something, and the guitar player wanted

740
00:41:57,320 --> 00:41:59,160
Speaker 2: to go on holidays, so we went on holidays per

741
00:41:59,239 --> 00:42:03,160
Speaker 2: week and I moved over to guitar and somebody else

742
00:42:03,160 --> 00:42:06,040
Speaker 2: played bass and the guitar player came back, and unfortunately

743
00:42:06,040 --> 00:42:08,480
Speaker 2: he didn't have a gig anymore, and it was his gig.

744
00:42:08,840 --> 00:42:12,000
Speaker 2: So I feel a little bit bad about that, but

745
00:42:12,280 --> 00:42:15,000
Speaker 2: that's kind of how it works, you know. And I

746
00:42:15,040 --> 00:42:18,400
Speaker 2: hooked up with the drummer, and so the drummer and

747
00:42:18,440 --> 00:42:22,600
Speaker 2: I we moved from from that club to All Kind

748
00:42:22,640 --> 00:42:27,040
Speaker 2: Harry's and we were we had a band called Fat Soul,

749
00:42:27,920 --> 00:42:33,280
Speaker 2: and we had two big guys sitting up singing out front,

750
00:42:33,480 --> 00:42:40,319
Speaker 2: and so we call ourselves Fat Soul. And then that

751
00:42:40,440 --> 00:42:42,759
Speaker 2: didn't work out for whatever reason. I think one of

752
00:42:42,800 --> 00:42:45,480
Speaker 2: the guys maybe went to jail and got deported or something,

753
00:42:45,560 --> 00:42:51,600
Speaker 2: and so it's kind of it's a little bit gray

754
00:42:52,400 --> 00:42:55,600
Speaker 2: for me in that how that all came about. But

755
00:42:56,160 --> 00:42:58,920
Speaker 2: suffice to say that, and this is going to lead

756
00:42:58,920 --> 00:43:01,520
Speaker 2: me up to my original co about that other band.

757
00:43:04,600 --> 00:43:07,520
Speaker 2: So we we were building back, the drummer and I

758
00:43:07,560 --> 00:43:11,239
Speaker 2: were playing together, and then I guess for somehow Brian

759
00:43:11,360 --> 00:43:13,480
Speaker 2: Newcomb came onto the scene. He was the bass player

760
00:43:14,360 --> 00:43:16,480
Speaker 2: and we had a different keyboard player, and then that

761
00:43:16,600 --> 00:43:19,279
Speaker 2: keyboard player went away and we got we got this

762
00:43:19,400 --> 00:43:23,440
Speaker 2: dude from Tacoma, Clyde Harvey, playing keyboards and singing, and

763
00:43:24,560 --> 00:43:26,520
Speaker 2: all of a sudden we were doing we were really

764
00:43:26,560 --> 00:43:29,600
Speaker 2: doing it. We started doing all original tunes we do.

765
00:43:29,920 --> 00:43:32,320
Speaker 2: We did a couple of covers. We did a really

766
00:43:32,320 --> 00:43:37,359
Speaker 2: cool combination of of day Tripper into Lickingstick James Brown song,

767
00:43:37,920 --> 00:43:40,560
Speaker 2: and we did a we did a cover of sing

768
00:43:40,600 --> 00:43:44,280
Speaker 2: a simple song. But we had an albums with the stuff,

769
00:43:44,719 --> 00:43:51,959
Speaker 2: so we rehearsed it and we ended up got together Maca.

770
00:43:52,040 --> 00:43:55,239
Speaker 2: We ended up we toured across Canada. We played in

771
00:43:55,280 --> 00:43:59,520
Speaker 2: calg We opened for Steppenwolf and we and we opened

772
00:43:59,560 --> 00:44:02,560
Speaker 2: for the Get Sue, who were humongous at the time,

773
00:44:03,239 --> 00:44:08,399
Speaker 2: and UH in Edmonton and UH we played the what's

774
00:44:08,520 --> 00:44:12,000
Speaker 2: called the Festival Express in Calgary with Janis Joppelin and

775
00:44:12,120 --> 00:44:17,040
Speaker 2: Grateful Dad. That was unreal, and then UH we we

776
00:44:17,080 --> 00:44:20,440
Speaker 2: moved to Toronto and we started playing around there. We

777
00:44:20,480 --> 00:44:26,000
Speaker 2: had I was in charge of accommodations, so somehow I

778
00:44:26,040 --> 00:44:28,680
Speaker 2: had a knack for finding houses that were either free

779
00:44:29,360 --> 00:44:32,080
Speaker 2: or two hundred bucks a month or three hundred bucks

780
00:44:32,080 --> 00:44:34,560
Speaker 2: a month. And we're there's five guys in the band.

781
00:44:34,560 --> 00:44:36,960
Speaker 2: We had two ladies living with our manager Lou Blair,

782
00:44:37,280 --> 00:44:38,920
Speaker 2: so we had to it had to be a pretty

783
00:44:38,920 --> 00:44:41,880
Speaker 2: big house. But I found I found a condemned house

784
00:44:42,000 --> 00:44:46,880
Speaker 2: that we all lived in. It was in Toronto, and

785
00:44:47,000 --> 00:44:49,160
Speaker 2: uh so we're you know, we used to practice. We

786
00:44:49,280 --> 00:44:50,799
Speaker 2: set up in there and we'd played. We had a

787
00:44:50,800 --> 00:44:54,080
Speaker 2: few gigs. We then one time we got a gig

788
00:44:54,120 --> 00:44:56,239
Speaker 2: in in Ottawa. It was it was playing at the

789
00:44:56,360 --> 00:45:00,840
Speaker 2: at the university there, and so we went up there.

790
00:45:00,880 --> 00:45:02,719
Speaker 2: It was two nights, so we went up there and

791
00:45:03,000 --> 00:45:05,120
Speaker 2: stayed overnight and did the two nights and we came

792
00:45:05,160 --> 00:45:09,120
Speaker 2: back to our house that was free. And the reason

793
00:45:09,120 --> 00:45:11,560
Speaker 2: it was free was because there was no plumbing, but

794
00:45:11,560 --> 00:45:14,560
Speaker 2: it had electricity for some reason. So we had a

795
00:45:14,560 --> 00:45:17,440
Speaker 2: hot we had a hot plate, and we had a

796
00:45:17,480 --> 00:45:20,240
Speaker 2: milk cooler you know where they put the big jugs

797
00:45:20,239 --> 00:45:22,680
Speaker 2: and milk in for in a restaurant. That was our fridge.

798
00:45:22,840 --> 00:45:24,640
Speaker 2: I don't know how we got that. And there was

799
00:45:24,680 --> 00:45:31,520
Speaker 2: a this is pretty yeah, this this is really down.

800
00:45:31,600 --> 00:45:34,399
Speaker 2: But yeah, I mean we were, we were. We didn't care.

801
00:45:34,719 --> 00:45:37,799
Speaker 2: We really had no pride. We didn't care. And the

802
00:45:37,840 --> 00:45:40,240
Speaker 2: only running water was at the gas station on the corner.

803
00:45:40,239 --> 00:45:42,000
Speaker 2: And we used to go down there every morning a

804
00:45:42,080 --> 00:45:44,640
Speaker 2: night or whatever and get our get our water for

805
00:45:44,760 --> 00:45:49,160
Speaker 2: our our coffee and stuff and so, and we would

806
00:45:49,440 --> 00:45:51,480
Speaker 2: we would practice in there, and we would jam. We

807
00:45:51,480 --> 00:45:53,960
Speaker 2: would jam for hours. And so we finally got this

808
00:45:54,040 --> 00:46:00,120
Speaker 2: gig up and up and in Ottawa and Carl to

809
00:46:00,120 --> 00:46:01,879
Speaker 2: the university. So we're up there and we come back

810
00:46:01,920 --> 00:46:05,680
Speaker 2: and our house free house that we're not paying any rents,

811
00:46:05,680 --> 00:46:08,400
Speaker 2: so we have absolutely no claim to has been taken

812
00:46:08,400 --> 00:46:14,560
Speaker 2: over by four or five speed dealers and fetamine dealers.

813
00:46:14,880 --> 00:46:18,279
Speaker 2: And I was a little freaky if they'd taken all

814
00:46:18,320 --> 00:46:20,239
Speaker 2: our stuff and moved it into one of the bedrooms

815
00:46:20,480 --> 00:46:24,359
Speaker 2: and set up their their place. And Lou Blair, if

816
00:46:24,480 --> 00:46:28,040
Speaker 2: if anybody knows Lou Blair, Lou is a wass his

817
00:46:28,280 --> 00:46:31,160
Speaker 2: bless his heart. He's a big guy. He's like six

818
00:46:31,320 --> 00:46:32,959
Speaker 2: three and he's a big guy and you don't mess

819
00:46:33,000 --> 00:46:37,640
Speaker 2: with Lou and a real he could bust balls. So anyway,

820
00:46:37,680 --> 00:46:41,600
Speaker 2: I just remember him taking a mic stand, because we

821
00:46:41,800 --> 00:46:44,200
Speaker 2: had everything in our in our van, taking a mic

822
00:46:44,239 --> 00:46:49,480
Speaker 2: stand into the into the house, and that kind of

823
00:46:49,520 --> 00:46:51,759
Speaker 2: solved the problem for us and we were able to

824
00:46:51,800 --> 00:46:55,319
Speaker 2: move back in the house again. So and of course

825
00:46:55,320 --> 00:46:59,160
Speaker 2: the irony is that we ended up driving these guys

826
00:46:59,480 --> 00:47:03,879
Speaker 2: to their next house. They found another dilapidated place where

827
00:47:03,880 --> 00:47:06,759
Speaker 2: they could take over. So we ended up driving them

828
00:47:06,760 --> 00:47:08,680
Speaker 2: and their gear back and then we were back in

829
00:47:08,760 --> 00:47:10,240
Speaker 2: our free house.

830
00:47:11,000 --> 00:47:14,200
Speaker 1: Okay, And how does this eventually turn into lover Boy?

831
00:47:15,600 --> 00:47:18,399
Speaker 2: Just just let me let me say so. We we

832
00:47:18,400 --> 00:47:20,640
Speaker 2: were lucky enough to get a recording deal with Louis

833
00:47:20,680 --> 00:47:23,520
Speaker 2: lou Blair as well, and we recorded an album and

834
00:47:24,640 --> 00:47:26,920
Speaker 2: that album is going to be released shortly if I

835
00:47:26,960 --> 00:47:29,759
Speaker 2: did a complete restoration on it, like over the Pandemic,

836
00:47:29,800 --> 00:47:31,560
Speaker 2: like I did on the Live in eighty two, and

837
00:47:31,600 --> 00:47:36,640
Speaker 2: that's that's going to come out shortly. So from there

838
00:47:37,640 --> 00:47:41,239
Speaker 2: I joined a band called Scrubble Okaine and it was

839
00:47:41,280 --> 00:47:43,600
Speaker 2: in that band for three years and we played Toronto

840
00:47:43,680 --> 00:47:46,520
Speaker 2: in Winnipeg and that and also recorded an album for

841
00:47:46,560 --> 00:47:52,520
Speaker 2: the same company RCA, which became Sony, And from that

842
00:47:52,680 --> 00:47:57,040
Speaker 2: I then I moved to Then that band sort of

843
00:47:57,040 --> 00:48:02,600
Speaker 2: fell apart, and then I met Matt for Nat Loveboy drummer.

844
00:48:03,080 --> 00:48:05,399
Speaker 2: He's playing in a band called Great Canadian River Race

845
00:48:05,440 --> 00:48:08,600
Speaker 2: in Edmonton. And I had no no gigs. I was

846
00:48:08,719 --> 00:48:11,759
Speaker 2: I was phoning all the agents around Canada wondering if

847
00:48:11,800 --> 00:48:13,719
Speaker 2: any if they knew anybody that was looking for a

848
00:48:13,719 --> 00:48:19,879
Speaker 2: guitar player, and they they said, the Great Canadian River

849
00:48:19,920 --> 00:48:22,239
Speaker 2: it is is looking for guitar players. So I went

850
00:48:22,280 --> 00:48:25,560
Speaker 2: and auditioned them as they auditioned me, and uh it was.

851
00:48:25,640 --> 00:48:27,799
Speaker 2: The music was a bit of a stretch. There was

852
00:48:27,920 --> 00:48:30,919
Speaker 2: a couple of the originals and was Stevie Wonder, which

853
00:48:30,920 --> 00:48:33,080
Speaker 2: I'd never done to Steely Dan, which I'd never played

854
00:48:33,560 --> 00:48:37,200
Speaker 2: that kind of a little more jazzy. But I was

855
00:48:37,280 --> 00:48:39,319
Speaker 2: up for the challenge. But the main thing is I

856
00:48:39,320 --> 00:48:42,760
Speaker 2: wanted to play with Matt, because Matt. When I played

857
00:48:42,800 --> 00:48:44,880
Speaker 2: with Matt, it was like an automatic thing. It was

858
00:48:45,520 --> 00:48:49,680
Speaker 2: we locked into the groove, no question, like no other

859
00:48:49,760 --> 00:48:52,880
Speaker 2: drummer I'd never played with. So I went, well, you know,

860
00:48:53,440 --> 00:48:56,640
Speaker 2: let's see where it goes. So we rolled that for

861
00:48:56,680 --> 00:48:58,839
Speaker 2: a couple of years and then I got a call

862
00:48:59,440 --> 00:49:03,040
Speaker 2: late night from the Streetheart Guys and Matt and I

863
00:49:03,120 --> 00:49:06,440
Speaker 2: joined that band for I guess a couple of years.

864
00:49:07,120 --> 00:49:09,480
Speaker 2: So I was fired from that band, but I was

865
00:49:09,520 --> 00:49:12,520
Speaker 2: still working with Lou Blair, the manager. He was he

866
00:49:12,640 --> 00:49:14,399
Speaker 2: was a huge support of me all through my whole

867
00:49:14,440 --> 00:49:20,560
Speaker 2: career and he had this nightclub called the Refinery Club

868
00:49:20,560 --> 00:49:22,640
Speaker 2: in Calgary, and behind it was a body an old

869
00:49:22,680 --> 00:49:24,719
Speaker 2: body shop was It wasn't a body shopping, but it

870
00:49:24,760 --> 00:49:28,000
Speaker 2: was a shell of a body shop. And he said,

871
00:49:29,000 --> 00:49:30,719
Speaker 2: I was working on a solo album at the time.

872
00:49:31,440 --> 00:49:33,439
Speaker 2: To be honest, I had been fed up with working

873
00:49:33,440 --> 00:49:36,160
Speaker 2: the lead singers and have him quit or fire me

874
00:49:36,320 --> 00:49:38,239
Speaker 2: or do something, you know. So I said, you know what,

875
00:49:38,320 --> 00:49:40,799
Speaker 2: I'm going to beat the singer hell with it. So

876
00:49:40,880 --> 00:49:43,200
Speaker 2: I started working on tunes and singing them and doing

877
00:49:43,239 --> 00:49:45,080
Speaker 2: demos for them. I got a hold of a four

878
00:49:45,120 --> 00:49:50,040
Speaker 2: track in this warehouse, and then I got I had

879
00:49:50,080 --> 00:49:54,360
Speaker 2: this gig once again, a bass player working for the

880
00:49:54,400 --> 00:49:57,279
Speaker 2: a CDC cover band. And we were rehearsing one night

881
00:49:57,320 --> 00:49:59,720
Speaker 2: in this warehouse in the monkst you know, in between

882
00:49:59,760 --> 00:50:03,680
Speaker 2: me working on my own stuff, and Mike Reno came

883
00:50:03,680 --> 00:50:07,560
Speaker 2: by and he used to work with the guitar player

884
00:50:08,760 --> 00:50:12,760
Speaker 2: and yeah, because he just left his band Moxie in Toronto,

885
00:50:13,719 --> 00:50:17,319
Speaker 2: just just right right then, so he was he was

886
00:50:17,600 --> 00:50:19,560
Speaker 2: at odds and so was I. We didn't have anything

887
00:50:19,560 --> 00:50:23,200
Speaker 2: going on really, so he would he and uh. Then

888
00:50:23,239 --> 00:50:25,920
Speaker 2: the guitar player were in the in the second room.

889
00:50:26,239 --> 00:50:30,040
Speaker 2: They were jamming, and I heard Mike sing and I

890
00:50:30,040 --> 00:50:32,960
Speaker 2: said to myself, you know, this guy has got an

891
00:50:33,000 --> 00:50:35,640
Speaker 2: amazing voice. Wow. I was like, he blew me away.

892
00:50:35,920 --> 00:50:37,840
Speaker 2: It's kind of like when I played with Matt. It

893
00:50:37,920 --> 00:50:41,000
Speaker 2: was like an automatic. This is amazing, This is like,

894
00:50:41,160 --> 00:50:43,560
Speaker 2: this is where I'm at. And I heard him sing

895
00:50:44,440 --> 00:50:48,319
Speaker 2: and I approached him and I says, you know, blah

896
00:50:48,360 --> 00:50:51,440
Speaker 2: blah blah, you're what an amazing singer. We shouldn't you

897
00:50:51,480 --> 00:50:53,440
Speaker 2: want to get together and see if we can you know,

898
00:50:53,760 --> 00:50:55,960
Speaker 2: do something. He says, yeah, sir, he says, I'll come

899
00:50:56,000 --> 00:50:59,000
Speaker 2: back tomorrow. So he came back tomorrow the next day,

900
00:50:59,040 --> 00:51:02,120
Speaker 2: I should say, and we wrote two songs together on

901
00:51:02,160 --> 00:51:05,400
Speaker 2: the first night, and that was That was the beginning

902
00:51:05,440 --> 00:51:09,120
Speaker 2: of That was it. It's never never turned back and

903
00:51:09,200 --> 00:51:09,799
Speaker 2: never looked back.

904
00:51:11,000 --> 00:51:15,359
Speaker 1: Okay, prior to this, how do you view yourself as

905
00:51:15,400 --> 00:51:18,920
Speaker 1: an itinerant musician or are you still looking for your

906
00:51:18,960 --> 00:51:21,320
Speaker 1: one big break to become famous?

907
00:51:23,440 --> 00:51:27,920
Speaker 2: Well you mean at that point, yeah, I would. I

908
00:51:27,960 --> 00:51:30,359
Speaker 2: had this naive thing that every band I was in

909
00:51:30,520 --> 00:51:32,279
Speaker 2: right from the get go, well maybe not the first

910
00:51:32,320 --> 00:51:35,319
Speaker 2: of the three I was in and WHINEVERBC. But when

911
00:51:35,320 --> 00:51:37,960
Speaker 2: I moved to Vancouver, you know, we did some recording there.

912
00:51:38,400 --> 00:51:41,000
Speaker 2: I figured this is great. We got all the elements.

913
00:51:41,080 --> 00:51:45,080
Speaker 2: You know, we got good songs, good players, decent image,

914
00:51:45,360 --> 00:51:47,560
Speaker 2: this is this is going to be great. And then

915
00:51:47,719 --> 00:51:49,360
Speaker 2: that was in every band I was in. I was

916
00:51:49,440 --> 00:51:54,400
Speaker 2: always that belief that I'm gonna this, this band is

917
00:51:54,440 --> 00:51:57,400
Speaker 2: going to take me over the dog. And I typically

918
00:51:57,440 --> 00:52:00,759
Speaker 2: I would give a band three years to arvich like

919
00:52:00,800 --> 00:52:03,719
Speaker 2: the time, and if it didn't happen for whatever reason,

920
00:52:03,719 --> 00:52:07,880
Speaker 2: because there's conflicts or we just couldn't get up, people

921
00:52:07,920 --> 00:52:11,120
Speaker 2: didn't like it enough, they weren't really responding to it,

922
00:52:11,960 --> 00:52:15,680
Speaker 2: or you know, and I would move on. And uh,

923
00:52:17,040 --> 00:52:19,360
Speaker 2: and I was I guess I was probably thinking the

924
00:52:19,400 --> 00:52:23,239
Speaker 2: same thing with working with Mike. We'll give it see

925
00:52:23,280 --> 00:52:28,280
Speaker 2: where it goes. And we we just we started playing

926
00:52:28,320 --> 00:52:32,680
Speaker 2: together and we auditioning drummers, and uh, Doug Johnson was

927
00:52:32,719 --> 00:52:35,120
Speaker 2: already I'd already done some of those demos before I

928
00:52:35,120 --> 00:52:37,839
Speaker 2: met Mike. He and I Doug Johnson, the loved Boy

929
00:52:37,880 --> 00:52:41,640
Speaker 2: keyboard player. He and I did some demos together, so

930
00:52:41,760 --> 00:52:43,759
Speaker 2: I knew Doug and it was the same thing. Doug

931
00:52:43,880 --> 00:52:48,200
Speaker 2: was it is It wasn't is the most amazing creator.

932
00:52:48,480 --> 00:52:52,000
Speaker 2: It's so creative and a great technician and great sounds

933
00:52:52,080 --> 00:52:56,280
Speaker 2: and really good player, so you know, and then we

934
00:52:56,280 --> 00:52:59,320
Speaker 2: we auditioned Mike and I. We auditioned a bunch of

935
00:52:59,320 --> 00:53:03,719
Speaker 2: bass players, a bunch of drummers, and finally, just you know,

936
00:53:04,719 --> 00:53:08,440
Speaker 2: Matt left Streetheart after I got the boot from it.

937
00:53:09,400 --> 00:53:12,399
Speaker 2: He stayed around for a year, a year or two,

938
00:53:12,960 --> 00:53:15,719
Speaker 2: and I guess he finally got disillusioned. Then he moved

939
00:53:15,719 --> 00:53:19,480
Speaker 2: back to Vancouver, where he was from and where Mike

940
00:53:19,520 --> 00:53:21,480
Speaker 2: and I and Doug had moved to. We moved to

941
00:53:21,520 --> 00:53:25,200
Speaker 2: be near Bruce Allen, who I think you might know who.

942
00:53:25,280 --> 00:53:31,800
Speaker 2: He is pretty famous dude manager Michael Buble and Exit

943
00:53:32,960 --> 00:53:36,440
Speaker 2: Bran Adams, and he was managing us, so we wanted

944
00:53:36,440 --> 00:53:38,000
Speaker 2: to be near him, so we moved.

945
00:53:37,800 --> 00:53:41,280
Speaker 1: Wa wa wa. Believe me, I know Bruce a little

946
00:53:41,280 --> 00:53:45,400
Speaker 1: bit slower. Lou Blair is working with you. How do

947
00:53:45,440 --> 00:53:46,960
Speaker 1: you end up working with Bruce?

948
00:53:48,160 --> 00:53:52,680
Speaker 2: Bruce and Lou knew each other from the clubs in Vancouver.

949
00:53:53,040 --> 00:53:57,680
Speaker 2: I know that we were working one club called the

950
00:53:57,760 --> 00:54:01,160
Speaker 2: Cave and Lou was a bounce there. That's when I

951
00:54:01,200 --> 00:54:04,399
Speaker 2: met him. Yeah, this is way back. They knew each

952
00:54:04,400 --> 00:54:08,840
Speaker 2: other forever, and uh so we were we put the

953
00:54:08,880 --> 00:54:12,319
Speaker 2: band together. We had Doug and Mike and me and

954
00:54:12,360 --> 00:54:15,280
Speaker 2: then we had a phil and bass player who later

955
00:54:15,560 --> 00:54:17,680
Speaker 2: quit what he wanted to be a stockbroker and said,

956
00:54:17,719 --> 00:54:19,960
Speaker 2: which is cool, but we never really had a drummer.

957
00:54:21,600 --> 00:54:24,640
Speaker 2: But Lou in his wish and said, you know, I

958
00:54:25,160 --> 00:54:27,279
Speaker 2: got a lot of connections, but I don't have Bruce

959
00:54:27,320 --> 00:54:30,080
Speaker 2: Allen's connections. I want to bring Bruce Allen in on

960
00:54:30,160 --> 00:54:33,160
Speaker 2: this and co manage you guys. If you're cool with that, well,

961
00:54:33,160 --> 00:54:36,360
Speaker 2: I don't know. You're the manager, dude, You need you

962
00:54:36,480 --> 00:54:37,279
Speaker 2: think you should do?

963
00:54:37,600 --> 00:54:37,840
Speaker 1: You know?

964
00:54:39,120 --> 00:54:42,440
Speaker 2: So I didn't know Bruce and Lou suggested that we

965
00:54:42,480 --> 00:54:45,480
Speaker 2: moved to Vancouver so that we could be available should

966
00:54:45,680 --> 00:54:48,600
Speaker 2: something happen. Plus, It's was much more of a center

967
00:54:48,640 --> 00:54:52,920
Speaker 2: for musicians and studios and everything. It was a center

968
00:54:53,080 --> 00:54:58,480
Speaker 2: of Western Canada still is. So we moved there and Uh,

969
00:54:58,960 --> 00:55:01,920
Speaker 2: then we we got to play, used to rehearse. Uh

970
00:55:02,960 --> 00:55:06,120
Speaker 2: we had. We had the most amazing drummer before Matt

971
00:55:06,200 --> 00:55:11,000
Speaker 2: left Streetheart, Brian to Loud McLeod. He was the guitar player,

972
00:55:11,160 --> 00:55:18,640
Speaker 2: drummer from Chilliwac uh and incredibly talented guy. He produced

973
00:55:18,760 --> 00:55:24,279
Speaker 2: my first solo album, Actually Hardcore with and Uh taught

974
00:55:24,320 --> 00:55:26,600
Speaker 2: me a lot of stuff. He had, he had a

975
00:55:26,680 --> 00:55:28,520
Speaker 2: he had a great boat. He used to record on

976
00:55:28,560 --> 00:55:31,520
Speaker 2: his boat, and he used to live on his boat,

977
00:55:31,719 --> 00:55:35,000
Speaker 2: and he had his amplifier, his marshall amp in the

978
00:55:35,000 --> 00:55:38,520
Speaker 2: hold of the boat with the with the cover over it,

979
00:55:38,719 --> 00:55:41,319
Speaker 2: and he would record on this boat. Can't imagine his

980
00:55:41,400 --> 00:55:45,200
Speaker 2: neighbors at the you know, at the marina. McCleod shut up,

981
00:55:45,239 --> 00:55:51,240
Speaker 2: you know, but so he was anyway, he decided, Brian

982
00:55:51,400 --> 00:55:53,719
Speaker 2: decided that he didn't want to be a drummer. He

983
00:55:53,760 --> 00:55:55,319
Speaker 2: didn't want to be our drummer. Or he didn't want

984
00:55:55,320 --> 00:55:59,760
Speaker 2: to be a drummer, and he gave us his notice.

985
00:55:59,760 --> 00:56:02,040
Speaker 2: But we weren't playing. We were just learning. Still, we

986
00:56:02,080 --> 00:56:05,680
Speaker 2: were writing songs. I think we're probably up to maybe

987
00:56:05,719 --> 00:56:10,120
Speaker 2: ten songs by then, and Brian Brian walked, so we

988
00:56:10,160 --> 00:56:13,320
Speaker 2: didn't have a drummer. But right at that point, Matt

989
00:56:13,640 --> 00:56:16,880
Speaker 2: moved back to Vancouver. So Mike and I went and

990
00:56:16,960 --> 00:56:19,960
Speaker 2: we wooed him back into you know, well let's try it.

991
00:56:20,200 --> 00:56:22,400
Speaker 2: Come on, man, try it. You might try it, you

992
00:56:22,480 --> 00:56:26,880
Speaker 2: might like it. And he was really, really reticent. He

993
00:56:27,000 --> 00:56:29,480
Speaker 2: was like, I don't want to I don't know if

994
00:56:29,480 --> 00:56:30,960
Speaker 2: I want to be in a band again. And I

995
00:56:31,040 --> 00:56:33,160
Speaker 2: just got went through this street yard thing and it

996
00:56:33,200 --> 00:56:36,200
Speaker 2: was a nightmare. I don't want but anyway, we well

997
00:56:36,400 --> 00:56:39,959
Speaker 2: what he got to lose. Plus he had a house

998
00:56:40,000 --> 00:56:42,560
Speaker 2: that we could rehearse in, so that was a that's

999
00:56:42,600 --> 00:56:47,759
Speaker 2: a real bonus force and uh we but before that,

1000
00:56:47,840 --> 00:56:50,680
Speaker 2: before we moved into his house to we had this

1001
00:56:51,200 --> 00:56:55,839
Speaker 2: rehearsal place in North Vancouver somewhere. And the bass player

1002
00:56:55,880 --> 00:57:02,120
Speaker 2: at the time, Vern Wills. He amazing singer and amazing

1003
00:57:02,160 --> 00:57:04,520
Speaker 2: bass player, but he wanted to be a guitar player

1004
00:57:04,560 --> 00:57:06,919
Speaker 2: and he wanted to front his own band, which he's

1005
00:57:06,960 --> 00:57:10,279
Speaker 2: totally capable of doing. So that fell apart. So we

1006
00:57:10,280 --> 00:57:12,279
Speaker 2: didn't have a bass player or a drummer, but we

1007
00:57:12,360 --> 00:57:15,839
Speaker 2: still let the core, the writing core, Doug and Mike

1008
00:57:15,880 --> 00:57:19,240
Speaker 2: and me, and we wrote basically all the songs. We've

1009
00:57:19,360 --> 00:57:21,680
Speaker 2: done a couple of covers in our career, but mainly

1010
00:57:21,680 --> 00:57:23,520
Speaker 2: it's the three of us would do all the rating.

1011
00:57:24,440 --> 00:57:29,000
Speaker 1: Okay, you're living in Vancouver, Blue hooks you up with Bruce.

1012
00:57:29,600 --> 00:57:32,560
Speaker 1: What happens after that career wise.

1013
00:57:33,240 --> 00:57:36,360
Speaker 2: Well, just to cut the shory, start Matt. Now we

1014
00:57:36,400 --> 00:57:38,760
Speaker 2: had Matt, and then we needed a drummer, and Mike

1015
00:57:38,840 --> 00:57:41,840
Speaker 2: and I went to we heard about this great funky

1016
00:57:41,840 --> 00:57:44,000
Speaker 2: bass player played with it, an act got a tronic

1017
00:57:44,040 --> 00:57:47,400
Speaker 2: called Lisa DelBello, and I think this is way back.

1018
00:57:47,920 --> 00:57:49,840
Speaker 2: We were still living in Calgary at the time, because

1019
00:57:49,880 --> 00:57:52,360
Speaker 2: it was in Red Deer, which is just about I

1020
00:57:52,360 --> 00:57:55,720
Speaker 2: don't know, sixty miles or something north of Calgary. So

1021
00:57:55,760 --> 00:57:58,320
Speaker 2: we drove up there and we were blown away by

1022
00:57:58,360 --> 00:58:00,400
Speaker 2: this guy. And we didn't meet him. Wait, I think

1023
00:58:00,400 --> 00:58:03,919
Speaker 2: we just watched him. Yeah, this guy's cool. So we

1024
00:58:03,920 --> 00:58:07,280
Speaker 2: we called him up afterwards and invited him to come

1025
00:58:07,280 --> 00:58:10,760
Speaker 2: out to Calgary, and I just remember when I picked

1026
00:58:10,840 --> 00:58:12,760
Speaker 2: him up at the airport, and I remember meeting Scott

1027
00:58:13,960 --> 00:58:17,440
Speaker 2: uh dearly departed Scott Smith, and it was like a

1028
00:58:17,480 --> 00:58:19,800
Speaker 2: long lost brother meeting him with the right off the bat.

1029
00:58:19,840 --> 00:58:23,520
Speaker 2: It was like instant ease. Just couldn't have a better

1030
00:58:23,600 --> 00:58:26,440
Speaker 2: rapport with the guy. It was just magic. Same with

1031
00:58:26,520 --> 00:58:29,480
Speaker 2: all the other guys. It was just just magic, totally

1032
00:58:29,480 --> 00:58:34,320
Speaker 2: on the same pH musically. So then we started rehearsing

1033
00:58:34,960 --> 00:58:37,480
Speaker 2: for real once we had We're all in Vancouver by

1034
00:58:37,480 --> 00:58:41,640
Speaker 2: this time, and we had some of that. We had

1035
00:58:41,800 --> 00:58:45,560
Speaker 2: every record company come up and come to our rehearsals.

1036
00:58:46,080 --> 00:58:47,720
Speaker 2: I remember a couple of guys that come up and

1037
00:58:47,720 --> 00:58:50,200
Speaker 2: they're in they're New York big for coats, and they're

1038
00:58:50,200 --> 00:58:53,640
Speaker 2: standing around and looking all ritzy and and stuck up

1039
00:58:53,680 --> 00:58:58,680
Speaker 2: and holier than now. And it passed and you know,

1040
00:58:58,920 --> 00:59:02,040
Speaker 2: they don't have any attitude. They suck or I don't know,

1041
00:59:02,240 --> 00:59:07,200
Speaker 2: we don't get it. So that was that we we

1042
00:59:07,240 --> 00:59:11,840
Speaker 2: just we decided though, that we we figured we had

1043
00:59:11,840 --> 00:59:15,240
Speaker 2: what it. We had enough songs, we had definitely had

1044
00:59:15,240 --> 00:59:17,920
Speaker 2: the band. We had had had the songs. We had

1045
00:59:18,440 --> 00:59:26,240
Speaker 2: an offer from Capitol Records, and they said, here's X

1046
00:59:26,360 --> 00:59:30,560
Speaker 2: number of dollars, which was really not very much money,

1047
00:59:30,720 --> 00:59:33,480
Speaker 2: not enough to finish the album. Here's X number of dollars.

1048
00:59:33,960 --> 00:59:37,160
Speaker 2: And we figured it three albums, you'll probably be you know,

1049
00:59:37,320 --> 00:59:39,600
Speaker 2: you might get a hit, you might hopefully you'll have

1050
00:59:39,600 --> 00:59:46,360
Speaker 2: a hit by three. And we said, excuse me, no,

1051
00:59:46,480 --> 00:59:49,240
Speaker 2: we were we were pretty cocky. You know, we figured

1052
00:59:49,800 --> 00:59:52,920
Speaker 2: we weren't going to wait on for three. So Columbia

1053
00:59:53,000 --> 00:59:57,240
Speaker 2: came to the party with some decent money, and but

1054
00:59:57,320 --> 00:59:59,320
Speaker 2: we hadn't signed the deal yet, and we were talking

1055
00:59:59,320 --> 01:00:01,920
Speaker 2: about we're going through negotiations back and forth, lawyer to

1056
01:00:02,000 --> 01:00:04,960
Speaker 2: lawyer or whatever, I don't know, or manager to lawyer,

1057
01:00:05,320 --> 01:00:08,560
Speaker 2: I have no idea, but we booked the studio and

1058
01:00:08,600 --> 01:00:12,000
Speaker 2: we started recording before we had a contract. That's how

1059
01:00:12,040 --> 01:00:14,960
Speaker 2: cocky we were, how sure we were that we were

1060
01:00:15,560 --> 01:00:19,440
Speaker 2: had something going on. So that was the first album

1061
01:00:19,480 --> 01:00:20,000
Speaker 2: we recorded.

1062
01:00:20,120 --> 01:00:25,520
Speaker 1: Well, okay, wait, wait, wait, you meet Mike Reno. How

1063
01:00:25,640 --> 01:00:28,920
Speaker 1: long after that do you go into the studio that

1064
01:00:28,960 --> 01:00:30,240
Speaker 1: you're just talking about.

1065
01:00:30,800 --> 01:00:33,640
Speaker 2: Well, it's probably a year and a half. It seems

1066
01:00:33,680 --> 01:00:35,720
Speaker 2: longer than that, but when I'm trying to do the math,

1067
01:00:35,760 --> 01:00:39,320
Speaker 2: you know, I met him in seventy eight, and we

1068
01:00:39,360 --> 01:00:42,120
Speaker 2: recorded in seventy nine and it came out in eighty

1069
01:00:42,120 --> 01:00:43,200
Speaker 2: you know, so somewhere on there.

1070
01:00:43,960 --> 01:00:47,680
Speaker 1: Okay, was the band ever playing live or were you

1071
01:00:47,880 --> 01:00:51,000
Speaker 1: just wood shedding writing songs and rehearse.

1072
01:00:51,640 --> 01:00:54,440
Speaker 2: We were playing live. Our very first show, we opened

1073
01:00:54,440 --> 01:00:58,439
Speaker 2: for Kiss at the coliseum or one of the big

1074
01:00:58,520 --> 01:01:02,480
Speaker 2: rooms in back in those days in Vancouver, opened for Kiss,

1075
01:01:02,720 --> 01:01:06,520
Speaker 2: and I guess their opening act got busted at the

1076
01:01:06,520 --> 01:01:09,160
Speaker 2: border or couldn't get across the border or something like that.

1077
01:01:09,600 --> 01:01:12,720
Speaker 2: And Bruce Allen being tied in the way he is

1078
01:01:13,320 --> 01:01:15,520
Speaker 2: and was at the time, I mean he was he

1079
01:01:15,640 --> 01:01:21,400
Speaker 2: had just come off off of bto so huge, humongous

1080
01:01:21,400 --> 01:01:25,160
Speaker 2: talk about contacts. He knew everybody, every promoter in every

1081
01:01:25,280 --> 01:01:28,840
Speaker 2: room to play, and he knew the promoter and he says,

1082
01:01:28,880 --> 01:01:30,680
Speaker 2: I got the perfect thing for it. We love her, boy?

1083
01:01:30,760 --> 01:01:35,360
Speaker 2: What okay? Whatever do you say? So Bruce and we

1084
01:01:35,440 --> 01:01:38,439
Speaker 2: that was our first show and after so that opened

1085
01:01:38,480 --> 01:01:41,000
Speaker 2: the door for us. It's like, here they are the

1086
01:01:41,280 --> 01:01:43,680
Speaker 2: band that opened for Kiss, playing at your local bar

1087
01:01:43,880 --> 01:01:46,280
Speaker 2: six nights a week. How can you how can you know?

1088
01:01:46,360 --> 01:01:49,400
Speaker 2: How can you miss this? You know? So that was

1089
01:01:50,040 --> 01:01:53,680
Speaker 2: then we started playing. We played in a bunch of

1090
01:01:53,720 --> 01:01:57,760
Speaker 2: club shows, club dates. The night that we were auditioning

1091
01:01:57,840 --> 01:02:03,280
Speaker 2: for columb be A, the A and R guy Jeff

1092
01:02:03,320 --> 01:02:07,200
Speaker 2: Burns came out to see us in the he work

1093
01:02:07,320 --> 01:02:10,160
Speaker 2: he worked for Columbia Records in Toronto. He came out

1094
01:02:10,160 --> 01:02:16,440
Speaker 2: to see us, and he loved it. He basically signed us.

1095
01:02:16,480 --> 01:02:18,240
Speaker 2: And then, as I say, we had to work out

1096
01:02:18,480 --> 01:02:21,760
Speaker 2: the details. But I remember at that same show, or

1097
01:02:21,800 --> 01:02:26,080
Speaker 2: maybe the next night or something, I pulled all our fans.

1098
01:02:27,000 --> 01:02:28,840
Speaker 2: I said, here's the list of the songs we just played.

1099
01:02:29,040 --> 01:02:32,560
Speaker 2: Pick your favorite ten and I gave it to everybody,

1100
01:02:32,800 --> 01:02:35,920
Speaker 2: I don't know, maybe thirty people and just random like

1101
01:02:36,040 --> 01:02:38,280
Speaker 2: and everybody was cool with it, and they ticked it

1102
01:02:38,320 --> 01:02:40,640
Speaker 2: off and I went, okay, well then this one, this one,

1103
01:02:40,840 --> 01:02:44,200
Speaker 2: there's our ten right there, and we that's the songs

1104
01:02:44,240 --> 01:02:44,920
Speaker 2: that we recorded.

1105
01:02:52,240 --> 01:02:55,680
Speaker 1: Okay, there's a lot going on here in the background. Bruce.

1106
01:02:56,520 --> 01:02:57,439
Speaker 2: Now, Bruce.

1107
01:03:00,680 --> 01:03:02,080
Speaker 1: Being to the Canadian label.

1108
01:03:02,120 --> 01:03:06,680
Speaker 2: If you remember, we auditioned, as I were saying, we

1109
01:03:06,760 --> 01:03:10,000
Speaker 2: auditioned for every label either it was sending them tapes,

1110
01:03:10,280 --> 01:03:12,840
Speaker 2: showing up in their office. Me and Mike we did

1111
01:03:12,880 --> 01:03:16,320
Speaker 2: a thing at Capitol Records. Uh, just the two of

1112
01:03:16,400 --> 01:03:20,920
Speaker 2: us with Lou and we we uh we used to

1113
01:03:21,000 --> 01:03:24,320
Speaker 2: record on this little ghetto blaster, just the guitar and vocals,

1114
01:03:24,360 --> 01:03:27,280
Speaker 2: and we took that in and we played it for Capital.

1115
01:03:27,400 --> 01:03:29,600
Speaker 2: The guy at Capitol us and he passed. He says,

1116
01:03:29,600 --> 01:03:32,120
Speaker 2: there's no attitude. I don't hear it. Whis fair enough?

1117
01:03:32,160 --> 01:03:34,080
Speaker 2: I mean it was, you know, it was a live

1118
01:03:34,280 --> 01:03:36,360
Speaker 2: to guys singing and a little an electric guitar.

1119
01:03:37,320 --> 01:03:40,040
Speaker 1: Let's go to the recording. You end up working with

1120
01:03:40,120 --> 01:03:45,080
Speaker 1: a murderer's row of talent behind the board. You are

1121
01:03:45,120 --> 01:03:49,400
Speaker 1: the first band that works with all these people. Bruce Fairbairn,

1122
01:03:50,600 --> 01:03:53,840
Speaker 1: Bob Rock, Mike Frasier, bit around how did that all

1123
01:03:53,880 --> 01:03:54,440
Speaker 1: come together?

1124
01:03:55,600 --> 01:03:58,840
Speaker 2: We actually, we weren't the first we were. We followed

1125
01:03:58,880 --> 01:04:03,720
Speaker 2: prism Oh right, yeah, and I and Bruce laid that

1126
01:04:03,800 --> 01:04:05,760
Speaker 2: album on. He says, check out this album. It sounds

1127
01:04:05,760 --> 01:04:08,480
Speaker 2: pretty good. And I know the team. You know, I'm

1128
01:04:08,520 --> 01:04:10,720
Speaker 2: I'm I'm tied into the team. What do you think?

1129
01:04:11,080 --> 01:04:13,080
Speaker 2: And Mike and I listen and we went, yeah, this

1130
01:04:13,200 --> 01:04:18,600
Speaker 2: is amazing, uh, song wise whatever, But technically it sounded great.

1131
01:04:18,920 --> 01:04:21,640
Speaker 2: You know, the drums, all the instruments sounded really killer.

1132
01:04:22,400 --> 01:04:26,320
Speaker 2: So we said, let's go. That was that and they

1133
01:04:26,360 --> 01:04:28,440
Speaker 2: were you know, so they were, they were. Everybody was

1134
01:04:28,480 --> 01:04:31,920
Speaker 2: on board. Those three guys that you mentioned were we

1135
01:04:32,040 --> 01:04:34,480
Speaker 2: recorded the album with, and then we recorded the second

1136
01:04:34,480 --> 01:04:36,439
Speaker 2: album with him as well.

1137
01:04:37,200 --> 01:04:41,160
Speaker 1: Okay, let's start with the first album. What was the process?

1138
01:04:41,400 --> 01:04:46,440
Speaker 1: What did Bruce and Bob ad if anything? At the time,

1139
01:04:48,640 --> 01:04:53,800
Speaker 1: Bruce is a he is a uh his real love,

1140
01:04:53,920 --> 01:05:01,480
Speaker 1: I think besides being a producer of US infantile rock

1141
01:05:01,520 --> 01:05:06,200
Speaker 1: and Rollers, he his gig was it was a soccer

1142
01:05:06,240 --> 01:05:09,960
Speaker 1: coach for kids, so he knew how to manipulate kids.

1143
01:05:10,560 --> 01:05:14,440
Speaker 1: And we weren't far from that. Even though I was

1144
01:05:14,480 --> 01:05:17,920
Speaker 1: thirty three at the time, it still had that fourteen

1145
01:05:18,000 --> 01:05:20,840
Speaker 1: year old mentality, you know, and all of us were

1146
01:05:20,880 --> 01:05:24,800
Speaker 1: like that, cocky and disrespectful and just rock and roll

1147
01:05:24,880 --> 01:05:27,360
Speaker 1: guys and didn't want to hear from me, hear anything.

1148
01:05:27,400 --> 01:05:31,920
Speaker 1: But Bruce had this way of getting the best out

1149
01:05:31,920 --> 01:05:34,800
Speaker 1: of Matt. That was his main thing, you know. He

1150
01:05:34,880 --> 01:05:36,760
Speaker 1: would I don't know what he said to him, but

1151
01:05:36,760 --> 01:05:38,320
Speaker 1: he would go out and he would he would crank

1152
01:05:38,400 --> 01:05:40,760
Speaker 1: him out, just like he would crank up the forward

1153
01:05:40,800 --> 01:05:42,960
Speaker 1: and the soccer team or whatever. I don't even know

1154
01:05:42,960 --> 01:05:45,120
Speaker 1: what if there are forwards in a soccer team, but

1155
01:05:46,120 --> 01:05:49,680
Speaker 1: he would. He would use that psychology, his his child psychology, honestly,

1156
01:05:49,680 --> 01:05:53,960
Speaker 1: and it worked great, and we would once we had

1157
01:05:54,000 --> 01:05:57,520
Speaker 1: the drums down, then it was it was and usually

1158
01:05:57,680 --> 01:06:00,760
Speaker 1: typically I would I would guess that Matt probably spent

1159
01:06:01,560 --> 01:06:04,400
Speaker 1: two days in the studio maybe three to get all

1160
01:06:04,520 --> 01:06:08,360
Speaker 1: that the nine tracks down, and of course I being

1161
01:06:08,400 --> 01:06:10,160
Speaker 1: a co producer, I would be in there for the

1162
01:06:10,200 --> 01:06:13,800
Speaker 1: next two months every day, you know. But Matt did

1163
01:06:13,800 --> 01:06:16,320
Speaker 1: his three days and see you thanks suckers, and he'd

1164
01:06:16,360 --> 01:06:19,560
Speaker 1: be gone, which is fine because we had it down,

1165
01:06:19,600 --> 01:06:21,360
Speaker 1: and then we would then we would go and we

1166
01:06:21,360 --> 01:06:24,360
Speaker 1: would you know, patch up everything that if we screwed up.

1167
01:06:24,760 --> 01:06:28,160
Speaker 1: And to what degree did Bruce work with or change

1168
01:06:28,240 --> 01:06:28,920
Speaker 1: the material?

1169
01:06:30,880 --> 01:06:32,720
Speaker 2: I think the main thing, the coolest, one of the

1170
01:06:32,720 --> 01:06:35,560
Speaker 2: coolest things he did was he said, the kid is

1171
01:06:35,600 --> 01:06:38,440
Speaker 2: hot tonight is too fast. It needs to be slower,

1172
01:06:38,440 --> 01:06:40,640
Speaker 2: and we're going, oh, come on, man, really no, he says,

1173
01:06:40,640 --> 01:06:42,720
Speaker 2: no here and I'd probably click it on the mic.

1174
01:06:42,760 --> 01:06:45,080
Speaker 2: He says, doubt dun dun dun dun dun dun dun

1175
01:06:45,120 --> 01:06:47,040
Speaker 2: da da da da dun dun da and we're going

1176
01:06:47,080 --> 01:06:48,800
Speaker 2: dun dun dun dun dun dwn. I rock on around

1177
01:06:49,080 --> 01:06:51,800
Speaker 2: and frantic, you know, and he says, you gotta sit back.

1178
01:06:51,840 --> 01:06:53,800
Speaker 2: It's gotta be rent dun da da da dun dun.

1179
01:06:54,680 --> 01:07:00,160
Speaker 2: So we recorded it like like Bruce said, basically the

1180
01:07:02,240 --> 01:07:04,320
Speaker 2: that was that was a huge contribution.

1181
01:07:05,000 --> 01:07:08,440
Speaker 1: Okay, what about turn me loose? That sounds like to

1182
01:07:08,480 --> 01:07:12,280
Speaker 1: a degree a studio creation with the synth intro. When

1183
01:07:12,320 --> 01:07:15,840
Speaker 1: you went into the studio, how much of that track

1184
01:07:16,400 --> 01:07:18,360
Speaker 1: was already established.

1185
01:07:18,640 --> 01:07:21,920
Speaker 2: Hundred percent because we had played it live, we'd already

1186
01:07:21,920 --> 01:07:24,960
Speaker 2: demoed it with a different drummer. We demoed it on

1187
01:07:25,360 --> 01:07:28,320
Speaker 2: an eight track exactly like that, Exactly.

1188
01:07:27,880 --> 01:07:30,720
Speaker 1: Like that with the synth intro and everything.

1189
01:07:30,480 --> 01:07:34,680
Speaker 2: Synth intro, dun Da Dunda on the bass, and with

1190
01:07:34,920 --> 01:07:39,240
Speaker 2: Verne playing bass and another drummer uh playing drums who

1191
01:07:39,320 --> 01:07:42,480
Speaker 2: I forgot Bernie Auvin. He plays with the headbins now

1192
01:07:43,000 --> 01:07:45,040
Speaker 2: and a real good friend. He was our drummer for

1193
01:07:45,080 --> 01:07:48,120
Speaker 2: a while and he so we cut that demo. And

1194
01:07:48,200 --> 01:07:51,800
Speaker 2: the funny thing is that Reno did that flame anyway,

1195
01:07:51,880 --> 01:07:54,480
Speaker 2: that really high fly with my way. He did it

1196
01:07:55,000 --> 01:07:58,160
Speaker 2: off the cuff. It's like, okay, what wasn't thinking about it?

1197
01:07:58,200 --> 01:08:01,960
Speaker 2: He just came out and then he had to reproduce it.

1198
01:08:04,920 --> 01:08:06,800
Speaker 1: Okay. So how long did it take to do the

1199
01:08:06,840 --> 01:08:08,320
Speaker 1: album from start to finish?

1200
01:08:09,680 --> 01:08:13,280
Speaker 2: I don't know, probably a month, it wasn't that long.

1201
01:08:14,080 --> 01:08:16,839
Speaker 1: How long after that month was it released.

1202
01:08:18,320 --> 01:08:20,800
Speaker 2: It wasn't very long because it was only released in Canada.

1203
01:08:20,920 --> 01:08:25,120
Speaker 2: That's getting back to an earlier question. We auditioned all

1204
01:08:25,160 --> 01:08:30,080
Speaker 2: these US labels and they all passed, so we said, well,

1205
01:08:30,560 --> 01:08:33,640
Speaker 2: screw it, we'll release it in Canada. We'll do so

1206
01:08:33,840 --> 01:08:38,680
Speaker 2: much damage in Canada they don't they won't be able

1207
01:08:38,720 --> 01:08:43,160
Speaker 2: to refuse us. That was our cock sure method, you know,

1208
01:08:43,520 --> 01:08:45,720
Speaker 2: that's how we felt. That's truly how we felt, we're

1209
01:08:45,720 --> 01:08:47,760
Speaker 2: not going to wait around. We want to get this

1210
01:08:47,840 --> 01:08:50,959
Speaker 2: out now, get it out while it's fresh, and get

1211
01:08:51,000 --> 01:08:53,519
Speaker 2: and then on to the next one, you know. And

1212
01:08:53,600 --> 01:08:55,160
Speaker 2: if it's not going to be in the States, so

1213
01:08:55,280 --> 01:08:56,640
Speaker 2: be it. But we wanted to get it out. But

1214
01:08:56,680 --> 01:09:00,160
Speaker 2: we figured it's got to get it released in the

1215
01:09:00,160 --> 01:09:02,439
Speaker 2: States because Mike and I went to this the same

1216
01:09:02,840 --> 01:09:04,880
Speaker 2: the day before we went to Capitol Records with our

1217
01:09:04,920 --> 01:09:09,360
Speaker 2: little ghetto blass or cassette demo. We went to this

1218
01:09:09,400 --> 01:09:12,640
Speaker 2: big thing in La It was with Van Halen and

1219
01:09:13,000 --> 01:09:19,240
Speaker 2: and uh Oh Cheap Trick and Oh Addy Money, all

1220
01:09:19,240 --> 01:09:22,040
Speaker 2: these great bands at the coliseum I think it's called

1221
01:09:22,400 --> 01:09:29,839
Speaker 2: with that big huge outdoor. M is it still called that? Yeah, okay,

1222
01:09:30,520 --> 01:09:34,080
Speaker 2: And we looked at each other half with you and she's, yeah, well,

1223
01:09:34,200 --> 01:09:38,080
Speaker 2: this is what we do. We're right in there with

1224
01:09:38,160 --> 01:09:41,000
Speaker 2: these guys. I mean, we have our own unique slant

1225
01:09:41,040 --> 01:09:45,000
Speaker 2: on it, but we're not We're not like a country band,

1226
01:09:45,000 --> 01:09:47,559
Speaker 2: We're not a we're not a ballad band. We're not

1227
01:09:47,560 --> 01:09:49,680
Speaker 2: an R and B band or a rock band. This

1228
01:09:49,720 --> 01:09:52,479
Speaker 2: is what we do. We could open play with these

1229
01:09:52,520 --> 01:09:55,920
Speaker 2: guys any day. When turns out we actually had but

1230
01:09:56,439 --> 01:09:57,080
Speaker 2: over the years.

1231
01:09:57,080 --> 01:10:00,879
Speaker 1: But okay, the album is done before where it's released.

1232
01:10:01,560 --> 01:10:06,320
Speaker 1: All I remember is that summer of nineteen eighty, Turn

1233
01:10:06,439 --> 01:10:09,680
Speaker 1: Me Loose is like a one list in Smash. You

1234
01:10:09,880 --> 01:10:13,840
Speaker 1: only have to hear it once. Did you guys know

1235
01:10:14,760 --> 01:10:17,360
Speaker 1: that hearing the track before it was released?

1236
01:10:19,760 --> 01:10:25,000
Speaker 2: Well, we put it it opened. It opened the album,

1237
01:10:25,479 --> 01:10:27,360
Speaker 2: so I think it opened out.

1238
01:10:27,520 --> 01:10:29,240
Speaker 1: No, the kid is hot, the kid is hot today.

1239
01:10:29,280 --> 01:10:31,719
Speaker 2: That opened the album. Oh, you're right, You're right. Because

1240
01:10:31,760 --> 01:10:33,559
Speaker 2: we had that, we had to pace it fast slow, fast,

1241
01:10:33,640 --> 01:10:36,640
Speaker 2: low fast slow. Yeah, like we still do, like we

1242
01:10:36,680 --> 01:10:40,559
Speaker 2: do live still, fast, slow, fast, slow. I don't know.

1243
01:10:40,600 --> 01:10:46,880
Speaker 2: I mean, I guess we're pretty happy with it. And

1244
01:10:46,880 --> 01:10:50,639
Speaker 2: everybody we played it for we're like, yeah, you know what.

1245
01:10:50,640 --> 01:10:52,840
Speaker 2: What really gave me an indication that we were doing

1246
01:10:52,880 --> 01:10:55,400
Speaker 2: something right. There's a record store called it, I think

1247
01:10:55,560 --> 01:10:59,080
Speaker 2: A and A Records here in Vancouver down on Seymour

1248
01:10:59,160 --> 01:11:05,920
Speaker 2: and or Gramble and something long gone. Somebody painted the

1249
01:11:05,960 --> 01:11:10,360
Speaker 2: album cover on the outside wall. I went, what are

1250
01:11:10,360 --> 01:11:13,120
Speaker 2: they doing? This is what a huge honor for somebody

1251
01:11:13,160 --> 01:11:15,479
Speaker 2: to do this. And I don't know whether it was

1252
01:11:15,520 --> 01:11:19,200
Speaker 2: the record got the record promotion guys said let's do this,

1253
01:11:19,320 --> 01:11:23,040
Speaker 2: or if it's just some fan or the owner. They

1254
01:11:23,120 --> 01:11:26,040
Speaker 2: just they you know. So not only did we get

1255
01:11:26,080 --> 01:11:28,880
Speaker 2: front Rock, but we had a freaking album cover on

1256
01:11:28,920 --> 01:11:31,559
Speaker 2: the side of the like a billboard that somebody painted

1257
01:11:31,600 --> 01:11:34,800
Speaker 2: on the side of their building. That blew me away.

1258
01:11:35,680 --> 01:11:38,559
Speaker 1: Okay, what about the video that was one of the

1259
01:11:38,600 --> 01:11:40,400
Speaker 1: first videos before MTV.

1260
01:11:43,120 --> 01:11:46,920
Speaker 2: Well, you know, it was just just when MTV came out.

1261
01:11:47,760 --> 01:11:50,719
Speaker 2: We had a gig in Wichita, opening for probably opening

1262
01:11:50,720 --> 01:11:54,599
Speaker 2: for Kansas, and we hadn't done any videos. What's a video?

1263
01:11:54,960 --> 01:11:57,920
Speaker 2: What do you do? You know, there's no shindig or

1264
01:11:57,960 --> 01:12:02,160
Speaker 2: anything like that, or you know, to do a video

1265
01:12:02,200 --> 01:12:07,720
Speaker 2: for So I remember flicking around board out of my

1266
01:12:07,800 --> 01:12:11,080
Speaker 2: brains on a day off and stumbling across MTV. I

1267
01:12:11,080 --> 01:12:14,120
Speaker 2: couldn't believe it. I probably watched it all day. I

1268
01:12:14,160 --> 01:12:19,320
Speaker 2: was just blown away. And I swear probably the next week,

1269
01:12:19,720 --> 01:12:22,840
Speaker 2: Columbia was calling us up saying, we want you guys

1270
01:12:22,840 --> 01:12:25,240
Speaker 2: to do a video. We've got a storyline for it.

1271
01:12:26,000 --> 01:12:27,639
Speaker 2: We want you to come to New York. I think

1272
01:12:27,640 --> 01:12:30,040
Speaker 2: it was a Beacon theater. We want you to come

1273
01:12:30,080 --> 01:12:34,400
Speaker 2: to the theater and we're gonna shoot the video. So

1274
01:12:34,479 --> 01:12:38,200
Speaker 2: we we just we got the video and we got

1275
01:12:38,240 --> 01:12:41,920
Speaker 2: a lot of flak for the slapstick of it, but

1276
01:12:42,320 --> 01:12:45,160
Speaker 2: we didn't care. This this is our big chance. And

1277
01:12:45,200 --> 01:12:47,800
Speaker 2: I knew who We all knew who MTV was. They'd

1278
01:12:47,800 --> 01:12:50,519
Speaker 2: all been out maybe for I don't know, maybe a

1279
01:12:50,600 --> 01:12:54,200
Speaker 2: month or something, but we were we were ready. I mean,

1280
01:12:54,840 --> 01:12:59,000
Speaker 2: we're crank to do that. So we were happy.

1281
01:13:00,240 --> 01:13:04,920
Speaker 1: Okay, from the outside it looks like overnight success. What

1282
01:13:04,960 --> 01:13:05,439
Speaker 1: was it like?

1283
01:13:05,520 --> 01:13:11,559
Speaker 2: From the inside, it was overnight success. It really was

1284
01:13:12,400 --> 01:13:16,759
Speaker 2: another indication of our early you know, something was really happening.

1285
01:13:16,960 --> 01:13:20,920
Speaker 2: Was We're playing a club in Lethbridge, Alberta. And we

1286
01:13:21,040 --> 01:13:25,280
Speaker 2: had a gig opening for Toronto in Edmonton. So it

1287
01:13:25,360 --> 01:13:27,600
Speaker 2: was like a four hour driver or whatever it was.

1288
01:13:27,640 --> 01:13:30,519
Speaker 2: It was a long ass drive to get and I

1289
01:13:30,560 --> 01:13:35,400
Speaker 2: remember pulling into Edmonton on the day of the show

1290
01:13:36,000 --> 01:13:38,640
Speaker 2: and they were playing the Kid Is Hot Tonight on

1291
01:13:38,720 --> 01:13:41,960
Speaker 2: the radio. I've never heard any of my songs ever,

1292
01:13:42,280 --> 01:13:44,200
Speaker 2: and I've been in the business. I was thirty three

1293
01:13:44,240 --> 01:13:46,680
Speaker 2: at the time, and I'd done so many recordings with

1294
01:13:46,720 --> 01:13:51,679
Speaker 2: different bands. I might have heard on a special show.

1295
01:13:51,760 --> 01:13:53,760
Speaker 2: I think they had a streetheart. They played a couple

1296
01:13:53,720 --> 01:13:56,559
Speaker 2: of days, but this was the first thing, the first

1297
01:13:56,600 --> 01:14:02,080
Speaker 2: lover by we'd heard and I was, this is it, baby,

1298
01:14:02,400 --> 01:14:05,760
Speaker 2: we're there, you know, And then we do and did

1299
01:14:05,800 --> 01:14:08,360
Speaker 2: our show and whatever. But that it was a great thing,

1300
01:14:08,840 --> 01:14:10,040
Speaker 2: no real landmark, you know.

1301
01:14:10,240 --> 01:14:14,720
Speaker 1: Okay, the first album comes out, it's gigantic. Do you

1302
01:14:14,800 --> 01:14:16,960
Speaker 1: have to sit down and write the songs for the

1303
01:14:17,000 --> 01:14:18,920
Speaker 1: second album? Where do you get these songs for the

1304
01:14:18,960 --> 01:14:19,639
Speaker 1: second album?

1305
01:14:20,760 --> 01:14:23,519
Speaker 2: We had a lot of them written, and we were

1306
01:14:23,720 --> 01:14:26,160
Speaker 2: we were playing the clubs and we would try them out.

1307
01:14:27,240 --> 01:14:30,560
Speaker 2: I remember one day we were playing I don't know

1308
01:14:30,600 --> 01:14:34,240
Speaker 2: if we were warming up, but we were playing in

1309
01:14:34,320 --> 01:14:37,639
Speaker 2: a fairly big room in Vancouver, and we were working

1310
01:14:37,640 --> 01:14:39,280
Speaker 2: on trying to work out the bugs and working for

1311
01:14:39,320 --> 01:14:41,800
Speaker 2: the weekend. And we were doing it at sound check

1312
01:14:41,880 --> 01:14:45,519
Speaker 2: and I remember Lou standing there listening and he came

1313
01:14:45,600 --> 01:14:48,080
Speaker 2: up to me and he was rating about it, said

1314
01:14:48,200 --> 01:14:51,639
Speaker 2: this is this is great. So he got it right away.

1315
01:14:53,080 --> 01:14:56,000
Speaker 2: But we were writing on the road. We were we

1316
01:14:56,000 --> 01:15:00,519
Speaker 2: were rehearsing as we're opening for probably opening for Easy Top,

1317
01:15:00,560 --> 01:15:04,800
Speaker 2: we're playing the arenas. I can remember setting up getting

1318
01:15:04,800 --> 01:15:07,240
Speaker 2: the crew accept all the drums and keyboards and guitars

1319
01:15:07,280 --> 01:15:10,960
Speaker 2: and amps and everything in the shower of the gig.

1320
01:15:11,200 --> 01:15:14,160
Speaker 2: The shower room. You know, it's where the where the

1321
01:15:14,200 --> 01:15:20,240
Speaker 2: basketball players or whatever would would get chased, and we

1322
01:15:20,240 --> 01:15:23,519
Speaker 2: were rehearsing Lucky Ones and the Lucky Ones that the

1323
01:15:23,600 --> 01:15:27,960
Speaker 2: intro came from a jam on stage in Montreal when before,

1324
01:15:28,160 --> 01:15:30,080
Speaker 2: you know, when we were touring on the first album,

1325
01:15:30,320 --> 01:15:32,479
Speaker 2: so we were writing on the road. We knew what

1326
01:15:32,600 --> 01:15:36,960
Speaker 2: we had to do and we were we had it

1327
01:15:37,000 --> 01:15:39,120
Speaker 2: down though, but you know, by the time we went

1328
01:15:39,200 --> 01:15:43,519
Speaker 2: in to the studio, we had three weeks to mix it,

1329
01:15:43,680 --> 01:15:47,880
Speaker 2: to record it, and mix it three weeks complete because

1330
01:15:47,880 --> 01:15:51,439
Speaker 2: we had a gig opening for Journey and we wanted it.

1331
01:15:51,479 --> 01:15:54,400
Speaker 2: We had to make that deadline. I mean, who wouldn't

1332
01:15:54,400 --> 01:15:56,120
Speaker 2: pass up a gig opening for Journey?

1333
01:15:57,600 --> 01:16:00,439
Speaker 1: So what's the backstory? How did you I'm up with

1334
01:16:00,520 --> 01:16:01,479
Speaker 1: working for the weekend.

1335
01:16:04,080 --> 01:16:07,879
Speaker 2: I was walking down to the beach where I lived. Uh,

1336
01:16:08,479 --> 01:16:11,080
Speaker 2: it was a Wednesday, and I'm walking along and I'm

1337
01:16:11,240 --> 01:16:13,479
Speaker 2: what the hell is everybody? This place is usually packed

1338
01:16:14,200 --> 01:16:17,479
Speaker 2: and there's nobody on the beach, nice decent day, no

1339
01:16:17,520 --> 01:16:19,479
Speaker 2: one on the streets. Well, I guess everybody's waiting for

1340
01:16:19,479 --> 01:16:23,240
Speaker 2: the weekend. Oh hello, that's kind of a cool line.

1341
01:16:23,400 --> 01:16:25,240
Speaker 2: So I've you know, packed that away. In my p

1342
01:16:25,439 --> 01:16:28,880
Speaker 2: brain and uh so that was the start of it.

1343
01:16:29,800 --> 01:16:34,160
Speaker 2: And uh then I took it and I was working

1344
01:16:34,200 --> 01:16:37,639
Speaker 2: at in my in my house on my ghetto blaster

1345
01:16:37,800 --> 01:16:40,080
Speaker 2: once again, and my I used a metronome for the drums,

1346
01:16:40,560 --> 01:16:42,760
Speaker 2: and I left to guitar through a tiny little lamp,

1347
01:16:42,800 --> 01:16:46,040
Speaker 2: and I would just sing the song, and I had

1348
01:16:46,880 --> 01:16:51,439
Speaker 2: dad they call the chords and the melody and and

1349
01:16:51,479 --> 01:16:55,040
Speaker 2: the and the and then the beast the beepart waiting

1350
01:16:55,080 --> 01:16:59,280
Speaker 2: for the weekend. And then, uh, I didn't know what

1351
01:16:59,280 --> 01:17:02,240
Speaker 2: the words were dead, and I had h and I

1352
01:17:02,280 --> 01:17:04,120
Speaker 2: had a kind of roughed out. I had all the

1353
01:17:04,160 --> 01:17:05,960
Speaker 2: all the bits and pieces, but that I didn't have

1354
01:17:06,000 --> 01:17:10,040
Speaker 2: him in the proper order. And just speaking about that

1355
01:17:10,120 --> 01:17:13,639
Speaker 2: time in Montreal when I wrote that that the intro

1356
01:17:13,800 --> 01:17:17,800
Speaker 2: the Lucky Ones on stage, and remember of going to

1357
01:17:17,840 --> 01:17:20,519
Speaker 2: Doug and saying, what are these notes? I don't have

1358
01:17:20,560 --> 01:17:26,240
Speaker 2: my recorder, Dan, what are these notes? So he wrote

1359
01:17:26,280 --> 01:17:29,000
Speaker 2: it out on a napkin for my reference down the road.

1360
01:17:29,080 --> 01:17:32,880
Speaker 2: So I had that part. But so it's either later

1361
01:17:32,960 --> 01:17:35,200
Speaker 2: that night or maybe the next night in Montreal, and

1362
01:17:35,360 --> 01:17:38,599
Speaker 2: I had I had my ghetto blaster around my guitar,

1363
01:17:38,800 --> 01:17:43,720
Speaker 2: my whatever, and I remember finally putting it together, the

1364
01:17:43,760 --> 01:17:47,480
Speaker 2: puzzle together, all the parts, all the key changes and

1365
01:17:46,960 --> 01:17:51,360
Speaker 2: the breakdowns and the little the little wah wah part

1366
01:17:51,439 --> 01:17:54,200
Speaker 2: in the in the middle, and all the parts Kiss

1367
01:17:54,240 --> 01:17:56,160
Speaker 2: came together. I still didn't have the lyrics, but I

1368
01:17:56,200 --> 01:17:58,639
Speaker 2: had all the music and most of the lyrics done.

1369
01:17:59,760 --> 01:18:03,599
Speaker 2: It's so at that point I'd spring it on Reno.

1370
01:18:04,120 --> 01:18:08,000
Speaker 2: Then he goes, well, what about working for the weekend?

1371
01:18:08,560 --> 01:18:13,479
Speaker 2: And I went okay, not knowing, not thinking, what a

1372
01:18:13,600 --> 01:18:17,160
Speaker 2: brilliant line that was, what a great although I still

1373
01:18:17,160 --> 01:18:20,160
Speaker 2: think everybody's waiting for the weekend, which is also true,

1374
01:18:20,160 --> 01:18:24,880
Speaker 2: but working gives it a different, completely different slant. So uh,

1375
01:18:25,200 --> 01:18:29,160
Speaker 2: thank you, Reno. Good good one. And then we needed

1376
01:18:29,479 --> 01:18:32,439
Speaker 2: we needed We were recording it actually, and we had

1377
01:18:32,479 --> 01:18:34,600
Speaker 2: all the lyrics and we needed one more line. And

1378
01:18:34,600 --> 01:18:37,599
Speaker 2: I remember sitting here at Mushroom Studios. I know earlier

1379
01:18:37,680 --> 01:18:40,120
Speaker 2: I said we recorded the second album at Little Mountain,

1380
01:18:40,160 --> 01:18:42,560
Speaker 2: But we recorded the album at Mushroom and mixed it

1381
01:18:42,640 --> 01:18:47,160
Speaker 2: at Little Mountain with that same team.

1382
01:18:47,439 --> 01:18:51,080
Speaker 1: Okay, you do three albums with that same team. Their

1383
01:18:51,160 --> 01:18:54,839
Speaker 1: biggest successful. There are a lot of bands. They're working

1384
01:18:54,880 --> 01:18:58,639
Speaker 1: so hard on the road, they're recording songs. They really

1385
01:18:58,720 --> 01:19:00,840
Speaker 1: don't know what the hell is going going on. They

1386
01:19:00,880 --> 01:19:03,799
Speaker 1: don't know if they're being ripped off, they're making any money.

1387
01:19:03,800 --> 01:19:05,000
Speaker 1: What was your experience?

1388
01:19:07,880 --> 01:19:10,720
Speaker 2: We had and still have total trust in Low and

1389
01:19:10,760 --> 01:19:14,360
Speaker 2: Bruce that they would take care of us. They invested

1390
01:19:14,400 --> 01:19:18,360
Speaker 2: twenty thousand dollars into us before we were working. They

1391
01:19:18,400 --> 01:19:20,920
Speaker 2: were I was making like, not a whole lot, but

1392
01:19:20,960 --> 01:19:23,559
Speaker 2: I was making subsistence. I was making They were paying

1393
01:19:23,560 --> 01:19:26,040
Speaker 2: everybody in the band like a hundred bucks or two

1394
01:19:26,080 --> 01:19:27,720
Speaker 2: hundred bucks a week. I can't remember what. It was

1395
01:19:28,000 --> 01:19:30,000
Speaker 2: enough to pay the rent and you know, help out

1396
01:19:30,479 --> 01:19:34,760
Speaker 2: out of their pockets, out of their faith. And they

1397
01:19:34,840 --> 01:19:37,640
Speaker 2: we did that for over a year of writing the

1398
01:19:37,640 --> 01:19:42,080
Speaker 2: first and part of the second album, and and then

1399
01:19:42,120 --> 01:19:44,080
Speaker 2: they you know, they made they took care of us.

1400
01:19:44,080 --> 01:19:47,519
Speaker 2: They made sure that that we got paid and they

1401
01:19:47,600 --> 01:19:49,960
Speaker 2: and Bruce already knew all the promoters and he wasn't

1402
01:19:49,960 --> 01:19:52,479
Speaker 2: going to work with anybody shady. That said, we have

1403
01:19:52,560 --> 01:19:55,760
Speaker 2: had a couple of promoters bail on us, but in

1404
01:19:56,120 --> 01:19:59,280
Speaker 2: you know, not that many considering the thousands of shows

1405
01:19:59,280 --> 01:20:02,639
Speaker 2: we done. I can remember two instances where the promoter

1406
01:20:03,560 --> 01:20:05,920
Speaker 2: was this, you know crook.

1407
01:20:06,040 --> 01:20:12,440
Speaker 1: So When did you finally see some money.

1408
01:20:13,520 --> 01:20:17,280
Speaker 2: I guess it was probably after Get Lucky, because we'd

1409
01:20:17,320 --> 01:20:21,519
Speaker 2: sold We sold five hundred thousand albums of the first

1410
01:20:21,520 --> 01:20:25,040
Speaker 2: album in Canada alone, which is five times platinum. Maybe

1411
01:20:25,040 --> 01:20:27,040
Speaker 2: it's six times plat. I don't know what it is now,

1412
01:20:27,080 --> 01:20:33,519
Speaker 2: but pretty amazing. And we'd been so we were touring,

1413
01:20:33,560 --> 01:20:35,240
Speaker 2: but you know, it was really expensive because we were

1414
01:20:35,240 --> 01:20:38,120
Speaker 2: as a warm up situation. But we started getting a

1415
01:20:38,120 --> 01:20:39,800
Speaker 2: bit of relative money. And I remember the first thing

1416
01:20:39,880 --> 01:20:44,040
Speaker 2: I bought about a Harley and paid cash for and

1417
01:20:44,040 --> 01:20:46,080
Speaker 2: I was so proud of that. It was like thirteen

1418
01:20:46,880 --> 01:20:50,280
Speaker 2: thirteen thousand dollars on the barrel and I was like wow.

1419
01:20:51,240 --> 01:20:53,960
Speaker 2: And I think Reno bought the two of us bought

1420
01:20:54,000 --> 01:20:58,200
Speaker 2: Harley's on the same day from the same dealer cash.

1421
01:20:58,320 --> 01:21:02,479
Speaker 1: Okay, okay. If I don't know anybody who's on the motors,

1422
01:21:02,520 --> 01:21:04,800
Speaker 1: likely luas and dumped it, whether it be their fault

1423
01:21:04,880 --> 01:21:05,879
Speaker 1: or somebody else's.

1424
01:21:05,920 --> 01:21:11,679
Speaker 2: What was your experience, I'm alive and kicking, still here

1425
01:21:11,720 --> 01:21:16,519
Speaker 2: to tell the tale. No, I never one time, one

1426
01:21:16,560 --> 01:21:19,479
Speaker 2: time I had a bagger. It's kind of the big

1427
01:21:19,720 --> 01:21:21,760
Speaker 2: extra faring on the front and the big bags on

1428
01:21:21,800 --> 01:21:25,439
Speaker 2: the back. And the humongous seat, and my wife Denise

1429
01:21:25,560 --> 01:21:27,479
Speaker 2: was on the back, and we were going to one

1430
01:21:27,479 --> 01:21:31,000
Speaker 2: of the dealerships here in Vancouver just to check out

1431
01:21:31,040 --> 01:21:33,519
Speaker 2: the new bikes. It was like, I don't know, demo

1432
01:21:33,640 --> 01:21:36,880
Speaker 2: day at their local Harley dealer. I remember pulling up

1433
01:21:36,880 --> 01:21:39,000
Speaker 2: around the corner and we kind of had to hurry

1434
01:21:39,000 --> 01:21:41,000
Speaker 2: because there was a bus coming up the lane. So

1435
01:21:41,040 --> 01:21:43,080
Speaker 2: we had a scooter around the corner and we got

1436
01:21:43,120 --> 01:21:48,559
Speaker 2: caught in a kind of a groove for somehow, and

1437
01:21:48,640 --> 01:21:51,200
Speaker 2: of course everybody, all the bikers are lined up waiting

1438
01:21:51,400 --> 01:21:54,759
Speaker 2: for their turn. They're all standing outside the store watching

1439
01:21:54,960 --> 01:21:57,280
Speaker 2: me dump the bike with my wife on the back.

1440
01:21:57,560 --> 01:22:02,160
Speaker 2: That that was pretty pretty humiliating, but whatever, you know,

1441
01:22:02,240 --> 01:22:04,160
Speaker 2: at least we didn't we didn't get hurt. I mean,

1442
01:22:04,160 --> 01:22:05,800
Speaker 2: we got hurt, but I wasn't bad. You know, It's

1443
01:22:05,840 --> 01:22:07,800
Speaker 2: not like we broke anything that we had Bruce's and

1444
01:22:08,280 --> 01:22:13,680
Speaker 2: egos mainly, but that's really touchwood. That's the only time

1445
01:22:13,720 --> 01:22:16,840
Speaker 2: I've really, you know, dumped the bike a motor tircle.

1446
01:22:25,080 --> 01:22:28,040
Speaker 1: Okay, the fourth album, you switch it up, you don't

1447
01:22:28,080 --> 01:22:31,760
Speaker 1: work with Bruce and Bob anymore, and you have a

1448
01:22:31,880 --> 01:22:35,280
Speaker 1: song written by Butt laying so what's the backstory there?

1449
01:22:36,439 --> 01:22:38,599
Speaker 2: Personally I wanted and I don't know how it happened,

1450
01:22:38,600 --> 01:22:40,439
Speaker 2: but I really wanted to do and this is this

1451
01:22:40,479 --> 01:22:42,880
Speaker 2: goes back to a night that I spent with Billy

1452
01:22:42,920 --> 01:22:48,200
Speaker 2: Gibbons when he got me my first guitar deal and

1453
01:22:48,520 --> 01:22:51,599
Speaker 2: he arranged that. But we were we were talking about

1454
01:22:51,600 --> 01:22:54,360
Speaker 2: his album and he was saying, I just wanted to

1455
01:22:54,400 --> 01:22:57,559
Speaker 2: have more guitar man, more guitar. Of course, what else

1456
01:22:57,640 --> 01:22:59,240
Speaker 2: is he gonna have. He's a guitar band. There's no

1457
01:22:59,320 --> 01:23:02,479
Speaker 2: keyboards in that. So I just took that to heart

1458
01:23:02,479 --> 01:23:04,760
Speaker 2: and I went, yeah, I like that content. I'd like

1459
01:23:04,800 --> 01:23:07,200
Speaker 2: to make a more of a guitar album, more of

1460
01:23:07,200 --> 01:23:09,800
Speaker 2: a guitar riff album as opposed to do Do Do

1461
01:23:09,800 --> 01:23:11,559
Speaker 2: Do Do Do Do Do Do Do Do Do Do,

1462
01:23:14,439 --> 01:23:19,840
Speaker 2: some kind of guitar riff based album. And so we

1463
01:23:19,840 --> 01:23:22,400
Speaker 2: we started doing that and we figured who's the guy,

1464
01:23:23,000 --> 01:23:28,600
Speaker 2: who's the who's the guitar producer? Who would who could?

1465
01:23:30,840 --> 01:23:33,880
Speaker 2: Actually this came it was Tom album, of course, but

1466
01:23:34,360 --> 01:23:37,560
Speaker 2: before that we wanted to do we still want to

1467
01:23:37,600 --> 01:23:39,960
Speaker 2: do a guitar album, and we wanted to who can

1468
01:23:40,000 --> 01:23:43,760
Speaker 2: we get to produce and engineer this album that is

1469
01:23:43,840 --> 01:23:48,200
Speaker 2: from that school, and we thought, why don't we see

1470
01:23:48,240 --> 01:23:52,759
Speaker 2: if we can get Mutt Lang And Mutt Lange went, no,

1471
01:23:53,360 --> 01:23:56,240
Speaker 2: I'm busy or whatnot interested not whatever reason, you know,

1472
01:23:56,960 --> 01:24:00,519
Speaker 2: but he somehow he said, but you could, you could

1473
01:24:00,640 --> 01:24:03,920
Speaker 2: use my engineer, Mike Shipley, who's also a producer in

1474
01:24:03,960 --> 01:24:07,160
Speaker 2: his own right and an amazing engineer. And I went

1475
01:24:07,720 --> 01:24:11,680
Speaker 2: close enough, it's really really great. So we worked with

1476
01:24:11,760 --> 01:24:16,320
Speaker 2: Mike and we worked at the studio in Montreal, and

1477
01:24:16,360 --> 01:24:22,560
Speaker 2: we worked there for a month and it didn't work out.

1478
01:24:21,439 --> 01:24:25,280
Speaker 2: I won't get into any further, but it didn't have

1479
01:24:25,320 --> 01:24:28,840
Speaker 2: the groove, it didn't have the production. It had the sound,

1480
01:24:29,680 --> 01:24:32,040
Speaker 2: but we just couldn't get the groove going. There was

1481
01:24:32,240 --> 01:24:34,240
Speaker 2: something to do with the sampling of the dramas and

1482
01:24:34,560 --> 01:24:40,040
Speaker 2: it was too weird. So we took those demos as

1483
01:24:40,080 --> 01:24:42,960
Speaker 2: it turned out to be demos, back to Vancouver. So

1484
01:24:43,000 --> 01:24:46,040
Speaker 2: we had all a bunch of the tunes ready to

1485
01:24:46,040 --> 01:24:51,719
Speaker 2: go written well at least, and then we went, okay, well,

1486
01:24:52,080 --> 01:24:56,800
Speaker 2: let's let's go here in Vancouver. Let's try somebody else.

1487
01:24:57,000 --> 01:25:00,880
Speaker 2: So we called up Tom l and he came and

1488
01:25:01,320 --> 01:25:06,639
Speaker 2: produce go produce the album and that's that's what happened there.

1489
01:25:07,120 --> 01:25:09,160
Speaker 1: And where did the butt laning song come from?

1490
01:25:09,880 --> 01:25:17,600
Speaker 2: Ah? From Mike Shipley. Mike, in his wisdom, said, you

1491
01:25:17,640 --> 01:25:19,479
Speaker 2: don't have it. You don't have the single. Guys, you

1492
01:25:19,560 --> 01:25:22,080
Speaker 2: got a lot of really good songs, I guess, but

1493
01:25:22,160 --> 01:25:24,880
Speaker 2: you don't have the single. He says, let me call

1494
01:25:24,960 --> 01:25:28,200
Speaker 2: Mutt and see what he can come up with. So

1495
01:25:29,760 --> 01:25:33,880
Speaker 2: Mutt does his absolute total magic and he calls us

1496
01:25:33,880 --> 01:25:36,000
Speaker 2: in the studio. So I'm on the phone and he says,

1497
01:25:36,439 --> 01:25:38,799
Speaker 2: check it out, and he plays, and I went, holy crap,

1498
01:25:38,840 --> 01:25:42,679
Speaker 2: this is amazing. Can you can you phone me back

1499
01:25:42,720 --> 01:25:44,559
Speaker 2: in ten minutes? I want to set up a recording

1500
01:25:44,680 --> 01:25:47,080
Speaker 2: for it with it throughout the tech here at the studio.

1501
01:25:47,240 --> 01:25:48,960
Speaker 2: So they set up and they could record off the

1502
01:25:49,000 --> 01:25:52,000
Speaker 2: phone onto a I don't know, some cassette player or something.

1503
01:25:52,760 --> 01:25:56,720
Speaker 2: So he did that. He called us back and so

1504
01:25:56,880 --> 01:25:59,280
Speaker 2: but it was a real crap because the telephone only

1505
01:25:59,320 --> 01:26:02,559
Speaker 2: goes down, so you don't get any low, low and low,

1506
01:26:02,640 --> 01:26:05,200
Speaker 2: and we couldn't hear what the base was doing. So

1507
01:26:05,280 --> 01:26:07,680
Speaker 2: we went all right, but at least we can cut it.

1508
01:26:08,360 --> 01:26:13,280
Speaker 2: So we took that track that cassette and Matt and

1509
01:26:13,360 --> 01:26:15,360
Speaker 2: what we all we played along to that and cut

1510
01:26:15,360 --> 01:26:18,960
Speaker 2: the track playing along the Mutts demo. That was kind

1511
01:26:19,000 --> 01:26:21,120
Speaker 2: of our click track, just played along to that, but

1512
01:26:21,160 --> 01:26:23,439
Speaker 2: we still couldn't hear the bottom, so we waited. We

1513
01:26:23,520 --> 01:26:25,080
Speaker 2: put it in a request of Mike, can you please

1514
01:26:25,120 --> 01:26:28,559
Speaker 2: send us a quarter into the real tape, full frequency

1515
01:26:28,640 --> 01:26:30,800
Speaker 2: tape so we can hear what the hell's on the track,

1516
01:26:30,880 --> 01:26:35,400
Speaker 2: so we can duplicate it. And he was very gracious

1517
01:26:35,439 --> 01:26:39,160
Speaker 2: and send it to us, And so that was one

1518
01:26:39,280 --> 01:26:42,040
Speaker 2: track we ended up re recording it, but at least

1519
01:26:42,080 --> 01:26:47,200
Speaker 2: we had we had the anchor for that album.

1520
01:26:48,040 --> 01:26:50,320
Speaker 1: Okay, So then the next album you go back to

1521
01:26:50,400 --> 01:26:57,479
Speaker 1: Bruce and Fairburn, and this time John bon Jovi and

1522
01:26:57,600 --> 01:27:01,360
Speaker 1: Richie Sambora help you write. Note Warrius was the hit track.

1523
01:27:01,880 --> 01:27:03,040
Speaker 1: How does that come together?

1524
01:27:06,200 --> 01:27:10,639
Speaker 2: I don't know how I got John's phone number, probably

1525
01:27:10,800 --> 01:27:13,799
Speaker 2: through maybe through Bruce. I don't know. It was slipper

1526
01:27:13,960 --> 01:27:19,040
Speaker 2: slippery when we out then, I don't think so I

1527
01:27:19,080 --> 01:27:21,839
Speaker 2: can't you know, I don't slippery when Wet was already

1528
01:27:21,840 --> 01:27:26,960
Speaker 2: out by that point. Yeah, okay, so through through Bruce,

1529
01:27:27,200 --> 01:27:31,519
Speaker 2: Bruce Fairburn's connection through with Slippery when wet, Uh, he

1530
01:27:31,960 --> 01:27:33,880
Speaker 2: gave me John summer and I call up John and

1531
01:27:34,000 --> 01:27:36,679
Speaker 2: he said, yeah, come on out. So I I think

1532
01:27:36,680 --> 01:27:38,840
Speaker 2: I stayed at his place and where I was there

1533
01:27:38,880 --> 01:27:42,080
Speaker 2: for two or three days and we wrote Notorious and

1534
01:27:42,160 --> 01:27:45,040
Speaker 2: a couple other things didn't make the grade, but we

1535
01:27:45,040 --> 01:27:48,240
Speaker 2: we wrote it with Richie and Desmond Child came in

1536
01:27:48,560 --> 01:27:51,479
Speaker 2: on the second day. If you could imagine that being

1537
01:27:51,479 --> 01:27:54,240
Speaker 2: in the room with Desmond Child. That guy is a monster.

1538
01:27:54,360 --> 01:27:58,000
Speaker 2: He's had so many well, so it's towards John and

1539
01:27:58,080 --> 01:28:01,439
Speaker 2: Richie obviously, so you know, I was in a really

1540
01:28:01,479 --> 01:28:08,519
Speaker 2: good company with those guys. But that's funny because Desmond

1541
01:28:08,560 --> 01:28:12,040
Speaker 2: gave me sword and Stone. He says, you should you

1542
01:28:12,080 --> 01:28:14,800
Speaker 2: should take this to the guys see if Brino wants

1543
01:28:14,800 --> 01:28:18,360
Speaker 2: to sing that. And I didn't know that Kiss had

1544
01:28:18,360 --> 01:28:20,639
Speaker 2: written it, or or that it had all been already

1545
01:28:20,640 --> 01:28:23,200
Speaker 2: been released, but didn't matter. I thought it was a

1546
01:28:23,200 --> 01:28:24,880
Speaker 2: great song. And I took it to Mic and he

1547
01:28:24,920 --> 01:28:28,559
Speaker 2: went out, it's too something. I can't remember what he said,

1548
01:28:28,560 --> 01:28:31,320
Speaker 2: but it just wasn't it wasn't up his up his alley,

1549
01:28:31,360 --> 01:28:35,479
Speaker 2: you know. So anyway, I've recorded it myself on hardcore.

1550
01:28:35,560 --> 01:28:39,320
Speaker 1: But okay, so how do you decide to go back

1551
01:28:39,360 --> 01:28:42,400
Speaker 1: to Bruce after Tom.

1552
01:28:42,760 --> 01:28:50,519
Speaker 2: I have no idea. That's a really good question. I

1553
01:28:50,600 --> 01:28:55,000
Speaker 2: don't know. Maybe maybe because we thought he could connect

1554
01:28:55,080 --> 01:28:59,840
Speaker 2: with Matt or he was a he was a he

1555
01:28:59,840 --> 01:29:02,720
Speaker 2: he you could get it done on budget. That was

1556
01:29:02,840 --> 01:29:06,320
Speaker 2: probably it because they're they're loving every minute of an album.

1557
01:29:06,400 --> 01:29:09,080
Speaker 2: Cost us a ton of money because we did that

1558
01:29:09,160 --> 01:29:12,720
Speaker 2: whole session a month at the studio and didn't get

1559
01:29:12,760 --> 01:29:17,520
Speaker 2: anything out of it, so that was really expensive. And

1560
01:29:17,560 --> 01:29:21,719
Speaker 2: I'm sure that's what I was. So probably Bruce and Lou, Bruce,

1561
01:29:21,760 --> 01:29:24,720
Speaker 2: Allen and Lou are going, We're not going to spend

1562
01:29:24,760 --> 01:29:29,360
Speaker 2: that kind of money, are we please? And yeah, okay,

1563
01:29:29,439 --> 01:29:31,240
Speaker 2: So I'm sure that's why we went because we knew

1564
01:29:31,240 --> 01:29:33,679
Speaker 2: that Bruce could do it on time and on budget,

1565
01:29:34,280 --> 01:29:38,439
Speaker 2: and Bruce agreed. But the one cavity he says, you

1566
01:29:38,479 --> 01:29:41,360
Speaker 2: don't have the songs, but once again, you don't have

1567
01:29:41,400 --> 01:29:46,240
Speaker 2: the anchor, So come up with one more song. So

1568
01:29:47,320 --> 01:29:54,400
Speaker 2: I wrote Hometown Hero and that was that was enough

1569
01:29:54,400 --> 01:29:55,679
Speaker 2: for Bruce to commit.

1570
01:29:56,600 --> 01:30:01,200
Speaker 1: Okay, so you make five albums with Columbia, they all

1571
01:30:01,240 --> 01:30:05,920
Speaker 1: have status gold better then for ten years you don't

1572
01:30:05,920 --> 01:30:08,160
Speaker 1: make another record. What happened with the band.

1573
01:30:10,600 --> 01:30:15,679
Speaker 2: Just got other interests. I guess got some just other interests,

1574
01:30:18,320 --> 01:30:22,200
Speaker 2: who knows. I mean, I kept writing, but I don't know,

1575
01:30:22,400 --> 01:30:29,720
Speaker 2: just distractions. Living just didn't have that that that desire for.

1576
01:30:29,960 --> 01:30:32,360
Speaker 1: Well, well, did the band have a meeting and break up?

1577
01:30:35,320 --> 01:30:40,639
Speaker 2: We had a meeting with Bruce when when uh Nirvana

1578
01:30:41,000 --> 01:30:45,760
Speaker 2: hit and he said, we were we were in the

1579
01:30:45,760 --> 01:30:50,240
Speaker 2: throws of planning of our biggest tour ever for us.

1580
01:30:50,439 --> 01:30:53,719
Speaker 2: It was gonna we were gonna have moving stages and

1581
01:30:53,920 --> 01:30:58,120
Speaker 2: I mean the whole not the big production, and Nirvana

1582
01:30:58,160 --> 01:31:01,000
Speaker 2: came out and completely stole our thumb and everybody else

1583
01:31:01,000 --> 01:31:09,160
Speaker 2: who had big hair basically, and so that was that

1584
01:31:09,320 --> 01:31:12,240
Speaker 2: was pretty much that and we and Bruce said, you know,

1585
01:31:13,600 --> 01:31:16,360
Speaker 2: radio stations aren't going to play your ship. They're they're

1586
01:31:16,360 --> 01:31:18,880
Speaker 2: not into that. They're into there in the grunge you

1587
01:31:18,960 --> 01:31:21,200
Speaker 2: guys are You don't. They're not going to play your stuff,

1588
01:31:21,720 --> 01:31:27,000
Speaker 2: So why why bother? I guess it's like you're wasting

1589
01:31:27,040 --> 01:31:30,320
Speaker 2: your time. You're not going to get any airplay. I

1590
01:31:30,520 --> 01:31:33,479
Speaker 2: kept writing in that, but we never it just kind

1591
01:31:33,479 --> 01:31:37,920
Speaker 2: of I'm trying to think of the timeline on that.

1592
01:31:39,479 --> 01:31:42,320
Speaker 2: If we stopped touring, if we just I guess we

1593
01:31:42,320 --> 01:31:44,800
Speaker 2: did I guess we just it took the win out

1594
01:31:44,840 --> 01:31:47,800
Speaker 2: of completely out of ourselves. Oh well, I guess we'll

1595
01:31:47,840 --> 01:31:51,000
Speaker 2: hang it up then. And that's and then I went.

1596
01:31:51,360 --> 01:31:54,679
Speaker 2: Mike did a couple of solo albums. I did, uh

1597
01:31:55,120 --> 01:31:57,880
Speaker 2: some solo stuff. I put a band together, played around

1598
01:31:58,320 --> 01:32:05,559
Speaker 2: Western Canada, Matt and played with Tom cochran and Kim

1599
01:32:05,600 --> 01:32:11,200
Speaker 2: Mitchell and Doug who is an amazing He does soundtracks,

1600
01:32:11,200 --> 01:32:13,800
Speaker 2: he always has done and still is. So he just

1601
01:32:13,840 --> 01:32:19,160
Speaker 2: did that. He didn't care. So we were basically finished.

1602
01:32:19,439 --> 01:32:22,360
Speaker 2: You know, we're all kind of like. It's not like

1603
01:32:22,400 --> 01:32:24,680
Speaker 2: we hate each other or we were broken heart at

1604
01:32:24,720 --> 01:32:27,439
Speaker 2: It was just like, okay, well that was a fantastic run.

1605
01:32:28,520 --> 01:32:32,520
Speaker 2: And then Brian Adams called us up and he said,

1606
01:32:33,320 --> 01:32:37,559
Speaker 2: you know, Brian McLeod has cancer and he can't he

1607
01:32:37,600 --> 01:32:41,680
Speaker 2: needs some funds. He needs some help financially so he

1608
01:32:41,680 --> 01:32:44,560
Speaker 2: can get the treatment. And I want to throw a

1609
01:32:46,520 --> 01:32:49,320
Speaker 2: fundraiser for him at eighty six Street here in Vancouver,

1610
01:32:49,760 --> 01:32:52,080
Speaker 2: and would you guys play? And one time we hadn't

1611
01:32:52,080 --> 01:32:54,759
Speaker 2: played together in more than two years or three years,

1612
01:32:54,920 --> 01:33:00,680
Speaker 2: can't remember, and of course what a great idea. So

1613
01:33:00,760 --> 01:33:04,360
Speaker 2: we put it back together again. I remember we didn't

1614
01:33:04,520 --> 01:33:08,479
Speaker 2: actually rehearse, but I got together with Doug to figure

1615
01:33:08,520 --> 01:33:11,120
Speaker 2: out just to kind of brush up on our parts,

1616
01:33:11,360 --> 01:33:14,599
Speaker 2: the guitar versus keyboards, what we were doing, what we

1617
01:33:14,640 --> 01:33:16,880
Speaker 2: did live, because it was a little bit different on

1618
01:33:16,920 --> 01:33:19,200
Speaker 2: the record. And that wait, so that was one after

1619
01:33:19,240 --> 01:33:21,639
Speaker 2: and I think we did maybe four songs and Bto

1620
01:33:21,840 --> 01:33:24,600
Speaker 2: was there. I mean, I mean a member standing on

1621
01:33:24,640 --> 01:33:26,840
Speaker 2: stage with Fred Turner, who was one of my all

1622
01:33:26,920 --> 01:33:31,400
Speaker 2: time idols, and hearing him sing the hot those screaming

1623
01:33:31,439 --> 01:33:34,000
Speaker 2: ie notes and me standing right beside him and probably

1624
01:33:34,000 --> 01:33:36,160
Speaker 2: no louder than what I'm talking right now, and this

1625
01:33:37,200 --> 01:33:40,320
Speaker 2: blood curdling scream is coming out of him, and I went, Wow,

1626
01:33:40,720 --> 01:33:46,559
Speaker 2: such a great singer. And we raised a bunch of money.

1627
01:33:46,680 --> 01:33:49,639
Speaker 2: But the thing is, we had such a good time

1628
01:33:49,680 --> 01:33:53,080
Speaker 2: doing it. We went, well, that was dumb. What the

1629
01:33:53,120 --> 01:33:54,880
Speaker 2: hell did we hang it? This is too much fun.

1630
01:33:55,840 --> 01:33:58,400
Speaker 2: We forgot it. We forgot about that aspect. Guys, this

1631
01:33:58,439 --> 01:34:01,439
Speaker 2: is really fun to do. What a great thing to

1632
01:34:01,479 --> 01:34:05,960
Speaker 2: go out and play music. Why don't we test the waters.

1633
01:34:06,080 --> 01:34:09,240
Speaker 2: Let's get a little tour. We'll play the interior of

1634
01:34:10,360 --> 01:34:14,400
Speaker 2: which is a Canadian way of saying what I don't know. Well,

1635
01:34:14,439 --> 01:34:16,479
Speaker 2: maybe you say it. Every time I say it, people

1636
01:34:16,479 --> 01:34:20,360
Speaker 2: go the interior. Yeah, the interior British Columbia. That's Kamloops

1637
01:34:20,360 --> 01:34:22,559
Speaker 2: and Cologna and there's small towns and just you know,

1638
01:34:22,760 --> 01:34:25,760
Speaker 2: not make it, keep it low key and just feel

1639
01:34:25,760 --> 01:34:27,479
Speaker 2: it out. See how we feel about it, See if

1640
01:34:27,479 --> 01:34:29,720
Speaker 2: we enjoy it as much as we think we might.

1641
01:34:30,240 --> 01:34:32,920
Speaker 2: And we had a blast, and that was in ninety

1642
01:34:32,920 --> 01:34:39,480
Speaker 2: two and we never stopped. We just kept going, never stopped. Well, pandemic,

1643
01:34:39,560 --> 01:34:40,040
Speaker 2: we stopped.

1644
01:34:41,240 --> 01:34:45,200
Speaker 1: Do you think if Lover Boy was an American band,

1645
01:34:45,600 --> 01:34:49,320
Speaker 1: people's attitudes towards it and its legacy would be different.

1646
01:34:52,720 --> 01:34:54,360
Speaker 2: I don't think so, because haters are going to hate

1647
01:34:54,400 --> 01:34:56,280
Speaker 2: and fans are going to love you no matter what.

1648
01:34:56,600 --> 01:35:00,360
Speaker 2: I don't know we got. I don't I think so

1649
01:35:00,560 --> 01:35:04,839
Speaker 2: because people that come to our shows are the same everywhere,

1650
01:35:05,920 --> 01:35:10,080
Speaker 2: everywhere in Canada or you know, it's still they respond

1651
01:35:10,280 --> 01:35:14,439
Speaker 2: the same way. So it's we communicate to them and

1652
01:35:14,520 --> 01:35:18,879
Speaker 2: they communicate back. It's the same thing. And they're limited

1653
01:35:18,880 --> 01:35:20,760
Speaker 2: tours in Europe. Same thing.

1654
01:35:21,560 --> 01:35:25,320
Speaker 1: Okay, at the end of the day, decades later, lover

1655
01:35:25,479 --> 01:35:31,320
Speaker 1: Boy the name plus minus or irrelevant.

1656
01:35:32,760 --> 01:35:34,679
Speaker 2: You know, I thought the Beatles was a weird name,

1657
01:35:35,040 --> 01:35:37,920
Speaker 2: Rolling Stones? What what is what kind of name for

1658
01:35:37,960 --> 01:35:40,720
Speaker 2: a band is that? You know, we're back in my

1659
01:35:40,840 --> 01:35:43,960
Speaker 2: day everybody who had named a for cars Chevelle's and

1660
01:35:44,200 --> 01:35:48,240
Speaker 2: whatever and surf names, and the Beatles came out. I

1661
01:35:48,240 --> 01:35:53,599
Speaker 2: want that sowhere. But you know, first first gig we had,

1662
01:35:53,800 --> 01:35:56,479
Speaker 2: we were called lover Boy. We're playing all original music

1663
01:35:56,560 --> 01:35:59,439
Speaker 2: and the people in the audience were pelting us with

1664
01:35:59,479 --> 01:36:03,439
Speaker 2: whatever they had, mainly ice cubes. They hated it. But

1665
01:36:04,439 --> 01:36:09,439
Speaker 2: it just becomes it's like Kleenex, you know what, You

1666
01:36:09,800 --> 01:36:12,160
Speaker 2: got to know what the product is. Kleenex by itself

1667
01:36:12,280 --> 01:36:15,960
Speaker 2: is what is that? You've scrubbed your house with it?

1668
01:36:16,520 --> 01:36:20,720
Speaker 2: You know? And so it's it's just a brand. It's

1669
01:36:20,720 --> 01:36:23,840
Speaker 2: a pretty cool brand. It's because it does elicit you know,

1670
01:36:24,800 --> 01:36:26,559
Speaker 2: either they hate it or they love it, or they

1671
01:36:26,600 --> 01:36:29,360
Speaker 2: don't care. They just they just remember the music and

1672
01:36:29,400 --> 01:36:32,400
Speaker 2: they don't associate the name just with anything else.

1673
01:36:32,840 --> 01:36:35,679
Speaker 1: Okay, coming up with the band name is not easy.

1674
01:36:36,479 --> 01:36:38,960
Speaker 1: Usually come up with list and people say yes, and

1675
01:36:39,040 --> 01:36:42,320
Speaker 1: people say no, how did you come up with lover Boy?

1676
01:36:42,560 --> 01:36:44,559
Speaker 1: And how hard was it to get the band to

1677
01:36:44,640 --> 01:36:45,360
Speaker 1: agree on it?

1678
01:36:45,760 --> 01:36:48,200
Speaker 2: Well, it's just Mike Mike and Doug. I mean, so

1679
01:36:48,240 --> 01:36:50,920
Speaker 2: it wasn't really a band. We were thinking of calling

1680
01:36:51,000 --> 01:36:53,880
Speaker 2: a Dean Renal band or a Renal Dean band, because

1681
01:36:53,880 --> 01:36:55,680
Speaker 2: it was just Mike and me. And Doug was kind

1682
01:36:55,720 --> 01:36:58,360
Speaker 2: of he was working with another band. He wasn't really committed,

1683
01:36:58,720 --> 01:37:00,880
Speaker 2: but he had helped me out on so he was

1684
01:37:01,080 --> 01:37:02,720
Speaker 2: in our minds he was part of the band, but

1685
01:37:03,040 --> 01:37:05,240
Speaker 2: in his mind he wasn't really part of the band yet.

1686
01:37:05,760 --> 01:37:07,559
Speaker 2: So it's just Mike and I had to make all

1687
01:37:07,560 --> 01:37:11,679
Speaker 2: the decisions. And I tried it out on Denise's my wife,

1688
01:37:11,800 --> 01:37:16,679
Speaker 2: Denise's younger brother. He was, I don't know, fifteen or whatever,

1689
01:37:17,400 --> 01:37:20,280
Speaker 2: and I said, so with your back off, and I

1690
01:37:20,320 --> 01:37:24,960
Speaker 2: went Dean Ring. Nobody went okay, complete like over whatever

1691
01:37:25,400 --> 01:37:27,479
Speaker 2: kind of name. I went, well, that ain't gonna fly.

1692
01:37:28,560 --> 01:37:33,639
Speaker 2: So I'm looking at my at at Denise's magazines, and

1693
01:37:33,720 --> 01:37:38,320
Speaker 2: she's got Chateolaine and all these Vogue and all these

1694
01:37:38,880 --> 01:37:43,320
Speaker 2: Girl Lady magazines. And on the back cover is a

1695
01:37:44,880 --> 01:37:49,080
Speaker 2: ad for cover girl. I want cover girl, cover cover boy,

1696
01:37:49,160 --> 01:37:52,240
Speaker 2: cover boy. Oh that's a great wait cover we don't

1697
01:37:52,240 --> 01:37:54,639
Speaker 2: want to be doing Wait, obviously, what the next step

1698
01:37:54,720 --> 01:37:56,840
Speaker 2: is the lover boy? So I went, this is a

1699
01:37:56,880 --> 01:37:58,840
Speaker 2: good name. This is what my mommy used to tease

1700
01:37:58,880 --> 01:38:00,920
Speaker 2: me with when I was a kid. Hey, lover boy,

1701
01:38:01,000 --> 01:38:04,120
Speaker 2: let's go. I don't know why, but that's stuck in

1702
01:38:04,200 --> 01:38:09,040
Speaker 2: my head. And I sprung it on a Reno and

1703
01:38:09,080 --> 01:38:13,240
Speaker 2: Lou and everybody went, fine, now we know who we are.

1704
01:38:14,080 --> 01:38:18,760
Speaker 1: Okay to what the degree did being Canadian in the

1705
01:38:18,840 --> 01:38:25,280
Speaker 1: Canadian scene contribute to the success of the band or

1706
01:38:25,360 --> 01:38:28,080
Speaker 1: the success of your career you personally?

1707
01:38:33,200 --> 01:38:35,600
Speaker 2: Well, I've always said that it's just a line on

1708
01:38:35,680 --> 01:38:41,120
Speaker 2: a map. We're so close musically. I don't know political whatever,

1709
01:38:41,160 --> 01:38:45,799
Speaker 2: but musically we're so close to people in every place.

1710
01:38:46,760 --> 01:38:48,960
Speaker 2: Why is this border here? Why don't have to be

1711
01:38:49,040 --> 01:38:51,559
Speaker 2: Canadian and you guys have to be American? And I

1712
01:38:51,600 --> 01:38:53,360
Speaker 2: got to jump through all these hoops to come down

1713
01:38:53,400 --> 01:38:56,920
Speaker 2: and play for you and try and get all the

1714
01:38:56,960 --> 01:39:00,320
Speaker 2: business done, and that it was just it was. It

1715
01:39:00,360 --> 01:39:03,759
Speaker 2: was frustrating, but at the time, but I wasn't worthy,

1716
01:39:04,080 --> 01:39:06,519
Speaker 2: you know, all the other stuff I'd done wasn't worthy

1717
01:39:06,520 --> 01:39:10,120
Speaker 2: of of. We could barely get a recording deal in Canada,

1718
01:39:10,360 --> 01:39:14,760
Speaker 2: let alone breach the Great Divide and get into into

1719
01:39:14,840 --> 01:39:19,599
Speaker 2: the States or UK or wherever else. So I just

1720
01:39:19,640 --> 01:39:23,680
Speaker 2: remember our first show in the States was at the

1721
01:39:23,720 --> 01:39:27,519
Speaker 2: Tacoma Dome, opening for Sammy Hagar. It's funny, and here

1722
01:39:27,520 --> 01:39:29,639
Speaker 2: we are. We're back playing with him again this summer,

1723
01:39:29,680 --> 01:39:34,839
Speaker 2: but opening for Sammy and Mike and me getting dressed

1724
01:39:35,280 --> 01:39:38,040
Speaker 2: and we're in the shower because they all they have

1725
01:39:38,120 --> 01:39:41,280
Speaker 2: this the best sound and we're singing, we're singing your

1726
01:39:41,400 --> 01:39:43,479
Speaker 2: national anthem. I mean, we probably didn't know the words

1727
01:39:43,520 --> 01:39:47,479
Speaker 2: for it. I still don't, but we're singing, we're singing

1728
01:39:48,080 --> 01:39:51,800
Speaker 2: your national anthem in the soul blown away that we're

1729
01:39:51,800 --> 01:39:56,760
Speaker 2: finally here, we are, we made it. We're playing the USA. Man. Wow,

1730
01:39:57,680 --> 01:39:59,400
Speaker 2: it was a big deal for us. It really was,

1731
01:39:59,680 --> 01:40:04,880
Speaker 2: because we'd been stuck and not stuck. We were always

1732
01:40:04,920 --> 01:40:08,080
Speaker 2: doing what we wanted to do, and we're never tied

1733
01:40:08,120 --> 01:40:11,320
Speaker 2: down by being Canadian. There was always acceptance. Not I

1734
01:40:11,320 --> 01:40:13,280
Speaker 2: mean if we suck, we suck, but any of the

1735
01:40:13,320 --> 01:40:15,200
Speaker 2: good stuff we did, there was always acceptance. Far it.

1736
01:40:17,000 --> 01:40:19,840
Speaker 1: Well, you certainly have success. And it's funny because from

1737
01:40:19,880 --> 01:40:22,720
Speaker 1: bands of that era, you know a number of your

1738
01:40:22,760 --> 01:40:26,400
Speaker 1: songs have lived on where those have died. So Paul,

1739
01:40:26,520 --> 01:40:28,320
Speaker 1: I want to thank you so much for taking this

1740
01:40:28,479 --> 01:40:30,040
Speaker 1: time to speak with my audience.

1741
01:40:31,360 --> 01:40:34,240
Speaker 2: Well, it's been an honor and I've I've been following

1742
01:40:34,280 --> 01:40:37,240
Speaker 2: your days in Aspen. And let me tell you one

1743
01:40:37,240 --> 01:40:39,479
Speaker 2: thing that you taught me, Bob. The best thing I

1744
01:40:39,479 --> 01:40:43,320
Speaker 2: think you taught me. People don't want albums, they would

1745
01:40:43,360 --> 01:40:46,839
Speaker 2: just want singles. And that's been my mantra for ten years.

1746
01:40:47,560 --> 01:40:49,880
Speaker 2: That's why we don't have hardly any albums. We just

1747
01:40:50,000 --> 01:40:52,160
Speaker 2: keep throwing singles out when we get around to it,

1748
01:40:52,200 --> 01:40:56,160
Speaker 2: you know, so thank you for It's made so much

1749
01:40:56,200 --> 01:40:59,439
Speaker 2: sense to me. I mean, i'll score, I'll look for

1750
01:40:59,479 --> 01:41:02,439
Speaker 2: an album, i'll play, I'll whip through bam bam, bam

1751
01:41:02,479 --> 01:41:05,120
Speaker 2: bam bam. Oh there's one song that like and get

1752
01:41:05,200 --> 01:41:07,519
Speaker 2: rid of the rest of the playlist, you know. So

1753
01:41:07,720 --> 01:41:09,920
Speaker 2: it's really if you can get put out one song.

1754
01:41:09,960 --> 01:41:11,759
Speaker 2: What a great song. Wow.

1755
01:41:13,640 --> 01:41:15,880
Speaker 1: I think I'll leave it at that. Thanks so much

1756
01:41:15,960 --> 01:41:22,360
Speaker 1: for any event. Until next time. This is Bob left

1757
01:41:22,360 --> 01:41:22,719
Speaker 1: Sets