WEBVTT - Tommy James

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<v Speaker 1>Welcome, Welcome, Welcome back Bob Left stepod podcast. My guest

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<v Speaker 1>this week is the one and only Tommy James. Tommy,

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<v Speaker 1>good to have you on the podcast. Thank you so much.

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<v Speaker 1>Great to be with you. So you're going on the

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<v Speaker 1>road during the era of COVID. What is that like? Well,

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<v Speaker 1>you know something, we were down for a year and

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<v Speaker 1>a half. We didn't we didn't perform our you know,

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<v Speaker 1>it was from February of two, just recently and uh so,

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<v Speaker 1>you know, it's like being an athlete who stops. Who

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<v Speaker 1>stops being an athlete for a year and a half

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<v Speaker 1>and your your your muscles get all saggy and you

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<v Speaker 1>you know, when you go back out, you're not You're

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<v Speaker 1>not sure what's going to happen. And so that's what

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<v Speaker 1>I felt like. We have just completed our seventh concert

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<v Speaker 1>after COVID, and uh, you know, I get stronger and

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<v Speaker 1>stronger at each show. So I feel pretty good now.

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<v Speaker 1>The first couple of shows were crazy. I was forgetting

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<v Speaker 1>the words to Hanky Panky and that's hard to do.

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<v Speaker 1>That's very There's only six of them, so so at

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<v Speaker 1>any rate, uh, uh, you know, I'm feeling pretty good now.

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<v Speaker 1>We're we're we're in St. Louis this week and uh

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<v Speaker 1>so you know it's uh getting back out in the

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<v Speaker 1>road and mixing it up with the fans feels really good.

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<v Speaker 1>What about COVID and the fan do you have any

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<v Speaker 1>problem people anxious about attending since you know a lot

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<v Speaker 1>of older demo people want to come to your show. Well,

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<v Speaker 1>you know, we weren't sure what was going to happen, uh,

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<v Speaker 1>if people are gonna come back to but these these

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<v Speaker 1>folks are ready to party, and it's it's very I'm

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<v Speaker 1>very pleasantly surprised. Um, there's only been a couple of

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<v Speaker 1>places where uh, masks were required. I don't know how

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<v Speaker 1>you go to a rock concert with a mask on, um,

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<v Speaker 1>you know, singing along and whooping and hollering. It's pretty tough.

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<v Speaker 1>But um, uh, you know it's funny. As soon as

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<v Speaker 1>we get there, people seem to just rip the masks

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<v Speaker 1>off and uh so everybody is is ready to go,

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<v Speaker 1>and uh, you know, I'm not I'm not really concerned.

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<v Speaker 1>I had COVID uh last December. In fact, Christmas Eve

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<v Speaker 1>they told me I had COVID. They said, Merry Christmas,

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<v Speaker 1>you got COVID, And I was very very blessed and

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<v Speaker 1>fortunate to not have a serious case at all. I

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<v Speaker 1>wouldn't have even known I had it if they hadn't

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<v Speaker 1>told me. Our housekeeper basically told my wife and I that,

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<v Speaker 1>uh she had tested positive in December of and so

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<v Speaker 1>we had a lab. The lab came out and we

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<v Speaker 1>we both tested and I she she was negative. I

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<v Speaker 1>was positive. So all I can say is I was.

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<v Speaker 1>I wouldn't have known I had it if I hadn't

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<v Speaker 1>have been told. So thank God. And uh so, I

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<v Speaker 1>you know, I have whatever natural immunity you get, and

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<v Speaker 1>uh so, I feel pretty good. I feel I feel

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<v Speaker 1>very confident out in the road. Now. Okay, Tommy, we

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<v Speaker 1>heard recently that your wife wasn't doing so well. What's

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<v Speaker 1>up with that? Well, Linda has MS and she's had

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<v Speaker 1>it since uh oh nine. She was diagnosed with it,

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<v Speaker 1>and it's progressive and it's part of our life now.

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<v Speaker 1>MS is a really spooky disease because everybody gets it

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<v Speaker 1>different and essentially, the the the lining around the nerves

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<v Speaker 1>um it's called milon and uh it gets inflamed and

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<v Speaker 1>when it does, it leaves scars. And when it leaves scars,

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<v Speaker 1>the electrical impulses can't get in and out, so it's

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<v Speaker 1>essentially paralyzing. And so it's progressive and it's just the

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<v Speaker 1>way it is and we gotta live with it. So

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<v Speaker 1>your wife Linda is a practical matter. Now, what's her

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<v Speaker 1>life look like? How mobile is she? Well, she's she's

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<v Speaker 1>not mobile at all. She's pretty much better ridden now

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<v Speaker 1>and that's just the way it's going to be. Occasionally

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<v Speaker 1>we can use a wheelchair, but pretty much she's ah,

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<v Speaker 1>she's an invalid, and so we have a team of

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<v Speaker 1>nurses and I'm a caregiver in between doing Tommy James stuff.

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<v Speaker 1>So that's just the way it is. Thank you for asking.

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<v Speaker 1>So when you do a show t me, the audience

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<v Speaker 1>expects the hit. Do you ever not play one of

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<v Speaker 1>the hits? And what's the reaction? Yeah? Well, you know,

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<v Speaker 1>we we get requests for so many more than we

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<v Speaker 1>can do during you know, an hour and a half.

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<v Speaker 1>We we probably could play for three hours if we, uh,

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<v Speaker 1>if we were to do more of the more of

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<v Speaker 1>the hits and more of the big album cuts and stuff.

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<v Speaker 1>But I'm very honored and flattered. During that time, we

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<v Speaker 1>get requests for all kinds of stuff and h every

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<v Speaker 1>now and then we throw new stuff into the show,

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<v Speaker 1>but we've only got so much time, so we try

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<v Speaker 1>to cram as many of the big songs and two

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<v Speaker 1>into that much time as we can. I wanted to

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<v Speaker 1>tell you I read your stuff all the time, and

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<v Speaker 1>I am really knocked out. I love, I'm very honored

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<v Speaker 1>to do this with you. And uh, uh you're extremely articulate,

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<v Speaker 1>and you are saying the things that all of us

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<v Speaker 1>need to know. You know, um who are in the business,

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<v Speaker 1>and uh, you have a very keen eye. And and

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<v Speaker 1>I must say I'm very impressed with your writing and

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<v Speaker 1>your insights and things, and I mean that sincerely. Well,

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<v Speaker 1>you know this is an audio podcast, so people can't

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<v Speaker 1>see me smiling. Thanks so much. But since we're on

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<v Speaker 1>the laudatory path, you wrote one of the best rock

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<v Speaker 1>biographies ever, the first and for first and for most.

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<v Speaker 1>It hits the number one criterion of writing. It's extremely

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<v Speaker 1>readable because I certainly read about it, read it and

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<v Speaker 1>wrote about it when it came out. But I was

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<v Speaker 1>reviewing it last night, my girlfriends, well, what's going on?

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<v Speaker 1>Blah blah blah blah blah, And I said none. I said,

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<v Speaker 1>this is the type of book. You start reading it,

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<v Speaker 1>you can't stop. It's just done so well. I've read

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<v Speaker 1>a million of these things, and that's why I said

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<v Speaker 1>great things about it when I did read it. But

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<v Speaker 1>I really have to put that fourth now. The other

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<v Speaker 1>thing that's amazing in your career. You really made it

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<v Speaker 1>as a teenager. Yeah, when he when Hanky Panky. When

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<v Speaker 1>Hanky Panky was a hit, how old were you? Uh, Well,

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<v Speaker 1>when I recorded it, I was sixteen when it hit.

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<v Speaker 1>It was two and a half years later, so I

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<v Speaker 1>was I had just I was just turning nineteen. Uh.

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<v Speaker 1>I had been in a band though since I was twelve.

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<v Speaker 1>If you can believe that, I started my first rock

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<v Speaker 1>band back in my hometown of Niles, Michigan, when I

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<v Speaker 1>was twelve, uh and played the seventh grade variety show

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<v Speaker 1>and we ended up keeping the band together. We got

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<v Speaker 1>such a great response, we kept the band together, and

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<v Speaker 1>uh I started uh performing you know, at the y

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<v Speaker 1>m c A. And dances all over town and wherever

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<v Speaker 1>they'd have us. And when I was fourteen years oh,

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<v Speaker 1>I made my first record, and that was I got

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<v Speaker 1>a job in a local record shop and one of

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<v Speaker 1>the distributors from an outfit called singer one stop in Chicago,

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<v Speaker 1>you know, would would service all the mom and pop

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<v Speaker 1>record stores, and Niles Michigan was one of them. And

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<v Speaker 1>he came in and we got to talk, and I

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<v Speaker 1>was fourteen years old, and I told him I had

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<v Speaker 1>a band, and he had a little studio up in Hastings, Michigan.

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<v Speaker 1>I said, uh. He said, why don't you come up

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<v Speaker 1>and record something? So I said, well, yeah, so I

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<v Speaker 1>did and that was our first record. It was a

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<v Speaker 1>cover of the Fireballs record Long Ponytail. And so that

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<v Speaker 1>was my first recording experience on a little label called

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<v Speaker 1>north Way Sound. And then two years later, um, a

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<v Speaker 1>local disc jockey was starting to record. Well wait, Lech,

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<v Speaker 1>let's let's stop for a second. So you were born

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<v Speaker 1>and your first you in what town? I was born

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<v Speaker 1>in Dayton, Ohio. And spent about ten minutes and what okay?

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<v Speaker 1>And what did your parents do in Dayton? My folks

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<v Speaker 1>managed a hotel. My father actually managed a hotel and

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<v Speaker 1>he was in the hotel business in Dayton, and uh.

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<v Speaker 1>We soon left after that and moved to South Bend, Indiana,

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<v Speaker 1>where he managed another hotel. And you know, it's kind

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<v Speaker 1>of like being a military kid and go ahead. No,

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<v Speaker 1>So he was managing a hotel. South Bend is a

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<v Speaker 1>home of Notre Dame. How big hotel was it? Well,

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<v Speaker 1>I suppose a medium sized hotel. Wasn't huge. It was

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<v Speaker 1>called the LaSalle Hotel. And uh he stayed there for

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<v Speaker 1>many years. And uh, I my mother and my dad

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<v Speaker 1>and I there was I was an only child, lived

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<v Speaker 1>in South Bend and until I was seven years old,

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<v Speaker 1>and then we moved to Niles, Michigan, which was just

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<v Speaker 1>over the state line in Michigan. Okay, but do you

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<v Speaker 1>still work in the same hotel? Yes, Okay. So you

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<v Speaker 1>know there's the Helloise books or the Eloise books. Hellowise

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<v Speaker 1>was the cleaning person Eloise books about living at the plaza.

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<v Speaker 1>What's it like when your father runs a hotel? Do

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<v Speaker 1>you hang out at the hotel? Well, sometime we would

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<v Speaker 1>go down and we'd have lunch there down down in

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<v Speaker 1>the coffee shop. Sometimes my mom and I get my

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<v Speaker 1>hair cut in the hotel barbershop. You know, they had hotels,

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<v Speaker 1>especially ones that are on a corner, you know, have

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<v Speaker 1>all kinds of other little businesses. I if I hadn't

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<v Speaker 1>have done the music business, I would have probably gotten

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<v Speaker 1>to the hotel business. I loved hotels. I love sitting

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<v Speaker 1>in the lobby looking at the beautiful furnishings and the ceilings,

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<v Speaker 1>and I loved it ever since I was a little kid. So, um,

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<v Speaker 1>it's probably a good thing I played guitar though, just

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<v Speaker 1>as as I looked back. So anyway, we moved to Niles, Michigan,

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<v Speaker 1>and when I was seven years old, and I grew

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<v Speaker 1>up there. I went to school in high school there

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<v Speaker 1>and at the same time, Uh God, bless that little

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<v Speaker 1>record shop, because I got a job there. And before

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<v Speaker 1>before you get there, you're growing up. What kind of

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<v Speaker 1>kids are you? Are you smart? Are you good in school?

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<v Speaker 1>You're bad in school? You're a loner? You remember the group?

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<v Speaker 1>What was your identity growing up? Oh? I was pretty

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<v Speaker 1>average in school. Uh. I certainly wasn't an honor student.

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<v Speaker 1>I was had a lot of other activities going on,

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<v Speaker 1>mostly of them having to do with music, you know,

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<v Speaker 1>with the group. And uh, because I you know, by

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<v Speaker 1>the time I was twelve, I had started the group.

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<v Speaker 1>So I was a very average kid. I'm trying to

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<v Speaker 1>think of anything. I played a little basketball, but not much.

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<v Speaker 1>I Um, I had a lot of friends, Uh, some

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<v Speaker 1>that I still go back to Niles to this very

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<v Speaker 1>day and and power with you know have I've stayed

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<v Speaker 1>in touch with many of them. We didn't have a

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<v Speaker 1>big family, but I developed a whole lot of buddies. Okay,

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<v Speaker 1>So how did you get a job at a record store?

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<v Speaker 1>I was at the right place at the right time.

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<v Speaker 1>Has happened so often in my life. Um, I was,

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<v Speaker 1>you know, had a collection of records that was, you know,

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<v Speaker 1>just stacks of records. I was buying records since I

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<v Speaker 1>was a little kid. By the way, I left something

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<v Speaker 1>out there. My mother used to have brought me a

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<v Speaker 1>record player and um and records. Uh when I was

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<v Speaker 1>you know, three years old and four years old, So

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<v Speaker 1>I had a stack of records. Um. My grandfather bought

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<v Speaker 1>me a ukulele and Arthur God for ukulele when I

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<v Speaker 1>was four, and I started playing everything I could on

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<v Speaker 1>that uku ale and started singing along with the radio

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<v Speaker 1>and stuff. And so when I was nine years old,

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<v Speaker 1>I saw Elvis on TV for the first time on

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<v Speaker 1>the Ed Sullivan Show, and the ukulele went out the window,

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<v Speaker 1>and I begged my mom for a guitar, uh, which

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<v Speaker 1>she got me and started playing the acoustic guitar. The

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<v Speaker 1>next year, when I was ten, I got my first

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<v Speaker 1>electric guitar, and uh, you know, started playing as much

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<v Speaker 1>electric guitar as I could hear in the radio. Okay,

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<v Speaker 1>so how did you learn how to play the guitar?

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<v Speaker 1>You owned it? But well, my mom tried to get

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<v Speaker 1>me lessons and I didn't want to do that. I

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<v Speaker 1>I taught myself how to play. I had taught myself

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<v Speaker 1>to ukulele, and I figured I could teach myself the guitar,

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<v Speaker 1>and uh, and I did so this very day. I

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<v Speaker 1>still don't play the guitar properly. I pre tuned the

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<v Speaker 1>guitar to an open e chord and uh, play rhythm.

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<v Speaker 1>I can't play lead worth a damn because, uh, that

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<v Speaker 1>requires a better knowledge of the guitar than I have.

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<v Speaker 1>So I play and sing. That's my job, was to

0:14:31.840 --> 0:14:36.440
<v Speaker 1>sing and accompany myself. Okay. And what was your first

0:14:36.480 --> 0:14:41.800
<v Speaker 1>electric guitar? It was made by Slingerland Drums. It was

0:14:41.840 --> 0:14:49.040
<v Speaker 1>a Slingerland guitar. It was I didn't either, but it was.

0:14:49.200 --> 0:14:53.240
<v Speaker 1>It was Slingerland. And it was a jazz guitar. Uh,

0:14:53.400 --> 0:14:57.200
<v Speaker 1>that had been and it was was owned by my

0:14:57.360 --> 0:15:04.040
<v Speaker 1>barber and my barber who cut my d a off. Um,

0:15:04.280 --> 0:15:06.960
<v Speaker 1>you know every other week. Uh, you know, it just

0:15:07.000 --> 0:15:11.840
<v Speaker 1>seems something really immoral about that. Told me my sold

0:15:11.880 --> 0:15:16.400
<v Speaker 1>me my first guitar and amp, and uh that was

0:15:16.480 --> 0:15:19.560
<v Speaker 1>the thrill of my life, getting my first electric guitar. Okay,

0:15:19.560 --> 0:15:22.240
<v Speaker 1>so you got the amp simultaneously. And what was the

0:15:22.280 --> 0:15:26.240
<v Speaker 1>brand of the amp? It was an Airline amp by

0:15:26.320 --> 0:15:33.440
<v Speaker 1>Montgomery Wards. I couldn't yet afford a silver tone from Sears,

0:15:33.520 --> 0:15:38.360
<v Speaker 1>but that came later, Okay, that you know, really God

0:15:38.640 --> 0:15:41.520
<v Speaker 1>bringing it back the catalog. Okay. A lot of people

0:15:42.080 --> 0:15:45.840
<v Speaker 1>they started playing music when the Beatles broke, or even

0:15:45.880 --> 0:15:48.560
<v Speaker 1>a little bit before, they played acoustic guitars in the

0:15:48.560 --> 0:15:52.880
<v Speaker 1>folk era. You're now talking about the fifties. What is

0:15:52.920 --> 0:15:57.240
<v Speaker 1>the music scene in the fifties and what is motivating

0:15:57.280 --> 0:16:02.200
<v Speaker 1>you to play and want to have a band? Well,

0:16:03.520 --> 0:16:05.880
<v Speaker 1>all I wanted to be was one of those rock

0:16:05.920 --> 0:16:11.720
<v Speaker 1>and roll guys that I saw on Bandstein, And of

0:16:11.760 --> 0:16:15.800
<v Speaker 1>course when I saw Elvis, I knew that was a

0:16:15.880 --> 0:16:23.480
<v Speaker 1>job possibility. And so honestly, seeing Elvis had a great

0:16:23.480 --> 0:16:27.040
<v Speaker 1>impact on me when I was nine years old, and

0:16:28.680 --> 0:16:33.320
<v Speaker 1>I all I can say is that I the I

0:16:33.440 --> 0:16:35.800
<v Speaker 1>learned everything on the radio and everything I could buy

0:16:35.800 --> 0:16:42.440
<v Speaker 1>on record. And uh, I think the first guitar line

0:16:42.520 --> 0:16:48.560
<v Speaker 1>that I ever learned was Sanford Clark playing the fool. Uh.

0:16:49.760 --> 0:16:53.840
<v Speaker 1>A very famous guitar player name Al Casey played that lick.

0:16:54.560 --> 0:16:58.880
<v Speaker 1>Are you a musician? By the way, we were all musicians, okay,

0:16:58.880 --> 0:17:02.560
<v Speaker 1>we all started off. But but I am not a musician.

0:17:03.200 --> 0:17:06.639
<v Speaker 1>I had guitars, etcetera, but I had no natural talent.

0:17:06.840 --> 0:17:08.760
<v Speaker 1>All right, Well, you seem to know a lot about it,

0:17:08.800 --> 0:17:10.640
<v Speaker 1>and that's I just kind of well, you know, when

0:17:10.680 --> 0:17:13.119
<v Speaker 1>the Beatles hit, etcetera. And I grew up about fifty

0:17:13.119 --> 0:17:15.000
<v Speaker 1>miles from New York City, one of the things you

0:17:15.000 --> 0:17:18.680
<v Speaker 1>would do is go into Manny's and the other place street,

0:17:19.560 --> 0:17:22.320
<v Speaker 1>uh and look at all the instruments, know all the brands,

0:17:22.359 --> 0:17:25.080
<v Speaker 1>you go to see the acts. It's just that. And

0:17:25.200 --> 0:17:28.679
<v Speaker 1>I was in bands, but not having the natural talent,

0:17:29.040 --> 0:17:31.080
<v Speaker 1>you know, nothing, even when I never played a live

0:17:31.119 --> 0:17:33.120
<v Speaker 1>gig or anything like that, although I had a lot

0:17:33.119 --> 0:17:36.800
<v Speaker 1>of friends. But since you were there before and after,

0:17:37.560 --> 0:17:41.640
<v Speaker 1>what was the change from your perspective when the Beatles

0:17:41.760 --> 0:17:44.320
<v Speaker 1>hit as opposed to what had come before? You got

0:17:44.359 --> 0:17:47.360
<v Speaker 1>motivated by Elvis all of a sudden the Beatles hit.

0:17:47.800 --> 0:17:53.080
<v Speaker 1>Why to what degree is that different? Well, my perspective

0:17:53.160 --> 0:17:57.480
<v Speaker 1>probably is different because I was working in the record shop.

0:17:59.080 --> 0:18:06.000
<v Speaker 1>This is really the end of nine. And UM, whenever

0:18:06.119 --> 0:18:10.960
<v Speaker 1>I think of the Beatles making it, I think of

0:18:11.640 --> 0:18:17.000
<v Speaker 1>two things. Uh what Capitol Records did in the record shops,

0:18:17.040 --> 0:18:21.520
<v Speaker 1>the mom and pop record shops. Uh, they had a

0:18:21.600 --> 0:18:27.080
<v Speaker 1>U the Beatles are coming little poster, little little tripods

0:18:27.160 --> 0:18:30.760
<v Speaker 1>sign shaped like a guitar, and the front of the

0:18:30.880 --> 0:18:35.800
<v Speaker 1>album of the Beatles first album, UM was on the

0:18:35.880 --> 0:18:39.960
<v Speaker 1>body of the guitar in the picture, and the Beatles

0:18:39.960 --> 0:18:42.680
<v Speaker 1>are coming. The Beatles are coming, and their faces were

0:18:42.760 --> 0:18:47.200
<v Speaker 1>turned backwards. And every week the distributor would come in

0:18:47.400 --> 0:18:50.320
<v Speaker 1>and their faces would be turned slightly to the right,

0:18:51.240 --> 0:18:54.080
<v Speaker 1>and and when their record came out they were facing

0:18:54.119 --> 0:18:58.399
<v Speaker 1>exactly forward. Every week they would change this sign. And

0:18:58.480 --> 0:19:02.160
<v Speaker 1>so I watched this happen. Uh as and of course

0:19:02.640 --> 0:19:06.040
<v Speaker 1>that the Beatles exploded. But the second thing that happened

0:19:06.520 --> 0:19:13.280
<v Speaker 1>was the Kennedy assassination. And I always associate, uh, the

0:19:13.400 --> 0:19:17.359
<v Speaker 1>killing of John Kennedy with the Beatles making it, because

0:19:17.400 --> 0:19:23.240
<v Speaker 1>they happened at exactly the same time. And UM, I've

0:19:23.240 --> 0:19:27.600
<v Speaker 1>often said that I think the only thing that made

0:19:28.560 --> 0:19:35.160
<v Speaker 1>bearable was the Beatles, because um, everything happened at once

0:19:35.240 --> 0:19:37.800
<v Speaker 1>and anyway. In my head, I always think of those

0:19:37.840 --> 0:19:42.560
<v Speaker 1>two things as being simultaneous because they were for me,

0:19:43.520 --> 0:19:46.240
<v Speaker 1>and so when the b I remember hearing the Beatles

0:19:46.280 --> 0:19:49.639
<v Speaker 1>though on jukeboxes I want to hold your hand, and

0:19:49.680 --> 0:19:51.919
<v Speaker 1>I saw our standing there the first time, and I

0:19:51.960 --> 0:19:56.240
<v Speaker 1>thought it was not very sophisticated. I thought it was,

0:19:56.760 --> 0:20:00.160
<v Speaker 1>you know, kind of uh too, and then I went

0:20:00.240 --> 0:20:03.200
<v Speaker 1>to try to play it. I don't know if you've

0:20:03.200 --> 0:20:08.679
<v Speaker 1>ever tried playing the Beatles chord progressions, but uh, you

0:20:08.720 --> 0:20:11.880
<v Speaker 1>could make your fingers bleed because they were they were

0:20:12.119 --> 0:20:15.760
<v Speaker 1>very sophisticated. And I mean I remember going into the

0:20:15.840 --> 0:20:19.359
<v Speaker 1>bridge of I want to hold your hand, you know,

0:20:19.480 --> 0:20:22.720
<v Speaker 1>and when I think you know, the change is key

0:20:22.800 --> 0:20:26.760
<v Speaker 1>completely and it's so subtle that you don't even realize

0:20:27.080 --> 0:20:30.240
<v Speaker 1>hard Day's night. She loves you. Have you ever tried

0:20:30.280 --> 0:20:33.680
<v Speaker 1>playing she Loves You? I mean, the chords that she

0:20:33.800 --> 0:20:38.040
<v Speaker 1>Loves You are insane and and they certainly were for me.

0:20:38.200 --> 0:20:40.439
<v Speaker 1>I was playing three chords, you know, I was playing

0:20:41.880 --> 0:20:46.240
<v Speaker 1>you know cf G, you know E A b uh. Well,

0:20:46.440 --> 0:20:50.159
<v Speaker 1>the Beatles changed everything and all of a sudden, I

0:20:50.280 --> 0:20:53.920
<v Speaker 1>realized how good these guys were. And then my band

0:20:54.000 --> 0:20:57.680
<v Speaker 1>we tried to do the harmonies, and uh, they were

0:20:57.800 --> 0:21:00.560
<v Speaker 1>really something we had to rehearse. Day used to do

0:21:01.119 --> 0:21:04.520
<v Speaker 1>and on our gigs that we would usually play three

0:21:04.520 --> 0:21:07.119
<v Speaker 1>hours gigs, you know, nine to twelve or eight to

0:21:07.200 --> 0:21:11.000
<v Speaker 1>eleven for teen dances. And on the third set we

0:21:11.040 --> 0:21:14.720
<v Speaker 1>bought Beatle up fits. We actually bought them the boots,

0:21:14.960 --> 0:21:18.920
<v Speaker 1>the Beatle wigs. Uh, And as soon as we went

0:21:18.960 --> 0:21:23.000
<v Speaker 1>out on our third set, the girls started to scream.

0:21:23.080 --> 0:21:25.199
<v Speaker 1>You know if we were you know, that was the

0:21:25.280 --> 0:21:27.560
<v Speaker 1>only time, you know, if when we wore the Beetle outfits,

0:21:27.600 --> 0:21:31.800
<v Speaker 1>when we took them off, they go, So, I mean

0:21:31.960 --> 0:21:36.400
<v Speaker 1>I was into the Beatles. Okay, let's go back. You're

0:21:36.480 --> 0:21:40.320
<v Speaker 1>twelve years old, you form a band. Certainly once the

0:21:40.359 --> 0:21:43.280
<v Speaker 1>Beatles hit, everybody is playing and everybody wants to join

0:21:43.320 --> 0:21:47.080
<v Speaker 1>a band. Was it hard to assemble a band? And

0:21:47.160 --> 0:21:49.840
<v Speaker 1>what were the steps to working and to what degree

0:21:49.880 --> 0:21:52.680
<v Speaker 1>did you have gigs from when you were twelve leading

0:21:52.720 --> 0:21:56.120
<v Speaker 1>up to the Beatles. Sure, well, it's funny you say

0:21:56.160 --> 0:21:58.920
<v Speaker 1>that because on the last week's radio show that I did,

0:21:59.200 --> 0:22:02.639
<v Speaker 1>I talked about this is exactly what I talked about.

0:22:04.160 --> 0:22:07.919
<v Speaker 1>You have a serious XM show every Sunday, right correct

0:22:08.240 --> 0:22:11.440
<v Speaker 1>correct For those who might not know, it's called Getting

0:22:11.480 --> 0:22:16.240
<v Speaker 1>Together and we're on at five o'clock. So anyway, Um,

0:22:16.359 --> 0:22:22.920
<v Speaker 1>the bottom line is that when I started my band, uh,

0:22:22.960 --> 0:22:25.200
<v Speaker 1>you know, it was just the very beginning. This is

0:22:25.320 --> 0:22:30.280
<v Speaker 1>nine I'm talking about. My first gig was sixty. I

0:22:30.359 --> 0:22:37.240
<v Speaker 1>was thirteen, and suddenly everyone was starting a band. Um,

0:22:37.280 --> 0:22:40.400
<v Speaker 1>the kid down the street. As long as you as

0:22:40.440 --> 0:22:44.840
<v Speaker 1>long as you own some kind of guitar, electric guitar

0:22:45.080 --> 0:22:48.400
<v Speaker 1>and knew a drummer, you could start a group. You'd

0:22:48.400 --> 0:22:53.840
<v Speaker 1>probably get a sacks player from the school band and

0:22:54.119 --> 0:22:56.880
<v Speaker 1>a kid down the street who played piano, who took

0:22:56.880 --> 0:23:00.600
<v Speaker 1>piano lessons, and you had a group. So the was

0:23:01.480 --> 0:23:03.640
<v Speaker 1>what were you going to do then? And the real challenge,

0:23:03.640 --> 0:23:08.719
<v Speaker 1>of course, was too what are you gonna play? You know?

0:23:08.920 --> 0:23:10.960
<v Speaker 1>And you had to play at the same time, you know,

0:23:11.280 --> 0:23:13.159
<v Speaker 1>somebody had to count one to three, four and you

0:23:13.200 --> 0:23:15.240
<v Speaker 1>had to start and then you had to end at

0:23:15.240 --> 0:23:18.280
<v Speaker 1>the same time. That was a challenge. So what I'm

0:23:18.320 --> 0:23:23.680
<v Speaker 1>saying is that, um, uh, it was uh, every kid

0:23:23.800 --> 0:23:26.280
<v Speaker 1>started a band because you could see him on TV.

0:23:26.480 --> 0:23:29.480
<v Speaker 1>All the time. When the Beatles came out, it just

0:23:29.640 --> 0:23:38.680
<v Speaker 1>got worse. The Beatles really uh changed everything, as you know, Um,

0:23:38.720 --> 0:23:42.240
<v Speaker 1>I think the hair was was was interesting because kids

0:23:42.280 --> 0:23:45.200
<v Speaker 1>were growing there air long in school. It kind of

0:23:45.320 --> 0:23:47.159
<v Speaker 1>they kind of felt they had the right to do

0:23:47.240 --> 0:23:52.159
<v Speaker 1>it after no matter what the teacher said as because

0:23:52.160 --> 0:23:56.840
<v Speaker 1>of the Beatles. I mean, the Beatles really changed everything immediately.

0:23:57.920 --> 0:24:10.040
<v Speaker 1>So I loved So how do you get the gig

0:24:10.080 --> 0:24:15.160
<v Speaker 1>at the record store and what's the experience working there? Well?

0:24:15.240 --> 0:24:18.240
<v Speaker 1>I would buy my records at this particular record store.

0:24:18.240 --> 0:24:23.040
<v Speaker 1>It was called the Spinnett Record Shop in Niles, Michigan,

0:24:23.200 --> 0:24:27.359
<v Speaker 1>on Main Street. And I walked in one day and

0:24:28.520 --> 0:24:32.600
<v Speaker 1>she was letting a kid go and he had come

0:24:32.600 --> 0:24:37.400
<v Speaker 1>in late and to work, and it was about four

0:24:37.440 --> 0:24:43.040
<v Speaker 1>o'clock in the afternoon after school, and she just came

0:24:43.119 --> 0:24:46.040
<v Speaker 1>over to me. And she had known me because I

0:24:46.080 --> 0:24:48.000
<v Speaker 1>bought records there and she knew that I was in

0:24:48.040 --> 0:24:51.800
<v Speaker 1>a band and so forth. And she says, Tom, you

0:24:51.840 --> 0:24:54.960
<v Speaker 1>want a job, and I looked her I said, yes

0:24:55.119 --> 0:24:59.800
<v Speaker 1>I do. She said, all right, come in tomorrow after

0:25:00.000 --> 0:25:03.119
<v Speaker 1>school and I'll show you what to do. And I

0:25:03.240 --> 0:25:08.200
<v Speaker 1>worked there until I graduated from high school. Uh four

0:25:08.280 --> 0:25:12.400
<v Speaker 1>years later, and thank god I did, because so many

0:25:12.440 --> 0:25:16.080
<v Speaker 1>things happened to me. I it was like going to school,

0:25:16.320 --> 0:25:21.199
<v Speaker 1>it was like going to college. I learned the business

0:25:21.280 --> 0:25:24.840
<v Speaker 1>from a retail angle. I learned the trade papers, I

0:25:25.000 --> 0:25:29.720
<v Speaker 1>learned the labels, I learned the publishers, I learned the songwriters,

0:25:29.760 --> 0:25:34.119
<v Speaker 1>the artists and um, I just got a hell of

0:25:34.119 --> 0:25:38.360
<v Speaker 1>an education there that I used to this very day.

0:25:38.960 --> 0:25:43.760
<v Speaker 1>And that was I loved working there. I thought it was.

0:25:43.800 --> 0:25:47.000
<v Speaker 1>It was the coolest job in town. I don't think

0:25:47.040 --> 0:25:49.560
<v Speaker 1>you could have had a cooler job than working than

0:25:49.600 --> 0:25:51.800
<v Speaker 1>selling records in the record store if you were at

0:25:51.800 --> 0:25:55.440
<v Speaker 1>all music. Oh believe me. You know, people don't understand.

0:25:56.080 --> 0:25:58.199
<v Speaker 1>You know, you couldn't even get a job at a

0:25:58.280 --> 0:26:00.800
<v Speaker 1>record store. That was like the rate his job you

0:26:00.800 --> 0:26:03.400
<v Speaker 1>could get. So since you were, since you were amongst

0:26:03.400 --> 0:26:06.199
<v Speaker 1>the records, you know what, did you play all the

0:26:06.280 --> 0:26:09.640
<v Speaker 1>records and just take advantage of being in the shop. Well?

0:26:09.680 --> 0:26:12.439
<v Speaker 1>I did, But the problem was I also had to

0:26:12.520 --> 0:26:15.800
<v Speaker 1>clean up, and I didn't want anybody seeing me mopping

0:26:15.800 --> 0:26:20.280
<v Speaker 1>the floor, especially to girls, especially somebody else in a band.

0:26:21.320 --> 0:26:25.120
<v Speaker 1>So I had to go down there immediately, Uh do

0:26:25.200 --> 0:26:27.160
<v Speaker 1>the you know, and scrub the floors with the mop

0:26:27.200 --> 0:26:29.359
<v Speaker 1>and get that out of the way before I could

0:26:29.359 --> 0:26:33.280
<v Speaker 1>go behind the counter and be cool. So while the

0:26:33.320 --> 0:26:36.840
<v Speaker 1>other kids were down at Venie's Sweet shop getting cokes

0:26:36.880 --> 0:26:40.040
<v Speaker 1>and burgers after school, I was mopping the floor in

0:26:40.080 --> 0:26:43.000
<v Speaker 1>the record shop trying to get cool before they would

0:26:43.000 --> 0:26:46.320
<v Speaker 1>come up the street and stop at the record store.

0:26:46.480 --> 0:26:51.320
<v Speaker 1>So anyway, UM, that was my life for four years.

0:26:51.320 --> 0:26:53.679
<v Speaker 1>I forget the question you asked me, what you are

0:26:53.800 --> 0:26:57.040
<v Speaker 1>answering it? But the only other thing is, since you're

0:26:57.040 --> 0:27:03.639
<v Speaker 1>amongst all the records, did you play the right I

0:27:03.800 --> 0:27:08.000
<v Speaker 1>sure as hell did, and uh, we'd have new records

0:27:08.080 --> 0:27:10.760
<v Speaker 1>would come in. I think it was like every Wednesday.

0:27:10.800 --> 0:27:14.840
<v Speaker 1>I think we'd have new new product come in from

0:27:14.840 --> 0:27:19.879
<v Speaker 1>the distributor, and um yeah, I would play everything I

0:27:19.880 --> 0:27:21.960
<v Speaker 1>could get my hands on. And that's one of the

0:27:22.040 --> 0:27:26.320
<v Speaker 1>reasons why I'm able to do what I do today

0:27:26.480 --> 0:27:32.600
<v Speaker 1>with with on on serious, because um, you know, I

0:27:32.680 --> 0:27:35.679
<v Speaker 1>got an education of all the stuff, and I played

0:27:35.760 --> 0:27:39.520
<v Speaker 1>all those records from sixty two when I first got

0:27:39.560 --> 0:27:45.359
<v Speaker 1>the job, when I graduated from high school and so

0:27:45.440 --> 0:27:47.960
<v Speaker 1>and plus the fact I could promote my band out

0:27:47.960 --> 0:27:51.919
<v Speaker 1>of the record shop. Dickie Frusci who was She was

0:27:52.000 --> 0:27:54.960
<v Speaker 1>the She was like my second mother. She owned the

0:27:55.000 --> 0:27:58.919
<v Speaker 1>place and she would let me um put posters in

0:27:59.000 --> 0:28:02.159
<v Speaker 1>the windows of gigs and stuff like that, and she

0:28:02.200 --> 0:28:05.560
<v Speaker 1>would allow me to promote my band out of the

0:28:05.640 --> 0:28:09.439
<v Speaker 1>record shop. And that's how I got both of the

0:28:09.480 --> 0:28:13.760
<v Speaker 1>record deals that I got. Okay, So ye have the

0:28:13.800 --> 0:28:16.960
<v Speaker 1>Elvis in the fifties, before all this, you have you know,

0:28:17.160 --> 0:28:20.120
<v Speaker 1>so many other acts birth of rock and roll, the

0:28:20.160 --> 0:28:23.359
<v Speaker 1>sun acts that uh came up with him. Then we

0:28:23.480 --> 0:28:26.560
<v Speaker 1>hit the sixties, we have the folk scene. Then we

0:28:26.640 --> 0:28:30.480
<v Speaker 1>have the Four Seasons and the Beach Boys, but we

0:28:30.600 --> 0:28:35.879
<v Speaker 1>also simultaneously have Bobby Rydell and all these other acts.

0:28:36.280 --> 0:28:39.560
<v Speaker 1>Were you solely an Elvis kind of guy or did

0:28:39.560 --> 0:28:45.560
<v Speaker 1>you like all that other music there were? I loved

0:28:45.840 --> 0:28:50.240
<v Speaker 1>rock and roll, and I all I can say is that, yes,

0:28:50.280 --> 0:28:55.040
<v Speaker 1>I loved Elvis. But by nineteen sixty, Uh, of course

0:28:55.040 --> 0:29:00.320
<v Speaker 1>Elvis was drafted, and so there were a lot of

0:29:00.360 --> 0:29:08.880
<v Speaker 1>other acts. I think, Uh, those years between Elvis leaving

0:29:09.360 --> 0:29:16.920
<v Speaker 1>the States and and the British invasion, we're we're very strange,

0:29:16.960 --> 0:29:21.360
<v Speaker 1>they're very schizophrenic. We'd have you know, puff the magic Dragon,

0:29:21.920 --> 0:29:28.360
<v Speaker 1>and we'd have uh, Eddie Cochlan, we'd have you know,

0:29:28.440 --> 0:29:36.720
<v Speaker 1>we'd have um, just this tremendous um. You know, you'd

0:29:36.760 --> 0:29:39.640
<v Speaker 1>have a lot of instrumentals. You'd have a rock instrumental,

0:29:39.680 --> 0:29:43.440
<v Speaker 1>but you'd also have Wonderland by Night by Bert Kempfort,

0:29:43.840 --> 0:29:50.280
<v Speaker 1>you'd have uh. The Top forty was just inundated with uh,

0:29:50.640 --> 0:29:54.080
<v Speaker 1>different kinds of music. Walter Brennan even had a hit,

0:29:55.960 --> 0:29:59.880
<v Speaker 1>remember Old Yeller. Yeah, of course I remember. I'm just

0:30:00.000 --> 0:30:02.160
<v Speaker 1>cracking up because I don't think think people young people

0:30:02.200 --> 0:30:05.200
<v Speaker 1>can know who Walter Brennan is. Well, yeah, the real McCoy's.

0:30:05.400 --> 0:30:06.760
<v Speaker 1>By time we got a hold of them, he was

0:30:06.800 --> 0:30:09.200
<v Speaker 1>already at the end of his career, was bringing back

0:30:09.240 --> 0:30:12.360
<v Speaker 1>the memories. So I was waiting for Gabby Hayes to

0:30:12.360 --> 0:30:16.280
<v Speaker 1>get a record. I don't so Anyway, The bottom line

0:30:16.400 --> 0:30:20.560
<v Speaker 1>was that there was such a mishmash of of music

0:30:21.040 --> 0:30:23.640
<v Speaker 1>on Top four because what Top forty meant back then

0:30:24.520 --> 0:30:28.560
<v Speaker 1>was the Top forty most popular records, whatever they were,

0:30:29.600 --> 0:30:34.080
<v Speaker 1>so uh, it doesn't mean the same anymore. So when

0:30:34.120 --> 0:30:37.960
<v Speaker 1>the Beatles came in the British Invasion, things kind of

0:30:38.360 --> 0:30:42.000
<v Speaker 1>were clarified. You know, rock and roll was the Rolling

0:30:42.080 --> 0:30:46.280
<v Speaker 1>Stones and the Animals and the Beatles, and you know,

0:30:46.880 --> 0:30:50.680
<v Speaker 1>um uh it was. It was very different than the

0:30:50.920 --> 0:30:53.760
<v Speaker 1>very early sixties. There was a lot of good R

0:30:53.840 --> 0:30:57.000
<v Speaker 1>and B though in the early sixties, which which I'm

0:30:57.120 --> 0:31:02.040
<v Speaker 1>I'm an RMB that I love early sixties R and B. Okay,

0:31:02.080 --> 0:31:05.479
<v Speaker 1>So you're working in the record store, you get this offer,

0:31:05.560 --> 0:31:09.280
<v Speaker 1>you make a record. A couple of questions you're gonna

0:31:09.280 --> 0:31:12.720
<v Speaker 1>answer all at once. One did you think you're gonna

0:31:12.760 --> 0:31:16.880
<v Speaker 1>make a career in music? B? How many bands did

0:31:16.880 --> 0:31:20.600
<v Speaker 1>you go through? See? How did you end up recording

0:31:20.600 --> 0:31:27.600
<v Speaker 1>Hanky Panky? Oh boy, this is a lot of stuff. Okay.

0:31:27.760 --> 0:31:31.040
<v Speaker 1>Um yes, I honestly did believe I was going to

0:31:31.160 --> 0:31:32.760
<v Speaker 1>make a career out of it. But that was my

0:31:32.840 --> 0:31:38.320
<v Speaker 1>stupidity because h and my ignorance back then, because what

0:31:38.360 --> 0:31:40.480
<v Speaker 1>I was doing was praying that I could make a

0:31:40.560 --> 0:31:44.320
<v Speaker 1>career out of it. Actually and uh, but I remember

0:31:44.440 --> 0:31:49.120
<v Speaker 1>when I made our first record, Long Ponytail. The name

0:31:49.160 --> 0:31:52.240
<v Speaker 1>of my group, by the way, was the Tornadoes back then,

0:31:53.520 --> 0:31:59.640
<v Speaker 1>and the Tornadoes that became Tom and the Tornadoes on

0:32:00.000 --> 0:32:04.560
<v Speaker 1>the record of Long Ponytail and Judy on the other side.

0:32:04.680 --> 0:32:12.640
<v Speaker 1>And um, I remember driving to the studio when I

0:32:12.720 --> 0:32:18.080
<v Speaker 1>was fourteen, thinking that this is the beginning of something

0:32:18.200 --> 0:32:21.240
<v Speaker 1>really important. It turned out to be, but of course

0:32:21.280 --> 0:32:25.760
<v Speaker 1>I had no no way of really knowing that. Um uh.

0:32:25.800 --> 0:32:29.160
<v Speaker 1>And I was so glad to have a record out.

0:32:29.240 --> 0:32:32.720
<v Speaker 1>I can't tell you how glad I was, how how

0:32:32.760 --> 0:32:35.400
<v Speaker 1>happy I was, and how just seeing your name on

0:32:35.480 --> 0:32:39.000
<v Speaker 1>a record and hearing your voice on a on a

0:32:39.280 --> 0:32:41.280
<v Speaker 1>on a piece of avinyl. It was just the most

0:32:41.360 --> 0:32:44.040
<v Speaker 1>incredible thing in the world. And I actually heard it

0:32:44.080 --> 0:32:47.240
<v Speaker 1>a few times on the radio. But then, of course

0:32:47.280 --> 0:32:51.040
<v Speaker 1>the record died and that was the end of that.

0:32:51.640 --> 0:32:56.520
<v Speaker 1>So that was my core court recording career. So uh.

0:32:56.760 --> 0:33:00.400
<v Speaker 1>The next one, as I said, came about about a

0:33:00.440 --> 0:33:03.240
<v Speaker 1>year and a half, close to two years later, and

0:33:03.280 --> 0:33:08.040
<v Speaker 1>I was sixteen, and uh this was the end of

0:33:08.160 --> 0:33:13.920
<v Speaker 1>nineteen and I was I was asked if I would

0:33:16.280 --> 0:33:20.520
<v Speaker 1>if I would record for this little label, Snap Records. Uh.

0:33:20.880 --> 0:33:24.520
<v Speaker 1>Jack Douglas the not the famous Jack Douglas, but a

0:33:24.600 --> 0:33:27.680
<v Speaker 1>disc jockey from Niles, Michigan. He was the morning man

0:33:27.720 --> 0:33:29.640
<v Speaker 1>on de WI n I l was starting a little

0:33:29.720 --> 0:33:34.560
<v Speaker 1>label and when he asked me to do it, I

0:33:34.720 --> 0:33:38.120
<v Speaker 1>just I said, hell, yes, let's do it. And so

0:33:39.360 --> 0:33:45.560
<v Speaker 1>we recorded uh uh four sides for him, and to

0:33:45.680 --> 0:33:48.280
<v Speaker 1>the first two he put out, there were his song.

0:33:48.360 --> 0:33:52.280
<v Speaker 1>We had to do his crappy little song in order

0:33:52.600 --> 0:33:55.440
<v Speaker 1>to do our crappy little song. So we had to

0:33:55.480 --> 0:33:58.480
<v Speaker 1>do We did. It was called Pretty Little Red Bird,

0:33:59.160 --> 0:34:01.920
<v Speaker 1>and we put it out. We were embarrassed, but we

0:34:02.040 --> 0:34:06.280
<v Speaker 1>put it out. Thankfully. It died quick and then we

0:34:06.280 --> 0:34:08.080
<v Speaker 1>were going to put something out. And I happened to

0:34:08.120 --> 0:34:11.040
<v Speaker 1>be out at a club one Sunday and I saw

0:34:11.080 --> 0:34:17.160
<v Speaker 1>a group play a record called Hanky Panky, and um,

0:34:17.200 --> 0:34:19.480
<v Speaker 1>the group was named the Spinners, but they weren't the

0:34:19.600 --> 0:34:21.800
<v Speaker 1>R and B group The Spinners. There was a local group.

0:34:22.280 --> 0:34:26.600
<v Speaker 1>And but I saw the reaction of the kids on

0:34:26.640 --> 0:34:29.399
<v Speaker 1>the dance floor and they must have got asked half

0:34:29.400 --> 0:34:32.839
<v Speaker 1>a dozen times to repeat Hanky Panky. The kids went

0:34:32.920 --> 0:34:35.560
<v Speaker 1>nuts fort and I said, that's what we're gonna do,

0:34:35.719 --> 0:34:37.520
<v Speaker 1>and I we went into the studio. I forgot the

0:34:37.520 --> 0:34:40.280
<v Speaker 1>words to it too. I had there was a real song,

0:34:40.960 --> 0:34:44.239
<v Speaker 1>and I went back to the record shop and we

0:34:44.360 --> 0:34:47.279
<v Speaker 1>looked up Hanky Panky and it turns out that it

0:34:47.400 --> 0:34:50.600
<v Speaker 1>was on the flip side of a record by the

0:34:50.680 --> 0:34:55.000
<v Speaker 1>rain Drops called that Boy John and which was Jeff

0:34:55.040 --> 0:35:00.560
<v Speaker 1>Berry and Ali Greenwich and uh, but it was taken

0:35:00.600 --> 0:35:05.000
<v Speaker 1>off the air because, uh, that Boy John was about

0:35:05.080 --> 0:35:09.400
<v Speaker 1>John Kennedy and John Kennedy had just been assassinated, and

0:35:09.440 --> 0:35:13.040
<v Speaker 1>so the record came off the market and the B

0:35:13.200 --> 0:35:15.719
<v Speaker 1>side went with it, so that then that's what it was,

0:35:15.719 --> 0:35:19.360
<v Speaker 1>was on the flip side of that Boy John. And

0:35:20.040 --> 0:35:24.680
<v Speaker 1>um So anyway, we went in the studio and all

0:35:24.719 --> 0:35:26.960
<v Speaker 1>I could remember is my baby does the hanky Panky

0:35:27.000 --> 0:35:29.360
<v Speaker 1>and a few we made up a few other lines

0:35:30.000 --> 0:35:33.200
<v Speaker 1>and that was it, and we put the record out

0:35:33.320 --> 0:35:38.240
<v Speaker 1>and it was a smash locally. I had just gotten

0:35:38.280 --> 0:35:44.000
<v Speaker 1>my first manager and his name was Frank Fabiano. That

0:35:44.120 --> 0:35:49.520
<v Speaker 1>was isn't that a great name? Frank Fabia Yeah, and

0:35:49.520 --> 0:35:54.239
<v Speaker 1>it and it's uh. And his father was a cohort,

0:35:54.400 --> 0:35:59.440
<v Speaker 1>Frank Fabiano, Sr. Of al Capone in Chicago, and he

0:36:00.200 --> 0:36:06.440
<v Speaker 1>Fabriano's owned the jukebox business within fifty miles. So Frank

0:36:06.560 --> 0:36:12.080
<v Speaker 1>Fabriano Jr. Became our our first manager, and uh, hanky

0:36:12.160 --> 0:36:16.120
<v Speaker 1>Panky actually went in the jukeboxes with printed you don't

0:36:16.120 --> 0:36:19.719
<v Speaker 1>know how important this is, printed title strips. You know,

0:36:19.800 --> 0:36:22.200
<v Speaker 1>you didn't have to write them by hand. They were

0:36:22.239 --> 0:36:26.920
<v Speaker 1>printed professionally, and that was a big deal. You have

0:36:27.000 --> 0:36:31.000
<v Speaker 1>no idea how thrilling that was. And so we're on

0:36:31.040 --> 0:36:33.760
<v Speaker 1>all the jukeboxes and it made a lot of noise.

0:36:34.040 --> 0:36:38.400
<v Speaker 1>We couldn't get go any further really than southern Michigan

0:36:38.440 --> 0:36:43.560
<v Speaker 1>northern Indiana because we had no distribution. So UM the

0:36:43.640 --> 0:36:49.080
<v Speaker 1>record again came and went. So when I graduated from

0:36:49.160 --> 0:36:54.600
<v Speaker 1>high school in we were playing all those years. And

0:36:54.719 --> 0:36:57.759
<v Speaker 1>when I graduated, I took my band on the road

0:36:57.960 --> 0:37:00.520
<v Speaker 1>and we were playing. We got an agent out of Chicago,

0:37:01.040 --> 0:37:03.200
<v Speaker 1>and this is right after high school, and we're playing

0:37:03.640 --> 0:37:07.120
<v Speaker 1>UH six nights a week in clubs throughout the Midwest.

0:37:07.800 --> 0:37:12.000
<v Speaker 1>And I'm playing Janesville, Wisconsin in early sixty six in

0:37:12.040 --> 0:37:14.480
<v Speaker 1>this dumpy little club and right in the middle of

0:37:14.520 --> 0:37:16.920
<v Speaker 1>my two weeks, the guy goes belly up because the

0:37:16.960 --> 0:37:19.760
<v Speaker 1>I r S shuts him down for not paying his taxes.

0:37:19.840 --> 0:37:23.200
<v Speaker 1>This true story. And so we go home feeling like dogs.

0:37:23.960 --> 0:37:27.200
<v Speaker 1>And as soon as I get home. That's how God works, though,

0:37:27.520 --> 0:37:31.399
<v Speaker 1>because as soon as I got home, UM, I got

0:37:31.400 --> 0:37:37.200
<v Speaker 1>the call that changed my life. UH distributor in Pittsburgh.

0:37:37.239 --> 0:37:41.480
<v Speaker 1>Fenway Distributors in Pittsburgh calls me and tracks me down

0:37:42.320 --> 0:37:46.400
<v Speaker 1>because one copy of The record ended up in Pittsburgh

0:37:46.520 --> 0:37:48.680
<v Speaker 1>and they put it on. They played it at dances.

0:37:48.800 --> 0:37:52.080
<v Speaker 1>The kids flipped, this is Hanky Panky I'm talking about.

0:37:52.440 --> 0:37:54.400
<v Speaker 1>It goes on. And by the way, we had changed

0:37:54.440 --> 0:37:57.600
<v Speaker 1>our name to the shan Delves when we made Hanky Pank,

0:37:58.239 --> 0:38:02.400
<v Speaker 1>so um they they the kids went nuts for it. It

0:38:02.320 --> 0:38:05.279
<v Speaker 1>It went on the radio. They bootlegged eighty thousand of

0:38:05.360 --> 0:38:08.040
<v Speaker 1>them and sold them in ten days, and we were

0:38:08.080 --> 0:38:11.759
<v Speaker 1>sitting at number one. That's just the hand of the

0:38:11.800 --> 0:38:14.800
<v Speaker 1>Good Lord. I had nothing to do with that. Only

0:38:14.840 --> 0:38:18.840
<v Speaker 1>in America. Only in America could something like that happened.

0:38:19.239 --> 0:38:23.480
<v Speaker 1>And they tracked me down because it said Niles Michigan

0:38:23.520 --> 0:38:26.560
<v Speaker 1>on the labels Snap Records, Niles Michigan. Who do they

0:38:26.600 --> 0:38:29.279
<v Speaker 1>call the record shop that I used to work in.

0:38:30.600 --> 0:38:34.239
<v Speaker 1>All these little miracles happened one right after another, and

0:38:35.040 --> 0:38:37.960
<v Speaker 1>she gives him did she gives him my home phone number?

0:38:38.120 --> 0:38:40.760
<v Speaker 1>And I just happened to be home at that exact

0:38:40.840 --> 0:38:43.359
<v Speaker 1>minute because we got let We got let go from

0:38:43.400 --> 0:38:46.120
<v Speaker 1>the club who went to the I R S shutdown.

0:38:46.719 --> 0:38:49.200
<v Speaker 1>So if all those things hadn't happened in a row.

0:38:49.480 --> 0:38:52.640
<v Speaker 1>The longer I'm in this business, the more I realized

0:38:52.680 --> 0:38:57.840
<v Speaker 1>what a million to one shot. And I'm very, very thankful.

0:38:57.920 --> 0:39:02.200
<v Speaker 1>I I can't tell you how how thankful I am

0:39:02.320 --> 0:39:06.360
<v Speaker 1>to have had those things happen, all those little miracles

0:39:06.680 --> 0:39:15.000
<v Speaker 1>in a row. And well, okay, in the interim, your

0:39:15.080 --> 0:39:20.279
<v Speaker 1>girlfriend gets pregnant and you get married, Yes, I do.

0:39:20.920 --> 0:39:24.759
<v Speaker 1>What the hell is going through your mind when that happens.

0:39:25.840 --> 0:39:28.959
<v Speaker 1>I wish somebody had sent me to my room. All

0:39:29.000 --> 0:39:34.000
<v Speaker 1>I can say is is that, uh, things just sort

0:39:34.000 --> 0:39:40.440
<v Speaker 1>of happened to me quickly. Um. I was a senior

0:39:40.480 --> 0:39:44.719
<v Speaker 1>in high school and my girlfriend that I've been going

0:39:44.800 --> 0:39:49.600
<v Speaker 1>with for a couple of years, Diane, uh, informed me

0:39:50.600 --> 0:39:56.440
<v Speaker 1>that she was going to have a baby. I'm a senior,

0:39:56.560 --> 0:39:59.560
<v Speaker 1>she's a senior. We go to we went to different schools.

0:40:01.200 --> 0:40:08.040
<v Speaker 1>I was in study hall in April of sixty five.

0:40:09.560 --> 0:40:16.280
<v Speaker 1>I get handed a blue slip. It says it's a boy.

0:40:17.600 --> 0:40:20.800
<v Speaker 1>I said what, And of course I knew it was

0:40:20.840 --> 0:40:22.800
<v Speaker 1>going to happen rather soon, but I didn't know what

0:40:22.840 --> 0:40:25.879
<v Speaker 1>was going to happen that day. And the office came

0:40:25.920 --> 0:40:28.760
<v Speaker 1>down and handed me a slip of paper that said

0:40:28.760 --> 0:40:31.640
<v Speaker 1>it it's a boy. So I had to leave school

0:40:32.000 --> 0:40:34.320
<v Speaker 1>and I went down to the office and told him,

0:40:34.360 --> 0:40:37.040
<v Speaker 1>I'm sorry, I have to leave. My wife's having a baby,

0:40:37.719 --> 0:40:41.560
<v Speaker 1>so that they didn't know anything. They said, what So

0:40:41.680 --> 0:40:45.600
<v Speaker 1>I left and I went over to St. Joseph Hospital

0:40:45.640 --> 0:40:48.719
<v Speaker 1>in South Bend, and sure enough I was a dad.

0:40:48.840 --> 0:40:54.520
<v Speaker 1>So Um, basically what happened is, uh, Diane and I

0:40:54.640 --> 0:40:58.840
<v Speaker 1>lived at my parents house until I graduated from high school.

0:40:58.920 --> 0:41:03.359
<v Speaker 1>She had to she had to quit school obviously, and

0:41:04.680 --> 0:41:08.560
<v Speaker 1>so I couldn't work in the record shop and play

0:41:08.600 --> 0:41:13.240
<v Speaker 1>teen dances anymore. I had to make a living, so, uh,

0:41:13.400 --> 0:41:16.719
<v Speaker 1>I didn't. I almost took a day job. I mean,

0:41:16.800 --> 0:41:19.200
<v Speaker 1>this is the whole thing about I don't know how

0:41:19.200 --> 0:41:21.640
<v Speaker 1>far you want to get into this because I'm I'm

0:41:21.680 --> 0:41:23.920
<v Speaker 1>I feel like I'm rambling on, but it's all Oh no,

0:41:24.000 --> 0:41:26.239
<v Speaker 1>this is all great stuff. Is exactly what I want.

0:41:26.760 --> 0:41:29.399
<v Speaker 1>So tell me about almost taking a day job. Yeah,

0:41:30.320 --> 0:41:34.720
<v Speaker 1>so there was a there was a store called John's

0:41:34.760 --> 0:41:38.160
<v Speaker 1>Bargain Store in South Bend, Indiana, and they wanted to

0:41:38.280 --> 0:41:43.440
<v Speaker 1>hire me as a manager right out of high school.

0:41:43.880 --> 0:41:47.279
<v Speaker 1>And uh, I said no, no, no, let's say I

0:41:47.800 --> 0:41:53.040
<v Speaker 1>Actually the day I drove over there um to to

0:41:53.160 --> 0:41:55.640
<v Speaker 1>take this job, I got about halfway there and I

0:41:55.800 --> 0:41:59.240
<v Speaker 1>stopped the car. So I can't do this. I'm supposed

0:41:59.280 --> 0:42:01.799
<v Speaker 1>to be a musician. I can't do this. What am

0:42:01.840 --> 0:42:03.839
<v Speaker 1>I gonna do? I'm just gonna end everything right here

0:42:03.880 --> 0:42:08.880
<v Speaker 1>and sell T shirts and preparation hs the rest of

0:42:08.920 --> 0:42:12.319
<v Speaker 1>my life? What am I gonna do? So? Uh? I

0:42:12.440 --> 0:42:17.000
<v Speaker 1>turned the car around, went back home, and in about

0:42:17.000 --> 0:42:19.520
<v Speaker 1>an hour and a half, I get a call from

0:42:19.560 --> 0:42:22.680
<v Speaker 1>the drummer from that group, the Spinners that I saw play,

0:42:22.719 --> 0:42:27.000
<v Speaker 1>Hanky Banky his name was Hank Randolph and called me

0:42:27.040 --> 0:42:30.960
<v Speaker 1>and said, look, two of the other guys are drafted.

0:42:31.000 --> 0:42:33.600
<v Speaker 1>I've got a bunch of gigs. Can can we can

0:42:33.640 --> 0:42:37.000
<v Speaker 1>we put a group together to play six nights a

0:42:37.040 --> 0:42:44.279
<v Speaker 1>week us God is God is really Yes, yes we can.

0:42:45.000 --> 0:42:50.000
<v Speaker 1>So that honestly is how it happened. And I we

0:42:50.080 --> 0:42:53.000
<v Speaker 1>started playing. We started a new group called the Coachman

0:42:53.880 --> 0:42:58.120
<v Speaker 1>spelled with a K and uh. That was the group

0:42:58.160 --> 0:43:01.520
<v Speaker 1>that I ended up taking uh through the Midwest, you

0:43:01.560 --> 0:43:06.399
<v Speaker 1>know that I ended up playing with in james Ville

0:43:06.440 --> 0:43:09.759
<v Speaker 1>when when we got let go, that was that was

0:43:09.800 --> 0:43:12.319
<v Speaker 1>the group. So that's how fast it all happened. And

0:43:12.400 --> 0:43:14.680
<v Speaker 1>I went when I went back, and of course I'm

0:43:14.719 --> 0:43:17.920
<v Speaker 1>sending money home every week being trying to be a

0:43:17.920 --> 0:43:23.600
<v Speaker 1>good dad and a husband. Um, that's how that happened.

0:43:23.600 --> 0:43:28.720
<v Speaker 1>I mean, where are Diane and the boy today? Brian

0:43:28.840 --> 0:43:32.080
<v Speaker 1>lives about thirty miles from me here in New Jersey.

0:43:32.200 --> 0:43:37.680
<v Speaker 1>He's uh uh married to a great gal. Uh uh.

0:43:37.880 --> 0:43:41.879
<v Speaker 1>He is a design engineer in New York, goes back

0:43:41.920 --> 0:43:46.359
<v Speaker 1>and forth from Jersey to New York. And uh, I

0:43:46.400 --> 0:43:51.520
<v Speaker 1>love him dearly and he's my only child as well.

0:43:52.239 --> 0:43:58.360
<v Speaker 1>And Diane, we're all friends. Uh still I'm I'm married again,

0:43:58.880 --> 0:44:05.200
<v Speaker 1>but uh, Diane and I are still friends. And she's

0:44:05.239 --> 0:44:11.680
<v Speaker 1>still back in Niles, Michigan. She's remarried, and uh we

0:44:11.800 --> 0:44:14.760
<v Speaker 1>all care about each other. Strangely enough, isn't that something

0:44:15.120 --> 0:44:25.920
<v Speaker 1>all's well, that ends well? Okay, So Hanky Panky is

0:44:25.960 --> 0:44:28.680
<v Speaker 1>a local hit. You go to New York to get

0:44:28.680 --> 0:44:31.279
<v Speaker 1>a record deal. Tell us how you end up on

0:44:31.400 --> 0:44:37.520
<v Speaker 1>Roulette Records? Oh god, okay, you want the full blast?

0:44:37.600 --> 0:44:45.279
<v Speaker 1>Don't absolutely all? Right? Well, Um, when Hanky Panky broke

0:44:45.320 --> 0:44:48.400
<v Speaker 1>out in Pittsburgh, it was a major market, so that

0:44:48.480 --> 0:44:52.399
<v Speaker 1>was a big deal. And I went to Pittsburgh at

0:44:52.400 --> 0:44:56.759
<v Speaker 1>their request and did local TV, and uh I had

0:44:56.800 --> 0:44:59.360
<v Speaker 1>to pick up another band because I couldn't put the

0:44:59.400 --> 0:45:05.520
<v Speaker 1>original back together, and so I UH, I got my

0:45:05.600 --> 0:45:11.000
<v Speaker 1>first manager in my first manager after Hanky Panky in Pittsburgh,

0:45:11.280 --> 0:45:17.400
<v Speaker 1>UM and UH got a new group from Pittsburgh that

0:45:17.560 --> 0:45:23.960
<v Speaker 1>became the new Shandls, And a week later we were

0:45:24.000 --> 0:45:30.440
<v Speaker 1>in New York selling the Master and it was amazing.

0:45:30.800 --> 0:45:32.640
<v Speaker 1>I had never been to New York, you know, I'm

0:45:32.680 --> 0:45:38.160
<v Speaker 1>a hic from Niles, Michigan. And we make all the rounds.

0:45:39.040 --> 0:45:43.160
<v Speaker 1>We pick up fella by name of Chuck Ruben. Bob

0:45:43.200 --> 0:45:46.719
<v Speaker 1>Mack was the fellow who became my first manager and

0:45:46.760 --> 0:45:51.920
<v Speaker 1>who was the disc jockey who played Hanky Panky first

0:45:52.400 --> 0:46:01.120
<v Speaker 1>on UH dances that he he had. So UM we

0:46:01.200 --> 0:46:03.399
<v Speaker 1>go to New York and make the rounds. Bob Mack

0:46:03.560 --> 0:46:06.560
<v Speaker 1>myself and felt the name of Chuck Rubin who's a

0:46:06.600 --> 0:46:12.959
<v Speaker 1>booking agent, and we went to UH CBS and got

0:46:12.960 --> 0:46:15.800
<v Speaker 1>a yes because we had a regional breakout in the

0:46:15.840 --> 0:46:20.560
<v Speaker 1>trade papers with Hankey Pankey and from making it in Pittsburgh,

0:46:20.920 --> 0:46:25.480
<v Speaker 1>so we got We've got a yes from CBS. We

0:46:25.560 --> 0:46:30.280
<v Speaker 1>got a yes from Rona Lexembourg at EPIC, we got

0:46:30.280 --> 0:46:33.840
<v Speaker 1>a yes from um Our c A, we got a

0:46:33.960 --> 0:46:38.160
<v Speaker 1>yes from Kamas Sutra. I don't know if you remember.

0:46:38.239 --> 0:46:44.400
<v Speaker 1>Camasuit director Ore rd Rip was all these people have

0:46:44.520 --> 0:46:47.680
<v Speaker 1>become my friends over the years. But got a yes

0:46:47.719 --> 0:46:55.399
<v Speaker 1>from camas Sutra and yes from Atlantic, and so I

0:46:55.440 --> 0:46:57.560
<v Speaker 1>was on cloud nine. We just got a yes. We

0:46:57.680 --> 0:47:01.000
<v Speaker 1>never got turned down, didn't get it turned down every anywhere.

0:47:01.600 --> 0:47:04.600
<v Speaker 1>So I went to bed feeling really good that night.

0:47:04.600 --> 0:47:10.000
<v Speaker 1>By the way, the last place they went to was Roulette. Uh.

0:47:10.920 --> 0:47:13.520
<v Speaker 1>And because I was just too tired, I went back

0:47:13.520 --> 0:47:17.600
<v Speaker 1>to the hotel. Bob and Chuck took the record to Roulette.

0:47:17.920 --> 0:47:21.440
<v Speaker 1>Morris Levy was out of town, so Red Schwartz, who

0:47:21.520 --> 0:47:24.560
<v Speaker 1>was the promotion man, took the record and played it

0:47:24.880 --> 0:47:27.919
<v Speaker 1>and uh, and they said, yeah, they wanted it. So

0:47:28.360 --> 0:47:32.160
<v Speaker 1>the following morning, I slept thinking we were going to

0:47:32.239 --> 0:47:35.720
<v Speaker 1>be with one of the big corporate labels and probably

0:47:35.760 --> 0:47:41.000
<v Speaker 1>CBS or r C A and uh. The next morning

0:47:41.040 --> 0:47:46.160
<v Speaker 1>I get up and the phone starts ringing and it

0:47:46.239 --> 0:47:49.240
<v Speaker 1>was all the record companies that had said yesterday before,

0:47:50.600 --> 0:47:53.640
<v Speaker 1>And one after another they called up and said, listen, Tom,

0:47:53.640 --> 0:47:57.440
<v Speaker 1>I'm so sorry, but we gotta pass. What do you

0:47:57.480 --> 0:47:59.319
<v Speaker 1>mean you gotta pass? I thought we had a deal,

0:48:00.200 --> 0:48:08.200
<v Speaker 1>and uh, so I Finally Jerry uh uh, Jerry Wexler

0:48:08.239 --> 0:48:13.279
<v Speaker 1>at Atlantic told me the truth that Maurice Levy from

0:48:13.360 --> 0:48:16.720
<v Speaker 1>Roulette had called up all the other labels and threatened

0:48:16.719 --> 0:48:22.440
<v Speaker 1>them and basically said, this is my fucking artist, excuse

0:48:22.520 --> 0:48:26.680
<v Speaker 1>my French back off. And that's how we talked to

0:48:26.880 --> 0:48:32.840
<v Speaker 1>right out on the movies. So uh he uh he

0:48:33.120 --> 0:48:38.040
<v Speaker 1>literally backed him down, including CBS. And I was apparently

0:48:38.080 --> 0:48:41.880
<v Speaker 1>going to be on Roulette. It was the first offer

0:48:41.880 --> 0:48:47.640
<v Speaker 1>I couldn't refuse. And we go and uh so, uh,

0:48:48.200 --> 0:48:50.320
<v Speaker 1>I go to Roulette and I meet all these people

0:48:51.280 --> 0:48:56.680
<v Speaker 1>and uh, you know, Morris, as I said, was right

0:48:56.719 --> 0:48:59.200
<v Speaker 1>out of the movies, Morris Levy from Roulette. He was

0:48:59.239 --> 0:49:02.200
<v Speaker 1>every bit of gamester and he talked like this, you

0:49:02.239 --> 0:49:07.080
<v Speaker 1>know what I'm saying, and uh you shook hands with him.

0:49:07.120 --> 0:49:09.560
<v Speaker 1>It was like grabbing a catcher's mith. That's all I

0:49:09.560 --> 0:49:12.120
<v Speaker 1>can and he but he was fascinating. You couldn't take

0:49:12.160 --> 0:49:15.719
<v Speaker 1>your eyes off the guy he was. He was like

0:49:15.800 --> 0:49:19.360
<v Speaker 1>a great actor and so at any rate. H he

0:49:19.480 --> 0:49:21.720
<v Speaker 1>explained if we how it was gonna work, We're gonna

0:49:21.719 --> 0:49:24.439
<v Speaker 1>do this, we're gonna do that, some of that over there,

0:49:25.200 --> 0:49:31.280
<v Speaker 1>and I meet Red Schwartz, and I meet uh oh

0:49:31.320 --> 0:49:35.720
<v Speaker 1>so uh uh, who's the big dish shockey? Not Alan Freed,

0:49:35.880 --> 0:49:40.120
<v Speaker 1>the guy who took his Oh god, Mariva Ka Marya

0:49:40.200 --> 0:49:45.240
<v Speaker 1>Kay was sitting in the office, as was George Goldner,

0:49:46.320 --> 0:49:48.439
<v Speaker 1>who we had been to we had seen the day

0:49:48.480 --> 0:49:51.960
<v Speaker 1>before at Red Bird Records, and he gave us a

0:49:52.080 --> 0:49:54.480
<v Speaker 1>yes too. By the way, I forgot to mention him.

0:49:54.600 --> 0:50:00.919
<v Speaker 1>So they're all sitting in Morris's office and Okay, all

0:50:00.960 --> 0:50:02.759
<v Speaker 1>I can say is that, you know, they brought out

0:50:02.760 --> 0:50:07.080
<v Speaker 1>the contracts uh, and we signed then and there and

0:50:07.080 --> 0:50:09.759
<v Speaker 1>and he says to me, and this was this ended

0:50:09.840 --> 0:50:13.239
<v Speaker 1>up being the subtitle of our book. He said, I

0:50:13.280 --> 0:50:15.439
<v Speaker 1>hope you're ready to kick, because you're going on one

0:50:15.520 --> 0:50:19.000
<v Speaker 1>hell of a ride. He actually said that to me.

0:50:19.120 --> 0:50:25.319
<v Speaker 1>I said, good, that's great. And so at any rate,

0:50:25.400 --> 0:50:27.960
<v Speaker 1>I had no idea who I was rubbing shoulders with.

0:50:29.360 --> 0:50:34.440
<v Speaker 1>I had no idea what was going on. We learned incrementally, Um,

0:50:34.480 --> 0:50:41.719
<v Speaker 1>you know, we'd meet somebody in Morris's office and a

0:50:41.800 --> 0:50:46.040
<v Speaker 1>week later we'd see him on TV uh being escorted

0:50:46.040 --> 0:50:48.360
<v Speaker 1>by the police out of a warehouse in New Jersey.

0:50:48.440 --> 0:50:50.880
<v Speaker 1>Is isn't that the guy who just met Morris's office?

0:50:51.040 --> 0:50:53.720
<v Speaker 1>And that was true. That really happened, and it kept happening.

0:50:54.160 --> 0:50:59.319
<v Speaker 1>We started recognizing famous gangsters, We started recognizing people that

0:50:59.400 --> 0:51:03.760
<v Speaker 1>we knew from TV, and they were up in Morris's office,

0:51:03.840 --> 0:51:08.719
<v Speaker 1>as was Cardinal Spellman. Uh you name it. They were

0:51:08.760 --> 0:51:14.560
<v Speaker 1>up in Morris's office. And so anyway, Karen, who was

0:51:14.600 --> 0:51:19.200
<v Speaker 1>Morris's secretary, explained who these people were and that this

0:51:19.400 --> 0:51:25.280
<v Speaker 1>was the Genevese family. It turns out Roulette, in addition

0:51:25.360 --> 0:51:29.960
<v Speaker 1>to being a functioning indie label, was also a front

0:51:30.360 --> 0:51:35.520
<v Speaker 1>for the Genevese crime family. So this made life really interesting.

0:51:35.640 --> 0:51:39.399
<v Speaker 1>We couldn't talk about any of this stuff. And uh so,

0:51:39.480 --> 0:51:42.239
<v Speaker 1>while we're hanky panking and money, money and stuff that's

0:51:42.360 --> 0:51:45.680
<v Speaker 1>very dark and sinister, story is going on behind us

0:51:45.719 --> 0:51:49.319
<v Speaker 1>that we really couldn't say a word about. And a

0:51:49.360 --> 0:51:52.520
<v Speaker 1>lot of people in the business knew, you know, but

0:51:52.520 --> 0:51:57.800
<v Speaker 1>but but you know, the fans certainly didn't know it. Okay,

0:51:58.000 --> 0:52:02.720
<v Speaker 1>this lad game needless just say, Morris ripped you off,

0:52:03.520 --> 0:52:07.600
<v Speaker 1>but you were a big star. Would you have been

0:52:07.600 --> 0:52:11.760
<v Speaker 1>as big without Roulette Records? I don't think so. In fact,

0:52:11.960 --> 0:52:15.399
<v Speaker 1>I know so, because if we had gone with one

0:52:15.400 --> 0:52:17.919
<v Speaker 1>of the corporate labels, every time I start to say

0:52:17.960 --> 0:52:21.720
<v Speaker 1>something really bad about Roulette or Morris, I stopped myself

0:52:21.800 --> 0:52:24.160
<v Speaker 1>because the truth is, if it wasn't for Morris LEEVI,

0:52:24.280 --> 0:52:27.600
<v Speaker 1>there wouldn't have been a Tommy James Um if we

0:52:27.719 --> 0:52:31.640
<v Speaker 1>had gone with one of the corporate labels. I can

0:52:31.680 --> 0:52:33.680
<v Speaker 1>tell you right now, if we'd gone with CBS, we

0:52:33.719 --> 0:52:35.560
<v Speaker 1>would have been turned over to an in house a

0:52:35.680 --> 0:52:37.640
<v Speaker 1>and our guy, and that's the last you would have

0:52:37.640 --> 0:52:40.440
<v Speaker 1>heard from us, especially with a record like Hanky Panky,

0:52:41.960 --> 0:52:48.000
<v Speaker 1>you know, uh we would have and the competition would

0:52:48.000 --> 0:52:52.759
<v Speaker 1>have been unbelievable. It was how did you ever have

0:52:52.800 --> 0:52:57.200
<v Speaker 1>a get getting noticed? With all the competition from from

0:52:57.239 --> 0:53:00.840
<v Speaker 1>any of these labels. And so at Roulette they actually

0:53:00.880 --> 0:53:03.320
<v Speaker 1>needed us. They hadn't had a hit since the Essex

0:53:03.920 --> 0:53:08.359
<v Speaker 1>in sixty three was easier said than done, and and

0:53:08.520 --> 0:53:12.120
<v Speaker 1>uh so they were hurting for a hit, and so

0:53:12.200 --> 0:53:14.960
<v Speaker 1>they gave us the keys to the candy store. They

0:53:14.960 --> 0:53:18.600
<v Speaker 1>really did in every way I was. I learned my

0:53:18.719 --> 0:53:22.960
<v Speaker 1>craft at Roulette. I would have never learned street level

0:53:23.040 --> 0:53:27.399
<v Speaker 1>record business at any other label. And I certainly would

0:53:27.400 --> 0:53:29.399
<v Speaker 1>have not been able to put my own production crew.

0:53:29.520 --> 0:53:34.160
<v Speaker 1>They trusted me with putting my own production crew together

0:53:35.040 --> 0:53:41.319
<v Speaker 1>and and uh, bringing in songwriters and and you know,

0:53:41.440 --> 0:53:44.560
<v Speaker 1>songs from other labels and stuff. They trusted me to

0:53:44.680 --> 0:53:49.560
<v Speaker 1>do all that that would have never happened at another label. Now,

0:53:49.600 --> 0:53:53.920
<v Speaker 1>you had a lot of hits at Roulette. Some of

0:53:53.920 --> 0:53:55.880
<v Speaker 1>these records, as we say, were just in. It was

0:53:56.320 --> 0:53:58.400
<v Speaker 1>just in the grooves, just had to hear it. But

0:53:58.520 --> 0:54:01.360
<v Speaker 1>what was their specials sauce to make sure one of

0:54:01.400 --> 0:54:07.360
<v Speaker 1>your records was a hit? How much was muscle money

0:54:07.640 --> 0:54:09.560
<v Speaker 1>or it was just the record? Well, how did they

0:54:09.640 --> 0:54:13.720
<v Speaker 1>bring it to the top? Hey, blay to freaking record?

0:54:13.840 --> 0:54:19.960
<v Speaker 1>All right, No, that's not true. That's I'm making that up. Um. Honestly,

0:54:21.880 --> 0:54:25.760
<v Speaker 1>we were the biggest act on the label that helped

0:54:25.800 --> 0:54:29.160
<v Speaker 1>a lot. Roulette was a well known label, so so

0:54:29.200 --> 0:54:32.520
<v Speaker 1>it wasn't like, you know, they'd had Luke Christie, and

0:54:32.560 --> 0:54:36.080
<v Speaker 1>they'd had Joey did and the Starlighters, and they had

0:54:36.960 --> 0:54:40.400
<v Speaker 1>Jimmy Bone, Buddy Knocks, they had, oh god, the pony Tails.

0:54:40.440 --> 0:54:44.040
<v Speaker 1>They had just a lot of hit records. They were

0:54:44.040 --> 0:54:48.160
<v Speaker 1>great at selling singles and radio knew him. Red Schwartz,

0:54:48.200 --> 0:54:51.399
<v Speaker 1>by the way, I credit more than anyone up there.

0:54:51.719 --> 0:54:55.440
<v Speaker 1>Red Shorts taught me the radio business and he was

0:54:55.480 --> 0:54:58.640
<v Speaker 1>a disc jockey himself from Philly, and he knew all

0:54:58.680 --> 0:55:02.680
<v Speaker 1>these disc jockeys. He knew them all. He sat me

0:55:02.800 --> 0:55:07.880
<v Speaker 1>down and made me learn the names of all these guys,

0:55:07.920 --> 0:55:10.960
<v Speaker 1>who their kids were, who what their wives names were.

0:55:11.280 --> 0:55:15.040
<v Speaker 1>When I talked to him, uh uh, you know, I

0:55:15.080 --> 0:55:20.560
<v Speaker 1>could I talk to them as a friend. And uh

0:55:20.600 --> 0:55:23.960
<v Speaker 1>we were we became a radio act more than that.

0:55:24.000 --> 0:55:27.480
<v Speaker 1>You know, some acts are big concert acts, they're big songwriters.

0:55:27.480 --> 0:55:32.360
<v Speaker 1>And we were a right we were created by radio.

0:55:33.600 --> 0:55:36.120
<v Speaker 1>And I think that's the best way to do it,

0:55:37.000 --> 0:55:39.360
<v Speaker 1>because that's you know, back then, on an a M.

0:55:39.640 --> 0:55:42.239
<v Speaker 1>The a M stations, you played about a dozen you

0:55:42.320 --> 0:55:45.280
<v Speaker 1>got on about you know, l S and Chicago and

0:55:45.640 --> 0:55:49.759
<v Speaker 1>CFL and and ABC in New York and uh k

0:55:49.920 --> 0:55:52.680
<v Speaker 1>R l A out out in l A and k

0:55:52.840 --> 0:55:55.040
<v Speaker 1>UP our seat in San Francisco. You got about a

0:55:55.080 --> 0:55:59.320
<v Speaker 1>dozen stations. You had the whole nation. A M radio

0:55:59.440 --> 0:56:02.680
<v Speaker 1>was unbelieved evable. And the number of people that they covered,

0:56:02.719 --> 0:56:05.560
<v Speaker 1>the you know LS at Night covered thirty eight states,

0:56:05.600 --> 0:56:10.200
<v Speaker 1>for God's sake. And so what I'm saying is um

0:56:10.480 --> 0:56:16.560
<v Speaker 1>Roulette was very good at promoting singles albums. They didn't

0:56:16.600 --> 0:56:22.160
<v Speaker 1>do so much that came later, but um ah, singles

0:56:22.680 --> 0:56:25.279
<v Speaker 1>was there Forte and Morris knew how to do it.

0:56:26.400 --> 0:56:30.160
<v Speaker 1>And he used all independent distributors too. He could have

0:56:30.239 --> 0:56:32.360
<v Speaker 1>been with anybody, but of course he couldn't have cheated

0:56:32.440 --> 0:56:36.239
<v Speaker 1>as well. But uh, you know, and he used all

0:56:36.280 --> 0:56:44.880
<v Speaker 1>indie distributors that he basically controlled. So honestly, at another label,

0:56:46.040 --> 0:56:49.080
<v Speaker 1>I don't think we would have had any a fraction

0:56:49.600 --> 0:56:54.239
<v Speaker 1>of the success that we had at Roulette. Okay, so

0:56:55.080 --> 0:56:58.400
<v Speaker 1>the records you hit, they send you on the road.

0:56:58.520 --> 0:57:04.320
<v Speaker 1>You come back to the office and Morris says, I'm waiting,

0:57:05.280 --> 0:57:08.480
<v Speaker 1>which time are you talking about? Which I'm trying to say.

0:57:08.520 --> 0:57:12.880
<v Speaker 1>If you read the book, he's constantly demanding new product, yes,

0:57:12.880 --> 0:57:16.360
<v Speaker 1>while the other product is you know, hasn't fallen off yet.

0:57:17.200 --> 0:57:20.960
<v Speaker 1>Well that's true. Um we were, we were. We were

0:57:21.040 --> 0:57:24.840
<v Speaker 1>putting out five singles a year, and Morris would crack

0:57:24.880 --> 0:57:27.960
<v Speaker 1>the whip for another single. But he was you know,

0:57:28.000 --> 0:57:31.000
<v Speaker 1>what what do you would do is like he whatever

0:57:31.040 --> 0:57:34.240
<v Speaker 1>your hit was, that became the name of your album,

0:57:34.400 --> 0:57:38.160
<v Speaker 1>Like the first album was the Hanky Panky album. Could

0:57:38.160 --> 0:57:40.320
<v Speaker 1>have called It's something else with Hankey Pap, but no,

0:57:40.800 --> 0:57:46.000
<v Speaker 1>the Hanky. He knew how to sell stuff, uh, and

0:57:45.560 --> 0:57:50.200
<v Speaker 1>and immediately went gold and the ultimately platinum. But but

0:57:50.760 --> 0:57:55.280
<v Speaker 1>Hanky Packy the album made it right out of the box. Um,

0:57:55.360 --> 0:58:00.440
<v Speaker 1>but you know he he that was That was probably

0:58:00.480 --> 0:58:03.440
<v Speaker 1>more luck than anything else. They were not great at

0:58:03.480 --> 0:58:07.080
<v Speaker 1>selling albums until Crimson and Clover. But the point I'm

0:58:07.080 --> 0:58:11.120
<v Speaker 1>trying to make is that, Uh Morris, You're right. He

0:58:11.280 --> 0:58:14.800
<v Speaker 1>always wanted more product, and so we were constantly I

0:58:14.800 --> 0:58:17.920
<v Speaker 1>couldn't sleep until I had the next single in the camp.

0:58:18.920 --> 0:58:21.880
<v Speaker 1>But that was good. That's why we had twenty three

0:58:21.920 --> 0:58:27.360
<v Speaker 1>gold singles were lette okay, so you know the Hanky

0:58:27.440 --> 0:58:30.520
<v Speaker 1>Panky was a cover. You need new records. How do

0:58:30.600 --> 0:58:34.920
<v Speaker 1>you come up with the material? Well, this is another

0:58:34.960 --> 0:58:39.360
<v Speaker 1>stroke of luck. I was you know, I the band

0:58:39.440 --> 0:58:43.240
<v Speaker 1>could write somewhat. We we our second record, Say I Am,

0:58:43.440 --> 0:58:46.680
<v Speaker 1>was by the way Lightning struck twice. We went back.

0:58:47.240 --> 0:58:49.800
<v Speaker 1>Uh Bob Mack went back to the same record bin.

0:58:49.880 --> 0:58:54.040
<v Speaker 1>He found Hanky Panky and and pulled the fireballs Say

0:58:54.120 --> 0:58:58.080
<v Speaker 1>I Am, and Uh brought it to New York and

0:58:58.160 --> 0:59:01.080
<v Speaker 1>we were in the in Bell Sound Studios doing a

0:59:01.120 --> 0:59:04.120
<v Speaker 1>Hankey Pankey album, and he brought in Say I Am,

0:59:04.160 --> 0:59:06.440
<v Speaker 1>and we learned it note for note, and that became

0:59:06.480 --> 0:59:10.840
<v Speaker 1>our second gold record. So we were very lucky with that. Well,

0:59:10.960 --> 0:59:15.640
<v Speaker 1>right then I met Richie Cordell and Bow Gentry. Richie

0:59:15.640 --> 0:59:20.440
<v Speaker 1>Cordell Saltramachi and Bow Gentry. How did you meet him? Okay,

0:59:21.040 --> 0:59:31.080
<v Speaker 1>um the Red Swartz secretary. Uh, Ronnie, she became well.

0:59:31.120 --> 0:59:36.080
<v Speaker 1>I we started hitting it off and we began going out.

0:59:37.160 --> 0:59:39.960
<v Speaker 1>And Uh, I was a married man, had no business

0:59:40.000 --> 0:59:43.000
<v Speaker 1>doing this stuff, but shame on me, that's what I did.

0:59:43.800 --> 0:59:47.920
<v Speaker 1>So Ronnie, I was going to take her out one

0:59:48.000 --> 0:59:51.760
<v Speaker 1>night and I met her at her apartment and she

0:59:51.880 --> 0:59:56.120
<v Speaker 1>had a roommate named Linda and not my landa another

0:59:56.240 --> 1:00:04.640
<v Speaker 1>land and so um, Linda's boyfriend was this crazy little

1:00:04.680 --> 1:00:10.400
<v Speaker 1>songwriter named Richie Cordell. And when I went to pick

1:00:10.480 --> 1:00:12.880
<v Speaker 1>Ronnie up, I started. She had a little record player

1:00:13.000 --> 1:00:18.040
<v Speaker 1>on the on the floor and UM some demos and

1:00:18.080 --> 1:00:22.600
<v Speaker 1>I played a demo of a song UH called hold

1:00:22.640 --> 1:00:27.840
<v Speaker 1>on to Him. And I played it and I said,

1:00:27.880 --> 1:00:30.520
<v Speaker 1>who who is this? I said, this is a hit record,

1:00:30.560 --> 1:00:33.040
<v Speaker 1>this is a smash. Who is this? She said, Oh,

1:00:33.080 --> 1:00:35.880
<v Speaker 1>that's my roommate's boyfriend, Richie. You want to meet him?

1:00:36.480 --> 1:00:40.920
<v Speaker 1>I said, yeah, Well, it turns out. All these guys

1:00:41.000 --> 1:00:47.720
<v Speaker 1>were writers for Hardie RiPP over Cama Sutra. Richie and

1:00:48.000 --> 1:00:53.840
<v Speaker 1>sal Uh and Bow Gentry were all um all writers

1:00:53.960 --> 1:00:57.640
<v Speaker 1>over Cama Sutra. So the next night I went up

1:00:57.640 --> 1:01:00.520
<v Speaker 1>and I met Richie, and Richie and I hit it off.

1:01:00.520 --> 1:01:03.040
<v Speaker 1>He was like, you know, he was like a little

1:01:03.080 --> 1:01:08.160
<v Speaker 1>mad scientist. I loved him and he became uh. He

1:01:08.440 --> 1:01:16.440
<v Speaker 1>and Bow Gentry became my producers and songwriters. And the

1:01:16.480 --> 1:01:20.000
<v Speaker 1>first record we put out was Its Only Love, written

1:01:20.040 --> 1:01:25.400
<v Speaker 1>by Richie and salth Romachi, and that went top twenty.

1:01:25.640 --> 1:01:27.800
<v Speaker 1>Didn't blow the doors down, but it was a big record.

1:01:28.560 --> 1:01:33.000
<v Speaker 1>And then Bow and Richie brought me I think we're

1:01:33.040 --> 1:01:37.480
<v Speaker 1>alone now. And when they brought it to me, it

1:01:37.560 --> 1:01:40.760
<v Speaker 1>was a ballad. I mean it was, you know, not

1:01:40.840 --> 1:01:43.840
<v Speaker 1>a real slow about but a slow mid temple ballad.

1:01:44.600 --> 1:01:48.040
<v Speaker 1>And we went in the studio. As soon as I

1:01:48.080 --> 1:01:52.200
<v Speaker 1>heard the hook, that's that's a smash. That what a

1:01:52.320 --> 1:01:55.520
<v Speaker 1>great hook that is. And we went into the studio

1:01:56.280 --> 1:01:59.200
<v Speaker 1>over at Allegro. I changed studios Allegro, which was at

1:01:59.240 --> 1:02:03.360
<v Speaker 1>the basement of exteen fIF Broadway, um At anyway, So

1:02:03.800 --> 1:02:06.560
<v Speaker 1>they we went in in the studio and that's where

1:02:06.560 --> 1:02:08.280
<v Speaker 1>I came up, I said, why don't we speed this

1:02:08.320 --> 1:02:10.840
<v Speaker 1>thing up? And I was playing the eighth notes, the

1:02:10.880 --> 1:02:13.320
<v Speaker 1>doom doo doo doo doo doo doom doom do. I

1:02:13.480 --> 1:02:15.480
<v Speaker 1>was That's what I was playing. I just came up

1:02:15.520 --> 1:02:20.640
<v Speaker 1>with that on the guitar and we started UH doing

1:02:20.720 --> 1:02:24.760
<v Speaker 1>the doing the demo with with sped up with Boasting

1:02:24.880 --> 1:02:27.920
<v Speaker 1>in the league. So it came out great, and we

1:02:28.000 --> 1:02:31.880
<v Speaker 1>took it back and played it for Morris and he

1:02:32.080 --> 1:02:35.360
<v Speaker 1>loved it, and that was gonna be the next single.

1:02:36.360 --> 1:02:42.120
<v Speaker 1>And so I got Jimmy Wissner. Uh. Karen asked me

1:02:42.160 --> 1:02:44.560
<v Speaker 1>if I wanted an arranger, and I said, I remembered

1:02:44.600 --> 1:02:48.160
<v Speaker 1>seeing Jimmy Wissner's name on a label of one to

1:02:48.480 --> 1:02:51.440
<v Speaker 1>three by Lynn Barry a year before that, because I

1:02:51.520 --> 1:02:53.240
<v Speaker 1>bought the record so I could learn how to play

1:02:53.920 --> 1:02:58.200
<v Speaker 1>with my group. And so I said Jimmy Wissner and

1:02:58.280 --> 1:03:01.920
<v Speaker 1>she said, yeah, I think so, So she calls Jimmy Wisner.

1:03:01.960 --> 1:03:06.000
<v Speaker 1>He comes up the next day. So bo Richie, myself,

1:03:06.120 --> 1:03:10.960
<v Speaker 1>and Jimmy Wissner became like the production team and UH,

1:03:11.160 --> 1:03:14.360
<v Speaker 1>the engineer Bruce Staple was the fifth member of the team.

1:03:14.920 --> 1:03:17.160
<v Speaker 1>But these guys had to deal with Cama Sutra. How

1:03:17.200 --> 1:03:23.440
<v Speaker 1>did you get around that? Morris Levy? Morris Levy as

1:03:23.520 --> 1:03:27.000
<v Speaker 1>it took, turns out put already ripping business over at

1:03:27.080 --> 1:03:30.280
<v Speaker 1>Cama Sutra, and so he owed him a few favors.

1:03:31.240 --> 1:03:35.160
<v Speaker 1>So he calls up already ripped. Morrise calls up already says, listen,

1:03:35.280 --> 1:03:38.080
<v Speaker 1>my artists wants to do one of his songs with you,

1:03:38.600 --> 1:03:41.200
<v Speaker 1>with you, with your with your couple of year guys.

1:03:41.280 --> 1:03:44.720
<v Speaker 1>He said, I need him over here. Okay. So we

1:03:44.880 --> 1:03:48.880
<v Speaker 1>got him, We got him, We got them all and

1:03:49.040 --> 1:03:53.840
<v Speaker 1>they became our writers, uh and our producers. And that

1:03:54.080 --> 1:03:59.600
<v Speaker 1>was the first production team that that we put together.

1:03:59.720 --> 1:04:04.920
<v Speaker 1>And that was a lifesaver because I uh did not

1:04:05.200 --> 1:04:09.120
<v Speaker 1>have the songs to further my career. So if if

1:04:09.160 --> 1:04:12.280
<v Speaker 1>Bow and Richie hadn't come along at the moment they did,

1:04:12.400 --> 1:04:16.520
<v Speaker 1>I don't know what would have become. My career would

1:04:16.520 --> 1:04:20.600
<v Speaker 1>have probably ended with It's Only Love all I say,

1:04:20.640 --> 1:04:25.800
<v Speaker 1>I am. So you have hit records. To what degree

1:04:25.880 --> 1:04:27.600
<v Speaker 1>are you going on the road and what are your

1:04:27.680 --> 1:04:35.000
<v Speaker 1>experiences on the road. Well, um, that summer of sixty

1:04:36.040 --> 1:04:40.560
<v Speaker 1>we were on the road constantly. After Hanky Pank and

1:04:41.200 --> 1:04:46.680
<v Speaker 1>um I I we were working with a lot of

1:04:46.760 --> 1:04:51.760
<v Speaker 1>the other groups. I did my first arena dates I

1:04:51.840 --> 1:04:55.400
<v Speaker 1>had never done before, the biggest crowds we ever worked too,

1:04:56.360 --> 1:04:59.640
<v Speaker 1>um I had. I made a lot of friends in

1:04:59.720 --> 1:05:05.680
<v Speaker 1>the business. Um it really was. Uh. You know, when

1:05:05.760 --> 1:05:09.480
<v Speaker 1>you're when you're eighteen nineteen years old and you're out

1:05:09.520 --> 1:05:12.240
<v Speaker 1>on the road with a hit record, life is good

1:05:14.600 --> 1:05:19.200
<v Speaker 1>and uh you don't notice that you're burning the candle

1:05:19.280 --> 1:05:22.720
<v Speaker 1>at both ends. You don't notice that you're dog tired.

1:05:22.800 --> 1:05:27.080
<v Speaker 1>You know, you're just partying in the nighttime and traveling

1:05:27.160 --> 1:05:31.440
<v Speaker 1>in the daytime. I remember we traveled in a station

1:05:31.520 --> 1:05:37.080
<v Speaker 1>wagon and we hauled our own equipment. This is before

1:05:37.600 --> 1:05:43.240
<v Speaker 1>got invented roadies and uh so, uh, you know it was.

1:05:43.600 --> 1:05:46.960
<v Speaker 1>It was a real adventure that first year, but I

1:05:47.160 --> 1:05:49.720
<v Speaker 1>loved it. I think of that first summer of sixty

1:05:50.640 --> 1:05:54.480
<v Speaker 1>as the most fun part of my life. I think, So,

1:05:54.600 --> 1:05:56.360
<v Speaker 1>who are you on the road with? And what was

1:05:56.440 --> 1:06:00.320
<v Speaker 1>it like meeting those people? A year before are I

1:06:00.440 --> 1:06:04.720
<v Speaker 1>had been selling records, selling all these people's records now

1:06:04.800 --> 1:06:09.840
<v Speaker 1>I'm working with And I'll never forget the first big

1:06:09.880 --> 1:06:15.080
<v Speaker 1>arena date that I played, uh in Montgomery, Alabama at

1:06:15.080 --> 1:06:19.840
<v Speaker 1>the Civic Arena down there, and I'm working with uh

1:06:20.640 --> 1:06:23.960
<v Speaker 1>Lou Christie. We were the opening act. Hanky Banky had

1:06:24.040 --> 1:06:27.640
<v Speaker 1>just been on the charts about three weeks and we

1:06:27.760 --> 1:06:30.320
<v Speaker 1>were the opening act and we opened and Luke Christie

1:06:30.440 --> 1:06:34.000
<v Speaker 1>was on the show. Uh. This is about a year

1:06:34.120 --> 1:06:37.960
<v Speaker 1>after he had lightning strikes and uh, he had so

1:06:38.080 --> 1:06:42.680
<v Speaker 1>many hits and the animals and Hermann's Hermit's and they

1:06:42.720 --> 1:06:46.360
<v Speaker 1>were all at their peak. I felt I felt like

1:06:46.520 --> 1:06:53.640
<v Speaker 1>my voice was changing him. Tommy James. So I remember

1:06:53.680 --> 1:07:00.240
<v Speaker 1>going up to Eric Burdon and introducing myself to him. Hey,

1:07:00.280 --> 1:07:03.760
<v Speaker 1>I'm Tommy James. I want to and he goes, who

1:07:03.920 --> 1:07:10.320
<v Speaker 1>the bloody hell are you? Who the bloody hell are you?

1:07:11.280 --> 1:07:16.560
<v Speaker 1>And hey, they were animals right, So anyway, so Herman's

1:07:16.600 --> 1:07:19.800
<v Speaker 1>Hermits couldn't have been nicer and they were. Uh. We

1:07:19.920 --> 1:07:23.360
<v Speaker 1>spent the night partying with them. And uh. That was

1:07:23.440 --> 1:07:27.360
<v Speaker 1>my first gig with Peter Noon and the Hermits. And

1:07:27.760 --> 1:07:32.600
<v Speaker 1>I'm still working with him today on serious radio. Okay,

1:07:33.400 --> 1:07:40.040
<v Speaker 1>what about the money? The what the money? Well, you're

1:07:40.120 --> 1:07:44.360
<v Speaker 1>on the on the road. The act is getting paid something.

1:07:44.400 --> 1:07:46.560
<v Speaker 1>You can see all the economics are completely different from

1:07:46.600 --> 1:07:49.480
<v Speaker 1>what they are today. Hey, are you just getting a

1:07:49.600 --> 1:07:51.920
<v Speaker 1>per diem and burning the kid on both ends, and

1:07:52.040 --> 1:07:56.439
<v Speaker 1>you have no idea what's going on. It wasn't that bad.

1:07:56.480 --> 1:07:59.600
<v Speaker 1>We were we were, we were. We were making I

1:07:59.640 --> 1:08:03.400
<v Speaker 1>don't know the first summer, probably five thousand a night

1:08:03.560 --> 1:08:06.480
<v Speaker 1>or something like that for the first few weeks, and

1:08:06.600 --> 1:08:09.240
<v Speaker 1>it just went up incrementally from there with each record.

1:08:10.040 --> 1:08:12.920
<v Speaker 1>Uh No, we made money on the road, and we

1:08:13.040 --> 1:08:17.040
<v Speaker 1>made money from B M I from our paltry songwriting

1:08:17.080 --> 1:08:22.519
<v Speaker 1>back then, and uh, mechanical royalties we just weren't getting.

1:08:23.760 --> 1:08:30.720
<v Speaker 1>And that was a real interesting well showdown, I'll call

1:08:30.800 --> 1:08:35.719
<v Speaker 1>it the um We knew. I knew because the guys

1:08:35.800 --> 1:08:39.000
<v Speaker 1>were really salary musicians, but I knew that I was

1:08:39.040 --> 1:08:42.360
<v Speaker 1>supposed to be getting royalties from selling all these records

1:08:43.000 --> 1:08:46.880
<v Speaker 1>and they weren't. It wasn't happening. So Uh, I got

1:08:46.920 --> 1:08:52.280
<v Speaker 1>a lawyer, uh I won't mention his name, and who

1:08:52.360 --> 1:08:55.040
<v Speaker 1>went up to Morris Levy and he was gonna get

1:08:55.160 --> 1:08:58.360
<v Speaker 1>my royalties. And he comes out and he's slapping Morris

1:08:58.439 --> 1:09:02.360
<v Speaker 1>on the back. I knew that was bad sign. I

1:09:02.439 --> 1:09:08.840
<v Speaker 1>knew that wasn't good. So at any rate, what happened was, uh,

1:09:09.320 --> 1:09:12.960
<v Speaker 1>we were told, in no uncertain terms to be to

1:09:13.439 --> 1:09:18.400
<v Speaker 1>not to push it, because what happened to Jimmie Rodgers

1:09:18.520 --> 1:09:21.519
<v Speaker 1>could happen to us. And I guess you know what

1:09:21.560 --> 1:09:24.760
<v Speaker 1>happened to Jimmy Rogers. He was left for dead on

1:09:24.840 --> 1:09:30.800
<v Speaker 1>an l A freeway because he was uh suing for

1:09:30.960 --> 1:09:36.400
<v Speaker 1>his royalties. And he was a very athletic guy, very muscular,

1:09:36.479 --> 1:09:39.240
<v Speaker 1>in good shape, and he was he was never the

1:09:39.320 --> 1:09:43.080
<v Speaker 1>same after that. And he he survived it, but just barely.

1:09:43.960 --> 1:09:49.200
<v Speaker 1>And so we knew what could happen if we pushed it.

1:09:50.400 --> 1:09:55.120
<v Speaker 1>And so the bottom line was I sort of took

1:09:55.160 --> 1:10:00.080
<v Speaker 1>a salary for a while, uh in addition to but

1:10:00.439 --> 1:10:02.679
<v Speaker 1>that was how I was gonna get and by the way,

1:10:03.760 --> 1:10:07.120
<v Speaker 1>my writing moneys weren't going to come either, because don't forget,

1:10:08.200 --> 1:10:16.080
<v Speaker 1>I was cross collateralized. Whoa, And so that I became

1:10:16.200 --> 1:10:20.479
<v Speaker 1>very familiar with that term cross collateralized. That meant you

1:10:20.520 --> 1:10:25.360
<v Speaker 1>weren't getting anything. So did you even get state did

1:10:25.439 --> 1:10:33.400
<v Speaker 1>you even get statements? Uh? No? No. But we were

1:10:33.439 --> 1:10:36.800
<v Speaker 1>having one hit after another and we're making a lot

1:10:36.840 --> 1:10:39.960
<v Speaker 1>of money on the road, and I was we had

1:10:40.040 --> 1:10:43.720
<v Speaker 1>to make a conscious decision do we try to go

1:10:43.880 --> 1:10:48.919
<v Speaker 1>after our money because by this time we were good earners,

1:10:49.080 --> 1:10:52.479
<v Speaker 1>as they say, So do we try to go after

1:10:52.600 --> 1:10:55.680
<v Speaker 1>our money? Do we try? Do we sue him? What

1:10:55.800 --> 1:10:59.000
<v Speaker 1>do we do? Or do we just go along to

1:10:59.160 --> 1:11:03.920
<v Speaker 1>get along and keep having hits. So I think in

1:11:04.080 --> 1:11:07.920
<v Speaker 1>Hindstein we probably did the right thing. We uh, we

1:11:08.040 --> 1:11:11.639
<v Speaker 1>didn't make a big fuss every now and then I did,

1:11:12.120 --> 1:11:17.360
<v Speaker 1>and I would I would get large chunks of money, um,

1:11:18.479 --> 1:11:23.400
<v Speaker 1>you know, handed to me, but regular mechanical royalties when

1:11:23.439 --> 1:11:27.040
<v Speaker 1>they were supposed to happen, weren't going to happen. So

1:11:27.280 --> 1:11:29.639
<v Speaker 1>in the end I think I made the right decision.

1:11:30.040 --> 1:11:33.040
<v Speaker 1>Plus now I get to tell the story. And so

1:11:33.320 --> 1:11:35.639
<v Speaker 1>how big were these chunks of cash that Morris would

1:11:35.640 --> 1:11:40.280
<v Speaker 1>give you? Oh sometimes twenty and thirty and forty, but

1:11:40.680 --> 1:11:46.240
<v Speaker 1>not very often. And we figured out at the end

1:11:47.280 --> 1:11:49.920
<v Speaker 1>that he ot us between thirty and forty million dollars

1:11:50.720 --> 1:11:59.920
<v Speaker 1>um just in mechanicals and the publishing. I would have

1:12:00.040 --> 1:12:01.479
<v Speaker 1>been a little bit more than it would have been

1:12:01.479 --> 1:12:06.120
<v Speaker 1>a lot more than that actually, But um, the way

1:12:06.240 --> 1:12:08.200
<v Speaker 1>this came to a head was amazing. I don't know

1:12:08.240 --> 1:12:09.880
<v Speaker 1>if you want me to skip ahead and tell her.

1:12:10.120 --> 1:12:11.680
<v Speaker 1>I don't know how much you wanted ye tell tell

1:12:11.720 --> 1:12:16.439
<v Speaker 1>us how it came to a head. Well, Um, my

1:12:16.760 --> 1:12:24.599
<v Speaker 1>accountant Aaron Scheckter well more Morris. Okay, Morris had left

1:12:24.680 --> 1:12:28.679
<v Speaker 1>the country for a while. Ah. There was a gang

1:12:28.760 --> 1:12:32.720
<v Speaker 1>war in seventy one in New York when the Gambinos

1:12:32.840 --> 1:12:41.120
<v Speaker 1>were taking over uh the other families. Uh, and Morris

1:12:41.240 --> 1:12:45.760
<v Speaker 1>was on the wrong side, and Morris left town. He

1:12:45.960 --> 1:12:51.680
<v Speaker 1>and Nate mccallo, who was his bodyguard, went to went

1:12:51.760 --> 1:12:56.920
<v Speaker 1>to Spain and they came back. Um. And while he

1:12:57.200 --> 1:13:04.519
<v Speaker 1>was away in Spain, Uh, my accountant, um sort of

1:13:04.560 --> 1:13:07.479
<v Speaker 1>did a tally. Only they didn't try to go after

1:13:07.560 --> 1:13:11.720
<v Speaker 1>the books. Everybody tries to go after the book. He

1:13:11.880 --> 1:13:19.800
<v Speaker 1>went after the labels that we're being printed, uh, by

1:13:21.160 --> 1:13:26.600
<v Speaker 1>various printers. This tactic had never been tried before. I

1:13:26.680 --> 1:13:31.600
<v Speaker 1>don't think anyway. We got an honest count from the

1:13:31.920 --> 1:13:36.400
<v Speaker 1>labels that were printed certain discount you know for DJ

1:13:36.600 --> 1:13:39.400
<v Speaker 1>copies and stuff like that and returns, but we got

1:13:39.479 --> 1:13:42.719
<v Speaker 1>a pretty damn good count and it was somewhere between

1:13:42.760 --> 1:13:50.200
<v Speaker 1>thirty and forty million dollars. And we He went to

1:13:50.280 --> 1:13:55.439
<v Speaker 1>Morris with that information. When Morris got back, and Morris

1:13:55.840 --> 1:13:59.240
<v Speaker 1>told him to know uncertain terms if he if he

1:13:59.320 --> 1:14:02.800
<v Speaker 1>tried to use that against him. They'd be fishing him

1:14:02.800 --> 1:14:06.280
<v Speaker 1>out of a river. So that was the end of

1:14:06.360 --> 1:14:18.280
<v Speaker 1>my uh investigation of into Morris's bank roll. So um Anyway,

1:14:18.360 --> 1:14:24.800
<v Speaker 1>shortly after that, um uh, Morris's partner up in up

1:14:24.880 --> 1:14:27.920
<v Speaker 1>at Roulette, Tommy Everley, who, by the way, he became

1:14:27.960 --> 1:14:33.479
<v Speaker 1>the head of the Genevese family uh uh. When Video

1:14:33.560 --> 1:14:38.920
<v Speaker 1>Genevies died in prison h on Valentine's Day and sixty nine,

1:14:39.720 --> 1:14:42.360
<v Speaker 1>Tommy Everley became that of the family. And he was

1:14:42.479 --> 1:14:45.800
<v Speaker 1>then killed in seventy two and July of seventy two,

1:14:46.520 --> 1:14:51.080
<v Speaker 1>and all hell broke loose at Roulette and I said

1:14:51.120 --> 1:14:53.479
<v Speaker 1>to Morris, I'm out of here. I am out of here.

1:14:54.240 --> 1:14:57.320
<v Speaker 1>He said, you ain't going anywhere. I said, I am

1:14:57.400 --> 1:15:00.800
<v Speaker 1>out of here. I said, shoot me, I don't care.

1:15:00.880 --> 1:15:03.479
<v Speaker 1>I'm done. I can't. I can't deal with this anymore.

1:15:03.920 --> 1:15:07.400
<v Speaker 1>And I It took me two years of not recording anything,

1:15:08.600 --> 1:15:12.600
<v Speaker 1>no more albums. Morris put out a few of the

1:15:12.720 --> 1:15:16.240
<v Speaker 1>singles that had UH that were in the can, but

1:15:16.360 --> 1:15:19.920
<v Speaker 1>I never did another album after that, And finally he

1:15:20.080 --> 1:15:25.839
<v Speaker 1>let me go in seventy four and I went Fantasy.

1:15:25.880 --> 1:15:27.519
<v Speaker 1>So I had one record out an m c A

1:15:27.600 --> 1:15:29.920
<v Speaker 1>and then I had. Then I went to Fantasy Records

1:15:29.960 --> 1:15:35.280
<v Speaker 1>out on it in Berkeley and got as far away

1:15:35.320 --> 1:15:37.920
<v Speaker 1>from New York. Is like good for the next couple

1:15:37.960 --> 1:15:41.160
<v Speaker 1>of albums. But anyway, that's a long story. Uh, I'm

1:15:41.200 --> 1:15:43.160
<v Speaker 1>sorry I took us off. No, no, no, that's great.

1:15:43.200 --> 1:15:44.760
<v Speaker 1>All this is great. Let's go back to some of

1:15:44.840 --> 1:15:48.600
<v Speaker 1>the records needless to save between the Beatles Citty and

1:15:48.720 --> 1:15:53.280
<v Speaker 1>sixty four and seventy one or so, there were many scenes,

1:15:53.479 --> 1:15:58.120
<v Speaker 1>many developments. So when from May M to f and etcetera,

1:15:59.120 --> 1:16:02.559
<v Speaker 1>how did you come up with Crimson and Clover. Well

1:16:02.640 --> 1:16:07.360
<v Speaker 1>that's the moment of truth Crimson and Clover, because uh,

1:16:08.600 --> 1:16:11.640
<v Speaker 1>we had come off a money money and then and

1:16:12.360 --> 1:16:15.799
<v Speaker 1>Morris had a falling out with Bow and Richie. Richie

1:16:15.880 --> 1:16:19.160
<v Speaker 1>came back, Bow went to Casnets and Cats and did

1:16:19.920 --> 1:16:25.560
<v Speaker 1>bubble Gum records on LORI and Richie came with me

1:16:26.240 --> 1:16:32.400
<v Speaker 1>and so we did money money together. We did h

1:16:34.160 --> 1:16:36.360
<v Speaker 1>do oneto Me, We did a couple of other singles

1:16:36.439 --> 1:16:40.240
<v Speaker 1>and do do something to Me? And then finally I

1:16:40.400 --> 1:16:48.000
<v Speaker 1>just decided so much was going on in Um. We

1:16:48.160 --> 1:16:51.839
<v Speaker 1>got Hubert Humphreys office called as he was running for president,

1:16:51.920 --> 1:16:58.720
<v Speaker 1>and Hubert Humphreys office contacted Roulette and wanted to know

1:16:59.000 --> 1:17:01.120
<v Speaker 1>if we would join him on the camp on the

1:17:01.200 --> 1:17:08.760
<v Speaker 1>presidential campaign, which we did, and while I was on

1:17:08.960 --> 1:17:14.519
<v Speaker 1>that campaign, the whole industry turned upside down. We left

1:17:14.640 --> 1:17:19.920
<v Speaker 1>in August and we came back in November, and while

1:17:20.040 --> 1:17:25.240
<v Speaker 1>we were gone, the industry had gone from singles to

1:17:25.479 --> 1:17:28.800
<v Speaker 1>albums in ninety days. I couldn't believe it. When we

1:17:29.000 --> 1:17:34.320
<v Speaker 1>left in August, the big acts were Gary Puckett, um Us,

1:17:34.920 --> 1:17:38.760
<v Speaker 1>the Rascals, the Association, its writer. I'm leaving a lot

1:17:38.800 --> 1:17:42.000
<v Speaker 1>of people out, but it was all singles. When we

1:17:42.120 --> 1:17:45.759
<v Speaker 1>got back ninety days later, it was Led Zeppelin, Crosby,

1:17:45.840 --> 1:17:50.559
<v Speaker 1>Stills and Nash, Joe Cocker, Blood, Sweat and Tears, Neil Young,

1:17:51.040 --> 1:17:57.679
<v Speaker 1>all album acts. And really this started with the Sergeant

1:17:57.720 --> 1:18:01.360
<v Speaker 1>Pepper album Company's real seeing how much money they were

1:18:01.439 --> 1:18:07.080
<v Speaker 1>losing by not uh by not selling albums. And so

1:18:07.880 --> 1:18:10.760
<v Speaker 1>the reason I'm telling you all this is because at

1:18:10.800 --> 1:18:17.000
<v Speaker 1>that very moment uh AM Radio then turned into FM Radio.

1:18:17.280 --> 1:18:19.680
<v Speaker 1>FM Radio was started playing rock and roll for the

1:18:19.760 --> 1:18:24.840
<v Speaker 1>first time ever in um. Up until that time, FM

1:18:25.120 --> 1:18:28.400
<v Speaker 1>was only for jazz and classical. Now they're playing rock,

1:18:28.880 --> 1:18:33.160
<v Speaker 1>unheard of, So everything was in stereo. Everything had to

1:18:33.240 --> 1:18:36.640
<v Speaker 1>sound good. At the same moments, technology was coming in

1:18:36.760 --> 1:18:40.920
<v Speaker 1>from the Space program. We had multi tracks that were

1:18:41.000 --> 1:18:43.880
<v Speaker 1>up to two tracks. Now we went from four track

1:18:44.120 --> 1:18:48.479
<v Speaker 1>to track in about eighteen months. So everything was changing,

1:18:48.960 --> 1:18:51.920
<v Speaker 1>and so we realized we had to produce ourselves. We

1:18:52.040 --> 1:18:54.400
<v Speaker 1>had to write and produce ourselves or we were done

1:18:54.720 --> 1:18:58.400
<v Speaker 1>and we had to sell albums. So it was just

1:18:58.760 --> 1:19:01.519
<v Speaker 1>very lucky for us. We were working on a little

1:19:01.560 --> 1:19:07.040
<v Speaker 1>record called Crimson and Clover, and Crimson and Clover was

1:19:07.240 --> 1:19:09.679
<v Speaker 1>just us two of my favorite words. I put together,

1:19:11.000 --> 1:19:13.439
<v Speaker 1>wrote it with a sort of a backwards three chord

1:19:13.520 --> 1:19:18.960
<v Speaker 1>progression and um. We went in the studio and it

1:19:19.160 --> 1:19:21.600
<v Speaker 1>came out great. In five and a half hours. We

1:19:21.720 --> 1:19:27.240
<v Speaker 1>put the whole record together UM and with the tremolo effects.

1:19:27.280 --> 1:19:30.960
<v Speaker 1>Everything yes, we had recorded I had that was me

1:19:31.040 --> 1:19:35.200
<v Speaker 1>playing guitar. We played, I played the tremorlo guitar and

1:19:35.360 --> 1:19:40.120
<v Speaker 1>just kind of serendipitous, I did at the end, why

1:19:40.160 --> 1:19:43.040
<v Speaker 1>don't we put the voices through tremolo, And so that's

1:19:43.040 --> 1:19:45.519
<v Speaker 1>how we did the face with the same tremolo that

1:19:45.640 --> 1:19:51.240
<v Speaker 1>was on the guitar. We plugged the um UM the

1:19:51.680 --> 1:19:56.920
<v Speaker 1>microphones into the guitar amp, Mike the guitar amp and

1:19:57.040 --> 1:20:00.560
<v Speaker 1>ran it back into the board and so it was

1:20:00.600 --> 1:20:03.280
<v Speaker 1>a really simple thing to do, but it made the record,

1:20:03.720 --> 1:20:07.639
<v Speaker 1>and Crimson and Clover then became the biggest record, uh

1:20:08.320 --> 1:20:10.120
<v Speaker 1>that we ever did. It sold five and a half

1:20:10.160 --> 1:20:14.280
<v Speaker 1>million copies right there in nine But what I'm saying

1:20:14.439 --> 1:20:19.280
<v Speaker 1>is that Crimson and Clover allowed us to make that

1:20:19.520 --> 1:20:23.480
<v Speaker 1>jump from a M Top forty singles to FM progressive

1:20:23.520 --> 1:20:26.519
<v Speaker 1>album rock. I don't think there's any record we ever

1:20:26.600 --> 1:20:28.519
<v Speaker 1>put out that would have allowed us to do that

1:20:28.640 --> 1:20:33.240
<v Speaker 1>in one shot like that. And so then the album

1:20:33.360 --> 1:20:37.200
<v Speaker 1>came out and we were let's started really selling albums

1:20:37.720 --> 1:20:40.639
<v Speaker 1>for the first time. The Crimson and Clover album went

1:20:40.720 --> 1:20:45.719
<v Speaker 1>platinum and uh uh you know, we were suddenly selling

1:20:45.760 --> 1:20:52.720
<v Speaker 1>albums and singles and UM, that was a huge, big deal. UM.

1:20:52.920 --> 1:20:56.880
<v Speaker 1>It gave us the second half of our career and

1:20:57.960 --> 1:21:00.240
<v Speaker 1>allowed me to do things I could never ever have

1:21:00.360 --> 1:21:04.280
<v Speaker 1>done before UM in the studio. So we we became

1:21:04.680 --> 1:21:11.000
<v Speaker 1>our own producers, our own songwriters. UM and UM life

1:21:12.000 --> 1:21:22.439
<v Speaker 1>really changed at that moment, of course, and dragging the

1:21:22.520 --> 1:21:26.080
<v Speaker 1>line how does that come together? Well, that was much later,

1:21:26.200 --> 1:21:28.519
<v Speaker 1>of course, and I had the Shan Dels and I

1:21:28.640 --> 1:21:35.280
<v Speaker 1>had parted ways in UM at least that group of them,

1:21:36.160 --> 1:21:40.120
<v Speaker 1>and so I started a solo career and I brought

1:21:40.280 --> 1:21:43.599
<v Speaker 1>my old one of my old writing partners up from

1:21:44.800 --> 1:21:47.559
<v Speaker 1>South Bend, Indiana. His name was Bob King. I brought

1:21:47.680 --> 1:21:51.680
<v Speaker 1>him up and we began producing and writing together, and

1:21:53.320 --> 1:21:57.719
<v Speaker 1>I started producing artists Silver at Columbia for Clive Davis,

1:21:57.840 --> 1:22:03.720
<v Speaker 1>I did Patty Austin, I did Bennie Mardonis, uh you know,

1:22:04.280 --> 1:22:10.839
<v Speaker 1>several other acts, and uh, you know, just started expanding

1:22:10.920 --> 1:22:14.760
<v Speaker 1>everything I was doing. And I wrote this little song

1:22:15.000 --> 1:22:20.360
<v Speaker 1>for uh for as a B side called Dragon A Line,

1:22:20.600 --> 1:22:23.599
<v Speaker 1>and I put it out first as a B side.

1:22:23.800 --> 1:22:26.679
<v Speaker 1>On the A side was a song called Church Street

1:22:26.720 --> 1:22:29.759
<v Speaker 1>Soul Revival, And the first time this had ever happened

1:22:29.760 --> 1:22:34.280
<v Speaker 1>to me where I put it out as a single,

1:22:34.880 --> 1:22:38.840
<v Speaker 1>and the B side started getting as much or more

1:22:38.960 --> 1:22:41.360
<v Speaker 1>play as the A side that had never happened to

1:22:41.400 --> 1:22:44.360
<v Speaker 1>me before. And so I took a second look at this,

1:22:44.479 --> 1:22:47.360
<v Speaker 1>and I took Dragon A Line back into the studio

1:22:47.439 --> 1:22:50.000
<v Speaker 1>and I put horns on it, a couple of beet

1:22:50.040 --> 1:22:55.439
<v Speaker 1>beat boop boops, and remixed it and put it out

1:22:55.439 --> 1:22:58.800
<v Speaker 1>as a single in seventy one. The spring of seventy one,

1:22:58.840 --> 1:23:03.000
<v Speaker 1>I just took off and broke out of l a

1:23:03.200 --> 1:23:07.360
<v Speaker 1>believe it or not, and so any at any rate,

1:23:07.439 --> 1:23:10.120
<v Speaker 1>that was a that was a huge big deal to

1:23:10.240 --> 1:23:14.680
<v Speaker 1>have a top five record as a solo artist right then.

1:23:14.880 --> 1:23:19.519
<v Speaker 1>And I had another twelve chart singles on Roulette as

1:23:19.560 --> 1:23:22.679
<v Speaker 1>a solo artist, I'm Coming Home and Ball and Chain

1:23:22.840 --> 1:23:26.800
<v Speaker 1>and the others. And then you know what happened, how

1:23:26.840 --> 1:23:31.479
<v Speaker 1>I ended up leaving with it. Okay, at some point

1:23:31.640 --> 1:23:34.479
<v Speaker 1>the hits dry up. How do you cope with that?

1:23:34.640 --> 1:23:40.519
<v Speaker 1>What goes through your mind? Well, look, this business we're in,

1:23:41.640 --> 1:23:46.680
<v Speaker 1>it's generational, and you've got to be prepared for the

1:23:46.840 --> 1:23:53.680
<v Speaker 1>long haul. And you go through phases, and you know,

1:23:53.800 --> 1:23:57.599
<v Speaker 1>it's like being a child actor. You know, you as

1:23:57.680 --> 1:24:01.640
<v Speaker 1>you as you get older, Uh, the parts change and

1:24:01.960 --> 1:24:05.320
<v Speaker 1>the windows aren't as frequent, but there are still lots

1:24:05.400 --> 1:24:10.400
<v Speaker 1>of windows of opportunity and so um. After nineteen I

1:24:10.479 --> 1:24:13.560
<v Speaker 1>did two albums for Fantasy Records in the seventies and

1:24:13.640 --> 1:24:17.000
<v Speaker 1>they were both on the charts. They they weren't top

1:24:17.080 --> 1:24:21.559
<v Speaker 1>ten albums, but they sold a lot of records. And uh,

1:24:21.760 --> 1:24:24.080
<v Speaker 1>then I had another I came back to New York

1:24:24.120 --> 1:24:27.960
<v Speaker 1>in eight and signed with Millennium Records, which was Jimmy

1:24:28.000 --> 1:24:31.040
<v Speaker 1>Einer's label, and that was distributed by r C A.

1:24:31.479 --> 1:24:35.360
<v Speaker 1>And I had a number one Adult contemporary record with

1:24:35.479 --> 1:24:38.240
<v Speaker 1>three Times in Love and it went top ten on

1:24:38.280 --> 1:24:42.600
<v Speaker 1>the charts, and uh, then two more chart records on

1:24:42.720 --> 1:24:47.840
<v Speaker 1>Millennium after that, and then finally UM, I left Millennium

1:24:48.479 --> 1:24:54.519
<v Speaker 1>and UH, basically things were pretty slow in the eighties.

1:24:54.640 --> 1:24:59.120
<v Speaker 1>I got my a lot of my music back. Finally

1:24:59.760 --> 1:25:03.559
<v Speaker 1>in nineteen ninety I signed with Ronald Lexenburg at Aegis

1:25:03.640 --> 1:25:06.439
<v Speaker 1>Records and we had an album called High Five and

1:25:07.600 --> 1:25:10.280
<v Speaker 1>did okay, didn't blow the Doorstown, but it was okay.

1:25:10.439 --> 1:25:15.200
<v Speaker 1>So but all this time we're selling records. UH. Meanwhile,

1:25:16.000 --> 1:25:20.519
<v Speaker 1>Roulette Morris gets uh Morris and I kind of stayed

1:25:20.560 --> 1:25:26.320
<v Speaker 1>in touch. Morris gets arrested and gets convicted, uh for

1:25:26.479 --> 1:25:29.800
<v Speaker 1>racketeering and gets sentenced to ten years in prison. This

1:25:29.920 --> 1:25:35.040
<v Speaker 1>happened in eighty six and eighty seven, and he dies

1:25:35.120 --> 1:25:38.120
<v Speaker 1>of cancer before he can serve a day in prison.

1:25:39.240 --> 1:25:47.280
<v Speaker 1>And just before he died, he sold the company two Rhino,

1:25:47.400 --> 1:25:49.960
<v Speaker 1>who is this is very contortive, but he sells it

1:25:50.040 --> 1:25:56.760
<v Speaker 1>to Rhino, UH, and the masters and sells the publishing.

1:25:57.200 --> 1:26:05.080
<v Speaker 1>Two Fujifilm start a publishing company called Windswept Pacific. Windswept

1:26:05.080 --> 1:26:07.720
<v Speaker 1>Pacific themselves to E M I E M I, then

1:26:07.800 --> 1:26:13.720
<v Speaker 1>selves to Sony. Today I'm with Sony on on the

1:26:13.840 --> 1:26:16.479
<v Speaker 1>publish all the publishing. And they've brought me sixty three

1:26:16.600 --> 1:26:21.560
<v Speaker 1>movies uh in the past uh ten years or so,

1:26:22.040 --> 1:26:27.559
<v Speaker 1>sixty three of them. And um over on the masters

1:26:27.600 --> 1:26:31.280
<v Speaker 1>are now owned by Warner Brothers. Warner Brothers brought Rhino,

1:26:32.000 --> 1:26:34.840
<v Speaker 1>bought Rhino, and Warner Brothers now who by the way

1:26:34.960 --> 1:26:41.559
<v Speaker 1>is owned by the Russians, the Ukrainians. Um, there are

1:26:41.640 --> 1:26:44.280
<v Speaker 1>no more American owned record companies of the of the

1:26:44.400 --> 1:26:48.760
<v Speaker 1>big corporate labels. You know, Sony is owned by the Japanese, UH,

1:26:49.040 --> 1:26:54.519
<v Speaker 1>Universal is Vivendi by the with the French, and UH

1:26:54.760 --> 1:27:00.960
<v Speaker 1>Warner Brothers is the Ukrainians. So anyway, that's that's amazing.

1:27:01.240 --> 1:27:07.400
<v Speaker 1>But anyway, so uh Warner Brothers has uh put out

1:27:07.439 --> 1:27:11.479
<v Speaker 1>product licensed product my stuff all over the world. And

1:27:11.760 --> 1:27:16.840
<v Speaker 1>so today you know it's a licensing business and a

1:27:16.920 --> 1:27:25.400
<v Speaker 1>publishing business, and uh, frankly, I mean I'm kind of

1:27:25.439 --> 1:27:28.840
<v Speaker 1>embarrassed to say to this, I've never done better. Uh,

1:27:29.000 --> 1:27:33.800
<v Speaker 1>financially than then now any time in my career, not

1:27:33.920 --> 1:27:37.320
<v Speaker 1>to mention the booking price. You said you got the

1:27:37.439 --> 1:27:40.800
<v Speaker 1>rights back. What rights did you get back? I own

1:27:41.040 --> 1:27:44.479
<v Speaker 1>all of my masters after Roulette, in other words, the

1:27:44.560 --> 1:27:47.320
<v Speaker 1>five labels I was with, including my own. Now I

1:27:47.400 --> 1:27:53.240
<v Speaker 1>have my own label, our records, and I own all

1:27:53.360 --> 1:27:58.439
<v Speaker 1>of my material, all of my masters h after Roulette

1:27:58.520 --> 1:28:03.720
<v Speaker 1>from seventy four on. Uh. Now, UH Warners owns the

1:28:03.840 --> 1:28:08.320
<v Speaker 1>big Roulette catalog. And they're doing a magnificent job of

1:28:08.920 --> 1:28:14.400
<v Speaker 1>getting that stuff all around. And they pay. Okay, now,

1:28:14.520 --> 1:28:17.320
<v Speaker 1>you signed deals in the sixties. Never mind, you didn't

1:28:17.360 --> 1:28:20.320
<v Speaker 1>get paid in the sixties. Do they still pay you

1:28:20.439 --> 1:28:22.719
<v Speaker 1>at the same rate in the you signed the contract

1:28:22.800 --> 1:28:26.559
<v Speaker 1>you signed in the sixties a much better rate. How

1:28:26.600 --> 1:28:30.800
<v Speaker 1>did you come to how did you get to renegotiate that? Well,

1:28:31.920 --> 1:28:36.880
<v Speaker 1>there were certain statutory laws that they had to um

1:28:37.560 --> 1:28:44.719
<v Speaker 1>over the years. UM. I renegotiated with Rhino um because

1:28:45.880 --> 1:28:48.600
<v Speaker 1>otherwise I could have I was. I didn't threaten to

1:28:48.680 --> 1:28:51.880
<v Speaker 1>sue him or anything. I just said that, Uh, you know,

1:28:52.120 --> 1:28:54.760
<v Speaker 1>I never got paid, and I didn't excuse me. I

1:28:54.800 --> 1:28:57.400
<v Speaker 1>guess I put a bug in their ear. But they

1:28:57.439 --> 1:29:00.920
<v Speaker 1>were very eager to pay me the much higher rate.

1:29:01.439 --> 1:29:04.240
<v Speaker 1>And of course with movies and licens things, a lot

1:29:04.400 --> 1:29:10.080
<v Speaker 1>of the movies are very uh well paying, as is

1:29:10.520 --> 1:29:15.760
<v Speaker 1>SYNC licensing for other things television, uh licensing, and that's

1:29:15.760 --> 1:29:19.439
<v Speaker 1>a fifty royalty. Let's go back to your production era.

1:29:19.560 --> 1:29:21.800
<v Speaker 1>Were you the King? You talked about technology going from

1:29:21.840 --> 1:29:25.720
<v Speaker 1>four track to track? Were you pretty savvy in the

1:29:25.840 --> 1:29:29.040
<v Speaker 1>studio and how did you get the work with Clive

1:29:29.160 --> 1:29:31.920
<v Speaker 1>and other people as a producer. Well, I was very

1:29:32.040 --> 1:29:38.080
<v Speaker 1>lucky because I learned production. Excuse me, I learned production

1:29:38.960 --> 1:29:43.360
<v Speaker 1>with Bow and Ritchie. I went through all the phases

1:29:43.560 --> 1:29:49.479
<v Speaker 1>of production, producing records, writing songs, producing records, making records,

1:29:50.160 --> 1:29:54.240
<v Speaker 1>um at roulette, even album design and stuff like that.

1:29:55.080 --> 1:29:58.719
<v Speaker 1>Um I was I learned my craft from top to bottom.

1:29:59.360 --> 1:30:01.960
<v Speaker 1>And so yes, I was well versed in the studio.

1:30:03.160 --> 1:30:08.960
<v Speaker 1>And when I produced other artists, that really is a

1:30:09.120 --> 1:30:13.320
<v Speaker 1>rather thankless job producing other people. It's kind of uh,

1:30:14.400 --> 1:30:17.519
<v Speaker 1>you know, it's it's it's a hard it's a hard

1:30:17.640 --> 1:30:21.559
<v Speaker 1>thing to do and be successful at we we did. Okay.

1:30:21.680 --> 1:30:24.679
<v Speaker 1>The first record I ever produced for somebody else was Tighter,

1:30:24.800 --> 1:30:30.080
<v Speaker 1>Tighter by Live and kicking. Um I guess you remember

1:30:30.200 --> 1:30:34.800
<v Speaker 1>Tighter Tighter. I took it back to Roulette, and I

1:30:34.920 --> 1:30:38.280
<v Speaker 1>originally was going to do it for myself, and uh,

1:30:38.680 --> 1:30:40.559
<v Speaker 1>I didn't like the way the vocal was coming out,

1:30:40.640 --> 1:30:43.200
<v Speaker 1>so I brought a live and kicking in rewrote the

1:30:43.280 --> 1:30:46.120
<v Speaker 1>song as kind of a duet, did it with them.

1:30:46.200 --> 1:30:48.920
<v Speaker 1>They sang on the track that we had already done,

1:30:49.200 --> 1:30:51.679
<v Speaker 1>and then I added their guitar player and keyboard player

1:30:51.720 --> 1:30:54.880
<v Speaker 1>and so forth, um and had a We had a

1:30:54.960 --> 1:31:00.280
<v Speaker 1>top five record with Tighter Tighter on Roulette. Uh. I

1:31:00.439 --> 1:31:04.040
<v Speaker 1>kind of got my production shops together through Tighter Tighter,

1:31:04.080 --> 1:31:07.080
<v Speaker 1>and then I began producing other artists at Columbia and

1:31:07.160 --> 1:31:12.000
<v Speaker 1>stuff like that. But I kind of grew tired of

1:31:12.080 --> 1:31:15.120
<v Speaker 1>that pretty quickly. It's a lot of work, especially if

1:31:15.120 --> 1:31:18.519
<v Speaker 1>you're producing more than one person at a time, and

1:31:20.360 --> 1:31:24.559
<v Speaker 1>I kind of tired of that. To be honest with you, Okay, now,

1:31:24.800 --> 1:31:30.040
<v Speaker 1>during this behight of your fame, you are partaking of

1:31:30.240 --> 1:31:34.880
<v Speaker 1>substances to the point one one dig you collapse in

1:31:35.080 --> 1:31:38.240
<v Speaker 1>or people. The rumor goes around that you're dead. So

1:31:38.920 --> 1:31:46.160
<v Speaker 1>tell us about your descent and your recovery there. Okay, Well,

1:31:47.520 --> 1:31:54.920
<v Speaker 1>I started popping pills, I started taking uppers. Uh started

1:31:54.960 --> 1:32:01.160
<v Speaker 1>early on about and it all caught up with me. Um,

1:32:02.000 --> 1:32:05.880
<v Speaker 1>what was your motivation for taking the uppers? I had

1:32:05.920 --> 1:32:07.760
<v Speaker 1>to write, I had to make records, I had to

1:32:07.840 --> 1:32:09.960
<v Speaker 1>be up a lot. But I also they also, I

1:32:10.120 --> 1:32:14.439
<v Speaker 1>was you know, uh they I liked them. I wish

1:32:14.520 --> 1:32:17.439
<v Speaker 1>there was a better excuse than that. I mean, yes,

1:32:17.560 --> 1:32:20.160
<v Speaker 1>I used them when I worked, but I also liked

1:32:20.200 --> 1:32:23.400
<v Speaker 1>the like the way I felt and uh, you know,

1:32:24.120 --> 1:32:27.519
<v Speaker 1>doing the sixties. Uh, and and you had the feeling

1:32:27.560 --> 1:32:29.800
<v Speaker 1>it was all right because everybody else was doing them too.

1:32:29.960 --> 1:32:36.519
<v Speaker 1>So anyway, as I moved on, then I I started saying, well,

1:32:36.520 --> 1:32:39.439
<v Speaker 1>I'm not gonna do pills anymore. I'm gonna I'm going

1:32:39.600 --> 1:32:44.439
<v Speaker 1>to rehab. So then I started drinking, and then so

1:32:45.000 --> 1:32:47.719
<v Speaker 1>booze became my drug of choice for a long time.

1:32:48.560 --> 1:32:53.880
<v Speaker 1>And then finally uh uh you know, I was very

1:32:54.160 --> 1:32:58.559
<v Speaker 1>very lucky because I never really got caught. There were

1:32:58.600 --> 1:33:01.360
<v Speaker 1>a couple of times, like the time you mentioned when

1:33:01.400 --> 1:33:04.479
<v Speaker 1>I collapsed on stage. I go back to Roulette and

1:33:04.600 --> 1:33:09.800
<v Speaker 1>they said what the hell happened? And I had to

1:33:09.880 --> 1:33:13.880
<v Speaker 1>explain what I was doing. But anyway, the bottom line

1:33:14.080 --> 1:33:18.360
<v Speaker 1>was that h I finally came to my senses in

1:33:18.560 --> 1:33:24.680
<v Speaker 1>n and I went to the Betty Ford Center, and uh,

1:33:25.040 --> 1:33:27.400
<v Speaker 1>it was the best thing I've ever done, one of

1:33:27.439 --> 1:33:31.040
<v Speaker 1>the best things I've ever done. Certainly it saved my life. Okay,

1:33:31.040 --> 1:33:34.840
<v Speaker 1>a little a little bit slower, Okay, get pushed? Did

1:33:34.920 --> 1:33:37.720
<v Speaker 1>you get pushed or did you jump? How did you

1:33:38.040 --> 1:33:40.960
<v Speaker 1>actually go into the Betty Ford Center? And what is

1:33:41.000 --> 1:33:44.799
<v Speaker 1>it like being a rock star taking pills and drinking

1:33:44.920 --> 1:33:48.679
<v Speaker 1>for decades and then going to rehab. It doesn't stick

1:33:48.800 --> 1:33:51.840
<v Speaker 1>with most people. So what was your experience and why

1:33:51.880 --> 1:33:56.320
<v Speaker 1>did it stick? But first, how did you actually go? Well,

1:33:56.439 --> 1:34:02.920
<v Speaker 1>I'll tell you, baby, U uh um, Well, frankly, I

1:34:03.000 --> 1:34:06.760
<v Speaker 1>couldn't stomach myself anymore. I couldn't stand waking up with

1:34:06.840 --> 1:34:09.640
<v Speaker 1>the hangovers. I couldn't, you know, because and I was

1:34:09.920 --> 1:34:14.200
<v Speaker 1>just barely getting by on my on my road shows,

1:34:15.360 --> 1:34:20.920
<v Speaker 1>because I was putting more and more away and uh

1:34:21.240 --> 1:34:30.040
<v Speaker 1>just barely uh not getting caught. And so I must

1:34:30.080 --> 1:34:33.439
<v Speaker 1>tell you, oh, well, I don't want to jump ahead.

1:34:33.720 --> 1:34:40.160
<v Speaker 1>So I basically couldn't stand myself anymore. And yes, my

1:34:40.280 --> 1:34:43.200
<v Speaker 1>dear wife was pushing me to do it too. Um

1:34:43.720 --> 1:34:46.040
<v Speaker 1>God bless her, she stuck with me all those years.

1:34:46.920 --> 1:34:49.840
<v Speaker 1>And so finally I we got on a plane and

1:34:49.880 --> 1:34:53.599
<v Speaker 1>went to the Betty Ford Center. And uh, the Betty

1:34:53.680 --> 1:34:56.400
<v Speaker 1>Ford Center is laid out like a campus. It's a

1:34:56.560 --> 1:35:00.519
<v Speaker 1>it's a wonderful place, Uh to get so ober and

1:35:00.680 --> 1:35:07.040
<v Speaker 1>too uh uh really reflect on what you're doing to

1:35:07.160 --> 1:35:12.479
<v Speaker 1>your life and to get to get better. And I

1:35:12.640 --> 1:35:15.920
<v Speaker 1>was there for six weeks. At that time, I was

1:35:16.040 --> 1:35:21.120
<v Speaker 1>cross addicted to valium and booge and that's a dangerous combination.

1:35:22.280 --> 1:35:27.880
<v Speaker 1>And Uh, all I can say is that I've been

1:35:28.000 --> 1:35:30.759
<v Speaker 1>very fortunate. I never relapsed after I left the center.

1:35:30.840 --> 1:35:35.240
<v Speaker 1>I I wanted. The truth is I wanted to stop.

1:35:36.080 --> 1:35:38.320
<v Speaker 1>If you really don't want, if you're badgered to go

1:35:38.479 --> 1:35:42.840
<v Speaker 1>into rehab, it's not gonna work. Uh. You know they

1:35:42.880 --> 1:35:45.240
<v Speaker 1>say a man convinced against his will is of the

1:35:45.320 --> 1:35:48.519
<v Speaker 1>same opinion still, and it's the truth. You can't if

1:35:48.560 --> 1:35:51.360
<v Speaker 1>you're badgered to go by somebody, it's not gonna work.

1:35:51.840 --> 1:35:54.760
<v Speaker 1>You have to be sick of yourself. You have to

1:35:55.160 --> 1:35:57.679
<v Speaker 1>want to go and want to quit. And I did.

1:35:59.200 --> 1:36:03.160
<v Speaker 1>And that's really the story. And I and I a

1:36:03.200 --> 1:36:06.639
<v Speaker 1>couple of things going back. Hey, what did you learn

1:36:06.840 --> 1:36:10.679
<v Speaker 1>and rehab and be you had somewhat of a religious

1:36:10.720 --> 1:36:15.559
<v Speaker 1>conversion there well, yes, that had actually happened several years

1:36:15.640 --> 1:36:19.280
<v Speaker 1>before that, but my faith played a big role in

1:36:19.439 --> 1:36:27.280
<v Speaker 1>my recovery. Um, I'll tell a very personal story if

1:36:27.320 --> 1:36:31.240
<v Speaker 1>you'd like me to. I. UM, while I was in

1:36:32.360 --> 1:36:36.960
<v Speaker 1>the Fourth Center, I uh had a Bible, had my

1:36:37.080 --> 1:36:45.160
<v Speaker 1>Bible with and I years before had done this and

1:36:45.640 --> 1:36:49.760
<v Speaker 1>and uh open just opened my Bible up, thrown it

1:36:49.880 --> 1:36:52.800
<v Speaker 1>down on the bed and saying, wherever it opens up to,

1:36:54.479 --> 1:36:56.800
<v Speaker 1>I'm gonna know God's talking to me. I'm gonna read

1:36:56.880 --> 1:37:01.639
<v Speaker 1>that page and I'm I'm gonna know I's talking to me. Well,

1:37:01.680 --> 1:37:04.840
<v Speaker 1>I did it at the Betty Ford Center and I

1:37:06.320 --> 1:37:08.560
<v Speaker 1>one afternoon, I just threw my Bible down on the

1:37:08.680 --> 1:37:12.439
<v Speaker 1>bed and I and it opened up to some thirty

1:37:12.520 --> 1:37:18.880
<v Speaker 1>two and it was a conversation between David and God.

1:37:20.280 --> 1:37:28.160
<v Speaker 1>First David's talking and then God's talking. And basically I'm paraphrasing,

1:37:28.920 --> 1:37:33.240
<v Speaker 1>but God told David, don't don't make me treat you

1:37:33.479 --> 1:37:36.839
<v Speaker 1>like a wild donkey where I have to put reins

1:37:36.920 --> 1:37:38.640
<v Speaker 1>on you and pull you this way and pull you

1:37:38.760 --> 1:37:44.680
<v Speaker 1>that way. I'm paraphrasing, but do the right thing, do

1:37:44.880 --> 1:37:48.719
<v Speaker 1>what you know I want you to do, and don't

1:37:48.800 --> 1:37:52.160
<v Speaker 1>make me treat you like a wild animal. Well, I

1:37:53.280 --> 1:37:55.320
<v Speaker 1>believe in my heart to this day that God was

1:37:55.400 --> 1:37:59.040
<v Speaker 1>telling what's talking to me through that, and I knew

1:38:00.120 --> 1:38:04.360
<v Speaker 1>he meant it and that he was looking out for

1:38:04.560 --> 1:38:07.760
<v Speaker 1>me because I had always felt God was looking out here.

1:38:07.800 --> 1:38:10.120
<v Speaker 1>I've had so many little miracles, some of them I

1:38:10.240 --> 1:38:13.280
<v Speaker 1>told you about happened in my lifetime that there was

1:38:13.360 --> 1:38:19.120
<v Speaker 1>no doubt about it. And so that's what I did.

1:38:20.360 --> 1:38:24.200
<v Speaker 1>And when I left the Betty Ford Center, I I

1:38:24.360 --> 1:38:26.439
<v Speaker 1>just knew in my heart that that was going to

1:38:26.520 --> 1:38:31.240
<v Speaker 1>be it, and it was. I've never relapsed and ah,

1:38:32.439 --> 1:38:36.640
<v Speaker 1>thank God, everything in my life changed after that for

1:38:36.720 --> 1:38:41.760
<v Speaker 1>the better. True story. Okay, you were on the road

1:38:41.920 --> 1:38:45.559
<v Speaker 1>with Hubert Humphrey. You knew him a little about lew

1:38:45.640 --> 1:38:49.800
<v Speaker 1>him a little bit. What was that experience like and

1:38:50.040 --> 1:38:53.040
<v Speaker 1>also compare the state of the country and your view

1:38:53.160 --> 1:38:58.640
<v Speaker 1>of it from then to now. Yeah, a lot of similarities.

1:38:59.120 --> 1:39:03.040
<v Speaker 1>Um Well, basically I told you that Hubert Humphreys office

1:39:03.160 --> 1:39:07.840
<v Speaker 1>called Roulette and we went out and I'll never forget.

1:39:09.880 --> 1:39:15.880
<v Speaker 1>We were watching uh Richie and I Mike Vale and

1:39:15.960 --> 1:39:19.160
<v Speaker 1>I from the from the group. We were watching the

1:39:19.479 --> 1:39:23.880
<v Speaker 1>Democratic Convention in Chicago where all the kids got beat up,

1:39:24.000 --> 1:39:27.960
<v Speaker 1>and the reporters got beat up and everything. It was real,

1:39:29.680 --> 1:39:34.439
<v Speaker 1>real UH riot and everything, real chaos. And we're watching

1:39:34.560 --> 1:39:38.680
<v Speaker 1>this and we had just agreed the week before that

1:39:38.800 --> 1:39:42.080
<v Speaker 1>we would meet Hubert Humphrey UH and the and the

1:39:42.320 --> 1:39:47.880
<v Speaker 1>campaign in UH. I believe it's rolling out Virginia, UH,

1:39:48.240 --> 1:39:52.639
<v Speaker 1>the following Wednesday after the convention. And so we're writing

1:39:53.920 --> 1:39:58.479
<v Speaker 1>and and this UH convention comes on and we, my god,

1:39:59.000 --> 1:40:02.880
<v Speaker 1>what have we got our selves into? Is every campaign

1:40:02.960 --> 1:40:05.400
<v Speaker 1>stopped gonna be like this? What in the hell are

1:40:05.439 --> 1:40:08.439
<v Speaker 1>we gonna do? Should we back out? What? So we

1:40:08.520 --> 1:40:12.000
<v Speaker 1>decided to go ahead and we met him the following Wednesday,

1:40:12.160 --> 1:40:17.040
<v Speaker 1>and they gave us our own private jet UH to

1:40:17.520 --> 1:40:22.439
<v Speaker 1>go back and forth whenever we could make it. And UH,

1:40:23.680 --> 1:40:26.799
<v Speaker 1>he couldn't have been nicer and we so we opened.

1:40:27.400 --> 1:40:29.360
<v Speaker 1>We opened for him, you know, like a like a

1:40:29.479 --> 1:40:33.000
<v Speaker 1>rock act. And it's the first time that I'm aware

1:40:33.040 --> 1:40:37.080
<v Speaker 1>of that a rock act and a and a politician

1:40:37.200 --> 1:40:40.000
<v Speaker 1>linked up to do a campaign. We ended up. He

1:40:40.120 --> 1:40:42.320
<v Speaker 1>asked me if I would do the whole campaign. We

1:40:42.439 --> 1:40:46.320
<v Speaker 1>did it. We did the whole damn campaign. And what

1:40:46.520 --> 1:40:51.720
<v Speaker 1>a what a learning experience that was? Um? Uh? He

1:40:51.880 --> 1:40:54.080
<v Speaker 1>told me how he was gonna He told all of

1:40:54.200 --> 1:40:56.120
<v Speaker 1>us how he was going to end the Vietnam War.

1:40:57.479 --> 1:41:00.160
<v Speaker 1>He was going to have a national referendum. I mean,

1:41:00.240 --> 1:41:03.720
<v Speaker 1>I remember thinking to myself how lucky we were to

1:41:03.840 --> 1:41:05.680
<v Speaker 1>hear this. I mean that the press would have gone

1:41:05.760 --> 1:41:09.720
<v Speaker 1>nuts to hear this a national referendum. He says, it

1:41:09.720 --> 1:41:12.160
<v Speaker 1>will show the world what a democracy really is, and

1:41:12.240 --> 1:41:16.720
<v Speaker 1>it will save twenty kids. And he was right, that's

1:41:16.800 --> 1:41:22.200
<v Speaker 1>almost exactly the number. And uh he ended up writing

1:41:22.240 --> 1:41:27.160
<v Speaker 1>the liner notes to my Crimson and Clover album. If

1:41:27.200 --> 1:41:30.240
<v Speaker 1>you turn the album over, Hubert Humphrey wrote the liner notes,

1:41:32.360 --> 1:41:37.960
<v Speaker 1>and um, it was just an amazing time. He asked me, uh,

1:41:38.240 --> 1:41:43.599
<v Speaker 1>if I would be President's advisor on youth affairs if

1:41:43.680 --> 1:41:49.400
<v Speaker 1>he won, and I said something to him like some

1:41:49.640 --> 1:41:52.280
<v Speaker 1>stupid and like you know, like believe me, the youth

1:41:52.360 --> 1:41:54.760
<v Speaker 1>are having affairs and I'm just a guy to look into.

1:41:54.920 --> 1:42:00.920
<v Speaker 1>I thought that was uh. But the bottom line was that, uh, my,

1:42:01.200 --> 1:42:03.559
<v Speaker 1>my career could have gone in a very different direction

1:42:03.680 --> 1:42:08.120
<v Speaker 1>if he had won. But of course, uh he did.

1:42:08.320 --> 1:42:11.679
<v Speaker 1>He did lose, and but a lot of people thought,

1:42:11.720 --> 1:42:16.000
<v Speaker 1>I don't know if you remember that night, uh, in

1:42:18.200 --> 1:42:22.600
<v Speaker 1>of the presidential election, but uh, the voting machines in

1:42:23.520 --> 1:42:30.080
<v Speaker 1>uh Cook County in Chicago, suddenly we're an operative. They

1:42:30.200 --> 1:42:35.599
<v Speaker 1>broke and three hours later, oh and he was winning.

1:42:36.479 --> 1:42:41.439
<v Speaker 1>And three hours later, um, voting machines came back on

1:42:41.880 --> 1:42:49.639
<v Speaker 1>and he lost. So um and Nixon one. And at

1:42:49.680 --> 1:42:53.320
<v Speaker 1>breakfast that day, everybody wanted him to do a recount

1:42:53.720 --> 1:42:59.280
<v Speaker 1>because everybody felt that Daily had mayor Daily had uh

1:43:00.400 --> 1:43:02.840
<v Speaker 1>you know, fixed the election because he was so he

1:43:02.960 --> 1:43:06.000
<v Speaker 1>was so upset with the Democrats for the fool they

1:43:06.080 --> 1:43:08.040
<v Speaker 1>made of him at the convention. Do you did you

1:43:08.120 --> 1:43:11.840
<v Speaker 1>watch any of that? Oh? Yeah, I know, yeah, absolutely

1:43:12.200 --> 1:43:14.840
<v Speaker 1>so at any rate, Uh, they wanted him to do

1:43:14.920 --> 1:43:17.880
<v Speaker 1>a recount. He and he says, oh, he says, the

1:43:17.960 --> 1:43:19.920
<v Speaker 1>nation has been through enough. We don't need to do

1:43:20.040 --> 1:43:24.479
<v Speaker 1>any of that. He says, this guy, this guy, Dick Nixon,

1:43:24.560 --> 1:43:29.440
<v Speaker 1>has a habit of getting himself in trouble. So hiss

1:43:29.479 --> 1:43:35.479
<v Speaker 1>our support. That's what he said at breakfast. And so anyway,

1:43:35.520 --> 1:43:40.880
<v Speaker 1>it was a major experience and right in the middle

1:43:40.920 --> 1:43:45.000
<v Speaker 1>of my generation, I guess, and how did you get

1:43:45.040 --> 1:43:53.120
<v Speaker 1>out of the draft? Well? I always feel really squeamish

1:43:53.160 --> 1:43:59.599
<v Speaker 1>about saying this, but it was probably Morris Levy, Morris Levy,

1:43:59.680 --> 1:44:03.120
<v Speaker 1>this is a true story. Happened to be on the

1:44:03.200 --> 1:44:06.040
<v Speaker 1>board of directors of the Chemical Bank in New York.

1:44:07.160 --> 1:44:12.120
<v Speaker 1>Talk about the cat garden, the chicken house, you know. Um,

1:44:13.120 --> 1:44:17.439
<v Speaker 1>And one of his best friends on on the board

1:44:17.560 --> 1:44:19.680
<v Speaker 1>was the head of the Selective Service in New York

1:44:20.560 --> 1:44:25.559
<v Speaker 1>was also on the board, and I I'm almost certain

1:44:25.720 --> 1:44:30.920
<v Speaker 1>that he used his influence for that. I I don't

1:44:30.960 --> 1:44:32.960
<v Speaker 1>know if I'd have been accepted anyway, because I was

1:44:33.080 --> 1:44:36.120
<v Speaker 1>really it was the height of my pill usage. We

1:44:36.240 --> 1:44:38.840
<v Speaker 1>had just done the Ed Sullivan Show that Sunday night,

1:44:39.840 --> 1:44:47.280
<v Speaker 1>and this is February, early February, and I went down

1:44:47.520 --> 1:44:51.120
<v Speaker 1>to the Whitehall Street in New York, which was the

1:44:52.920 --> 1:44:57.040
<v Speaker 1>UH induction center and took my physical and I had

1:44:57.600 --> 1:45:01.160
<v Speaker 1>been up for two days in the studio and Uh,

1:45:03.040 --> 1:45:05.879
<v Speaker 1>it turns out I was color blind to night time colors.

1:45:05.960 --> 1:45:09.479
<v Speaker 1>I didn't know that. So you have a new album

1:45:09.760 --> 1:45:13.960
<v Speaker 1>rock Party out this year. What does it contain and

1:45:14.120 --> 1:45:20.040
<v Speaker 1>how did you decide to put out a record? Now? Well, um,

1:45:21.800 --> 1:45:23.640
<v Speaker 1>if you if you don't mind me telling you one

1:45:23.680 --> 1:45:28.479
<v Speaker 1>more thing. UH. Two years ago in we put out

1:45:28.600 --> 1:45:31.880
<v Speaker 1>the Alive album. It was my first studio album in

1:45:32.040 --> 1:45:37.640
<v Speaker 1>probably ten years. And we went Top twenty with the

1:45:37.760 --> 1:45:42.840
<v Speaker 1>album Adult Contemporary, and we went top twenty with both

1:45:42.920 --> 1:45:47.680
<v Speaker 1>of the singles from the album in Billboard. Um. Uh,

1:45:47.840 --> 1:45:49.599
<v Speaker 1>so it was great to be back on the charts

1:45:49.640 --> 1:45:54.519
<v Speaker 1>and that that was really a big big deal for me. Um. Secondly,

1:45:54.600 --> 1:45:57.200
<v Speaker 1>we're putting out this new album called, as you say,

1:45:57.320 --> 1:46:03.040
<v Speaker 1>Rock Party. Uh. This was an album that we uh license.

1:46:03.120 --> 1:46:06.920
<v Speaker 1>I actually put this album together twenty years ago. Uh,

1:46:07.680 --> 1:46:12.479
<v Speaker 1>and we licensed it to a Canadian label called Direct Source,

1:46:13.479 --> 1:46:18.640
<v Speaker 1>and um, they had it out and the license is up,

1:46:19.320 --> 1:46:22.439
<v Speaker 1>and we got the album back and they sent us

1:46:22.520 --> 1:46:25.959
<v Speaker 1>the copies of the album that they had put together. Basically,

1:46:26.040 --> 1:46:33.759
<v Speaker 1>it's a it's a compilation of my favorite rock songs

1:46:34.360 --> 1:46:38.439
<v Speaker 1>that I have produced over the years. Um. Uh. And

1:46:38.720 --> 1:46:40.800
<v Speaker 1>and so we suped it up a little bit with

1:46:41.240 --> 1:46:45.960
<v Speaker 1>extra crowd noises stuff and uh it really it really

1:46:46.600 --> 1:46:49.799
<v Speaker 1>sounds most of the many of the cuts are live anyway,

1:46:50.479 --> 1:46:53.760
<v Speaker 1>and so it's a it's it's a rock album and

1:46:53.960 --> 1:46:57.439
<v Speaker 1>it's uh things we have recorded at various spots around

1:46:57.520 --> 1:47:05.840
<v Speaker 1>the country back then. Um. What happened with this album

1:47:06.000 --> 1:47:08.840
<v Speaker 1>was we got it back and decided since we've never

1:47:09.000 --> 1:47:11.760
<v Speaker 1>released it in the United States, had only been had

1:47:11.800 --> 1:47:16.599
<v Speaker 1>only been released in um uh in Canada. We decided

1:47:16.640 --> 1:47:19.479
<v Speaker 1>to release it first of all digitally in the United States,

1:47:19.560 --> 1:47:25.080
<v Speaker 1>which we did on Spotify and and uh iTunes and

1:47:25.720 --> 1:47:30.280
<v Speaker 1>all of the those digital platforms, and then secondly we

1:47:30.400 --> 1:47:34.960
<v Speaker 1>released it physical product of c d s November five

1:47:36.400 --> 1:47:41.120
<v Speaker 1>all over the country, ah through our distributor. And now

1:47:41.200 --> 1:47:43.880
<v Speaker 1>we're going to be releasing it all over the world.

1:47:44.800 --> 1:47:48.040
<v Speaker 1>So Rock Party is going to get around and uh,

1:47:49.120 --> 1:47:52.400
<v Speaker 1>I hope, I hope people dig it. It's uh uh

1:47:52.680 --> 1:47:55.519
<v Speaker 1>never been released here before. So that's the story of

1:47:55.640 --> 1:48:00.639
<v Speaker 1>Rock Party. Okay. Now these are on your own label, yes,

1:48:00.760 --> 1:48:03.280
<v Speaker 1>and how do you actually promote them and market them

1:48:03.600 --> 1:48:08.040
<v Speaker 1>in today's world of cacophony, Well, Ira we go. We

1:48:08.200 --> 1:48:11.200
<v Speaker 1>we're going to retail with it everywhere, and retail has

1:48:11.760 --> 1:48:15.320
<v Speaker 1>taken it everywhere from Walmart to cost Go to uh

1:48:16.000 --> 1:48:21.200
<v Speaker 1>target uh uh. Ira is our marketing director for our

1:48:21.400 --> 1:48:27.760
<v Speaker 1>records and and our distributor is m v D and

1:48:28.439 --> 1:48:35.880
<v Speaker 1>the physical the Orchard does uh digital Yeah, and uh

1:48:36.200 --> 1:48:40.080
<v Speaker 1>so uh we get it. We're getting around and radio

1:48:40.120 --> 1:48:42.679
<v Speaker 1>all over the country is playing cuts from it, tracks

1:48:42.760 --> 1:48:46.160
<v Speaker 1>from it, and Carol does a wonderful job with radio.

1:48:46.479 --> 1:48:48.360
<v Speaker 1>She does radio all over the world. As a matter

1:48:48.400 --> 1:48:54.519
<v Speaker 1>of fact. Okay, you've had quite a career, and unlike

1:48:54.560 --> 1:48:57.320
<v Speaker 1>many people, you're still very active, not only in the

1:48:57.439 --> 1:49:02.840
<v Speaker 1>road but in other endeavors. Recording. It's anything left to do,

1:49:03.160 --> 1:49:05.280
<v Speaker 1>anything you know, reach you know, they use that term

1:49:05.320 --> 1:49:08.760
<v Speaker 1>bucket list, anything you want to achieve before you leave

1:49:08.840 --> 1:49:12.559
<v Speaker 1>this mortal coil. Well, we're doing a movie right now.

1:49:13.640 --> 1:49:15.720
<v Speaker 1>The book Me, the Mob and the Music is being

1:49:15.800 --> 1:49:19.919
<v Speaker 1>turned into a film. It's being produced by Barbara Dafina,

1:49:20.240 --> 1:49:24.800
<v Speaker 1>who produced Good Fellas and Casino and Hugo a few

1:49:24.920 --> 1:49:27.760
<v Speaker 1>years ago with Martin Scorsese and going all the way

1:49:27.800 --> 1:49:31.080
<v Speaker 1>back to the Color of Money with Paul Newman back

1:49:31.160 --> 1:49:33.920
<v Speaker 1>in the in the age, just a great string of hits.

1:49:34.560 --> 1:49:41.799
<v Speaker 1>And she's producing our film, and uh, Kathleen Marshall is directing.

1:49:42.120 --> 1:49:45.479
<v Speaker 1>Who made her bones on Broadway, and they want to

1:49:45.520 --> 1:49:49.400
<v Speaker 1>do a Broadway show after the film. And so the

1:49:49.520 --> 1:49:51.960
<v Speaker 1>next couple of years are going to be real interesting.

1:49:52.680 --> 1:49:56.120
<v Speaker 1>And uh, Hollywood shut down, as you know, for about

1:49:56.120 --> 1:49:59.559
<v Speaker 1>a year and a half. So they're now just getting

1:49:59.640 --> 1:50:03.639
<v Speaker 1>up in a running again. And uh so I love

1:50:03.720 --> 1:50:07.519
<v Speaker 1>watching all this come together. I'm getting another education they're

1:50:07.520 --> 1:50:10.840
<v Speaker 1>putting the technical crew together right now, and uh they'll

1:50:10.880 --> 1:50:14.160
<v Speaker 1>be casting. They have their money. Uh, they're gonna be

1:50:14.320 --> 1:50:18.800
<v Speaker 1>casting soon. And I'm gonna be helping produce the movie

1:50:18.840 --> 1:50:21.160
<v Speaker 1>and I'm going to be technical advisor and the music.

1:50:21.920 --> 1:50:25.240
<v Speaker 1>And what's amazing to me, by the way, is how

1:50:25.360 --> 1:50:29.720
<v Speaker 1>many of the young actors, uh, the the young male

1:50:29.800 --> 1:50:34.920
<v Speaker 1>actors started out in rock bands and so so many

1:50:35.000 --> 1:50:38.360
<v Speaker 1>of you know, because Jamie Fox really raised the bar

1:50:38.520 --> 1:50:42.400
<v Speaker 1>and Ray by doing his own vocals and and uh

1:50:42.640 --> 1:50:46.120
<v Speaker 1>he even looked like Ray Charles, So he really has

1:50:46.240 --> 1:50:52.479
<v Speaker 1>raised the bar uh for that sort of musical movie

1:50:52.560 --> 1:50:57.760
<v Speaker 1>getting made. And so whoever they get uh in the

1:50:57.880 --> 1:51:00.400
<v Speaker 1>lead role is going to have to play and sing

1:51:01.040 --> 1:51:04.639
<v Speaker 1>and actually re record some of these songs. And whoever

1:51:04.680 --> 1:51:07.360
<v Speaker 1>they get from Marris Morris is really the star to

1:51:07.439 --> 1:51:11.880
<v Speaker 1>show because uh, you know, all of us were kind

1:51:11.920 --> 1:51:18.280
<v Speaker 1>of jumping around pleasing Morris and he really, uh was

1:51:18.600 --> 1:51:21.599
<v Speaker 1>the center of attention. So but I hope they get

1:51:21.640 --> 1:51:25.720
<v Speaker 1>it right, and I'm gonna try to see to it,

1:51:25.800 --> 1:51:28.519
<v Speaker 1>for example, that they on this in the in the

1:51:28.640 --> 1:51:32.519
<v Speaker 1>studio scenes, that they actually have equipment that was used

1:51:32.560 --> 1:51:35.760
<v Speaker 1>in the sixties. It's very important you know so many,

1:51:36.240 --> 1:51:38.280
<v Speaker 1>so many of the people who try to recreate the

1:51:38.400 --> 1:51:41.880
<v Speaker 1>sixties don't get it right. Oh listen, you're you're you're

1:51:41.960 --> 1:51:46.560
<v Speaker 1>preaching to the converted on that. So Tommy, you know

1:51:47.920 --> 1:51:51.880
<v Speaker 1>you're great. You remember everything, you haven't lost a step.

1:51:52.680 --> 1:51:56.800
<v Speaker 1>It's both impressive and interesting, and I want to thank

1:51:56.880 --> 1:51:58.760
<v Speaker 1>you so much for taking the time. We could talk

1:51:58.840 --> 1:52:02.120
<v Speaker 1>for hours more. We've just hit the surface, but you

1:52:02.280 --> 1:52:05.120
<v Speaker 1>tell a great story. They're all interesting. I want to

1:52:05.200 --> 1:52:07.679
<v Speaker 1>thank you so much. God bless you, Bob. I love

1:52:08.080 --> 1:52:10.559
<v Speaker 1>reading your stuff. I'm very honored to do this show

1:52:10.640 --> 1:52:14.080
<v Speaker 1>and thank you for everything. Until next time. This is

1:52:14.160 --> 1:52:15.120
<v Speaker 1>Bob left Stocks