WEBVTT - Seymour Stein

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<v Speaker 1>Welcome, Welcome, Welcome to the Bob Left Sets podcast, recorded

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<v Speaker 1>live here high in the Hollywood Hills. My guest today

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<v Speaker 1>is truly a legend, seymour Stein. An amazing thing is

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<v Speaker 1>coming into the house of his daughter is all the photographs.

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<v Speaker 1>If you are a fan of rock history, he's got

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<v Speaker 1>a photo collage of the Stones so young. For a

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<v Speaker 1>second you're not sure it's them, including another photo with

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<v Speaker 1>the Ramons and David Bowie and the Talking Heads. It's

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<v Speaker 1>really just incredible now having read your book, not that

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<v Speaker 1>we need to advertise your book, but people should read

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<v Speaker 1>your book. Sirens Song. You talk about Thanksgiving where Elton

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<v Speaker 1>John is gonna play Madison Square Garden and John Lennon

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<v Speaker 1>has scenes with him that night. How does everybody end

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<v Speaker 1>up in your apartment? Well, Elton was staying with me.

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<v Speaker 1>I mean Elton got for a period of time, got

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<v Speaker 1>disgusted with hotels because people were always you know, you know,

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<v Speaker 1>attacking him. I don't mean in a bad way, but

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<v Speaker 1>they wouldn't leave him alone. Um. I go way back

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<v Speaker 1>with Elton and and and my my wife really went

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<v Speaker 1>out of her way always to accommodate him and everything.

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<v Speaker 1>And we had a big apartment right on Central Park West,

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<v Speaker 1>and he stayed there several times. Um, and he actually

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<v Speaker 1>wrote some of his songs in that apartment. Yeah whatever, Oh,

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<v Speaker 1>let me think, Um, I think maybe I'll think of

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<v Speaker 1>it later. But and what I do remember is that

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<v Speaker 1>my older daughter, who was about two years old then

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<v Speaker 1>she heard the song, came pounding away at it so

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<v Speaker 1>much that she uh wound up, you know, singing it

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<v Speaker 1>at such a young age. It was. It was incredible.

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<v Speaker 1>But he stayed there many times. And he was staying

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<v Speaker 1>there over Thanksgiving and he said, look, the boys, you

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<v Speaker 1>know the band so the English you know, Richard Griffith's

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<v Speaker 1>manager of One Direction, many other things. What he says

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<v Speaker 1>In England they refer to the band as the Boys. Yeah,

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<v Speaker 1>well he said, he said, the boys are very nervous

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<v Speaker 1>about working with John Lennon. Tonight. He said, do you

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<v Speaker 1>think we could come? They could come over to the

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<v Speaker 1>house and uh, you know, just maybe have a Thanksgiving dinner.

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<v Speaker 1>And my wife's father was a Kosh caterer and uh

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<v Speaker 1>he made the most fantastic, you know, turkey dinner for everybody.

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<v Speaker 1>They watched the parade, they calmed down and you know

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<v Speaker 1>then um Elton and I walked over to the Dakota,

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<v Speaker 1>which was three blocks away on Central Park West, and

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<v Speaker 1>John was living at made Panglin and then uh he

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<v Speaker 1>came back to the house, and uh, you know it

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<v Speaker 1>was it was a great thrill. I mean I had

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<v Speaker 1>met him before. But okay, you meet John John Lennon,

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<v Speaker 1>Are you nervous around John Lennon? No? So what I

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<v Speaker 1>mean by that is you can act normally, but are

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<v Speaker 1>you somewhat star struck? This is this is the pinnacle

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<v Speaker 1>of rock stardom. Well, I wouldn't be starved. I mean, look,

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<v Speaker 1>they were stars, they were great, you know I I

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<v Speaker 1>I was more star struck when I met Fats Domino.

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<v Speaker 1>If you want to know the truth, when did you

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<v Speaker 1>meet Fats? Uh? Several times in New Orleans? And uh,

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<v Speaker 1>I took him to dinner, a lunch, a couple of

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<v Speaker 1>times at the Commander's Palace and things like that. Meeting

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<v Speaker 1>little Richard, I mean, you know, little recent You're you're

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<v Speaker 1>about at least ten years younger than day. So, um,

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<v Speaker 1>you know you would you would relate more to the

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<v Speaker 1>Beatles and the Rolling Stones and stars. I spent a

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<v Speaker 1>lot of time with the Rolling Stones. In fact, I

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<v Speaker 1>was with them the night of the that first big

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<v Speaker 1>blackout in New York with Andrew Oldham was still a

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<v Speaker 1>very very dear friend. Did you ever interview him? He yeah,

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<v Speaker 1>I did. Oh he's a good friend. I went to

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<v Speaker 1>fascinating Oh yeah, he's his wife is great, two great people.

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<v Speaker 1>So um, I was with them the night of the

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<v Speaker 1>We didn't know it was going to be a blackout,

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<v Speaker 1>but it was. And uh, yes, exactly, and it was

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<v Speaker 1>their first I think it was their first time over.

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<v Speaker 1>So um. And uh, you know, um, Frankly I was

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<v Speaker 1>more a rolling Stone guy than uh. That's how he's

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<v Speaker 1>had the battle on w ABC every Saturday night. But

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<v Speaker 1>but but you know, I think it's the people that

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<v Speaker 1>your star struck with when you're very young. And uh,

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<v Speaker 1>I I wasn't all that I wasn't old, but I

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<v Speaker 1>wasn't all that that young. To me. It was the

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<v Speaker 1>rhythm and blues artists, and you know Hank Williams, who

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<v Speaker 1>of course I never got to me. He was long

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<v Speaker 1>gone before that. But those are those are the people

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<v Speaker 1>studying with your point that I'm a decade younger than you.

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<v Speaker 1>It seemed to me that the Beatles were really a

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<v Speaker 1>transformation explosion. With your perspective, do you just see them

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<v Speaker 1>as another band in the continuum or do you see

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<v Speaker 1>that as a turning point. Of course, there are many

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<v Speaker 1>turning points. I mean, and they were. They were a

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<v Speaker 1>big turning point. Okay, So let's go back to me.

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<v Speaker 1>You're from Brooklyn, absolutely, Benjamin, and your father does what

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<v Speaker 1>for a living? He works in the garment center. He

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<v Speaker 1>was in charge of the show room, you know, you know,

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<v Speaker 1>the buyers would come up and uh look over the

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<v Speaker 1>the you know, the items and decide what to order

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<v Speaker 1>and how many and all of that. And so he

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<v Speaker 1>would just show things, he would sell them to No. No,

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<v Speaker 1>he I don't think he I don't think he sold.

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<v Speaker 1>But no, he just he worked there. He was it

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<v Speaker 1>was not okay, and he was not his company. And

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<v Speaker 1>he was born where in the United States, on the

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<v Speaker 1>lower reast side. He grew up on a street called

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<v Speaker 1>Sheriff Street. And his parents were from the Old Country,

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<v Speaker 1>as we said, Yes, and my mother's parents were from

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<v Speaker 1>the Old Country to um you know, and you know, okay,

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<v Speaker 1>so they were first generations Americans. You're growing up. Uh.

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<v Speaker 1>It seems like if you when read your book, that

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<v Speaker 1>you're the prince. You're like the you know, the the

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<v Speaker 1>star of the family. Hands off, you gotta treat you right.

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<v Speaker 1>I see more sisters in the room, and she's a

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<v Speaker 1>little older and she's not a yes. Well you know, um,

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<v Speaker 1>I my parents were quite strict, but they also, um

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<v Speaker 1>you know, I think at a certain point they realized

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<v Speaker 1>that was different, and uh they kind of let me

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<v Speaker 1>have my way. I mean I think that's what. Yeah,

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<v Speaker 1>So how would you characterize this difference. Well, look, I

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<v Speaker 1>was born with a hole in my heart, and so

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<v Speaker 1>I didn't play sports. Um, and I found other ways

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<v Speaker 1>to you know, occupy my you know, my time. I

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<v Speaker 1>collected stamps, uh, actually collected bottle caps and all different

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<v Speaker 1>kinds of things. But um, you know, but when I

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<v Speaker 1>first heard music, and it's thanks to my sister because

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<v Speaker 1>we had a two bedrooms small apartment, you know, and

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<v Speaker 1>uh we shared a bedroom, which I'm sure was not

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<v Speaker 1>easy for her. And uh but that's the first music

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<v Speaker 1>I really heard was on her radio. Okay, this is

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<v Speaker 1>in the fifties, no going back before that. Okay, so

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<v Speaker 1>this is before the era of transistor radios. Oh yeah,

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<v Speaker 1>these were no way. Yes, So there's a big console

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<v Speaker 1>radio it's not a big one, but you know, I

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<v Speaker 1>would say, Okay, he's demonstrating something about you know, ten

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<v Speaker 1>by five and so and so. What music were you

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<v Speaker 1>hearing on the radio? Well? Uh, pop music for the

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<v Speaker 1>most part. Uh. And every Saturday I would rush home

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<v Speaker 1>from the synagogue to listen to Martin Block in the

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<v Speaker 1>crystal studio of the Make Believe Ballroom. It's make Believe

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<v Speaker 1>Ballroom time, you know. And he would play the top

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<v Speaker 1>pop hits and uh, you know I I would write

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<v Speaker 1>them down. I mean, thank god my father didn't walk

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<v Speaker 1>in the room with shabbis, but you know, and keep

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<v Speaker 1>track of of of all of what was going on.

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<v Speaker 1>And um, was this a solo pursuit? Were your parents

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<v Speaker 1>playing records or in My parents didn't play that. Annie did.

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<v Speaker 1>My sister did, but we had a phonograph and uh,

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<v Speaker 1>she had records and uh, I mean and of course

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<v Speaker 1>later on I started buying records. This is but since

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<v Speaker 1>you're such a passionate fan, do you remember the first

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<v Speaker 1>record you bought? I think it might have been Uh,

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<v Speaker 1>I can't say for sure. It might have been Shaboom

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<v Speaker 1>by the Chords, you know, Um that I've got fifty

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<v Speaker 1>four Um, and um, maybe I think earlier, I mean

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<v Speaker 1>even even than that. Um, but I do remember, you know,

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<v Speaker 1>I remember, you know, running to a record store and

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<v Speaker 1>I wasn't supposed to run when I was walked. This

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<v Speaker 1>is my later This is nineteen fifties six. Um. I

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<v Speaker 1>was walking down the street and uh dah road where

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<v Speaker 1>I lived, and uh, I heard this song coming out

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<v Speaker 1>of the wind window and you know, it sounded like

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<v Speaker 1>Elvis Presley, Don't be cruel, you know, and I quoted

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<v Speaker 1>it to the girl who lived up there. You know,

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<v Speaker 1>her name was a Uh. You remember there was the

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<v Speaker 1>first house, uh, after the six family houses. I said,

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<v Speaker 1>what is that? What is it? Says that's the new

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<v Speaker 1>Elvis Presley record. I said, no, it's not. The new

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<v Speaker 1>record is hound Dog? And he said no, this is

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<v Speaker 1>the other side. And I had money in my pocket.

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<v Speaker 1>The record store was about nine blocks away. It was

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<v Speaker 1>actually a TV repair shop and they stuff sold some

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<v Speaker 1>records in their drags TV and uh, I ran there

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<v Speaker 1>and I got the last copy. Pretty astounding. I mean,

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<v Speaker 1>that was ahm, It's definition of a hit. You're lying

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<v Speaker 1>in bed listening to the radio at midnight and you

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<v Speaker 1>gotta get up, take off your pajamas and run to

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<v Speaker 1>the all night record store just to buy that record. No,

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<v Speaker 1>what's at midnight? I know, but you're living? I mean

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<v Speaker 1>that was his you know aphorism. Yea. So at what

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<v Speaker 1>point in your listening career do you say to yourself,

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<v Speaker 1>I think this is my passion, this is what I

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<v Speaker 1>want to do for a living, if at all? Well, uh,

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<v Speaker 1>I think it happened quite by accident. Um. I I

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<v Speaker 1>had the books, you know, starting with about nine fifty

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<v Speaker 1>that I kept, and then I wanted to go backwards.

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<v Speaker 1>So I went up to Billboard and uh, a little

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<v Speaker 1>bit slower. You just you find Billboard? How from? You

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<v Speaker 1>look it up in the phone book? No, I Billboard.

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<v Speaker 1>Martin Block was always talking about bill Board, he was

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<v Speaker 1>that was where he was playing the music from. So

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<v Speaker 1>I looked it up. They were in the Palace Theater

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<v Speaker 1>building and I went up there a seventh floor and

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<v Speaker 1>I said, look, is there any way I can get

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<v Speaker 1>access to the old charts there? So um, he said, well,

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<v Speaker 1>I'll ask the chart at it to come out, you know.

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<v Speaker 1>And that was tom Noon in a fabulous person. I

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<v Speaker 1>knew Tommy. I never realized he went back that far

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<v Speaker 1>reading your book it kind of started me. But and

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<v Speaker 1>he made a space for me, gave me a desk,

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<v Speaker 1>and he kept bringing out the bound volumes. There was

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<v Speaker 1>you know, I had to write it all down. There

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<v Speaker 1>was no way of So your goal in doing this

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<v Speaker 1>was what going you know, going back in time, you know,

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<v Speaker 1>so that I'd know more about the past. But what

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<v Speaker 1>if you could write them down, but you couldn't necessarily

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<v Speaker 1>hear them. It's not like but but you know, no,

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<v Speaker 1>I couldn't necessarily hear them. But some of those some

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<v Speaker 1>of the songs were familiar to me by then, you know.

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<v Speaker 1>And uh, but the main thing that what happened was

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<v Speaker 1>it brought me into the heart of the music district.

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<v Speaker 1>All the indies were very much around that area. Three

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<v Speaker 1>of the majors were close by. So for those who

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<v Speaker 1>were not around then, the legend is the Brill Building. Yes,

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<v Speaker 1>close by, close by, but the Brill Building was more

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<v Speaker 1>for publishers. But there were a few record companies in there.

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<v Speaker 1>It's a misnoma. But sixteen fifty was all a lot

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<v Speaker 1>of little record companies and yeah, and uh yeah, sixteen

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<v Speaker 1>fifty Broadway and then I mean King Records had a

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<v Speaker 1>place on fifty four Street, and you know, high Wise

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<v Speaker 1>with old Town Records and the old old you know,

0:13:47.679 --> 0:13:51.320
<v Speaker 1>the smaller labels where their Jubilee was a great little

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<v Speaker 1>label and they were all, you know, within that vicinity.

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<v Speaker 1>And I realized, you know what am I gone ackwards for?

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<v Speaker 1>I should be going forward? And Billboard Paul Ackerman was

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<v Speaker 1>so nice to meet. Paul Ackman was the editor music

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<v Speaker 1>editor for forty years. And you also in your books

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<v Speaker 1>say that he was a mention an educated guy. Oh,

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<v Speaker 1>he was very much an educated guy. But he loved music,

0:14:20.720 --> 0:14:26.920
<v Speaker 1>and you know, he's he was the first journalist to

0:14:27.000 --> 0:14:29.240
<v Speaker 1>be inducted in the Rock and Roll Hall of Fame.

0:14:29.280 --> 0:14:32.320
<v Speaker 1>There are only two jan when as the other and

0:14:33.560 --> 0:14:37.440
<v Speaker 1>you know, but Paul, Paul was very nice to me.

0:14:37.480 --> 0:14:41.960
<v Speaker 1>And he used to say, look, uh, somebody specialist coming

0:14:42.000 --> 0:14:47.120
<v Speaker 1>to our review session tonight and now a Billboard review

0:14:47.360 --> 0:14:49.560
<v Speaker 1>back then before you go there. So the first day

0:14:49.600 --> 0:14:52.040
<v Speaker 1>you go and you meet Tommy noon in and usual desk.

0:14:52.280 --> 0:14:55.360
<v Speaker 1>How frequently are you going to Billboard? If this as

0:14:55.400 --> 0:15:00.480
<v Speaker 1>as frequently as he could that twice a week, you know,

0:15:00.760 --> 0:15:06.120
<v Speaker 1>and uh, you know, and uh, you know, and one

0:15:06.200 --> 0:15:09.560
<v Speaker 1>time or twice he said, you know, if you're not

0:15:09.600 --> 0:15:12.680
<v Speaker 1>doing anything over the weekend, I can get you access

0:15:12.720 --> 0:15:14.880
<v Speaker 1>to it so you can spend the whole day here.

0:15:15.480 --> 0:15:18.320
<v Speaker 1>And uh I did that as well. This was after

0:15:18.400 --> 0:15:20.480
<v Speaker 1>I got to know him. I whether I know where

0:15:20.520 --> 0:15:23.440
<v Speaker 1>the bound volumes were, I would pick them out myself,

0:15:23.480 --> 0:15:26.640
<v Speaker 1>you know. I mean, uh, you know, Billboard goes back

0:15:26.680 --> 0:15:29.680
<v Speaker 1>to the eighteen hundreds. I mean, but they didn't have Jog.

0:15:30.280 --> 0:15:34.880
<v Speaker 1>I didn't go back that fall. But you know, but

0:15:36.440 --> 0:15:42.960
<v Speaker 1>a Billboard review, a favorable review, a spotlight, could mean

0:15:43.480 --> 0:15:47.640
<v Speaker 1>as many as seventy five thousand records being sold by

0:15:47.680 --> 0:15:50.760
<v Speaker 1>a new artist, you know. I mean if it was

0:15:50.880 --> 0:15:54.480
<v Speaker 1>not Cole or Sinatra or Patty Page or you know,

0:15:54.560 --> 0:15:58.400
<v Speaker 1>somebody like that, Um, you know they would but they

0:15:58.400 --> 0:16:00.640
<v Speaker 1>know what to buy. But if there was a new

0:16:00.720 --> 0:16:04.800
<v Speaker 1>record by a new artist, uh, they looked at a

0:16:05.000 --> 0:16:09.920
<v Speaker 1>Billboard review. And the you know, the charts was so

0:16:10.000 --> 0:16:16.680
<v Speaker 1>slow in those days that you know, the droukebox operators

0:16:16.760 --> 0:16:22.440
<v Speaker 1>would buy upwards of seventy five thousand records based on

0:16:22.840 --> 0:16:28.000
<v Speaker 1>a Billboard a really strong Billboard review. And that's why

0:16:28.040 --> 0:16:30.720
<v Speaker 1>all the indies went up there, you know, and prayed

0:16:30.720 --> 0:16:32.680
<v Speaker 1>they could get, you know, a review. And that's how

0:16:32.720 --> 0:16:36.800
<v Speaker 1>I met, said Nathan, that's how I met Lennon Chess. Uh.

0:16:37.080 --> 0:16:40.360
<v Speaker 1>Uh and many many other of the are you telling

0:16:40.360 --> 0:16:43.680
<v Speaker 1>a story? And I was interrupting you and you said, uh,

0:16:43.720 --> 0:16:46.760
<v Speaker 1>either Tommy or Paul invited you to review meeting. Oh

0:16:47.040 --> 0:16:50.480
<v Speaker 1>he not to review. No, they invited me to attend

0:16:51.000 --> 0:16:54.800
<v Speaker 1>and give comments, you know as well. And that's where

0:16:55.200 --> 0:16:58.560
<v Speaker 1>and the uh that was done on a Wednesday night.

0:16:59.520 --> 0:17:05.200
<v Speaker 1>Uh and uh. Billboard had do bills at hotels because

0:17:05.240 --> 0:17:08.479
<v Speaker 1>they put in free advertising and got rooms and so

0:17:08.560 --> 0:17:12.440
<v Speaker 1>I actually, you know, I would go to school Thursday

0:17:12.480 --> 0:17:16.160
<v Speaker 1>morning from New York. You know, I'm take the West

0:17:16.280 --> 0:17:20.640
<v Speaker 1>End to Lafayette, the West End line, so um, it

0:17:20.720 --> 0:17:24.520
<v Speaker 1>was fabulous. And my parents, you know, by that time,

0:17:25.160 --> 0:17:27.639
<v Speaker 1>you know, they either they washed their hands with me

0:17:27.760 --> 0:17:30.800
<v Speaker 1>or that you know, they saw that there was no

0:17:31.000 --> 0:17:34.920
<v Speaker 1>minimum college for you. Well, no, they they they wanted

0:17:34.920 --> 0:17:37.200
<v Speaker 1>me to go to college. And I didn't give up

0:17:37.200 --> 0:17:40.720
<v Speaker 1>on college until the very very end. I mean, I

0:17:41.480 --> 0:17:46.600
<v Speaker 1>mean right after I graduated high school. I even investigated

0:17:46.640 --> 0:17:51.000
<v Speaker 1>going to school for journalism, and then Billboard offered me

0:17:51.040 --> 0:17:53.840
<v Speaker 1>a full time job and I said, look, I can

0:17:53.920 --> 0:17:57.720
<v Speaker 1>learn more here, you know, And I became Tom's assistant

0:17:57.760 --> 0:18:01.040
<v Speaker 1>with the charts and Paul, let me do a few

0:18:01.280 --> 0:18:06.040
<v Speaker 1>reviews of shows and uh, you know, but you must

0:18:06.040 --> 0:18:13.440
<v Speaker 1>have been thrilled. Thrilled us, Oh, thrilled, isn't the word beyond? Okay?

0:18:13.520 --> 0:18:16.840
<v Speaker 1>So then ultimately a turning point your story as you

0:18:16.880 --> 0:18:19.359
<v Speaker 1>meet Sid Nathan. Yes, I met him at one of

0:18:19.400 --> 0:18:23.919
<v Speaker 1>those billboard review sessions. Okay. So they would let record

0:18:23.920 --> 0:18:26.679
<v Speaker 1>owners come in and picture the records. Yes, of course,

0:18:27.320 --> 0:18:31.840
<v Speaker 1>you know, and I mean sometimes they were influenced by that.

0:18:31.920 --> 0:18:34.080
<v Speaker 1>I think, I don't know. I think in the end

0:18:34.440 --> 0:18:37.080
<v Speaker 1>it was really the record and I mean I think

0:18:37.160 --> 0:18:41.879
<v Speaker 1>most of them, you know, uh, you know, brought really

0:18:42.520 --> 0:18:45.840
<v Speaker 1>what they really really believed and because they didn't want to,

0:18:46.160 --> 0:18:51.119
<v Speaker 1>uh you know, waste billboards time. So how do you

0:18:51.240 --> 0:18:56.959
<v Speaker 1>ultimately established relationship with Sid? Well, he invited everyone out

0:18:57.080 --> 0:19:02.439
<v Speaker 1>for dinner after the session, and you know, I was

0:19:02.520 --> 0:19:07.359
<v Speaker 1>invited along and we started talking and you know, and

0:19:07.400 --> 0:19:11.520
<v Speaker 1>he said, look, you know, do you have many of

0:19:11.560 --> 0:19:13.560
<v Speaker 1>my records? I said, I have a few of them,

0:19:13.680 --> 0:19:17.200
<v Speaker 1>King records. He said, well, you know, come by my

0:19:17.200 --> 0:19:20.720
<v Speaker 1>my office, you know, when you can, and I'll give

0:19:20.760 --> 0:19:23.880
<v Speaker 1>you whatever you want, you know, And I did, And

0:19:23.920 --> 0:19:27.800
<v Speaker 1>that's how it all started. And then um, I kept

0:19:27.800 --> 0:19:31.080
<v Speaker 1>seeing him when he came to New York and uh,

0:19:31.359 --> 0:19:35.280
<v Speaker 1>then he invited me out to stay with his family

0:19:35.960 --> 0:19:39.359
<v Speaker 1>in Cincinnati, and he said, you'll really learn the music

0:19:39.440 --> 0:19:43.040
<v Speaker 1>business if you if you come out here, and believe me,

0:19:43.119 --> 0:19:45.439
<v Speaker 1>I did. I mean it was okay. So for those

0:19:45.480 --> 0:19:46.879
<v Speaker 1>people don't know, give us a little bit of a

0:19:46.920 --> 0:19:52.439
<v Speaker 1>make on sid Nathan Well King Records, Uh was based

0:19:52.440 --> 0:19:56.680
<v Speaker 1>in Cincinnati. He started it, and uh, it was one

0:19:56.680 --> 0:19:59.440
<v Speaker 1>of the biggest rhythm and blues companies. I would put

0:19:59.440 --> 0:20:02.879
<v Speaker 1>it up there with certainly with Atlanta, you know, Atlantic

0:20:02.920 --> 0:20:05.040
<v Speaker 1>and Chess. I would say was one of the three

0:20:05.520 --> 0:20:10.400
<v Speaker 1>most important R and B companies. But also they had

0:20:10.560 --> 0:20:16.840
<v Speaker 1>a very strong country roster and they were the biggest

0:20:16.960 --> 0:20:21.440
<v Speaker 1>indie in country music at the time. Star Day started

0:20:21.440 --> 0:20:25.640
<v Speaker 1>a few years later, and uh, you know, but King

0:20:25.720 --> 0:20:30.200
<v Speaker 1>was always bigger than So you go to Cincinnati. I mean,

0:20:30.720 --> 0:20:32.880
<v Speaker 1>most New Yorkers after they've been in New York really

0:20:32.920 --> 0:20:35.280
<v Speaker 1>can't live anywhere else. So what's it like going to Cincinnati.

0:20:35.280 --> 0:20:40.280
<v Speaker 1>It was very interesting, actually, Um, I mean I stayed

0:20:40.320 --> 0:20:44.560
<v Speaker 1>in this house and um, you know, I learned so

0:20:44.640 --> 0:20:49.480
<v Speaker 1>much those two I did it for two summers, and uh,

0:20:49.520 --> 0:20:52.720
<v Speaker 1>I learned so much. They weren't It wasn't a whole summer.

0:20:52.800 --> 0:20:57.960
<v Speaker 1>Was about three weeks each time. And I mean he

0:20:58.040 --> 0:21:04.160
<v Speaker 1>had me doing everything in the factory, including pressing records,

0:21:04.200 --> 0:21:10.919
<v Speaker 1>which scared me to death. Um and uh playing. I

0:21:11.000 --> 0:21:13.359
<v Speaker 1>spent a lot of time in the studio, which I loved.

0:21:13.400 --> 0:21:17.000
<v Speaker 1>They had a first class studio with an incredible engineer

0:21:17.680 --> 0:21:23.280
<v Speaker 1>and so um and they had great a and Almond,

0:21:23.400 --> 0:21:26.480
<v Speaker 1>I mean one of the greatest of all, Henry Glover

0:21:27.200 --> 0:21:31.000
<v Speaker 1>and uh, but many other Sonny Thompson and people like that.

0:21:31.080 --> 0:21:35.879
<v Speaker 1>But um, it was it was like being in heaven.

0:21:36.160 --> 0:21:39.720
<v Speaker 1>You know, who owns the king Assets today? Oh God,

0:21:39.800 --> 0:21:44.240
<v Speaker 1>I'm not sure. It's passed through so many maybe Universal

0:21:44.359 --> 0:21:47.760
<v Speaker 1>I I don't know. I hope they're using them properly

0:21:47.800 --> 0:21:51.520
<v Speaker 1>whoever owns them. But at least they're available for people

0:21:51.560 --> 0:21:54.760
<v Speaker 1>to listen to online. Yeah, so okay, So you do

0:21:54.840 --> 0:21:57.440
<v Speaker 1>that for a couple of summers, and then what's your

0:21:57.480 --> 0:22:03.679
<v Speaker 1>next thought. Well, then I was graduating, you know, high school,

0:22:03.800 --> 0:22:09.520
<v Speaker 1>and decided to get to take a full time position

0:22:09.520 --> 0:22:11.879
<v Speaker 1>at Billboard, which I did for about two and a

0:22:11.960 --> 0:22:15.760
<v Speaker 1>half years. And Sid said to me, look, he said,

0:22:15.880 --> 0:22:19.520
<v Speaker 1>do you want to be on the sidelines and stay

0:22:19.560 --> 0:22:21.919
<v Speaker 1>at Billboard or do you want to be a player.

0:22:22.400 --> 0:22:25.080
<v Speaker 1>You should be a player, he said, I'll give you

0:22:25.119 --> 0:22:28.680
<v Speaker 1>a job out here in Cincinnati. I'll help you find

0:22:28.680 --> 0:22:31.959
<v Speaker 1>an apartment. Until you can find an apartment. You know,

0:22:32.600 --> 0:22:36.439
<v Speaker 1>you can stay with with us, and you know, and

0:22:36.520 --> 0:22:40.320
<v Speaker 1>so I came out to Cincinnati, and that, you know,

0:22:41.080 --> 0:22:46.760
<v Speaker 1>was great. I mean everything. I mean that I just

0:22:47.200 --> 0:22:50.560
<v Speaker 1>lucked out with everything. You know, Well, you know, what's

0:22:50.560 --> 0:22:53.160
<v Speaker 1>the cliche. You make your own luck. So they must

0:22:53.160 --> 0:22:55.960
<v Speaker 1>have seen something in you, Yes, I guess, And there's

0:22:55.960 --> 0:22:58.840
<v Speaker 1>an opportunity. So you work for sid and how do

0:22:58.880 --> 0:23:03.400
<v Speaker 1>you move on from there? Well, her baby, I don't

0:23:03.400 --> 0:23:04.960
<v Speaker 1>know if that name is. I know that is one

0:23:04.960 --> 0:23:08.119
<v Speaker 1>of the original founders of Atlantic Records. He was the

0:23:08.160 --> 0:23:11.119
<v Speaker 1>original founder and uh, you know, I'm it learned a

0:23:11.119 --> 0:23:14.920
<v Speaker 1>lot from him. But it was a dentist right, yes, yes,

0:23:15.040 --> 0:23:18.359
<v Speaker 1>And you don't want to go there, but I gotta

0:23:18.440 --> 0:23:21.960
<v Speaker 1>go there now, perhaps to cease the long times. What

0:23:22.000 --> 0:23:25.320
<v Speaker 1>does that mean? He used to write prescriptions for himself

0:23:25.320 --> 0:23:31.160
<v Speaker 1>for cocaine. We'll take a quick break and come back

0:23:31.200 --> 0:23:39.040
<v Speaker 1>with more of my conversation with Seymour Stein. I love

0:23:39.240 --> 0:23:43.439
<v Speaker 1>getting together with music industry legends like seymour and hearing

0:23:43.520 --> 0:23:46.680
<v Speaker 1>the history of their careers in the business. I love

0:23:46.720 --> 0:23:49.680
<v Speaker 1>getting to the heart of someone's story, whether the famous

0:23:49.680 --> 0:23:54.000
<v Speaker 1>performer or manager, or record label executive or you. This week,

0:23:54.400 --> 0:23:57.000
<v Speaker 1>seymour Stein tells us about his journey to the top

0:23:57.000 --> 0:24:00.359
<v Speaker 1>of the record business. Previously, if we talked with artists

0:24:00.359 --> 0:24:04.320
<v Speaker 1>like Cascade Moby and Shirley Manson of Garbage. Whether you

0:24:04.440 --> 0:24:06.480
<v Speaker 1>come for the music, or you come for the business,

0:24:06.560 --> 0:24:08.840
<v Speaker 1>or you come for the personal be the first to

0:24:08.880 --> 0:24:11.960
<v Speaker 1>hear next week's episode by subscribing to the podcast on

0:24:12.160 --> 0:24:15.960
<v Speaker 1>tune in Apple wherever you listen to your podcast. While

0:24:15.960 --> 0:24:19.439
<v Speaker 1>you're there, Please be sure to rate and review. Okay,

0:24:19.560 --> 0:24:23.480
<v Speaker 1>let's get back to my conversation with seymour Stein. Well,

0:24:23.480 --> 0:24:27.480
<v Speaker 1>the legend is that Herb gave m At the money

0:24:27.520 --> 0:24:30.520
<v Speaker 1>to start Atlantic. Is that true? I don't know. I

0:24:30.560 --> 0:24:35.399
<v Speaker 1>would I wouldn't. I wouldn't think that Ahmed had some money.

0:24:35.600 --> 0:24:41.080
<v Speaker 1>Am came from Ahmed and his brother necessary Um had

0:24:41.160 --> 0:24:45.439
<v Speaker 1>money because their father was quite wealthy. Their father was

0:24:45.880 --> 0:24:52.080
<v Speaker 1>second to at a turk in Turkey, and he when

0:24:52.200 --> 0:24:56.000
<v Speaker 1>when they dissolved the Ottoman Empire, and you know, he

0:24:56.640 --> 0:25:00.360
<v Speaker 1>sent Ahmed's father first to be the ambassad at all,

0:25:00.520 --> 0:25:05.600
<v Speaker 1>the Turkish ambassador in the Netherlands, then France, then England.

0:25:06.160 --> 0:25:08.679
<v Speaker 1>And when it all happened for Amaan Nessuay, he was

0:25:08.680 --> 0:25:12.000
<v Speaker 1>when they sent them to be the American ambassador, and

0:25:12.040 --> 0:25:15.879
<v Speaker 1>they discovered jazz and rhythm and blues and it blew

0:25:15.960 --> 0:25:20.280
<v Speaker 1>their minds. And I would imagine there was there was

0:25:20.359 --> 0:25:23.520
<v Speaker 1>money in the Errigan family. I mean, I don't know,

0:25:24.200 --> 0:25:29.920
<v Speaker 1>um and but Herb, to be fair, was a much

0:25:30.000 --> 0:25:34.399
<v Speaker 1>more accomplished, uh in the music business. I mean he

0:25:34.480 --> 0:25:39.160
<v Speaker 1>had had, you know, a success at other labels and uh,

0:25:39.200 --> 0:25:43.800
<v Speaker 1>you know, but I I know nothing about that, but

0:25:43.920 --> 0:25:48.560
<v Speaker 1>I know that, you know, it was in the beginning.

0:25:50.000 --> 0:25:53.240
<v Speaker 1>It was herban on it, you know. And so anyway,

0:25:53.880 --> 0:25:57.040
<v Speaker 1>her now, by the time I met Herb, he was

0:25:57.080 --> 0:25:59.920
<v Speaker 1>way down on his luck. He had a little label

0:26:00.800 --> 0:26:06.919
<v Speaker 1>and you know, SID Distribute was distributing labels at that point.

0:26:06.960 --> 0:26:08.920
<v Speaker 1>He was very early into that. Just to be clear,

0:26:08.960 --> 0:26:12.159
<v Speaker 1>the CID is totally vertically integrated. He finds the acts,

0:26:12.200 --> 0:26:14.560
<v Speaker 1>he signs the acts, he produces them. He has his

0:26:14.600 --> 0:26:19.400
<v Speaker 1>own distributors. He had he had more distributed distribution locations

0:26:19.440 --> 0:26:22.000
<v Speaker 1>than the majors. At one point there were twenty two

0:26:22.040 --> 0:26:25.480
<v Speaker 1>all over the United States. And uh, a lot of

0:26:25.520 --> 0:26:29.159
<v Speaker 1>these were one man operations, you know, like in a

0:26:29.240 --> 0:26:34.119
<v Speaker 1>small city. You know, like a small city. But it

0:26:34.240 --> 0:26:38.800
<v Speaker 1>was the guy would open, you know, get the orders phone.

0:26:39.440 --> 0:26:42.440
<v Speaker 1>He would uh then pack them up and have them

0:26:42.480 --> 0:26:46.200
<v Speaker 1>picked up whatever whoever the delivery people went back then.

0:26:47.000 --> 0:26:50.520
<v Speaker 1>Um and in his spare time, you know, he would

0:26:50.640 --> 0:26:54.520
<v Speaker 1>drive out and see all the local radio stations and

0:26:54.600 --> 0:26:57.119
<v Speaker 1>do promotion as well. And one of one of the

0:26:57.280 --> 0:27:02.560
<v Speaker 1>one of the most important guys, Bob kras Now was

0:27:02.640 --> 0:27:05.800
<v Speaker 1>the head of the San Francisco branch. That's the way

0:27:05.880 --> 0:27:09.639
<v Speaker 1>he got his start. Yes, well, Bob Krausing out another

0:27:09.760 --> 0:27:12.440
<v Speaker 1>legend out and all over with us. He had Blue

0:27:12.440 --> 0:27:15.840
<v Speaker 1>Thumb Records. He ultimately ran electorate, totally wiped out the

0:27:16.040 --> 0:27:18.360
<v Speaker 1>roster and they had something in every genre and all

0:27:18.440 --> 0:27:26.639
<v Speaker 1>that hit really pretty incredible. But um was the driver? Radio?

0:27:27.160 --> 0:27:29.440
<v Speaker 1>What was the driver? You know? You could ship these records.

0:27:29.480 --> 0:27:32.520
<v Speaker 1>Why were people buying them? Oh? I guess it was

0:27:32.600 --> 0:27:36.560
<v Speaker 1>mostly radio. I mean, certainly for a new record, a

0:27:36.600 --> 0:27:40.360
<v Speaker 1>new artist, it was radio. Um, I guess the more

0:27:40.520 --> 0:27:45.000
<v Speaker 1>established artists, you know, people um, you know, would would

0:27:45.280 --> 0:27:48.960
<v Speaker 1>if they were fans, they would wait, you know, for

0:27:49.600 --> 0:27:54.679
<v Speaker 1>the record. Well, since you mentioned earlier, the jukeboxes very important,

0:27:55.320 --> 0:28:02.119
<v Speaker 1>very very important, and you know, um because you know,

0:28:02.359 --> 0:28:11.119
<v Speaker 1>in like the black African American markets, you know, late neighborhoods,

0:28:11.480 --> 0:28:14.600
<v Speaker 1>they would be packed with great rhythm and blues songs,

0:28:15.119 --> 0:28:19.200
<v Speaker 1>you know, in in places where there were country fans,

0:28:19.240 --> 0:28:22.919
<v Speaker 1>they'd be you know, packed with records by you know,

0:28:23.119 --> 0:28:26.440
<v Speaker 1>Farren Young and Webb Pierce and Hank Williams and Kitty

0:28:26.480 --> 0:28:31.199
<v Speaker 1>Wells and people like that. And so a lot of

0:28:31.240 --> 0:28:35.679
<v Speaker 1>records were sold off of droop boxes and you know,

0:28:36.520 --> 0:28:39.959
<v Speaker 1>but radio I think was was the main stay. You know.

0:28:40.080 --> 0:28:42.280
<v Speaker 1>So anyway you meet her, he's done on his luck.

0:28:43.000 --> 0:28:45.720
<v Speaker 1>Well I had met him before, I know, I knew her,

0:28:45.880 --> 0:28:48.840
<v Speaker 1>I mean, and I admired him. He had the record company.

0:28:49.200 --> 0:28:52.400
<v Speaker 1>He said, uh, he said, why don't you come back

0:28:52.440 --> 0:28:55.520
<v Speaker 1>to New York and work for me? And he kept calling,

0:28:55.560 --> 0:28:59.560
<v Speaker 1>you know, and I was, you know, Cincinnati, it's it's

0:28:59.600 --> 0:29:03.080
<v Speaker 1>not a bad city. It's beautiful city, really, I mean

0:29:03.240 --> 0:29:06.520
<v Speaker 1>in an important city. It was at one time the

0:29:06.560 --> 0:29:10.960
<v Speaker 1>eighth largest city in America. Beautiful in the Ohio River

0:29:11.160 --> 0:29:15.480
<v Speaker 1>and all that, but I'm in New Yorker, so I

0:29:17.040 --> 0:29:25.120
<v Speaker 1>told I said, I said, look, Herbs offered me a job. Um,

0:29:25.480 --> 0:29:29.280
<v Speaker 1>and I think I'm gonna take it. He said, seem

0:29:29.320 --> 0:29:33.080
<v Speaker 1>when you're making a big mistake. He said, you'll be

0:29:33.120 --> 0:29:36.240
<v Speaker 1>out of work in six months, he said, Herb does.

0:29:36.400 --> 0:29:40.240
<v Speaker 1>He said, I'm doing a Herber favor. I'm really surprised

0:29:40.280 --> 0:29:43.480
<v Speaker 1>he would talk to you like this. But he said,

0:29:43.800 --> 0:29:45.840
<v Speaker 1>if you want to get back to New York, you know,

0:29:46.840 --> 0:29:49.440
<v Speaker 1>do it. You'll be out of a job in six months. Well,

0:29:49.960 --> 0:29:52.920
<v Speaker 1>Sid was wrong. I was out of work in three months,

0:29:53.600 --> 0:29:58.120
<v Speaker 1>so you know, but you know, but luckily not too

0:29:58.200 --> 0:30:03.440
<v Speaker 1>much long later, I got a call from George Goldener,

0:30:03.760 --> 0:30:11.720
<v Speaker 1>who um I knew, and he was recommended to him

0:30:11.720 --> 0:30:16.440
<v Speaker 1>by his lawyer, Warren Troupe, and I was quite friendly

0:30:16.520 --> 0:30:20.600
<v Speaker 1>with his son, Ted, And he said, you know, Warren

0:30:20.720 --> 0:30:23.920
<v Speaker 1>thinks you'd be a great assistant for me. He said,

0:30:23.960 --> 0:30:26.680
<v Speaker 1>I'm I'm just starting up a label with Lieber and

0:30:26.760 --> 0:30:30.440
<v Speaker 1>stole a called Redbird Records. And I got the job there,

0:30:30.480 --> 0:30:33.640
<v Speaker 1>and I learned so much from George, you know, and

0:30:35.160 --> 0:30:39.480
<v Speaker 1>but you know, and then Redbird didn't last very long,

0:30:39.600 --> 0:30:42.719
<v Speaker 1>but it was in the Brill Building, and I met everybody.

0:30:42.720 --> 0:30:46.560
<v Speaker 1>Our office was next to Bobby Darren's office with you know,

0:30:46.800 --> 0:30:50.760
<v Speaker 1>his publishing company, and uh a flora above we were

0:30:50.760 --> 0:30:55.200
<v Speaker 1>on nine floor was ft G Productions, and that's where

0:30:55.240 --> 0:30:58.280
<v Speaker 1>I met Richard Gottarett and we became I became friends

0:30:58.320 --> 0:31:01.000
<v Speaker 1>with his two with all of them Feldman Goldstein and

0:31:01.120 --> 0:31:06.960
<v Speaker 1>got her up. But they were having problems, not problems.

0:31:07.000 --> 0:31:11.200
<v Speaker 1>They were thinking about going their own way. They already

0:31:11.200 --> 0:31:13.880
<v Speaker 1>had their hit, They had all their hits that all

0:31:13.920 --> 0:31:18.560
<v Speaker 1>their hits, you know, hang on sloopy, Uh, my boyfriend's back, um,

0:31:19.360 --> 0:31:22.840
<v Speaker 1>you know, and um, you know, but all of it

0:31:23.520 --> 0:31:27.080
<v Speaker 1>so um, but all the hits that they had together,

0:31:27.160 --> 0:31:34.160
<v Speaker 1>that is. But then at the same time, Um, George

0:31:35.520 --> 0:31:38.840
<v Speaker 1>and and Jerry Lieber in particular, we're not getting along,

0:31:39.000 --> 0:31:44.440
<v Speaker 1>you know, you know, you know, George liked to have

0:31:45.080 --> 0:31:48.680
<v Speaker 1>mafia people around him, the same way Bert Burns did,

0:31:48.800 --> 0:31:51.920
<v Speaker 1>you know, And but not to the extent of bird Burns.

0:31:52.360 --> 0:31:56.800
<v Speaker 1>But this really upset Jerry, and I think Mike too.

0:31:56.840 --> 0:32:00.640
<v Speaker 1>But Mike was a lot more you know, placid and

0:32:01.600 --> 0:32:03.800
<v Speaker 1>read the end of Redbud. I could see the end

0:32:03.800 --> 0:32:08.200
<v Speaker 1>of Red Bird coming, and Richard asked me. You know,

0:32:08.240 --> 0:32:11.480
<v Speaker 1>he said, look, he said, I'm gonna I'm gonna be

0:32:11.520 --> 0:32:15.600
<v Speaker 1>splitting up my partners, he said, he said, you've got

0:32:15.640 --> 0:32:18.920
<v Speaker 1>great ears. He said, I'm a great producer. He said,

0:32:18.920 --> 0:32:22.000
<v Speaker 1>why don't we, uh, why don't we get together and start,

0:32:22.240 --> 0:32:28.360
<v Speaker 1>you know, a production company. And by that time, tom

0:32:28.440 --> 0:32:34.160
<v Speaker 1>Noonan was working at some at CBS, and he had

0:32:34.160 --> 0:32:37.560
<v Speaker 1>his own label Date and he gave us a deal

0:32:37.720 --> 0:32:43.480
<v Speaker 1>which gave us a good enough advance, uh to get started,

0:32:43.560 --> 0:32:47.800
<v Speaker 1>plus all the free studio time and that we needed

0:32:48.000 --> 0:32:51.520
<v Speaker 1>and and all of that. And Sid Nathan was closing

0:32:51.560 --> 0:32:56.040
<v Speaker 1>down his New York office and and rented me. He

0:32:56.200 --> 0:32:59.000
<v Speaker 1>owned the building. It was a Brownstone, and he rented

0:32:59.040 --> 0:33:04.080
<v Speaker 1>me the the main floor for two hundred and thirty

0:33:04.120 --> 0:33:10.120
<v Speaker 1>five dollars a month um. And I immediately rented the

0:33:10.160 --> 0:33:14.840
<v Speaker 1>biggest room to the Rifkin brothers because Richard was still

0:33:14.880 --> 0:33:18.640
<v Speaker 1>involved with the They managed a lot of the bands

0:33:18.760 --> 0:33:22.480
<v Speaker 1>that Richard had had produced, you know, the McCoy's and

0:33:22.480 --> 0:33:24.720
<v Speaker 1>and also the Strange Lads when they went on tour.

0:33:25.280 --> 0:33:29.840
<v Speaker 1>So it what Strange Lads was got gotta right, yeah,

0:33:29.880 --> 0:33:35.760
<v Speaker 1>felt there were the three of them. But yeah, so um,

0:33:35.800 --> 0:33:39.840
<v Speaker 1>you know that's that's how SIA started, and you know,

0:33:40.720 --> 0:33:43.840
<v Speaker 1>progressed as it went along. You know. Okay, how long

0:33:43.960 --> 0:33:47.000
<v Speaker 1>after it starts do you have your first hit? First

0:33:47.280 --> 0:33:51.400
<v Speaker 1>first income? Never mind hit? Were year when year to

0:33:51.480 --> 0:33:56.240
<v Speaker 1>sires start? Um as a record company, we started about

0:33:56.320 --> 0:34:00.000
<v Speaker 1>a year and a half later. And before you were

0:34:00.000 --> 0:34:03.240
<v Speaker 1>what a publishing company? Production? Now we we're production company.

0:34:03.280 --> 0:34:08.200
<v Speaker 1>And the records came out. Um you know so I

0:34:08.239 --> 0:34:10.120
<v Speaker 1>mean though that you're saying, that's with your deal with

0:34:10.200 --> 0:34:15.080
<v Speaker 1>doing it? Yes, now that that was with Date Records

0:34:16.000 --> 0:34:23.200
<v Speaker 1>at CBS. We signed some really good artists, you know. Um. Uh,

0:34:23.800 --> 0:34:27.200
<v Speaker 1>my friend Pete Bennett, the legendary promotion man, I'm sure

0:34:27.239 --> 0:34:30.080
<v Speaker 1>you heard of him. He's a dear, dear friend. He said,

0:34:30.400 --> 0:34:33.800
<v Speaker 1>I got somebody that's just right for your label, and

0:34:33.880 --> 0:34:37.800
<v Speaker 1>he brought him down to me. And his name was

0:34:37.840 --> 0:34:42.200
<v Speaker 1>Steven Tallarico. And I happen to know because when my

0:34:42.320 --> 0:34:45.759
<v Speaker 1>newsletter used to be in print, he used his real name.

0:34:45.880 --> 0:34:49.040
<v Speaker 1>That's all I knew who he was. Okay, so I

0:34:49.200 --> 0:34:53.560
<v Speaker 1>signed him. We put out a record. Uh he wrote

0:34:53.600 --> 0:34:57.359
<v Speaker 1>the song so Tellarico. The only place that made any

0:34:57.480 --> 0:35:02.879
<v Speaker 1>noise was Italy and uh so it was called the son.

0:35:03.520 --> 0:35:09.520
<v Speaker 1>And so his father comes to my office and says, uh,

0:35:10.160 --> 0:35:14.239
<v Speaker 1>I want the contract back. I said, look, we're gonna

0:35:14.239 --> 0:35:16.800
<v Speaker 1>go in the studio. Richard's going to make another record

0:35:16.880 --> 0:35:20.960
<v Speaker 1>with him. He said, I want to contract back, and

0:35:21.040 --> 0:35:25.040
<v Speaker 1>he took out a gun and and so I said,

0:35:25.040 --> 0:35:28.959
<v Speaker 1>we'll put that away. Come on, So rich said to me, look,

0:35:29.400 --> 0:35:32.839
<v Speaker 1>he said, I know from my days A bang he said,

0:35:32.880 --> 0:35:36.239
<v Speaker 1>Because you know that, he said, give him the contract back,

0:35:37.120 --> 0:35:39.279
<v Speaker 1>and which is what I did. But we had some

0:35:39.400 --> 0:35:42.560
<v Speaker 1>good audits. Okay for those says we haven't revealed revealed

0:35:42.560 --> 0:35:47.200
<v Speaker 1>who Steven Tallarico is. Oh well, Steven Tyler. Steven Steve

0:35:47.280 --> 0:35:51.000
<v Speaker 1>Tallarico is Steven Tyler, and uh okay, So when you

0:35:51.200 --> 0:35:56.680
<v Speaker 1>had him, was he doing the same act what ultimately

0:35:56.680 --> 0:35:58.880
<v Speaker 1>it was in narrow Smith. It's going to listen to

0:35:59.000 --> 0:36:01.560
<v Speaker 1>your record. Did it like Errol Smith? No? But it

0:36:01.680 --> 0:36:04.319
<v Speaker 1>was a great song. I mean it really was. I mean,

0:36:05.239 --> 0:36:09.480
<v Speaker 1>it comes once a day through the shade of my window.

0:36:10.239 --> 0:36:14.000
<v Speaker 1>It da da da da da da. He was. Look,

0:36:15.120 --> 0:36:18.960
<v Speaker 1>you don't think he just became talented when he started Arrowsmith.

0:36:19.400 --> 0:36:22.759
<v Speaker 1>He was always talented. It was a great song. But uh,

0:36:23.280 --> 0:36:25.320
<v Speaker 1>you know, I don't think they paid that much attention

0:36:25.400 --> 0:36:31.480
<v Speaker 1>to it, that's all. But then we started Sire Records,

0:36:32.160 --> 0:36:37.919
<v Speaker 1>and uh we got our first distribution deal was through

0:36:38.040 --> 0:36:45.200
<v Speaker 1>London Records, British Decker's own company, and so we had

0:36:45.239 --> 0:36:48.319
<v Speaker 1>a little bit of success there. Nothing nothing great, I mean,

0:36:48.360 --> 0:36:52.279
<v Speaker 1>but you're paying the bills. We're managing to stay keep

0:36:52.320 --> 0:36:55.520
<v Speaker 1>our heads above water. Yeah we are. We weren't. We

0:36:55.640 --> 0:36:59.600
<v Speaker 1>weren't taking much salary for ourselves and we're getting by

0:37:00.000 --> 0:37:04.680
<v Speaker 1>and uh so, um, you know, I was very well

0:37:04.760 --> 0:37:07.800
<v Speaker 1>looked after when I worked for George I must I

0:37:07.920 --> 0:37:10.759
<v Speaker 1>must say that. So I had some money. Richard had

0:37:10.760 --> 0:37:12.719
<v Speaker 1>a lot of a lot of money, you know, and

0:37:13.040 --> 0:37:17.399
<v Speaker 1>and all that. But um, you know, we we got by,

0:37:17.640 --> 0:37:22.440
<v Speaker 1>you know, and then I decided, look, I want to

0:37:22.600 --> 0:37:25.680
<v Speaker 1>I want to go. I skipped apart when I was

0:37:26.000 --> 0:37:30.800
<v Speaker 1>when I was working at King uh Lenwood LG. Wood

0:37:30.880 --> 0:37:35.520
<v Speaker 1>would come over to uh C SID every summer, and

0:37:37.480 --> 0:37:42.239
<v Speaker 1>Lenwood was the managing director and later chairman of E.

0:37:42.480 --> 0:37:45.320
<v Speaker 1>M I Records, the biggest record company in the world

0:37:45.400 --> 0:37:50.200
<v Speaker 1>then and the only really truly global company at the time,

0:37:50.920 --> 0:37:54.920
<v Speaker 1>especially since they after they bought capital in nineteen fifty two.

0:37:56.200 --> 0:37:59.120
<v Speaker 1>So so lenn Is normally operating out of London. Oh,

0:37:59.320 --> 0:38:03.760
<v Speaker 1>they're definitely so, because he would come in the summer

0:38:04.120 --> 0:38:08.920
<v Speaker 1>to visit the companies that he had the licensees for

0:38:09.440 --> 0:38:12.720
<v Speaker 1>outside of America, and King was one of the biggest

0:38:12.800 --> 0:38:15.319
<v Speaker 1>ones he had, and he I think he gotta get

0:38:15.400 --> 0:38:18.360
<v Speaker 1>of sit anyway, he was that part of the character

0:38:18.480 --> 0:38:23.719
<v Speaker 1>said so, um, you know, and Sid had me in

0:38:23.800 --> 0:38:26.080
<v Speaker 1>the room when I was talking to him, and he

0:38:26.480 --> 0:38:30.200
<v Speaker 1>took you know, he must have saw something in me too.

0:38:30.719 --> 0:38:34.760
<v Speaker 1>He said to me, Look, he said, uh, you really

0:38:35.640 --> 0:38:39.800
<v Speaker 1>you know, know your stuff. And he said, look, you know,

0:38:40.440 --> 0:38:42.640
<v Speaker 1>one day you're going to start your own company. I

0:38:42.760 --> 0:38:45.920
<v Speaker 1>really believe that, and I want you to be. I

0:38:46.040 --> 0:38:48.759
<v Speaker 1>want E M. I to be the first company you

0:38:48.960 --> 0:38:55.320
<v Speaker 1>come to and see. Uh and I you know, And

0:38:55.440 --> 0:38:58.319
<v Speaker 1>what was in back in my mind was, oh my god,

0:38:58.400 --> 0:39:03.920
<v Speaker 1>if I started label. You know, Capital rejected the Beatles

0:39:04.200 --> 0:39:08.279
<v Speaker 1>not once, but twice. They were first on VJ and

0:39:08.800 --> 0:39:11.160
<v Speaker 1>then VJ. The BJ would have had him for six

0:39:11.320 --> 0:39:16.080
<v Speaker 1>years except they you know, didn't they didn't pay any royalties.

0:39:16.719 --> 0:39:21.320
<v Speaker 1>So um then uh, then they rejected she loves you.

0:39:21.520 --> 0:39:24.759
<v Speaker 1>Can you believe that? So? And you love that? What

0:39:25.080 --> 0:39:28.200
<v Speaker 1>came out on I'll tell you how that happened that

0:39:28.600 --> 0:39:31.200
<v Speaker 1>He was never my lawyer, but he was my best

0:39:31.320 --> 0:39:34.960
<v Speaker 1>one of my best friends. Paul Marshall was a genius

0:39:35.120 --> 0:39:39.560
<v Speaker 1>lawyer and he represented E. M. I. And he said, look,

0:39:40.080 --> 0:39:43.839
<v Speaker 1>he said, I'll get capital to take the Beatles up.

0:39:44.160 --> 0:39:46.480
<v Speaker 1>He said, but you're gonna have to go with me.

0:39:46.719 --> 0:39:50.600
<v Speaker 1>I'm gonna give this record to Swan. Dick Clark owns

0:39:50.640 --> 0:39:53.160
<v Speaker 1>the label. I don't know if you knew that, I didn't,

0:39:53.280 --> 0:39:55.239
<v Speaker 1>well you know it now. He owned he owned a

0:39:55.280 --> 0:39:58.799
<v Speaker 1>piece of every label. You know. Alan Freed almost went

0:39:58.880 --> 0:40:02.840
<v Speaker 1>to jail, but Dick Clark was you know, it was

0:40:02.960 --> 0:40:07.000
<v Speaker 1>the one that really you know, the payola king and

0:40:07.400 --> 0:40:10.120
<v Speaker 1>you can you can really, I mean he owned a

0:40:10.200 --> 0:40:13.680
<v Speaker 1>piece of just about every label in Philadelphia. But Swan

0:40:13.880 --> 0:40:17.480
<v Speaker 1>he owned himself. Had this guy Tony Mammarella run it

0:40:17.560 --> 0:40:20.279
<v Speaker 1>for him. He said, look, I'll give it to I'll

0:40:20.320 --> 0:40:23.680
<v Speaker 1>give it to Swan at a very low royalty and

0:40:23.960 --> 0:40:27.399
<v Speaker 1>no renewals. He said. He said, Dick Clark will break

0:40:27.480 --> 0:40:31.080
<v Speaker 1>this record and he did. And uh so. At the

0:40:31.160 --> 0:40:37.080
<v Speaker 1>same time, Um, the Beatles had the top three hits

0:40:37.160 --> 0:40:42.120
<v Speaker 1>on the Billboard. Trot Rotating Because She Loves You came back,

0:40:42.920 --> 0:40:46.760
<v Speaker 1>um and uh, please please me came back and all

0:40:46.840 --> 0:40:51.440
<v Speaker 1>of them so um, you know, and that was you know,

0:40:51.680 --> 0:40:55.759
<v Speaker 1>and then Capital of course picked it up. But I

0:40:55.880 --> 0:40:59.280
<v Speaker 1>figured if they could, you know, not put out the Beatles,

0:41:00.000 --> 0:41:03.160
<v Speaker 1>what what other gems would they leave behind? That's where

0:41:03.239 --> 0:41:09.759
<v Speaker 1>I signed the Climax Blues Band, Renaissance, Barcley, James Harvest, uh,

0:41:10.360 --> 0:41:13.560
<v Speaker 1>Kevin Airs and many many other things for little or

0:41:13.600 --> 0:41:18.840
<v Speaker 1>no advance. LG was wonderful to me. Um, you know,

0:41:19.360 --> 0:41:24.040
<v Speaker 1>an interesting story I did. I kept my word that

0:41:24.160 --> 0:41:27.440
<v Speaker 1>he would be the first person I saw, and uh

0:41:27.840 --> 0:41:31.279
<v Speaker 1>he sent someone to meet me at the airport and

0:41:31.360 --> 0:41:33.920
<v Speaker 1>I could hardly understand what he was saying. He had

0:41:34.000 --> 0:41:36.680
<v Speaker 1>such a thick Scottish acts and he looked like he

0:41:36.800 --> 0:41:39.560
<v Speaker 1>was about twelve years old. He was actually about seventeen.

0:41:40.160 --> 0:41:44.160
<v Speaker 1>And he says, I said, uh, he said, I'm here

0:41:44.239 --> 0:41:47.919
<v Speaker 1>to meet you. He said, I said, well, where's the cars?

0:41:47.960 --> 0:41:51.279
<v Speaker 1>His car car? I could I drive? You know? And

0:41:51.400 --> 0:41:54.560
<v Speaker 1>all that. It was John Reid, you know, who later

0:41:54.680 --> 0:41:59.240
<v Speaker 1>became Melton's uh you know many things, and his manager

0:41:59.360 --> 0:42:03.520
<v Speaker 1>and you know, so you know, and uh, that's how

0:42:03.600 --> 0:42:06.720
<v Speaker 1>I first met John Reed and threw him Elton John

0:42:07.000 --> 0:42:12.040
<v Speaker 1>and that's how I met Elton. So um. But anyway,

0:42:12.760 --> 0:42:16.600
<v Speaker 1>uh that all those licensed records from E M I

0:42:16.760 --> 0:42:19.720
<v Speaker 1>helped us a bit. And then the greatest thing happened

0:42:20.280 --> 0:42:24.960
<v Speaker 1>was when I was putting out so many English records

0:42:25.000 --> 0:42:28.160
<v Speaker 1>by em from E M I, all the other companies,

0:42:28.520 --> 0:42:32.879
<v Speaker 1>the Dutch, the French, you know, the Spanish, they all

0:42:32.920 --> 0:42:36.800
<v Speaker 1>started sending me my product. And I heard this record

0:42:37.280 --> 0:42:41.600
<v Speaker 1>by a guitar player, jan Akaman, and I immediately fell

0:42:41.680 --> 0:42:43.760
<v Speaker 1>in love with it. He had a rendition of Ode

0:42:43.840 --> 0:42:48.279
<v Speaker 1>to Billy Joe, which was so fantastic instrumental. I called

0:42:48.320 --> 0:42:52.000
<v Speaker 1>the guy up. I said, look, you know, uh, we

0:42:52.120 --> 0:42:55.919
<v Speaker 1>don't put out you know, we don't pay big advances,

0:42:56.360 --> 0:42:59.480
<v Speaker 1>but I'd really like to pick up this jan Akaman.

0:43:00.080 --> 0:43:02.839
<v Speaker 1>He said, yann com in. You don't have to pay

0:43:02.880 --> 0:43:06.440
<v Speaker 1>any advance, he said, he said, he just left us.

0:43:06.920 --> 0:43:09.920
<v Speaker 1>He said, he's he's free, he's a free agent. Now

0:43:10.360 --> 0:43:13.560
<v Speaker 1>you can have the record for nothing. He said, I said, really,

0:43:13.760 --> 0:43:16.040
<v Speaker 1>where did he go? He said he went back to

0:43:16.239 --> 0:43:21.200
<v Speaker 1>his old man Focus. So I said Focus. I said, um, well,

0:43:21.280 --> 0:43:25.160
<v Speaker 1>where were they? He said, oh, they got a job playing,

0:43:25.520 --> 0:43:29.920
<v Speaker 1>uh for the Dutch production of Have I got on

0:43:30.000 --> 0:43:32.719
<v Speaker 1>a plane, I met them, I signed them, and that

0:43:32.960 --> 0:43:36.600
<v Speaker 1>was that was really that's what put us. When you

0:43:38.320 --> 0:43:40.680
<v Speaker 1>were the main label, you didn't license the record from

0:43:40.680 --> 0:43:45.400
<v Speaker 1>anybody else. I licensed it but for the whole world

0:43:45.960 --> 0:43:52.520
<v Speaker 1>excluding Belgium, Holland and Luxembourg. That the guy that had

0:43:52.560 --> 0:43:56.840
<v Speaker 1>them under contract mostly as a publisher but also records

0:43:57.320 --> 0:44:01.000
<v Speaker 1>was a guy named Hubert to Hagen who in Radio

0:44:01.120 --> 0:44:05.239
<v Speaker 1>tell A Luxembourg Um and the publishing side of it,

0:44:05.360 --> 0:44:07.800
<v Speaker 1>which was Radio Luxembourg which is a big you know

0:44:08.200 --> 0:44:17.960
<v Speaker 1>radio station, and you know, so um I paid I

0:44:19.880 --> 0:44:21.719
<v Speaker 1>don't even want to I don't even want to say

0:44:21.760 --> 0:44:24.080
<v Speaker 1>the amount. Okay, but the record, that record, did that

0:44:24.239 --> 0:44:27.200
<v Speaker 1>record have hocus focus on it? No, it was the

0:44:27.280 --> 0:44:29.520
<v Speaker 1>next record that had I'll tell you. I'll tell you

0:44:29.600 --> 0:44:32.279
<v Speaker 1>the story of that too. So the way we get

0:44:32.320 --> 0:44:34.520
<v Speaker 1>the first record? Can you do anything with the first record?

0:44:34.560 --> 0:44:36.239
<v Speaker 1>It did a little, It did a little, you know,

0:44:36.600 --> 0:44:42.320
<v Speaker 1>it did you know moderately, well maybe thirty forty thousand

0:44:42.400 --> 0:44:47.960
<v Speaker 1>it did. Um Telling those what was motivating people to

0:44:48.000 --> 0:44:51.239
<v Speaker 1>buy I don't I don't know. I think because they

0:44:51.280 --> 0:44:53.840
<v Speaker 1>will get they were getting some information, you know, and

0:44:53.960 --> 0:44:57.560
<v Speaker 1>hearing it from the English were playing it and uh,

0:44:58.160 --> 0:45:00.600
<v Speaker 1>so I think that's how it happened. Maybe last I don't.

0:45:00.640 --> 0:45:05.360
<v Speaker 1>I don't remember. It was nothing spectacular, but you know

0:45:05.920 --> 0:45:10.800
<v Speaker 1>about uh about a year before this, or when I

0:45:11.200 --> 0:45:16.760
<v Speaker 1>very first signed Focus, Uh, you know, I had another

0:45:16.880 --> 0:45:20.640
<v Speaker 1>label which I still owned, called Blue Horizon Records. At

0:45:20.719 --> 0:45:24.680
<v Speaker 1>one point I saw around half of it, but then

0:45:24.719 --> 0:45:29.680
<v Speaker 1>they just seen as a jazz label, was a blues label.

0:45:30.040 --> 0:45:34.080
<v Speaker 1>Excuse me, I think they were. Mike Ernan one of

0:45:34.160 --> 0:45:38.040
<v Speaker 1>the greatest producers ever. He produced the first David Bowie record,

0:45:38.600 --> 0:45:42.080
<v Speaker 1>you know, under his real real name, you know, and um,

0:45:42.920 --> 0:45:45.160
<v Speaker 1>he was a producer at Decca, and they let him

0:45:45.200 --> 0:45:49.759
<v Speaker 1>have his own label, Blue Horizon, and you know, he

0:45:49.960 --> 0:45:53.800
<v Speaker 1>put Fleetwood Mac together and they had the early Fleetwood

0:45:53.840 --> 0:45:57.120
<v Speaker 1>Mac records which which are on still on Blue Horizon

0:45:57.680 --> 0:46:01.319
<v Speaker 1>and Chicken Shack, which is where Christine Perfect came from,

0:46:01.400 --> 0:46:06.000
<v Speaker 1>now Christine McVie. And so he says to me, look,

0:46:07.760 --> 0:46:11.600
<v Speaker 1>this is we're in business. He said, Seymour, I wish

0:46:11.640 --> 0:46:13.719
<v Speaker 1>you'd do me a big favor and come to the

0:46:13.800 --> 0:46:17.480
<v Speaker 1>winds of Popping jazz festival with me. He says, it's

0:46:17.520 --> 0:46:21.440
<v Speaker 1>not popping, it's not jazz, it's you know, rock stuff.

0:46:22.120 --> 0:46:25.719
<v Speaker 1>And he said, I just, you know, come with me.

0:46:25.840 --> 0:46:30.239
<v Speaker 1>I'm bringing my I'm bringing my engineer, Gus Studgeon, who

0:46:30.360 --> 0:46:34.600
<v Speaker 1>later became Gus Dudgeon, Elton's producer. He was an engineer

0:46:34.680 --> 0:46:37.719
<v Speaker 1>at Deck still the best Elton records. Yes, oh yes,

0:46:37.840 --> 0:46:42.000
<v Speaker 1>Gus was great. Unfortunately he died in the car Creuse

0:46:42.120 --> 0:46:45.640
<v Speaker 1>driving home from Melton's house with his wife, who worked

0:46:45.680 --> 0:46:49.200
<v Speaker 1>for Decca. I knew how to, you know, but very

0:46:49.360 --> 0:46:52.600
<v Speaker 1>very sad, good, very good people. So I go there

0:46:53.520 --> 0:46:56.040
<v Speaker 1>and you know, the music was all right, and then

0:46:56.160 --> 0:47:00.279
<v Speaker 1>this band come on and they blew mama, you know,

0:47:01.120 --> 0:47:04.399
<v Speaker 1>and they I loved them so much. I couldn't wait

0:47:04.960 --> 0:47:07.520
<v Speaker 1>till they got finished because I looked them up and

0:47:07.640 --> 0:47:11.840
<v Speaker 1>they were managed by, uh, you know the Chrystalist guys

0:47:11.920 --> 0:47:16.560
<v Speaker 1>before the Chrystmas label, Uh you know Exist and Chris Right.

0:47:17.120 --> 0:47:21.920
<v Speaker 1>And I said, this band, they're managed by Chris and

0:47:22.080 --> 0:47:25.600
<v Speaker 1>Terry and you produced Savoy Brown and ten years after

0:47:25.760 --> 0:47:28.960
<v Speaker 1>for them, they were managing them. I said, we ought

0:47:29.000 --> 0:47:32.960
<v Speaker 1>to grab this record for the Blue Horizon. He said,

0:47:33.000 --> 0:47:36.560
<v Speaker 1>oh see, Moore, I would never work with the flout Ist.

0:47:37.200 --> 0:47:39.880
<v Speaker 1>So I didn't know. I didn't know what the flowerst meant,

0:47:40.000 --> 0:47:42.520
<v Speaker 1>you know, we call him flut players, I mean. And

0:47:42.600 --> 0:47:45.160
<v Speaker 1>I didn't want to show my ignorance, you know, so

0:47:45.400 --> 0:47:47.960
<v Speaker 1>I thought it was who knew what the floutst was,

0:47:48.200 --> 0:47:52.640
<v Speaker 1>you know? And so I turned to gust Duddon and

0:47:52.880 --> 0:47:55.560
<v Speaker 1>he I said, Gus, you'll be the you'd be the

0:47:55.680 --> 0:47:59.600
<v Speaker 1>engineer here, which he said, see more. And this really

0:47:59.680 --> 0:48:04.239
<v Speaker 1>hurts nothing. Michael could say whatever hurt me because he's

0:48:04.280 --> 0:48:09.080
<v Speaker 1>just to me, Seymour, You don't play an instrument, do you?

0:48:09.800 --> 0:48:11.920
<v Speaker 1>I said, no, what what does that have to do

0:48:12.000 --> 0:48:14.600
<v Speaker 1>with that I got to use? He said, if you

0:48:14.840 --> 0:48:17.120
<v Speaker 1>played an instrument, you would have heard all the bad

0:48:17.200 --> 0:48:21.680
<v Speaker 1>notes this band hit. He said, I couldn't wait till

0:48:21.719 --> 0:48:26.120
<v Speaker 1>they finished, So I kept pushing him, pushing him to

0:48:26.200 --> 0:48:30.000
<v Speaker 1>sign it, you know, and uh, you know, and and

0:48:30.640 --> 0:48:34.680
<v Speaker 1>they didn't, you know, and you know who was so

0:48:37.320 --> 0:48:41.080
<v Speaker 1>and uh, I even have a letter when Mike finally

0:48:41.280 --> 0:48:44.640
<v Speaker 1>I gave up on him. I have a letter from

0:48:44.920 --> 0:48:49.960
<v Speaker 1>Chris Terry and I've saved where he wrote me. He said, Seymour,

0:48:51.200 --> 0:48:54.360
<v Speaker 1>we we couldn't get anybody to sign him, so we

0:48:54.520 --> 0:48:57.480
<v Speaker 1>started the crystalist labor. And I wished him good luck

0:48:57.520 --> 0:49:01.000
<v Speaker 1>and everything and all of that, and uh, and all

0:49:01.040 --> 0:49:05.440
<v Speaker 1>of that. But now fast forward a year. I said, Tim, Mike,

0:49:05.560 --> 0:49:08.279
<v Speaker 1>I said, Mike, I don't care if you like flautist

0:49:08.400 --> 0:49:11.200
<v Speaker 1>or not. You're gonna produce this record. And it was

0:49:11.680 --> 0:49:15.160
<v Speaker 1>one of the most successful records Mike ever produced. You know,

0:49:15.480 --> 0:49:20.319
<v Speaker 1>I'm moving waves by focus and uh, you know Mike

0:49:20.480 --> 0:49:24.640
<v Speaker 1>is happily retired and living in Spain and growing olives

0:49:24.760 --> 0:49:27.040
<v Speaker 1>and things and okay, so how do you how it's

0:49:27.080 --> 0:49:30.080
<v Speaker 1>all the story of hocus Pocus? Pardon tell us the

0:49:30.160 --> 0:49:34.120
<v Speaker 1>story of hocus Pocus. Well, it was on the album,

0:49:34.480 --> 0:49:39.239
<v Speaker 1>you know, and it was delivered to you you no, no, no, no, Mike, No.

0:49:40.239 --> 0:49:43.000
<v Speaker 1>I think I heard it because I kept going back

0:49:43.040 --> 0:49:45.320
<v Speaker 1>and forth. You know, I heard it when I was

0:49:45.360 --> 0:49:47.279
<v Speaker 1>in England when they were making it, and I liked

0:49:47.320 --> 0:49:50.160
<v Speaker 1>it very much. I said this, this, this is great.

0:49:50.200 --> 0:49:52.080
<v Speaker 1>And there were a couple of other tracks on there

0:49:52.080 --> 0:49:56.279
<v Speaker 1>that I must admit I like, you know very much too. So, um,

0:49:56.880 --> 0:50:01.239
<v Speaker 1>this was a big breakthrough. Mike was great produce. I mean,

0:50:02.880 --> 0:50:06.440
<v Speaker 1>you know, I mean, and and patient he was so

0:50:07.000 --> 0:50:12.120
<v Speaker 1>I mean, really to work with John Mayle, uh, no disrespect,

0:50:12.280 --> 0:50:15.719
<v Speaker 1>you had to be very patient. But you know, Mike

0:50:15.760 --> 0:50:19.920
<v Speaker 1>could produce anything. I mean, you know, and uh, but

0:50:21.600 --> 0:50:25.200
<v Speaker 1>I knew there was something there and you know, and

0:50:25.320 --> 0:50:28.400
<v Speaker 1>sure enough there was. Well how did you make that

0:50:28.520 --> 0:50:36.440
<v Speaker 1>a hit? Well, um, that's another story if you want

0:50:36.480 --> 0:50:40.719
<v Speaker 1>to hear it. I had a trouble getting it released.

0:50:41.280 --> 0:50:45.400
<v Speaker 1>By this time, we had moved over to a Pollador

0:50:45.960 --> 0:50:55.120
<v Speaker 1>for our distribution, and the the guy there was Jerry Shawmbaum,

0:50:55.280 --> 0:50:57.920
<v Speaker 1>who was one of the greatest music guys in the world.

0:50:58.040 --> 0:51:00.719
<v Speaker 1>I mean, I wouldn't say a bad worried about him.

0:51:01.480 --> 0:51:04.000
<v Speaker 1>And he was putting out all these records we were making,

0:51:04.560 --> 0:51:08.600
<v Speaker 1>and he kept sliding the focus record, you know, putting

0:51:08.640 --> 0:51:11.960
<v Speaker 1>it back. I said, listen, this is the best record

0:51:12.000 --> 0:51:14.960
<v Speaker 1>I got. You gotta stop this. It's already starting to

0:51:15.080 --> 0:51:19.840
<v Speaker 1>happen in England and he should seem more I'm not

0:51:19.960 --> 0:51:24.120
<v Speaker 1>putting the record out. He said, you know, Uh, there's

0:51:24.200 --> 0:51:28.000
<v Speaker 1>this there's these people at paler Or. There's this guy

0:51:28.120 --> 0:51:31.680
<v Speaker 1>Freddie High and he keeps pressing me to put out

0:51:32.200 --> 0:51:36.000
<v Speaker 1>all of his Dutch records, he said. And I said,

0:51:36.000 --> 0:51:38.759
<v Speaker 1>he's got some great records too, you know, I said

0:51:38.760 --> 0:51:41.160
<v Speaker 1>you should put them out also. He should seem what

0:51:41.239 --> 0:51:43.920
<v Speaker 1>do you want to release? I said, yes, and he

0:51:44.040 --> 0:51:46.759
<v Speaker 1>gave me a release, and I went to Tony Martel

0:51:47.640 --> 0:51:52.960
<v Speaker 1>and who was running Paramount, and and you know the

0:51:54.400 --> 0:51:57.719
<v Speaker 1>he got really behind the record, great man, and uh

0:51:58.360 --> 0:52:02.200
<v Speaker 1>you know the record took off, you know, and very

0:52:02.320 --> 0:52:04.520
<v Speaker 1>very fortunate. Okay, so that's your first big success. You

0:52:04.640 --> 0:52:09.360
<v Speaker 1>make a lot? Okay, what's that seventy three? Oh no, no,

0:52:09.680 --> 0:52:19.920
<v Speaker 1>I think, oh god. Right, you're listening to my conversation

0:52:20.000 --> 0:52:28.440
<v Speaker 1>with the legendary record executive Seymour Stunt. I hope you're

0:52:28.520 --> 0:52:31.520
<v Speaker 1>enjoying this episode of the Bob Left Sets Podcast. If

0:52:31.560 --> 0:52:34.560
<v Speaker 1>you want to see videos, photos, and soundbites from Seymour

0:52:34.680 --> 0:52:38.759
<v Speaker 1>and our other guests, visit at tune in on Twitter, Facebook,

0:52:38.800 --> 0:52:43.000
<v Speaker 1>and Instagram. Now we're my conversation with Seymour Stein on

0:52:43.120 --> 0:52:48.759
<v Speaker 1>the Bob Left Sets Podcast. Okay, so now this new

0:52:48.920 --> 0:52:52.200
<v Speaker 1>scene starts to version in New York City, the New

0:52:52.239 --> 0:52:55.279
<v Speaker 1>Waves scene. So how do you get How does that

0:52:55.400 --> 0:52:58.680
<v Speaker 1>get your attention? How did it not get my attention?

0:52:58.920 --> 0:53:01.399
<v Speaker 1>I mean I live in New York. Okay, let's stop

0:53:01.440 --> 0:53:05.520
<v Speaker 1>for a second. You live through all these generations of music. Yes,

0:53:06.160 --> 0:53:09.080
<v Speaker 1>the cliche is that people like the music that they

0:53:09.120 --> 0:53:13.560
<v Speaker 1>grew up within their taste. Stop now, I'm at famously

0:53:13.680 --> 0:53:16.400
<v Speaker 1>said at some point, you won't get it anymore in

0:53:16.480 --> 0:53:19.680
<v Speaker 1>this piece, right, it's this particular point in time. Do

0:53:19.800 --> 0:53:21.880
<v Speaker 1>you continue to like this music or you see it

0:53:21.880 --> 0:53:26.160
<v Speaker 1>as a business opportunity. Oh? No, if I didn't like something,

0:53:26.239 --> 0:53:30.680
<v Speaker 1>I wouldn't sign it. I don't, you know. Um. The

0:53:30.800 --> 0:53:34.480
<v Speaker 1>thing is, I was overdroid. New York when I was

0:53:34.560 --> 0:53:40.400
<v Speaker 1>a kid was ground zero. Then you have Motown Detroit,

0:53:41.000 --> 0:53:45.760
<v Speaker 1>Then you have um, you know, l A becoming really

0:53:46.040 --> 0:53:51.440
<v Speaker 1>really hot, um, Memphis, you know, and and all these

0:53:51.480 --> 0:53:56.120
<v Speaker 1>other places, and then the final blow the Beatles and

0:53:56.239 --> 0:53:59.840
<v Speaker 1>all the English stuff. So New York was quite diminished

0:53:59.840 --> 0:54:03.000
<v Speaker 1>by all of that. No, I was very very pleased

0:54:03.560 --> 0:54:09.040
<v Speaker 1>to see New York being back, you know, in the groove. Okay,

0:54:09.120 --> 0:54:12.080
<v Speaker 1>let's just jump all the way forward today in terms

0:54:12.120 --> 0:54:15.200
<v Speaker 1>of today's hit music, chart music. Since you just said

0:54:15.239 --> 0:54:17.239
<v Speaker 1>at some point you don't get it? Do you get

0:54:17.280 --> 0:54:23.080
<v Speaker 1>today's hit music? Uh? To be honest, not as much.

0:54:23.360 --> 0:54:27.279
<v Speaker 1>You know, I you know, I can. I can still

0:54:27.640 --> 0:54:33.200
<v Speaker 1>hear a great band, you know. Um, but you know

0:54:33.600 --> 0:54:41.319
<v Speaker 1>I feel that, you know, I don't think I'm quite

0:54:41.800 --> 0:54:45.440
<v Speaker 1>you know, as as as up on things as as

0:54:45.520 --> 0:54:48.680
<v Speaker 1>I was back then. To be perfectly honest. But if

0:54:48.719 --> 0:54:52.120
<v Speaker 1>I played you the Top fifty, which were great degree

0:54:52.160 --> 0:54:56.560
<v Speaker 1>as hip hop influenced? Or is hip hop Drake and

0:54:56.719 --> 0:55:00.520
<v Speaker 1>Kanye Uh, I like some of it very much, but

0:55:01.160 --> 0:55:04.680
<v Speaker 1>it's you know, and I was. I was the first

0:55:04.760 --> 0:55:09.440
<v Speaker 1>person at one Is to get into rap music. I

0:55:09.560 --> 0:55:13.359
<v Speaker 1>signed the Ice T and uh that's an interesting story too.

0:55:13.960 --> 0:55:18.279
<v Speaker 1>But um, but I'm not that up on it, you know,

0:55:18.680 --> 0:55:23.279
<v Speaker 1>And I think that you know, there are so many

0:55:23.320 --> 0:55:27.560
<v Speaker 1>other labels that are so good at it that you know,

0:55:29.320 --> 0:55:33.360
<v Speaker 1>why would they come to me? Okay, let's go also

0:55:33.440 --> 0:55:35.480
<v Speaker 1>to the other side of the fence. If you are

0:55:35.560 --> 0:55:38.840
<v Speaker 1>an act, what are you looking for when you do

0:55:39.040 --> 0:55:41.279
<v Speaker 1>sign an act? This is where your whole career as

0:55:41.320 --> 0:55:45.840
<v Speaker 1>opposed to songs. Yes, so to what degree is it

0:55:45.880 --> 0:55:49.680
<v Speaker 1>important to person to be able to perform them live? Uh?

0:55:50.280 --> 0:55:54.200
<v Speaker 1>Eventually it's very important. I mean, but some of these bands.

0:55:54.520 --> 0:56:00.080
<v Speaker 1>Look the bands that I have signed over the years. Know,

0:56:00.360 --> 0:56:05.680
<v Speaker 1>I very seldom signed a band that was established. Yes,

0:56:05.840 --> 0:56:08.520
<v Speaker 1>I made I brought lou Reid back, you know, I

0:56:08.640 --> 0:56:12.239
<v Speaker 1>made records with Jerry Lee Lewis and things like that.

0:56:12.520 --> 0:56:18.200
<v Speaker 1>But um, you know, but the thing is that most

0:56:18.280 --> 0:56:24.440
<v Speaker 1>of my artists, you know, all the overwhelming you know

0:56:25.120 --> 0:56:28.640
<v Speaker 1>with brand new bands and brand new artists and um

0:56:29.640 --> 0:56:35.000
<v Speaker 1>you know uh so, I mean it's what I listened

0:56:35.040 --> 0:56:40.320
<v Speaker 1>to with the songs. Um, musicianship can always improve. I

0:56:40.400 --> 0:56:45.400
<v Speaker 1>mean in some cases the musicianship at the beginning was excellent,

0:56:45.520 --> 0:56:50.200
<v Speaker 1>like with the Smiths Wow. Uh. Like with the Pretenders

0:56:51.080 --> 0:56:55.360
<v Speaker 1>wow you know uh with the Peesh Mode it was

0:56:55.960 --> 0:56:58.600
<v Speaker 1>I wouldn't go wow wow wow. But it was so

0:56:58.760 --> 0:57:02.040
<v Speaker 1>much better than all the other English bands at that

0:57:02.280 --> 0:57:05.160
<v Speaker 1>time that you know I had looked at. I mean,

0:57:06.160 --> 0:57:09.279
<v Speaker 1>these these were you know that there were so much better.

0:57:09.880 --> 0:57:13.640
<v Speaker 1>But the song is is the most. Do you think

0:57:13.680 --> 0:57:17.080
<v Speaker 1>your ability to pick hits is based on an innate

0:57:17.160 --> 0:57:23.440
<v Speaker 1>ability or experience? I never thought about it. I mean

0:57:24.640 --> 0:57:27.160
<v Speaker 1>it's just I think I have a good year for songs.

0:57:27.800 --> 0:57:31.160
<v Speaker 1>That's what my ear is good for, you know, of course.

0:57:31.880 --> 0:57:35.360
<v Speaker 1>I mean when I heard Johnny Marr play I'm not

0:57:35.960 --> 0:57:38.680
<v Speaker 1>you know, I'm not deaf. I mean I knew. I said,

0:57:38.800 --> 0:57:41.680
<v Speaker 1>what an exceptional guitar player he is. You know, I

0:57:42.040 --> 0:57:45.400
<v Speaker 1>went there to see them and that's when I signed them.

0:57:45.960 --> 0:57:49.600
<v Speaker 1>I said, you know, you know, because Jeff Travis was

0:57:49.680 --> 0:57:54.640
<v Speaker 1>talking about how great you know, the band was and uh,

0:57:55.520 --> 0:58:00.640
<v Speaker 1>but you know, mostly about Marriscy, Marriscy, Marriscy. And I

0:58:00.760 --> 0:58:04.520
<v Speaker 1>said to him, look, there are two superstars in this band,

0:58:05.040 --> 0:58:10.440
<v Speaker 1>and we're lucky, very lucky. But you know, I can

0:58:10.520 --> 0:58:14.760
<v Speaker 1>recognize it. But what I look for is the material,

0:58:14.840 --> 0:58:17.760
<v Speaker 1>the songs. So in the since you've signed so many

0:58:17.800 --> 0:58:22.360
<v Speaker 1>acts from Square one to sign them, have you had

0:58:22.400 --> 0:58:28.680
<v Speaker 1>to compete with other labels? Very rarely? I mean, because

0:58:28.720 --> 0:58:32.040
<v Speaker 1>I get in so early, you know, and uh, I

0:58:32.160 --> 0:58:35.760
<v Speaker 1>couldn't compete. I never had the money, you know to compete,

0:58:35.840 --> 0:58:40.440
<v Speaker 1>even even during most of my days at one is okay.

0:58:40.480 --> 0:58:42.960
<v Speaker 1>So now this is a scene that's happening in New

0:58:43.040 --> 0:58:47.040
<v Speaker 1>York famously at cb GBS. You're saying, how could you

0:58:47.160 --> 0:58:50.120
<v Speaker 1>not know? But so everyone in the business knew that

0:58:50.120 --> 0:58:54.800
<v Speaker 1>because at first the scene was ignored. Well, um, yeah,

0:58:55.680 --> 0:58:59.600
<v Speaker 1>people had a bad impression of the ballery, you know.

0:59:00.000 --> 0:59:03.120
<v Speaker 1>I mean, yes, there are bums there, uh, sleeping in

0:59:03.200 --> 0:59:05.960
<v Speaker 1>the street. But they're sleeping in the street. You know,

0:59:06.120 --> 0:59:09.200
<v Speaker 1>it's not a dangerous area. But people didn't like to

0:59:09.280 --> 0:59:14.120
<v Speaker 1>go down to the barery. Now the houses there, you know,

0:59:14.720 --> 0:59:17.440
<v Speaker 1>in the hundreds of thousands, millions of dollars, you know.

0:59:18.080 --> 0:59:22.920
<v Speaker 1>But the thing is, you know, it didn't keep me away,

0:59:23.840 --> 0:59:27.520
<v Speaker 1>and uh, it didn't keep Danny Fields away. It didn't

0:59:27.640 --> 0:59:29.760
<v Speaker 1>you know, it didn't keep a lot of people away.

0:59:29.880 --> 0:59:33.560
<v Speaker 1>But okay, so you see the remotes, you immediately say, okay,

0:59:33.640 --> 0:59:36.240
<v Speaker 1>this is a band I want to sign. Oh well,

0:59:37.320 --> 0:59:40.400
<v Speaker 1>I didn't see them at CBS. I was sick and

0:59:40.480 --> 0:59:45.600
<v Speaker 1>I couldn't go. Linda went my wife with Danny Fields,

0:59:45.920 --> 0:59:51.080
<v Speaker 1>and Fields working for you. No, no, Danny Fields never

0:59:51.160 --> 0:59:54.160
<v Speaker 1>worked for me. But he became the manager with Linda

0:59:54.400 --> 0:59:59.000
<v Speaker 1>of the Mounds. But Linda came back raving. I was

0:59:59.080 --> 1:00:03.880
<v Speaker 1>still sick. It. I bundled up and you know, rented

1:00:03.960 --> 1:00:10.400
<v Speaker 1>a rehearsal studio where they played you know, maybe eighteen

1:00:10.520 --> 1:00:15.120
<v Speaker 1>songs and I say jokingly, eighteen songs in twenty two minutes.

1:00:15.600 --> 1:00:18.840
<v Speaker 1>But it wasn't quite like that. But I was. I

1:00:18.960 --> 1:00:21.720
<v Speaker 1>fell in love with them even, you know, And so

1:00:21.880 --> 1:00:24.960
<v Speaker 1>you said, I did the deal right there. They were

1:00:24.960 --> 1:00:28.000
<v Speaker 1>in the studio a few days later, and you know

1:00:29.200 --> 1:00:35.040
<v Speaker 1>the genius was Tommy. I wouldn't. I think they all contributed,

1:00:35.120 --> 1:00:37.440
<v Speaker 1>But whose vision was it? Because it was so different

1:00:37.520 --> 1:00:41.480
<v Speaker 1>from what was going on? Well, um, I think the

1:00:41.640 --> 1:00:48.280
<v Speaker 1>driving force was Johnny. Um. I think that Joey's voice

1:00:48.480 --> 1:00:53.440
<v Speaker 1>was amazing. Um, Deedy was also a good songwriter too,

1:00:53.640 --> 1:00:59.280
<v Speaker 1>you know. But Tommy was it was actually the original

1:00:59.360 --> 1:01:03.960
<v Speaker 1>manager and part of the band. He he was the

1:01:04.040 --> 1:01:07.840
<v Speaker 1>one mostly to do business with, although Johnny was very

1:01:07.920 --> 1:01:10.640
<v Speaker 1>smart too. I mean, I'm not trying to say the

1:01:10.720 --> 1:01:15.000
<v Speaker 1>other on swat but uh, but when it came to business,

1:01:15.640 --> 1:01:19.840
<v Speaker 1>you know, it was Tommy and Johnny and these were

1:01:20.080 --> 1:01:23.000
<v Speaker 1>very low sums involved. Were you paid them? And how

1:01:23.080 --> 1:01:25.880
<v Speaker 1>much time it took to record the record? Yes, and

1:01:26.760 --> 1:01:29.840
<v Speaker 1>the record comes out and people this is like springtime

1:01:29.880 --> 1:01:34.000
<v Speaker 1>for Hitler. They don't know whether it's a joke that's

1:01:34.040 --> 1:01:39.280
<v Speaker 1>in America. Yes. But when I brought them over to England,

1:01:40.360 --> 1:01:46.560
<v Speaker 1>you know, um, it was instrumental in getting other bands

1:01:46.720 --> 1:01:51.760
<v Speaker 1>to to go pro you know. So um but I

1:01:51.840 --> 1:01:55.040
<v Speaker 1>mean that that's how important it was on the continent

1:01:55.200 --> 1:02:00.440
<v Speaker 1>as well. In Brazil and and and Argentina. They did

1:02:00.640 --> 1:02:03.720
<v Speaker 1>very very well. They were playing big, big clubs and

1:02:04.320 --> 1:02:07.640
<v Speaker 1>big theaters in England and they had to come back

1:02:07.760 --> 1:02:10.960
<v Speaker 1>to you know, playing these dingy little clubs. It it

1:02:11.080 --> 1:02:13.360
<v Speaker 1>was heartbreaking for me and it must have been even

1:02:13.440 --> 1:02:16.840
<v Speaker 1>worse for them. Well, yeah, I just remember I thought

1:02:16.880 --> 1:02:18.280
<v Speaker 1>it was sort of a joke, and then I bought

1:02:18.320 --> 1:02:21.600
<v Speaker 1>the third album, Rocket to Russia with Rockaway Beach. I said,

1:02:21.640 --> 1:02:25.880
<v Speaker 1>this is genius. But but you see that when the

1:02:26.000 --> 1:02:33.560
<v Speaker 1>sex Pistols and uh the you know, uh um what

1:02:33.920 --> 1:02:37.160
<v Speaker 1>the Clash saw them, that's when they decided to go.

1:02:37.280 --> 1:02:40.040
<v Speaker 1>So it's like the Velvet Underground. Everybody heard them. They

1:02:40.080 --> 1:02:42.959
<v Speaker 1>didn't sell, but other people were influences. I don't know, great,

1:02:43.160 --> 1:02:47.920
<v Speaker 1>you know, right, So it's ironic because they really never

1:02:48.040 --> 1:02:51.760
<v Speaker 1>broke through until everybody was dead. It's it's very sad.

1:02:52.280 --> 1:02:58.439
<v Speaker 1>But but walked down the street of a busy city

1:02:58.800 --> 1:03:03.360
<v Speaker 1>you see more Ramos T shirts than anything else, you know.

1:03:03.680 --> 1:03:08.040
<v Speaker 1>I mean, and you know, so were you still involved

1:03:08.040 --> 1:03:09.920
<v Speaker 1>with and they were when they worked with Phil Specter.

1:03:10.360 --> 1:03:12.840
<v Speaker 1>Of course it was I put the whole thing together.

1:03:13.080 --> 1:03:19.240
<v Speaker 1>So Geniu's idea, the result, Yes, the result was not.

1:03:19.880 --> 1:03:23.000
<v Speaker 1>I think that was the end of the century, I believe. Well,

1:03:23.120 --> 1:03:27.080
<v Speaker 1>the thing is that Johnny was very much against working

1:03:27.160 --> 1:03:32.320
<v Speaker 1>with Phil Specter, and but Joey wanted it. It was

1:03:32.600 --> 1:03:36.840
<v Speaker 1>a lifetime ambition for him, and I got it to

1:03:36.960 --> 1:03:41.000
<v Speaker 1>work as best I could. You know and you know

1:03:41.320 --> 1:03:45.880
<v Speaker 1>so um you know, and uh, just just to make

1:03:45.960 --> 1:03:49.600
<v Speaker 1>sure I had a week before they came over, I

1:03:49.680 --> 1:03:52.960
<v Speaker 1>had the Pailey brothers go in with with Phil just

1:03:53.080 --> 1:03:56.560
<v Speaker 1>to make sure that Hill was you know, under control,

1:03:57.240 --> 1:03:59.880
<v Speaker 1>and he made ut a couple of tracks with them,

1:04:00.560 --> 1:04:06.160
<v Speaker 1>and you know, I I think that you didn't like

1:04:06.320 --> 1:04:10.800
<v Speaker 1>that record. I think as I say, my favorite is

1:04:11.040 --> 1:04:13.560
<v Speaker 1>the third and then the fourth. Road to Ruin is

1:04:13.640 --> 1:04:17.080
<v Speaker 1>my second favorite. And it became something where I bought

1:04:17.160 --> 1:04:19.960
<v Speaker 1>all those records. But this is a funny business. I

1:04:19.960 --> 1:04:22.440
<v Speaker 1>mean business changed again now where if you don't have

1:04:22.520 --> 1:04:24.960
<v Speaker 1>a hit by a certain point, it looks like you're

1:04:24.960 --> 1:04:28.600
<v Speaker 1>never gonna have a hit. So one always looks to

1:04:28.880 --> 1:04:31.600
<v Speaker 1>Phil spec Your one always listens to a Phil Spectra record,

1:04:31.680 --> 1:04:33.480
<v Speaker 1>but to be the one he did with Leonard Cohen

1:04:33.960 --> 1:04:35.520
<v Speaker 1>or the you know, the one he did the Ramons.

1:04:35.880 --> 1:04:39.600
<v Speaker 1>But once again, it seemed at a commercial aspect, somewhat

1:04:39.600 --> 1:04:41.920
<v Speaker 1>like a failed experiment, like this would be the thing

1:04:42.040 --> 1:04:44.120
<v Speaker 1>to break them through, and it didn't break them through.

1:04:44.360 --> 1:04:47.680
<v Speaker 1>So it's less about the record itself than the commercial potential.

1:04:48.400 --> 1:04:51.120
<v Speaker 1>Well you can't play that on Phil Spectr, No, I can't.

1:04:51.200 --> 1:04:52.960
<v Speaker 1>You can't blame it on the ramon. No, but I

1:04:53.000 --> 1:04:55.560
<v Speaker 1>ask ask you do you think Phil was still still

1:04:55.640 --> 1:05:00.920
<v Speaker 1>had his chops at that point? Um? Uh, you know,

1:05:01.800 --> 1:05:06.200
<v Speaker 1>I I think phils are you know, I really call

1:05:06.320 --> 1:05:10.760
<v Speaker 1>people geniuses. I think Phil Specter is a genius. Um

1:05:11.680 --> 1:05:16.480
<v Speaker 1>and you know it. I knew him very early on

1:05:18.480 --> 1:05:21.200
<v Speaker 1>when he you know, I met him very very early

1:05:21.280 --> 1:05:23.680
<v Speaker 1>on when he had a little tiny office in an

1:05:23.720 --> 1:05:28.960
<v Speaker 1>apartment building. And uh, I remained pretty close with him.

1:05:30.360 --> 1:05:36.280
<v Speaker 1>I'm sorry the way he's ended up. And but you know,

1:05:38.240 --> 1:05:43.640
<v Speaker 1>Phil Specter, liebern Stola, you know that, you know, and

1:05:43.840 --> 1:05:46.440
<v Speaker 1>some of the R and B producers that they're the

1:05:46.560 --> 1:05:49.600
<v Speaker 1>greatest producers you know ever in my eyes, you know.

1:05:50.600 --> 1:05:55.080
<v Speaker 1>So how do you sign the talking heads? Well, um,

1:05:56.120 --> 1:06:03.840
<v Speaker 1>I come home from England, exhausted, Linda's managing them, and uh,

1:06:04.800 --> 1:06:07.600
<v Speaker 1>I'm in the house five or ten minutes the phone rings,

1:06:07.720 --> 1:06:12.640
<v Speaker 1>but Linda's managing the remons, talking the ramones, and I

1:06:12.800 --> 1:06:16.240
<v Speaker 1>get a call from Johnny. So we got some new material.

1:06:16.480 --> 1:06:19.040
<v Speaker 1>You know, we want you to hear it, you know.

1:06:20.000 --> 1:06:22.640
<v Speaker 1>So I said, look, I said, you know, I just

1:06:22.800 --> 1:06:27.280
<v Speaker 1>got home and uh it was a Sunday, I remember, clearly,

1:06:27.920 --> 1:06:31.840
<v Speaker 1>I said, look, give me Monday to catch up and Tuesday,

1:06:32.680 --> 1:06:35.400
<v Speaker 1>come in any time you want and not played. He said,

1:06:35.440 --> 1:06:38.880
<v Speaker 1>oh no, we want you to hear it live, and

1:06:39.400 --> 1:06:42.680
<v Speaker 1>we know you're not doing anything Wednesday, so we booked

1:06:42.720 --> 1:06:47.480
<v Speaker 1>ourselves into CBGBs. I said, great, I'll come down and

1:06:47.560 --> 1:06:51.880
<v Speaker 1>see you. So immediately I called to check to find

1:06:51.960 --> 1:06:55.560
<v Speaker 1>out who was the opening act. It was the Shirts,

1:06:56.360 --> 1:07:00.120
<v Speaker 1>and wow, that brings it back. Well, I didn't want

1:07:00.120 --> 1:07:03.800
<v Speaker 1>to see them because I liked them, but not enough

1:07:03.920 --> 1:07:07.440
<v Speaker 1>to sign them. Ultimately, I believe in Capital and the

1:07:07.720 --> 1:07:10.320
<v Speaker 1>lead singer ended up being in the production of here,

1:07:10.400 --> 1:07:13.600
<v Speaker 1>and that's the last I've heard. Well, that wasn't the

1:07:13.720 --> 1:07:17.160
<v Speaker 1>reason I didn't, but Hilly was managing them, and I

1:07:17.320 --> 1:07:21.120
<v Speaker 1>love Hilly and I didn't want to disappoint him by

1:07:21.360 --> 1:07:26.520
<v Speaker 1>turning the Crystal who own CBGBs, and I didn't. I

1:07:26.640 --> 1:07:29.720
<v Speaker 1>didn't want to yet have to turn them down again.

1:07:30.400 --> 1:07:36.520
<v Speaker 1>So it was mid November. I get there early and

1:07:37.360 --> 1:07:42.040
<v Speaker 1>very early. Lenny k is outside, great guy, and We're

1:07:42.160 --> 1:07:45.040
<v Speaker 1>standing there waiting for the first band to go on,

1:07:45.480 --> 1:07:47.680
<v Speaker 1>and I'm expecting the Shirts to go on, and I

1:07:47.840 --> 1:07:51.400
<v Speaker 1>hear when my love stands next to you, all up,

1:07:51.880 --> 1:07:57.240
<v Speaker 1>I said, and actually I'm not exaggerating. The music was

1:07:57.320 --> 1:08:01.640
<v Speaker 1>so hypnotic. It was sucking me into the room and

1:08:02.080 --> 1:08:06.360
<v Speaker 1>Lenny was following me, and I said, Lenny, this isn't

1:08:06.400 --> 1:08:09.680
<v Speaker 1>the Shirts. What's going on here? He says, no, this

1:08:09.880 --> 1:08:12.880
<v Speaker 1>is the Talking Heads Hill. He got the shirts a

1:08:13.000 --> 1:08:17.200
<v Speaker 1>paying drop in Brooklyn, he said. And when I got

1:08:17.280 --> 1:08:21.200
<v Speaker 1>in there, I was mesmerized just through it was just

1:08:21.360 --> 1:08:26.960
<v Speaker 1>three piece. Then, oh god, it was. It took my

1:08:27.080 --> 1:08:30.080
<v Speaker 1>breath away. It was so incredible, one of the greatest

1:08:30.200 --> 1:08:35.120
<v Speaker 1>experiences of my life. When they were over, I tried,

1:08:35.240 --> 1:08:38.000
<v Speaker 1>they had no crew or nothing. I tried to help

1:08:38.080 --> 1:08:43.599
<v Speaker 1>Tina down, you know, with you know, and David comes

1:08:43.680 --> 1:08:46.559
<v Speaker 1>over to me. He said, we know who you are,

1:08:47.479 --> 1:08:51.679
<v Speaker 1>you know like and he hands me a card. He says,

1:08:52.280 --> 1:08:54.240
<v Speaker 1>this is a loft if you want to come and

1:08:54.320 --> 1:08:57.559
<v Speaker 1>see us some time tomorrow. And boy did I want

1:08:57.600 --> 1:09:00.600
<v Speaker 1>to see them. And I went over there and I

1:09:00.760 --> 1:09:04.800
<v Speaker 1>offered them a deal. And you know, they were busy

1:09:05.280 --> 1:09:08.840
<v Speaker 1>with video, you know, and they were busy going back

1:09:08.880 --> 1:09:11.400
<v Speaker 1>and forth to Providence, you know, where they had gone

1:09:11.439 --> 1:09:16.280
<v Speaker 1>to school and other things. And I there were seven

1:09:16.439 --> 1:09:20.759
<v Speaker 1>major labels at the time, and I was sure somebody

1:09:21.160 --> 1:09:24.800
<v Speaker 1>would offer them something and they would just blow me

1:09:24.920 --> 1:09:30.439
<v Speaker 1>out of the of contention. Eleven and a half months later,

1:09:30.680 --> 1:09:36.600
<v Speaker 1>on November one, I signed them, And what what sleepless

1:09:36.800 --> 1:09:39.360
<v Speaker 1>nights I had? I'm you know, I don't I don't

1:09:39.400 --> 1:09:41.760
<v Speaker 1>know how Linda put up with me during that talk.

1:09:42.520 --> 1:09:47.280
<v Speaker 1>You know, I was, you know, biting my nails and everything.

1:09:47.920 --> 1:09:52.160
<v Speaker 1>I loved the Talking Heads so much, and uh, you

1:09:52.240 --> 1:09:55.920
<v Speaker 1>know all of them, you know, I mean David that,

1:09:56.760 --> 1:10:00.760
<v Speaker 1>you know, Chris and Tina, I mean Jerry, mean just

1:10:01.160 --> 1:10:07.200
<v Speaker 1>who joined? But what a great band? Do you finally

1:10:07.280 --> 1:10:09.760
<v Speaker 1>close them? After eleve and a half months, Oh, they

1:10:09.840 --> 1:10:12.880
<v Speaker 1>called me, they said, we're ready to sign. So the

1:10:12.920 --> 1:10:16.040
<v Speaker 1>first record comes out, Talking at seventy seven, gets a

1:10:16.080 --> 1:10:19.240
<v Speaker 1>lot of press, scot Psycho Killer doesn't really hit. Then

1:10:19.360 --> 1:10:27.840
<v Speaker 1>they change production teams. Can you tell us about that? Uh? God, well,

1:10:27.880 --> 1:10:30.960
<v Speaker 1>they always had choice of their producers, you know, right,

1:10:31.000 --> 1:10:33.360
<v Speaker 1>But if this was before you know, I don't believe

1:10:33.400 --> 1:10:36.120
<v Speaker 1>it had a success as a producer before he did. There,

1:10:36.400 --> 1:10:41.120
<v Speaker 1>David got to know you know, very well, and you

1:10:41.200 --> 1:10:47.519
<v Speaker 1>know so um and did fit the budget, you know,

1:10:47.760 --> 1:10:51.160
<v Speaker 1>and uh, you know, it was a little more than

1:10:51.600 --> 1:10:56.839
<v Speaker 1>a usual sigh record at that time. But I believed

1:10:56.960 --> 1:10:59.800
<v Speaker 1>so much in them, and uh, you know, I let

1:10:59.840 --> 1:11:02.160
<v Speaker 1>it rip, you know, and you can you tell us

1:11:02.160 --> 1:11:03.920
<v Speaker 1>the story how they did take Me to the River,

1:11:04.160 --> 1:11:07.840
<v Speaker 1>which really was the breakthrough track on that album. Well,

1:11:07.920 --> 1:11:09.880
<v Speaker 1>I wasn't there when they did, okay, so that was

1:11:09.960 --> 1:11:12.439
<v Speaker 1>their choice. Oh yes, And when you heard the record,

1:11:12.479 --> 1:11:14.960
<v Speaker 1>you go, I loved I loved the song before, you know,

1:11:15.880 --> 1:11:18.000
<v Speaker 1>and they told me they were going to do it,

1:11:18.040 --> 1:11:20.479
<v Speaker 1>and I I thought it was a great song to do.

1:11:21.360 --> 1:11:25.280
<v Speaker 1>But if they had picked something else, unless I thought

1:11:25.320 --> 1:11:29.040
<v Speaker 1>it was, you know, really terrible, I might have said something. No,

1:11:29.200 --> 1:11:31.160
<v Speaker 1>take Me to the River is a great song. And

1:11:31.240 --> 1:11:33.680
<v Speaker 1>they did a great job. So there are any other

1:11:33.840 --> 1:11:36.000
<v Speaker 1>bands that you tried to get from that? Erather? You

1:11:36.040 --> 1:11:42.240
<v Speaker 1>couldn't sig him? Yeah? That was some Did they succeed that?

1:11:42.600 --> 1:11:46.439
<v Speaker 1>What did they ultimately succeed with other people? Um? Well,

1:11:48.320 --> 1:11:52.639
<v Speaker 1>one man, I really liked a lot at from that period.

1:11:52.760 --> 1:11:56.400
<v Speaker 1>I just will talk about that period. I really like television.

1:11:57.240 --> 1:12:02.880
<v Speaker 1>But you know, I don't think Tom Valane and I

1:12:03.080 --> 1:12:05.840
<v Speaker 1>hit it off and you know that that well, but

1:12:07.560 --> 1:12:11.040
<v Speaker 1>you know, uh, and you know he signed to Electra

1:12:11.800 --> 1:12:17.160
<v Speaker 1>and you know, I was hoping it would be a

1:12:17.280 --> 1:12:19.840
<v Speaker 1>big success. Karen Berg brought them in, who was a

1:12:19.920 --> 1:12:25.160
<v Speaker 1>great a and all women and you know, so um,

1:12:26.120 --> 1:12:31.519
<v Speaker 1>but it really didn't happen that it didn't. I I

1:12:31.680 --> 1:12:35.880
<v Speaker 1>love television, you know. First albums, second album not as

1:12:35.880 --> 1:12:38.080
<v Speaker 1>good as one track I like. But then the band

1:12:38.120 --> 1:12:40.960
<v Speaker 1>broke up. Okay, meanwhile, you're flying to England and your

1:12:41.000 --> 1:12:43.840
<v Speaker 1>signing acts. Yes, so what acts are you signing at

1:12:43.920 --> 1:12:51.120
<v Speaker 1>this time? The Cure, the Cult, Depeche Mode, um, you know, um,

1:12:53.080 --> 1:12:58.200
<v Speaker 1>the Smiths eventually, um, you know, lots lots and lots

1:12:58.280 --> 1:13:02.120
<v Speaker 1>of games. So the bands that have UK deals and

1:13:02.200 --> 1:13:05.639
<v Speaker 1>the American rights are up for ground. Yes in some cases.

1:13:05.760 --> 1:13:08.800
<v Speaker 1>Now would that go when the money men? I was

1:13:08.920 --> 1:13:12.639
<v Speaker 1>able to get them for the world and uh I um,

1:13:13.439 --> 1:13:16.960
<v Speaker 1>but I had a little trouble signing them. But in

1:13:17.439 --> 1:13:20.920
<v Speaker 1>the end I got Rob Dickens to start a label.

1:13:21.439 --> 1:13:23.960
<v Speaker 1>This was Warner wouldn't give you any more money. Yeah,

1:13:24.280 --> 1:13:27.920
<v Speaker 1>but he said, look, your your your your your money.

1:13:28.360 --> 1:13:31.439
<v Speaker 1>You're not do any more signing money for the next

1:13:32.240 --> 1:13:35.880
<v Speaker 1>three or four months. You'll have to wait. I said, wait,

1:13:36.439 --> 1:13:39.720
<v Speaker 1>they'll be gone. They could be gone tomorrow. They're that good.

1:13:40.640 --> 1:13:44.719
<v Speaker 1>So I, you know, I went home. I was really sad.

1:13:45.680 --> 1:13:51.320
<v Speaker 1>And the brightest star at Warner Brothers in those days

1:13:52.360 --> 1:13:56.120
<v Speaker 1>was Rob Dickens, but he wasn't in the record side

1:13:56.160 --> 1:13:58.920
<v Speaker 1>of things, but he had the best ear is he

1:13:59.400 --> 1:14:04.840
<v Speaker 1>unbelieved bo I said, Rob, I want you to listen

1:14:04.920 --> 1:14:08.240
<v Speaker 1>to this band I want to sign and he loved

1:14:08.280 --> 1:14:10.639
<v Speaker 1>them as much as I did. I had some music

1:14:10.720 --> 1:14:14.160
<v Speaker 1>of theirs. He said, I think you should sign him.

1:14:14.200 --> 1:14:17.040
<v Speaker 1>I said, look, why don't we do it together. I'll

1:14:17.080 --> 1:14:20.240
<v Speaker 1>tell you the truth, you know, I said, one is uh,

1:14:20.400 --> 1:14:22.080
<v Speaker 1>I don't want to give me any money for a

1:14:22.200 --> 1:14:25.240
<v Speaker 1>few months. I said, why don't we start a label.

1:14:26.160 --> 1:14:30.080
<v Speaker 1>He said, oh, that would be fabulous, and he said,

1:14:30.080 --> 1:14:32.640
<v Speaker 1>I'd love to do it with you. I said, I

1:14:33.120 --> 1:14:35.960
<v Speaker 1>always thought you you know, you're a great publisher, but

1:14:36.160 --> 1:14:39.799
<v Speaker 1>I think you'd be an even greater record man. Basically

1:14:39.880 --> 1:14:42.760
<v Speaker 1>just looking for the money. Why don't you're really just looking? No,

1:14:44.360 --> 1:14:49.479
<v Speaker 1>I was looking to look, you know. By this time,

1:14:49.520 --> 1:14:53.479
<v Speaker 1>I was doing it pretty much all myself. And I

1:14:53.560 --> 1:14:59.440
<v Speaker 1>mean I recognized Robert as being an extraordinary talent, incredible.

1:14:59.520 --> 1:15:02.320
<v Speaker 1>His whole family. His brother is one of the top

1:15:02.600 --> 1:15:07.479
<v Speaker 1>you know book engagents. His nephew managers Adele. His father

1:15:07.680 --> 1:15:10.320
<v Speaker 1>was one of the founders of the New Musical Express.

1:15:10.520 --> 1:15:14.000
<v Speaker 1>I mean, this is a great musical family, you know,

1:15:14.360 --> 1:15:21.479
<v Speaker 1>and uh and Rob's the star. So um. But so

1:15:22.120 --> 1:15:25.479
<v Speaker 1>we did it, I said, Rob. I'm so happy, I said.

1:15:25.520 --> 1:15:27.800
<v Speaker 1>And I was really tired, you know, because I was

1:15:27.920 --> 1:15:31.760
<v Speaker 1>losing sleepover you know somebody. So and and we did,

1:15:32.040 --> 1:15:34.000
<v Speaker 1>you know, we're going to do the deal. And I

1:15:34.080 --> 1:15:37.320
<v Speaker 1>knew they would accept it. May probably love Rob, you know,

1:15:37.400 --> 1:15:42.000
<v Speaker 1>because he's so good. And uh, so I said, Rob,

1:15:42.240 --> 1:15:44.760
<v Speaker 1>I'll see you. He said, what do you mean see me?

1:15:45.520 --> 1:15:47.240
<v Speaker 1>He said, we have to come up with a name

1:15:47.360 --> 1:15:50.880
<v Speaker 1>for the label. I said, Rob, you know, I've got Sire,

1:15:51.040 --> 1:15:53.639
<v Speaker 1>I've got Blue Horizon, I've got I've had a couple

1:15:53.720 --> 1:15:56.880
<v Speaker 1>other little labels at the time, so nothing of a

1:15:57.000 --> 1:16:00.880
<v Speaker 1>great note. But so I said, up, you'll pick it

1:16:01.000 --> 1:16:04.560
<v Speaker 1>whatever you want. He said no, he said, there's a partnership.

1:16:04.640 --> 1:16:07.360
<v Speaker 1>Will do it together. And we sat there and I

1:16:07.520 --> 1:16:12.040
<v Speaker 1>was getting dizzier and dizzy, you know, and dizzy, and

1:16:12.320 --> 1:16:17.160
<v Speaker 1>he was his favorite movie was A Clockwork Orange and uh.

1:16:17.600 --> 1:16:22.280
<v Speaker 1>He had the poster there big and I'm started reading

1:16:22.360 --> 1:16:27.080
<v Speaker 1>the poster and I see the word Carova, I said, Carova.

1:16:27.840 --> 1:16:30.800
<v Speaker 1>He's I said, that's what we should call the label Corova.

1:16:31.400 --> 1:16:33.720
<v Speaker 1>You know. He said, way did you get that from?

1:16:33.760 --> 1:16:37.439
<v Speaker 1>I said, from your poster? So he said, great, you know,

1:16:37.680 --> 1:16:44.880
<v Speaker 1>And that's that's how that all happened. We'll pause here

1:16:44.880 --> 1:16:46.640
<v Speaker 1>for a brief moment and get right back to my

1:16:46.760 --> 1:16:53.920
<v Speaker 1>conversation with Seymour Stunt. For those not in the know,

1:16:54.640 --> 1:16:57.400
<v Speaker 1>I'm primarily a writer, and you can sign up from

1:16:57.439 --> 1:16:59.519
<v Speaker 1>my newsletter at left sets dot com or read it

1:16:59.600 --> 1:17:01.800
<v Speaker 1>on the dog if that's too much for you, in

1:17:01.880 --> 1:17:04.560
<v Speaker 1>addition to following my commentary on music tech in the

1:17:04.600 --> 1:17:06.760
<v Speaker 1>world at large. They'll be the first to find out

1:17:06.760 --> 1:17:09.160
<v Speaker 1>when we've published a new episode of the podcast. Go

1:17:09.280 --> 1:17:11.599
<v Speaker 1>to left sets dot com and sign him for the newsletter.

1:17:11.840 --> 1:17:14.320
<v Speaker 1>I know you'll enjoy it. Now more with rock and

1:17:14.439 --> 1:17:20.800
<v Speaker 1>Roll Hall of Famer legendary music executive Seymour Star. Now,

1:17:21.080 --> 1:17:23.920
<v Speaker 1>did you sign Depeche Mode with did they just can't

1:17:23.960 --> 1:17:28.120
<v Speaker 1>get enough? Come on, sire? You came after that when

1:17:28.200 --> 1:17:30.920
<v Speaker 1>the guy left the band and started I had. I

1:17:31.080 --> 1:17:33.599
<v Speaker 1>had depeche Mode from the very I was at their

1:17:33.760 --> 1:17:39.040
<v Speaker 1>very first gig. Uh. The thing is, I was a

1:17:39.120 --> 1:17:41.559
<v Speaker 1>big fan of Daniel Miller, who I had put out

1:17:41.640 --> 1:17:44.479
<v Speaker 1>two of his records that he was the artist, and

1:17:44.640 --> 1:17:48.599
<v Speaker 1>I woke up one morning early, thank god, I woke

1:17:48.720 --> 1:17:51.600
<v Speaker 1>up early, like six o'clock in the morning, and the

1:17:51.680 --> 1:17:56.120
<v Speaker 1>anemy or melody maker it was Daniel Miller signs real

1:17:56.280 --> 1:18:01.640
<v Speaker 1>band to Mute and Depeche Mode, you know, and then

1:18:01.800 --> 1:18:06.920
<v Speaker 1>I read the horrible part that they're playing their first

1:18:07.080 --> 1:18:10.720
<v Speaker 1>ever gig, you know, in Basildon. And it was that

1:18:10.960 --> 1:18:16.160
<v Speaker 1>that day. So I called up that, you know, British Airways.

1:18:16.920 --> 1:18:20.559
<v Speaker 1>I said, uh, you got room on you on your

1:18:20.640 --> 1:18:24.960
<v Speaker 1>Concorde flight at eleven you know, the said yeah. I

1:18:25.000 --> 1:18:30.840
<v Speaker 1>said how much is it? Eight thousand dollars? So, you know,

1:18:31.400 --> 1:18:34.280
<v Speaker 1>I ran out to the airport. You know, by this

1:18:34.439 --> 1:18:37.120
<v Speaker 1>time I already had an apartment. I don't think I

1:18:37.240 --> 1:18:40.240
<v Speaker 1>even packed anything I was inside, but I had an

1:18:40.280 --> 1:18:44.720
<v Speaker 1>apartment in London by then. And uh I had an

1:18:44.760 --> 1:18:49.000
<v Speaker 1>assistant there who picked me up, Paul McNally, and we

1:18:49.160 --> 1:18:53.000
<v Speaker 1>drove up to Basildon. I was what shape I was in.

1:18:53.640 --> 1:18:58.640
<v Speaker 1>But they were great and unlike a lot of the

1:18:58.680 --> 1:19:04.120
<v Speaker 1>other bands of that era, you know, they could really play,

1:19:04.560 --> 1:19:08.800
<v Speaker 1>I mean, and uh so it was great songs, which

1:19:08.880 --> 1:19:12.800
<v Speaker 1>some of the other bands had too. But you know,

1:19:13.320 --> 1:19:16.920
<v Speaker 1>but with them. They had great musicianship, they were ready

1:19:17.080 --> 1:19:22.040
<v Speaker 1>a great you know, lead singer. Then the latest you

1:19:22.120 --> 1:19:25.479
<v Speaker 1>know that the band just continued to flourish, you know.

1:19:25.680 --> 1:19:29.519
<v Speaker 1>And then I also had you know there the other band,

1:19:29.600 --> 1:19:34.560
<v Speaker 1>this breakaway bands you know like Yeazoo and uh so

1:19:35.040 --> 1:19:38.599
<v Speaker 1>um that was unsired too. Yes, yes, all all their

1:19:38.880 --> 1:19:41.280
<v Speaker 1>musical I saw Alison and hung with her when she

1:19:41.360 --> 1:19:43.880
<v Speaker 1>was playing in l A Last Fall still has the

1:19:43.960 --> 1:19:50.559
<v Speaker 1>pipes putting. I saw Alison. Yeah she's great, Yeah, really fantastic. Okay,

1:19:50.920 --> 1:19:55.840
<v Speaker 1>So that ultimately brings us to Madonna. So tell us

1:19:55.880 --> 1:19:57.960
<v Speaker 1>that it's been told before, but we're here. Tell us

1:19:57.960 --> 1:20:03.720
<v Speaker 1>the story of signing Madonna. Um Mark Cayman's was a

1:20:04.320 --> 1:20:08.160
<v Speaker 1>very talented young man and I got to know him

1:20:08.920 --> 1:20:13.240
<v Speaker 1>and uh, you know, uh, you know, I think he

1:20:13.320 --> 1:20:15.839
<v Speaker 1>may have done a little work for us. I don't remember,

1:20:16.120 --> 1:20:19.920
<v Speaker 1>but he said, look, Seymour, I want to produce one

1:20:19.960 --> 1:20:23.719
<v Speaker 1>of your bands. I said, never. That will never happen

1:20:24.160 --> 1:20:27.640
<v Speaker 1>unless you go to the band and they want you

1:20:27.720 --> 1:20:31.240
<v Speaker 1>as a producer. They picked their producers. I don't pick them,

1:20:32.000 --> 1:20:34.200
<v Speaker 1>I said, but I'll tell you what I'll do because

1:20:34.360 --> 1:20:38.320
<v Speaker 1>I gotta you know, you got it. I'll give you

1:20:38.520 --> 1:20:44.240
<v Speaker 1>eighteen thousand dollars, three thousand dollars each to make six records,

1:20:44.920 --> 1:20:49.439
<v Speaker 1>you know, over the next year, and hopefully we'll find

1:20:49.600 --> 1:20:55.200
<v Speaker 1>something one or two you know things. And you know Madonna.

1:20:56.280 --> 1:20:59.160
<v Speaker 1>It was either the third or fourth. The other the

1:20:59.240 --> 1:21:02.599
<v Speaker 1>others never brought me anything bad, but nothing good enough.

1:21:03.240 --> 1:21:10.200
<v Speaker 1>He brought me Madonna. And this was what Lucky Star. No, no, God,

1:21:10.640 --> 1:21:14.240
<v Speaker 1>now you made me forget everybody. Everybody. Everybody, no, no, everybody,

1:21:14.479 --> 1:21:17.959
<v Speaker 1>not Lucky Star, no everybody. So he brought me everybody,

1:21:18.160 --> 1:21:21.920
<v Speaker 1>just a demo. I was in the hospital. I was

1:21:22.000 --> 1:21:24.880
<v Speaker 1>hooked up to all the I had a thing called

1:21:25.000 --> 1:21:29.680
<v Speaker 1>sub acute endocarditis and the only cure for it then

1:21:29.720 --> 1:21:33.880
<v Speaker 1>I hope it's not the same today. Was four weeks

1:21:34.320 --> 1:21:40.519
<v Speaker 1>on antibiotics in the hospital. So h you know. So

1:21:41.240 --> 1:21:45.679
<v Speaker 1>um I heard the record and I said, oh my god,

1:21:46.640 --> 1:21:49.519
<v Speaker 1>I think she's really got it, you know. I said, look,

1:21:49.560 --> 1:21:51.760
<v Speaker 1>I'm gonna be in the hospital for another two and

1:21:51.840 --> 1:21:56.479
<v Speaker 1>a half weeks. You should bring her here, and I'd

1:21:56.520 --> 1:21:58.799
<v Speaker 1>like to get the deal done as soon as possible.

1:21:59.600 --> 1:22:03.639
<v Speaker 1>So five o'clock he calls me up. We're coming tonight

1:22:03.680 --> 1:22:06.639
<v Speaker 1>at eight o'clock, she wants to see you. So I said,

1:22:06.680 --> 1:22:10.439
<v Speaker 1>oh my god, I hadn't shaved. I hadn't showered. God

1:22:10.560 --> 1:22:13.320
<v Speaker 1>knows what I smelled like and everything. But I got

1:22:13.400 --> 1:22:16.120
<v Speaker 1>somebody to cut my hair and shave me. I got

1:22:16.200 --> 1:22:18.559
<v Speaker 1>them to unhooked me so I could take a shower.

1:22:19.080 --> 1:22:23.240
<v Speaker 1>I got new bathrobe and everything and everything. When she

1:22:23.400 --> 1:22:26.640
<v Speaker 1>walked in, I could tell she didn't care, you know,

1:22:27.080 --> 1:22:32.559
<v Speaker 1>what I looked like or anything. She just wanted a shot.

1:22:33.520 --> 1:22:37.320
<v Speaker 1>And I admired that so much, you know, and uh,

1:22:37.840 --> 1:22:43.200
<v Speaker 1>I said, look, you know, I really do this. On

1:22:43.360 --> 1:22:46.360
<v Speaker 1>one song, I said, look, I want to make a

1:22:46.479 --> 1:22:48.960
<v Speaker 1>deal with you, and I want to make you deal

1:22:50.160 --> 1:22:53.240
<v Speaker 1>you know that would give you what I think is

1:22:54.640 --> 1:23:00.240
<v Speaker 1>quite a term to really break open. I said, why

1:23:00.280 --> 1:23:06.439
<v Speaker 1>don't we do three firm twelve inch record singles? I said,

1:23:06.800 --> 1:23:11.800
<v Speaker 1>and because that's how I imagined everybody, And uh, you know,

1:23:12.520 --> 1:23:15.200
<v Speaker 1>and then an option to pick up a long term

1:23:15.320 --> 1:23:19.160
<v Speaker 1>contract for albums. She said, great, you know, and all that,

1:23:19.360 --> 1:23:22.720
<v Speaker 1>and you know and and and all of that, and

1:23:24.400 --> 1:23:28.160
<v Speaker 1>you know that that was it, you know, But I

1:23:28.400 --> 1:23:35.400
<v Speaker 1>I saw something in her, a real, real determination, you know. Um,

1:23:36.800 --> 1:23:39.400
<v Speaker 1>you know, I you know, I saw that in a

1:23:39.479 --> 1:23:42.639
<v Speaker 1>lot of women. I mean Chrissy Hind. The first time

1:23:42.720 --> 1:23:46.120
<v Speaker 1>I saw her, you know, I wanted to sign them

1:23:46.240 --> 1:23:48.599
<v Speaker 1>right in the club. I signed them the next day.

1:23:48.800 --> 1:23:52.040
<v Speaker 1>You know. Now with Chrissy Hind, did she have a

1:23:52.120 --> 1:23:54.880
<v Speaker 1>deal in the rest of the world. No, I signed

1:23:54.960 --> 1:23:57.599
<v Speaker 1>up for the world that pretended. So you're saying, Okay,

1:23:57.640 --> 1:24:00.519
<v Speaker 1>you're talking about other women who you felt something with. Yeah,

1:24:00.600 --> 1:24:04.280
<v Speaker 1>she is. She is dynamic, you know. I mean not

1:24:04.400 --> 1:24:09.040
<v Speaker 1>that the men weren't, but but she was incredible, you know.

1:24:09.439 --> 1:24:17.320
<v Speaker 1>And you know, but you know so uh, I don't

1:24:17.320 --> 1:24:19.880
<v Speaker 1>know where were we know. I'm just saying you were

1:24:19.920 --> 1:24:25.160
<v Speaker 1>mentioning other women that you saw me. D well k D.

1:24:25.320 --> 1:24:30.360
<v Speaker 1>Another story I had Katie Katie Lang. Yeah, so m

1:24:31.360 --> 1:24:35.519
<v Speaker 1>somebody sent me a record U of hers, you know,

1:24:36.040 --> 1:24:39.200
<v Speaker 1>because they knew I like country music. Uh, you know,

1:24:39.880 --> 1:24:43.200
<v Speaker 1>a manager and what not. Her manager seem what, You're

1:24:43.200 --> 1:24:47.760
<v Speaker 1>gonna love this record, and I did, and I loved

1:24:47.840 --> 1:24:51.519
<v Speaker 1>it so much. I called her and she said, I'm

1:24:51.560 --> 1:24:56.559
<v Speaker 1>playing this weekend, you know, and I said, well, I'll

1:24:56.600 --> 1:24:59.280
<v Speaker 1>come up and see you. So I flew up to

1:24:59.439 --> 1:25:03.479
<v Speaker 1>Albert uh and saw her perform. She took me to

1:25:03.600 --> 1:25:07.120
<v Speaker 1>the rodeo and uh, you know, and uh, we had

1:25:07.160 --> 1:25:10.640
<v Speaker 1>a great time with her and came back you know

1:25:11.120 --> 1:25:16.040
<v Speaker 1>with the deal. She was unbelievable. She is unbelievable. I mean,

1:25:17.560 --> 1:25:22.679
<v Speaker 1>she's just a great, great singer. So going back to MacDonald,

1:25:22.720 --> 1:25:26.600
<v Speaker 1>the first record ultimately hits first album and you have Borderline,

1:25:26.640 --> 1:25:28.479
<v Speaker 1>you have Lucky starting out comes time to do the

1:25:28.600 --> 1:25:31.680
<v Speaker 1>second record? Yes, how he ends on? Are you at

1:25:31.760 --> 1:25:35.400
<v Speaker 1>that point? Well, I let her pick the producer, you know.

1:25:35.800 --> 1:25:40.080
<v Speaker 1>I mean by that time, you know, I think Freddie

1:25:40.160 --> 1:25:44.280
<v Speaker 1>was involved already. I think the man was involved. And

1:25:44.720 --> 1:25:48.280
<v Speaker 1>uh you know, okay, well the second album you get

1:25:48.360 --> 1:25:51.519
<v Speaker 1>it and they make the videos and it's like a

1:25:51.680 --> 1:25:55.479
<v Speaker 1>virgin and material. Girl. Do you see this is going

1:25:55.520 --> 1:25:58.240
<v Speaker 1>to be the biggest thing in the world. I did, Yes,

1:26:00.080 --> 1:26:02.560
<v Speaker 1>at that point. To what degree do you have a

1:26:02.600 --> 1:26:05.720
<v Speaker 1>continuing relationship with her? Does she pushed you aside? No, No,

1:26:06.840 --> 1:26:08.720
<v Speaker 1>she didn't push me, as I had a long term

1:26:08.840 --> 1:26:15.559
<v Speaker 1>contract with um. You know, but by that time, I mean,

1:26:15.640 --> 1:26:18.320
<v Speaker 1>I left it in my hands. It was and to

1:26:18.439 --> 1:26:22.240
<v Speaker 1>be honest, the better in my hands. Um, you know,

1:26:22.680 --> 1:26:29.360
<v Speaker 1>I mean, she's one of a kind, you know. Okay,

1:26:29.400 --> 1:26:32.080
<v Speaker 1>So let's talk a little business here. Traditionally in that era,

1:26:32.600 --> 1:26:35.040
<v Speaker 1>if you had a hit record or two, you'd go

1:26:35.160 --> 1:26:38.080
<v Speaker 1>back to the label and we negotiate your deal. Did

1:26:38.160 --> 1:26:42.120
<v Speaker 1>she do that? Um? Yeah, she did, you know. And

1:26:42.400 --> 1:26:46.479
<v Speaker 1>I I had introduced that to my lawyer, Alan Goverman,

1:26:47.200 --> 1:26:51.439
<v Speaker 1>and he, you know, did a hell of a good job,

1:26:51.800 --> 1:26:54.840
<v Speaker 1>you know, getting her a new deal. Well to give

1:26:54.880 --> 1:26:57.040
<v Speaker 1>her more usually get to give or give to get.

1:26:57.560 --> 1:27:04.559
<v Speaker 1>So what did you get returned for a higher royalty ray? Uh? Nothing? Okay,

1:27:05.120 --> 1:27:08.200
<v Speaker 1>So well I think no, I didn't say nothing. I

1:27:08.320 --> 1:27:12.360
<v Speaker 1>think we've got additional album. Yeah, that's what I mean usually. Okay.

1:27:12.680 --> 1:27:17.519
<v Speaker 1>So your success to what degree? Because we've only covered

1:27:17.520 --> 1:27:23.160
<v Speaker 1>it tangentially, but you were notorious for travel and going

1:27:23.280 --> 1:27:27.760
<v Speaker 1>to all these locations absolutely, and to what part of

1:27:27.840 --> 1:27:30.080
<v Speaker 1>your success you believe is? What degree do you attribute

1:27:30.080 --> 1:27:35.360
<v Speaker 1>your success to that? Oh? Great deal? I mean you

1:27:35.439 --> 1:27:38.920
<v Speaker 1>know I would go down to Australia. I signed bands

1:27:39.040 --> 1:27:44.000
<v Speaker 1>there and I signed you know, right now, what I'm

1:27:44.080 --> 1:27:48.479
<v Speaker 1>concentrating on, because I feel it coming very strong is

1:27:48.560 --> 1:27:53.639
<v Speaker 1>India and China. And I'll be in India in August.

1:27:54.479 --> 1:27:57.080
<v Speaker 1>Um and I go I got into her about it

1:27:57.520 --> 1:28:02.360
<v Speaker 1>every year. Um, you know, China is really coming up.

1:28:03.000 --> 1:28:05.479
<v Speaker 1>Uh there are these people there that are the biggest

1:28:05.600 --> 1:28:10.360
<v Speaker 1>promoters in India, Modern Sky, and I helped put them

1:28:10.479 --> 1:28:17.320
<v Speaker 1>together with Liverpool Sound City, which is now with their

1:28:18.240 --> 1:28:22.200
<v Speaker 1>you know infusion into the Liverpool is probably the biggest

1:28:23.280 --> 1:28:29.560
<v Speaker 1>English um you know, uh venue for new talent. I

1:28:29.760 --> 1:28:33.120
<v Speaker 1>was just you know there a few weeks ago, about

1:28:33.160 --> 1:28:39.479
<v Speaker 1>a month and Africo and um, you know, so, I

1:28:39.560 --> 1:28:45.000
<v Speaker 1>mean I haven't been to Indonesia yet, but there's a

1:28:45.040 --> 1:28:48.720
<v Speaker 1>lot of good music coming from there, the Philippines and

1:28:48.840 --> 1:28:51.639
<v Speaker 1>look at all the boy bands coming out of Korea.

1:28:52.240 --> 1:28:55.479
<v Speaker 1>I mean, uh, it's gonna be global. It's gonna be

1:28:56.000 --> 1:28:58.160
<v Speaker 1>really really global. Okay. So there's been a lot of

1:28:58.280 --> 1:29:01.360
<v Speaker 1>changes in the business since you start it. First of all,

1:29:01.720 --> 1:29:05.000
<v Speaker 1>all the majors were bought by giant corporations. There was

1:29:05.120 --> 1:29:09.880
<v Speaker 1>branch distribution, there was the Beatles, there was MTV, the Internet.

1:29:10.439 --> 1:29:12.360
<v Speaker 1>What do you think about the state of the business

1:29:12.439 --> 1:29:16.639
<v Speaker 1>today compared to how it was previously, Well, the business

1:29:16.720 --> 1:29:22.160
<v Speaker 1>always changes. I mean even before that, I mean, you know,

1:29:22.640 --> 1:29:26.920
<v Speaker 1>I mean, record companies felt that when radio came in,

1:29:27.800 --> 1:29:29.760
<v Speaker 1>it would be the end of the record business. People

1:29:29.800 --> 1:29:32.519
<v Speaker 1>could listen to the records on the radio for nothing,

1:29:33.000 --> 1:29:37.160
<v Speaker 1>and it wound up helping. Um, you know, so how

1:29:37.240 --> 1:29:41.840
<v Speaker 1>wrong were they then? I wasn't even born. Um, you know,

1:29:42.080 --> 1:29:46.040
<v Speaker 1>and uh, you know a lot lots of things. There

1:29:46.080 --> 1:29:48.960
<v Speaker 1>will always be a music business, how it's going to

1:29:49.160 --> 1:29:53.320
<v Speaker 1>change and everything. Look, there was actually a music business

1:29:53.960 --> 1:29:56.120
<v Speaker 1>four hundred years ago, but it was only for the

1:29:56.400 --> 1:30:00.280
<v Speaker 1>very very rich and royalty and the rocks as we

1:30:00.479 --> 1:30:05.240
<v Speaker 1>Bach and Beethoven, Tarkovsky, Uh, you know, and and and

1:30:05.840 --> 1:30:11.160
<v Speaker 1>and nothing. America didn't exist, very little going on in

1:30:11.240 --> 1:30:16.360
<v Speaker 1>the UK. It was basically you know St. Petersburg and

1:30:16.960 --> 1:30:22.519
<v Speaker 1>Vienna and uh you know, Berlin and places like that.

1:30:23.200 --> 1:30:28.000
<v Speaker 1>You know, and you know they will always be a

1:30:28.200 --> 1:30:32.800
<v Speaker 1>music business. And we can't live with that. I can't

1:30:32.840 --> 1:30:37.240
<v Speaker 1>imagine living without music. Did you play music? How frequently?

1:30:38.360 --> 1:30:42.840
<v Speaker 1>Less now than before? You know, but um, but still

1:30:43.040 --> 1:30:47.360
<v Speaker 1>quite a bit. And so one thing one knows by

1:30:47.600 --> 1:30:50.639
<v Speaker 1>hanging out with you in regular life, you're constantly breaking out.

1:30:50.680 --> 1:30:54.240
<v Speaker 1>It's a song. So what are your favorite songs? Her

1:30:54.320 --> 1:31:02.840
<v Speaker 1>favorite records? Well, uh, my favorite song, you know is

1:31:02.880 --> 1:31:08.360
<v Speaker 1>a song that really um you wouldn't believe it, but

1:31:08.479 --> 1:31:14.200
<v Speaker 1>I'll tell you is La Massas Um I mean, believe

1:31:14.240 --> 1:31:16.679
<v Speaker 1>it or not. First of all, it's from my favorite movie,

1:31:17.479 --> 1:31:20.519
<v Speaker 1>uh you know, Humphrey Bogart, you know. But the thing

1:31:20.720 --> 1:31:24.400
<v Speaker 1>is why I like it so much is because it

1:31:24.600 --> 1:31:29.560
<v Speaker 1>was written two years after the start of the French Revolution,

1:31:30.080 --> 1:31:33.600
<v Speaker 1>and it was a battle cry during the war. The

1:31:33.680 --> 1:31:36.360
<v Speaker 1>Star Spangled Banner was written at the very end of

1:31:36.439 --> 1:31:39.000
<v Speaker 1>the War of eighteen twelve, you know. And it's it's

1:31:39.040 --> 1:31:41.439
<v Speaker 1>not much of a melody anyway. I mean, it's an

1:31:41.439 --> 1:31:46.759
<v Speaker 1>old English beard drinking melody. Um. You know, God saved

1:31:46.800 --> 1:31:48.720
<v Speaker 1>the Queen is all right for the queen, you know.

1:31:48.960 --> 1:31:52.560
<v Speaker 1>But but La massa as Is is a song that

1:31:52.800 --> 1:31:56.040
<v Speaker 1>you know, sends chills up and down my spine, I mean,

1:31:56.240 --> 1:31:59.559
<v Speaker 1>and uh, I mean I I you know. I mean

1:32:00.240 --> 1:32:02.920
<v Speaker 1>if if you want to know what my favorite music is,

1:32:03.600 --> 1:32:07.120
<v Speaker 1>you know, it's it's it's some of it is Sia music,

1:32:07.720 --> 1:32:10.280
<v Speaker 1>but a lot of it people like Little Richard and

1:32:10.439 --> 1:32:14.519
<v Speaker 1>Fats Domino and Hank Williams and uh you know, Carl

1:32:14.680 --> 1:32:18.879
<v Speaker 1>Smith and Farren Young. I love that era of country

1:32:19.000 --> 1:32:22.080
<v Speaker 1>and you know, rhythm and blues. It's the music that

1:32:22.400 --> 1:32:24.240
<v Speaker 1>that I grew up and and they do up the

1:32:24.800 --> 1:32:29.600
<v Speaker 1>you know, hots hots of Stone and uh you know

1:32:29.800 --> 1:32:33.840
<v Speaker 1>by Otis Williams and the Charms and uh shaboom by

1:32:33.880 --> 1:32:38.800
<v Speaker 1>the Chords, um jeeb had of Crows, stuff like that.

1:32:39.120 --> 1:32:42.360
<v Speaker 1>I mean, it never goes away, you know. And I

1:32:42.840 --> 1:32:44.679
<v Speaker 1>you know, I love a lot of my own sire

1:32:44.760 --> 1:32:48.519
<v Speaker 1>records too very much, so you know, and you know,

1:32:48.800 --> 1:32:52.720
<v Speaker 1>but you know, I have to ask, because I know

1:32:52.800 --> 1:32:55.280
<v Speaker 1>you're heavily involved. What's your take on the Rock and

1:32:55.400 --> 1:33:09.560
<v Speaker 1>Roll Hall of Fame? Um? Well, um, it was a

1:33:09.680 --> 1:33:13.680
<v Speaker 1>lot better when I'm at hear it again and and

1:33:14.280 --> 1:33:19.679
<v Speaker 1>Jerry Wexler and those people were involved than it is today.

1:33:20.840 --> 1:33:25.360
<v Speaker 1>But you know, that's all I will say about it. Now. Well,

1:33:25.439 --> 1:33:30.400
<v Speaker 1>I guess, and I'm still involved. My viewpoint was, you know,

1:33:30.479 --> 1:33:32.880
<v Speaker 1>it's called the Rock and Roll Hall of Fame, and

1:33:33.000 --> 1:33:35.240
<v Speaker 1>on some level, I know this doesn't make business sense,

1:33:35.479 --> 1:33:37.160
<v Speaker 1>but at some point they should have closed the doors.

1:33:37.760 --> 1:33:40.880
<v Speaker 1>There are certainly people who are unjustly excluded, but now

1:33:41.040 --> 1:33:43.400
<v Speaker 1>it seems to a degree they're inducting people just to

1:33:43.479 --> 1:33:46.560
<v Speaker 1>induct people, and they're not of the stature of the

1:33:46.640 --> 1:33:51.040
<v Speaker 1>people who came previously. Well, I don't know who you're

1:33:51.080 --> 1:33:54.280
<v Speaker 1>referring to, but it might be because you're getting older

1:33:54.680 --> 1:33:59.040
<v Speaker 1>and other people appreciate the artist set of being inducted

1:33:59.280 --> 1:34:04.240
<v Speaker 1>a lot more. Um, I don't know. I mean I

1:34:04.400 --> 1:34:09.680
<v Speaker 1>think there are people who have been omitted, and you know,

1:34:09.880 --> 1:34:14.360
<v Speaker 1>I'm very sad and upset about it. I mean, there's

1:34:14.400 --> 1:34:21.679
<v Speaker 1>a category for um, you know, musicians, and they haven't

1:34:21.720 --> 1:34:26.559
<v Speaker 1>inducted the greatest side man of all, Glenn Campbell because

1:34:26.600 --> 1:34:28.719
<v Speaker 1>they don't think of him as a rock and roller.

1:34:28.880 --> 1:34:33.040
<v Speaker 1>I mean, it's so it's so fucking ridiculous. I mean

1:34:33.120 --> 1:34:35.960
<v Speaker 1>I have to say that. I mean you can that that.

1:34:36.160 --> 1:34:40.559
<v Speaker 1>I just don't understand it. But and there were, there are,

1:34:40.800 --> 1:34:44.759
<v Speaker 1>there are other things. Who else, give your memory serves

1:34:44.840 --> 1:34:51.320
<v Speaker 1>you is unjustly excluded. Oh god, I'd have to we'd

1:34:51.360 --> 1:34:54.559
<v Speaker 1>have to do another broadcast because you know, the number

1:34:54.560 --> 1:34:56.320
<v Speaker 1>of these there were, there were quite there are quite

1:34:56.600 --> 1:35:01.000
<v Speaker 1>there are quite a few, I mean, you know, quite

1:35:01.000 --> 1:35:03.679
<v Speaker 1>a few of the old But you probably wouldn't agree

1:35:03.720 --> 1:35:06.360
<v Speaker 1>with me on these people. Quite a few of the

1:35:06.479 --> 1:35:11.080
<v Speaker 1>old R and B groups I think, Uh, I'm not

1:35:11.320 --> 1:35:15.040
<v Speaker 1>a're not in yet that I don't I don't remember

1:35:15.160 --> 1:35:17.559
<v Speaker 1>exactly which ones, but quite a few of the early

1:35:17.760 --> 1:35:22.560
<v Speaker 1>R and B groups that really broke ground, um, you know,

1:35:23.200 --> 1:35:28.280
<v Speaker 1>in in bringing rhythm and blues into the mainstream of

1:35:28.400 --> 1:35:31.040
<v Speaker 1>pop and rock and roll. I think they should have

1:35:31.200 --> 1:35:36.840
<v Speaker 1>more country artists inducted, you know, um, but I don't

1:35:36.840 --> 1:35:42.080
<v Speaker 1>think they realize. Um Elvis Presley, who of course was

1:35:42.200 --> 1:35:46.360
<v Speaker 1>inducted the first year. But Elvis Presley's first six records

1:35:47.520 --> 1:35:50.640
<v Speaker 1>only hit the country trots. They were on sun and

1:35:52.200 --> 1:35:56.479
<v Speaker 1>you know and all that. You know, rock and roll

1:35:57.680 --> 1:36:03.000
<v Speaker 1>was really country, rhythm and blues and blues to start with.

1:36:03.680 --> 1:36:06.400
<v Speaker 1>And now look, I'm glad. I mean, music is a

1:36:06.520 --> 1:36:10.439
<v Speaker 1>river and lots of new things flow into it and

1:36:10.600 --> 1:36:13.120
<v Speaker 1>some of them get picked up as as as as

1:36:13.360 --> 1:36:17.600
<v Speaker 1>as as you know, rock and roll and um, you know,

1:36:18.040 --> 1:36:22.679
<v Speaker 1>I think that, but I think a lot of people

1:36:22.800 --> 1:36:25.639
<v Speaker 1>got left behind. I'll tell you another person who should

1:36:25.680 --> 1:36:30.080
<v Speaker 1>be inducted, uh, and isn't is Ivory Joel Hunter. Do

1:36:30.439 --> 1:36:33.360
<v Speaker 1>do you ever hear of him? Ivory Jael Hunted to

1:36:33.479 --> 1:36:39.400
<v Speaker 1>me was like the cross between, um, you know, rhythm

1:36:39.479 --> 1:36:42.840
<v Speaker 1>and blues and country. He he was a rhythm and

1:36:42.880 --> 1:36:46.840
<v Speaker 1>blues artist, but the songs he wrote, you know, uh,

1:36:47.439 --> 1:36:50.439
<v Speaker 1>I almost lost my mind and things like that. Since

1:36:50.520 --> 1:36:53.560
<v Speaker 1>I met you, baby, these were huge hits in the

1:36:53.680 --> 1:36:57.360
<v Speaker 1>country field. I mean, the only record I can really

1:36:57.720 --> 1:37:01.920
<v Speaker 1>listen to and enjoy by Pat boon is his version

1:37:02.000 --> 1:37:05.719
<v Speaker 1>of I Almost Lost my Mind, where he almost cries

1:37:05.800 --> 1:37:10.240
<v Speaker 1>at the edge of the song. I mean nothing against

1:37:10.280 --> 1:37:13.559
<v Speaker 1>Pat Pool, you know, but anyway, I'm sorry, I get

1:37:13.600 --> 1:37:17.880
<v Speaker 1>a little emotional. Iveraghan definitely belongs in the Rock and

1:37:18.000 --> 1:37:20.240
<v Speaker 1>Roll Hall of Fame, and it's a crime, you know,

1:37:20.439 --> 1:37:23.639
<v Speaker 1>But you know, I have a lot less to say.

1:37:23.680 --> 1:37:27.400
<v Speaker 1>I was. I was one of the founders. Um it

1:37:27.600 --> 1:37:33.759
<v Speaker 1>was on it myself. Jerry wexle Um Alan Grubman got involved,

1:37:34.439 --> 1:37:39.120
<v Speaker 1>not musically. I mean, if he was involved, Jerry Vale

1:37:39.160 --> 1:37:43.599
<v Speaker 1>would be inducted. But the thing is that I note,

1:37:43.720 --> 1:37:48.840
<v Speaker 1>you know, but uh, you know, it's just, you know,

1:37:49.040 --> 1:37:55.800
<v Speaker 1>it's you know, I think that that they should. You

1:37:55.880 --> 1:37:58.240
<v Speaker 1>know that there were a lot of the older guys

1:37:58.800 --> 1:38:01.560
<v Speaker 1>that were on the the nominating committee that are no

1:38:01.720 --> 1:38:07.000
<v Speaker 1>longer there, like Bob Merrilis and Joe McEwen, who are brilliant,

1:38:07.439 --> 1:38:11.960
<v Speaker 1>you know, and you know, it's just it's just a shame.

1:38:12.880 --> 1:38:19.320
<v Speaker 1>But okay, and tangentile to that is rock dead. It

1:38:19.880 --> 1:38:23.200
<v Speaker 1>all depends. I mean, let's let's use the paradigm. People

1:38:23.240 --> 1:38:25.519
<v Speaker 1>would say jazz is that jazz had a peek in

1:38:25.560 --> 1:38:28.400
<v Speaker 1>the thirties and forties. There's certainly jazz now, but it's

1:38:29.000 --> 1:38:31.960
<v Speaker 1>very small percentage of the overall listening. So is the

1:38:32.040 --> 1:38:36.320
<v Speaker 1>same thing going to happen to rock? Well, I hope not.

1:38:37.000 --> 1:38:42.040
<v Speaker 1>But I think that they'll always be room for rock

1:38:42.120 --> 1:38:44.639
<v Speaker 1>and roll. They'll always be room, you know, for jazz.

1:38:44.760 --> 1:38:48.000
<v Speaker 1>I mean, look, first all, Nina Simone was inducted in

1:38:48.080 --> 1:38:50.160
<v Speaker 1>the Rock and Roll Hall of Family as Yes, she's

1:38:50.160 --> 1:38:55.760
<v Speaker 1>a jazz singer, you know, and you know, um, and

1:38:56.360 --> 1:38:58.679
<v Speaker 1>I think she got you know, one of the largest

1:38:58.760 --> 1:39:04.280
<v Speaker 1>percentage of votes. I I don't recall, but you know,

1:39:04.439 --> 1:39:11.040
<v Speaker 1>you just um, I think I think there's gonna always

1:39:11.080 --> 1:39:14.560
<v Speaker 1>be room for rock. I mean, it's a it's like

1:39:14.640 --> 1:39:18.000
<v Speaker 1>a river, you know, and everything keeps flowing into it,

1:39:18.600 --> 1:39:20.880
<v Speaker 1>and a lot of it stems from rock and roll.

1:39:21.200 --> 1:39:23.320
<v Speaker 1>You know, rock and roll is still hanging in there.

1:39:24.439 --> 1:39:31.920
<v Speaker 1>Best show you ever saw, uh, probably the Alan Freed

1:39:32.000 --> 1:39:34.640
<v Speaker 1>shows that I would go to as a kid in

1:39:34.720 --> 1:39:39.680
<v Speaker 1>the Brooklyn Paramount or the Brooklyn Fox. Um. They had like,

1:39:41.160 --> 1:39:44.559
<v Speaker 1>you know, more than a dozen artists. You had Chuck Berry,

1:39:45.120 --> 1:39:50.120
<v Speaker 1>Frankie Lyman and the teenager Laverne Baker, all those great,

1:39:50.200 --> 1:39:55.400
<v Speaker 1>great artists. Jackie Wilson, Um, you know, I would, uh,

1:39:56.040 --> 1:39:59.759
<v Speaker 1>I would pack a sandwich and sit through all three shows,

1:40:00.040 --> 1:40:02.799
<v Speaker 1>you know, and you had it. There was movies in between,

1:40:03.080 --> 1:40:07.960
<v Speaker 1>Alan Freed movies which were not very good. But you know,

1:40:08.280 --> 1:40:13.760
<v Speaker 1>I think that to me, Alan Freed was very, very

1:40:13.960 --> 1:40:18.600
<v Speaker 1>very important in rock and roll. And you know, he

1:40:20.320 --> 1:40:23.320
<v Speaker 1>sadly is not that remembered. He's in the Rock and

1:40:23.439 --> 1:40:27.280
<v Speaker 1>Roll Hall of Fame though, But you know, but uh,

1:40:27.640 --> 1:40:32.840
<v Speaker 1>you know, so we've only scratched the surface of your

1:40:32.960 --> 1:40:35.040
<v Speaker 1>career and your insights. But before I let you go

1:40:35.160 --> 1:40:38.000
<v Speaker 1>anything else that you need to say, no, I'm just

1:40:38.240 --> 1:40:41.560
<v Speaker 1>I'm very honored that you you know, you chose me

1:40:41.720 --> 1:40:44.559
<v Speaker 1>for a podcast, and you're a legend. I mean especially

1:40:44.600 --> 1:40:47.760
<v Speaker 1>we're having this conversation of one of the a lot

1:40:47.800 --> 1:40:50.519
<v Speaker 1>of people who have been successful just been business people,

1:40:50.880 --> 1:40:53.840
<v Speaker 1>especially in the latter decades, as opposed to music fans.

1:40:53.920 --> 1:40:56.320
<v Speaker 1>There would be in another business working for music. But

1:40:56.439 --> 1:40:59.320
<v Speaker 1>you're passionate about music and had a sense of history

1:41:00.200 --> 1:41:04.720
<v Speaker 1>that you know is being lost or unknown by future generations.

1:41:04.800 --> 1:41:08.680
<v Speaker 1>You're a real thumb of knowledge. I think there are

1:41:08.680 --> 1:41:11.200
<v Speaker 1>other people like me coming up, I would hope, So

1:41:11.400 --> 1:41:16.880
<v Speaker 1>I don't you know. I, um, you know, I would

1:41:16.920 --> 1:41:20.200
<v Speaker 1>hope there'll be people to replace me, and uh, I

1:41:20.360 --> 1:41:23.880
<v Speaker 1>think there will be. I'm optimistic about that. Well, I'm

1:41:23.880 --> 1:41:26.360
<v Speaker 1>not sure there'll be somebody the champion ivery Joe Hunter,

1:41:26.760 --> 1:41:29.280
<v Speaker 1>but we both know. You drop a needle on a record,

1:41:29.360 --> 1:41:33.679
<v Speaker 1>doesn't matter whatever if it's great, you hear it. Yeah, Look,

1:41:34.120 --> 1:41:38.840
<v Speaker 1>I mean there was there was great music before my time,

1:41:39.560 --> 1:41:42.120
<v Speaker 1>great music in the twenties. You had all those great

1:41:42.200 --> 1:41:47.800
<v Speaker 1>songwriters back in the twenties, you know. I mean, look

1:41:48.200 --> 1:41:50.760
<v Speaker 1>when I'm in England sometimes I go see Gilbert and

1:41:50.800 --> 1:41:55.000
<v Speaker 1>Sullivan shows. You know, I mean what melodies we say, Elee,

1:41:55.160 --> 1:42:00.680
<v Speaker 1>Ocean Blue, you know, incredible? You know. Um, I like

1:42:00.880 --> 1:42:04.479
<v Speaker 1>some of the classics. I'm not I'm I wish I

1:42:04.840 --> 1:42:09.479
<v Speaker 1>knew I knew them better, but but I I certainly

1:42:09.760 --> 1:42:14.000
<v Speaker 1>you know, um, I mean musicals today even, I mean

1:42:14.479 --> 1:42:17.880
<v Speaker 1>thankfully that some of them are being very successful now.

1:42:18.960 --> 1:42:24.320
<v Speaker 1>But you know, there's there's still nothing that to compete

1:42:24.400 --> 1:42:27.000
<v Speaker 1>with Oklahoma or on My Fair Lady and things like

1:42:27.160 --> 1:42:30.280
<v Speaker 1>that in my book. But maybe that's because I'm getting

1:42:30.640 --> 1:42:32.320
<v Speaker 1>I grew up on that hour being younger than you.

1:42:32.439 --> 1:42:35.680
<v Speaker 1>There the show too is being played in the house incessantly.

1:42:36.040 --> 1:42:39.320
<v Speaker 1>That was the first music that huldn't be well. Your

1:42:39.360 --> 1:42:43.280
<v Speaker 1>parents had good he is They were just touch My

1:42:43.560 --> 1:42:47.600
<v Speaker 1>parents met, my father picked my mother up hitchhiking on

1:42:47.680 --> 1:42:51.840
<v Speaker 1>the way home from Tanglewood. Oh the music connection and

1:42:51.920 --> 1:42:55.000
<v Speaker 1>my parents could never say not to hitchhike. And on

1:42:55.160 --> 1:42:58.160
<v Speaker 1>that note, it's been wonderful. Thank you so much for

1:42:58.240 --> 1:43:01.840
<v Speaker 1>being a podcast. Thank you. Until next time, it's Bob

1:43:02.000 --> 1:43:10.519
<v Speaker 1>left Sets. Here was seymour Stein on my podcast. Wow,

1:43:10.560 --> 1:43:13.200
<v Speaker 1>it was truly amazing to spend time with seymour Stein.

1:43:13.840 --> 1:43:16.120
<v Speaker 1>Thanks for listening to this week's episode of the Bob

1:43:16.240 --> 1:43:20.680
<v Speaker 1>left Sets podcast, produced by tune In. As always, I'm

1:43:20.760 --> 1:43:24.080
<v Speaker 1>fascinating and interested in your feedback. You can email me

1:43:24.200 --> 1:43:27.040
<v Speaker 1>at Bob at left stats dot com. Until next time,

1:43:27.439 --> 1:43:47.080
<v Speaker 1>I'm Bob left Sets me reas don't know exactly