1 00:00:00,640 --> 00:00:01,400 Speaker 1: Taking a Walk. 2 00:00:01,600 --> 00:00:04,160 Speaker 2: I mean after we got married, Faye Dunaway and I 3 00:00:04,200 --> 00:00:08,800 Speaker 2: got married. I remember Greg Allman and Scher got married 4 00:00:08,800 --> 00:00:12,280 Speaker 2: for about five minutes, but Fey and I had five 5 00:00:12,400 --> 00:00:18,360 Speaker 2: six years of a really incredible period and it was 6 00:00:18,480 --> 00:00:22,040 Speaker 2: based the marriage was based on we each supported each 7 00:00:22,040 --> 00:00:24,640 Speaker 2: other in our careers. 8 00:00:24,800 --> 00:00:27,920 Speaker 3: Well, I'm pleased to welcome to the Taking a Walk Podcast. 9 00:00:28,400 --> 00:00:31,120 Speaker 3: One of the great human beings in the universe. He 10 00:00:31,240 --> 00:00:36,880 Speaker 3: stands tall as one of music's greatest frontmen ever. Peter Wolf, 11 00:00:37,360 --> 00:00:42,479 Speaker 3: former lead singer of the Jay Guiles Band, amazing solo artist, painter, 12 00:00:42,840 --> 00:00:46,360 Speaker 3: former DJ. He can add author now to his resume. 13 00:00:47,200 --> 00:00:52,080 Speaker 3: His tremendous memoir is called Waiting on the Moon, and 14 00:00:52,159 --> 00:00:55,560 Speaker 3: now he can also add to that list New York 15 00:00:55,600 --> 00:00:59,840 Speaker 3: Times bestseller Pete, welcome to Take out a Walk. 16 00:01:00,440 --> 00:01:04,280 Speaker 2: Well, thank you for having me buzz and the introduction. 17 00:01:04,760 --> 00:01:08,120 Speaker 2: Thank you for the plaudet's and kudos. At first, I 18 00:01:08,160 --> 00:01:11,479 Speaker 2: don't know whom you might have been speaking about until 19 00:01:11,480 --> 00:01:12,280 Speaker 2: I heard my name. 20 00:01:13,080 --> 00:01:16,360 Speaker 3: We're going to talk about drifters and grifters and goddesses. 21 00:01:16,400 --> 00:01:19,960 Speaker 3: But I do have to ask you our signature taking 22 00:01:19,959 --> 00:01:23,280 Speaker 3: a Walk question, since it is the name of the podcast. 23 00:01:24,120 --> 00:01:27,399 Speaker 3: If you could take a walk with someone Pete living 24 00:01:27,480 --> 00:01:29,840 Speaker 3: or dead, who would it be and where would you 25 00:01:30,000 --> 00:01:31,120 Speaker 3: take that walk with him? 26 00:01:31,760 --> 00:01:37,120 Speaker 2: Well, living or dead makes a big ocean. There's so 27 00:01:37,240 --> 00:01:44,160 Speaker 2: many historical figures, so many important artist writers, you know, 28 00:01:44,200 --> 00:01:50,080 Speaker 2: you go from Homer to Shakespeare, interesting figures, mysterious figures. 29 00:01:50,680 --> 00:01:50,840 Speaker 4: You know. 30 00:01:50,920 --> 00:01:55,840 Speaker 2: As far as musicians, there's Beethoven and artists, there's just 31 00:01:56,520 --> 00:01:59,640 Speaker 2: so many that I can think of one that comes 32 00:01:59,640 --> 00:02:02,640 Speaker 2: to mind. And if I was able to meet with 33 00:02:02,800 --> 00:02:05,480 Speaker 2: van Go and let him know that he's what as 34 00:02:05,520 --> 00:02:09,280 Speaker 2: success he became and how important he became to so 35 00:02:09,360 --> 00:02:15,000 Speaker 2: many people. But in thinking about people, I would probably 36 00:02:15,120 --> 00:02:20,639 Speaker 2: say my wish would be to be able to take 37 00:02:20,680 --> 00:02:25,320 Speaker 2: a walk with my father. And the reason for that 38 00:02:25,639 --> 00:02:31,239 Speaker 2: is he was such an influence on my life, as 39 00:02:31,320 --> 00:02:37,600 Speaker 2: I stay in the book, and he was so artistically 40 00:02:37,639 --> 00:02:42,640 Speaker 2: aware that there are things that he turned me on too, 41 00:02:43,320 --> 00:02:47,440 Speaker 2: musically and artistically as far as painting and things that 42 00:02:47,560 --> 00:02:53,360 Speaker 2: took me years years after he passed to really appreciate 43 00:02:53,440 --> 00:02:58,840 Speaker 2: what it was about certain classical music. Of course, I 44 00:02:58,919 --> 00:03:04,639 Speaker 2: was not sophisticated enough to appreciate certain movements and pieces 45 00:03:04,680 --> 00:03:09,520 Speaker 2: that he just thought was the Bee's knees and certain 46 00:03:09,560 --> 00:03:13,160 Speaker 2: painters and artists that he loved, even contemporary you know, 47 00:03:13,240 --> 00:03:20,600 Speaker 2: like Metro, the abstract Spanish abstract expressionist, and so many 48 00:03:21,560 --> 00:03:26,720 Speaker 2: different things he knew about. He was such a brilliant man. 49 00:03:27,400 --> 00:03:32,480 Speaker 2: So I think walking with him and discussing a new 50 00:03:33,639 --> 00:03:36,440 Speaker 2: some of the things that I appreciate that I learned 51 00:03:36,520 --> 00:03:41,480 Speaker 2: through him. And I know that there is a wealth 52 00:03:41,520 --> 00:03:48,240 Speaker 2: of other things he could turn me on too, So 53 00:03:48,800 --> 00:03:51,760 Speaker 2: I would say my father would be out of all 54 00:03:51,880 --> 00:03:55,360 Speaker 2: the people I could meet, would be the first on 55 00:03:55,360 --> 00:03:55,800 Speaker 2: my list. 56 00:03:56,920 --> 00:04:00,520 Speaker 3: Ah, that's so great, and that's I appreciate you you 57 00:04:00,680 --> 00:04:05,600 Speaker 3: sharing that for sure. You know, one of the songs, 58 00:04:05,960 --> 00:04:08,680 Speaker 3: one of the many songs that rings through my head 59 00:04:09,760 --> 00:04:13,880 Speaker 3: when I, you know, was reading the book, was your 60 00:04:13,920 --> 00:04:18,479 Speaker 3: great song from your solo work. There's a lot of 61 00:04:18,480 --> 00:04:22,520 Speaker 3: good ones gone, you know, and your. 62 00:04:22,400 --> 00:04:23,800 Speaker 5: Father is certainly one of them. 63 00:04:23,839 --> 00:04:25,799 Speaker 3: But there's there's a lot of them in the book 64 00:04:25,800 --> 00:04:27,880 Speaker 3: who aren't with us anymore? 65 00:04:27,960 --> 00:04:31,680 Speaker 4: Right, Yeah, you know two things. 66 00:04:31,960 --> 00:04:34,719 Speaker 2: It's funny because Peter Girlnick, who is a great writer 67 00:04:34,880 --> 00:04:38,000 Speaker 2: who's did all those great books on Elvis Presley. You know, 68 00:04:38,880 --> 00:04:44,479 Speaker 2: anyone's interested in Elvis Presley, Peter Girlnick's book, Last Train 69 00:04:44,560 --> 00:04:50,359 Speaker 2: of Memphis and Careless Love are the definitive biographies of Elvis. 70 00:04:50,360 --> 00:04:51,599 Speaker 4: And he did one on Sam. 71 00:04:51,520 --> 00:04:55,640 Speaker 2: Cooke and the great producer Sam Phillips, and he said 72 00:04:55,640 --> 00:04:58,440 Speaker 2: to me, you know, Pete, you've been talking about this 73 00:04:58,520 --> 00:05:02,880 Speaker 2: book for overt fifteen years since then, you know, and 74 00:05:03,240 --> 00:05:07,120 Speaker 2: you better have finished it soon because everybody you'll want, 75 00:05:07,760 --> 00:05:10,600 Speaker 2: who you'll want to read it, they'll be dead if 76 00:05:10,640 --> 00:05:13,800 Speaker 2: you don't hear it. And there was some truth to that, 77 00:05:13,920 --> 00:05:16,520 Speaker 2: because a lot of people had passed since the time 78 00:05:16,560 --> 00:05:20,560 Speaker 2: I started it, which took about two years from now. 79 00:05:21,200 --> 00:05:29,599 Speaker 2: And yeah, so that's one thing and an important thing, 80 00:05:29,920 --> 00:05:33,400 Speaker 2: and also lots of good ones. Gone was a song 81 00:05:33,440 --> 00:05:35,720 Speaker 2: that I wrote with Will Jennings, who I write about 82 00:05:35,920 --> 00:05:38,679 Speaker 2: in the book. He was a song collaborator, and Will 83 00:05:39,480 --> 00:05:42,520 Speaker 2: was a great songwriter, and he wrote songs like Tears 84 00:05:42,520 --> 00:05:47,919 Speaker 2: from heaven By with Eric Clapton, all the Stevie Winwood songs, 85 00:05:48,160 --> 00:05:53,440 Speaker 2: High Love, and songs that wont Academy awards, you know. 86 00:05:53,760 --> 00:05:59,640 Speaker 2: Went beneath the Wings and I found out that John 87 00:05:59,680 --> 00:06:02,039 Speaker 2: Lee Hooker past, who was an old friend, and there's 88 00:06:02,080 --> 00:06:05,120 Speaker 2: a chapter in the book about my relationship with John Lee. 89 00:06:05,520 --> 00:06:06,920 Speaker 4: And I remember mentioning with Will. 90 00:06:06,960 --> 00:06:09,479 Speaker 2: We worked together out of this home in Santa Barbara, 91 00:06:10,000 --> 00:06:13,240 Speaker 2: and I remember mentioning, mentioning, you know, John Lee passed 92 00:06:13,920 --> 00:06:16,640 Speaker 2: and uh, I said, man, is sure a lot of 93 00:06:16,680 --> 00:06:21,920 Speaker 2: good ones gone? And he smiled and said, that's it. 94 00:06:22,800 --> 00:06:26,039 Speaker 2: He gave me a pad. He took a pad, and uh, 95 00:06:26,760 --> 00:06:30,960 Speaker 2: thanks to him. Uh we got uh that song. 96 00:06:31,720 --> 00:06:34,080 Speaker 5: It's it's it's one of my many favorites. 97 00:06:34,120 --> 00:06:38,200 Speaker 3: And it does nail it in terms of the the 98 00:06:38,240 --> 00:06:42,080 Speaker 3: beauty of the storytelling here in your your great book, 99 00:06:43,720 --> 00:06:48,599 Speaker 3: did your your proximity living so close to the Apollo Theater, 100 00:06:51,040 --> 00:06:54,320 Speaker 3: did it kind of begin the backbone of your your 101 00:06:54,360 --> 00:06:56,680 Speaker 3: sort of musical thirst and. 102 00:06:56,360 --> 00:06:58,560 Speaker 5: And your your passion for great performance? 103 00:06:59,680 --> 00:07:02,320 Speaker 4: Well, well it did. 104 00:07:02,680 --> 00:07:06,240 Speaker 2: But first I have to say that I followed my 105 00:07:06,360 --> 00:07:09,359 Speaker 2: sister who was going out on a date and the 106 00:07:09,480 --> 00:07:13,800 Speaker 2: date was to the several of the Alan Freed Cavalcade 107 00:07:13,840 --> 00:07:18,320 Speaker 2: of Stars. So at the age of ten, this was 108 00:07:18,440 --> 00:07:22,440 Speaker 2: one show and I had to research it because I 109 00:07:22,440 --> 00:07:25,200 Speaker 2: couldn't quite believe it. And maybe it was a combination 110 00:07:25,280 --> 00:07:30,480 Speaker 2: of two shows of Alan Fried's Cavalcade of Stars. And 111 00:07:30,640 --> 00:07:33,360 Speaker 2: at ten years old, I got to see Chuck Berry 112 00:07:33,760 --> 00:07:38,720 Speaker 2: Jerry Lee Lewis, little Richard. I saw Frankie Lyman and 113 00:07:38,760 --> 00:07:45,440 Speaker 2: the Teenagers, Bow Didley, the Everly Brothers, Dion and the Belmonts, 114 00:07:45,680 --> 00:07:50,760 Speaker 2: Buddy Holly, Joanne Campbell, the blonde Bombshell, and coming out 115 00:07:50,920 --> 00:07:54,280 Speaker 2: in the coffin in the middle of the stage with 116 00:07:55,120 --> 00:07:58,040 Speaker 2: stage lights all dark, and all of a sudden, the 117 00:07:58,080 --> 00:08:02,640 Speaker 2: coffin lid slowly open and out came screaming Jay Hawkins, 118 00:08:03,200 --> 00:08:06,600 Speaker 2: uh Pound, you know, prancing around the stage singing. I 119 00:08:06,640 --> 00:08:10,480 Speaker 2: put a spell on you. And I think seeing all 120 00:08:10,520 --> 00:08:15,160 Speaker 2: those great first generation rock artists just blew. 121 00:08:14,880 --> 00:08:15,559 Speaker 4: My head off. 122 00:08:15,920 --> 00:08:21,280 Speaker 2: And that was a memory I'll never forget because each 123 00:08:22,360 --> 00:08:29,280 Speaker 2: artist had a dynamic h and an individual stage presence. 124 00:08:29,640 --> 00:08:32,199 Speaker 2: You know, Chuck Berry did the Chuck walk, Jerry Lee 125 00:08:32,280 --> 00:08:36,000 Speaker 2: Lewis kicked the piano. Richard you know, you know, just 126 00:08:36,440 --> 00:08:39,439 Speaker 2: was the Richard boy. You know, he was just a powerhouse. 127 00:08:40,040 --> 00:08:44,840 Speaker 2: And Buddy Hollying, you know, needs no description. So it 128 00:08:44,920 --> 00:08:50,199 Speaker 2: was just amazing. There was doop bands, Chantelle's singing maybe you. 129 00:08:50,120 --> 00:08:51,319 Speaker 4: Know, and they were all young. 130 00:08:51,480 --> 00:08:54,400 Speaker 2: Everyone was young, and I was ten, and I had 131 00:08:54,440 --> 00:08:57,760 Speaker 2: an amazing impact. Now I didn't live in Harlem, but 132 00:08:57,840 --> 00:09:02,240 Speaker 2: my high school was in Harlem, and so my high 133 00:09:02,280 --> 00:09:04,360 Speaker 2: school it was the High School of Music and Art, 134 00:09:04,840 --> 00:09:06,800 Speaker 2: and it was on one hundred and thirty fifth Street, 135 00:09:07,160 --> 00:09:09,680 Speaker 2: and the Apollo is on one hundred and twenty fifth Street. 136 00:09:10,160 --> 00:09:14,240 Speaker 2: So i'd walk across, you know, and downtown and every 137 00:09:14,280 --> 00:09:18,520 Speaker 2: Wednesday night or Wednesday late, you know, in the evening, 138 00:09:19,040 --> 00:09:22,160 Speaker 2: late in the afternoon, I'd go see. Wednesday they had 139 00:09:22,960 --> 00:09:29,080 Speaker 2: a movie, The Amateur Night, and then the entire Apollo Review. 140 00:09:29,880 --> 00:09:34,439 Speaker 2: So I got to see so many legendary artists such 141 00:09:34,480 --> 00:09:39,760 Speaker 2: as Jackie Wilson, James Brown, Arretha Franklin, Diane Washington. I 142 00:09:39,800 --> 00:09:42,800 Speaker 2: got to see John Coltrane, Ray Charles and Betty Carter. 143 00:09:43,240 --> 00:09:47,760 Speaker 2: I mean, the list is just you know, enormous. In 144 00:09:48,040 --> 00:09:53,160 Speaker 2: the Drifters and just so many artists. And as Don 145 00:09:53,280 --> 00:09:56,599 Speaker 2: Kove explains to me in the book that in this 146 00:09:56,840 --> 00:09:59,960 Speaker 2: chapter he said, you know, Pete, all of us artists, 147 00:10:00,120 --> 00:10:03,560 Speaker 2: meaning Sam Cooke and Salomon Burke and Wilson Pickett and 148 00:10:03,679 --> 00:10:07,280 Speaker 2: Joe tex and Benny king Ritha, we all came out 149 00:10:07,320 --> 00:10:12,959 Speaker 2: of the church and we felt ourselves as the minister, 150 00:10:13,520 --> 00:10:17,160 Speaker 2: and the audience was the congregation, and the job of 151 00:10:17,200 --> 00:10:22,200 Speaker 2: the artist was to get the congregation you know, moving 152 00:10:22,520 --> 00:10:25,200 Speaker 2: and get them the spirit of the music. And he 153 00:10:25,280 --> 00:10:28,600 Speaker 2: said if you didn't do that, you failed, and that 154 00:10:28,720 --> 00:10:34,280 Speaker 2: the audience expected it expected to be, you know, spiritually moved. 155 00:10:34,960 --> 00:10:37,559 Speaker 4: And it was that. 156 00:10:38,840 --> 00:10:41,960 Speaker 2: Lesson that, you know, as a performer, that I took 157 00:10:42,000 --> 00:10:45,240 Speaker 2: with me because when I was ten, I didn't realize, 158 00:10:45,600 --> 00:10:48,400 Speaker 2: you know, I just I was just so excited. But 159 00:10:48,520 --> 00:10:52,120 Speaker 2: it was at the Apollo I could see the way 160 00:10:52,240 --> 00:10:57,679 Speaker 2: Jackie Wilson would manipulate an audience or you know, different artists, 161 00:10:57,679 --> 00:11:01,200 Speaker 2: you know, James would, you know, non stop pageantry and 162 00:11:01,400 --> 00:11:03,920 Speaker 2: you know, the down on the knees with the cape 163 00:11:03,960 --> 00:11:08,960 Speaker 2: and the whole the whole nine yards. So and also 164 00:11:09,320 --> 00:11:14,240 Speaker 2: the great comedians at the follow Moms Maybley and pig 165 00:11:14,280 --> 00:11:19,080 Speaker 2: Meat Martin here come to judge, and uh so Flip 166 00:11:19,080 --> 00:11:24,280 Speaker 2: Wilson and so many different great comedians. 167 00:11:24,520 --> 00:11:28,240 Speaker 4: So it was a. 168 00:11:26,640 --> 00:11:30,880 Speaker 2: As far as but former and as far as learning 169 00:11:30,960 --> 00:11:34,920 Speaker 2: the craft, the Apollo was my college, my college and 170 00:11:35,040 --> 00:11:36,440 Speaker 2: musical knowledge. 171 00:11:37,760 --> 00:11:38,679 Speaker 5: I'd say. 172 00:11:39,280 --> 00:11:44,200 Speaker 3: And you got to roam pretty free through through the 173 00:11:44,200 --> 00:11:47,440 Speaker 3: streets of New York. You're it's fair to say, Pete, 174 00:11:47,440 --> 00:11:51,320 Speaker 3: your parents gave you a very long leash while you 175 00:11:51,360 --> 00:11:55,920 Speaker 3: were able to go take in music, explore what was happening, 176 00:11:56,520 --> 00:12:01,520 Speaker 3: just take the vibe in and it contributed to your 177 00:12:02,000 --> 00:12:07,440 Speaker 3: amazingly diverse, you know, passion for all different styles of music. 178 00:12:07,880 --> 00:12:10,400 Speaker 3: I mean, you were in the village one time next 179 00:12:10,480 --> 00:12:14,440 Speaker 3: year at the Apollo. I mean, it was just it 180 00:12:14,480 --> 00:12:19,040 Speaker 3: was an endless stream of great inspiration, right. 181 00:12:19,840 --> 00:12:21,959 Speaker 4: Oh yeah. And you know. 182 00:12:23,440 --> 00:12:25,800 Speaker 2: I always had a wanderlust. I was always a very 183 00:12:25,880 --> 00:12:29,160 Speaker 2: active kid, and so my parents were aware of that. 184 00:12:30,600 --> 00:12:35,559 Speaker 2: Also New York it was a different time. So as 185 00:12:35,600 --> 00:12:38,679 Speaker 2: a kid of you know, twelve or even younger, sometimes 186 00:12:38,679 --> 00:12:40,760 Speaker 2: I'd get on the subway and just go all the 187 00:12:40,760 --> 00:12:43,600 Speaker 2: way down to Coney Island, meeing a couple of guys. 188 00:12:43,600 --> 00:12:46,480 Speaker 2: We just say, let's go to Coney Island, and you know, 189 00:12:46,760 --> 00:12:48,559 Speaker 2: you get you get on the train in the Bronx 190 00:12:48,600 --> 00:12:52,400 Speaker 2: and the last stop was Coney Island and you'd walk 191 00:12:52,440 --> 00:12:55,040 Speaker 2: all around and had all the ferris wheel and a 192 00:12:55,120 --> 00:12:59,199 Speaker 2: parachute jump and uh and I would go off by myself. 193 00:12:59,520 --> 00:12:59,720 Speaker 4: You know. 194 00:13:00,080 --> 00:13:03,080 Speaker 2: Places I really loved to hang out was forty Second Street. 195 00:13:03,520 --> 00:13:05,120 Speaker 2: Now I'm a twelve year old kid, and there was 196 00:13:05,160 --> 00:13:08,720 Speaker 2: all the penny arcades and the shooting galleries and all 197 00:13:08,840 --> 00:13:13,760 Speaker 2: the Hubitt's Flee Circus, which was sort of like Ripley's 198 00:13:13,800 --> 00:13:18,760 Speaker 2: Believe it or not, it was this amazing museum of 199 00:13:19,440 --> 00:13:24,400 Speaker 2: magic and hustlers, and Broadway was filled with all, you know, 200 00:13:24,440 --> 00:13:28,520 Speaker 2: these little shops and totally different than it is now. 201 00:13:28,960 --> 00:13:31,440 Speaker 2: And then, of course once I got down to Greenwich Village, 202 00:13:31,640 --> 00:13:34,440 Speaker 2: I was a little bit older. There was all the 203 00:13:34,480 --> 00:13:37,120 Speaker 2: great folk music and all the little clubs that really 204 00:13:37,200 --> 00:13:39,800 Speaker 2: didn't in the coffee houses that you really didn't have 205 00:13:39,880 --> 00:13:41,520 Speaker 2: to pay to get into. 206 00:13:41,760 --> 00:13:43,400 Speaker 4: You could drop money and a hat. 207 00:13:43,280 --> 00:13:46,600 Speaker 2: If you chose to, and you could get a you know, 208 00:13:47,920 --> 00:13:50,640 Speaker 2: a kind of soft drink or something and sit there 209 00:13:50,880 --> 00:13:56,080 Speaker 2: for hours. And also they had great jazz clubs like 210 00:13:56,160 --> 00:13:59,200 Speaker 2: the Village Vanguard and a five spot, and I would 211 00:13:59,320 --> 00:14:02,600 Speaker 2: just stand out and I'd hear one week I could 212 00:14:02,640 --> 00:14:05,160 Speaker 2: hear Felonious Monk, and the next week I could hear 213 00:14:05,320 --> 00:14:11,160 Speaker 2: Charles Mingus and it was just non stop. So between 214 00:14:11,200 --> 00:14:14,360 Speaker 2: the folk music, you know where you would hear people 215 00:14:14,400 --> 00:14:17,720 Speaker 2: like the Green Briar Boys, or you know, Bob Dylan 216 00:14:17,800 --> 00:14:22,360 Speaker 2: in a small club, Dave van Ronk and all these 217 00:14:22,440 --> 00:14:26,800 Speaker 2: jazz greats, and sort of later on there would be 218 00:14:26,840 --> 00:14:29,240 Speaker 2: some rock clubs where you'd catch you know, some of 219 00:14:29,240 --> 00:14:33,800 Speaker 2: the the young rascals or you know, the beginnings of 220 00:14:33,880 --> 00:14:36,960 Speaker 2: bands like Mountain and Leslie West and people like that. 221 00:14:37,120 --> 00:14:40,200 Speaker 2: So there was I remember seeing the Doors when they 222 00:14:40,280 --> 00:14:45,440 Speaker 2: first came to a club in New York. So it 223 00:14:45,560 --> 00:14:50,480 Speaker 2: was a cornucopia of delights. It was all available and 224 00:14:50,600 --> 00:14:55,400 Speaker 2: economically it was feasible, so you could spend you know, 225 00:14:56,000 --> 00:15:00,200 Speaker 2: days upon days, a venture upon a venture, and some 226 00:15:00,240 --> 00:15:02,160 Speaker 2: of it I tried to capture in the book. 227 00:15:03,280 --> 00:15:07,920 Speaker 3: You did it so brilliantly and the stories, I mean, 228 00:15:07,920 --> 00:15:12,520 Speaker 3: there's so many favorites, the interactions from the beginning that 229 00:15:12,600 --> 00:15:18,160 Speaker 3: you had with with Bob Dylan, observing his performance and 230 00:15:18,200 --> 00:15:23,480 Speaker 3: then being able to have some choice interactions that are 231 00:15:23,600 --> 00:15:29,600 Speaker 3: just incredible. When you were writing the book, had you 232 00:15:29,720 --> 00:15:34,120 Speaker 3: kept notes of things all along in your life, a 233 00:15:34,200 --> 00:15:38,800 Speaker 3: journal or whatever, or because there's a lot of stuff 234 00:15:38,800 --> 00:15:43,040 Speaker 3: that you go back into and you painted in brilliantly 235 00:15:43,560 --> 00:15:45,000 Speaker 3: colorful detail. 236 00:15:46,280 --> 00:15:49,280 Speaker 2: Well, I never kept journal. I mean I would keep like, 237 00:15:49,720 --> 00:15:54,040 Speaker 2: you know, a calendar would say, you know, dentists two o'clock, 238 00:15:54,200 --> 00:15:57,160 Speaker 2: you know, meeting over you know so and so, record 239 00:15:57,160 --> 00:16:01,480 Speaker 2: stational call this person or you know, but basically about 240 00:16:01,520 --> 00:16:04,880 Speaker 2: twenty years ago, I sat down and I was thinking 241 00:16:04,920 --> 00:16:10,680 Speaker 2: about a book, and I wrote out a outline, which 242 00:16:10,720 --> 00:16:13,120 Speaker 2: I printed out and put in a loose leaf folder, 243 00:16:13,600 --> 00:16:18,760 Speaker 2: and it pretty much starts from the early memories chronological 244 00:16:19,520 --> 00:16:22,600 Speaker 2: to all the way up to what then was the present. 245 00:16:23,560 --> 00:16:27,040 Speaker 2: I kept referring to it, and if I thought of something, 246 00:16:27,080 --> 00:16:29,400 Speaker 2: I would add to it. But I didn't really do 247 00:16:29,480 --> 00:16:34,480 Speaker 2: anything with it until I started about, you know, two 248 00:16:34,520 --> 00:16:40,040 Speaker 2: years ago, and I found the book the notes, and 249 00:16:40,080 --> 00:16:43,440 Speaker 2: I just marked off the ones I thought would be 250 00:16:43,520 --> 00:16:48,600 Speaker 2: interesting to start with. And that's how I started about 251 00:16:48,600 --> 00:16:54,280 Speaker 2: five or six vignettes, because I did not want The 252 00:16:54,320 --> 00:16:59,080 Speaker 2: book is composed of really short stories. Each chapter is 253 00:16:59,120 --> 00:17:03,320 Speaker 2: its own short story. So there's about thirty five chapters 254 00:17:03,320 --> 00:17:06,640 Speaker 2: of thirty four chapters, I'm not sure, but if you say, 255 00:17:06,720 --> 00:17:11,119 Speaker 2: like interested in sly Stone, you can read about sly Stone, 256 00:17:11,680 --> 00:17:16,600 Speaker 2: or you can read about some there's some early periods 257 00:17:16,600 --> 00:17:18,879 Speaker 2: of my life in there, or if you're into Louis 258 00:17:18,960 --> 00:17:23,800 Speaker 2: Armstrong or Julia Childs So or Tennessee Williams So, they're 259 00:17:23,800 --> 00:17:25,080 Speaker 2: all you know. 260 00:17:25,440 --> 00:17:27,520 Speaker 4: Listed there in the chapters. 261 00:17:28,000 --> 00:17:30,800 Speaker 2: But you could just pick up the book, read a 262 00:17:30,840 --> 00:17:33,119 Speaker 2: six page chapter and put it back down and not 263 00:17:34,119 --> 00:17:40,399 Speaker 2: have to worry about any time aspect, because each chapter 264 00:17:40,480 --> 00:17:43,120 Speaker 2: should have its own, if I'm successful, should have its 265 00:17:43,119 --> 00:17:46,760 Speaker 2: own beginning, middle, and end. And that's how I attempted 266 00:17:46,800 --> 00:17:51,840 Speaker 2: to write it. And the two things that I said 267 00:17:51,880 --> 00:17:55,719 Speaker 2: to myself that I wasn't going to do was I 268 00:17:55,800 --> 00:18:01,000 Speaker 2: wasn't going to write about my marriage, and I wasn't 269 00:18:01,000 --> 00:18:05,560 Speaker 2: going to write about the Jay Giles band. And I 270 00:18:05,640 --> 00:18:08,520 Speaker 2: just wanted to make a book of short stories of 271 00:18:08,560 --> 00:18:14,800 Speaker 2: my adventures of the people that I admired that I 272 00:18:14,880 --> 00:18:19,800 Speaker 2: were privileged enough to get to know and just try 273 00:18:19,840 --> 00:18:24,359 Speaker 2: to not kiss and tell, but tried to demonstrate and 274 00:18:24,440 --> 00:18:30,119 Speaker 2: show what they were like as as artists, as you know, 275 00:18:30,480 --> 00:18:33,720 Speaker 2: interacting with them, you know what that personalities were like 276 00:18:33,800 --> 00:18:36,680 Speaker 2: because I read so many books. Uh and so, oh yeah, 277 00:18:36,760 --> 00:18:39,720 Speaker 2: we played with you know Bo Diddley, Well we played 278 00:18:39,720 --> 00:18:43,000 Speaker 2: you know, uh, well what was Bo Diddley like? Was 279 00:18:43,040 --> 00:18:45,520 Speaker 2: he friendly? Was he unfriendly? Or you know, if he 280 00:18:45,640 --> 00:18:47,840 Speaker 2: played with Chuck Berry, what was he like? Or if 281 00:18:47,880 --> 00:18:52,000 Speaker 2: you met, you know, a certain famous person and had some. 282 00:18:52,720 --> 00:18:55,280 Speaker 4: Quality time, well what were they like? 283 00:18:55,840 --> 00:18:58,359 Speaker 2: And a lot of books would just say oh and 284 00:18:58,400 --> 00:19:00,320 Speaker 2: so I didn't want it to be just a list 285 00:19:00,359 --> 00:19:04,320 Speaker 2: of famous people that wasn't my attention because there's a 286 00:19:04,400 --> 00:19:07,159 Speaker 2: lot of people that I write about in the book 287 00:19:07,240 --> 00:19:12,359 Speaker 2: that nobody would really know about unless reading the book. 288 00:19:13,240 --> 00:19:18,560 Speaker 2: So once I started writing The Little Brown, my publishing 289 00:19:18,600 --> 00:19:23,000 Speaker 2: company and my agent Andrew Wiley, both said, you know, Pete, 290 00:19:23,440 --> 00:19:27,560 Speaker 2: I think people are curious about the Guile's Band and 291 00:19:27,640 --> 00:19:29,040 Speaker 2: curious about your marriage. 292 00:19:29,080 --> 00:19:31,440 Speaker 4: And I said, well, it's not one of those books. 293 00:19:32,520 --> 00:19:36,080 Speaker 2: And my agent said, well, why don't you try just 294 00:19:36,920 --> 00:19:41,439 Speaker 2: writing a bit about each and see how that goes. 295 00:19:42,680 --> 00:19:45,679 Speaker 2: And once I started writing about my marriage, one chapter 296 00:19:45,800 --> 00:19:49,840 Speaker 2: led to another because I realized my marriage with Faye, 297 00:19:51,480 --> 00:19:57,000 Speaker 2: who was then a very world famous actress and at 298 00:19:57,000 --> 00:20:01,359 Speaker 2: the height of her career when we met. I realized 299 00:20:01,800 --> 00:20:04,680 Speaker 2: what an amazing time we had together because it was 300 00:20:04,720 --> 00:20:09,639 Speaker 2: at a period when there was really no rock and 301 00:20:09,720 --> 00:20:15,360 Speaker 2: rollers and actors that were married. And I'm sure they were, 302 00:20:15,400 --> 00:20:18,440 Speaker 2: but you know, I mean after we got married, Faye 303 00:20:18,480 --> 00:20:22,639 Speaker 2: Dunaway and I got married. I remember Greg Allman and 304 00:20:22,920 --> 00:20:26,520 Speaker 2: Cher got married for about five minutes, but Fay and 305 00:20:26,560 --> 00:20:31,520 Speaker 2: I had five six years of a really incredible period 306 00:20:32,440 --> 00:20:35,639 Speaker 2: and it was based the marriage was based on we 307 00:20:35,800 --> 00:20:41,480 Speaker 2: each supported each other in our careers. Her career was 308 00:20:41,920 --> 00:20:45,159 Speaker 2: you know, paramount and important to me, and my career 309 00:20:45,320 --> 00:20:48,760 Speaker 2: was paramount and important to her. And she would fly 310 00:20:48,920 --> 00:20:51,320 Speaker 2: to you know, to meet the band on the road, 311 00:20:51,359 --> 00:20:54,760 Speaker 2: and I'd fly out to see her on a movie set. 312 00:20:54,960 --> 00:20:59,439 Speaker 2: And so once I realized, you know, how rich my 313 00:20:59,600 --> 00:21:05,280 Speaker 2: marriage was and how many adventures we both shared, I 314 00:21:05,359 --> 00:21:07,480 Speaker 2: felt that they were right, that it needed, it was 315 00:21:07,560 --> 00:21:13,480 Speaker 2: part of the narrative. And for the Guyles band, I 316 00:21:13,560 --> 00:21:17,000 Speaker 2: read so many books by musicians that you know, go 317 00:21:17,080 --> 00:21:21,000 Speaker 2: into so much detail about you know, the band and 318 00:21:21,040 --> 00:21:23,520 Speaker 2: this and that, and which is fine if you're really 319 00:21:23,520 --> 00:21:26,520 Speaker 2: interested in that artist or that band, and I didn't 320 00:21:26,520 --> 00:21:30,560 Speaker 2: want to do that sort of cookie cutter type musician memoir. 321 00:21:31,440 --> 00:21:36,880 Speaker 2: So I did a chapter on the band which basically, 322 00:21:37,720 --> 00:21:41,199 Speaker 2: in a very edited way, talked about the beginning of it, 323 00:21:41,680 --> 00:21:46,359 Speaker 2: you know, the middle of it, and I explained my version, 324 00:21:47,760 --> 00:21:51,440 Speaker 2: which I you know, stand by, why it ended. And 325 00:21:52,680 --> 00:21:57,040 Speaker 2: so those were the two issues that came later on. 326 00:21:57,640 --> 00:21:59,720 Speaker 1: We'll be right back with more of that Taking a 327 00:21:59,760 --> 00:22:08,080 Speaker 1: While podcast. Welcome back to the Taking a Walk podcast. 328 00:22:09,160 --> 00:22:15,800 Speaker 3: Your time at WBCN in Boston is chronicled in the 329 00:22:15,840 --> 00:22:19,680 Speaker 3: book so well, and it's you just. 330 00:22:19,680 --> 00:22:22,680 Speaker 5: You know, once again, paint some great pictures. There was 331 00:22:22,880 --> 00:22:23,760 Speaker 5: what was going on. 332 00:22:24,600 --> 00:22:27,000 Speaker 3: I know you did a fair amount of interviews while 333 00:22:27,000 --> 00:22:30,879 Speaker 3: you were working at BCN. I guess the first was 334 00:22:30,960 --> 00:22:34,639 Speaker 3: rash On Roland Kirk actually that you that you interviewed. 335 00:22:35,760 --> 00:22:39,080 Speaker 3: Who were some of the other folks you remember that 336 00:22:39,359 --> 00:22:43,679 Speaker 3: while you were on BCN that were interviews, whether they 337 00:22:43,760 --> 00:22:47,679 Speaker 3: be memorable or not what you thought they would be. 338 00:22:48,840 --> 00:22:54,000 Speaker 2: Well, there was Van Morrison, there was Rod Stewart and 339 00:22:54,080 --> 00:22:57,240 Speaker 2: Jeff Beck with Ronnie Wood when they first blew into 340 00:22:57,320 --> 00:23:02,880 Speaker 2: town under the Jeff Beck group. There was Pete Townsend. 341 00:23:03,400 --> 00:23:06,960 Speaker 2: I had Carla Thomas who was the R and B great. 342 00:23:07,400 --> 00:23:11,000 Speaker 2: There was Muddy Waters, there was John Lee Hooker. There 343 00:23:11,160 --> 00:23:18,160 Speaker 2: was so many different artists that James Cotton, Muddy Waters, 344 00:23:18,720 --> 00:23:20,560 Speaker 2: lou Reid I. 345 00:23:20,440 --> 00:23:21,919 Speaker 4: Had we talked with. 346 00:23:22,000 --> 00:23:26,720 Speaker 2: And the wildest thing about it all My show was 347 00:23:26,760 --> 00:23:29,439 Speaker 2: on at midnight and it was it was an all 348 00:23:29,560 --> 00:23:32,760 Speaker 2: night show, which I loved because Simon and Somniac and 349 00:23:32,960 --> 00:23:34,560 Speaker 2: it was the Wolf of Goop of Mama Tooth for 350 00:23:34,600 --> 00:23:36,960 Speaker 2: show making your knees freeze. You know, Glad, that's Blad Everston. 351 00:23:37,000 --> 00:23:38,639 Speaker 2: You's got to come out because that was rock and 352 00:23:38,680 --> 00:23:41,000 Speaker 2: roll is all about welcome the OJ's little Ladies of 353 00:23:41,040 --> 00:23:43,000 Speaker 2: the Night to kid from Alabama, keeping it all, hit 354 00:23:43,320 --> 00:23:45,040 Speaker 2: all the ships out of sea, doing it too, and 355 00:23:45,040 --> 00:23:47,040 Speaker 2: getting right through it. We're going to have some fun 356 00:23:47,119 --> 00:23:49,959 Speaker 2: until the midnight sun and you know, give me a 357 00:23:50,000 --> 00:23:52,240 Speaker 2: call and let me know way out there, y'all and 358 00:23:52,280 --> 00:23:54,320 Speaker 2: stuff like that. And I would just go and play 359 00:23:54,720 --> 00:23:59,159 Speaker 2: and take phone calls. And it was like a dream 360 00:23:59,280 --> 00:24:01,040 Speaker 2: come true for me because I love radio. 361 00:24:01,280 --> 00:24:02,439 Speaker 4: I grew up with radio. 362 00:24:03,040 --> 00:24:06,640 Speaker 2: Radio was so important to me growing up that being 363 00:24:06,680 --> 00:24:12,080 Speaker 2: a DJ was, you know again, like almost everything in 364 00:24:12,119 --> 00:24:15,600 Speaker 2: the book. The people that I talk about Tennessee Williams, 365 00:24:15,680 --> 00:24:20,160 Speaker 2: Juliet Childs, even Faye my marriage to Fay, were all 366 00:24:20,280 --> 00:24:24,000 Speaker 2: people that I met just by you know, by circumstances, 367 00:24:24,480 --> 00:24:27,879 Speaker 2: you know, serperendipity. It wasn't uh It's like I was 368 00:24:27,920 --> 00:24:30,040 Speaker 2: standing in a record store and I heard this voice 369 00:24:30,080 --> 00:24:33,240 Speaker 2: behind the curtain turned out to be Bob Dylan. You know, 370 00:24:33,280 --> 00:24:36,800 Speaker 2: it's not like, you know, hey, he I pursued because 371 00:24:36,840 --> 00:24:39,879 Speaker 2: I was so interested in his you know, music. But 372 00:24:40,359 --> 00:24:43,080 Speaker 2: so many people I just met by just you know, 373 00:24:44,600 --> 00:24:49,480 Speaker 2: luck of the drawer. And as these interviews came up, 374 00:24:50,040 --> 00:24:53,720 Speaker 2: what happened was my Radioces show. Since it started at 375 00:24:53,800 --> 00:24:58,920 Speaker 2: midnight and that era, everything in Boston closed down. TV 376 00:24:59,040 --> 00:25:03,240 Speaker 2: stations went off midnight. All the stores and restaurants were closed, 377 00:25:03,240 --> 00:25:06,800 Speaker 2: and the only thing open was all night diners, you 378 00:25:06,840 --> 00:25:11,159 Speaker 2: know the Hayes, Bickford's, or you know Waldorf's coffee shops, 379 00:25:11,600 --> 00:25:13,680 Speaker 2: and so a lot of musicians that came to town. 380 00:25:14,119 --> 00:25:17,239 Speaker 2: I was the only thing on the air really that 381 00:25:17,440 --> 00:25:21,000 Speaker 2: was of any interest to most musicians or people. So 382 00:25:21,080 --> 00:25:24,159 Speaker 2: I got to get the Krem dollar krem and you 383 00:25:24,160 --> 00:25:26,400 Speaker 2: know people who you know, Freddie Hubbard from the Art 384 00:25:26,400 --> 00:25:29,720 Speaker 2: Blakey Jazz Band, and oh, just all sorts of people 385 00:25:29,760 --> 00:25:33,920 Speaker 2: that rolled into town that you know, I invited up 386 00:25:34,400 --> 00:25:39,159 Speaker 2: to the station because people were just unwinding and it 387 00:25:39,200 --> 00:25:39,560 Speaker 2: was great. 388 00:25:40,840 --> 00:25:44,359 Speaker 3: Well, first of all, I can die and go to 389 00:25:44,720 --> 00:25:47,280 Speaker 3: if there is a heaven for you just doing your 390 00:25:47,840 --> 00:25:51,359 Speaker 3: PCN opening wrap there, That's the first thing I have 391 00:25:51,440 --> 00:25:57,440 Speaker 3: to say. The smile on my face hopefully comes through. 392 00:25:58,040 --> 00:26:02,120 Speaker 3: But the second part to that is, would you mind 393 00:26:02,119 --> 00:26:06,680 Speaker 3: telling the story how you were getting male to play more? 394 00:26:06,760 --> 00:26:08,280 Speaker 5: Van Morrison? I love that. 395 00:26:09,200 --> 00:26:13,119 Speaker 2: Oh well, when I was on the show, there was 396 00:26:13,160 --> 00:26:18,400 Speaker 2: this artist Ordsley Beardsley and he, you know, did these 397 00:26:18,600 --> 00:26:25,119 Speaker 2: very distinctive drawings that somebody made postcards of and uh, 398 00:26:26,040 --> 00:26:30,600 Speaker 2: I would start receiving these postcards and it's very feminine handwriting. 399 00:26:30,640 --> 00:26:32,960 Speaker 2: You know, love your show, listen to it all the time? 400 00:26:33,320 --> 00:26:37,080 Speaker 2: Can you please play John Lee Hooker, Sonny Boy Williamson 401 00:26:37,400 --> 00:26:41,840 Speaker 2: and Van Morrison And they would come once sometimes twice 402 00:26:41,840 --> 00:26:44,840 Speaker 2: a week, and they always try to play a Van 403 00:26:45,000 --> 00:26:48,880 Speaker 2: Morrison song. And uh, because I was such a fan 404 00:26:49,440 --> 00:26:52,439 Speaker 2: in the group them and that that, and at that 405 00:26:52,640 --> 00:26:54,879 Speaker 2: time he had Brown Eyed Girl come out, but he 406 00:26:54,880 --> 00:26:58,720 Speaker 2: hadn't started really started as major solo career as we 407 00:26:58,800 --> 00:27:01,760 Speaker 2: know it. Then when I got this postcard on a 408 00:27:01,760 --> 00:27:04,800 Speaker 2: beard you know, same artist on the other side, and 409 00:27:04,840 --> 00:27:10,240 Speaker 2: it had this wild kind of handwriting, Hey, Mongo bongo man, 410 00:27:10,280 --> 00:27:12,639 Speaker 2: you know, play more John Lee Hooker, more Hooker. And 411 00:27:13,520 --> 00:27:18,119 Speaker 2: so I was at this club which became eventually became 412 00:27:18,160 --> 00:27:21,560 Speaker 2: the Boston Tea Party, and that was a venue where 413 00:27:21,560 --> 00:27:25,200 Speaker 2: we used to practice. My first band of all art students. 414 00:27:25,240 --> 00:27:29,520 Speaker 2: We got together and I think nineteen sixty four, and 415 00:27:30,600 --> 00:27:33,640 Speaker 2: we were called the Hallucinations and. 416 00:27:35,000 --> 00:27:36,440 Speaker 4: We would rehearse in them. 417 00:27:36,640 --> 00:27:42,840 Speaker 2: One day, this young guy came into the club, and 418 00:27:42,920 --> 00:27:46,119 Speaker 2: he came up to me and, you know, with this 419 00:27:46,200 --> 00:27:49,280 Speaker 2: strange kind of accent, Yeah, he can find the manager, 420 00:27:49,359 --> 00:27:51,919 Speaker 2: that convent manager. I said, well, I don't know if 421 00:27:51,920 --> 00:27:55,680 Speaker 2: the manager's here, I'll search around for him. And I 422 00:27:55,720 --> 00:27:59,439 Speaker 2: couldn't find the manager. So we got to talking and 423 00:27:59,680 --> 00:28:03,560 Speaker 2: I asked him, you know, uh what kind of music 424 00:28:03,600 --> 00:28:04,119 Speaker 2: he played? 425 00:28:04,119 --> 00:28:05,800 Speaker 4: And he told me he just moved to town. 426 00:28:06,000 --> 00:28:10,280 Speaker 2: And we were waiting for the manager I knew would 427 00:28:10,320 --> 00:28:12,480 Speaker 2: be coming back in about an hour or so. So 428 00:28:12,560 --> 00:28:15,200 Speaker 2: we were just having a rap and he was asking 429 00:28:15,200 --> 00:28:18,600 Speaker 2: me about other clubs, and I mentioned some other clubs that, 430 00:28:18,880 --> 00:28:22,920 Speaker 2: you know, he might want to check out. Then he 431 00:28:23,000 --> 00:28:25,760 Speaker 2: was telling me about, you know, what things he liked 432 00:28:25,800 --> 00:28:27,760 Speaker 2: in Boston. He said one of the things he really 433 00:28:27,880 --> 00:28:33,360 Speaker 2: liked was listening to this wolf, you know, late at night. 434 00:28:35,119 --> 00:28:37,320 Speaker 2: I said really, he said, oh yeah, he said, you 435 00:28:37,320 --> 00:28:42,280 Speaker 2: know I love his show. I said, well, I'm the 436 00:28:42,320 --> 00:28:45,800 Speaker 2: Wolf of Goofer. He said what, I go, yeah, and 437 00:28:45,800 --> 00:28:49,479 Speaker 2: he goes now and I said, what do you mean though? 438 00:28:49,520 --> 00:28:54,040 Speaker 2: He said, now he's black guy. He said old black guy. 439 00:28:54,440 --> 00:28:57,520 Speaker 2: I said no, I says me, And I went through 440 00:28:57,520 --> 00:29:00,200 Speaker 2: the rap the Wolf Google Mama, and he couldn't believe, 441 00:29:00,400 --> 00:29:02,840 Speaker 2: and he said, well, hey man, you know, thank you 442 00:29:02,880 --> 00:29:06,480 Speaker 2: so much for playing my records. I said, your records 443 00:29:06,680 --> 00:29:10,440 Speaker 2: and he said, yeah, I'm Van Morrison. And I said, 444 00:29:10,480 --> 00:29:13,239 Speaker 2: You've got to be kidding me, because you know, I 445 00:29:13,280 --> 00:29:16,120 Speaker 2: really don't know what you know. Van looked like I've 446 00:29:16,160 --> 00:29:20,760 Speaker 2: seen pictures, but you know. And so that started the 447 00:29:20,800 --> 00:29:24,200 Speaker 2: beginning of a friendship that still goes on to this day. 448 00:29:25,440 --> 00:29:28,640 Speaker 5: I love it. That's so great. 449 00:29:29,800 --> 00:29:34,880 Speaker 3: And I have to ask you though, the interaction with 450 00:29:35,160 --> 00:29:41,840 Speaker 3: Sly Stone, and in particular the brilliant quote the cherries 451 00:29:41,960 --> 00:29:46,200 Speaker 3: swimming in buttermilk, I believe was the quote when you 452 00:29:46,240 --> 00:29:48,920 Speaker 3: looked at him, looked at his eyes. That was That 453 00:29:49,040 --> 00:29:53,040 Speaker 3: was a pivotal meeting in some regards for you, wasn't it. 454 00:29:53,920 --> 00:29:54,280 Speaker 4: Well. 455 00:29:55,040 --> 00:29:58,840 Speaker 2: I was such a huge fan and Sly was at 456 00:29:58,880 --> 00:30:03,520 Speaker 2: the height of his career and he. 457 00:30:03,440 --> 00:30:04,760 Speaker 4: Was so influential. 458 00:30:05,120 --> 00:30:10,960 Speaker 2: I mean, along with James Brown, those two gentlemen created 459 00:30:11,040 --> 00:30:13,800 Speaker 2: what we know is funk and so many bands that 460 00:30:13,880 --> 00:30:17,040 Speaker 2: came after, you know, even Philly Sound when you hear 461 00:30:17,120 --> 00:30:20,040 Speaker 2: the Temptations, you know, Papa was a rolling stone. So 462 00:30:20,200 --> 00:30:24,040 Speaker 2: much of the arrangements and things were really due to 463 00:30:24,200 --> 00:30:27,280 Speaker 2: Sly's influence. On the music scene, and then of course 464 00:30:27,360 --> 00:30:30,800 Speaker 2: James Brown, and between the two of them, you know, 465 00:30:31,040 --> 00:30:35,240 Speaker 2: one could say they were the roots of funk music 466 00:30:35,800 --> 00:30:41,800 Speaker 2: and their impact was enormous. James obviously came first and 467 00:30:41,840 --> 00:30:46,160 Speaker 2: affected Sly, but Sly developed another kind of funk that 468 00:30:46,320 --> 00:30:49,560 Speaker 2: the Jackson five. And you know, everybody tried to emulate 469 00:30:50,560 --> 00:30:54,280 Speaker 2: so many R and B artists especially, and even rock bands, 470 00:30:54,360 --> 00:30:57,600 Speaker 2: you know, like Rare Earth and things like that. And 471 00:30:57,680 --> 00:31:03,479 Speaker 2: so meeting him, which is a quite an amazing encounter. 472 00:31:03,560 --> 00:31:06,400 Speaker 2: We were in a recording studio and I had to 473 00:31:06,440 --> 00:31:09,640 Speaker 2: go to use the men's room take a break, and 474 00:31:10,120 --> 00:31:13,400 Speaker 2: with the guys band we're recording our second record. I 475 00:31:13,480 --> 00:31:16,160 Speaker 2: go running down the hallway and open up the men's 476 00:31:16,240 --> 00:31:20,600 Speaker 2: room door and they're sitting on the floor with three men, 477 00:31:21,280 --> 00:31:25,360 Speaker 2: all dressed in suits and ties in one corner and 478 00:31:25,480 --> 00:31:31,840 Speaker 2: on the other corner was sly Stone. And I didn't realize, 479 00:31:31,880 --> 00:31:33,800 Speaker 2: and I said, oh, and you know, I was about 480 00:31:33,840 --> 00:31:35,840 Speaker 2: to leave, so I didn't want to interrupt whatever was 481 00:31:35,880 --> 00:31:36,520 Speaker 2: going on. 482 00:31:36,800 --> 00:31:39,040 Speaker 4: So said, no, man, come on in, do your thing. 483 00:31:39,840 --> 00:31:43,960 Speaker 2: And apparently they were having a marketing meet in the 484 00:31:44,000 --> 00:31:49,440 Speaker 2: bathroom on the floor, and that's the beginning of a 485 00:31:50,760 --> 00:31:54,120 Speaker 2: wild story. That's you know, I go into greater length 486 00:31:54,160 --> 00:31:57,719 Speaker 2: in the book, but I think what you're talking about 487 00:31:58,160 --> 00:32:07,160 Speaker 2: is witnessing the decline of Sly and seeing him where 488 00:32:07,240 --> 00:32:12,160 Speaker 2: he was playing arenas and you know, one of the 489 00:32:12,280 --> 00:32:16,000 Speaker 2: leading stars of the Woodstock Festival and you know, so 490 00:32:16,200 --> 00:32:20,400 Speaker 2: influential and so revered, ending up at the small, little 491 00:32:20,440 --> 00:32:26,240 Speaker 2: funky club of maybe one hundred people at most in Cambridge, Massachusetts. 492 00:32:26,280 --> 00:32:30,200 Speaker 2: And I just happened to be walking by and seeing 493 00:32:30,200 --> 00:32:32,520 Speaker 2: that he was going to appear that night. And it 494 00:32:32,600 --> 00:32:36,920 Speaker 2: was a surreal moment and a very heartbreaking moment for 495 00:32:37,040 --> 00:32:44,120 Speaker 2: me to see someone who had achieved so much that 496 00:32:44,200 --> 00:32:50,120 Speaker 2: could you know, the depths of the fall could be 497 00:32:50,200 --> 00:32:54,600 Speaker 2: so great that it really really shook me up and 498 00:32:54,880 --> 00:32:58,360 Speaker 2: scared me. And I remember sitting in the club, as 499 00:32:58,400 --> 00:33:03,040 Speaker 2: I described in the book, that I just sat there 500 00:33:03,320 --> 00:33:04,160 Speaker 2: kind of stunned. 501 00:33:04,720 --> 00:33:04,920 Speaker 4: You know. 502 00:33:04,960 --> 00:33:07,640 Speaker 2: The bartender was lifting up all the chairs and I 503 00:33:07,680 --> 00:33:12,080 Speaker 2: knew I had to leave. But that was a very 504 00:33:13,360 --> 00:33:18,200 Speaker 2: sobering moment for me, an unforgettable one. And I remember, 505 00:33:18,640 --> 00:33:22,320 Speaker 2: as I wrote it, it brought back that whole feeling 506 00:33:22,440 --> 00:33:30,240 Speaker 2: of what one can gain out of notoriety or fame 507 00:33:31,160 --> 00:33:35,760 Speaker 2: and what one can lose and how easily one can 508 00:33:35,840 --> 00:33:41,200 Speaker 2: lose notoriety and fame. And it's not just the money 509 00:33:41,240 --> 00:33:46,040 Speaker 2: aspect of it, but it's the freedom that fame gives 510 00:33:46,040 --> 00:33:49,560 Speaker 2: you to be able to continue on your own terms. 511 00:33:49,960 --> 00:33:52,320 Speaker 2: At least for me, that's what it means, and that's 512 00:33:52,360 --> 00:33:55,280 Speaker 2: why I worked so hard on this book. Was hopefully, 513 00:33:55,960 --> 00:33:59,680 Speaker 2: you know, to widen the audience because you know, so 514 00:33:59,720 --> 00:34:04,000 Speaker 2: many people, you know, they know the Jay Giles band 515 00:34:04,000 --> 00:34:07,040 Speaker 2: through MTV and through all the years of records, but 516 00:34:07,080 --> 00:34:09,839 Speaker 2: Peter Wolf, you know, a lot of people think I'm 517 00:34:09,880 --> 00:34:13,080 Speaker 2: Jay Giles, or they assume, you know, I'm the front guy, 518 00:34:13,160 --> 00:34:16,799 Speaker 2: so I must be Jay Giles, which was very confusing. 519 00:34:17,320 --> 00:34:20,719 Speaker 2: And so the purpose for writing this book was to 520 00:34:20,760 --> 00:34:26,719 Speaker 2: widen the audience and maybe get to interest people that 521 00:34:26,800 --> 00:34:30,319 Speaker 2: I normally wouldn't because I have a CD, you know, 522 00:34:30,520 --> 00:34:35,680 Speaker 2: recording that's ready to almost about eighty percent finished, and 523 00:34:35,719 --> 00:34:38,279 Speaker 2: I knew if I released it, like almost all of 524 00:34:38,360 --> 00:34:42,120 Speaker 2: the recordings, it would just you know, get lost in 525 00:34:42,160 --> 00:34:44,839 Speaker 2: the ether, and you know, ten days or so it'd 526 00:34:44,880 --> 00:34:46,480 Speaker 2: be out there, but it would just be. 527 00:34:46,560 --> 00:34:47,320 Speaker 4: In that ocean. 528 00:34:48,360 --> 00:34:52,040 Speaker 2: Because there's no real record stores, there's no record day releases. 529 00:34:52,200 --> 00:34:56,400 Speaker 2: There's no one particular radio station that has the power 530 00:34:56,480 --> 00:35:01,680 Speaker 2: to influence. There's such a large, large ocean out there 531 00:35:02,640 --> 00:35:09,120 Speaker 2: that it's hard to focus even what's going on with 532 00:35:09,239 --> 00:35:12,520 Speaker 2: films or you know, with television, with all the different 533 00:35:12,560 --> 00:35:16,200 Speaker 2: Netflix series and all the different episodes, and hey, are 534 00:35:16,239 --> 00:35:18,759 Speaker 2: you watching this episode and you're watching that, or you know, 535 00:35:19,520 --> 00:35:22,279 Speaker 2: in the time of say like the Sopranos came, it 536 00:35:22,400 --> 00:35:25,280 Speaker 2: was like the only game in town. And now there's 537 00:35:25,360 --> 00:35:30,239 Speaker 2: so many different series and episodes of things, it's so 538 00:35:30,360 --> 00:35:34,160 Speaker 2: easy for things to get lost. I decided to hold 539 00:35:34,200 --> 00:35:37,440 Speaker 2: off on finishing the record and just put all my 540 00:35:37,600 --> 00:35:38,840 Speaker 2: energies into the book. 541 00:35:40,080 --> 00:35:43,560 Speaker 3: Well, the book is fabulous, and I'm glad you brought 542 00:35:43,600 --> 00:35:45,160 Speaker 3: up the Midnight Travelers. 543 00:35:45,200 --> 00:35:47,520 Speaker 5: So this will be the ninth album. 544 00:35:47,280 --> 00:35:48,600 Speaker 4: Right, I believe so. 545 00:35:49,160 --> 00:35:53,080 Speaker 3: Yeah, So you can't wait for that, and I'm sure 546 00:35:53,080 --> 00:35:56,479 Speaker 3: you'll be out playing live when that. 547 00:35:56,440 --> 00:35:57,480 Speaker 5: Comes out as well. 548 00:35:57,560 --> 00:36:00,560 Speaker 3: But it's such a treasure too to be able to 549 00:36:00,600 --> 00:36:03,720 Speaker 3: speak with you, Pete talking about this this great book. 550 00:36:04,360 --> 00:36:05,920 Speaker 3: I recommend it to everybody. 551 00:36:06,080 --> 00:36:07,760 Speaker 5: It is. It is a great read. 552 00:36:08,600 --> 00:36:14,399 Speaker 3: It's so fun, appealing and just such a walk through 553 00:36:15,120 --> 00:36:18,799 Speaker 3: music history. And I'm grateful that you took the time 554 00:36:18,920 --> 00:36:24,320 Speaker 3: to come on taking a walk and talk about waiting 555 00:36:24,360 --> 00:36:27,920 Speaker 3: on the moon and your amazing career. 556 00:36:27,960 --> 00:36:30,759 Speaker 5: Peter Wilfo, I'm so thrilled to have you on. 557 00:36:31,040 --> 00:36:34,080 Speaker 2: Well, thank you, Buzz. You know we're both old, you 558 00:36:34,120 --> 00:36:39,200 Speaker 2: know radio. When I say old, I don't mean necessary age. 559 00:36:39,280 --> 00:36:43,320 Speaker 2: But we we spent many, many years in the world 560 00:36:43,400 --> 00:36:44,040 Speaker 2: of radio. 561 00:36:44,200 --> 00:36:44,840 Speaker 4: I know you have. 562 00:36:45,800 --> 00:36:52,879 Speaker 2: But let me ask you, if not anyone that you're 563 00:36:52,920 --> 00:36:57,280 Speaker 2: related to, but if you had a choice of taking 564 00:36:57,320 --> 00:37:03,000 Speaker 2: a walk with anyone or dead, who would it be 565 00:37:03,200 --> 00:37:05,080 Speaker 2: and where would you walk to? 566 00:37:06,360 --> 00:37:09,200 Speaker 3: I'd say Bob Dylan comes to mind, fresh off of 567 00:37:09,280 --> 00:37:13,160 Speaker 3: reading so much of the great stories you told, and 568 00:37:13,200 --> 00:37:16,120 Speaker 3: it would have to be a walk through through the village. 569 00:37:16,840 --> 00:37:21,359 Speaker 3: And I know it would probably be ironic because he'd 570 00:37:21,360 --> 00:37:24,000 Speaker 3: probably look and go, this is not the same village 571 00:37:24,040 --> 00:37:27,040 Speaker 3: I remember from from that period, because as you know, 572 00:37:27,120 --> 00:37:30,800 Speaker 3: it's so has changed, right. But oh, but it would 573 00:37:30,800 --> 00:37:34,160 Speaker 3: be uh. I'd love even if it was a walk 574 00:37:34,200 --> 00:37:35,359 Speaker 3: around the corner with. 575 00:37:35,440 --> 00:37:37,080 Speaker 5: Him, to have a walk with Bob. 576 00:37:37,920 --> 00:37:42,279 Speaker 2: Well, there you go. Well you answered it a lot 577 00:37:42,320 --> 00:37:43,200 Speaker 2: easier than I did. 578 00:37:44,160 --> 00:37:45,880 Speaker 5: Well, it's a hard one. I know. 579 00:37:47,560 --> 00:37:51,560 Speaker 2: It's the living or dead aspect, you know, living uh, 580 00:37:51,680 --> 00:37:53,600 Speaker 2: it's still a still a wide ocean. 581 00:37:54,520 --> 00:38:01,520 Speaker 4: Dead really gives you anything, you know, you know, because. 582 00:38:01,320 --> 00:38:05,719 Speaker 2: They asked that question to writers, you know, I know 583 00:38:05,760 --> 00:38:11,319 Speaker 2: in the New York Times book review section is a 584 00:38:11,360 --> 00:38:13,719 Speaker 2: part where they ask writers, you know, if you can 585 00:38:13,800 --> 00:38:16,239 Speaker 2: meet a writer living in a you know, dead or 586 00:38:16,280 --> 00:38:19,759 Speaker 2: have a dinner party with three people you know, who 587 00:38:19,880 --> 00:38:22,719 Speaker 2: might it be? And it's really interesting to see who 588 00:38:22,800 --> 00:38:27,160 Speaker 2: people pick. I'd always go for the mysterious ones, the 589 00:38:27,280 --> 00:38:31,319 Speaker 2: ones where history doesn't quite fill in all the blanks. 590 00:38:31,880 --> 00:38:33,560 Speaker 5: Yes, got it? Well, I know. 591 00:38:34,960 --> 00:38:38,640 Speaker 3: I'll put you high up there on the list because 592 00:38:39,120 --> 00:38:41,000 Speaker 3: I love being with you and I look forward to 593 00:38:41,040 --> 00:38:41,640 Speaker 3: the next time. 594 00:38:42,320 --> 00:38:46,560 Speaker 2: Well we have we our next get together, Our next 595 00:38:46,600 --> 00:38:50,719 Speaker 2: walk is going to go to a restaurant that has 596 00:38:50,760 --> 00:38:54,480 Speaker 2: a nice fine wine list, and we have a bottle 597 00:38:54,560 --> 00:38:59,319 Speaker 2: to open and two glasses to fill. Amen, So that's 598 00:38:59,320 --> 00:39:03,120 Speaker 2: where we're going to go walking, Buzz. So I'll take 599 00:39:03,120 --> 00:39:05,279 Speaker 2: a walk with Buzz, have some fine wine, have a 600 00:39:05,320 --> 00:39:07,680 Speaker 2: good time and do it up and do it do 601 00:39:07,760 --> 00:39:11,640 Speaker 2: it nice, oh man, and all like sugar and spice. 602 00:39:11,680 --> 00:39:14,120 Speaker 2: So this is woof of goof of mama tuf. Thank 603 00:39:14,160 --> 00:39:16,880 Speaker 2: you Buzz for having me as your guest. I was 604 00:39:17,000 --> 00:39:21,120 Speaker 2: honored to walk with you and go through so much 605 00:39:21,160 --> 00:39:24,240 Speaker 2: of sharing bits and pieces of my life. 606 00:39:24,600 --> 00:39:25,319 Speaker 5: Thank you, my friend. 607 00:39:25,920 --> 00:39:27,080 Speaker 4: Later later, and if. 608 00:39:26,960 --> 00:39:28,960 Speaker 2: It's in you, it's got to come out. Take it easy, 609 00:39:29,520 --> 00:39:30,759 Speaker 2: but take it. 610 00:39:32,280 --> 00:39:34,759 Speaker 1: Thanks for listening to this episode of the Taking a 611 00:39:34,800 --> 00:39:38,680 Speaker 1: Walk podcast. Share this and other episodes with your friends 612 00:39:38,760 --> 00:39:42,280 Speaker 1: and follow us so you never miss an episode. Taking 613 00:39:42,280 --> 00:39:46,200 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 614 00:39:46,400 --> 00:39:48,680 Speaker 1: and wherever you get your podcasts