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Speaker 1: Welcome, Welcome, Welcome back to the Bob Webstt's podcast. My

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Speaker 1: guest today is legendary promotion man record executive Mario Medius. Mario,

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Speaker 1: great to have you on the podcast. So how'd you

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Speaker 1: get your job with Atlantic Records?

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Speaker 2: I got my job through a friend of mine. She

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Speaker 2: worked in Atlantic Records at the time, and she was

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Speaker 2: a friend of mine. We used to go to all

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Speaker 2: the jazz clubs together. And she told me one day,

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Speaker 2: you know, like, hey, there's an opening in the bookkeeping

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Speaker 2: apartment of Atlantic.

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Speaker 3: If you liked her, you know, apply, you know, I'll

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Speaker 3: recommend you. So I went up.

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Speaker 2: And and took their tests, and you know, and Hill

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Speaker 2: and Vogel hired me. That was nineteen sixty five and

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Speaker 2: I started out in the bookkeeping apartment.

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Speaker 4: So what exactly did you do there?

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Speaker 2: I was accounts, payable, payroll and all checks that was

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Speaker 2: made under company.

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Speaker 3: You know, I paid all the checks whatever it was.

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Speaker 2: You know, every bill was paid by then at that

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Speaker 2: time by hand, you know, plus the payroll. We did

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Speaker 2: all the sessions and everything that payroll for the musicians

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Speaker 2: and payroll for the offers. Any bills that had to

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Speaker 2: be paid was paid through me. At that time, it

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Speaker 2: was only one person. I maade up all the checks.

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Speaker 4: Oh so you were the only person.

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Speaker 3: The only person made up checks.

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Speaker 2: If you wanted a check at that time from Atlantic Records,

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Speaker 2: it went through me.

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Speaker 3: No computer.

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Speaker 4: Now, Linx Records has a checkered history with paying their acts,

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Speaker 4: whether they're paying, what to do, whether they're paying at all.

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Speaker 4: A lot of that's before your time. But is that

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Speaker 4: something you could see from writing checks?

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Speaker 2: No, what I did when I was writing checks, I

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Speaker 2: wasn't doing the Royal is you know, and I wasn't

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Speaker 2: doing contracts, so I never knew all of that. But

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Speaker 2: I did make up checks, you know, as far as

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Speaker 2: when I got a Royal statement, I pay the Royal

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Speaker 2: statement or whatever the mount is on the Royal statements,

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Speaker 2: the mountains?

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Speaker 3: Do you pay that? Now?

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Speaker 2: Whatever deal they had with the with the company, you know,

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Speaker 2: if they signed a contract for two percent rather than

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Speaker 2: ten percent, that's their business.

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Speaker 3: You know.

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Speaker 2: Like in those days, people just happy to have a contract,

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Speaker 2: you know, can you match it? And they just wanted

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Speaker 2: they just wanted to get a record out so they

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Speaker 2: could work. Back in those days, they didn't know anything

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Speaker 2: about business, so a lot of people got screwed.

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Speaker 4: You know, do you remember what some of the biggest

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Speaker 4: checks you wrote were for royalties?

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Speaker 2: Well, I mean, let me see, oh man, I mean

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Speaker 2: wrote it is reading. Well it wasn't made totus ready

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Speaker 2: made to the just tax records, but mostly about Otis

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Speaker 2: they break it down who sold so much records. But

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Speaker 2: the biggest check that I ever made was for for

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Speaker 2: Steven Stills across Stills the Nash I think it was about,

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Speaker 2: oh for fifty thousand something like that, you know at

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Speaker 2: one time.

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Speaker 4: Okay, so you were working in payroll. How'd you get

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Speaker 4: out of pay.

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Speaker 2: Well, first of all, I was in payroll for you know, payroll,

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Speaker 2: and I did that for about three years, and and

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Speaker 2: I went from payroll and they sold to Kenny. When

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Speaker 2: Warner Brothers sold to Kenny, the whole system changed the

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Speaker 2: bid because now you got a corporate situation. And the

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Speaker 2: person I was working for that was the controller, who

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Speaker 2: was Sheldon Bogo. They promoted him to vice president. Uh

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Speaker 2: you know, I guess whatever, you know, vice president and

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Speaker 2: he and he didn't have a CPA, so they wanted

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Speaker 2: someone to CEPA to be the controller. So they hired

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Speaker 2: another guy. I think his name was Jack Halpern or

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Speaker 2: whatever it was. But they wanted me to train him,

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Speaker 2: you know, for I wanted him to help me, to

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Speaker 2: help train him, and I refused. I just didn't want

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Speaker 2: to train someone to be my boss. And so I

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Speaker 2: spoke with you know, the amin and jerring him, and

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Speaker 2: I told him I just didn't want to do that.

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Speaker 2: So they transferred me to the album sales department to

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Speaker 2: be the as system to the vice president, which was

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Speaker 2: Liny Sacks at the time. And that was like, you know,

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Speaker 2: album sales were the biggest sales in the company. And

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Speaker 2: that was very interesting because now I'm working with the distributors.

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Speaker 2: They are buying records and you know, you're dealing back

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Speaker 2: and forth with them, going to conventions and so on,

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Speaker 2: and meeting all the distributors. And also I was adding

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Speaker 2: up all the sales that we did at the conventions,

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Speaker 2: and I got to know everybody that was a distributor.

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Speaker 2: That was before before they got WA you know, before

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Speaker 2: they started their own distribution.

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Speaker 3: We had independent distributors.

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Speaker 2: So I got to know all these distributors and I

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Speaker 2: did that for about a year and then I I

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Speaker 2: went to Jay and I said like, hey man, you're

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Speaker 2: like I'm just doing accounting, so it's it's just better

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Speaker 2: I move on. Greenberg suggested that that they could use

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Speaker 2: a promotion man for the hippies, you know, for this

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Speaker 2: new stations, and and I said, well, you know, I

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Speaker 2: wouldn't mind doing promotion if I could do the rock stuff,

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Speaker 2: you know, all the rock and roll. So see here,

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Speaker 2: it'd be the album promotion. They call it underground station STU.

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Speaker 2: They had a list called S t U. S was

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Speaker 2: stereo underground stations, right, so.

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Speaker 3: That was so that was my list.

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Speaker 2: And I had all these stations men used to be

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Speaker 2: used to be a classical stations before, but now they

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Speaker 2: turned into AO R oriented. Before back then it was

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Speaker 2: just pre form radio and all those stations like uh

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Speaker 2: KMPX k SEN and an e W and whatever.

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Speaker 3: Those few stations that started out are now FM.

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Speaker 2: But they can play anything they want, could be jazz, blues, rock, whatever.

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Speaker 2: And I and I was the first guy more or

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Speaker 2: less did promotion for that. I took the first led

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Speaker 2: Zeppelin test pressing to Alison Steele in New York and

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Speaker 2: she played the whole record because she said, what is

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Speaker 2: this album? I said, this is the news forydd Birch.

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Speaker 2: So she played the whole album on the radio boy

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Speaker 2: and went crazy. New York went crazy for that two

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Speaker 2: weeks before the record was out. They went crazy because

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Speaker 2: she played the whole record and Rosto came on after

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Speaker 2: they played it.

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Speaker 3: Then I took a test president and went to Boston.

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Speaker 3: You know.

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Speaker 2: So that's the way we That's why we tried to

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Speaker 2: break records back then. You know, before they were released,

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Speaker 2: you got to play on radio. Radio was manager to

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Speaker 2: sell a record back in those days.

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Speaker 4: Okay, if you were a jazz er, how'd you feel

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Speaker 4: about rock and roll?

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Speaker 3: Look? Man, I love music. First of all.

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Speaker 2: Music was my thing, you know, Jazz was what I

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Speaker 2: I you know, it was my favorite lover is till today.

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Speaker 2: I still I'm a jazz fanatic. And when I took

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Speaker 2: the job at Atlantic, the main reason to take the

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Speaker 2: job because Coltrane was on the label and I get

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Speaker 2: the records free, you know, that was the main I

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Speaker 2: was never.

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Speaker 3: About trying to be a millionaire and none of that stuff.

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Speaker 3: You know, just a job was great.

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Speaker 2: But now I get pre records, so I'm going to

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Speaker 2: get about ten records every week, so that's part of

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Speaker 2: my payrolls.

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Speaker 3: Was I'm certain, you know, and.

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Speaker 2: I really enjoyed that part of it when I first

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Speaker 2: got there. That was the reason for taking the job.

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Speaker 2: And I always liked I liked the blues, and rock

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Speaker 2: was blues oriented, you know, blues, Muddy Waters. I was

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Speaker 2: raised up in Chicago, so that Muddy Waters and Howland

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Speaker 2: Wilson and all that stuff. I was raised up around

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Speaker 2: all of that music, and that was like, my my

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Speaker 2: major thing was blues. Jazz was my major to music

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Speaker 2: is all. And most rock and roll was blues oriented,

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Speaker 2: you know, So I could accept it. If they could

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Speaker 2: play any type of blues, I would concept it, you know.

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Speaker 2: And most of all of them back then, from the Beatles,

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Speaker 2: Rolling Stones, across the Steels and Nash everybody, everybody had

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Speaker 2: a blues concept, you know.

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Speaker 3: So I got along very well with them because of that.

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Speaker 4: Okay, at that point in time, some of the records

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Speaker 4: were an ATCO. I think Vanilla Fudge was an ATCO

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Speaker 4: and some were in Atlantic.

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Speaker 3: Right, did it make any.

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Speaker 4: Difference if you were promoting the records, You're promoting all

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Speaker 4: of them.

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Speaker 3: Didn't make any different. Cotillion Atlantic at COO I had.

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Speaker 2: I had a promo record, promo picture made and I said,

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Speaker 2: Mario Media's own all Atlantic, Atcho and Cortillion Records.

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Speaker 3: So if it was all any of those labels, I

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Speaker 3: was promoting them.

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Speaker 2: You know, it didn't make any difference with me, you know,

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Speaker 2: because it was the same thing. This is his job,

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Speaker 2: you know, And but I enjoy.

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Speaker 4: Okay, Since you know, the Woodstock album came out in

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Speaker 4: the spring of seventy on Katillion, obviously there was a

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Speaker 4: lot of demand for that. But what did you do

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Speaker 4: for the Woodstock record to make it happen?

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Speaker 3: Look?

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Speaker 2: Man, they were dying for They wanted Jimmy Henrys, but

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Speaker 2: jim Henry they wouldn't let they wouldn't let let us

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Speaker 2: have Jimmy because he was on Warner Brothers. But the

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Speaker 2: record was a was a smash because people had had

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Speaker 2: seen Woodstock movie, you know.

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Speaker 3: So now we got the soundtrack, which is the State Boom.

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Speaker 3: They took it just like just ouh. Look man, it

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Speaker 3: immediately the first week is Golan, you know, the first week.

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Speaker 3: But it wasn't No.

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Speaker 2: I didn't have to do nothing but just delivered the

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Speaker 2: record and I had I had so much fun with

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Speaker 2: that record because they said, well, what happened to Jimmy Hennings.

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Speaker 3: Uh part of it.

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Speaker 2: I said, well, you know, Jimmy's on Warner Brothers because

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Speaker 2: he did that Star Spangled banner so on, you know,

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Speaker 2: And I knew all those guests.

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Speaker 3: I knew Jimmy very well.

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Speaker 2: I knew Richie Havens well. I knew all of them,

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Speaker 2: you know, everybody man, all those guys on Woostock, I

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Speaker 2: knew them. But I didn't go to Worstock because too

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Speaker 2: money for.

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Speaker 3: Me, you know.

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Speaker 2: But but it's Joe and I enjoyed that album.

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Speaker 3: You know, it was a lot of fun.

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Speaker 4: Okay, So you went to work for Atlantic in sixty five.

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Speaker 4: You worked in three and a half years in payroll, right,

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Speaker 4: and then how long did you work in sales?

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Speaker 3: Sales? About about a year.

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Speaker 4: Who was head of sales then.

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Speaker 3: Lenis Sachs's name was Linnis Sacks. He was vice president

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Speaker 3: of sales.

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Speaker 4: Okay, that was as you say, that was independent. You

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Speaker 4: went through distributors all over the country. How did you

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Speaker 4: convince them? You know, it's one thing to convince them

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Speaker 4: to get the young rascals or something. It's another thing

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Speaker 4: to convince them to buy something that is unknown. How

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Speaker 4: would you do that?

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Speaker 3: Right? First of all, you got to realize.

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Speaker 2: Now, when I was the Count's bailable guy, they also

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Speaker 2: so you know, they had all the checks came from

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Speaker 2: the distributors, and I had to make the deposits, you know.

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Speaker 2: For so I got to know all the distributors like that,

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Speaker 2: and whenever they were laid on a payment shell, the

223
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Speaker 2: Vogue will tell me to call them, because he didn't

224
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Speaker 2: want to be on bad terms with them, but he'd

225
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Speaker 2: called me in and tell him myself, look, if you don't

226
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Speaker 2: if we don't have a check by friant, we're cutting

227
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Speaker 2: you off, you know. So I got to know all

228
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Speaker 2: of those guys being a bookkeeper. And when I started

229
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Speaker 2: promoting records, I would go to the distributor, even with

230
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Speaker 2: a new record, like I remember that Zeppelin's first number

231
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Speaker 2: whatever it was, twenty nine points whatever. That's what they

232
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Speaker 2: knew the record. They didn't know who the who the

233
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Speaker 2: record was. This twenty nine or whatever is selling a bit.

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Speaker 2: I said, well, man, that's that's step. You need to

235
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Speaker 2: buy another ten thousand because I think it's going to

236
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Speaker 2: do well. And so I would go to distributors and talk.

237
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Speaker 3: To them in every city that I went in where

238
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Speaker 3: we had a distributor in order.

239
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Speaker 2: To get them to buy advance because I was playing

240
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Speaker 2: like test presents, you know, in all those cities, and

241
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Speaker 2: I was saying, well, this is going to be a

242
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Speaker 2: smash so and they said, well I here's playing on

243
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Speaker 2: the stairs.

244
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Speaker 3: Well, man should get more.

245
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Speaker 2: So I got that type of relationship with all distributors

246
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Speaker 2: and that really helped me as far as Mode records.

247
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Speaker 4: You know, So were the distributors music fans or were they.

248
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Speaker 3: The money fans?

249
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Speaker 2: That's what they were. Just they were about selling records.

250
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Speaker 2: They didn't they didn't care, but they didn't care about

251
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Speaker 2: the music. They didn't even know who they are acts were,

252
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Speaker 2: you know, most of them didn't know who they were,

253
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Speaker 2: you know. But as long as they say, well this

254
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Speaker 2: number is.

255
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Speaker 3: Selling, who you know that?

256
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Speaker 2: I mean, In a God of the Vida was a

257
00:11:24,360 --> 00:11:27,959
Speaker 2: big big seller back it was Iron Butterfly in A

258
00:11:28,000 --> 00:11:30,320
Speaker 2: God of the Vita was like the biggest rock seller

259
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Speaker 2: up at that point before Zeppelin came out and stuff.

260
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Speaker 3: Right, And I went to the station and this guy said, well, man, uh,

261
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Speaker 3: that record in a cot in you either.

262
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Speaker 5: I said, I said, that's not, that's not that's not

263
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Speaker 5: that's not a song.

264
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Speaker 3: I mean, I wouldn't mind. I wouldn't mind from all

265
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Speaker 3: of that. But that's not a song man, you know.

266
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Speaker 3: I said it got to be oh well, whatever it is.

267
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Speaker 3: They said, that's selling. Well.

268
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Speaker 2: But that's the type of that's the type of mentality

269
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Speaker 2: most of those distributors ad. They didn't care about the

270
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Speaker 2: music or what you know. It was about money with them,

271
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Speaker 2: you know.

272
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Speaker 3: But I understood that.

273
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Speaker 4: How much was it about the relationship whining and dining

274
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Speaker 4: them in order to get them to buy stuff as

275
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Speaker 4: opposed to the music itself.

276
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Speaker 2: Well, I didn't do that. That was the salesman did that,

277
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Speaker 2: you know. I guess they the sales you know, from

278
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Speaker 2: Atlantic salesman. They had some guys in the office and

279
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Speaker 2: some distributors that did that. I didn't wind and dine

280
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Speaker 2: the disc jockey as far as you know, as far

281
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Speaker 2: as the FM jocks.

282
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Speaker 4: Okay, but let's go back before that. You work in

283
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Speaker 4: in payroll. They tell you got to train your boss.

284
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Speaker 4: You talk about ahmit Jerry and Jerry Greenberg. Jury you're

285
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Speaker 4: working in payroll. How well did you know those guys?

286
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Speaker 3: Well?

287
00:12:44,920 --> 00:12:46,559
Speaker 2: I made up all the checks, so I knew them

288
00:12:46,640 --> 00:12:47,839
Speaker 2: very well. They had to come to me to get

289
00:12:47,880 --> 00:12:48,720
Speaker 2: the checks every week.

290
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Speaker 3: So Greenberg.

291
00:12:51,040 --> 00:12:53,040
Speaker 2: I got to know Greenburg so as he started working there,

292
00:12:53,040 --> 00:12:55,680
Speaker 2: because they got to give me all the information to

293
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Speaker 2: make up the payroll checks. You know, So I got

294
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Speaker 2: I got a good relationship with everyone. But on Thursday,

295
00:13:01,520 --> 00:13:03,559
Speaker 2: I gave everybody that checks except you know, I'm in

296
00:13:03,600 --> 00:13:07,319
Speaker 2: the nestluth. I just mild to the bank account. But mean,

297
00:13:07,400 --> 00:13:09,440
Speaker 2: like the guys that worked in office, everybody, I knew

298
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Speaker 2: everybody in office, and everybody knew me because I was

299
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Speaker 2: a payroll clerk, you know, And I got to meet

300
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Speaker 2: all the musicians the same way, you know, because the payroll.

301
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Speaker 4: Did they ever have any problem meeting payroll through They

302
00:13:20,840 --> 00:13:21,720
Speaker 4: always have money?

303
00:13:21,800 --> 00:13:24,800
Speaker 2: Never, never, never not. When I was there, we always

304
00:13:24,840 --> 00:13:27,079
Speaker 2: had money for payroll, you know. And you know, I

305
00:13:27,120 --> 00:13:29,640
Speaker 2: remember we should always have about a million dollars in

306
00:13:29,679 --> 00:13:30,880
Speaker 2: the bank account most of the times.

307
00:13:30,920 --> 00:13:35,560
Speaker 4: You know, Okay, you're working in sales. Once again, what

308
00:13:35,760 --> 00:13:37,559
Speaker 4: exactly did you do in sales?

309
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Speaker 3: And sales?

310
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Speaker 2: You know, at the time, we had album release are

311
00:13:43,600 --> 00:13:47,280
Speaker 2: like twice a year, maybe January and June. And that

312
00:13:47,360 --> 00:13:49,240
Speaker 2: thing is you got to got to build up all

313
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Speaker 2: this stuff with all the album jackets and sleeves and

314
00:13:51,840 --> 00:13:53,520
Speaker 2: so on. You got to get all that stuff together

315
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Speaker 2: in order to get the albums prepared for release. And

316
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Speaker 2: and also you got to pick up out locations for

317
00:14:00,640 --> 00:14:02,800
Speaker 2: all the distributors for a record. If if you have

318
00:14:02,840 --> 00:14:06,320
Speaker 2: a record completed that is so many records, he might

319
00:14:06,720 --> 00:14:10,760
Speaker 2: he might release twenty records at that particular release date.

320
00:14:11,520 --> 00:14:14,880
Speaker 2: So you got to break down how many each distributor

321
00:14:14,960 --> 00:14:16,599
Speaker 2: is going to get based on you don't even know

322
00:14:16,640 --> 00:14:18,240
Speaker 2: if they're going to sell because some of them do

323
00:14:18,440 --> 00:14:21,560
Speaker 2: new acts, you know, So you go through an allocation

324
00:14:21,720 --> 00:14:24,160
Speaker 2: based on what you might what type of feedback you

325
00:14:24,240 --> 00:14:27,360
Speaker 2: might have got it from the local sale peoples. You know,

326
00:14:28,400 --> 00:14:31,000
Speaker 2: it was a job that required a lot of research,

327
00:14:31,040 --> 00:14:33,200
Speaker 2: you know, back in those days, because you didn't have

328
00:14:33,440 --> 00:14:35,200
Speaker 2: no computers and stuff like that.

329
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Speaker 3: You know.

330
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Speaker 4: Okay, so you're working in sales, Tell me exactly how

331
00:14:40,320 --> 00:14:41,760
Speaker 4: do you get out of sales.

332
00:14:43,640 --> 00:14:47,280
Speaker 2: I got a sales by after I did, like I

333
00:14:47,320 --> 00:14:51,520
Speaker 2: think this second convention we was in in the Bahamas,

334
00:14:52,560 --> 00:14:54,600
Speaker 2: and you know, I was the last guy to get

335
00:14:54,640 --> 00:14:56,040
Speaker 2: to the dinner because I had to add up all

336
00:14:56,040 --> 00:14:58,600
Speaker 2: the sales. You know, they all saidn't all the distributors,

337
00:14:58,600 --> 00:15:00,720
Speaker 2: I'm a Jerry Nesta and everybody up on the stage

338
00:15:00,760 --> 00:15:05,520
Speaker 2: waiting on the total sales for that convention. And it

339
00:15:05,600 --> 00:15:08,680
Speaker 2: took me till about nine o'clock, you know at night,

340
00:15:08,760 --> 00:15:11,200
Speaker 2: when everybody's already eating and stuff, by the time I

341
00:15:11,320 --> 00:15:14,480
Speaker 2: take to take the finished amount. Let them know how many,

342
00:15:14,480 --> 00:15:16,080
Speaker 2: how many, how much the sales were done for that

343
00:15:16,120 --> 00:15:19,200
Speaker 2: particular convention. So I go up there, Oh yet thirty

344
00:15:19,200 --> 00:15:20,920
Speaker 2: six May thirty eight me you on't evere might say,

345
00:15:20,960 --> 00:15:22,760
Speaker 2: and then they'll make up and oh we did, thirty

346
00:15:22,880 --> 00:15:26,080
Speaker 2: men and everybody from but they all been waiting on Mario. Now,

347
00:15:26,120 --> 00:15:28,120
Speaker 2: all the whole place been waiting on We're waiting on

348
00:15:28,200 --> 00:15:30,760
Speaker 2: Mario to bring in. So I was well known by

349
00:15:30,800 --> 00:15:33,080
Speaker 2: everybody because I was the last one coming. My wife

350
00:15:33,120 --> 00:15:36,520
Speaker 2: hated that because she's sitting there eating by herself, you know,

351
00:15:36,920 --> 00:15:39,040
Speaker 2: but that was that was the main thing, you know.

352
00:15:39,080 --> 00:15:41,640
Speaker 2: And then I just decided I was an accounting again

353
00:15:41,680 --> 00:15:44,760
Speaker 2: all over again. And I figure, I'm still in an accountant,

354
00:15:44,800 --> 00:15:46,720
Speaker 2: so I need to get out of here completely. And

355
00:15:46,800 --> 00:15:50,000
Speaker 2: I was planning to leave and just go into the

356
00:15:50,160 --> 00:15:53,160
Speaker 2: counting field. And Greenberg said, well, man, we really need

357
00:15:53,200 --> 00:15:56,280
Speaker 2: someone to do this these FM because they're all freaks,

358
00:15:56,280 --> 00:15:56,560
Speaker 2: you know.

359
00:16:04,320 --> 00:16:07,720
Speaker 4: Okay, just to go store. You were ready to leave

360
00:16:08,400 --> 00:16:10,520
Speaker 4: to go work as an accountant.

361
00:16:10,920 --> 00:16:15,920
Speaker 3: We're somewhere into accounting firm, right, And you.

362
00:16:15,920 --> 00:16:17,960
Speaker 4: Told Jerry, and then Jerry said this.

363
00:16:19,040 --> 00:16:22,520
Speaker 2: Yeah, Jerry Greenberg, Yeah, Greenberg, Yeah, he came to me first.

364
00:16:23,320 --> 00:16:25,200
Speaker 2: You know, because when they tried to hire when I

365
00:16:25,240 --> 00:16:26,880
Speaker 2: was in the album when I was in the album

366
00:16:26,960 --> 00:16:31,040
Speaker 2: sales department, they tried to hire a guy to do

367
00:16:31,120 --> 00:16:34,160
Speaker 2: this FM promotion and he lasted about two weeks or

368
00:16:34,160 --> 00:16:36,680
Speaker 2: three weeks, and Greenberg come back said, man, this guy

369
00:16:36,720 --> 00:16:39,400
Speaker 2: is horrible. Man, why don't you try Mark? I said, well,

370
00:16:39,440 --> 00:16:42,480
Speaker 2: you know, like I'll have to think about it. And

371
00:16:42,520 --> 00:16:45,200
Speaker 2: then I went and spoke to my wife and so on,

372
00:16:45,280 --> 00:16:47,280
Speaker 2: and the next day I said, well, I'll do it,

373
00:16:47,320 --> 00:16:49,160
Speaker 2: but I do only want to do the rock stuff,

374
00:16:49,160 --> 00:16:50,600
Speaker 2: you know, I don't want to do that R and

375
00:16:50,680 --> 00:16:53,000
Speaker 2: B and Paola and all. He said, man, you don't

376
00:16:53,040 --> 00:16:55,840
Speaker 2: have to do that, say these cats are all freaks.

377
00:16:55,880 --> 00:16:58,160
Speaker 2: I said, well, who's going to train me to do

378
00:16:58,200 --> 00:17:00,480
Speaker 2: this job? He said, man, I don't know that. We

379
00:17:00,520 --> 00:17:02,480
Speaker 2: can't train it because we don't know nothing about these guts.

380
00:17:02,520 --> 00:17:06,400
Speaker 2: They're all freaks. He said, just talk the same shi

381
00:17:06,440 --> 00:17:09,879
Speaker 2: t that you talked to me, and it'll work well.

382
00:17:10,080 --> 00:17:11,920
Speaker 2: Because I used to talk a lot of trash to Jerry.

383
00:17:12,280 --> 00:17:14,480
Speaker 2: See talk the same trash you talk to me, man,

384
00:17:14,800 --> 00:17:17,040
Speaker 2: and that it'll work with them. So I just took

385
00:17:17,040 --> 00:17:19,320
Speaker 2: on the personnel and went in the station and started

386
00:17:19,400 --> 00:17:22,119
Speaker 2: like that. First station I went to was up in Boston,

387
00:17:22,160 --> 00:17:22,880
Speaker 2: you know BCN.

388
00:17:23,320 --> 00:17:26,160
Speaker 4: Okay, you said they gave you a list. How many

389
00:17:26,200 --> 00:17:27,639
Speaker 4: stations were on that list?

390
00:17:28,800 --> 00:17:32,080
Speaker 2: Oh, I guess about two hundred, about two hundred or

391
00:17:32,080 --> 00:17:32,880
Speaker 2: so already.

392
00:17:33,200 --> 00:17:35,960
Speaker 4: And when exactly is this if you remember.

393
00:17:36,600 --> 00:17:41,119
Speaker 2: Sixty nine, that's just when KMPX was like the big

394
00:17:41,680 --> 00:17:45,280
Speaker 2: FM station out of San Francisco where Jefferson Airplane and everything.

395
00:17:45,800 --> 00:17:48,400
Speaker 3: Tom Downer here I think, was the well known guy

396
00:17:48,480 --> 00:17:49,919
Speaker 3: up there. And they had k.

397
00:17:50,119 --> 00:17:52,399
Speaker 2: Santa and San Francisco. But they had a lot of

398
00:17:52,440 --> 00:17:54,480
Speaker 2: college station that they put on there as well. You

399
00:17:54,480 --> 00:17:57,240
Speaker 2: know that was college stations was on that list as well.

400
00:17:58,080 --> 00:18:00,560
Speaker 4: So you know, okay, so you got to figure out

401
00:18:00,560 --> 00:18:02,879
Speaker 4: how to do it yourself. They give you the list

402
00:18:02,920 --> 00:18:08,280
Speaker 4: of the stations. What records did you go with? Always

403
00:18:08,280 --> 00:18:11,600
Speaker 4: went with with whatever records that were. You know, if

404
00:18:11,720 --> 00:18:13,200
Speaker 4: I had a new record, new records.

405
00:18:13,200 --> 00:18:15,440
Speaker 2: First of all, you go with a case of twenty

406
00:18:15,480 --> 00:18:17,920
Speaker 2: five of the new releases, and you walk into the

407
00:18:17,960 --> 00:18:19,960
Speaker 2: station with like twenty records. You know, you can't get

408
00:18:19,960 --> 00:18:21,920
Speaker 2: an about to play twenty records. So I sit down

409
00:18:21,960 --> 00:18:25,000
Speaker 2: and talk with them about blues and jazz or whatever,

410
00:18:25,040 --> 00:18:26,879
Speaker 2: you know, and I'm may never forget. I went to

411
00:18:26,920 --> 00:18:29,760
Speaker 2: one station and I'm sitting down and this guy is

412
00:18:29,800 --> 00:18:33,000
Speaker 2: a Bruise fanatics supposedly on the station, but I was

413
00:18:33,000 --> 00:18:35,200
Speaker 2: born him and Zipp and raised at Chicago, so it

414
00:18:35,240 --> 00:18:37,480
Speaker 2: wasn't too much innerbody gonna tell me about the blues.

415
00:18:37,600 --> 00:18:39,639
Speaker 2: So I said, like, hey, man, you.

416
00:18:39,640 --> 00:18:41,359
Speaker 3: Know who do you like? He said, Man, Johnny One

417
00:18:41,480 --> 00:18:42,880
Speaker 3: is the greatest Bruise player ever.

418
00:18:42,920 --> 00:18:44,760
Speaker 2: I said, well, look, next time you speak to Johnaman

419
00:18:44,800 --> 00:18:46,680
Speaker 2: and ask him who he like, and you will find

420
00:18:46,680 --> 00:18:49,480
Speaker 2: out what the Bruises are about. And that's the way

421
00:18:49,480 --> 00:18:51,720
Speaker 2: I dealt with of you know, whenever I went in

422
00:18:51,800 --> 00:18:53,879
Speaker 2: the station and they and then they got to a point,

423
00:18:54,200 --> 00:18:56,360
Speaker 2: I had a reputation over here. Mario knows a lot

424
00:18:56,359 --> 00:18:59,440
Speaker 2: about the blues, and so I had like a little

425
00:18:59,440 --> 00:19:02,320
Speaker 2: following it, and they would tell other disc jockeys about it.

426
00:19:02,640 --> 00:19:04,640
Speaker 3: Then That's how I cut into Peter Wool. Peter Wool.

427
00:19:04,880 --> 00:19:07,880
Speaker 2: When I met Peter Wool, he had you could mention

428
00:19:07,960 --> 00:19:09,800
Speaker 2: a song and he would tell you who wrote it,

429
00:19:09,840 --> 00:19:13,200
Speaker 2: you know. I mean it was unbelievable that that really

430
00:19:13,240 --> 00:19:15,600
Speaker 2: impressed me, you know. But they were all blues oriented.

431
00:19:15,680 --> 00:19:18,679
Speaker 2: Most of these jocks loved the blues, and they loved jazz,

432
00:19:18,720 --> 00:19:21,280
Speaker 2: and they loved plassical. But they had a ride of

433
00:19:21,359 --> 00:19:23,399
Speaker 2: music that they liked. But I always stuck with the

434
00:19:23,520 --> 00:19:25,520
Speaker 2: jazz thing and and the blues stuff.

435
00:19:25,560 --> 00:19:25,680
Speaker 3: You know.

436
00:19:25,760 --> 00:19:29,400
Speaker 4: Oh, okay, So the first station you went to was what.

437
00:19:31,000 --> 00:19:33,480
Speaker 3: Well k I went to the case.

438
00:19:33,920 --> 00:19:37,919
Speaker 4: I went to ny W first okaystation, and was Scott

439
00:19:38,000 --> 00:19:39,960
Speaker 4: Muni already the program director.

440
00:19:41,320 --> 00:19:43,000
Speaker 2: No, I don't know it was. I think it was

441
00:19:43,080 --> 00:19:47,240
Speaker 2: Roscoe Roscoe and Allison Steal. I don't know, Okay, Roscoll

442
00:19:47,280 --> 00:19:48,160
Speaker 2: and Alison Okay.

443
00:19:47,960 --> 00:19:50,480
Speaker 4: So they don't know you from Adam. What's your pitch now?

444
00:19:50,840 --> 00:19:52,720
Speaker 4: To Alison Steel in Roscoe.

445
00:19:54,040 --> 00:19:56,480
Speaker 3: I went in there with with the new Yardbirds record.

446
00:19:56,520 --> 00:19:57,200
Speaker 3: That was my pitch.

447
00:19:57,680 --> 00:20:00,159
Speaker 2: You know, I had a before it was release, I

448
00:20:00,160 --> 00:20:03,480
Speaker 2: got a test pressing for the new Yardbirds and everybody

449
00:20:03,520 --> 00:20:04,119
Speaker 2: wanted to hear it.

450
00:20:04,160 --> 00:20:04,359
Speaker 3: You know.

451
00:20:04,960 --> 00:20:06,960
Speaker 2: So I go there and I didn't expect them to

452
00:20:07,000 --> 00:20:09,000
Speaker 2: play it on the air, but she played the whole

453
00:20:09,040 --> 00:20:09,760
Speaker 2: album that night.

454
00:20:09,760 --> 00:20:11,639
Speaker 3: They she's called herself the night Bird. You know.

455
00:20:11,920 --> 00:20:14,480
Speaker 2: Yeah, she played She played the whole album. While she

456
00:20:14,560 --> 00:20:17,400
Speaker 2: was playing, the phones of lighting up and people are

457
00:20:17,440 --> 00:20:21,000
Speaker 2: calling and and just going crazy. And that was my feedback,

458
00:20:21,040 --> 00:20:23,800
Speaker 2: you know. And now I let her play it for

459
00:20:23,800 --> 00:20:27,480
Speaker 2: for twice, and then Roto came on. I let him

460
00:20:27,480 --> 00:20:30,600
Speaker 2: play it twice. Then I took the test pressing back

461
00:20:30,640 --> 00:20:32,240
Speaker 2: because there was only one test pressing.

462
00:20:32,320 --> 00:20:34,320
Speaker 3: I took it back and the next day I went

463
00:20:34,359 --> 00:20:37,040
Speaker 3: to Boston and they did the same thing.

464
00:20:37,119 --> 00:20:39,720
Speaker 2: I let the guys play it, and you know, and

465
00:20:39,760 --> 00:20:42,640
Speaker 2: the phones are lighting up and and I'm calling distributed

466
00:20:42,640 --> 00:20:44,440
Speaker 2: to tell me a better get more records and stuff,

467
00:20:44,480 --> 00:20:47,200
Speaker 2: even at Malvern in New York and in Boston our

468
00:20:47,320 --> 00:20:50,480
Speaker 2: ring and they were and they heard it as well.

469
00:20:50,520 --> 00:20:51,880
Speaker 3: They heard they got the feedback.

470
00:20:51,920 --> 00:20:56,000
Speaker 2: So they got excited about this release because that wasn't

471
00:20:56,000 --> 00:20:58,359
Speaker 2: a prior to release with Atlantic. They had another record

472
00:20:58,359 --> 00:21:01,960
Speaker 2: that was the prior to release called Cartoon. That zepine

473
00:21:02,000 --> 00:21:03,760
Speaker 2: wasn't the prior to release, even though it was signed

474
00:21:03,760 --> 00:21:06,840
Speaker 2: by Jerry Wexler and and they turned out to be

475
00:21:06,880 --> 00:21:08,920
Speaker 2: the supergroup out of that whole release.

476
00:21:08,640 --> 00:21:10,240
Speaker 3: Out of all of them. We had another guy called

477
00:21:10,280 --> 00:21:11,840
Speaker 3: Lord Search had a record out.

478
00:21:12,119 --> 00:21:15,679
Speaker 2: Yeah, it was all in the same release, and on

479
00:21:15,880 --> 00:21:18,560
Speaker 2: Lord Search record, Jim Paige, she had played on one

480
00:21:18,640 --> 00:21:21,520
Speaker 2: track on there, and everybody in Atlantic was saying, well,

481
00:21:21,520 --> 00:21:23,239
Speaker 2: you know, like Lord's Search, they want to promote it.

482
00:21:23,359 --> 00:21:25,640
Speaker 3: Man, we know they got this one guy, Jimmy Paige.

483
00:21:25,760 --> 00:21:26,240
Speaker 3: I think he kept.

484
00:21:26,359 --> 00:21:29,240
Speaker 2: Jimmy Patie has an whole album coming out next week.

485
00:21:29,400 --> 00:21:32,440
Speaker 2: So he got a whole album coming out. You worried

486
00:21:32,440 --> 00:21:35,400
Speaker 2: about Lord Searches one track, But anyway, I promoted Lord

487
00:21:35,480 --> 00:21:38,960
Speaker 2: such as track with Jimmy playing, and Lord Search was

488
00:21:39,040 --> 00:21:40,640
Speaker 2: so such a character, man.

489
00:21:40,680 --> 00:21:42,080
Speaker 3: I was on the road with him.

490
00:21:42,080 --> 00:21:45,320
Speaker 2: He had me cracking up, you know, because he was

491
00:21:45,359 --> 00:21:48,399
Speaker 2: a promotion man himself, you know, but but he was

492
00:21:48,400 --> 00:21:50,800
Speaker 2: the first guy that appreciated promotion.

493
00:21:50,960 --> 00:21:53,119
Speaker 3: And he said, man, you're doing a great job. That

494
00:21:53,240 --> 00:21:55,479
Speaker 3: was my first chop. I had never done it before.

495
00:21:55,520 --> 00:21:58,840
Speaker 3: He thought I was a vetter promotion. Man. I had

496
00:21:58,880 --> 00:22:01,120
Speaker 3: never done any of that before, but I had.

497
00:22:01,200 --> 00:22:04,119
Speaker 2: I went to I think l A and San Francisco

498
00:22:04,200 --> 00:22:08,400
Speaker 2: with them, and God he dressed up like a king man,

499
00:22:08,520 --> 00:22:10,560
Speaker 2: you know, you walk into the station with his cane

500
00:22:10,600 --> 00:22:11,080
Speaker 2: in his hand.

501
00:22:11,119 --> 00:22:13,240
Speaker 3: And I was a classic man I had. I had

502
00:22:13,280 --> 00:22:14,440
Speaker 3: so much fun with him.

503
00:22:14,720 --> 00:22:16,640
Speaker 2: And then at the same time I would I would

504
00:22:16,640 --> 00:22:18,520
Speaker 2: play led Zeppelin's record to them, you know.

505
00:22:19,320 --> 00:22:20,919
Speaker 3: You know, after I give me him, I let her

506
00:22:21,000 --> 00:22:24,080
Speaker 3: play led Zeppel's test present. But it was like cartoons

507
00:22:24,200 --> 00:22:27,320
Speaker 3: back in those days. It was every every every no

508
00:22:27,359 --> 00:22:28,160
Speaker 3: one knew any of.

509
00:22:28,080 --> 00:22:29,679
Speaker 2: These records are going to be as large as they

510
00:22:29,920 --> 00:22:32,040
Speaker 2: turn out to be, you know, it's like they are now.

511
00:22:32,880 --> 00:22:34,879
Speaker 2: And most all of the acts that I worked with,

512
00:22:35,080 --> 00:22:37,159
Speaker 2: I worked with when they first started out, you know,

513
00:22:37,920 --> 00:22:39,400
Speaker 2: before they were legends.

514
00:22:39,400 --> 00:22:42,000
Speaker 3: You know, I mean, I'm from everybody.

515
00:22:42,040 --> 00:22:45,960
Speaker 4: So you go to the stations, You're getting this immediate reaction.

516
00:22:46,480 --> 00:22:48,919
Speaker 4: Do you go back and tell Ammad and Jerry?

517
00:22:49,640 --> 00:22:51,359
Speaker 2: Oh, of course, I call and tell him. I call

518
00:22:51,480 --> 00:22:53,439
Speaker 2: him on the phone from where I am and tell them.

519
00:22:53,880 --> 00:22:56,960
Speaker 2: So I could tell a sales department for them to

520
00:22:56,960 --> 00:22:59,080
Speaker 2: to allocate more records than the tributars. I would call

521
00:22:59,200 --> 00:23:02,359
Speaker 2: SALEU Tonto and well it was before Dave Glue, but

522
00:23:02,440 --> 00:23:04,440
Speaker 2: whoever was in charge. I would call them at the

523
00:23:04,520 --> 00:23:07,520
Speaker 2: think Bob Corne but I would call them and tell them, like, man,

524
00:23:07,720 --> 00:23:09,800
Speaker 2: this is getting a lot of reactions. So they would

525
00:23:09,800 --> 00:23:12,760
Speaker 2: call them distributors to make sure they got more records.

526
00:23:13,000 --> 00:23:16,360
Speaker 2: You're allocated for that area. And it was always done

527
00:23:16,400 --> 00:23:19,320
Speaker 2: that way, and and and and dominated. Jerry would always

528
00:23:19,320 --> 00:23:22,479
Speaker 2: get the feedback from it. I called Jerry Greenberg called sometime,

529
00:23:22,560 --> 00:23:24,480
Speaker 2: I got Omas sometime, I got Jerry Wexler.

530
00:23:24,960 --> 00:23:26,879
Speaker 3: But Jerry West wasn't too interested in the rock and

531
00:23:26,920 --> 00:23:28,879
Speaker 3: roll stuff. He's mostly interested in R and B stuff,

532
00:23:28,920 --> 00:23:29,119
Speaker 3: you know.

533
00:23:29,840 --> 00:23:32,720
Speaker 4: So when was the first time you met LED's up

534
00:23:32,760 --> 00:23:33,680
Speaker 4: and face to face?

535
00:23:35,000 --> 00:23:38,040
Speaker 3: At the at UH in New York City. I met

536
00:23:38,119 --> 00:23:38,960
Speaker 3: them at UH.

537
00:23:39,000 --> 00:23:43,879
Speaker 2: They played Fillmore Fillmore East, and they I think they

538
00:23:44,320 --> 00:23:49,320
Speaker 2: opened for either The Iron Butterfly or either I don't

539
00:23:49,320 --> 00:23:51,520
Speaker 2: know one of those acts, but I know they opened

540
00:23:51,520 --> 00:23:55,360
Speaker 2: for them, And when they finished their set, the other

541
00:23:55,400 --> 00:23:57,679
Speaker 2: act couldn't gone for about two hours.

542
00:23:58,080 --> 00:24:00,560
Speaker 3: The people was so crazy over you know.

543
00:24:01,200 --> 00:24:03,440
Speaker 2: And then I went to Boston after that with him

544
00:24:04,160 --> 00:24:07,360
Speaker 2: and and they did Boston tea party and they did

545
00:24:07,440 --> 00:24:10,200
Speaker 2: like so many encores. Then we had a press party

546
00:24:10,200 --> 00:24:12,040
Speaker 2: in New York after that, which I still have a

547
00:24:12,040 --> 00:24:14,400
Speaker 2: picture of me. And I brought the guys from from

548
00:24:14,920 --> 00:24:17,879
Speaker 2: from our w CN down to New York for the

549
00:24:17,920 --> 00:24:22,760
Speaker 2: press party, JJ Jackson and Charlie Daniels and you know,

550
00:24:22,840 --> 00:24:24,920
Speaker 2: and and and that's when I got to meet them

551
00:24:24,920 --> 00:24:26,920
Speaker 2: and I end up being friends with them.

552
00:24:27,040 --> 00:24:29,680
Speaker 4: So tell me about Peter Grant, their manager.

553
00:24:30,960 --> 00:24:33,480
Speaker 2: Yeah, Peter Grant was one of a kind man. He

554
00:24:33,520 --> 00:24:36,040
Speaker 2: didn't take no, no junk off of no distributor, no,

555
00:24:36,040 --> 00:24:39,320
Speaker 2: no promoters. He would curse him all out. I mean,

556
00:24:39,760 --> 00:24:41,399
Speaker 2: but I got playing well with it, you know. He

557
00:24:42,160 --> 00:24:43,879
Speaker 2: was he was, he was the heavy cat, you know.

558
00:24:44,440 --> 00:24:44,840
Speaker 3: But I did.

559
00:24:45,000 --> 00:24:46,960
Speaker 2: I had no problem with Peter Grant because first of

560
00:24:46,960 --> 00:24:50,080
Speaker 2: all I did I was I was a guy that

561
00:24:50,280 --> 00:24:53,360
Speaker 2: I wasn't hired by him. I was Atlantic promotion. Man,

562
00:24:53,440 --> 00:24:57,600
Speaker 2: I'm traveling with the band representing Atlantic and also helping

563
00:24:57,640 --> 00:24:59,679
Speaker 2: them with I get him doing the interviews you know,

564
00:24:59,720 --> 00:25:03,080
Speaker 2: out the radio stations that night or whatever, hang out

565
00:25:03,080 --> 00:25:05,560
Speaker 2: with him in at the hotel, you know, smoking all

566
00:25:05,560 --> 00:25:09,040
Speaker 2: the weed at whatever we're doing, and then I might

567
00:25:09,080 --> 00:25:10,880
Speaker 2: call him at midnight said, man, I got a guy

568
00:25:10,920 --> 00:25:12,840
Speaker 2: at this jock at the station. They would go with

569
00:25:12,880 --> 00:25:15,560
Speaker 2: me to those stations, and I got to be really

570
00:25:15,600 --> 00:25:17,639
Speaker 2: popular with them, and they and I learned a lot

571
00:25:17,720 --> 00:25:20,840
Speaker 2: about music from that Zeppelin, you know, especially John Paul Jones.

572
00:25:21,280 --> 00:25:24,159
Speaker 3: Would you learn I wish to listen to records together.

573
00:25:24,200 --> 00:25:24,359
Speaker 3: You know.

574
00:25:24,440 --> 00:25:27,040
Speaker 2: I had a turntable. I always care a turntable, and

575
00:25:27,080 --> 00:25:31,840
Speaker 2: I had records, and they were crazy about uh, James

576
00:25:31,840 --> 00:25:34,800
Speaker 2: Brown at the Pollow nineteen six to the Pollow, Right,

577
00:25:35,320 --> 00:25:38,359
Speaker 2: So we play that record, man, And I had loved

578
00:25:38,359 --> 00:25:40,920
Speaker 2: that record too, But John Paul Jones broke got the

579
00:25:40,960 --> 00:25:43,560
Speaker 2: record down to me, man, because we would sit up

580
00:25:43,640 --> 00:25:45,120
Speaker 2: late that night, and he said, man, you know that's

581
00:25:45,200 --> 00:25:47,800
Speaker 2: very difficult to play. He said, those musicians, I got

582
00:25:47,840 --> 00:25:50,080
Speaker 2: a lot of respect for them because they.

583
00:25:49,960 --> 00:25:52,719
Speaker 3: Plan everything over and over. Man, the same. And then

584
00:25:52,760 --> 00:25:54,159
Speaker 3: I started listening to it. He wasn't that.

585
00:25:56,960 --> 00:25:59,880
Speaker 2: It popped and it's just all repetitious. He said, Man,

586
00:26:00,040 --> 00:26:02,159
Speaker 2: most musicians can't do that. That's what he told me.

587
00:26:02,480 --> 00:26:04,679
Speaker 2: And I said, man, I say, yeah, I never noticed that.

588
00:26:04,720 --> 00:26:07,040
Speaker 2: He said, that's why I so funk it. He said,

589
00:26:07,080 --> 00:26:09,440
Speaker 2: A repetition makes it funk it. But I used to

590
00:26:09,440 --> 00:26:11,520
Speaker 2: sit up and listen to records. Man, That's what we

591
00:26:11,560 --> 00:26:16,000
Speaker 2: always did. John Paul Jones and Bonzo Bonzo as well. Oh,

592
00:26:16,080 --> 00:26:17,159
Speaker 2: sit up and listen to records.

593
00:26:17,160 --> 00:26:19,600
Speaker 3: Man, I mean I enjoyed those days, you know.

594
00:26:19,920 --> 00:26:24,639
Speaker 4: Okay, you know, my interaction with these people is limited.

595
00:26:25,320 --> 00:26:28,960
Speaker 4: But it was kind of Jimmy's band. There was tension

596
00:26:29,080 --> 00:26:32,679
Speaker 4: with Robert. John Paul Jones was a little bit of

597
00:26:32,720 --> 00:26:34,840
Speaker 4: the outside. When the Ultimate re formed in the nineties,

598
00:26:34,840 --> 00:26:38,000
Speaker 4: he left him out. What was going on between the

599
00:26:38,080 --> 00:26:38,760
Speaker 4: band members.

600
00:26:39,240 --> 00:26:42,720
Speaker 2: Well, remember when I first started with them, they were

601
00:26:42,760 --> 00:26:45,679
Speaker 2: all hired Jimmy. It was jim and Peter's band, you know,

602
00:26:46,320 --> 00:26:48,639
Speaker 2: and all the other guys were hiring musicians. You know,

603
00:26:48,720 --> 00:26:51,520
Speaker 2: even I said Robert Panner, even Bonzo used to say, yeah,

604
00:26:51,600 --> 00:26:53,760
Speaker 2: you know, like he said, Man, I just took this job.

605
00:26:53,800 --> 00:26:56,359
Speaker 2: I could have went on to become a merchant seaman.

606
00:26:56,760 --> 00:26:59,280
Speaker 2: He hated being He hated being on the road, you know,

607
00:26:59,320 --> 00:27:01,280
Speaker 2: because he had to leave his kids and family, and

608
00:27:01,280 --> 00:27:03,440
Speaker 2: that's what really made him drink a lot, because he

609
00:27:03,600 --> 00:27:05,720
Speaker 2: just didn't like being on the road. But after the

610
00:27:05,760 --> 00:27:08,560
Speaker 2: first album, I guess they made a different deal with them,

611
00:27:08,600 --> 00:27:12,480
Speaker 2: you know, and they gave him different shares and they

612
00:27:12,640 --> 00:27:15,359
Speaker 2: work it out. But I mean, John Paul Jones was

613
00:27:15,359 --> 00:27:17,719
Speaker 2: the genius in that band. Of all the musicians, he

614
00:27:17,760 --> 00:27:20,200
Speaker 2: was the heaviest of all of them as far as musicians,

615
00:27:20,200 --> 00:27:20,840
Speaker 2: I'm telling.

616
00:27:20,640 --> 00:27:24,919
Speaker 4: Them, Okay, the first album has a slow rise, and

617
00:27:24,960 --> 00:27:28,760
Speaker 4: then in the fall October sixty nine, Led Zeppelin two

618
00:27:28,920 --> 00:27:32,680
Speaker 4: comes out. I mean, people have no idea how big

619
00:27:32,720 --> 00:27:36,680
Speaker 4: that record was. Instantly, Okay, that's right. Did you hear

620
00:27:36,760 --> 00:27:40,800
Speaker 4: that record and go, man, what did you do after

621
00:27:40,840 --> 00:27:41,639
Speaker 4: hearing the record?

622
00:27:42,080 --> 00:27:43,439
Speaker 2: Let me just tell you, man, I was on the

623
00:27:43,520 --> 00:27:45,800
Speaker 2: road with them when they were writing the record. They

624
00:27:45,800 --> 00:27:48,280
Speaker 2: were writing a record as we was doing the tour.

625
00:27:48,560 --> 00:27:50,719
Speaker 2: You know, at six now they are touring, and they

626
00:27:50,720 --> 00:27:52,480
Speaker 2: were writing that record. They playing this stuff for me,

627
00:27:52,800 --> 00:27:55,960
Speaker 2: you know, on as they were working it out. You know,

628
00:27:56,119 --> 00:27:58,080
Speaker 2: a lot of this stuff killing and flow and all

629
00:27:58,119 --> 00:28:01,440
Speaker 2: that stuff. They had had different names for him before

630
00:28:01,640 --> 00:28:03,600
Speaker 2: before the record came out. You know, they had given

631
00:28:03,640 --> 00:28:06,959
Speaker 2: their the cattle. He really wrote the songs. They had

632
00:28:07,000 --> 00:28:09,040
Speaker 2: given them credit. But they got sued for about that

633
00:28:09,080 --> 00:28:11,840
Speaker 2: for later later on they got sued by Chess Records.

634
00:28:12,040 --> 00:28:14,280
Speaker 2: But at the same time, it was funk as a

635
00:28:14,359 --> 00:28:16,280
Speaker 2: Mama Gem and I loved it. You know, I knew

636
00:28:16,320 --> 00:28:18,760
Speaker 2: it was gonna be. First of all, the first records

637
00:28:18,960 --> 00:28:21,879
Speaker 2: was very had got very received very well. With the

638
00:28:21,920 --> 00:28:24,800
Speaker 2: second it was just unbelievable. I think a whole lot

639
00:28:24,800 --> 00:28:27,400
Speaker 2: of Love was on the second album, right right, yeah,

640
00:28:27,440 --> 00:28:30,600
Speaker 2: and that that that record, man, was when I heard

641
00:28:30,640 --> 00:28:34,120
Speaker 2: that record alone, I had a next door neighbor where

642
00:28:34,119 --> 00:28:36,200
Speaker 2: I was living in this at in La Frack City.

643
00:28:36,240 --> 00:28:39,040
Speaker 2: You know, I would play that music late at night.

644
00:28:39,400 --> 00:28:41,440
Speaker 2: The next door neighbor moved out because I played it

645
00:28:41,480 --> 00:28:41,880
Speaker 2: so loud.

646
00:28:43,640 --> 00:28:45,880
Speaker 3: But but it was, it was. It was one of

647
00:28:45,920 --> 00:28:48,280
Speaker 3: a kind, man, One of a kind, that record, you see.

648
00:28:48,320 --> 00:28:50,960
Speaker 3: Oh man, I love that entire album, but I knew

649
00:28:51,360 --> 00:28:54,240
Speaker 3: that album and Greenberg ended up making a single, a

650
00:28:54,240 --> 00:28:54,880
Speaker 3: whole lot of Love.

651
00:28:54,920 --> 00:28:58,080
Speaker 2: That's what really really pushed their album even probably we

652
00:28:58,160 --> 00:29:00,440
Speaker 2: had already sold about two three million before you the

653
00:29:00,520 --> 00:29:01,280
Speaker 2: single came out.

654
00:29:01,960 --> 00:29:04,480
Speaker 3: But I mean that record was unbelievable. Man.

655
00:29:04,640 --> 00:29:07,280
Speaker 2: That's when the ego came from eating from led zeppyra.

656
00:29:07,720 --> 00:29:10,160
Speaker 2: They started doing nine to ten deals with promoters. You know,

657
00:29:10,200 --> 00:29:13,760
Speaker 2: they were no more promoters getting forty percent and stuff.

658
00:29:14,040 --> 00:29:16,239
Speaker 2: They give the promoter ten percent and they said, man,

659
00:29:16,280 --> 00:29:18,120
Speaker 2: you have to advertise. You just put our name up

660
00:29:18,160 --> 00:29:19,120
Speaker 2: and it's gonna sell out.

661
00:29:19,600 --> 00:29:20,720
Speaker 3: And that was the truth, you know.

662
00:29:21,760 --> 00:29:23,680
Speaker 4: Okay, So tell me about the Edgewater in.

663
00:29:24,880 --> 00:29:26,920
Speaker 3: Oh yeah, well, you know we I was at the

664
00:29:27,000 --> 00:29:28,200
Speaker 3: second on the second edge water.

665
00:29:28,240 --> 00:29:30,120
Speaker 2: I didn't go to the first one when they had

666
00:29:30,440 --> 00:29:34,640
Speaker 2: uh with iron butterfly what not iron but but uh

667
00:29:34,800 --> 00:29:37,040
Speaker 2: but never first that was the first one. I was

668
00:29:37,080 --> 00:29:40,600
Speaker 2: there for the second Edgewater end. This was the funniest

669
00:29:41,080 --> 00:29:43,560
Speaker 2: out of all the places in my life.

670
00:29:44,800 --> 00:29:47,200
Speaker 3: I had more laughs. We were on tour.

671
00:29:47,280 --> 00:29:49,840
Speaker 2: I didn't like thirty four one night of that zepbra

672
00:29:50,200 --> 00:29:54,720
Speaker 2: so this Jimmy Page and Bomso kept saying, Mario, man,

673
00:29:55,320 --> 00:29:58,240
Speaker 2: you wait till we get to just see it to Seattle, man,

674
00:29:58,680 --> 00:30:00,840
Speaker 2: say we hit We got a hotel. Man, you can

675
00:30:00,920 --> 00:30:03,240
Speaker 2: just fish right out the window. What I care about

676
00:30:03,280 --> 00:30:05,720
Speaker 2: fishing is nothing, you know, man, You can fish right

677
00:30:05,720 --> 00:30:07,880
Speaker 2: out the window, man, you know, and you and you

678
00:30:08,000 --> 00:30:10,960
Speaker 2: buy those by that, by that, by that, by those steaks, man,

679
00:30:11,000 --> 00:30:13,640
Speaker 2: And and they just catch fish all day. Man, and

680
00:30:13,680 --> 00:30:16,080
Speaker 2: they gotta praise you by I said, okay, man. So

681
00:30:16,080 --> 00:30:17,800
Speaker 2: soon as we get there, they couldn't holler a wait

682
00:30:17,840 --> 00:30:20,840
Speaker 2: to get in the hotel. They go to the place

683
00:30:20,880 --> 00:30:24,120
Speaker 2: and buy the uh gear, the fishing gear, and then

684
00:30:24,160 --> 00:30:26,440
Speaker 2: they buy these steaks, you know, buy steaks.

685
00:30:26,440 --> 00:30:27,720
Speaker 3: I don't know what they paid for the steaks.

686
00:30:27,800 --> 00:30:29,920
Speaker 2: They buy a whole bunch of steaks, right, and they

687
00:30:30,000 --> 00:30:32,240
Speaker 2: come back to the room. So I'm come on, Mary,

688
00:30:32,360 --> 00:30:34,520
Speaker 2: let me show you. They throw this stuff in them

689
00:30:34,520 --> 00:30:38,160
Speaker 2: and they stopped fishing. Man, so we're fishing. I wasn't fishing,

690
00:30:38,200 --> 00:30:40,120
Speaker 2: but they were fishing, and I'm watching it. And they

691
00:30:40,200 --> 00:30:43,960
Speaker 2: pulling these sharks, you know, sharks coming through the window

692
00:30:44,400 --> 00:30:45,959
Speaker 2: and they take man, they take them. They where we're

693
00:30:45,960 --> 00:30:47,800
Speaker 2: gonnaut them up, put their bathrooms. So I run the water,

694
00:30:47,840 --> 00:30:50,640
Speaker 2: throw them a bathtub. So now the bathtub is full.

695
00:30:50,720 --> 00:30:52,960
Speaker 2: Now they start putt them up under the bed. It

696
00:30:53,000 --> 00:30:54,000
Speaker 2: was so funny, man.

697
00:30:53,920 --> 00:30:54,480
Speaker 3: I tell you that.

698
00:30:54,760 --> 00:30:58,760
Speaker 2: Many and by the time it's time for a sound check,

699
00:30:59,440 --> 00:31:02,440
Speaker 2: you must have about twenty sharks in the room already.

700
00:31:02,480 --> 00:31:04,920
Speaker 2: And it smelled like a fish market. And they say, oh,

701
00:31:04,960 --> 00:31:06,920
Speaker 2: man a, really we gotta go to sound say you

702
00:31:06,960 --> 00:31:08,840
Speaker 2: gotta go to sound check, Well, we gotta go to

703
00:31:08,920 --> 00:31:09,440
Speaker 2: sound check.

704
00:31:09,960 --> 00:31:11,800
Speaker 3: So we said, man, we'll just leave our stuff in.

705
00:31:11,880 --> 00:31:16,080
Speaker 3: When we come back from soundcheck, we'll we'll continue fishing.

706
00:31:16,480 --> 00:31:17,760
Speaker 3: They go and do the soundcheck.

707
00:31:17,800 --> 00:31:19,840
Speaker 2: To come back, they only got like an hour before

708
00:31:19,840 --> 00:31:21,280
Speaker 2: this time to go back to the play.

709
00:31:21,520 --> 00:31:22,720
Speaker 3: They go and fish again.

710
00:31:22,800 --> 00:31:26,720
Speaker 2: Many they pull them up and now they got a

711
00:31:26,840 --> 00:31:29,040
Speaker 2: shock man about about three feet long.

712
00:31:29,080 --> 00:31:30,600
Speaker 3: They put them in the bed and cover them up

713
00:31:30,640 --> 00:31:34,720
Speaker 3: just like your humor. I mean, like, this is the funniest.

714
00:31:34,800 --> 00:31:37,160
Speaker 2: I had never seen anything like before my life, you know,

715
00:31:37,200 --> 00:31:38,280
Speaker 2: and I was swimming the sippy.

716
00:31:38,280 --> 00:31:40,560
Speaker 3: I'd never seen nothing. So anyway, now we go.

717
00:31:40,560 --> 00:31:43,200
Speaker 2: To do the show. You know, we go to the

718
00:31:43,200 --> 00:31:46,640
Speaker 2: coliseum wherever it is to do the show, come back

719
00:31:46,720 --> 00:31:49,400
Speaker 2: to show Man and they got groupers in the hallway. Say, man,

720
00:31:49,400 --> 00:31:51,240
Speaker 2: we ain't mess with no groups, and now we're gonna fish.

721
00:31:51,280 --> 00:31:53,680
Speaker 2: You know. Boom, they go back, fetch out the window

722
00:31:54,560 --> 00:31:58,720
Speaker 2: and we fish till daybreak. And now, man, there's so

723
00:31:58,800 --> 00:32:01,480
Speaker 2: many fish all over the room. They can't He was

724
00:32:01,560 --> 00:32:03,200
Speaker 2: sleeping in the room and they said, well, so they

725
00:32:03,280 --> 00:32:04,440
Speaker 2: end up going up to my room.

726
00:32:04,320 --> 00:32:06,200
Speaker 3: And most of them crashed at my room because they

727
00:32:06,240 --> 00:32:06,760
Speaker 3: did all that.

728
00:32:06,920 --> 00:32:10,400
Speaker 2: Rooms are full of fish, man, I mean, it was unbelievable,

729
00:32:11,320 --> 00:32:13,640
Speaker 2: the funniest time, funniest thing that was seen in my life.

730
00:32:13,760 --> 00:32:15,800
Speaker 4: Okay, when did the hotel catch on.

731
00:32:16,680 --> 00:32:21,880
Speaker 3: The next morning as we as we uh all waking out,

732
00:32:21,880 --> 00:32:23,240
Speaker 3: but they all in the same we all in the

733
00:32:23,280 --> 00:32:23,800
Speaker 3: same room.

734
00:32:24,360 --> 00:32:27,520
Speaker 2: We look out the one of theirs, Richard Cole, throwing

735
00:32:27,840 --> 00:32:30,440
Speaker 2: fish out the windows from the other rooms, throwing the

736
00:32:30,560 --> 00:32:34,000
Speaker 2: fish back in there. And and also he threw like

737
00:32:34,080 --> 00:32:37,480
Speaker 2: a refrigerator that had some champagne, you know, some dumb

738
00:32:37,520 --> 00:32:40,600
Speaker 2: periona in case dump. He threw that in the in

739
00:32:40,680 --> 00:32:44,320
Speaker 2: there as well, you know, because the maize came in complaining.

740
00:32:44,720 --> 00:32:47,000
Speaker 2: So he threw all that stuff back into the.

741
00:32:46,680 --> 00:32:51,160
Speaker 3: Into the bay. And uh and and and then.

742
00:32:51,080 --> 00:32:53,320
Speaker 2: Jimmy said, hey, man, where's the champagne And he said,

743
00:32:53,320 --> 00:32:56,280
Speaker 2: there go floating down. He threw out the window twelve

744
00:32:57,240 --> 00:32:59,200
Speaker 2: with all the fish. And they had to pay like

745
00:32:59,280 --> 00:33:01,280
Speaker 2: a big fee for that, you know, for what they did.

746
00:33:01,320 --> 00:33:03,480
Speaker 2: They paid, They paid the hotel for what they did.

747
00:33:04,120 --> 00:33:07,480
Speaker 2: But I mean it was like a few were young people, man,

748
00:33:07,520 --> 00:33:10,080
Speaker 2: so you know, like I just had never seen anything

749
00:33:10,160 --> 00:33:10,680
Speaker 2: like it before.

750
00:33:10,720 --> 00:33:12,680
Speaker 3: But they didn't mean it at all. They just was

751
00:33:12,720 --> 00:33:15,720
Speaker 3: having fun and that was their their way. Man. They

752
00:33:15,760 --> 00:33:18,040
Speaker 3: had fun everywhere. I had more fun with that band

753
00:33:18,040 --> 00:33:20,320
Speaker 3: than any other band on the planet.

754
00:33:28,000 --> 00:33:32,320
Speaker 4: So Bonzo was legendary for throwing TVs out the window.

755
00:33:33,200 --> 00:33:35,640
Speaker 2: Oh yeah, yeah, yeah, you know, Like I mean, I

756
00:33:35,680 --> 00:33:37,960
Speaker 2: saw him one time. He went in a room of

757
00:33:38,040 --> 00:33:39,680
Speaker 2: TV to work right and just took it and went

758
00:33:39,720 --> 00:33:41,440
Speaker 2: to the winter boom. I said, oh shit, I mean,

759
00:33:41,480 --> 00:33:43,400
Speaker 2: like I never seen nothing like booms. Just dropped out

760
00:33:43,440 --> 00:33:46,280
Speaker 2: and then he got her phone, picked her phone call operator.

761
00:33:46,520 --> 00:33:48,480
Speaker 2: How much one of these televisions are worth them? It

762
00:33:48,520 --> 00:33:49,640
Speaker 2: said four out of that we'll.

763
00:33:49,520 --> 00:33:54,840
Speaker 3: Put it on the home tailo out. We need to know.

764
00:33:55,360 --> 00:33:57,400
Speaker 3: I mean, but that that was That was normal, man,

765
00:33:57,440 --> 00:33:58,080
Speaker 3: That was normal.

766
00:33:58,480 --> 00:34:00,800
Speaker 2: But you know, like as but they were good guys, man,

767
00:34:00,800 --> 00:34:02,840
Speaker 2: they were really just they were just bored, man.

768
00:34:02,880 --> 00:34:03,760
Speaker 3: Because the boredom.

769
00:34:04,120 --> 00:34:06,240
Speaker 2: And at that age, oh, they were younger than me.

770
00:34:06,400 --> 00:34:10,440
Speaker 2: I mean I was only about I was like twenty

771
00:34:10,480 --> 00:34:13,160
Speaker 2: seven twenty eight at the time, and.

772
00:34:13,120 --> 00:34:14,040
Speaker 3: They were younger than me.

773
00:34:14,160 --> 00:34:17,080
Speaker 2: So you know, like hey, and I was like a

774
00:34:17,200 --> 00:34:19,439
Speaker 2: level headed compared to some of the stuff they were doing,

775
00:34:19,480 --> 00:34:21,359
Speaker 2: you know, but we had a lot of fun.

776
00:34:22,000 --> 00:34:26,200
Speaker 4: So other than introducing them to radio stations, bring him

777
00:34:26,239 --> 00:34:29,600
Speaker 4: to radio stations, bringing jocks to meet them, what other

778
00:34:29,600 --> 00:34:31,520
Speaker 4: stuff do Did they look for you to get them

779
00:34:31,640 --> 00:34:33,160
Speaker 4: drugs or anything else?

780
00:34:33,840 --> 00:34:35,520
Speaker 3: No, I didn't look for me to get no drugs.

781
00:34:35,560 --> 00:34:37,560
Speaker 2: I mean because if I got a drug of people myself,

782
00:34:38,520 --> 00:34:41,400
Speaker 2: because but they had their own connections for that. You know,

783
00:34:41,440 --> 00:34:43,640
Speaker 2: because Richard Cole had been on the road for years

784
00:34:43,719 --> 00:34:45,719
Speaker 2: with all other bands, so anything they were in every

785
00:34:45,719 --> 00:34:46,839
Speaker 2: city he had been on the band.

786
00:34:46,840 --> 00:34:49,840
Speaker 3: He knew everything that was happening in every city. You know.

787
00:34:49,960 --> 00:34:54,680
Speaker 2: He was a legendary road manager for number groups, you know,

788
00:34:55,280 --> 00:34:57,440
Speaker 2: including Vanilla Fuds, you know, so he knew a lot

789
00:34:57,480 --> 00:34:57,840
Speaker 2: of people.

790
00:34:58,160 --> 00:35:02,000
Speaker 4: So tell me about Crosby Stools in ah and then eventually.

791
00:35:01,560 --> 00:35:06,319
Speaker 2: Young Yeah, Carols was still the Nash Well they they

792
00:35:06,400 --> 00:35:09,799
Speaker 2: had you know. I had known Stephen Stills from when

793
00:35:09,840 --> 00:35:12,520
Speaker 2: I was a bookkeeper, you know. I mean I got

794
00:35:12,520 --> 00:35:16,480
Speaker 2: to know him when he was with uh with with

795
00:35:16,520 --> 00:35:20,160
Speaker 2: the First but Buffalo Springfield, Buffalo spring Buffalo Springfield. When

796
00:35:20,160 --> 00:35:21,560
Speaker 2: he was with that band, I got to know him,

797
00:35:21,600 --> 00:35:24,799
Speaker 2: and and Neil Young then, you know, and and and

798
00:35:24,920 --> 00:35:27,960
Speaker 2: Dewry Martin and and and Richard Fury.

799
00:35:28,040 --> 00:35:29,600
Speaker 3: I knew all of them back then, you know.

800
00:35:30,320 --> 00:35:33,120
Speaker 2: And and when they played New York, you know, I

801
00:35:33,160 --> 00:35:35,480
Speaker 2: would always go see them, you know, if they played

802
00:35:35,480 --> 00:35:38,400
Speaker 2: it in a gag so on uh And I mean

803
00:35:38,520 --> 00:35:41,080
Speaker 2: I I caught him one time when they was playing

804
00:35:41,800 --> 00:35:44,320
Speaker 2: I think uh Uconald's or something like that. I forget

805
00:35:44,320 --> 00:35:46,719
Speaker 2: the name of the place, but it was some some

806
00:35:46,920 --> 00:35:49,799
Speaker 2: club by the by the fifth Night Street Bridge. I

807
00:35:49,840 --> 00:35:51,920
Speaker 2: went to see them there with Otis Redding. One night,

808
00:35:51,960 --> 00:35:56,560
Speaker 2: Otis Redding and Otis had been playing at the Apollo

809
00:35:57,280 --> 00:36:00,239
Speaker 2: Buffalo Springfield playing at this place. And after I went

810
00:36:00,320 --> 00:36:03,600
Speaker 2: to Apollo to see Otis, Armon was in. He gave

811
00:36:03,640 --> 00:36:07,000
Speaker 2: me a ride to to this place to see uh

812
00:36:07,160 --> 00:36:10,440
Speaker 2: Buffalo Springfield with Otis in the car. And Otis, you know,

813
00:36:10,520 --> 00:36:13,319
Speaker 2: I've been drinking a bit. So he sat and they

814
00:36:13,320 --> 00:36:15,080
Speaker 2: wanted Otis to get up to set in with him,

815
00:36:15,640 --> 00:36:17,640
Speaker 2: but he had been drinking a little too much, and

816
00:36:17,760 --> 00:36:20,080
Speaker 2: he when he first when he first got up, you know,

817
00:36:20,480 --> 00:36:23,600
Speaker 2: he picked up and he just fell flatter and got up.

818
00:36:23,800 --> 00:36:25,880
Speaker 2: Then he got up the same. It was classic, but

819
00:36:25,960 --> 00:36:28,359
Speaker 2: I mean that was that was the type of thing.

820
00:36:28,440 --> 00:36:31,680
Speaker 2: But I knew Stephen still from that time, so my

821
00:36:31,680 --> 00:36:34,319
Speaker 2: my relationship with him was was always good up then

822
00:36:34,360 --> 00:36:36,800
Speaker 2: when he when they decided to do Crouds and Steels

823
00:36:36,800 --> 00:36:40,799
Speaker 2: and Nash, I had just gotten into promotion. I had

824
00:36:40,800 --> 00:36:42,719
Speaker 2: a test present for Crossing Steels in Nash and a

825
00:36:42,760 --> 00:36:45,680
Speaker 2: test president for Jay Gile's band gonna be released on

826
00:36:45,680 --> 00:36:46,520
Speaker 2: the same release.

827
00:36:47,200 --> 00:36:48,400
Speaker 3: So when I went on the road, I.

828
00:36:48,400 --> 00:36:51,319
Speaker 2: Took both of those test presents with me all over.

829
00:36:51,440 --> 00:36:53,960
Speaker 2: I remember I went to Seattle. I went to a

830
00:36:54,000 --> 00:36:56,440
Speaker 2: whole lot of places, but I remember in Seattle I

831
00:36:56,480 --> 00:36:59,840
Speaker 2: went to a disc jocket. I guess about midnight with

832
00:37:00,040 --> 00:37:03,560
Speaker 2: both of those test presents, and everybody wanted Cross Still

833
00:37:03,560 --> 00:37:06,640
Speaker 2: a Nash Test ben because there was so much hype before.

834
00:37:06,440 --> 00:37:08,320
Speaker 3: It even came out. We knew it was a supergroup.

835
00:37:08,960 --> 00:37:10,640
Speaker 2: So I would tell them, you know, like, I'll let

836
00:37:10,640 --> 00:37:13,160
Speaker 2: you play Krugs Still a Nash Test present if you

837
00:37:13,200 --> 00:37:15,440
Speaker 2: play this other test pression that I have first, which

838
00:37:15,520 --> 00:37:16,759
Speaker 2: is Jake golls Man, and.

839
00:37:16,680 --> 00:37:17,239
Speaker 3: It's who was this?

840
00:37:17,320 --> 00:37:19,520
Speaker 2: I said, it's a new record, So I said, you

841
00:37:19,520 --> 00:37:21,759
Speaker 2: played this old record that you played the old So

842
00:37:21,800 --> 00:37:23,640
Speaker 2: that's how I got the record. That's how I got

843
00:37:23,719 --> 00:37:26,600
Speaker 2: Jake Giles played by using Crubs Still the Nash stuff

844
00:37:26,719 --> 00:37:29,480
Speaker 2: played young and I had, you know, I had always

845
00:37:29,480 --> 00:37:31,560
Speaker 2: gone to Stevens House, you know, all the time, back

846
00:37:32,200 --> 00:37:35,320
Speaker 2: when they were they was jamming with Crowds, Stills, the

847
00:37:35,400 --> 00:37:38,319
Speaker 2: Nash and stuff. And whenever you went to Stevens House

848
00:37:38,360 --> 00:37:43,200
Speaker 2: and Laurel Canyon, there was Jona Mitchell everybody there with

849
00:37:43,239 --> 00:37:45,360
Speaker 2: acoustic guitars and they always jam you know.

850
00:37:45,800 --> 00:37:48,319
Speaker 3: Sometime Neil Young would come over, but.

851
00:37:48,480 --> 00:37:51,440
Speaker 2: Uh uh, I'm just a lot of guys, a lot

852
00:37:51,480 --> 00:37:53,320
Speaker 2: of guys. We're there jamming all the time. So that

853
00:37:53,440 --> 00:37:55,879
Speaker 2: met a lot of people at Stevens House, and that's

854
00:37:55,880 --> 00:37:57,720
Speaker 2: what that would be the first place I'd go. Whenever

855
00:37:57,719 --> 00:37:59,439
Speaker 2: I went to LA I would go to Stevens House,

856
00:37:59,480 --> 00:38:02,439
Speaker 2: you know. And Steven was a good friend up until

857
00:38:02,440 --> 00:38:03,200
Speaker 2: the day, even until the.

858
00:38:03,239 --> 00:38:07,440
Speaker 4: Day, so when you went to stations, you know, by

859
00:38:07,440 --> 00:38:10,840
Speaker 4: the time he hit the eighties and nineties, record labels

860
00:38:10,880 --> 00:38:13,840
Speaker 4: have priority tracks and they go from track to track

861
00:38:13,880 --> 00:38:17,520
Speaker 4: to track. When you started, did you just wanted to

862
00:38:17,560 --> 00:38:20,000
Speaker 4: play something, or you'd say, no, this is the one

863
00:38:20,040 --> 00:38:22,080
Speaker 4: you want to play, don't play that one yet, we're

864
00:38:22,080 --> 00:38:22,799
Speaker 4: not ready for that.

865
00:38:23,719 --> 00:38:26,120
Speaker 2: No, no, And back I was an album guy, so

866
00:38:26,280 --> 00:38:27,920
Speaker 2: I would go there with the tracks that I like,

867
00:38:28,080 --> 00:38:30,320
Speaker 2: and I'll tell them those tracks that I like first.

868
00:38:30,760 --> 00:38:32,319
Speaker 2: But if you got a track that you like, you

869
00:38:32,320 --> 00:38:34,399
Speaker 2: were welcome to play that, but to try this one first.

870
00:38:34,440 --> 00:38:36,400
Speaker 2: I would always do that, even with let Zeppe when

871
00:38:36,440 --> 00:38:38,840
Speaker 2: I did that, even with Krugs till the Nash, I

872
00:38:38,840 --> 00:38:41,080
Speaker 2: did it even though they had a single out prior

873
00:38:41,400 --> 00:38:43,120
Speaker 2: and Krugs still Nash. She had a single that had

874
00:38:43,160 --> 00:38:45,560
Speaker 2: been out before the album came out. But most of

875
00:38:45,600 --> 00:38:48,359
Speaker 2: the albums that I had didn't have singles before they

876
00:38:48,400 --> 00:38:48,839
Speaker 2: came out.

877
00:38:48,880 --> 00:38:49,080
Speaker 3: You know.

878
00:38:49,440 --> 00:38:51,680
Speaker 2: We would always use the album to pick the singles,

879
00:38:51,680 --> 00:38:55,000
Speaker 2: you know, from FM guys to play so many, so

880
00:38:55,000 --> 00:38:56,759
Speaker 2: many guys to play a certain track, and I would

881
00:38:56,760 --> 00:38:58,680
Speaker 2: go report it back to Atlanta. K Man, we should

882
00:38:58,719 --> 00:39:01,160
Speaker 2: release this as a single, you know, because it's getting

883
00:39:01,160 --> 00:39:03,080
Speaker 2: a lot of play, like ROBERTA. Flack stuff, you know,

884
00:39:03,320 --> 00:39:06,720
Speaker 2: the same thing. Uh, first time I saw the plays

885
00:39:06,760 --> 00:39:09,399
Speaker 2: because it was a track that got a lot of play,

886
00:39:09,480 --> 00:39:12,640
Speaker 2: you know. And and that's how we picked singles back then.

887
00:39:12,680 --> 00:39:15,319
Speaker 2: It wasn't it wasn't just off the top of your head.

888
00:39:15,400 --> 00:39:17,440
Speaker 2: Most of the f film stations helped pick the singles

889
00:39:17,480 --> 00:39:18,440
Speaker 2: for the AM station.

890
00:39:19,520 --> 00:39:24,600
Speaker 4: Okay, how did you promote the records that weren't so great?

891
00:39:25,600 --> 00:39:25,880
Speaker 3: Usually?

892
00:39:25,960 --> 00:39:28,600
Speaker 2: My my my game was this, I said, look, man,

893
00:39:29,640 --> 00:39:30,759
Speaker 2: I love this record here.

894
00:39:30,760 --> 00:39:32,279
Speaker 3: You know, if a record that I really love, I

895
00:39:32,400 --> 00:39:32,680
Speaker 3: talk a.

896
00:39:32,719 --> 00:39:34,319
Speaker 2: Lot of s h I t I talk a lot

897
00:39:34,320 --> 00:39:36,880
Speaker 2: of trash, you know, boom blah blah bom. Now if

898
00:39:36,960 --> 00:39:39,040
Speaker 2: I don't, I said, man, this is a record you know,

899
00:39:39,239 --> 00:39:41,480
Speaker 2: if you like it, call me if you If you

900
00:39:41,600 --> 00:39:43,640
Speaker 2: like it, tell everybody. If you don't like it, call me.

901
00:39:44,320 --> 00:39:47,080
Speaker 2: That's what I would tell I. Don't try to push stuff.

902
00:39:47,200 --> 00:39:50,000
Speaker 2: You couldn't push nothing on film jocks. You know they're

903
00:39:50,000 --> 00:39:51,759
Speaker 2: gonna do what they wanted to do. So you try

904
00:39:51,760 --> 00:39:54,040
Speaker 2: to figure out what You try to find out what

905
00:39:54,200 --> 00:39:55,400
Speaker 2: type of music they really like.

906
00:39:55,480 --> 00:39:55,919
Speaker 3: Each one.

907
00:39:56,000 --> 00:39:59,400
Speaker 2: Each this jockey was their own program director. Every this

908
00:39:59,520 --> 00:40:02,080
Speaker 2: jockey came and they program, they play what they want

909
00:40:02,080 --> 00:40:04,160
Speaker 2: to play. So you try to figure out what type

910
00:40:04,200 --> 00:40:06,399
Speaker 2: of music they like and try to pick a track

911
00:40:06,480 --> 00:40:08,799
Speaker 2: within their game, you know. And that's what I did

912
00:40:08,840 --> 00:40:11,040
Speaker 2: all over America. Man, it was you had to know

913
00:40:11,120 --> 00:40:12,640
Speaker 2: the dis jockra get to hang out with them.

914
00:40:12,680 --> 00:40:16,800
Speaker 4: To Norman, Okay, So you know disc jockeys have different shifts,

915
00:40:17,480 --> 00:40:19,600
Speaker 4: so right, you know, how would you go to a

916
00:40:19,680 --> 00:40:22,600
Speaker 4: station and make sure that you spoke with all the jocks.

917
00:40:23,080 --> 00:40:25,560
Speaker 2: Look, I'd go to the station and hang with one jockey.

918
00:40:25,600 --> 00:40:28,240
Speaker 2: When when he leave, I'll go back. Every four hours,

919
00:40:28,280 --> 00:40:30,000
Speaker 2: I was back and forth and hanging I'm telling you

920
00:40:30,400 --> 00:40:31,280
Speaker 2: sometime I stayed.

921
00:40:31,600 --> 00:40:33,640
Speaker 3: Sometimes I would stay in the station from it.

922
00:40:33,800 --> 00:40:35,640
Speaker 2: I would go there like at eight o'clock and leave

923
00:40:35,719 --> 00:40:38,600
Speaker 2: at four in the morning because as they change shift,

924
00:40:38,600 --> 00:40:41,400
Speaker 2: I would stay there and they've heard the stuff that

925
00:40:41,440 --> 00:40:43,719
Speaker 2: I'm talking. They want to want me to give him

926
00:40:43,719 --> 00:40:45,759
Speaker 2: the sam in Mason, I've giving a guy before him.

927
00:40:46,160 --> 00:40:48,120
Speaker 3: So I'd stay there, you know. And we smoke a

928
00:40:48,120 --> 00:40:48,839
Speaker 3: lot of weed back.

929
00:40:48,760 --> 00:40:51,400
Speaker 2: In those days, you know, so you could just sing,

930
00:40:51,640 --> 00:40:53,719
Speaker 2: you could hang you know, and and then you know,

931
00:40:53,800 --> 00:40:56,800
Speaker 2: we brought pizza and wine, you know, go out pizza

932
00:40:56,840 --> 00:40:58,400
Speaker 2: and wine, and they didn't care about going to a

933
00:40:58,480 --> 00:40:59,360
Speaker 2: lucky restaurant.

934
00:40:59,640 --> 00:41:02,360
Speaker 3: And I tell you, I really enjoyed those days.

935
00:41:02,400 --> 00:41:05,400
Speaker 2: I must admit I enjoyed those days because it was

936
00:41:06,160 --> 00:41:08,680
Speaker 2: nobody knew FM was gonna be as popular as.

937
00:41:08,520 --> 00:41:10,920
Speaker 3: It is before a or R. It was just just.

938
00:41:11,160 --> 00:41:14,279
Speaker 2: A pre form radio at the time. And uh, and

939
00:41:14,560 --> 00:41:15,400
Speaker 2: it was very interesting.

940
00:41:15,440 --> 00:41:15,640
Speaker 3: You know.

941
00:41:15,680 --> 00:41:19,200
Speaker 2: We bought we bought spots on on those stations for

942
00:41:19,200 --> 00:41:21,960
Speaker 2: for albums that we had problems getting played. I would

943
00:41:22,000 --> 00:41:24,040
Speaker 2: buy spots and I'd have that this chockey that makes

944
00:41:24,040 --> 00:41:25,400
Speaker 2: the spot. So if he makes the spot, that I

945
00:41:25,440 --> 00:41:27,279
Speaker 2: mean he got to listen to the record, you know,

946
00:41:27,600 --> 00:41:29,200
Speaker 2: So you had you had you have to use all

947
00:41:29,200 --> 00:41:32,800
Speaker 2: the type of uh improvisation you had to improvise.

948
00:41:33,160 --> 00:41:34,000
Speaker 3: As far as promoting.

949
00:41:34,000 --> 00:41:36,759
Speaker 2: Back in those days, the most important thing was to

950
00:41:36,800 --> 00:41:40,480
Speaker 2: get the DJs to play your record, and you had

951
00:41:40,520 --> 00:41:42,680
Speaker 2: to figure out a way. And if I have a

952
00:41:42,719 --> 00:41:44,520
Speaker 2: record that I know that this chockt don't like and

953
00:41:44,600 --> 00:41:46,919
Speaker 2: I and I need a spot made, I'll tell him, Hey, man,

954
00:41:47,360 --> 00:41:50,040
Speaker 2: I need a spot, a national spot for this record.

955
00:41:50,760 --> 00:41:52,200
Speaker 3: He said, that's a piece of He said, that's a

956
00:41:52,200 --> 00:41:52,919
Speaker 3: piece of ship. Man.

957
00:41:53,000 --> 00:41:55,640
Speaker 2: I said, look, but I need an Can you do

958
00:41:55,719 --> 00:41:57,400
Speaker 2: me a spot? I said, I give you, give you

959
00:41:57,440 --> 00:42:01,400
Speaker 2: five hundred dollars. Yeah, I'll do the spot. They do

960
00:42:01,480 --> 00:42:04,120
Speaker 2: the spot and they'll pick out tracks that you probably

961
00:42:04,120 --> 00:42:07,040
Speaker 2: didn't even like it, and they and then made it

962
00:42:07,080 --> 00:42:10,200
Speaker 2: a big production and it sounds even the records sound

963
00:42:10,360 --> 00:42:13,160
Speaker 2: better because the way they montaged it together.

964
00:42:13,520 --> 00:42:15,239
Speaker 3: And I said, man, you really broke that record. He

965
00:42:15,280 --> 00:42:17,200
Speaker 3: really didn't break nothing, but I'm tell him that, you know.

966
00:42:17,719 --> 00:42:21,840
Speaker 2: And then and then you got one guy that beleeves

967
00:42:21,840 --> 00:42:25,400
Speaker 2: in the record on that station. Sometimes it, you know,

968
00:42:25,440 --> 00:42:27,680
Speaker 2: it spreads through the other guys. But that was the

969
00:42:27,719 --> 00:42:29,640
Speaker 2: type of promotion you had to do in those days.

970
00:42:30,040 --> 00:42:32,200
Speaker 2: No payolo for film this jockey.

971
00:42:32,239 --> 00:42:33,960
Speaker 3: They didn't go for that. Payol. It was none of that.

972
00:42:34,960 --> 00:42:38,400
Speaker 4: And so to what degree would you leverage one station

973
00:42:38,480 --> 00:42:40,080
Speaker 4: against them? Would you go in and say, hey, you

974
00:42:40,120 --> 00:42:42,880
Speaker 4: know these other stations are playing it, you better play it.

975
00:42:43,600 --> 00:42:44,440
Speaker 3: Look, man, let me tell you.

976
00:42:44,520 --> 00:42:46,600
Speaker 2: First of all, if it's two stations in the same

977
00:42:46,640 --> 00:42:49,319
Speaker 2: city and I got one of them on it, I said, man,

978
00:42:49,320 --> 00:42:50,719
Speaker 2: you don't have to play it at all, because boo

979
00:42:50,800 --> 00:42:51,239
Speaker 2: boo play.

980
00:42:51,440 --> 00:42:54,160
Speaker 3: I remember even in Boston, even in Boston, I would.

981
00:42:53,920 --> 00:42:57,680
Speaker 2: Get go to the direct to the b to the

982
00:42:57,719 --> 00:43:00,719
Speaker 2: b U Boston University station and get them to play

983
00:43:00,760 --> 00:43:04,279
Speaker 2: stuff that BCN wouldn't play right. And what I did

984
00:43:04,520 --> 00:43:07,960
Speaker 2: I gave I gave John Hackheimer the led Zeppelin album

985
00:43:08,000 --> 00:43:12,480
Speaker 2: before I gave it to b CNN because because Al

986
00:43:12,560 --> 00:43:14,799
Speaker 2: perrickter but I can't stand all that blue, that that

987
00:43:14,960 --> 00:43:16,480
Speaker 2: rock and white boy doing the blue.

988
00:43:17,239 --> 00:43:19,680
Speaker 5: So when he broke he played it over there and

989
00:43:19,719 --> 00:43:22,120
Speaker 5: everybody said, oh, man, we heard the new led Zeppelin

990
00:43:22,160 --> 00:43:25,000
Speaker 5: played over here. It'd be They called me, man, when

991
00:43:25,000 --> 00:43:26,440
Speaker 5: you gonna bring it over to us? I said, I'll

992
00:43:26,440 --> 00:43:28,680
Speaker 5: bring it over to Mark. But that's the difference. That's

993
00:43:28,719 --> 00:43:30,920
Speaker 5: what you had to do that game back then. I mean,

994
00:43:31,040 --> 00:43:32,120
Speaker 5: it's not like that now.

995
00:43:32,120 --> 00:43:33,920
Speaker 2: Of course it was a different ball game, but that

996
00:43:34,080 --> 00:43:36,000
Speaker 2: was that was That's why you had to play one

997
00:43:36,000 --> 00:43:37,080
Speaker 2: station against the other man.

998
00:43:37,120 --> 00:43:39,719
Speaker 3: I don't care if you know city one guy they played, Okay,

999
00:43:39,719 --> 00:43:41,359
Speaker 3: I'll take across the street and get it played. That's

1000
00:43:41,360 --> 00:43:41,960
Speaker 3: what you had to do.

1001
00:43:43,760 --> 00:43:48,120
Speaker 4: And you know, as the business became more professionalized, they

1002
00:43:48,239 --> 00:43:52,320
Speaker 4: kept the promotion people at arm's length. Was everybody always

1003
00:43:52,320 --> 00:43:53,239
Speaker 4: glad to see you.

1004
00:43:54,000 --> 00:43:55,640
Speaker 2: They were always happen to see me because I was

1005
00:43:55,719 --> 00:43:58,080
Speaker 2: John Carter, the Potter starter, you Knownick Won.

1006
00:43:58,400 --> 00:43:59,960
Speaker 3: They wanted to hang with me because I always had

1007
00:44:00,120 --> 00:44:02,680
Speaker 3: something going on, you know. And plus I just was

1008
00:44:02,719 --> 00:44:03,359
Speaker 3: a funny guy.

1009
00:44:03,400 --> 00:44:05,720
Speaker 2: I was just a guy that was fun to be around,

1010
00:44:05,719 --> 00:44:08,400
Speaker 2: and they enjoyed my company. And plus and I and

1011
00:44:08,440 --> 00:44:11,400
Speaker 2: I could also bring like Mick Jagger, you know, whoever

1012
00:44:11,440 --> 00:44:13,600
Speaker 2: the catcher they idolized. They would come with me, a

1013
00:44:13,760 --> 00:44:15,400
Speaker 2: Dwayne Auburn or stuff.

1014
00:44:15,400 --> 00:44:17,040
Speaker 3: I would. I would always take him to the station

1015
00:44:17,160 --> 00:44:18,759
Speaker 3: with me sometime, you know.

1016
00:44:18,840 --> 00:44:22,040
Speaker 2: And and I always had that type of direct contact

1017
00:44:22,040 --> 00:44:24,799
Speaker 2: with the artists. I remember I was in Boston once

1018
00:44:24,880 --> 00:44:27,080
Speaker 2: and uh I was on the on the on the

1019
00:44:27,120 --> 00:44:30,600
Speaker 2: tour with Rollerstones and Sticky Fingers, right, And that was

1020
00:44:30,640 --> 00:44:33,359
Speaker 2: a big tour, you know. But everybody want to talk

1021
00:44:33,400 --> 00:44:37,080
Speaker 2: to Jager, you know, I mean everybody man Jaggers say, man,

1022
00:44:37,120 --> 00:44:38,600
Speaker 2: look they said.

1023
00:44:38,360 --> 00:44:40,000
Speaker 3: That big Amazon tour with them called.

1024
00:44:40,239 --> 00:44:43,160
Speaker 2: So they called me up and I said, man, I

1025
00:44:43,239 --> 00:44:45,880
Speaker 2: see Jack and like I said, Jack and lessen to

1026
00:44:45,920 --> 00:44:46,600
Speaker 2: anybody else.

1027
00:44:46,680 --> 00:44:48,400
Speaker 3: Well look, man, you I know we want to ask.

1028
00:44:48,760 --> 00:44:49,160
Speaker 3: What I'll do.

1029
00:44:49,200 --> 00:44:52,400
Speaker 2: I'll get you backstage passes, you know, for the concerts,

1030
00:44:52,440 --> 00:44:55,560
Speaker 2: for the tour, for the concert and afterwards, you know,

1031
00:44:55,600 --> 00:44:58,080
Speaker 2: you come and dress when we talk. I gave I

1032
00:44:58,120 --> 00:44:59,840
Speaker 2: think it was a child's black with.

1033
00:45:00,200 --> 00:45:02,560
Speaker 3: I think they're one of one of those crazy mamage.

1034
00:45:03,160 --> 00:45:06,160
Speaker 2: I gave him the backstage past to come back stage

1035
00:45:06,640 --> 00:45:07,600
Speaker 2: when I come back there.

1036
00:45:07,719 --> 00:45:09,560
Speaker 3: Back that talk with everybody in the bed.

1037
00:45:10,520 --> 00:45:13,440
Speaker 2: You know, you know already put the put put the

1038
00:45:13,520 --> 00:45:15,319
Speaker 2: put out on that I let everybody in.

1039
00:45:15,600 --> 00:45:17,319
Speaker 3: I said, but it was cool, you know.

1040
00:45:17,400 --> 00:45:20,000
Speaker 2: But but that's how I got along well with those guys,

1041
00:45:20,040 --> 00:45:22,680
Speaker 2: you know, because the I had like connections to get

1042
00:45:22,719 --> 00:45:24,279
Speaker 2: them things that they wanted to do.

1043
00:45:24,360 --> 00:45:27,320
Speaker 3: They wanted to be around, you know, the entertainers and storm.

1044
00:45:27,440 --> 00:45:30,799
Speaker 4: You know, how did you break Yes? They had two

1045
00:45:30,960 --> 00:45:34,160
Speaker 4: stifth albums before the Yes album and they didn't sound

1046
00:45:34,200 --> 00:45:35,040
Speaker 4: like anything else.

1047
00:45:36,040 --> 00:45:38,920
Speaker 2: The first the first album was the one, uh uh

1048
00:45:38,960 --> 00:45:40,560
Speaker 2: but what it was what I'm trying to remember the

1049
00:45:40,640 --> 00:45:42,759
Speaker 2: name of round about it round About?

1050
00:45:42,800 --> 00:45:46,640
Speaker 4: I think that was actually the fourth album. First album

1051
00:45:47,280 --> 00:45:49,759
Speaker 4: had a cover I just called Yes, had a cover

1052
00:45:49,840 --> 00:45:52,200
Speaker 4: of the Beatles. Every little thing. It was a stiff

1053
00:45:52,239 --> 00:45:55,000
Speaker 4: second one time, in a word, even more stiff. Then

1054
00:45:55,040 --> 00:45:57,919
Speaker 4: they put out the Yes album and then they put

1055
00:45:57,920 --> 00:45:59,600
Speaker 4: out Fragile with Roundabout.

1056
00:46:00,920 --> 00:46:01,120
Speaker 3: Yeah.

1057
00:46:01,120 --> 00:46:03,719
Speaker 2: Well, well, I well I knew them when they had

1058
00:46:03,800 --> 00:46:07,880
Speaker 2: before their first manager, I forget the name, but I

1059
00:46:07,960 --> 00:46:10,520
Speaker 2: knew them before emas Lake and Palmer, even from their

1060
00:46:10,560 --> 00:46:14,440
Speaker 2: group Yes was probably in England and uh yes was

1061
00:46:15,000 --> 00:46:16,840
Speaker 2: around About is the track that I remember, you know,

1062
00:46:16,880 --> 00:46:20,160
Speaker 2: I can't remember too much else I went. I went

1063
00:46:20,200 --> 00:46:21,879
Speaker 2: on tour with them, you know, I went on tour

1064
00:46:21,920 --> 00:46:25,520
Speaker 2: with them and everybody was like vegetarian or something like that.

1065
00:46:25,600 --> 00:46:28,480
Speaker 2: You know, Jan Anderson, I think his name was the

1066
00:46:28,560 --> 00:46:31,560
Speaker 2: least singer, John Anderson. Yeah, so anyway, he was a

1067
00:46:31,719 --> 00:46:34,719
Speaker 2: he was a vegetarian. And we was in Detroit, you know,

1068
00:46:34,840 --> 00:46:38,560
Speaker 2: so I like barbecue stuff. So we hit it off

1069
00:46:38,600 --> 00:46:40,440
Speaker 2: the bus and he said, man, Marty, can he take

1070
00:46:40,520 --> 00:46:42,440
Speaker 2: us a place? Against something meant, I don't know they vegetarian,

1071
00:46:42,640 --> 00:46:44,200
Speaker 2: so I go to barbecue garings, you know.

1072
00:46:44,440 --> 00:46:47,800
Speaker 6: So it's like two in the morning. He said, oh man,

1073
00:46:47,920 --> 00:46:50,040
Speaker 6: we don't eat that joking the head too bad. I

1074
00:46:50,080 --> 00:46:54,120
Speaker 6: was just snicking my feet, but you know, that was

1075
00:46:54,160 --> 00:46:56,239
Speaker 6: the thing. But there they were nice guys, you know,

1076
00:46:57,440 --> 00:46:58,000
Speaker 6: Robert Pripp.

1077
00:46:58,040 --> 00:47:01,480
Speaker 2: I think it was the name guitar player from Yeah,

1078
00:47:02,280 --> 00:47:05,000
Speaker 2: but I did King Crimson and Yes on the same tour.

1079
00:47:05,080 --> 00:47:05,719
Speaker 3: I think it was.

1080
00:47:06,280 --> 00:47:11,080
Speaker 2: But but I mean, look, I to me, I respected

1081
00:47:11,120 --> 00:47:13,440
Speaker 2: all musicians because they could read and play, you know,

1082
00:47:14,160 --> 00:47:16,839
Speaker 2: and I know how difficult that was if you can

1083
00:47:16,920 --> 00:47:20,000
Speaker 2: read music and play. I know how difficult it was

1084
00:47:20,000 --> 00:47:22,719
Speaker 2: because I took music in high school. So I respected

1085
00:47:22,760 --> 00:47:24,759
Speaker 2: them because of that, you know. So, But at the

1086
00:47:24,840 --> 00:47:28,840
Speaker 2: same time, I didn't have no I didn't idolize, you know.

1087
00:47:28,840 --> 00:47:31,880
Speaker 2: I wasn't idem my idols like the Narius, Mark Miles Davis,

1088
00:47:32,320 --> 00:47:34,400
Speaker 2: John Coach and I was just guess that I idolized, you know.

1089
00:47:34,880 --> 00:47:37,440
Speaker 3: But the rock caest was just musicians to me, you know.

1090
00:47:38,200 --> 00:47:42,240
Speaker 4: Okay, so if you were on the road with the band,

1091
00:47:42,640 --> 00:47:47,760
Speaker 4: who's covering all the other stations with all the other records.

1092
00:47:47,840 --> 00:47:49,840
Speaker 2: Well, you know, we sent the records out to the

1093
00:47:49,880 --> 00:47:54,120
Speaker 2: stations and we didn't have no album promotion guys. Back then,

1094
00:47:54,200 --> 00:47:57,800
Speaker 2: everybody was local promotion guys that promoted most of the singles,

1095
00:47:58,120 --> 00:48:00,160
Speaker 2: and you know you can and I had a few guys,

1096
00:48:00,640 --> 00:48:02,959
Speaker 2: you know, some of the most guys that was ift albums,

1097
00:48:03,000 --> 00:48:05,920
Speaker 2: like Bill Rawls and a couple of guys that was

1098
00:48:05,960 --> 00:48:09,360
Speaker 2: into albums, John Carter and San Francisco. You know, I

1099
00:48:09,360 --> 00:48:11,400
Speaker 2: could call them and ask him to check this and that.

1100
00:48:11,440 --> 00:48:14,560
Speaker 2: But at the same time, I got to report every

1101
00:48:14,719 --> 00:48:17,680
Speaker 2: every every week, every week, I got a report from

1102
00:48:17,840 --> 00:48:21,000
Speaker 2: each stations, you know, and the girl's in the office

1103
00:48:21,040 --> 00:48:23,560
Speaker 2: would would send me report on the road. So that's

1104
00:48:23,600 --> 00:48:25,600
Speaker 2: how I really kept track of it. They let you

1105
00:48:25,640 --> 00:48:28,600
Speaker 2: know who they what they added, and what albums were

1106
00:48:28,600 --> 00:48:31,320
Speaker 2: added and so on, you know, because you can't stay

1107
00:48:31,320 --> 00:48:31,920
Speaker 2: on top of it.

1108
00:48:31,960 --> 00:48:33,520
Speaker 3: You on the road a lot. And I was on

1109
00:48:33,560 --> 00:48:41,320
Speaker 3: the road a lot, you know.

1110
00:48:42,239 --> 00:48:44,400
Speaker 4: So how much pressure did you get from the label?

1111
00:48:46,160 --> 00:48:49,359
Speaker 3: No, No, they couldn't pressure me. Man. I didn't give them.

1112
00:48:50,160 --> 00:48:51,719
Speaker 3: I didn't care what they say I did.

1113
00:48:52,280 --> 00:48:53,839
Speaker 2: I did what I want to do. And they'll tell

1114
00:48:53,880 --> 00:48:56,680
Speaker 2: you that even cherry works. All of they know I

1115
00:48:56,760 --> 00:48:58,600
Speaker 2: was gonna do what I told them, I wasn't coming.

1116
00:48:58,680 --> 00:49:00,520
Speaker 2: I wasn't coming to no more meetings. I told him,

1117
00:49:00,719 --> 00:49:03,520
Speaker 2: don't asked me to call in for these meetings because

1118
00:49:03,560 --> 00:49:06,440
Speaker 2: the meeting is all about singles, you know, And I

1119
00:49:06,520 --> 00:49:08,520
Speaker 2: would they want to hear here wherever I am. I

1120
00:49:08,560 --> 00:49:10,640
Speaker 2: supposed to call in and listen in the meeting. Now

1121
00:49:10,640 --> 00:49:12,200
Speaker 2: I got holding on the phone for an hour and

1122
00:49:12,280 --> 00:49:14,479
Speaker 2: they talking about nothing but singles. So that fissed me off.

1123
00:49:14,800 --> 00:49:16,719
Speaker 2: And I told Jerry Wesley and oh Im, look, man,

1124
00:49:16,760 --> 00:49:18,759
Speaker 2: I'm not gonna do no more me. I just send

1125
00:49:18,800 --> 00:49:21,839
Speaker 2: my reports in and that's what I started doing. But

1126
00:49:21,840 --> 00:49:23,719
Speaker 2: but but I had to put my foot down. Man,

1127
00:49:23,760 --> 00:49:25,279
Speaker 2: I had to put my foot down. Plus I was

1128
00:49:25,320 --> 00:49:27,440
Speaker 2: getting records place. So I got away with a lot

1129
00:49:27,440 --> 00:49:27,880
Speaker 2: of stuff.

1130
00:49:28,600 --> 00:49:31,560
Speaker 4: So what happened when Lee Abrams came along and he

1131
00:49:31,640 --> 00:49:33,279
Speaker 4: started to make playlifts, etc.

1132
00:49:34,600 --> 00:49:36,600
Speaker 3: Yeah, Lee Abras, I got to know him well, you know,

1133
00:49:36,719 --> 00:49:39,839
Speaker 3: but he did me a lot of favors. I loved

1134
00:49:39,920 --> 00:49:43,120
Speaker 3: Lee Abrams. He was a genius. Man. That was a

1135
00:49:43,160 --> 00:49:44,400
Speaker 3: different ball game. Man. You know.

1136
00:49:44,600 --> 00:49:46,400
Speaker 2: Now it's it getting to be a business, you know.

1137
00:49:47,440 --> 00:49:51,120
Speaker 2: So I did up until nineteen eighty One's last time

1138
00:49:51,120 --> 00:49:53,239
Speaker 2: I deal with radio stations. Thanked, every one was the

1139
00:49:53,320 --> 00:49:57,240
Speaker 2: last about radio stations. I stopped provoting records then, But uh,

1140
00:49:57,360 --> 00:50:01,400
Speaker 2: I did Rick James and Lee Abrams, I did all

1141
00:50:01,760 --> 00:50:02,399
Speaker 2: those did okay.

1142
00:50:02,400 --> 00:50:04,320
Speaker 4: So how did you meet Emerson Lincoln Palmer.

1143
00:50:05,560 --> 00:50:09,080
Speaker 2: I met them through their first manager when they was

1144
00:50:09,120 --> 00:50:11,640
Speaker 2: on the road the first tour.

1145
00:50:11,480 --> 00:50:12,440
Speaker 3: They did in America.

1146
00:50:13,400 --> 00:50:17,400
Speaker 2: I I went to I went on the road with

1147
00:50:17,440 --> 00:50:19,640
Speaker 2: them somewhere and then, and I got to know Gregor

1148
00:50:19,719 --> 00:50:22,720
Speaker 2: well and Gregy. I took him to the Diamond area

1149
00:50:22,719 --> 00:50:25,799
Speaker 2: in New York and they bought rings and shit, and

1150
00:50:25,840 --> 00:50:27,400
Speaker 2: I saw, I want the ring the great I said.

1151
00:50:27,280 --> 00:50:28,960
Speaker 3: Man, it's a nice ring. He said, you want one.

1152
00:50:29,000 --> 00:50:30,480
Speaker 2: So he caught me a ring and I still got

1153
00:50:30,480 --> 00:50:32,520
Speaker 2: it until the day with my name by initials on it,

1154
00:50:32,760 --> 00:50:35,520
Speaker 2: you know. But that was on the first tour, and uh,

1155
00:50:35,640 --> 00:50:37,759
Speaker 2: you know, I knew them all from the first tour,

1156
00:50:37,800 --> 00:50:41,520
Speaker 2: you know, before they before they started Mantagro.

1157
00:50:41,680 --> 00:50:45,080
Speaker 3: But all the records. I promoted every one of the

1158
00:50:45,160 --> 00:50:46,239
Speaker 3: records from the beginning, you know.

1159
00:50:46,440 --> 00:50:48,759
Speaker 4: And if the legend has it that they didn't want

1160
00:50:48,800 --> 00:50:51,520
Speaker 4: to put out pictures at an exhibition in America, and

1161
00:50:51,520 --> 00:50:52,439
Speaker 4: you convinced.

1162
00:50:52,080 --> 00:50:53,480
Speaker 3: That right, right right.

1163
00:50:53,480 --> 00:50:57,440
Speaker 2: They didn't want to put pictures Atlantic, didn't want to

1164
00:50:57,440 --> 00:50:59,959
Speaker 2: put it on Atlantic, and they wanted first they wanted

1165
00:51:00,480 --> 00:51:04,640
Speaker 2: give it to a done search for Electra and you know,

1166
00:51:05,200 --> 00:51:06,600
Speaker 2: and then they said, well, man.

1167
00:51:06,480 --> 00:51:09,000
Speaker 3: We we can't put it out, you know, we'll none search.

1168
00:51:09,040 --> 00:51:09,239
Speaker 3: You know.

1169
00:51:09,360 --> 00:51:12,239
Speaker 2: No, man, look, this record is gonna be a hit,

1170
00:51:12,600 --> 00:51:14,399
Speaker 2: added till Arm. But it's gonna be it you're doing.

1171
00:51:14,440 --> 00:51:16,920
Speaker 2: They were all contillion anyway back then, you know. So

1172
00:51:17,080 --> 00:51:19,560
Speaker 2: in any way, they put the record out and and

1173
00:51:19,760 --> 00:51:22,640
Speaker 2: we sold a median Records in about two months, you know.

1174
00:51:23,239 --> 00:51:25,400
Speaker 2: And and that really because they said it's too classical.

1175
00:51:25,440 --> 00:51:27,040
Speaker 2: That's what That's what Amah was saying, this is a

1176
00:51:27,080 --> 00:51:31,440
Speaker 2: classical record. And they were really upset, Steve, especially Keith Emerson.

1177
00:51:31,920 --> 00:51:33,560
Speaker 2: Keith were a little hurt because you know, he's a

1178
00:51:33,600 --> 00:51:38,759
Speaker 2: classical genius. And uh, once that record came out, I

1179
00:51:38,800 --> 00:51:41,000
Speaker 2: got to be really really tight with the management full

1180
00:51:41,080 --> 00:51:44,520
Speaker 2: Steward before before Stewart Young, they had another manager, but

1181
00:51:44,520 --> 00:51:46,840
Speaker 2: I got to be tagged with him because I was

1182
00:51:46,880 --> 00:51:49,800
Speaker 2: promoting those records, you know, And and they had.

1183
00:51:49,680 --> 00:51:52,399
Speaker 3: Like a jazz that they appreciated jazz as well.

1184
00:51:52,440 --> 00:51:56,880
Speaker 2: And I got really Keith and and uh Carl. It

1185
00:51:56,920 --> 00:52:00,279
Speaker 2: was jazz enthusiasts as well as classical, so I so

1186
00:52:00,360 --> 00:52:01,719
Speaker 2: I got to be really tight with them.

1187
00:52:01,800 --> 00:52:03,640
Speaker 4: So how did you end up running their label?

1188
00:52:03,960 --> 00:52:07,840
Speaker 2: When they were tired of dealing with Atlantic? They wanted

1189
00:52:07,880 --> 00:52:10,920
Speaker 2: to They wanted someone to run the label, and they

1190
00:52:10,680 --> 00:52:12,840
Speaker 2: they gave me all that I couldn't refuse.

1191
00:52:12,880 --> 00:52:14,319
Speaker 3: You know, I was.

1192
00:52:14,400 --> 00:52:16,640
Speaker 2: I was happy to get out of Atlanta because that's

1193
00:52:16,719 --> 00:52:19,719
Speaker 2: a big corporate thing. Now all of a sudden, you

1194
00:52:19,800 --> 00:52:22,759
Speaker 2: gotta you gotta they got you gotta report the stockholes

1195
00:52:22,840 --> 00:52:25,000
Speaker 2: and stuff, and they cutting down and you can't do this.

1196
00:52:25,120 --> 00:52:25,839
Speaker 3: You can't do this.

1197
00:52:26,280 --> 00:52:28,680
Speaker 2: You can't fly first class, you can't do ahole lot

1198
00:52:28,680 --> 00:52:30,840
Speaker 2: of stuff that they tell you can't do. You know,

1199
00:52:30,880 --> 00:52:33,680
Speaker 2: you got to have a receiver. You're painting that all

1200
00:52:33,719 --> 00:52:36,799
Speaker 2: the work. When I'm out there at night, going to

1201
00:52:36,840 --> 00:52:39,480
Speaker 2: bed at uh four in the morning, they tell me

1202
00:52:39,520 --> 00:52:40,560
Speaker 2: I gotta sign in.

1203
00:52:41,400 --> 00:52:42,239
Speaker 3: Can you imagine?

1204
00:52:42,520 --> 00:52:44,759
Speaker 2: I said, if I can sign out, I'll sign in.

1205
00:52:44,840 --> 00:52:47,759
Speaker 2: You understand, you know what I'm saying. If I can

1206
00:52:47,800 --> 00:52:49,799
Speaker 2: sign out when you're at home with your wife and

1207
00:52:49,840 --> 00:52:51,839
Speaker 2: I'm on the road with He's band, I'll sign in.

1208
00:52:51,920 --> 00:52:53,799
Speaker 2: That's what I said, So that was one of the

1209
00:52:53,800 --> 00:52:55,880
Speaker 2: things I didn't call to care for. But at the

1210
00:52:55,920 --> 00:52:57,719
Speaker 2: same time, you know, they didn't bother me. They let

1211
00:52:57,800 --> 00:52:59,560
Speaker 2: me do what I wanted to do, and I continue

1212
00:52:59,600 --> 00:53:01,440
Speaker 2: to do like I did. I came in when I

1213
00:53:01,440 --> 00:53:03,839
Speaker 2: got rid of you know, because I'd have been out

1214
00:53:03,880 --> 00:53:05,640
Speaker 2: halving the night with some band if I just come

1215
00:53:05,680 --> 00:53:07,200
Speaker 2: in at full in the afternoon.

1216
00:53:07,200 --> 00:53:08,600
Speaker 3: You have to you have to put up with that.

1217
00:53:08,600 --> 00:53:09,520
Speaker 3: That was the deal, you know.

1218
00:53:09,920 --> 00:53:12,400
Speaker 4: So how did it work out at Manicore?

1219
00:53:13,520 --> 00:53:15,160
Speaker 3: Oh? It was Madico was fantastic.

1220
00:53:15,160 --> 00:53:18,440
Speaker 2: Man The only thing we just if I hadn't known

1221
00:53:18,480 --> 00:53:20,120
Speaker 2: that they were arguing with each other before, I didn't

1222
00:53:20,120 --> 00:53:21,720
Speaker 2: know they didn't get along with each other that well.

1223
00:53:22,239 --> 00:53:25,799
Speaker 2: But if they'd have done one tour a year, that

1224
00:53:25,880 --> 00:53:28,080
Speaker 2: coming could have stayed together. But you know, the whole trip.

1225
00:53:28,120 --> 00:53:29,680
Speaker 2: If they wanted to sign an accent, they don't know,

1226
00:53:29,719 --> 00:53:31,200
Speaker 2: and they don't even want to tour. And then when

1227
00:53:31,239 --> 00:53:34,440
Speaker 2: he decided to tour, they want to have a band,

1228
00:53:34,520 --> 00:53:37,080
Speaker 2: have a they want to tour with a full orchestra.

1229
00:53:37,160 --> 00:53:39,759
Speaker 2: You know, you can't make any money doing that, you know.

1230
00:53:40,440 --> 00:53:43,080
Speaker 2: So that was the main downfall of it. It wasn't

1231
00:53:43,760 --> 00:53:47,799
Speaker 2: the music as far as ELP was concerned, they were

1232
00:53:47,960 --> 00:53:52,320
Speaker 2: smash but you know they put out acts by other accidents,

1233
00:53:52,800 --> 00:53:53,800
Speaker 2: you got to try to break it.

1234
00:53:53,840 --> 00:53:54,920
Speaker 3: I end up signing.

1235
00:53:55,000 --> 00:53:59,160
Speaker 2: Uh Bruce's Image because I wanted something that I could

1236
00:53:59,239 --> 00:54:04,279
Speaker 2: believe in Blues Image and uh and uh you know,

1237
00:54:04,360 --> 00:54:07,520
Speaker 2: I knew Mike Preneur from back then. And I also

1238
00:54:07,560 --> 00:54:09,920
Speaker 2: sound a little richer to the label because I had

1239
00:54:09,960 --> 00:54:11,799
Speaker 2: to have something that I could believe in. I didn't

1240
00:54:11,800 --> 00:54:14,239
Speaker 2: particular it, believe in all the other some of the

1241
00:54:14,280 --> 00:54:16,040
Speaker 2: other stuff they had. But at the same time, you

1242
00:54:16,080 --> 00:54:17,600
Speaker 2: try to do the best you can.

1243
00:54:18,160 --> 00:54:20,000
Speaker 3: But EOP was the backbone of that.

1244
00:54:20,160 --> 00:54:23,200
Speaker 4: You know, Okay, but if you were a promotion person,

1245
00:54:23,239 --> 00:54:24,720
Speaker 4: how did you know how to run the label.

1246
00:54:26,239 --> 00:54:27,560
Speaker 3: I knew how to run the label because I was

1247
00:54:27,560 --> 00:54:28,200
Speaker 3: a businessman.

1248
00:54:28,680 --> 00:54:30,840
Speaker 2: First of all. It wasn't just promotion. You know, you

1249
00:54:30,920 --> 00:54:32,399
Speaker 2: got to be a businessman to run the labor.

1250
00:54:32,760 --> 00:54:33,120
Speaker 3: I knew.

1251
00:54:33,160 --> 00:54:35,399
Speaker 2: I knew all about publicity. I knew about everything. Plus

1252
00:54:35,440 --> 00:54:37,799
Speaker 2: I hired secretaries that did do stuff for.

1253
00:54:37,719 --> 00:54:40,400
Speaker 3: Me when I was away. But I promoted. Promotion was

1254
00:54:40,440 --> 00:54:41,239
Speaker 3: the most important thing.

1255
00:54:41,239 --> 00:54:43,600
Speaker 2: As far as getting records on radio, we had a

1256
00:54:43,600 --> 00:54:48,040
Speaker 2: band called PFM was from an Italian band Premioto Frondia

1257
00:54:48,120 --> 00:54:51,360
Speaker 2: Marconi was and It and Italy they were like the Beatles,

1258
00:54:51,360 --> 00:54:51,560
Speaker 2: you know.

1259
00:54:52,280 --> 00:54:53,520
Speaker 3: So we came over here.

1260
00:54:53,840 --> 00:54:56,680
Speaker 2: And uh we ended up going to Motown with them,

1261
00:54:56,719 --> 00:54:58,799
Speaker 2: and they put out albums, you know, and we did

1262
00:54:58,800 --> 00:55:02,360
Speaker 2: a live album and they broke as far as American concern,

1263
00:55:02,400 --> 00:55:05,759
Speaker 2: but it wasn't a big big seller. But they were

1264
00:55:05,800 --> 00:55:08,040
Speaker 2: still selling. Lack of manager, I mean, and Italy. You know,

1265
00:55:08,840 --> 00:55:11,040
Speaker 2: everything you put out over there was gold record for them.

1266
00:55:11,560 --> 00:55:14,160
Speaker 2: But you know, it was difficult as far as the

1267
00:55:14,280 --> 00:55:18,360
Speaker 2: acts that that that Keith and Greg them were signing.

1268
00:55:18,840 --> 00:55:22,560
Speaker 2: They were signing stuff that they like, you know, some

1269
00:55:22,920 --> 00:55:25,719
Speaker 2: artistics to Pete SimPEL was a great lyricist. But I

1270
00:55:25,840 --> 00:55:27,560
Speaker 2: knew I wasn't going to be able to sell those records,

1271
00:55:27,560 --> 00:55:27,799
Speaker 2: you know.

1272
00:55:28,960 --> 00:55:31,279
Speaker 4: So what ultimately killed the band.

1273
00:55:32,160 --> 00:55:33,759
Speaker 3: They didn't get along with each other. That's what killed

1274
00:55:33,800 --> 00:55:35,440
Speaker 3: the band. They didn't get along with each other.

1275
00:55:35,480 --> 00:55:35,680
Speaker 4: You know.

1276
00:55:36,400 --> 00:55:40,399
Speaker 2: They just didn't want to They didn't want to tour. Man,

1277
00:55:40,400 --> 00:55:43,319
Speaker 2: you got to have three limos, you know, and they

1278
00:55:43,360 --> 00:55:48,800
Speaker 2: wanted first of all, they wanted to tour with an orchestra,

1279
00:55:49,400 --> 00:55:51,279
Speaker 2: which you got, like I don't know how many people

1280
00:55:51,320 --> 00:55:55,239
Speaker 2: in the orchestra, but just every city you got to

1281
00:55:55,280 --> 00:55:57,680
Speaker 2: have an orchestra, you got to travel with that. That

1282
00:55:57,800 --> 00:56:01,040
Speaker 2: alone was was difficult for a store and myself to

1283
00:56:01,719 --> 00:56:03,600
Speaker 2: relate to the band. They did a couple of cities

1284
00:56:03,600 --> 00:56:05,960
Speaker 2: with the band like that, and we lost money, but

1285
00:56:06,040 --> 00:56:09,359
Speaker 2: you know, like, hey, you lose money, you're not gonna

1286
00:56:09,360 --> 00:56:09,880
Speaker 2: be in business.

1287
00:56:09,960 --> 00:56:12,759
Speaker 3: Loan. But that was the main downfall that.

1288
00:56:13,400 --> 00:56:16,359
Speaker 2: But the band as a whole was still popular as

1289
00:56:16,360 --> 00:56:18,879
Speaker 2: the Beatles over here at that time. You know, they

1290
00:56:18,880 --> 00:56:24,279
Speaker 2: could play anything. If they played the California Jam, I

1291
00:56:24,320 --> 00:56:27,200
Speaker 2: think it and they and they, and the place was

1292
00:56:27,280 --> 00:56:30,880
Speaker 2: sold out. Man, it's like Woodstock. Yeah, I mean unbelievable.

1293
00:56:30,880 --> 00:56:31,640
Speaker 2: They killed it.

1294
00:56:31,719 --> 00:56:31,839
Speaker 1: Man.

1295
00:56:31,880 --> 00:56:33,799
Speaker 2: I don't even know if anybody ever recorded that, but

1296
00:56:33,880 --> 00:56:37,000
Speaker 2: that was a great show. They had this spinning piano,

1297
00:56:37,160 --> 00:56:40,840
Speaker 2: you know, the piano that spins. Keith to get on

1298
00:56:40,840 --> 00:56:43,560
Speaker 2: the piano that spins earth Winding Fire was on that

1299
00:56:43,680 --> 00:56:47,320
Speaker 2: tour as well. And the next morning after that show,

1300
00:56:48,320 --> 00:56:51,560
Speaker 2: Maurice White came to my hotel room and asked me, hey, man,

1301
00:56:51,960 --> 00:56:56,319
Speaker 2: where did you all get that spinis piano? So I

1302
00:56:56,400 --> 00:56:59,440
Speaker 2: turned him on to keep and they got the spinding

1303
00:56:59,480 --> 00:57:03,040
Speaker 2: piano for when the fire That's how they got you know, man.

1304
00:57:03,120 --> 00:57:07,560
Speaker 3: It was ELP was innovators, man, I mean, and and

1305
00:57:07,800 --> 00:57:10,200
Speaker 3: uh Keith Emerson.

1306
00:57:10,239 --> 00:57:13,400
Speaker 2: Man, I had so many keyboard players coming to me

1307
00:57:13,520 --> 00:57:16,040
Speaker 2: about Keith Emerson. Man, you know, they just idolized the

1308
00:57:16,160 --> 00:57:19,240
Speaker 2: guy from Bernard Warrell from Fukadelic, that was one of

1309
00:57:19,280 --> 00:57:23,400
Speaker 2: his favorite guys. It was amazing, man, because he did

1310
00:57:23,440 --> 00:57:25,480
Speaker 2: that move with him and Steven Wonder was the guys

1311
00:57:25,520 --> 00:57:28,840
Speaker 2: on the move back in those days. And Keith took

1312
00:57:28,880 --> 00:57:31,280
Speaker 2: the move on stage and played it, you know, like

1313
00:57:31,320 --> 00:57:35,400
Speaker 2: as part of his instrument and Keith and uh Steven

1314
00:57:35,440 --> 00:57:38,120
Speaker 2: want to end up using the move as well, the

1315
00:57:38,160 --> 00:57:41,520
Speaker 2: same guys as Keith was using on his album. But man,

1316
00:57:41,560 --> 00:57:43,480
Speaker 2: that that was some great days. I look back at

1317
00:57:43,480 --> 00:57:45,640
Speaker 2: those days, man, those fantastic days.

1318
00:57:45,880 --> 00:57:49,280
Speaker 4: What about Phil Walden in the Almond Brothers.

1319
00:57:49,840 --> 00:57:54,600
Speaker 3: Oh yeah, I love Feelings and uh Frank Finer. You know, man,

1320
00:57:54,680 --> 00:57:56,160
Speaker 3: let me tell you Dwayne Alman.

1321
00:57:56,800 --> 00:57:59,880
Speaker 2: I knew Dwayne when he was Skydog, you know, when

1322
00:57:59,880 --> 00:58:02,280
Speaker 2: he was come to New York to play on Reretha Franklin.

1323
00:58:02,400 --> 00:58:04,760
Speaker 3: I was payroll clerk, so.

1324
00:58:04,720 --> 00:58:07,640
Speaker 2: I got to know got to know Dwayne real well,

1325
00:58:08,120 --> 00:58:09,520
Speaker 2: you know, because when he first come up.

1326
00:58:09,560 --> 00:58:10,880
Speaker 3: You know, you got to give me the W two

1327
00:58:10,880 --> 00:58:11,480
Speaker 3: and another fan.

1328
00:58:12,120 --> 00:58:13,959
Speaker 2: And he wanted to go to Halem, so I would

1329
00:58:13,960 --> 00:58:16,320
Speaker 2: take him to places and you know, and he sit

1330
00:58:16,440 --> 00:58:18,560
Speaker 2: in a jam and I turned him onto King Curtis

1331
00:58:18,600 --> 00:58:20,680
Speaker 2: because King was on the session with but he didn't

1332
00:58:20,680 --> 00:58:23,640
Speaker 2: know King, but I knew King well. So we hung out, Me,

1333
00:58:23,840 --> 00:58:26,560
Speaker 2: King and Dwayne all we all hung out together after

1334
00:58:26,600 --> 00:58:29,200
Speaker 2: those after they did those sessions with the Reaper, and

1335
00:58:29,320 --> 00:58:31,800
Speaker 2: Dwayne said, well, Mari, you know, man, I'm gonna have

1336
00:58:32,040 --> 00:58:33,200
Speaker 2: my own band soon.

1337
00:58:33,240 --> 00:58:35,360
Speaker 3: You know it's gonna be a mother man. You know

1338
00:58:35,760 --> 00:58:38,280
Speaker 3: I have been gonna be the band's man. I said, okay, Man,

1339
00:58:38,400 --> 00:58:40,200
Speaker 3: I didn't know it's gonna be the All Brothers band.

1340
00:58:40,400 --> 00:58:42,320
Speaker 2: But when he all of a sudden he covered All

1341
00:58:42,400 --> 00:58:45,720
Speaker 2: Brothers band. It's on Capricorn, but they were distributed by

1342
00:58:45,760 --> 00:58:49,160
Speaker 2: Warner Bros. But I was so tight with Dwayne. I

1343
00:58:49,160 --> 00:58:52,400
Speaker 2: would promote their record, you know, and I and I

1344
00:58:52,440 --> 00:58:55,080
Speaker 2: knew Phil Walden and Frank Crunter very well.

1345
00:58:55,400 --> 00:58:57,240
Speaker 3: So I would always promote to all my brothers.

1346
00:58:57,400 --> 00:58:59,400
Speaker 2: And I went on the road with them when they

1347
00:58:59,400 --> 00:59:03,440
Speaker 2: were driving, had a Winnabago, and I would I wouldn't

1348
00:59:03,480 --> 00:59:05,040
Speaker 2: ride in Winnebago. But I would to meet him in

1349
00:59:05,520 --> 00:59:08,000
Speaker 2: towns and they were into Winnebago and they said, man,

1350
00:59:08,480 --> 00:59:10,960
Speaker 2: well we'd be rally and they thought that was like

1351
00:59:11,160 --> 00:59:13,200
Speaker 2: high living because you know, the just this is when

1352
00:59:13,240 --> 00:59:13,720
Speaker 2: they stopped.

1353
00:59:13,920 --> 00:59:15,600
Speaker 3: Oh man, we got a own man we ride.

1354
00:59:15,640 --> 00:59:18,200
Speaker 2: We'd be looking out the windows going across Golden Gate brick,

1355
00:59:18,600 --> 00:59:18,800
Speaker 2: you know.

1356
00:59:18,920 --> 00:59:21,280
Speaker 3: And that was when they first started out. Man, and

1357
00:59:21,320 --> 00:59:23,760
Speaker 3: I loved those guys. I used to go to the

1358
00:59:23,800 --> 00:59:25,760
Speaker 3: picnics that they had every summer. You know.

1359
00:59:25,960 --> 00:59:29,240
Speaker 2: It was like, hey, man, I mean it's just so

1360
00:59:29,320 --> 00:59:31,840
Speaker 2: many stories about all my brothers and Dwayne Almond. You know,

1361
00:59:32,960 --> 00:59:36,160
Speaker 2: Dwayne was just really really like a brother to me. Man.

1362
00:59:36,200 --> 00:59:38,560
Speaker 3: You know, we hung out and played music. The guy

1363
00:59:38,680 --> 00:59:39,160
Speaker 3: played music.

1364
00:59:39,240 --> 00:59:42,160
Speaker 2: I was taken to the blues clubs in the ghetto

1365
00:59:42,720 --> 00:59:44,320
Speaker 2: and he's sitting with these guys.

1366
00:59:44,880 --> 00:59:46,760
Speaker 3: I remember when we was in Atlanta once.

1367
00:59:47,360 --> 00:59:51,920
Speaker 2: I took Dwayne to see Barbara du Blaan, right, and

1368
00:59:51,920 --> 00:59:54,640
Speaker 2: it's in Atlanta and the Dead and the ghetto. Man

1369
00:59:54,440 --> 00:59:57,080
Speaker 2: in a club, you know, cut throw club. But I

1370
00:59:57,160 --> 00:59:59,320
Speaker 2: get a limbo and I tell Dwayne bring your guitar.

1371
00:59:59,600 --> 01:00:01,880
Speaker 2: I said, look, man, bring your guitar. So he brings

1372
01:00:01,920 --> 01:00:03,800
Speaker 2: the guitar and we go into the club. You know,

1373
01:00:03,880 --> 01:00:06,240
Speaker 2: I knew the guy at the club. So we go

1374
01:00:06,240 --> 01:00:09,200
Speaker 2: in the club and Bobby Blue Blander is singer. You know,

1375
01:00:09,280 --> 01:00:10,400
Speaker 2: Bobby is a Mama Jones.

1376
01:00:10,680 --> 01:00:13,640
Speaker 3: So I'd go to I do Barble's I said, Boba, man, boy,

1377
01:00:13,640 --> 01:00:18,080
Speaker 3: he played like Elmo James. So Joyne got up there

1378
01:00:18,080 --> 01:00:20,840
Speaker 3: and played and played that bottle neck and ship and

1379
01:00:20,960 --> 01:00:21,960
Speaker 3: just wore it out.

1380
01:00:22,000 --> 01:00:25,000
Speaker 2: Man, whoa whoa wa the club out of all the

1381
01:00:25,040 --> 01:00:28,800
Speaker 2: holes in the piencils hollering in can on and he

1382
01:00:28,920 --> 01:00:32,400
Speaker 2: playing one wo wow anything whoy and uh and you know,

1383
01:00:33,160 --> 01:00:37,720
Speaker 2: baba bana, you know how y'all man look that night

1384
01:00:37,840 --> 01:00:38,560
Speaker 2: was Mama Jes.

1385
01:00:38,640 --> 01:00:41,400
Speaker 7: So after after they finished playing, we had the dreads room,

1386
01:00:41,760 --> 01:00:44,479
Speaker 7: Dwayne walked over with Bobby Pan said, man, you better

1387
01:00:44,480 --> 01:00:50,960
Speaker 7: get your ship together because my brother coming after your.

1388
01:00:51,320 --> 01:00:51,560
Speaker 2: Man.

1389
01:00:52,160 --> 01:00:54,800
Speaker 3: That was that was I thought I that.

1390
01:00:55,280 --> 01:00:57,800
Speaker 2: He told Bob Blue playing that, and he ended up

1391
01:00:57,920 --> 01:00:59,720
Speaker 2: meeting Greg and they got to be good buddies.

1392
01:00:59,760 --> 01:01:03,200
Speaker 3: Man Gregg idolized about group lay. But when Duayne, I said, man,

1393
01:01:03,200 --> 01:01:04,640
Speaker 3: you can't tell you to hell man, I just had

1394
01:01:04,640 --> 01:01:05,600
Speaker 3: to tell him. I had to tell it.

1395
01:01:06,000 --> 01:01:08,160
Speaker 2: But boy, that that's the type of stuff that Dwayne

1396
01:01:08,280 --> 01:01:11,360
Speaker 2: and you know, like, hey, man, now I love that guy.

1397
01:01:11,400 --> 01:01:14,400
Speaker 2: Man he you know when they when he when he

1398
01:01:14,680 --> 01:01:19,800
Speaker 2: uh when when they played the Boston Commons once and

1399
01:01:20,040 --> 01:01:23,720
Speaker 2: after Boston Commons, I take limo, I'm going to New

1400
01:01:23,800 --> 01:01:26,480
Speaker 2: York because we're going. I'm going to King Curtis funeral now, right,

1401
01:01:26,480 --> 01:01:28,000
Speaker 2: So Dwayne Wan, I said, well, come on, man, go

1402
01:01:28,040 --> 01:01:28,240
Speaker 2: with me.

1403
01:01:28,280 --> 01:01:30,919
Speaker 3: I'm going to the funeral. So Dwayne come.

1404
01:01:31,160 --> 01:01:33,680
Speaker 2: We we get off of the airport at LaGuardia and

1405
01:01:34,080 --> 01:01:36,200
Speaker 2: I go to my house to put myself down there,

1406
01:01:36,240 --> 01:01:36,920
Speaker 2: and I said.

1407
01:01:36,680 --> 01:01:38,680
Speaker 3: Man, I got it. We're gonna go to the funeral after.

1408
01:01:38,760 --> 01:01:40,080
Speaker 3: So we we both go to.

1409
01:01:40,040 --> 01:01:44,000
Speaker 2: The General man at at at Reverend whatever was Riverside Church,

1410
01:01:44,960 --> 01:01:47,520
Speaker 2: Jesse Jackson gave the obituary and stuff, and Dwayne is

1411
01:01:47,520 --> 01:01:49,840
Speaker 2: sitting there with me, and Dwayne said, man, that was

1412
01:01:49,880 --> 01:01:52,120
Speaker 2: a nice service man, you know, like you don't mind

1413
01:01:52,200 --> 01:01:53,880
Speaker 2: down you have appreciate us a ship.

1414
01:01:54,320 --> 01:01:57,240
Speaker 3: You know. I don't know, hey about Dan, I don't

1415
01:01:57,240 --> 01:01:58,120
Speaker 3: care about you know.

1416
01:01:58,200 --> 01:02:01,200
Speaker 2: But anyway, maybe about two weeks a month later, man,

1417
01:02:01,240 --> 01:02:03,240
Speaker 2: he died. When that messed me up completely, I was

1418
01:02:03,680 --> 01:02:05,960
Speaker 2: I couldn't even go to the own brother to his funeral.

1419
01:02:06,000 --> 01:02:08,200
Speaker 2: Man because of that. It was but you know, like

1420
01:02:08,240 --> 01:02:11,520
Speaker 2: that was that those two guys, King Curtis and Dwayne Man.

1421
01:02:11,600 --> 01:02:14,880
Speaker 2: He was like, we're really tight. And they passed and

1422
01:02:15,080 --> 01:02:18,040
Speaker 2: just a month or so later he's he's out. You know,

1423
01:02:18,520 --> 01:02:20,400
Speaker 2: he died like a month so and an after that,

1424
01:02:20,480 --> 01:02:25,560
Speaker 2: I go to to UH to Capricorn's picnic. After Dwayne

1425
01:02:25,560 --> 01:02:28,560
Speaker 2: had passed. I went to the picnic that summer and Bo,

1426
01:02:28,680 --> 01:02:33,200
Speaker 2: who was the bass player, was was just tore up.

1427
01:02:33,440 --> 01:02:35,960
Speaker 2: It was just depressed as the devil. Only one in

1428
01:02:36,000 --> 01:02:39,320
Speaker 2: the band that just could not function because Dwayne had passed,

1429
01:02:39,360 --> 01:02:41,479
Speaker 2: you know. And I said, I said, b O, what's somebody?

1430
01:02:41,480 --> 01:02:43,640
Speaker 2: He said, Man, I don't know if I can continue

1431
01:02:43,680 --> 01:02:47,760
Speaker 2: without without Dwayne. And then he ended up dying about

1432
01:02:47,760 --> 01:02:51,120
Speaker 2: a year later or so. You know, but I'm just saying, man,

1433
01:02:51,160 --> 01:02:51,760
Speaker 2: that that was.

1434
01:02:51,800 --> 01:02:54,480
Speaker 3: That was. That was though. That band was just one

1435
01:02:54,560 --> 01:02:55,240
Speaker 3: of my favorites.

1436
01:02:55,280 --> 01:02:58,400
Speaker 2: Man, all my brothers, Jay Gulls and Rollerstone, that Zeppelin,

1437
01:02:58,400 --> 01:03:01,520
Speaker 2: those four I would fight fight averybody else.

1438
01:03:01,720 --> 01:03:06,960
Speaker 4: Okay, weren't you with the famous gig in Buffalo where

1439
01:03:07,240 --> 01:03:11,360
Speaker 4: Twigs took out the night told me that story.

1440
01:03:11,760 --> 01:03:15,440
Speaker 2: Well, look, I didn't see him. I was at the gig, right,

1441
01:03:15,560 --> 01:03:17,320
Speaker 2: So we come back. They on the bus and I

1442
01:03:17,360 --> 01:03:19,680
Speaker 2: had always rent a car, right, so I was on

1443
01:03:19,760 --> 01:03:20,200
Speaker 2: the bus.

1444
01:03:20,240 --> 01:03:22,280
Speaker 3: You know. We go to the bus with smokes, some

1445
01:03:22,360 --> 01:03:23,880
Speaker 3: joints now Twigs.

1446
01:03:24,120 --> 01:03:26,000
Speaker 2: They said, man, they don't want to pay us, you know,

1447
01:03:26,040 --> 01:03:28,400
Speaker 2: they told Twigg guy, don't want to pay us. They

1448
01:03:28,480 --> 01:03:31,520
Speaker 2: had get the back end, you know. I there wasn't

1449
01:03:31,560 --> 01:03:34,280
Speaker 2: no one maybe about five hundred dollars whatever. It was

1450
01:03:35,080 --> 01:03:36,920
Speaker 2: this my heels a guy, Damn, we ain't paying you

1451
01:03:37,640 --> 01:03:42,360
Speaker 2: hip nothing And twigxcept let me go back and see

1452
01:03:42,400 --> 01:03:44,800
Speaker 2: if I can get it. He went back in there,

1453
01:03:46,360 --> 01:03:48,400
Speaker 2: and man, I don't know what happened, but I know

1454
01:03:48,480 --> 01:03:51,680
Speaker 2: he killed it, you know. And and next thing we know,

1455
01:03:51,760 --> 01:03:54,000
Speaker 2: we police and everything.

1456
01:03:53,640 --> 01:03:56,760
Speaker 3: You know, and it was Twigs.

1457
01:03:56,840 --> 01:03:59,080
Speaker 2: Twigs you know, was a was a was a x

1458
01:03:59,160 --> 01:04:02,040
Speaker 2: GI X paratrooper from from from Vietnam.

1459
01:04:02,800 --> 01:04:06,360
Speaker 3: You know. He he didn't take no, he didn't take nothing.

1460
01:04:06,400 --> 01:04:08,680
Speaker 2: But you know, Bill Waller supported him all while he

1461
01:04:08,720 --> 01:04:11,240
Speaker 2: was in jail though, and when he got out, he

1462
01:04:11,320 --> 01:04:12,959
Speaker 2: got their job right back with the band.

1463
01:04:14,280 --> 01:04:14,440
Speaker 3: You know.

1464
01:04:15,760 --> 01:04:18,240
Speaker 4: Okay, what was it like being the black guy in

1465
01:04:18,280 --> 01:04:19,480
Speaker 4: a white rock world?

1466
01:04:20,400 --> 01:04:24,480
Speaker 3: Man. You know, I must admit they accepted me so well.

1467
01:04:24,520 --> 01:04:28,000
Speaker 2: And and all those rock bands had more trouble in

1468
01:04:28,040 --> 01:04:30,400
Speaker 2: the South than I did because they had long hair.

1469
01:04:31,520 --> 01:04:33,800
Speaker 2: Because they had long hair and there was hippies, they

1470
01:04:33,880 --> 01:04:38,080
Speaker 2: got more trouble than not it so, you know, I

1471
01:04:38,160 --> 01:04:40,800
Speaker 2: mean like they hated they hated hippies. And then all

1472
01:04:40,840 --> 01:04:42,480
Speaker 2: of a sudden, they're not there with a nigga lover,

1473
01:04:42,600 --> 01:04:44,480
Speaker 2: you know they call him. They would call them all

1474
01:04:44,560 --> 01:04:46,880
Speaker 2: kinds of the day. I mean, I remember we got

1475
01:04:46,880 --> 01:04:49,720
Speaker 2: off the plane one time and I don't know what

1476
01:04:49,960 --> 01:04:53,040
Speaker 2: city was, our little rock of Pine Bluff, whatever the

1477
01:04:53,040 --> 01:04:55,680
Speaker 2: city was. We get off the plane. I'm with all

1478
01:04:55,720 --> 01:04:57,640
Speaker 2: my brothers and we get off the plane. We're the

1479
01:04:57,680 --> 01:04:59,800
Speaker 2: first people off the plane. That means we must be

1480
01:04:59,800 --> 01:05:02,760
Speaker 2: in class. Were getting off and were walking till the

1481
01:05:02,800 --> 01:05:04,360
Speaker 2: because back then you would get out. He had to

1482
01:05:04,400 --> 01:05:07,440
Speaker 2: walk the flight line to the So we walking. Here

1483
01:05:07,480 --> 01:05:11,160
Speaker 2: come a guy in a fucklift calling them faggots and

1484
01:05:11,200 --> 01:05:16,840
Speaker 2: so on, and had listen and and uh, uh, what's.

1485
01:05:16,600 --> 01:05:18,000
Speaker 3: The guitar players? Uh?

1486
01:05:20,080 --> 01:05:21,760
Speaker 4: Dicky Bett, Dicky Bett.

1487
01:05:21,880 --> 01:05:24,400
Speaker 2: Dickie was the counting guy too, you know. And Dickie

1488
01:05:24,400 --> 01:05:26,080
Speaker 2: getting me, I said, look, dick let me talk to him.

1489
01:05:27,800 --> 01:05:29,200
Speaker 2: So of course they don't want to talk to no

1490
01:05:29,320 --> 01:05:31,280
Speaker 2: black guy, you know, So I walk. I said, Man,

1491
01:05:31,320 --> 01:05:33,520
Speaker 2: I don't know why you're talking about these guys. You

1492
01:05:33,640 --> 01:05:36,840
Speaker 2: out here driving a fuck lift and they're the first

1493
01:05:36,920 --> 01:05:37,720
Speaker 2: guys off the plane.

1494
01:05:37,720 --> 01:05:39,400
Speaker 3: They must they can buy your ass.

1495
01:05:39,520 --> 01:05:42,600
Speaker 2: I don't know why you and these guys felt so

1496
01:05:42,720 --> 01:05:46,600
Speaker 2: bad because the black guys is reading the reading about

1497
01:05:47,480 --> 01:05:49,680
Speaker 2: and that means the black guy was riding the first

1498
01:05:49,680 --> 01:05:50,240
Speaker 2: plass too.

1499
01:05:50,600 --> 01:05:51,720
Speaker 3: So they drove on off it.

1500
01:05:52,200 --> 01:05:55,200
Speaker 2: And uh, Gregg said, man, I'm glad you did that,

1501
01:05:55,240 --> 01:05:57,200
Speaker 2: because Dickie would have got us all in trouble because

1502
01:05:57,200 --> 01:05:59,040
Speaker 2: they had got in jail before for fighting, you know,

1503
01:06:00,120 --> 01:06:00,600
Speaker 2: up with time.

1504
01:06:01,000 --> 01:06:04,120
Speaker 3: So anyway, it was just a lot of cartoons things

1505
01:06:04,160 --> 01:06:04,480
Speaker 3: back then.

1506
01:06:04,520 --> 01:06:07,120
Speaker 4: Because okay, so, but in your life, to what degree

1507
01:06:07,160 --> 01:06:09,200
Speaker 4: have you encountered racism?

1508
01:06:10,080 --> 01:06:10,240
Speaker 3: Oh?

1509
01:06:10,240 --> 01:06:13,840
Speaker 2: Well, I I was born in Mississippi, born in Mississippi

1510
01:06:14,080 --> 01:06:17,520
Speaker 2: and raised in nineteen forty one. I lived there for

1511
01:06:17,840 --> 01:06:22,040
Speaker 2: seventeen years. For sixteen, well sixteen years, I went to

1512
01:06:22,120 --> 01:06:23,880
Speaker 2: high school there. Now every summer I would go to

1513
01:06:24,000 --> 01:06:26,160
Speaker 2: Chicago because my mother and father was there, so you know,

1514
01:06:26,200 --> 01:06:29,960
Speaker 2: I was raised around all that racism. And segregation and

1515
01:06:31,520 --> 01:06:32,120
Speaker 2: Jim Crow.

1516
01:06:32,720 --> 01:06:35,320
Speaker 3: So you know it, you know, you live with it,

1517
01:06:35,400 --> 01:06:37,360
Speaker 3: but you gotta have you got to have.

1518
01:06:38,240 --> 01:06:40,440
Speaker 2: My parents was respected by all the people in that

1519
01:06:40,480 --> 01:06:42,920
Speaker 2: particular town, so I never had no problem.

1520
01:06:42,960 --> 01:06:45,880
Speaker 3: I even worked in the grocery store. And even though you.

1521
01:06:45,840 --> 01:06:49,040
Speaker 2: Know, when Emmitt Till got killed, that was the same

1522
01:06:49,080 --> 01:06:51,280
Speaker 2: age I was, and was about thirty miles away from

1523
01:06:51,280 --> 01:06:54,800
Speaker 2: where I lived, and he was the same age I was,

1524
01:06:54,880 --> 01:06:56,480
Speaker 2: you know, and he was from Chicago, come down for

1525
01:06:56,520 --> 01:06:58,640
Speaker 2: the summer, just like all the cats in the Mississippi.

1526
01:06:58,640 --> 01:07:00,480
Speaker 3: I have kids come down the summer.

1527
01:07:00,920 --> 01:07:03,000
Speaker 2: So I mean, you live all around all of that,

1528
01:07:03,120 --> 01:07:04,960
Speaker 2: you see it, but you have to deal with it, man,

1529
01:07:04,960 --> 01:07:07,560
Speaker 2: because back then, what the fuck could you do? You know,

1530
01:07:08,240 --> 01:07:10,640
Speaker 2: But as long as they didn't bother my family, because

1531
01:07:10,640 --> 01:07:14,080
Speaker 2: my grandfather was highly respected by the sheriff and everybody

1532
01:07:14,080 --> 01:07:17,440
Speaker 2: in that city, and he worked for like the wealthiest

1533
01:07:17,840 --> 01:07:21,960
Speaker 2: I guess a man in town, so he had a

1534
01:07:21,960 --> 01:07:25,640
Speaker 2: lot of cloud and my grandmother, you know, worked for

1535
01:07:25,760 --> 01:07:30,440
Speaker 2: the did all the cleaning of the rest the lawyers offices,

1536
01:07:30,840 --> 01:07:32,360
Speaker 2: the dentist offices and stuff.

1537
01:07:32,640 --> 01:07:34,320
Speaker 3: So I got to know all the people in that.

1538
01:07:34,280 --> 01:07:36,960
Speaker 2: Town as far as the business people because of my

1539
01:07:37,000 --> 01:07:40,320
Speaker 2: grandmother and my grandfather. So I could walk to I

1540
01:07:40,360 --> 01:07:44,600
Speaker 2: could be walking across the square like at midnight, and

1541
01:07:44,960 --> 01:07:47,919
Speaker 2: they have all those kids out there messing with people.

1542
01:07:47,960 --> 01:07:50,240
Speaker 3: They never bothered me. So, well that's Tom meet his grandson,

1543
01:07:50,280 --> 01:07:51,480
Speaker 3: you know, and let me go through.

1544
01:07:51,800 --> 01:07:53,880
Speaker 2: So I had that type of respect, even though it

1545
01:07:53,920 --> 01:07:57,280
Speaker 2: was still horrible, you know, but I didn't have any

1546
01:07:57,320 --> 01:07:58,320
Speaker 2: personal problem with it.

1547
01:07:59,360 --> 01:08:01,480
Speaker 4: Well, you went to a segregated school.

1548
01:08:02,240 --> 01:08:05,520
Speaker 2: Yeah, I went to Thank Thanks Schools, segregated high school.

1549
01:08:05,880 --> 01:08:08,120
Speaker 2: And we got the books after the white casts finished

1550
01:08:08,160 --> 01:08:11,560
Speaker 2: with them, you know. But the teachers we had all

1551
01:08:11,640 --> 01:08:13,240
Speaker 2: came from up north, you know, because it was like

1552
01:08:13,520 --> 01:08:19,519
Speaker 2: our a rated school. Mary McCloud Bethune, you know Mary mcleoud,

1553
01:08:19,880 --> 01:08:22,479
Speaker 2: she was like a consultant to the president's back then,

1554
01:08:22,520 --> 01:08:24,200
Speaker 2: but she spoke at that school. You know, she was

1555
01:08:24,240 --> 01:08:28,200
Speaker 2: a high They respected our teacher and educator back then.

1556
01:08:28,240 --> 01:08:29,880
Speaker 2: But she came to that school that I was going

1557
01:08:29,920 --> 01:08:33,880
Speaker 2: to school at. And and and also they had choir

1558
01:08:34,040 --> 01:08:38,320
Speaker 2: and musicians. Music was like music and it was it

1559
01:08:38,360 --> 01:08:41,719
Speaker 2: was a religious school, you know, a sanctified school. Singing

1560
01:08:42,080 --> 01:08:45,559
Speaker 2: and uh, the band was very important and they went

1561
01:08:45,600 --> 01:08:48,880
Speaker 2: all over America with the bus with singers and sung

1562
01:08:49,000 --> 01:08:50,919
Speaker 2: all over America to raise money.

1563
01:08:50,720 --> 01:08:52,360
Speaker 3: For the school. That's what they would go and sing,

1564
01:08:52,400 --> 01:08:53,880
Speaker 3: you know, at different churches.

1565
01:08:54,000 --> 01:08:56,120
Speaker 2: And they did it all all the time while I

1566
01:08:56,160 --> 01:08:58,000
Speaker 2: was at That's how they raised money for the school.

1567
01:08:58,320 --> 01:09:01,400
Speaker 2: And they had a the this president of the school

1568
01:09:01,400 --> 01:09:04,200
Speaker 2: with doctor Malock and on. They had a May Day

1569
01:09:04,280 --> 01:09:06,759
Speaker 2: parade that went all over the town of that city

1570
01:09:07,400 --> 01:09:09,479
Speaker 2: where all the white people and everybody come out to

1571
01:09:09,479 --> 01:09:10,160
Speaker 2: see these parade.

1572
01:09:10,160 --> 01:09:12,759
Speaker 3: They all addressed up with kings and queens and all floats.

1573
01:09:13,240 --> 01:09:15,439
Speaker 2: And they had that every year, like in the first

1574
01:09:15,520 --> 01:09:18,920
Speaker 2: first week in make and they got highly respected. But

1575
01:09:18,960 --> 01:09:21,160
Speaker 2: at the same time, it's still the South, you know,

1576
01:09:22,520 --> 01:09:25,640
Speaker 2: so you deal with it under the circumstances, just as

1577
01:09:25,680 --> 01:09:28,360
Speaker 2: long as you get respect, you know. And because that

1578
01:09:28,479 --> 01:09:31,240
Speaker 2: school was buying so much from the city, you know,

1579
01:09:31,439 --> 01:09:33,960
Speaker 2: because they bought all the groceries for all those kids.

1580
01:09:34,600 --> 01:09:37,920
Speaker 2: Kids came from all over America as a boarding school.

1581
01:09:38,439 --> 01:09:41,839
Speaker 2: So it was very very helpful as far as education

1582
01:09:41,920 --> 01:09:43,960
Speaker 2: and a rated school as far as the black school.

1583
01:09:43,960 --> 01:09:45,880
Speaker 3: You know.

1584
01:09:51,960 --> 01:09:54,639
Speaker 4: So what's this South like for black men today?

1585
01:09:55,360 --> 01:09:57,680
Speaker 2: I haven't the slightest idea. I haven't been there in

1586
01:09:57,720 --> 01:09:58,559
Speaker 2: fifty years.

1587
01:09:58,760 --> 01:10:00,240
Speaker 4: So you live in Florida.

1588
01:10:00,560 --> 01:10:04,559
Speaker 3: Yeah, I live abroad US. That's not like Mississippis. I mean,

1589
01:10:04,600 --> 01:10:07,200
Speaker 3: I still got I still got relatives and living in Mississippi.

1590
01:10:07,439 --> 01:10:09,120
Speaker 3: I've been there once in forty years.

1591
01:10:09,120 --> 01:10:12,320
Speaker 2: You know now that I have nothing against him, you know,

1592
01:10:12,360 --> 01:10:14,040
Speaker 2: but they all know how I feel about it. You know,

1593
01:10:14,120 --> 01:10:18,719
Speaker 2: I got my grandmother had like four hundred acres down there.

1594
01:10:19,080 --> 01:10:21,479
Speaker 2: She died and she left acres to all of the kids.

1595
01:10:21,479 --> 01:10:23,000
Speaker 2: I told him, what you mind, you can give it

1596
01:10:23,000 --> 01:10:24,600
Speaker 2: to one of somebody else. I didn't even want to

1597
01:10:24,640 --> 01:10:27,000
Speaker 2: go get it. So that's how I feel about I

1598
01:10:27,040 --> 01:10:29,280
Speaker 2: still I still have no respect for Mississippi.

1599
01:10:29,320 --> 01:10:31,479
Speaker 3: I'm sorry, I have no respect for.

1600
01:10:31,800 --> 01:10:33,759
Speaker 4: How did you end up being named Mario?

1601
01:10:35,000 --> 01:10:37,960
Speaker 3: My father? I'm a junior, But.

1602
01:10:37,960 --> 01:10:39,200
Speaker 4: How was he named Mario?

1603
01:10:40,680 --> 01:10:43,000
Speaker 3: I guess he was a gangster. Then what was his name?

1604
01:10:43,080 --> 01:10:43,559
Speaker 3: Was Marion?

1605
01:10:43,680 --> 01:10:48,880
Speaker 2: Marion, but everybody called him Mario. He was a gambler man,

1606
01:10:48,880 --> 01:10:52,559
Speaker 2: He was a gangster. He was a numbers man for

1607
01:10:52,640 --> 01:10:55,200
Speaker 2: the mafear in Chicago before he got busted.

1608
01:10:56,520 --> 01:10:59,760
Speaker 3: And you know, hey, he was one of a kind.

1609
01:11:00,080 --> 01:11:02,600
Speaker 3: In his junior was very difficult to following his footsteps.

1610
01:11:02,600 --> 01:11:04,960
Speaker 3: Man I'm telling you he was a tough guy to

1611
01:11:05,000 --> 01:11:07,640
Speaker 3: follow it. But and he was. And he was a

1612
01:11:07,680 --> 01:11:08,240
Speaker 3: smart guy.

1613
01:11:08,320 --> 01:11:11,479
Speaker 2: Vledictorian of his class when he graduated from high school,

1614
01:11:11,760 --> 01:11:14,639
Speaker 2: baseball player, gambler, all that stuff.

1615
01:11:14,640 --> 01:11:14,840
Speaker 3: You know.

1616
01:11:14,880 --> 01:11:17,400
Speaker 2: Back then they had the Black Baseball League, and he was.

1617
01:11:17,560 --> 01:11:19,559
Speaker 2: He played for one of those black team, Memphis Rest.

1618
01:11:20,680 --> 01:11:23,519
Speaker 2: And he was a baseball fanatic. My whole grandfather a

1619
01:11:23,600 --> 01:11:27,840
Speaker 2: baseball fanatic. But uh, he he was just one of

1620
01:11:27,840 --> 01:11:29,839
Speaker 2: his one of a kind man, I'm telling you honestly.

1621
01:11:30,040 --> 01:11:32,080
Speaker 2: And I learned a lot from him as far as

1622
01:11:32,400 --> 01:11:34,960
Speaker 2: how to deal with people. Most of the trash that

1623
01:11:35,040 --> 01:11:36,840
Speaker 2: he talked, most of the trash that I was talking

1624
01:11:36,840 --> 01:11:38,920
Speaker 2: when out voting records, I got it from him.

1625
01:11:39,479 --> 01:11:39,720
Speaker 3: You know.

1626
01:11:40,120 --> 01:11:43,080
Speaker 2: He used to always say, I wouldn't give a Mama gemma.

1627
01:11:43,520 --> 01:11:46,880
Speaker 2: You know he was talking about that, and I said, well, man,

1628
01:11:47,120 --> 01:11:49,880
Speaker 2: who did that? He said, I wouldn't care.

1629
01:11:49,920 --> 01:11:52,360
Speaker 3: It was Peter. We started up scaling Baylor and all

1630
01:11:52,360 --> 01:11:53,000
Speaker 3: the same with me.

1631
01:11:54,160 --> 01:11:57,000
Speaker 5: You know, he had to say he said, I wouldn't

1632
01:11:57,000 --> 01:11:58,320
Speaker 5: give a mash Mexican fly.

1633
01:11:58,320 --> 01:12:01,640
Speaker 3: For that jump. But he had like sings man that

1634
01:12:01,760 --> 01:12:02,519
Speaker 3: really stood out.

1635
01:12:03,080 --> 01:12:05,560
Speaker 2: And you know, he hung out with all the jazz musicians,

1636
01:12:05,760 --> 01:12:07,280
Speaker 2: and he used to gamble with him, you know, in

1637
01:12:07,280 --> 01:12:10,759
Speaker 2: the jazz and blue musicians on forty seventh Street in Chicago.

1638
01:12:11,479 --> 01:12:14,599
Speaker 2: We lived on fortieth in South Park, and that was

1639
01:12:14,680 --> 01:12:17,240
Speaker 2: seven blocks from the Regal Theater where we lived when

1640
01:12:17,240 --> 01:12:19,519
Speaker 2: I was growing up in Chicago. Every summer I go

1641
01:12:19,600 --> 01:12:21,960
Speaker 2: up there. I was seven blocks from the rigo, you

1642
01:12:22,000 --> 01:12:23,960
Speaker 2: know bb King and all ve playing the rigo. We

1643
01:12:24,000 --> 01:12:26,160
Speaker 2: would go up there and stay outside and listen to

1644
01:12:26,240 --> 01:12:29,040
Speaker 2: his kids, you know, when I was ten twelve years old,

1645
01:12:29,120 --> 01:12:33,080
Speaker 2: listened to and then my first rock concert that I

1646
01:12:33,120 --> 01:12:37,200
Speaker 2: went to was Chuck Berry and uh, I think I

1647
01:12:37,240 --> 01:12:41,000
Speaker 2: was about what I was about thirteen or fourteen, and

1648
01:12:41,160 --> 01:12:45,360
Speaker 2: my stepmother, I and the girl that lived above me.

1649
01:12:45,439 --> 01:12:49,639
Speaker 2: It was like my date name was Gladys. Me Gladys

1650
01:12:49,640 --> 01:12:52,400
Speaker 2: and my stepmother. We'd go into this. Just see Chuck

1651
01:12:52,439 --> 01:12:55,280
Speaker 2: Berry at the trianon Ballroom sixty second in Cottage grow

1652
01:12:55,360 --> 01:12:56,000
Speaker 2: up in Chicago.

1653
01:12:56,640 --> 01:12:57,920
Speaker 3: Now that's my first date.

1654
01:12:57,760 --> 01:13:00,640
Speaker 2: In life, you know, and I'm take this girl with

1655
01:13:00,760 --> 01:13:02,920
Speaker 2: my with my with my step mother.

1656
01:13:03,320 --> 01:13:05,599
Speaker 3: We go and Chuck barry Man was doing a roll over.

1657
01:13:05,640 --> 01:13:08,280
Speaker 2: Bit told him, you know, it got the old man

1658
01:13:08,280 --> 01:13:10,439
Speaker 2: and doing everything down and doing the chicken out of

1659
01:13:10,479 --> 01:13:13,719
Speaker 2: the duck hop and stuff. And it's all black people

1660
01:13:13,760 --> 01:13:15,639
Speaker 2: in there, you know. And they dressed to the tea

1661
01:13:15,760 --> 01:13:18,639
Speaker 2: man and you know, and and people dancing the car

1662
01:13:18,640 --> 01:13:21,680
Speaker 2: and only and one guy must have stepped on his

1663
01:13:21,760 --> 01:13:26,000
Speaker 2: pimp's foot. Now this is my first concert. Stepped on

1664
01:13:26,120 --> 01:13:28,519
Speaker 2: his foot and messed up his shoes and he pulled

1665
01:13:28,560 --> 01:13:31,600
Speaker 2: out his pistol and he and I saw the pistol.

1666
01:13:32,080 --> 01:13:34,240
Speaker 3: I was a civil pistol. You know, the white had

1667
01:13:34,240 --> 01:13:35,360
Speaker 3: a white an sivil pistol.

1668
01:13:35,720 --> 01:13:38,080
Speaker 2: I saw the pistol and the whole dance for a

1669
01:13:38,200 --> 01:13:42,759
Speaker 2: clear of course. I came there with my my step

1670
01:13:42,800 --> 01:13:46,160
Speaker 2: mother into my date. I was the first person out

1671
01:13:46,200 --> 01:13:47,519
Speaker 2: of it. I left them, you know, I left the

1672
01:13:47,600 --> 01:13:48,520
Speaker 2: date and everybody.

1673
01:13:49,840 --> 01:13:53,200
Speaker 3: I was standing outside when they came out.

1674
01:13:53,560 --> 01:13:58,040
Speaker 2: My my stepmother said, uh, they call me junr. You

1675
01:13:58,080 --> 01:14:00,280
Speaker 2: can't believe in your girlfriend. I said, she better learned

1676
01:14:00,280 --> 01:14:04,000
Speaker 2: to run because I saw that pistol. I saw that pistol.

1677
01:14:04,400 --> 01:14:06,120
Speaker 2: But you know, that's what I remember about Chuck Berry.

1678
01:14:06,160 --> 01:14:09,240
Speaker 2: That was my first concert man in life was Chuck Berry.

1679
01:14:09,600 --> 01:14:11,080
Speaker 2: And I had to run from that pistol.

1680
01:14:11,120 --> 01:14:11,280
Speaker 3: Man.

1681
01:14:11,320 --> 01:14:13,880
Speaker 2: I'll never forget that. And you know, and and I

1682
01:14:13,960 --> 01:14:18,200
Speaker 2: was always chasing the music all my life. Man Chuck Berry,

1683
01:14:18,880 --> 01:14:21,040
Speaker 2: I was pressing all those guys. Man, I was crazy

1684
01:14:21,040 --> 01:14:24,760
Speaker 2: about him growing up. And all those do off ben

1685
01:14:24,840 --> 01:14:26,400
Speaker 2: you know, you heard them on the radio. You know,

1686
01:14:26,520 --> 01:14:30,759
Speaker 2: even Johnny Cash even had that boy named Sue and stuff.

1687
01:14:30,760 --> 01:14:32,439
Speaker 3: But that's what we heard on the radio, you know.

1688
01:14:32,479 --> 01:14:35,000
Speaker 3: And late that night they at w l a C.

1689
01:14:35,880 --> 01:14:38,840
Speaker 3: Went down in Mississippily. You hear those heroes record, and

1690
01:14:38,920 --> 01:14:39,559
Speaker 3: I just was.

1691
01:14:40,040 --> 01:14:43,000
Speaker 2: I loved the music as a kid in the street

1692
01:14:43,040 --> 01:14:45,160
Speaker 2: that I was born and raised on the Mississippi was

1693
01:14:45,240 --> 01:14:48,360
Speaker 2: like Bill Street and Memphis they called it Bill Street

1694
01:14:48,400 --> 01:14:51,559
Speaker 2: because of all black juke joints. And I and my

1695
01:14:51,560 --> 01:14:53,679
Speaker 2: my grandmother had a beauty shop where I was born

1696
01:14:53,680 --> 01:14:57,040
Speaker 2: and raised in that beauty shop, next couple of doors

1697
01:14:57,040 --> 01:15:00,200
Speaker 2: down the juke joints, pool halls, and music is going

1698
01:15:00,320 --> 01:15:02,759
Speaker 2: all the time. As I was a kid right riding

1699
01:15:02,760 --> 01:15:04,840
Speaker 2: a little wagging up and down the street, I would

1700
01:15:04,880 --> 01:15:08,280
Speaker 2: hear that music, you know, Muddy Waters and and and

1701
01:15:09,200 --> 01:15:12,080
Speaker 2: all the cats, all the Chess records. I remember, I'll

1702
01:15:12,120 --> 01:15:15,200
Speaker 2: never get a treaty d all that stuff. La Verne

1703
01:15:15,200 --> 01:15:20,120
Speaker 2: Baker and I was Johanna. You know all that stuff

1704
01:15:20,160 --> 01:15:22,840
Speaker 2: that was Atlantic and Chess Records that that I was

1705
01:15:22,880 --> 01:15:23,880
Speaker 2: hearing all my life.

1706
01:15:23,960 --> 01:15:26,080
Speaker 3: Never knew I would ever work for Atlantic Records.

1707
01:15:26,120 --> 01:15:28,640
Speaker 2: Never knew I'd ever have a relationship with Chess, But

1708
01:15:28,800 --> 01:15:32,719
Speaker 2: those records was my When I first started collecting records

1709
01:15:32,880 --> 01:15:35,840
Speaker 2: was from those singles that they took off the juke

1710
01:15:35,880 --> 01:15:37,960
Speaker 2: box and those juke joints. I would get to know

1711
01:15:38,000 --> 01:15:40,519
Speaker 2: the guy who brings who put the new records on.

1712
01:15:41,000 --> 01:15:43,200
Speaker 2: And I was a little kid, and he knew he'd

1713
01:15:43,240 --> 01:15:45,200
Speaker 2: give me those singles, you know with the big holes

1714
01:15:45,200 --> 01:15:47,680
Speaker 2: in the middle. And I had those singles, man, And

1715
01:15:47,760 --> 01:15:50,559
Speaker 2: I bought me a little juke box, a little record player,

1716
01:15:51,040 --> 01:15:52,479
Speaker 2: and I'd get all those singles.

1717
01:15:52,479 --> 01:15:52,639
Speaker 3: Man.

1718
01:15:52,680 --> 01:15:56,800
Speaker 2: I got all those Chess records in Atlantic Records back then,

1719
01:15:56,960 --> 01:16:00,120
Speaker 2: and uh and the stuff from Marshall c On on

1720
01:16:00,960 --> 01:16:03,680
Speaker 2: all those records. I got those records as a as

1721
01:16:03,720 --> 01:16:06,439
Speaker 2: a kid man collecting them, you know. And I had

1722
01:16:06,520 --> 01:16:08,519
Speaker 2: him in those juke boxes. And I never had any

1723
01:16:08,560 --> 01:16:11,120
Speaker 2: idea about the record business. It just that I love music,

1724
01:16:11,160 --> 01:16:15,080
Speaker 2: you know. And Sonny Boy Williamson was another another another

1725
01:16:15,960 --> 01:16:20,120
Speaker 2: guy that was blues Cat that my grandfather used to

1726
01:16:20,120 --> 01:16:23,880
Speaker 2: blow harmonica and he said. He called me, junior, Junior,

1727
01:16:24,520 --> 01:16:26,800
Speaker 2: you gotta you gotta learn how to blow hop, you know.

1728
01:16:27,280 --> 01:16:30,280
Speaker 2: So he would get me a harmonica every Christmas and

1729
01:16:30,400 --> 01:16:33,280
Speaker 2: give me and I blow it. Man to my eyes,

1730
01:16:33,400 --> 01:16:36,599
Speaker 2: my eyes running water. I could never get it. And

1731
01:16:36,640 --> 01:16:38,880
Speaker 2: he would just grab it and just make it talk, well, mama,

1732
01:16:39,000 --> 01:16:41,040
Speaker 2: make it, make a cry, make it sound like a train.

1733
01:16:41,760 --> 01:16:43,880
Speaker 2: And I said, I said, Man, I said, I say.

1734
01:16:44,040 --> 01:16:46,040
Speaker 2: I said, I'd like Sonny Boy with me. He said,

1735
01:16:46,120 --> 01:16:52,519
Speaker 2: Sonny boy can't blow. That's what I mean. He's sunny boy.

1736
01:16:52,600 --> 01:16:53,120
Speaker 3: Can't blow.

1737
01:16:53,200 --> 01:16:53,400
Speaker 5: Man.

1738
01:16:53,640 --> 01:16:57,240
Speaker 3: He said, you got a junior. Well, you know, oh

1739
01:16:57,320 --> 01:16:58,000
Speaker 3: man he was.

1740
01:16:58,040 --> 01:17:02,080
Speaker 2: He was funny man. He had he was a cartoon.

1741
01:17:02,160 --> 01:17:03,639
Speaker 2: My grandfather was a classic man.

1742
01:17:04,000 --> 01:17:06,240
Speaker 4: So what did you do after you graduated from high school?

1743
01:17:06,960 --> 01:17:09,200
Speaker 3: When I graduate from high school, I took the bus

1744
01:17:09,240 --> 01:17:13,080
Speaker 3: to New York. But my grandmother and.

1745
01:17:12,320 --> 01:17:14,719
Speaker 2: We took the bus to New York, and I stayed

1746
01:17:14,720 --> 01:17:16,680
Speaker 2: in New York for like six months before I went

1747
01:17:16,680 --> 01:17:20,080
Speaker 2: into the Air Force. But but I went from from

1748
01:17:20,160 --> 01:17:23,800
Speaker 2: uh from Jackson, Mississippi, all the way to New York

1749
01:17:24,080 --> 01:17:27,040
Speaker 2: on the bus man greyhound bus and got off man

1750
01:17:27,080 --> 01:17:29,080
Speaker 2: and I told Steven Wonder.

1751
01:17:28,880 --> 01:17:30,960
Speaker 3: He got that that New York thing for me when

1752
01:17:30,960 --> 01:17:31,479
Speaker 3: he got off.

1753
01:17:31,439 --> 01:17:33,240
Speaker 2: And I said, new York all this that's because I

1754
01:17:33,280 --> 01:17:35,000
Speaker 2: had mentioned all that stuff to Stevie.

1755
01:17:35,320 --> 01:17:38,200
Speaker 3: Well really man, you know, yeah, but I've been look,

1756
01:17:38,439 --> 01:17:42,800
Speaker 3: he's blind. How the hell can he boy from Mississippi?

1757
01:17:42,800 --> 01:17:44,800
Speaker 3: And then he did. He said, Partstown, missisippt And he

1758
01:17:44,800 --> 01:17:46,439
Speaker 3: said Mississippi in that record.

1759
01:17:46,600 --> 01:17:49,920
Speaker 2: You listened to that record, par parstime, Mississippi can get

1760
01:17:49,920 --> 01:17:52,040
Speaker 2: the New York buildings and stuff. That's what I said

1761
01:17:52,080 --> 01:17:54,000
Speaker 2: I when I got in there, I looked up all

1762
01:17:54,000 --> 01:17:56,320
Speaker 2: those buildings and stuff. But he put it in that record.

1763
01:17:56,320 --> 01:17:57,840
Speaker 2: I always told him, you ripped it off of me,

1764
01:17:58,080 --> 01:18:00,519
Speaker 2: you know. He said, man, forget you know. But anyway,

1765
01:18:00,880 --> 01:18:03,559
Speaker 2: that was my life. So soon as I got there,

1766
01:18:04,160 --> 01:18:09,200
Speaker 2: I uh my my grandmother had her brother and lived there,

1767
01:18:09,280 --> 01:18:13,479
Speaker 2: so I stayed with her brother and his son, you know,

1768
01:18:13,640 --> 01:18:15,760
Speaker 2: stayed there, and I was there for six months before

1769
01:18:15,760 --> 01:18:16,479
Speaker 2: I went in the Air Force.

1770
01:18:16,920 --> 01:18:17,439
Speaker 3: Soon as I.

1771
01:18:17,400 --> 01:18:19,559
Speaker 2: Got there, the first thing I wanted to go go

1772
01:18:19,600 --> 01:18:21,680
Speaker 2: and see with bird Land you know, and stuff like that.

1773
01:18:21,720 --> 01:18:24,120
Speaker 3: But they wasn't in the jazz. But they took me

1774
01:18:24,160 --> 01:18:25,599
Speaker 3: to Harlem to to.

1775
01:18:26,080 --> 01:18:28,320
Speaker 2: You know, to Apollo, and I went to the pollow

1776
01:18:28,439 --> 01:18:30,760
Speaker 2: right so as I got there. But then after that

1777
01:18:30,760 --> 01:18:33,040
Speaker 2: I went to I saw Red Fox at the baby

1778
01:18:33,040 --> 01:18:35,599
Speaker 2: grand led her right on one hundred twenty fifth Street.

1779
01:18:36,080 --> 01:18:38,120
Speaker 2: Red Fox was doing a thing about you know, about

1780
01:18:38,120 --> 01:18:40,760
Speaker 2: the horses and stuff, you know, back then. But I

1781
01:18:40,800 --> 01:18:43,000
Speaker 2: saw all that stuff, and I was only seventeenth at

1782
01:18:43,000 --> 01:18:46,120
Speaker 2: the time, you know, but it was a hell of experience, man,

1783
01:18:46,160 --> 01:18:47,960
Speaker 2: And with the bird land and stuff, you.

1784
01:18:47,880 --> 01:18:50,160
Speaker 4: Know, how'd you end up going in the Air Force?

1785
01:18:51,360 --> 01:18:52,760
Speaker 2: I went in the Air Force, souse. First of all, I

1786
01:18:52,760 --> 01:18:55,280
Speaker 2: wanted to go to college and I couldn't. I couldn't,

1787
01:18:55,320 --> 01:18:57,679
Speaker 2: you know, nobody had money to send kids to college

1788
01:18:57,680 --> 01:19:00,240
Speaker 2: back then, and I figured I could. I figured I'd

1789
01:19:00,280 --> 01:19:02,200
Speaker 2: go in the Air Force because it's better than getting

1790
01:19:02,280 --> 01:19:05,400
Speaker 2: drafted into the army because back then, you you know,

1791
01:19:05,439 --> 01:19:07,920
Speaker 2: you you got drafted when you got eighteen. So I

1792
01:19:08,000 --> 01:19:10,439
Speaker 2: figured out going to Air Force because I had a

1793
01:19:10,439 --> 01:19:11,360
Speaker 2: cousin that had been an Air Force.

1794
01:19:11,360 --> 01:19:13,320
Speaker 3: He said, air force more like a job. You know,

1795
01:19:13,400 --> 01:19:14,880
Speaker 3: you're working at the end of the day and then

1796
01:19:14,960 --> 01:19:17,080
Speaker 3: like you know, I have to go to be on

1797
01:19:17,160 --> 01:19:18,080
Speaker 3: my news and stuff.

1798
01:19:18,320 --> 01:19:20,840
Speaker 2: So I took that job, and I really enjoyed it

1799
01:19:20,880 --> 01:19:24,320
Speaker 2: because I was a warehouse specialist at the Air Force,

1800
01:19:24,360 --> 01:19:30,000
Speaker 2: you know, and uh, I want I did uh lackling

1801
01:19:30,000 --> 01:19:32,200
Speaker 2: an Air Force base for basic training. I went to

1802
01:19:32,439 --> 01:19:36,320
Speaker 2: Amarilla for warehouse specialist training. From there I went to

1803
01:19:36,760 --> 01:19:38,360
Speaker 2: Dad to leave, and then I went to Germany for

1804
01:19:38,360 --> 01:19:41,200
Speaker 2: three years, you know. And it was a great experience.

1805
01:19:41,200 --> 01:19:45,240
Speaker 2: Man in Germany, I I went to all the jazz

1806
01:19:45,280 --> 01:19:48,799
Speaker 2: clubs and stuff, you know, and made photographs.

1807
01:19:48,280 --> 01:19:49,000
Speaker 3: Of stuff, you know.

1808
01:19:49,000 --> 01:19:53,040
Speaker 2: And I I caught Miles Davis and John coletrain, you know,

1809
01:19:53,880 --> 01:19:56,240
Speaker 2: and when they were on that last throw, right after

1810
01:19:56,360 --> 01:19:59,000
Speaker 2: Count of Blue came out, and then, let me tell

1811
01:19:59,040 --> 01:20:02,800
Speaker 2: you that was classic. I wasn't a Cold Trane fan then,

1812
01:20:03,439 --> 01:20:05,800
Speaker 2: but I was kind of blue. I had bought that

1813
01:20:05,840 --> 01:20:08,320
Speaker 2: album in Amsterdam. I paid like twenty dollars for it,

1814
01:20:09,200 --> 01:20:11,120
Speaker 2: but that was a lot of money back then. But

1815
01:20:11,160 --> 01:20:14,040
Speaker 2: I wanted to record so bad. And when when Miles came,

1816
01:20:14,120 --> 01:20:17,040
Speaker 2: he played concert to Bow in Amsterdam, and I had

1817
01:20:17,080 --> 01:20:19,840
Speaker 2: a press pass, so I was down in the pit

1818
01:20:20,280 --> 01:20:24,720
Speaker 2: making photographs of the band playing. And I had never

1819
01:20:24,800 --> 01:20:29,480
Speaker 2: heard octaves played before, you know, octaves on a saxophone.

1820
01:20:29,520 --> 01:20:32,760
Speaker 2: And and and that's the first time I heard coal

1821
01:20:32,880 --> 01:20:36,599
Speaker 2: Train blowing octas. So what happened Miles was blowing the solo,

1822
01:20:37,840 --> 01:20:39,360
Speaker 2: Coltrane had to go to the toilet, So you have

1823
01:20:39,400 --> 01:20:40,920
Speaker 2: to go all way upstairs to go to the toilet.

1824
01:20:41,320 --> 01:20:43,559
Speaker 2: And when Miles finished blowing, the opener's eyes the train

1825
01:20:43,720 --> 01:20:48,000
Speaker 2: is not there. So as as Miles looked around, train

1826
01:20:48,120 --> 01:20:49,800
Speaker 2: started walking down, still.

1827
01:20:49,640 --> 01:20:51,920
Speaker 3: Blowing, you know, all the way down.

1828
01:20:51,960 --> 01:20:54,400
Speaker 2: Wait, was all the way down to the He blew

1829
01:20:54,439 --> 01:20:56,720
Speaker 2: all way in and blowing octaves, his horn, squeaking and

1830
01:20:56,800 --> 01:20:57,880
Speaker 2: care that'.

1831
01:20:57,760 --> 01:20:58,400
Speaker 3: Said all got.

1832
01:20:58,760 --> 01:21:00,800
Speaker 2: I had never heard nothing like that before, but it

1833
01:21:01,040 --> 01:21:04,760
Speaker 2: excited me, and those octaves and stuff made me a

1834
01:21:04,880 --> 01:21:07,479
Speaker 2: jazz fanatic, and I've been chasing that music ever since,

1835
01:21:07,520 --> 01:21:10,439
Speaker 2: you know. But that was the reason that I and

1836
01:21:10,520 --> 01:21:13,040
Speaker 2: I was and I made all kinds of photographs and

1837
01:21:13,080 --> 01:21:18,040
Speaker 2: I'll never forget when when after that, after that show,

1838
01:21:18,560 --> 01:21:24,000
Speaker 2: in the dressing room, they had this Dutch reporter started

1839
01:21:24,000 --> 01:21:26,000
Speaker 2: talking to culture, and I guess Miles didn't like it

1840
01:21:26,080 --> 01:21:28,519
Speaker 2: that Coltran had showed him up a bit.

1841
01:21:29,280 --> 01:21:32,280
Speaker 3: As col Train said, when you when you're doing your solo,

1842
01:21:32,479 --> 01:21:34,400
Speaker 3: actually you'd be going, and it's going and going. In

1843
01:21:34,600 --> 01:21:36,840
Speaker 3: that case, you can't end it. You hard to end

1844
01:21:37,160 --> 01:21:39,360
Speaker 3: and Miles said, try taking the horn out of your mouth.

1845
01:21:43,120 --> 01:21:45,160
Speaker 4: So what happens when you get out of the army.

1846
01:21:46,240 --> 01:21:48,360
Speaker 2: When I got out of the army, I came, I

1847
01:21:48,920 --> 01:21:53,120
Speaker 2: got that. I came back to go to college at

1848
01:21:53,200 --> 01:21:55,240
Speaker 2: Queen's College. You know, I was doing Queen's College and

1849
01:21:55,520 --> 01:21:57,719
Speaker 2: I needed a job, so I got lucky.

1850
01:21:57,720 --> 01:21:58,280
Speaker 3: A guy in the.

1851
01:21:58,240 --> 01:22:02,320
Speaker 2: Building turned me onto a gig where I would uh

1852
01:22:02,439 --> 01:22:04,680
Speaker 2: you know, I've worked for a meet a meat uh

1853
01:22:04,960 --> 01:22:08,479
Speaker 2: distribute with the meat Transports company for the for the

1854
01:22:08,520 --> 01:22:12,960
Speaker 2: meat district. They would they would uh bring piggyback you know,

1855
01:22:13,520 --> 01:22:17,839
Speaker 2: uh beef and pork from all over America and sometime

1856
01:22:17,920 --> 01:22:21,040
Speaker 2: from out of on the trains and the trucks, and

1857
01:22:21,080 --> 01:22:23,679
Speaker 2: they would bring it to Fourteenth Street to the meat district.

1858
01:22:23,840 --> 01:22:26,880
Speaker 2: But China and Companies was a company that I represented,

1859
01:22:26,920 --> 01:22:28,960
Speaker 2: and we were the one that did the billing for that.

1860
01:22:29,680 --> 01:22:32,400
Speaker 2: So I was working writer with the meat packers, you know,

1861
01:22:32,960 --> 01:22:35,000
Speaker 2: and I worked with them before I went to Atlantic.

1862
01:22:35,040 --> 01:22:37,160
Speaker 2: And that was a billing job, you know, it was

1863
01:22:37,160 --> 01:22:39,320
Speaker 2: It wasn't it was a bookkeeping job, but just building

1864
01:22:39,439 --> 01:22:41,960
Speaker 2: wasn't like uh bookkeeping as a whole.

1865
01:22:42,000 --> 01:22:42,799
Speaker 3: It was just billing.

1866
01:22:42,920 --> 01:22:45,519
Speaker 4: You build people, did you finish college.

1867
01:22:46,360 --> 01:22:48,960
Speaker 2: Well, I finished college afterwards, but I I finished college

1868
01:22:49,040 --> 01:22:51,160
Speaker 2: right before I started motor records. I went to college

1869
01:22:51,200 --> 01:22:54,120
Speaker 2: at night. When I was working at Atlantic As in

1870
01:22:54,160 --> 01:22:56,120
Speaker 2: the bookkeeping department. I was going to college every night.

1871
01:22:56,120 --> 01:22:58,680
Speaker 2: I was going to light nightgh school, you know. And

1872
01:22:58,800 --> 01:23:02,599
Speaker 2: I got all wait till till last. I didn't graduate

1873
01:23:02,720 --> 01:23:06,880
Speaker 2: till nineteen sixty eight before I got it.

1874
01:23:07,040 --> 01:23:07,880
Speaker 3: And then at that.

1875
01:23:07,880 --> 01:23:09,760
Speaker 2: Time I ended up end up promoting records, so I

1876
01:23:09,840 --> 01:23:12,000
Speaker 2: never had I used to become an account to do

1877
01:23:12,080 --> 01:23:13,960
Speaker 2: accounting because I'm metioned on accounting, you know.

1878
01:23:15,000 --> 01:23:17,800
Speaker 4: Okay, So what happened for you? After Man of Corps

1879
01:23:17,840 --> 01:23:18,280
Speaker 4: blew up?

1880
01:23:19,479 --> 01:23:24,360
Speaker 2: I did independent promotion independent promotion, I did Bunkadelic, all

1881
01:23:24,360 --> 01:23:28,240
Speaker 2: of that, George Clinton, you know, Flashlight all that flash Light,

1882
01:23:28,360 --> 01:23:31,080
Speaker 2: Moti Booty and One Nation.

1883
01:23:31,040 --> 01:23:33,880
Speaker 3: Under Groove and uh and uh.

1884
01:23:34,960 --> 01:23:37,800
Speaker 2: And then after that I did Rick James, you know,

1885
01:23:37,840 --> 01:23:39,640
Speaker 2: I did Rick James and all the super Freak and

1886
01:23:39,680 --> 01:23:40,360
Speaker 2: did his first.

1887
01:23:40,280 --> 01:23:42,519
Speaker 4: So how did you get involved with Brig James?

1888
01:23:42,840 --> 01:23:46,880
Speaker 3: Sheff Gordon was his manager and when they got to

1889
01:23:46,960 --> 01:23:48,680
Speaker 3: do the first tour, when he wanted to do the

1890
01:23:48,720 --> 01:23:51,599
Speaker 3: first tour, he had already had a hit.

1891
01:23:51,680 --> 01:23:53,640
Speaker 2: Call you and I was a big record, you know.

1892
01:23:53,720 --> 01:23:56,160
Speaker 2: And and so now he's going to do a tour

1893
01:23:56,240 --> 01:23:58,200
Speaker 2: for his first tour. But he didn't tour right away.

1894
01:23:58,240 --> 01:24:00,200
Speaker 2: So he came out with a second album called Us

1895
01:24:00,240 --> 01:24:03,759
Speaker 2: and out on l seventh, and Shep needed someone to

1896
01:24:03,800 --> 01:24:05,040
Speaker 2: make sure he do the gigs.

1897
01:24:05,520 --> 01:24:08,120
Speaker 3: He had a road manager, but he said, man, Mario,

1898
01:24:09,040 --> 01:24:11,240
Speaker 3: I like you. If you would be the tour manager.

1899
01:24:11,400 --> 01:24:14,000
Speaker 2: You know, I pay you so much, and if you

1900
01:24:14,040 --> 01:24:15,880
Speaker 2: can help to sell out the shows, I'll give you

1901
01:24:15,880 --> 01:24:16,760
Speaker 2: a percentage of the show.

1902
01:24:16,880 --> 01:24:18,640
Speaker 3: Just sell out us. So that was the deal that

1903
01:24:18,720 --> 01:24:22,200
Speaker 3: I got from Shep. And so the first tour, I

1904
01:24:22,240 --> 01:24:24,840
Speaker 3: was a tour manager and I didn't even and I

1905
01:24:24,840 --> 01:24:26,439
Speaker 3: asked Shepperd, who's going to introduce me?

1906
01:24:26,439 --> 01:24:28,360
Speaker 2: He said, well, look, man, I can't stand him, he

1907
01:24:28,400 --> 01:24:29,000
Speaker 2: can't stand me.

1908
01:24:29,640 --> 01:24:32,200
Speaker 3: You just go there. You just go there, and you

1909
01:24:32,479 --> 01:24:36,080
Speaker 3: go there and introduce yourself. And I went there, and

1910
01:24:36,160 --> 01:24:38,920
Speaker 3: of course Rick gave me hell the first date, but

1911
01:24:39,000 --> 01:24:40,320
Speaker 3: I told him, hey, man, I don't work for you.

1912
01:24:40,320 --> 01:24:42,640
Speaker 2: I'm already paid. You can't find me, you know. So

1913
01:24:42,720 --> 01:24:45,200
Speaker 2: we had that type of understanding. So he was telling

1914
01:24:45,200 --> 01:24:47,519
Speaker 2: everybody I know that manager, youm I know him because

1915
01:24:47,560 --> 01:24:49,439
Speaker 2: he knew he used to be in a band with

1916
01:24:49,520 --> 01:24:53,000
Speaker 2: Neil Young, and he knew I promoted crab Stills in

1917
01:24:53,040 --> 01:24:54,920
Speaker 2: National you know, he knew all about that, but he

1918
01:24:55,000 --> 01:24:56,320
Speaker 2: pretended like he didn't know who I was.

1919
01:24:56,720 --> 01:25:00,120
Speaker 3: So I found out later that he knew all about that.

1920
01:25:00,120 --> 01:25:02,720
Speaker 2: That he knew and I had seen him at at

1921
01:25:03,600 --> 01:25:06,519
Speaker 2: Rick's at Steven Steel's house back when Crubs Still Nashing

1922
01:25:06,600 --> 01:25:10,559
Speaker 2: Young was shooting the cover of the first of the

1923
01:25:10,680 --> 01:25:13,680
Speaker 2: Crabs Still Nashing Young album. Greg Reeves, one of that

1924
01:25:13,720 --> 01:25:18,200
Speaker 2: bass player, Neil Young, wanted Rick James to be the

1925
01:25:18,200 --> 01:25:21,599
Speaker 2: bass player and Crubs Still Nation Young, but Rick said, no, man,

1926
01:25:22,360 --> 01:25:25,640
Speaker 2: so he recommended that guy, Greg Reeve's young seventeen year

1927
01:25:25,680 --> 01:25:28,320
Speaker 2: old boy that they ended up taking. But that's where

1928
01:25:28,400 --> 01:25:31,200
Speaker 2: Rick knew me from then. But I didn't know him because,

1929
01:25:31,240 --> 01:25:33,040
Speaker 2: you know, like I just didn't know him. I didn't

1930
01:25:33,040 --> 01:25:35,200
Speaker 2: even know he had been in the band with Neil Young,

1931
01:25:35,800 --> 01:25:37,800
Speaker 2: because back then he was just a man that brought

1932
01:25:37,840 --> 01:25:39,679
Speaker 2: all the all the all the fun over.

1933
01:25:40,479 --> 01:25:40,760
Speaker 3: You know.

1934
01:25:41,160 --> 01:25:43,599
Speaker 2: So anyway, he knew me from that, and then I

1935
01:25:43,640 --> 01:25:46,120
Speaker 2: got to be friends with him afterwards after that first tour,

1936
01:25:46,160 --> 01:25:48,320
Speaker 2: you know, but it was tough for the first couple

1937
01:25:48,360 --> 01:25:52,080
Speaker 2: of days because everybody in the band was afraid of him,

1938
01:25:52,920 --> 01:25:54,880
Speaker 2: and I would and he was sleeping nudes, you know,

1939
01:25:55,840 --> 01:25:57,960
Speaker 2: and and they'd be saying, Man, we can't wake him up.

1940
01:25:58,000 --> 01:25:59,880
Speaker 3: Mario, I said, let me go. I go in.

1941
01:26:00,080 --> 01:26:01,559
Speaker 2: Oh up all the windows and it was really like

1942
01:26:01,600 --> 01:26:04,519
Speaker 2: ten degrees outside. Oh up all the windows and take all.

1943
01:26:04,439 --> 01:26:06,519
Speaker 3: The cover off her. And he had jumplep me.

1944
01:26:06,600 --> 01:26:08,040
Speaker 2: And I don't want to tell you all the things

1945
01:26:08,040 --> 01:26:10,920
Speaker 2: he said he's gonna do to me, But I told him,

1946
01:26:10,920 --> 01:26:13,000
Speaker 2: he man, you gotta hit. We gotta do the show.

1947
01:26:13,200 --> 01:26:15,000
Speaker 2: And that's what shep hired me to do to be

1948
01:26:15,040 --> 01:26:16,800
Speaker 2: able to get him out of the get him to

1949
01:26:16,800 --> 01:26:19,559
Speaker 2: do the show. So he was cursing me out all

1950
01:26:19,560 --> 01:26:21,519
Speaker 2: the time. But later on he said, you know, I

1951
01:26:21,520 --> 01:26:24,200
Speaker 2: don't know that Mario. I don't know he's crazy, but

1952
01:26:24,479 --> 01:26:26,200
Speaker 2: you know how to get the job done. That's what

1953
01:26:26,280 --> 01:26:28,599
Speaker 2: he always said, you know. But I mean we had

1954
01:26:28,680 --> 01:26:31,320
Speaker 2: like knockdown, drag out way before Charlotte Murphy. I could

1955
01:26:31,400 --> 01:26:34,439
Speaker 2: tell you some things, boy, I'm telling you Rick. I mean,

1956
01:26:34,920 --> 01:26:36,679
Speaker 2: Rick was one of a kind, but a smart guy.

1957
01:26:36,760 --> 01:26:40,120
Speaker 3: Let me tell you. I learned a lot about club

1958
01:26:40,160 --> 01:26:40,960
Speaker 3: promotion from Rick.

1959
01:26:41,040 --> 01:26:42,479
Speaker 4: James, what'd you learn?

1960
01:26:43,680 --> 01:26:46,559
Speaker 2: Just how he would take his before the records release.

1961
01:26:46,880 --> 01:26:48,599
Speaker 2: What I used to do with radio stations. He had

1962
01:26:48,600 --> 01:26:51,960
Speaker 2: did it to clubs. He'd take his single and had

1963
01:26:51,960 --> 01:26:54,800
Speaker 2: a DJ to play his stuff. And we was in

1964
01:26:54,840 --> 01:26:56,639
Speaker 2: Buffalo and we walked him and you and I would

1965
01:26:57,200 --> 01:26:58,760
Speaker 2: give it to me, give it to me from that

1966
01:26:58,880 --> 01:26:59,799
Speaker 2: Street Song album.

1967
01:27:00,479 --> 01:27:01,559
Speaker 3: He had a test pressing up.

1968
01:27:01,760 --> 01:27:03,640
Speaker 2: He had a tape of it, and we walked in

1969
01:27:03,600 --> 01:27:06,080
Speaker 2: and he had the DJ to play it. That whole

1970
01:27:06,160 --> 01:27:08,200
Speaker 2: club started jumping. I said, man, this is I knows

1971
01:27:08,280 --> 01:27:11,240
Speaker 2: the smash and that's how I knew. So when we

1972
01:27:11,280 --> 01:27:14,479
Speaker 2: went to go to Motown to tell him about the album,

1973
01:27:14,520 --> 01:27:17,120
Speaker 2: you know, Jay Alaska tell me, well, you know way

1974
01:27:17,280 --> 01:27:17,679
Speaker 2: we can't.

1975
01:27:17,760 --> 01:27:19,920
Speaker 3: You can't get rick this. I said, man, this is

1976
01:27:19,920 --> 01:27:22,160
Speaker 3: going to be a smash. Jay. He said, oh, look,

1977
01:27:22,160 --> 01:27:24,200
Speaker 3: well we're give him fifty thousand. I said, man, we

1978
01:27:24,200 --> 01:27:26,280
Speaker 3: need a hundred thousand. I said, well, look, I'll tell

1979
01:27:26,320 --> 01:27:29,040
Speaker 3: you what. We wait till the album come out, then

1980
01:27:29,040 --> 01:27:32,040
Speaker 3: we'll come back. So the album.

1981
01:27:31,760 --> 01:27:35,760
Speaker 2: Released the next week, we go back there. Jay Alaska, look, man,

1982
01:27:35,800 --> 01:27:37,080
Speaker 2: I got to fifty thousand for I said, now we

1983
01:27:37,080 --> 01:27:40,360
Speaker 2: want a hundred thousand. So but that was the way

1984
01:27:40,400 --> 01:27:42,680
Speaker 2: that sho went down. But you know, Rick wanted to

1985
01:27:42,720 --> 01:27:44,639
Speaker 2: jump on the desk and pee on the desk and stuff.

1986
01:27:44,640 --> 01:27:46,360
Speaker 2: But you know, like I, I didn't go over that

1987
01:27:46,840 --> 01:27:48,839
Speaker 2: he wanted to jump on the desk and everything.

1988
01:27:48,920 --> 01:27:49,680
Speaker 3: Oh crazy.

1989
01:27:49,800 --> 01:27:52,200
Speaker 2: But but you know, he was a He was a

1990
01:27:52,200 --> 01:27:54,760
Speaker 2: talented guy, man, believe me. As crazy as people say

1991
01:27:54,760 --> 01:27:57,519
Speaker 2: he was, he was very talented and and had I

1992
01:27:57,560 --> 01:27:58,639
Speaker 2: respect from everybody.

1993
01:27:59,360 --> 01:28:03,960
Speaker 3: Smoke A. Robinson, Steven Wonder. He just called on the phone.

1994
01:28:03,960 --> 01:28:07,080
Speaker 2: They come right over the studio, man, Temptations whatever, you know,

1995
01:28:07,120 --> 01:28:09,519
Speaker 2: because he was a producer, they would and if he

1996
01:28:09,560 --> 01:28:11,240
Speaker 2: needed him on the record, they would come right over

1997
01:28:11,280 --> 01:28:11,920
Speaker 2: and sing.

1998
01:28:11,720 --> 01:28:15,800
Speaker 3: Background or whatever. Man, incredible guy one of the time.

1999
01:28:16,320 --> 01:28:17,680
Speaker 4: So how crazy was he?

2000
01:28:19,120 --> 01:28:21,400
Speaker 3: I can't even I can't even tell you.

2001
01:28:21,479 --> 01:28:28,559
Speaker 2: Man, it's not it's X rayish.

2002
01:28:26,760 --> 01:28:31,160
Speaker 3: Would He's crazy. Man, he's crazy. But you know with me,

2003
01:28:32,160 --> 01:28:33,320
Speaker 3: I had I had to.

2004
01:28:33,680 --> 01:28:35,439
Speaker 2: You know, we had a couple of run ends, you know,

2005
01:28:35,520 --> 01:28:38,800
Speaker 2: but he stopped messing with me, and you know, I

2006
01:28:39,120 --> 01:28:40,519
Speaker 2: think I hit him in the chant one time and

2007
01:28:40,560 --> 01:28:41,880
Speaker 2: he said, man, he's trying to kill me. You know

2008
01:28:42,120 --> 01:28:44,719
Speaker 2: you're crazy, you know, because he knew I knew martial arts.

2009
01:28:45,200 --> 01:28:48,559
Speaker 2: But he said, man, if you didn't know, kick your ass.

2010
01:28:48,560 --> 01:28:50,599
Speaker 2: And I said, look, if you even dream about kicking ass,

2011
01:28:50,600 --> 01:28:52,560
Speaker 2: you better wake come and apologize. And that was the

2012
01:28:52,600 --> 01:28:56,200
Speaker 2: type of relationship we asked. You know, he had one time.

2013
01:28:57,280 --> 01:29:00,160
Speaker 2: I remember we getting ready to do this tour and

2014
01:29:00,200 --> 01:29:03,200
Speaker 2: the guy that was the tour manager that did a

2015
01:29:03,240 --> 01:29:06,479
Speaker 2: tour for Jackson five, you know the last Jackson five

2016
01:29:06,600 --> 01:29:08,559
Speaker 2: threw when Michael was on that tour.

2017
01:29:09,160 --> 01:29:12,360
Speaker 3: Well, he was gonna be the gonna do the tour

2018
01:29:12,400 --> 01:29:14,120
Speaker 3: with Rick James. So he's come.

2019
01:29:14,240 --> 01:29:17,599
Speaker 2: He came to Buffalo to talk to Rick. I wasn't Buffalo,

2020
01:29:17,640 --> 01:29:18,840
Speaker 2: I don't know where it was that. It could have

2021
01:29:18,880 --> 01:29:20,320
Speaker 2: been Boston, wherever he was.

2022
01:29:20,360 --> 01:29:21,120
Speaker 3: He was on the road.

2023
01:29:21,400 --> 01:29:23,519
Speaker 2: He came to talk to Rick to get him to

2024
01:29:23,680 --> 01:29:28,040
Speaker 2: let him be the tour tour manager Drew to do

2025
01:29:28,120 --> 01:29:30,760
Speaker 2: the tour and tire tour. So he's in the room

2026
01:29:30,800 --> 01:29:34,960
Speaker 2: talking to Rick and Rick and Rick Uh calls my

2027
01:29:35,080 --> 01:29:37,640
Speaker 2: room and and and he saw me. A couple of

2028
01:29:37,640 --> 01:29:39,720
Speaker 2: girls came to my room that I knew from, you know,

2029
01:29:39,960 --> 01:29:40,799
Speaker 2: from other bands.

2030
01:29:40,800 --> 01:29:43,639
Speaker 3: He's just friends of mine. He saw that Mario got

2031
01:29:43,640 --> 01:29:44,320
Speaker 3: these girls room.

2032
01:29:44,360 --> 01:29:48,320
Speaker 2: He sent the UH bodyguards down to my room, said

2033
01:29:48,960 --> 01:29:50,280
Speaker 2: go down there and clear that room.

2034
01:29:50,360 --> 01:29:51,840
Speaker 3: Go down there, clear Mario's room.

2035
01:29:52,479 --> 01:29:56,280
Speaker 2: The bodyguards came to my door, both of them, two guys,

2036
01:29:56,400 --> 01:30:00,920
Speaker 2: one of them moles and and and Ol whatever the name.

2037
01:30:01,000 --> 01:30:02,479
Speaker 2: I knew them, you know, I knew them because I

2038
01:30:02,560 --> 01:30:04,200
Speaker 2: used to, you know, make sure they got paid.

2039
01:30:04,760 --> 01:30:07,320
Speaker 3: But now they come to the door some Mario man like, uh,

2040
01:30:08,400 --> 01:30:09,400
Speaker 3: we don't want to do this. Member.

2041
01:30:09,520 --> 01:30:11,080
Speaker 2: Rick told we got to clear your room. I said,

2042
01:30:11,120 --> 01:30:12,639
Speaker 2: you ain't gonna crear nothing here. I said, I pay

2043
01:30:12,680 --> 01:30:14,559
Speaker 2: for this room. I don't ricked on pay for my room.

2044
01:30:14,840 --> 01:30:16,920
Speaker 2: I said, now, if you all come across the doorstep here.

2045
01:30:17,000 --> 01:30:18,760
Speaker 2: If you want to die for six hundred dollars, cause

2046
01:30:18,800 --> 01:30:20,280
Speaker 2: that's all you're getting paid. If that's what you want

2047
01:30:20,280 --> 01:30:22,120
Speaker 2: to die for, you come in my room, I'm gonna

2048
01:30:22,200 --> 01:30:25,479
Speaker 2: kill you. They stood out there as bad and big

2049
01:30:25,520 --> 01:30:29,400
Speaker 2: as they were. They went back and told Rick said, man,

2050
01:30:30,680 --> 01:30:33,880
Speaker 2: uh Mario, we we can't get it. So now just

2051
01:30:34,120 --> 01:30:37,439
Speaker 2: this promoter, this promoter is there with Rick having all

2052
01:30:37,520 --> 01:30:40,080
Speaker 2: kinds of problems, and they come back and tell him

2053
01:30:40,080 --> 01:30:40,679
Speaker 2: about Mario.

2054
01:30:41,040 --> 01:30:42,800
Speaker 3: So he said, let's I'll go down to the room.

2055
01:30:43,040 --> 01:30:44,839
Speaker 2: So he comes down to the room with the promoter,

2056
01:30:45,800 --> 01:30:47,799
Speaker 2: and I went off on Rick in front of the promoter.

2057
01:30:48,680 --> 01:30:51,080
Speaker 2: Promoter ended up being my best friend. He said, Man,

2058
01:30:51,560 --> 01:30:53,320
Speaker 2: he ended up getting the job. He ended up getting

2059
01:30:53,320 --> 01:30:56,320
Speaker 2: the end up. But he said after what he said, Man,

2060
01:30:56,360 --> 01:30:58,599
Speaker 2: he gave me a Louis the ton at the shake

2061
01:30:58,640 --> 01:31:02,080
Speaker 2: case and he said, man, the way you hand Rick Jane, Man,

2062
01:31:02,200 --> 01:31:04,080
Speaker 2: I never seen nobody do that. I said, no, I'm

2063
01:31:04,120 --> 01:31:06,960
Speaker 2: not handling. I just told him, you know, like I

2064
01:31:07,000 --> 01:31:08,880
Speaker 2: don't work for him. You know, I don't work for him,

2065
01:31:08,920 --> 01:31:11,040
Speaker 2: you know, I work with it. And he said, well, man,

2066
01:31:11,080 --> 01:31:12,439
Speaker 2: I want to try to get the tour. So I

2067
01:31:12,479 --> 01:31:14,639
Speaker 2: talked to him Rick, and he let him get the tour.

2068
01:31:14,640 --> 01:31:16,880
Speaker 2: He ended up getting the tour. But that that that

2069
01:31:17,000 --> 01:31:18,840
Speaker 2: was the type of thing with Rick, you know, he was.

2070
01:31:18,960 --> 01:31:19,840
Speaker 2: He was a tougher guy.

2071
01:31:20,439 --> 01:31:23,599
Speaker 3: What about the drugs, Oh yeah he did. He did

2072
01:31:23,640 --> 01:31:24,320
Speaker 3: all kinds of drugs.

2073
01:31:24,640 --> 01:31:26,639
Speaker 2: He'll tell you, well, I'm getting ready to pill out,

2074
01:31:26,680 --> 01:31:28,120
Speaker 2: you know what I mean. He gonna pill out, he's

2075
01:31:28,120 --> 01:31:32,559
Speaker 2: gonna go to sleep, You're gonna pill out. Let him

2076
01:31:32,600 --> 01:31:36,679
Speaker 2: pill out, you know. And he snowed up your whole house,

2077
01:31:36,720 --> 01:31:38,599
Speaker 2: you know, nothing, but he but he had the money

2078
01:31:38,640 --> 01:31:40,200
Speaker 2: to do it. You know, you can't stop a guy

2079
01:31:40,240 --> 01:31:41,840
Speaker 2: when they're gonna do stuff. You know, I'll let him

2080
01:31:41,840 --> 01:31:42,080
Speaker 2: do it.

2081
01:31:49,640 --> 01:31:52,360
Speaker 4: So you'd work so much in the white rock business,

2082
01:31:52,840 --> 01:31:55,439
Speaker 4: what was it like? I mean, Rick James was sort

2083
01:31:55,439 --> 01:31:57,559
Speaker 4: of a rock artist, but it was the black world.

2084
01:31:57,920 --> 01:32:00,639
Speaker 4: What was the black radio, black promoter world?

2085
01:32:00,640 --> 01:32:03,719
Speaker 2: Bike night and day man night and day difference different

2086
01:32:03,840 --> 01:32:05,560
Speaker 2: night and day. First of all, Rick James is the

2087
01:32:05,600 --> 01:32:08,200
Speaker 2: closest to rock them out of all of them. And uh,

2088
01:32:08,720 --> 01:32:10,920
Speaker 2: I never forget. When I first started on tour, Rick,

2089
01:32:11,000 --> 01:32:13,479
Speaker 2: he said, Man, I want, I want you to build

2090
01:32:13,520 --> 01:32:15,200
Speaker 2: me a black one like you do them rock bands.

2091
01:32:15,200 --> 01:32:16,800
Speaker 2: I said, well, the first thing we gotta do if

2092
01:32:16,840 --> 01:32:19,320
Speaker 2: you want to tour like a rock band is get

2093
01:32:19,320 --> 01:32:20,479
Speaker 2: out of these holiday ends.

2094
01:32:21,040 --> 01:32:23,280
Speaker 3: He doesn't know he's got to pay for these hotels.

2095
01:32:23,280 --> 01:32:25,559
Speaker 2: And I'm telling me, so we get all better hotels

2096
01:32:25,560 --> 01:32:27,400
Speaker 2: atter because I was towt those holiday ends. You know,

2097
01:32:27,840 --> 01:32:29,760
Speaker 2: so we get But he found out later that he

2098
01:32:29,880 --> 01:32:31,360
Speaker 2: paying for all this being charge of them.

2099
01:32:31,520 --> 01:32:33,240
Speaker 3: But you know we did that, and you know, and

2100
01:32:33,920 --> 01:32:36,639
Speaker 3: and and he did pretty good on that first tour,

2101
01:32:36,680 --> 01:32:39,960
Speaker 3: but he wasn't he wasn't getting a percentage.

2102
01:32:40,120 --> 01:32:43,320
Speaker 2: He was at a fix like he sold out the

2103
01:32:45,040 --> 01:32:49,800
Speaker 2: Baltimore Arena in Baltimore or whatever it's about. I don't know,

2104
01:32:49,800 --> 01:32:52,639
Speaker 2: maybe old about ten or fifteen thousand people. But he

2105
01:32:52,640 --> 01:32:56,479
Speaker 2: he accepted ten thousand dollars as as amount that he wanted.

2106
01:32:56,520 --> 01:32:58,680
Speaker 2: Rether Thant get a percentage of the date so that

2107
01:32:58,760 --> 01:33:01,080
Speaker 2: would ship him ship they shep didn't know's going to

2108
01:33:01,120 --> 01:33:03,200
Speaker 2: be selling out, But we sold it out.

2109
01:33:03,439 --> 01:33:06,240
Speaker 3: But they only paid him ten grands. So he was said, well, man,

2110
01:33:06,280 --> 01:33:09,120
Speaker 3: you know, I'm a gungrat. Look that's that's your old mistake,

2111
01:33:09,200 --> 01:33:11,400
Speaker 3: you know. But it was. It was a whole lot

2112
01:33:11,439 --> 01:33:13,000
Speaker 3: of things. But I had a lot of fun with him,

2113
01:33:13,040 --> 01:33:13,240
Speaker 3: you know.

2114
01:33:13,400 --> 01:33:14,960
Speaker 4: So how did it end with you? And Rick?

2115
01:33:16,080 --> 01:33:17,120
Speaker 3: What do you mean it didn't find it?

2116
01:33:17,840 --> 01:33:21,680
Speaker 2: After the first tour, I did that tour manager thing,

2117
01:33:22,240 --> 01:33:25,200
Speaker 2: and then I went on back doing my regular promotion

2118
01:33:25,360 --> 01:33:28,160
Speaker 2: whatever I was doing it, and he put out other records.

2119
01:33:28,479 --> 01:33:32,000
Speaker 2: And then on nineteen eighty one, on New Year's Day

2120
01:33:32,000 --> 01:33:34,920
Speaker 2: of nineteen day one, he called me because now he

2121
01:33:35,000 --> 01:33:37,679
Speaker 2: had got rid of his manager. He didn't have Shepherd anymore.

2122
01:33:38,040 --> 01:33:39,439
Speaker 2: So he called me, he said, man, and he getting

2123
01:33:39,439 --> 01:33:42,360
Speaker 2: ready to put out street songs, right, So he called

2124
01:33:42,360 --> 01:33:45,599
Speaker 2: me like new Year's Night of nineteen eighty one at

2125
01:33:45,640 --> 01:33:49,040
Speaker 2: my home and Yonkers and I said, is it he said, Rick,

2126
01:33:49,160 --> 01:33:50,160
Speaker 2: He said, man, I say, he said with.

2127
01:33:50,200 --> 01:33:52,720
Speaker 3: That, Man, I mean I wish I could get you

2128
01:33:52,760 --> 01:33:54,120
Speaker 3: to help me. Man, I ain't got no manage that

2129
01:33:54,200 --> 01:33:56,120
Speaker 3: neither help with my new oltum. I said, Man, you

2130
01:33:56,160 --> 01:33:57,559
Speaker 3: other I was, weren't that good? You know?

2131
01:33:58,080 --> 01:33:59,439
Speaker 2: He said, well, let me play some of the stuff

2132
01:33:59,479 --> 01:34:02,360
Speaker 2: where he played give it to me, give it to me,

2133
01:34:02,560 --> 01:34:04,720
Speaker 2: give it to me, give it to me, yo. And

2134
01:34:04,760 --> 01:34:06,080
Speaker 2: when he played it, I said, man, this is a

2135
01:34:06,120 --> 01:34:08,479
Speaker 2: spac He said, man, come on, man, And it helped

2136
01:34:08,520 --> 01:34:09,280
Speaker 2: me get this album.

2137
01:34:09,320 --> 01:34:11,080
Speaker 3: I got an album trying to do speet something.

2138
01:34:11,479 --> 01:34:13,400
Speaker 2: So the next day I ended up taking a flight

2139
01:34:13,479 --> 01:34:15,720
Speaker 2: to la and I hung out with him ntil he

2140
01:34:15,760 --> 01:34:18,599
Speaker 2: finished that album and stuff, and you know, and that's

2141
01:34:18,640 --> 01:34:21,320
Speaker 2: when we were when we had to go to Motown,

2142
01:34:21,400 --> 01:34:24,479
Speaker 2: you know, and mentioned to the fact that Jay Laska

2143
01:34:24,800 --> 01:34:26,840
Speaker 2: didn't want to give him that fifty grand and stuff.

2144
01:34:26,840 --> 01:34:27,120
Speaker 3: You know.

2145
01:34:27,400 --> 01:34:30,040
Speaker 2: But while he was there, that's when I met Smoke Kid,

2146
01:34:30,120 --> 01:34:32,439
Speaker 2: Steve and all of them came to the studio. When

2147
01:34:32,479 --> 01:34:34,280
Speaker 2: he was doing that album, you know, he was adding

2148
01:34:34,320 --> 01:34:36,920
Speaker 2: stuff to it, and I met Uh.

2149
01:34:36,600 --> 01:34:38,720
Speaker 3: What was the name a singer of the girl is

2150
01:34:38,880 --> 01:34:42,840
Speaker 3: a sing with fire and desire? That girl?

2151
01:34:44,600 --> 01:34:47,559
Speaker 2: What it was the name that that son? But anyway,

2152
01:34:48,479 --> 01:34:50,280
Speaker 2: when he was producing that record, all of them was

2153
01:34:50,320 --> 01:34:52,920
Speaker 2: in that studio and I met him all and that's

2154
01:34:52,960 --> 01:34:54,760
Speaker 2: when I knew he was like a really genius the

2155
01:34:54,760 --> 01:34:57,959
Speaker 2: way he produced that record, man, and how everybody respected

2156
01:34:58,000 --> 01:34:58,880
Speaker 2: him so much, you know.

2157
01:35:00,280 --> 01:35:03,799
Speaker 4: So how did you stop promoting records?

2158
01:35:04,160 --> 01:35:08,360
Speaker 2: I stopped after after that that uh Rick James album,

2159
01:35:09,040 --> 01:35:11,360
Speaker 2: after that that uh Fire and Design, and that was

2160
01:35:11,400 --> 01:35:13,240
Speaker 2: the last one that I did, and I stopped promotion

2161
01:35:14,240 --> 01:35:16,760
Speaker 2: because then I just started back doing accounting, you know,

2162
01:35:17,320 --> 01:35:19,360
Speaker 2: because I had accounting clients that I had to do

2163
01:35:19,439 --> 01:35:21,360
Speaker 2: and it was less aggravation, you know, and I have

2164
01:35:21,479 --> 01:35:23,519
Speaker 2: to didn't have to travel and you didn't have to

2165
01:35:23,520 --> 01:35:25,680
Speaker 2: have to thread and threaten to kill people to get

2166
01:35:25,720 --> 01:35:27,240
Speaker 2: paid because I had to.

2167
01:35:27,560 --> 01:35:30,280
Speaker 3: I had to. I did Funkadelic. I had to.

2168
01:35:31,920 --> 01:35:34,200
Speaker 2: Threadn them, you know, to get my pound payment label

2169
01:35:34,200 --> 01:35:37,559
Speaker 2: them like thirty grand, and their attorney had to call

2170
01:35:37,680 --> 01:35:40,280
Speaker 2: me up, said, bro Drugs would like to pay you

2171
01:35:40,280 --> 01:35:43,000
Speaker 2: an increments, you know, ten thousands. I said, no, I

2172
01:35:43,040 --> 01:35:46,040
Speaker 2: want all of it at once, because they had a

2173
01:35:46,080 --> 01:35:49,000
Speaker 2: show in town, you know that night in Madison, Paier

2174
01:35:49,000 --> 01:35:52,600
Speaker 2: Guard and I used to train all these uh you know,

2175
01:35:52,640 --> 01:35:54,439
Speaker 2: the policemen's and knarks and stuff in New York.

2176
01:35:54,439 --> 01:35:56,000
Speaker 3: And I told him if he didn't if he if.

2177
01:35:55,880 --> 01:35:58,519
Speaker 2: I didn't get my check, I was gonna have the

2178
01:35:58,640 --> 01:36:01,719
Speaker 2: Narks to come over and and bust the hope buster

2179
01:36:01,720 --> 01:36:04,080
Speaker 2: the guys. Somebody is gonna be dirty in the hotel.

2180
01:36:04,160 --> 01:36:05,840
Speaker 2: And and then we're gonna have.

2181
01:36:05,800 --> 01:36:07,439
Speaker 3: The box office. Gonna take a box office.

2182
01:36:07,479 --> 01:36:09,400
Speaker 2: You had to do stuff like that, you know, and

2183
01:36:09,479 --> 01:36:11,479
Speaker 2: I have to We're gonna have to bust somebody of

2184
01:36:11,520 --> 01:36:11,760
Speaker 2: the Bible.

2185
01:36:11,800 --> 01:36:13,080
Speaker 3: You know, We're gonna take a box off it.

2186
01:36:13,560 --> 01:36:17,599
Speaker 2: So George decided he uh, out of my box, send

2187
01:36:17,600 --> 01:36:19,519
Speaker 2: the check over, and I got to check. When I

2188
01:36:19,520 --> 01:36:21,360
Speaker 2: first got to check, it wasn't certified. I sent it

2189
01:36:21,400 --> 01:36:23,599
Speaker 2: back to her and then you know, as she said, oh,

2190
01:36:23,640 --> 01:36:25,720
Speaker 2: well it's certified. You know, after I got a certified,

2191
01:36:25,840 --> 01:36:26,360
Speaker 2: I knew.

2192
01:36:26,160 --> 01:36:26,839
Speaker 3: It was cool.

2193
01:36:27,120 --> 01:36:28,600
Speaker 2: Well, that night I go to the concert of the

2194
01:36:28,680 --> 01:36:31,320
Speaker 2: Panta Massabuare Guard. George see me, he's ducking and the

2195
01:36:31,400 --> 01:36:32,160
Speaker 2: running the cast man.

2196
01:36:32,200 --> 01:36:33,840
Speaker 3: You ain't got to run. I'm funking. I'm funking. I'm

2197
01:36:33,880 --> 01:36:36,120
Speaker 3: shaking my head. I'm funking. Now you got got my check.

2198
01:36:36,960 --> 01:36:38,600
Speaker 8: So you know, that's the type of stuff you had

2199
01:36:38,640 --> 01:36:40,320
Speaker 8: to deal with when you're dealing with R and B bads,

2200
01:36:40,360 --> 01:36:42,680
Speaker 8: you know, and you know it and you know and

2201
01:36:43,080 --> 01:36:44,760
Speaker 8: even when I when I left Rick, you know, he

2202
01:36:44,800 --> 01:36:47,200
Speaker 8: owe me like ten grands, but he found to pay me.

2203
01:36:47,240 --> 01:36:49,280
Speaker 3: He came to New York and and send his body

2204
01:36:49,320 --> 01:36:50,200
Speaker 3: got up to Lindjo.

2205
01:36:50,360 --> 01:36:54,320
Speaker 4: So your counting clients were musicians or straight people.

2206
01:36:54,920 --> 01:36:57,960
Speaker 2: Yeah, straight people, straight people. But one guy's oor guy

2207
01:36:58,120 --> 01:37:01,439
Speaker 2: was a was a had a doc. You know, he

2208
01:37:01,560 --> 01:37:04,160
Speaker 2: built ship, he built a yachts and stuff.

2209
01:37:03,840 --> 01:37:05,160
Speaker 3: You know, a big god company.

2210
01:37:05,360 --> 01:37:06,760
Speaker 4: So how long did you do that for?

2211
01:37:07,760 --> 01:37:10,760
Speaker 2: I did it for about twenty years, I guess, up

2212
01:37:10,840 --> 01:37:14,400
Speaker 2: until up until about I guess about two or three

2213
01:37:14,479 --> 01:37:14,840
Speaker 2: years ago.

2214
01:37:15,600 --> 01:37:16,919
Speaker 4: And i'd geenned up in Florida.

2215
01:37:18,040 --> 01:37:20,360
Speaker 2: Well after I got a divorce, I moved down here

2216
01:37:20,600 --> 01:37:24,200
Speaker 2: in eighty five. After divorce, I moved from New York

2217
01:37:24,240 --> 01:37:28,839
Speaker 2: to Porda and my brother had like, you know, property

2218
01:37:28,920 --> 01:37:31,439
Speaker 2: down here, so I moved down here and stayed in

2219
01:37:31,520 --> 01:37:35,000
Speaker 2: one of his He had like several uh, he had

2220
01:37:35,040 --> 01:37:35,759
Speaker 2: a whole whole.

2221
01:37:35,640 --> 01:37:38,719
Speaker 3: Quadrangle of apartments houses little house.

2222
01:37:38,760 --> 01:37:40,920
Speaker 2: So I stayed with one of his houses and then,

2223
01:37:41,040 --> 01:37:43,599
Speaker 2: uh then when him and I fell out, I moved

2224
01:37:43,640 --> 01:37:48,439
Speaker 2: into into North Miami right near Criteria Studio. I moved

2225
01:37:48,479 --> 01:37:50,840
Speaker 2: there because I knew to cast his Criteria and I

2226
01:37:50,920 --> 01:37:54,080
Speaker 2: stayed there for like thirty years until I moved to

2227
01:37:54,160 --> 01:37:54,920
Speaker 2: the place I am Now.

2228
01:37:54,920 --> 01:37:55,800
Speaker 3: I've been here ten years.

2229
01:37:56,640 --> 01:37:58,000
Speaker 4: So you said you got divorced.

2230
01:37:58,840 --> 01:38:01,479
Speaker 3: Yeah, I got divorced and in New York in eighty five.

2231
01:38:02,000 --> 01:38:03,160
Speaker 4: Did you ever get remarried?

2232
01:38:04,040 --> 01:38:07,800
Speaker 3: No? No, no, don't want them. Nobody couldn't. Nobody, nobody

2233
01:38:07,880 --> 01:38:09,400
Speaker 3: want to put up with me, and vice versa.

2234
01:38:10,040 --> 01:38:12,800
Speaker 4: So was the divorce as a result of being on

2235
01:38:12,920 --> 01:38:13,920
Speaker 4: the road, et cetera.

2236
01:38:14,600 --> 01:38:17,519
Speaker 2: Yeah, probably that was mostly being on the road, and

2237
01:38:18,240 --> 01:38:20,400
Speaker 2: you know, and just she was a good person, man.

2238
01:38:20,479 --> 01:38:22,960
Speaker 2: She took care of my family. Without her, I wouldn't

2239
01:38:22,960 --> 01:38:24,559
Speaker 2: have had a dime. You know, I'm telling you because

2240
01:38:24,560 --> 01:38:26,880
Speaker 2: she was really good, you know. But she just didn't

2241
01:38:26,920 --> 01:38:29,439
Speaker 2: didn't like me being on the road and being around

2242
01:38:29,479 --> 01:38:30,080
Speaker 2: all this stuff.

2243
01:38:30,080 --> 01:38:30,200
Speaker 3: You know.

2244
01:38:30,240 --> 01:38:32,240
Speaker 2: It wasn't about no women trus I had. I had

2245
01:38:32,360 --> 01:38:34,760
Speaker 2: enough of but she didn't know about it. Sure, But

2246
01:38:34,920 --> 01:38:37,559
Speaker 2: I mean I did I did my share of dougness,

2247
01:38:37,600 --> 01:38:39,720
Speaker 2: but I never took it home, you know. And I

2248
01:38:39,840 --> 01:38:42,200
Speaker 2: took care of my daughter. I paid for my daughter

2249
01:38:42,240 --> 01:38:46,040
Speaker 2: went to Yale University. She was a smart girl, graduated

2250
01:38:46,080 --> 01:38:47,360
Speaker 2: from Yale. And I paid for all of that.

2251
01:38:47,960 --> 01:38:50,800
Speaker 3: And my second daughter ended up getting a master's degree

2252
01:38:50,840 --> 01:38:53,519
Speaker 3: and stuff. You know. I paid for all that, being

2253
01:38:53,560 --> 01:38:56,519
Speaker 3: an accountant, you know. But whatever I mean, he had

2254
01:38:56,560 --> 01:38:58,080
Speaker 3: to somebody had to take care of.

2255
01:38:58,680 --> 01:39:01,240
Speaker 4: So how'd you mean Peter Wolf Wolf Ago.

2256
01:39:01,439 --> 01:39:03,439
Speaker 2: I met him in fifty nine and I was sixty

2257
01:39:03,520 --> 01:39:09,560
Speaker 2: nine at at Boston tea party. They were playing with

2258
01:39:09,720 --> 01:39:12,320
Speaker 2: Jay Guillas band had just played, and I was up

2259
01:39:12,320 --> 01:39:13,519
Speaker 2: there with Doctor John.

2260
01:39:14,880 --> 01:39:17,760
Speaker 3: And and and when I I went, I was in

2261
01:39:17,800 --> 01:39:19,840
Speaker 3: the dress room with doctor John. I heard Survey right

2262
01:39:19,880 --> 01:39:20,519
Speaker 3: the supper boy.

2263
01:39:20,560 --> 01:39:23,519
Speaker 2: This band was getting down and the voice man is

2264
01:39:23,680 --> 01:39:25,640
Speaker 2: like John Lee Hook and Mass said, oh god, these

2265
01:39:25,720 --> 01:39:28,800
Speaker 2: mag I was a cold blood. But when I got

2266
01:39:28,880 --> 01:39:31,439
Speaker 2: to the stage, they were gone, you know, there was

2267
01:39:31,520 --> 01:39:32,280
Speaker 2: nobody there.

2268
01:39:33,080 --> 01:39:34,600
Speaker 3: And so I go into the dress room. I go

2269
01:39:34,720 --> 01:39:36,640
Speaker 3: there and say, hey, man, where's where's the brothers that

2270
01:39:36,760 --> 01:39:40,640
Speaker 3: just got doing that blues? And Peter wood Walker that

2271
01:39:40,800 --> 01:39:43,240
Speaker 3: was us man, freak me right out all white cats.

2272
01:39:43,320 --> 01:39:46,519
Speaker 3: I said. I said, well, Man, do you have a contract.

2273
01:39:46,560 --> 01:39:46,920
Speaker 3: He said no.

2274
01:39:47,040 --> 01:39:48,960
Speaker 2: I said, Man, look I love the blues. I love

2275
01:39:49,000 --> 01:39:52,320
Speaker 2: where you're all coming from. I said, I'm from Atlantic Records. Man,

2276
01:39:52,360 --> 01:39:53,960
Speaker 2: I got to see if I can get your recorded.

2277
01:39:54,200 --> 01:39:56,280
Speaker 2: He said, well, yeah, Atlantic, Yeah, I like Atlantic.

2278
01:39:56,720 --> 01:39:57,920
Speaker 3: So that's how it started.

2279
01:39:58,000 --> 01:40:01,080
Speaker 2: Man and Wolf We've been friends ever since. He was

2280
01:40:01,120 --> 01:40:04,240
Speaker 2: a disc jockey on BCN also and his show was

2281
01:40:04,360 --> 01:40:06,360
Speaker 2: like one of the top shows as far as blues

2282
01:40:06,439 --> 01:40:09,120
Speaker 2: and and and do wop. You know, he played all

2283
01:40:09,200 --> 01:40:12,880
Speaker 2: kinds of music and just a character man called Wolf

2284
01:40:12,920 --> 01:40:14,639
Speaker 2: of go for Mama Tupula, you know, like he said,

2285
01:40:15,439 --> 01:40:17,400
Speaker 2: be here, and so you needs feeds your blatter's platter,

2286
01:40:18,560 --> 01:40:19,400
Speaker 2: I'm gonna come back.

2287
01:40:19,439 --> 01:40:22,000
Speaker 3: You want to know the matter. He had all the raps. Man.

2288
01:40:22,320 --> 01:40:24,160
Speaker 3: I loved him because he reminded me of all the

2289
01:40:24,240 --> 01:40:25,600
Speaker 3: this jockeys in New York, you know.

2290
01:40:25,680 --> 01:40:32,439
Speaker 2: Like Jocko Innerson and so he monocute manipicent money. He

2291
01:40:32,560 --> 01:40:34,680
Speaker 2: remind me of all those cats. But he had that

2292
01:40:34,720 --> 01:40:37,960
Speaker 2: and he was doing that in nineteen sixty nine on WBCN.

2293
01:40:38,120 --> 01:40:41,240
Speaker 3: Man he was doing that type of show and is

2294
01:40:41,280 --> 01:40:44,040
Speaker 3: a white kid that knew more about black music than

2295
01:40:44,160 --> 01:40:44,479
Speaker 3: I did.

2296
01:40:44,560 --> 01:40:47,080
Speaker 2: I'm telling you the truth. He I would call on,

2297
01:40:47,320 --> 01:40:49,559
Speaker 2: I would tell him the name of a son. He'll

2298
01:40:49,600 --> 01:40:51,360
Speaker 2: tell me who wrote it and who publishes. You know,

2299
01:40:51,479 --> 01:40:54,280
Speaker 2: I said, how down he was, man, And we've been

2300
01:40:54,360 --> 01:40:56,040
Speaker 2: friends ever since. Man, wonderful kind.

2301
01:40:56,400 --> 01:40:59,960
Speaker 4: Tell me about the Ahmed I'm man my main man.

2302
01:41:00,080 --> 01:41:02,479
Speaker 2: I joined on and out of all the exanders there,

2303
01:41:02,960 --> 01:41:05,000
Speaker 2: he was like my favorite because I would be on

2304
01:41:05,120 --> 01:41:08,360
Speaker 2: the road and uh, he might be in that town

2305
01:41:08,439 --> 01:41:12,080
Speaker 2: and he'll he'll call whatever hotel man and said, yeah, yay, Man,

2306
01:41:12,160 --> 01:41:13,120
Speaker 2: Well what are you doing tonight?

2307
01:41:13,840 --> 01:41:14,880
Speaker 3: I'm going to this club?

2308
01:41:15,040 --> 01:41:16,600
Speaker 2: He said, well, all right, man, So he have his

2309
01:41:16,760 --> 01:41:18,600
Speaker 2: limbo and I'll get in a limbo with it, and

2310
01:41:18,680 --> 01:41:20,719
Speaker 2: we'll go to the South side.

2311
01:41:20,560 --> 01:41:23,400
Speaker 3: Of Chicago where all the blues catch that, and he'll

2312
01:41:23,439 --> 01:41:25,560
Speaker 3: be right at home. Man. Then we'll go to the

2313
01:41:25,640 --> 01:41:27,479
Speaker 3: jazz club and he'd be right at home. And he

2314
01:41:27,600 --> 01:41:28,320
Speaker 3: paying for everything.

2315
01:41:28,360 --> 01:41:30,800
Speaker 2: So I didn't didn't didn't bother me, right, I never

2316
01:41:30,920 --> 01:41:33,000
Speaker 2: get One time I had a disc jockey from this

2317
01:41:33,160 --> 01:41:34,839
Speaker 2: jazz station in Chicago.

2318
01:41:35,280 --> 01:41:37,800
Speaker 3: Beautiful girl, man, I get her name now, but she

2319
01:41:37,960 --> 01:41:40,519
Speaker 3: was beautiful man. And you know, I wasn't hitting on nothing,

2320
01:41:41,000 --> 01:41:43,280
Speaker 3: but we were riding and he saw he said, well,

2321
01:41:43,320 --> 01:41:45,200
Speaker 3: tell her to come and go. So we go, we

2322
01:41:45,400 --> 01:41:46,800
Speaker 3: hit the car. We got it.

2323
01:41:47,200 --> 01:41:49,840
Speaker 2: Boy, I was dropping bombs on the girl all night

2324
01:41:50,080 --> 01:41:53,960
Speaker 2: and just I said, this manager, it is cooler than

2325
01:41:54,000 --> 01:41:57,360
Speaker 2: the average pilp that I know. And he was just

2326
01:41:57,439 --> 01:41:59,960
Speaker 2: one of a classic band. I loved him, man, I mean,

2327
01:42:00,000 --> 01:42:02,000
Speaker 2: and everybody had a lot of things they said about it,

2328
01:42:02,439 --> 01:42:03,320
Speaker 2: but he was cool with me.

2329
01:42:03,840 --> 01:42:05,720
Speaker 3: Him and Jerry, I mean Jerry as well. Man.

2330
01:42:05,800 --> 01:42:09,200
Speaker 2: Jerry was a classic too, but was Jerry like Jerry

2331
01:42:09,320 --> 01:42:11,400
Speaker 2: was more of a business man because Jerry I didn't

2332
01:42:11,400 --> 01:42:11,800
Speaker 2: go on the road.

2333
01:42:11,840 --> 01:42:13,360
Speaker 3: I didn't hang out with Jerry on the road.

2334
01:42:13,439 --> 01:42:16,479
Speaker 2: But one time, who was in a we were at

2335
01:42:16,560 --> 01:42:19,320
Speaker 2: I think Kyle Rutno, somebody had a had a had

2336
01:42:19,360 --> 01:42:21,600
Speaker 2: a newsletter that he used to put out and and

2337
01:42:21,720 --> 01:42:24,160
Speaker 2: they had a thing and and Vegas, and we go

2338
01:42:24,320 --> 01:42:26,479
Speaker 2: to and they were there right and they had the

2339
01:42:26,520 --> 01:42:30,040
Speaker 2: supremes of playing there in Vegas at this at this

2340
01:42:30,160 --> 01:42:33,759
Speaker 2: hotel we was at. So now a'ma and and Jerry

2341
01:42:34,439 --> 01:42:36,479
Speaker 2: come to my room. Because I had, like I was

2342
01:42:36,560 --> 01:42:38,400
Speaker 2: always knowing to have a little herb around, you know.

2343
01:42:38,760 --> 01:42:41,599
Speaker 2: So they come to my room and I got all

2344
01:42:41,640 --> 01:42:44,720
Speaker 2: the Supreme not not down a row but sent to

2345
01:42:44,800 --> 01:42:46,479
Speaker 2: the birds song at the time, but all of us

2346
01:42:46,520 --> 01:42:48,920
Speaker 2: in my room, and that just knocked it just they said.

2347
01:42:48,760 --> 01:42:50,840
Speaker 3: But that boy, that guy gonna be a good promotion man.

2348
01:42:51,479 --> 01:42:53,920
Speaker 3: That bookkeeper gonna be a good promotion man. He came

2349
01:42:54,000 --> 01:42:56,120
Speaker 3: up and you know that, and you know that was

2350
01:42:56,280 --> 01:42:58,040
Speaker 3: that was the first only one time that I hung

2351
01:42:58,080 --> 01:42:59,240
Speaker 3: out with Jerry and Alma together.

2352
01:42:59,680 --> 01:43:01,840
Speaker 2: But you know because in there I always had a

2353
01:43:01,960 --> 01:43:04,960
Speaker 2: turntable to play records, you know, so it was like

2354
01:43:05,080 --> 01:43:05,880
Speaker 2: a classic man.

2355
01:43:06,000 --> 01:43:08,360
Speaker 4: And what about Nassville, did you have any come back?

2356
01:43:08,520 --> 01:43:08,680
Speaker 3: Yeah?

2357
01:43:09,320 --> 01:43:12,240
Speaker 2: Yeah, Nessar was ftriggured. I was a jazz fanic, you know,

2358
01:43:12,360 --> 01:43:15,240
Speaker 2: so jet Ness was we always. I even went to

2359
01:43:15,360 --> 01:43:18,040
Speaker 2: nest wedding in London when he got married. You know,

2360
01:43:18,160 --> 01:43:20,880
Speaker 2: I was always tacked with nestswek because I was. I

2361
01:43:21,000 --> 01:43:23,519
Speaker 2: promoted jazz records as well, you know. And and you

2362
01:43:23,600 --> 01:43:26,360
Speaker 2: know he hired Joel Dorn to do most of the

2363
01:43:26,400 --> 01:43:29,280
Speaker 2: production after he stopped doing but MJQ and.

2364
01:43:29,280 --> 01:43:29,880
Speaker 3: All those guys.

2365
01:43:29,960 --> 01:43:31,560
Speaker 2: He did all those records that I used to listen to.

2366
01:43:32,240 --> 01:43:37,680
Speaker 2: And I remember Mil Jackson, I saw I called him bags, right,

2367
01:43:38,320 --> 01:43:41,760
Speaker 2: I saw Mil Jackson and Uh at an airport one

2368
01:43:41,800 --> 01:43:45,400
Speaker 2: time in the south of Spain, and when I walked upto,

2369
01:43:45,479 --> 01:43:48,000
Speaker 2: I stopped bounding. I said, I'm not worth. I'm not worth,

2370
01:43:48,360 --> 01:43:50,599
Speaker 2: and I stild them about, you know, like the song

2371
01:43:50,680 --> 01:43:53,680
Speaker 2: in Atlantic Records. We talked about Atlantic Records and he said, yeah, man.

2372
01:43:53,720 --> 01:43:56,759
Speaker 2: Next I said, well, I'm going to Nest With's uh wedding.

2373
01:43:56,960 --> 01:43:59,160
Speaker 2: You know, he said, old as he is he getting married.

2374
01:44:00,680 --> 01:44:02,719
Speaker 2: I say, you get married to a young woman too.

2375
01:44:03,000 --> 01:44:05,360
Speaker 3: You know. But it was a mad man. Look, that's

2376
01:44:05,400 --> 01:44:07,800
Speaker 3: what was the classic very man. I would I would do.

2377
01:44:08,160 --> 01:44:11,759
Speaker 3: Ness was wedding and Steve was Still's wedding in England,

2378
01:44:12,439 --> 01:44:13,719
Speaker 3: you know, back in those days.

2379
01:44:14,120 --> 01:44:17,120
Speaker 4: So what did Jerry Greenberg do that Am and Jerry

2380
01:44:17,160 --> 01:44:17,960
Speaker 4: Wexler didn't do.

2381
01:44:18,960 --> 01:44:21,280
Speaker 2: He did all the hustle as far as getting records

2382
01:44:21,320 --> 01:44:25,040
Speaker 2: played in promotion. He was the hustler man. I'm telling Greenberg,

2383
01:44:25,080 --> 01:44:26,240
Speaker 2: I got a high respect for him.

2384
01:44:26,880 --> 01:44:29,200
Speaker 3: He did the work. I mean they were sin of act,

2385
01:44:29,280 --> 01:44:32,000
Speaker 3: but Greenberg make sure the stuff got played.

2386
01:44:32,160 --> 01:44:34,160
Speaker 2: He called all he was. He was a he was

2387
01:44:34,200 --> 01:44:38,320
Speaker 2: a top quarter guy. He was heavy top quarter guy.

2388
01:44:38,360 --> 01:44:41,360
Speaker 2: As far as emotion and a single oriented. Everything was

2389
01:44:41,400 --> 01:44:43,000
Speaker 2: single he could pick a single in a minute.

2390
01:44:43,439 --> 01:44:44,560
Speaker 3: He was good at that, you know.

2391
01:44:45,479 --> 01:44:48,720
Speaker 2: But uh, other than that, and and and because of him,

2392
01:44:48,800 --> 01:44:51,160
Speaker 2: it made my job much easier because he understood me.

2393
01:44:51,640 --> 01:44:54,400
Speaker 2: He knew I wasn't gonna take too much bullshit, you know,

2394
01:44:55,040 --> 01:44:57,679
Speaker 2: he knew, he knew how to deal with He even

2395
01:44:57,760 --> 01:45:00,920
Speaker 2: told a story when we had this. I had a

2396
01:45:01,000 --> 01:45:05,200
Speaker 2: birthday party at his club and uh in Vegas. He

2397
01:45:05,280 --> 01:45:07,439
Speaker 2: had a place to call I think, I forget the

2398
01:45:07,520 --> 01:45:07,800
Speaker 2: name of it.

2399
01:45:09,160 --> 01:45:10,360
Speaker 3: Rainbow. Yea, he had a rainbow.

2400
01:45:10,800 --> 01:45:13,479
Speaker 2: So I had a birthday party when I turned sixty five, right,

2401
01:45:14,280 --> 01:45:17,320
Speaker 2: and he told story man that I had not heard before. Right,

2402
01:45:17,360 --> 01:45:20,120
Speaker 2: But he told the story about you know, Shelon Vogel

2403
01:45:20,200 --> 01:45:23,240
Speaker 2: was the controller that I used to work for. He

2404
01:45:23,400 --> 01:45:26,439
Speaker 2: told the story about. He said, Shellon vogl used to

2405
01:45:26,479 --> 01:45:29,200
Speaker 2: complain about my expense report. So he came down to

2406
01:45:29,520 --> 01:45:32,200
Speaker 2: Greenberg one day, said, I want to know tell me

2407
01:45:32,280 --> 01:45:35,200
Speaker 2: one thing. How is it that I'm an Urgon is

2408
01:45:35,240 --> 01:45:39,120
Speaker 2: a chairman of the company and his expense report is

2409
01:45:39,400 --> 01:45:43,960
Speaker 2: is uh what eight thousand and nine thousand and some

2410
01:45:44,200 --> 01:45:47,799
Speaker 2: dollars a week? And Mario is the third two thousand.

2411
01:45:50,400 --> 01:45:53,599
Speaker 2: Greenberg said, because Mario get records playing I don't do shit,

2412
01:45:57,960 --> 01:46:00,240
Speaker 2: but that that I didn't even know about out that,

2413
01:46:00,360 --> 01:46:03,120
Speaker 2: but crick Bird told me that. Man, I thought I'd

2414
01:46:03,240 --> 01:46:06,439
Speaker 2: die laughing, because you know, like I've been traveling with

2415
01:46:06,520 --> 01:46:08,639
Speaker 2: all these bands. I was switching all the time, switching

2416
01:46:08,720 --> 01:46:10,679
Speaker 2: back and forth. So I had a lot of plane

2417
01:46:10,720 --> 01:46:13,960
Speaker 2: tickets in a month where where I might not, I

2418
01:46:14,040 --> 01:46:16,200
Speaker 2: had that. But anyway, that was so funny. Man, I

2419
01:46:16,280 --> 01:46:18,720
Speaker 2: thought I'd die. We say, you, Mario, get record played

2420
01:46:18,760 --> 01:46:22,439
Speaker 2: I we don't do anything. Man Greenbergs was my man.

2421
01:46:22,439 --> 01:46:23,040
Speaker 2: I'm telling you. I.

2422
01:46:24,439 --> 01:46:27,800
Speaker 4: So did you interact with the Stacks people at all?

2423
01:46:28,680 --> 01:46:32,040
Speaker 3: Oh? Yeah? Al Bell? Al Bell was he was a

2424
01:46:32,040 --> 01:46:33,040
Speaker 3: promotion man before.

2425
01:46:33,200 --> 01:46:35,400
Speaker 2: Right. I knew Al Bell from when he was promotion

2426
01:46:35,560 --> 01:46:37,680
Speaker 2: man because I used to make up the spills for

2427
01:46:37,800 --> 01:46:40,160
Speaker 2: the promotion guy and he would come up there, you

2428
01:46:40,200 --> 01:46:42,080
Speaker 2: know a lot of time to get get his spip check.

2429
01:46:42,120 --> 01:46:44,880
Speaker 2: It's like a promotion check, you know. So I got

2430
01:46:44,960 --> 01:46:46,559
Speaker 2: to meet him, and you know, and and then and then,

2431
01:46:46,640 --> 01:46:49,840
Speaker 2: uh we had a bar downstairs. So one time after

2432
01:46:49,960 --> 01:46:51,640
Speaker 2: work he was in the bar and he saw me.

2433
01:46:51,760 --> 01:46:53,280
Speaker 2: So I was a sudden, Hey Mario, come on, have

2434
01:46:53,320 --> 01:46:55,280
Speaker 2: a drinker. And I got to know him. He's telling

2435
01:46:55,320 --> 01:46:57,560
Speaker 2: me about stuff you know about back then, you know,

2436
01:46:57,600 --> 01:47:01,240
Speaker 2: because Otis was was being distributed about and so he

2437
01:47:01,320 --> 01:47:04,680
Speaker 2: was telling, yeah, man, I got this new Uh. I

2438
01:47:04,760 --> 01:47:06,759
Speaker 2: think either Connley I think was the record.

2439
01:47:06,800 --> 01:47:08,400
Speaker 3: I think it was. I think it was out of

2440
01:47:08,400 --> 01:47:10,840
Speaker 3: the college. I'm not sure, but it was some record

2441
01:47:10,880 --> 01:47:13,120
Speaker 3: they had on stacks that he wanted me to hear.

2442
01:47:13,640 --> 01:47:15,840
Speaker 3: And he and he had like a cassette player, you know,

2443
01:47:15,960 --> 01:47:18,960
Speaker 3: like a walk man. We in the bar. He takes

2444
01:47:18,960 --> 01:47:20,639
Speaker 3: me to the bathroom and play the walk Man.

2445
01:47:21,920 --> 01:47:25,320
Speaker 5: Wasn't I wasn't even a promotion man at the time,

2446
01:47:25,439 --> 01:47:27,560
Speaker 5: you know, I was a bookkeeper.

2447
01:47:27,800 --> 01:47:29,280
Speaker 3: But he played. He said, this is gonna be a

2448
01:47:29,360 --> 01:47:30,720
Speaker 3: hit man. But that's what I say.

2449
01:47:30,760 --> 01:47:34,040
Speaker 2: He was a great promotion guy, man because he sold

2450
01:47:34,080 --> 01:47:35,960
Speaker 2: me on that record. And I still can't steal in

2451
01:47:35,960 --> 01:47:37,080
Speaker 2: all condar until the day.

2452
01:47:38,000 --> 01:47:40,759
Speaker 3: But he sold me, man. But he ended up running

2453
01:47:41,120 --> 01:47:44,360
Speaker 3: uh sacks afterwards. You know whatever. It was good.

2454
01:47:44,920 --> 01:47:49,400
Speaker 4: So you met all these people, you know, only a

2455
01:47:49,479 --> 01:47:52,040
Speaker 4: few of these people really live up to the rep.

2456
01:47:52,360 --> 01:47:56,280
Speaker 4: They're really rock stars. So tell me who lives up

2457
01:47:56,320 --> 01:47:56,519
Speaker 4: to the.

2458
01:47:56,560 --> 01:48:03,679
Speaker 3: Rep A rock star? Yeah, Mick Jagger, Keith Richards, Robert

2459
01:48:03,720 --> 01:48:08,559
Speaker 3: plant Jimmy Page with all my brothers.

2460
01:48:08,600 --> 01:48:10,559
Speaker 2: You know, when when Drag was around, he was definitely

2461
01:48:10,600 --> 01:48:13,400
Speaker 2: a rock star man, you know, even though he used

2462
01:48:13,400 --> 01:48:16,479
Speaker 2: to get messed up otherwise, but he actually lived they

2463
01:48:16,600 --> 01:48:18,360
Speaker 2: lived up to being a rock and.

2464
01:48:18,439 --> 01:48:18,880
Speaker 3: Roller, you know.

2465
01:48:19,520 --> 01:48:23,120
Speaker 2: All el P wasn't like that they wrote that, and uh,

2466
01:48:24,000 --> 01:48:26,320
Speaker 2: Eric Clapton, he was a quiet guy, but he still was.

2467
01:48:27,000 --> 01:48:30,240
Speaker 3: He had that that that vibe you know, people be around.

2468
01:48:30,680 --> 01:48:32,759
Speaker 3: They treat him like a rock star. But he was quieter.

2469
01:48:33,200 --> 01:48:36,559
Speaker 3: But the other cats were outgoing, you know. And uh

2470
01:48:36,920 --> 01:48:37,479
Speaker 3: else I'm trying.

2471
01:48:37,840 --> 01:48:40,040
Speaker 2: And you know from the Rascals too, you know Rascals,

2472
01:48:40,160 --> 01:48:44,000
Speaker 2: Eddie Bergot, it was a rock star out was one

2473
01:48:44,040 --> 01:48:46,200
Speaker 2: of the first guys I hung out with. From the Rascals,

2474
01:48:46,920 --> 01:48:49,760
Speaker 2: Eddie was and he was one of the singers, but

2475
01:48:49,960 --> 01:48:51,680
Speaker 2: I knew the feelings was used to most of the

2476
01:48:51,760 --> 01:48:53,639
Speaker 2: lead but Eddie was one of the singers as well.

2477
01:48:54,439 --> 01:48:56,560
Speaker 2: But that was a band that I first when I

2478
01:48:56,600 --> 01:48:59,360
Speaker 2: did my first trip to l A. I hung out

2479
01:48:59,400 --> 01:49:01,880
Speaker 2: with them at the the High House, you know, and

2480
01:49:02,200 --> 01:49:05,080
Speaker 2: uh that's when I found out I wanted to.

2481
01:49:05,120 --> 01:49:05,720
Speaker 3: Do this job.

2482
01:49:09,200 --> 01:49:10,760
Speaker 4: So what keeps you busy? Now?

2483
01:49:12,520 --> 01:49:14,320
Speaker 3: Uh? If you're almost Live. I meditated.

2484
01:49:14,360 --> 01:49:16,320
Speaker 2: Man, I'm i'm a I'm a I'm a zen monk

2485
01:49:16,360 --> 01:49:19,439
Speaker 2: as well as I'm concerned. I did martial art for

2486
01:49:19,560 --> 01:49:22,800
Speaker 2: like fifty years, you know, and and zen meditation and

2487
01:49:22,920 --> 01:49:25,200
Speaker 2: I do that now. That's what I mostly do. Spend

2488
01:49:25,240 --> 01:49:28,400
Speaker 2: most of my time meditating and and and and reading.

2489
01:49:28,520 --> 01:49:31,120
Speaker 3: That's about it. You know, what do you read? Thank god?

2490
01:49:32,479 --> 01:49:34,519
Speaker 3: Any books? I don't read so many books, man, everything

2491
01:49:34,560 --> 01:49:35,800
Speaker 3: and had come out every time I want to come out.

2492
01:49:35,800 --> 01:49:39,519
Speaker 2: I read Peter's book. I read the book from the

2493
01:49:39,600 --> 01:49:44,280
Speaker 2: guy from Saturday Night Live, the producer that book. I'm

2494
01:49:44,280 --> 01:49:46,120
Speaker 2: still I'm still on it. It's so fat, you know.

2495
01:49:47,320 --> 01:49:47,559
Speaker 3: I did.

2496
01:49:47,720 --> 01:49:50,959
Speaker 2: I did the Life of King Curtis. King Curtis at

2497
01:49:51,000 --> 01:49:53,320
Speaker 2: a at a book out. I read that one and

2498
01:49:53,439 --> 01:49:55,280
Speaker 2: I read, I mean, I got a whole stack of

2499
01:49:55,320 --> 01:49:55,559
Speaker 2: them over.

2500
01:49:55,680 --> 01:49:59,000
Speaker 3: I did doctor John's book. Uh, I read her.

2501
01:49:59,240 --> 01:50:00,840
Speaker 2: I read her most of them. When they got my

2502
01:50:00,920 --> 01:50:06,680
Speaker 2: name and I want to definitely read it, but they

2503
01:50:06,840 --> 01:50:09,040
Speaker 2: mentioned me. I'll read the book just to make sure

2504
01:50:09,040 --> 01:50:12,720
Speaker 2: they got me in there. And uh, and the rock

2505
01:50:12,800 --> 01:50:16,559
Speaker 2: doc did a book. Uh he was Michael Jackson. Uh

2506
01:50:17,200 --> 01:50:20,880
Speaker 2: uh doctor before before the one that messed up. He

2507
01:50:21,080 --> 01:50:23,519
Speaker 2: was the original doctor. But he's a print of mine

2508
01:50:23,520 --> 01:50:23,800
Speaker 2: as well.

2509
01:50:23,880 --> 01:50:24,400
Speaker 3: He had a book.

2510
01:50:24,400 --> 01:50:26,519
Speaker 2: I read his book, and that's fantastic, man. And you know,

2511
01:50:26,720 --> 01:50:29,360
Speaker 2: like Shep Gordon put out a book, I read his.

2512
01:50:29,600 --> 01:50:31,479
Speaker 2: David Liebert put out a book. I read that book.

2513
01:50:32,200 --> 01:50:36,200
Speaker 3: Uh, I mean, uh it was Phil Raws had a book.

2514
01:50:36,240 --> 01:50:38,560
Speaker 2: I read his new All the guys that I know

2515
01:50:38,720 --> 01:50:41,320
Speaker 2: in this business, you know, I read to seeing, you know,

2516
01:50:42,040 --> 01:50:43,679
Speaker 2: and I'll see if they told the truth.

2517
01:50:45,520 --> 01:50:47,479
Speaker 3: But you know, it's it's been a lot of a

2518
01:50:47,560 --> 01:50:50,320
Speaker 3: lot of guys, you know, and nobody reads now, David,

2519
01:50:50,400 --> 01:50:52,679
Speaker 3: I still read. You know a lot of people don't

2520
01:50:52,680 --> 01:50:56,040
Speaker 3: do no reading. Reading is is rewarding to me. I

2521
01:50:56,160 --> 01:50:57,680
Speaker 3: just I like reading. You know.

2522
01:50:58,360 --> 01:51:00,840
Speaker 4: I'm with you there, Mario. Mar I want to thank

2523
01:51:00,920 --> 01:51:04,400
Speaker 4: you so much for spending this time with my audience

2524
01:51:04,479 --> 01:51:07,240
Speaker 4: and revealing all these stories that otherwise would be lost

2525
01:51:07,280 --> 01:51:08,360
Speaker 4: to the sands in time.

2526
01:51:09,600 --> 01:51:12,720
Speaker 3: Yeah. Well, I'm glad I'm around, still around, man, and

2527
01:51:13,720 --> 01:51:14,960
Speaker 3: I know I might be older than you.

2528
01:51:16,320 --> 01:51:19,160
Speaker 4: Yeah, but you don't act like it. You're just fast.

2529
01:51:19,200 --> 01:51:20,719
Speaker 4: You can still talk the trash.

2530
01:51:20,880 --> 01:51:22,760
Speaker 2: So you know, I'm still middlely ill you know, us

2531
01:51:22,880 --> 01:51:25,400
Speaker 2: make the thing every time someone saidmorrow, you're crazy, I said,

2532
01:51:25,400 --> 01:51:26,320
Speaker 2: thank you very much.

2533
01:51:28,479 --> 01:51:29,599
Speaker 4: Okay, thanks again.

2534
01:51:30,080 --> 01:51:33,080
Speaker 3: Yeah man, a pleasure you bet. Till next time.

2535
01:51:33,600 --> 01:51:35,040
Speaker 4: This is Bob left sets