1 00:00:00,520 --> 00:00:03,680 Speaker 1: Taking a Walk on Buzzsnight and welcome to the Taking 2 00:00:03,760 --> 00:00:06,360 Speaker 1: a Walk Podcast. Now, you know, one of the things 3 00:00:06,400 --> 00:00:09,520 Speaker 1: that I love most about doing the show is discovering 4 00:00:09,920 --> 00:00:12,800 Speaker 1: that the people who shaped the music business were often 5 00:00:13,320 --> 00:00:18,200 Speaker 1: first and foremost music lovers themselves, fans who just couldn't 6 00:00:18,239 --> 00:00:22,520 Speaker 1: stay on the sidelines. My guest today is Harold Bronson. 7 00:00:23,000 --> 00:00:26,119 Speaker 1: Now you may know the name from Rhino Records, the 8 00:00:26,200 --> 00:00:30,080 Speaker 1: label he co founded with Richard fuz Back in nineteen 9 00:00:30,240 --> 00:00:34,840 Speaker 1: seventy three, starting with a single retail store in Los Angeles. Now, 10 00:00:35,120 --> 00:00:38,920 Speaker 1: over the next three decades, Harold and Richard built Rhino 11 00:00:39,040 --> 00:00:43,800 Speaker 1: into something truly special, a label that didn't just release music. 12 00:00:44,159 --> 00:00:51,120 Speaker 1: It rescued, it preserved, it celebrated it, box sets, rarities, compilations. 13 00:00:51,360 --> 00:00:55,680 Speaker 1: I absolutely love Rhino. Rhino became the place where the 14 00:00:55,720 --> 00:00:58,920 Speaker 1: records you thought were gone forever suddenly came back to life. 15 00:00:59,480 --> 00:01:01,720 Speaker 1: But here's the part of Harold's story that stopped me 16 00:01:01,840 --> 00:01:05,679 Speaker 1: cold when I read about this pitch. Before all of that, 17 00:01:05,800 --> 00:01:09,240 Speaker 1: before the label, before the legacy, Harold Bronson was a 18 00:01:09,319 --> 00:01:12,160 Speaker 1: rock and roll singer. He was the lead vocalist and 19 00:01:12,280 --> 00:01:16,160 Speaker 1: main songwriter of an early seventies a Los Angeles band 20 00:01:16,200 --> 00:01:19,880 Speaker 1: called Mogan David and His Whinos. And here's the thing, 21 00:01:20,319 --> 00:01:25,120 Speaker 1: nobody ever heard that music until now, fifty plus years later, 22 00:01:25,200 --> 00:01:29,640 Speaker 1: those recordings are finally getting their first proper release. It's 23 00:01:29,680 --> 00:01:33,600 Speaker 1: called Savage Young Whinos. So today we're going to do 24 00:01:33,640 --> 00:01:35,880 Speaker 1: something I always love. We're going to go back to 25 00:01:35,920 --> 00:01:37,959 Speaker 1: the beginning. We're going to talk about what it felt 26 00:01:38,000 --> 00:01:40,800 Speaker 1: like to be a young musician in Los Angeles in 27 00:01:40,840 --> 00:01:44,960 Speaker 1: the early seventies, what the band meant to Harold, and 28 00:01:45,080 --> 00:01:48,760 Speaker 1: why this music is worth hearing right now. And then 29 00:01:48,760 --> 00:01:50,720 Speaker 1: we're going to get into Rhino, one of the great 30 00:01:50,800 --> 00:01:56,280 Speaker 1: label stories in American music history. Harold Bronson is next 31 00:01:56,320 --> 00:02:03,040 Speaker 1: on Taking a Walk, Taking a Walk. Harold Bronson, Welcome 32 00:02:03,040 --> 00:02:04,640 Speaker 1: to the Take Out a Walk Podcast. 33 00:02:05,200 --> 00:02:06,240 Speaker 2: Hi happy to be here. 34 00:02:07,320 --> 00:02:11,120 Speaker 1: So for people who've never heard of Mogan David and 35 00:02:11,200 --> 00:02:16,000 Speaker 1: his Winos, I love the name. I must say I 36 00:02:16,080 --> 00:02:21,120 Speaker 1: consumed at one point set the scene. What was the band, 37 00:02:21,160 --> 00:02:23,680 Speaker 1: when did it come together? And what was the sound 38 00:02:23,800 --> 00:02:25,120 Speaker 1: that you were going for? 39 00:02:26,240 --> 00:02:30,120 Speaker 2: Okay, well, first of all, I had a group in 40 00:02:30,200 --> 00:02:33,919 Speaker 2: high school. We never played anywhere. It was just for 41 00:02:34,400 --> 00:02:37,639 Speaker 2: you know, our own amusement, mostly during the summer, kind 42 00:02:37,680 --> 00:02:40,400 Speaker 2: of you know, butchering the hits of the day. But 43 00:02:40,880 --> 00:02:43,800 Speaker 2: when I was at UCLA, this would have been my 44 00:02:44,320 --> 00:02:47,000 Speaker 2: second year, I was writing for the UCLA Daily Bruin 45 00:02:47,520 --> 00:02:51,880 Speaker 2: in the entertainment section, more specifically about music, and other 46 00:02:51,960 --> 00:02:56,880 Speaker 2: people who also wrote played instruments. I decided I got 47 00:02:56,960 --> 00:03:00,760 Speaker 2: it into my head of making a record. So over 48 00:03:01,320 --> 00:03:04,760 Speaker 2: the Christmas break, four of us got together in the 49 00:03:04,800 --> 00:03:08,640 Speaker 2: piano players his parents or his family's living room. The 50 00:03:08,680 --> 00:03:11,280 Speaker 2: other three of us were writers for the Daily Bruin. 51 00:03:12,240 --> 00:03:16,840 Speaker 2: Jim Bickhart played bass. He was my editor, Jonathan Kellerman, 52 00:03:16,960 --> 00:03:20,800 Speaker 2: who subsequently became a New York Times best selling author. 53 00:03:20,960 --> 00:03:24,440 Speaker 2: He played guitar. I played drums. And I always loved 54 00:03:24,440 --> 00:03:27,360 Speaker 2: this song from Mad Magazine. You know, Mad Magazine was 55 00:03:27,440 --> 00:03:31,880 Speaker 2: really important to my and other generations as far as 56 00:03:33,200 --> 00:03:37,240 Speaker 2: educating us in the way of humor and satire and parody. 57 00:03:37,680 --> 00:03:42,080 Speaker 2: And I loved No's job. And at the time that 58 00:03:42,200 --> 00:03:45,440 Speaker 2: came out, I guess it was probably nineteen sixty two 59 00:03:45,480 --> 00:03:50,240 Speaker 2: sixty three, plastic surgery was, you know, more of a 60 00:03:50,680 --> 00:03:54,600 Speaker 2: subtle thing. People didn't necessarily wanted to know that they 61 00:03:54,640 --> 00:03:57,080 Speaker 2: had those jobs, so they you know, so there was 62 00:03:57,080 --> 00:03:59,760 Speaker 2: this like an outrageous song. I just loved it. Theirs 63 00:03:59,880 --> 00:04:04,200 Speaker 2: was done in a do wop style. Ours we did, 64 00:04:04,880 --> 00:04:07,760 Speaker 2: you know, straight ahead, I was thinking. I was thinking 65 00:04:07,840 --> 00:04:10,080 Speaker 2: Mick Jagger, not that I wanted to sound like him, 66 00:04:10,360 --> 00:04:14,280 Speaker 2: but I was singing these ridiculous lyrics. But you know, 67 00:04:14,440 --> 00:04:18,520 Speaker 2: just deadpan. She never had a boy to a walker 68 00:04:18,680 --> 00:04:21,080 Speaker 2: or home. You know, she never had a boy who 69 00:04:21,080 --> 00:04:23,760 Speaker 2: cared until she had her schnas repaired that type of thing. 70 00:04:24,279 --> 00:04:27,640 Speaker 2: And then and then we did a B side, and 71 00:04:27,720 --> 00:04:31,480 Speaker 2: the problem was my tape recorder, my two track tape recorder, 72 00:04:32,080 --> 00:04:37,080 Speaker 2: the sinking mechanism malfunction, meaning that when I played back 73 00:04:37,120 --> 00:04:42,760 Speaker 2: the instrumental track, the vocal track couldn't sink. So I 74 00:04:42,839 --> 00:04:45,400 Speaker 2: kind of like held on to the tape for many months, 75 00:04:45,440 --> 00:04:48,800 Speaker 2: like what do I do with this? And then the 76 00:04:48,839 --> 00:04:52,400 Speaker 2: next fall or the end of the summer the next 77 00:04:52,440 --> 00:04:56,200 Speaker 2: school year, three of my friends from high school who 78 00:04:56,200 --> 00:04:59,599 Speaker 2: were also UCLA, we rented an apartment in the UCLA 79 00:04:59,600 --> 00:05:04,320 Speaker 2: area directly across the hall. You know, our doors were 80 00:05:04,360 --> 00:05:08,560 Speaker 2: open directly across the hall. Comedian George Carlin with his family. 81 00:05:09,120 --> 00:05:11,400 Speaker 2: Now he wasn't that well known then because he was 82 00:05:11,400 --> 00:05:16,159 Speaker 2: in transition from kind of the straight established, short hair comedian. 83 00:05:16,240 --> 00:05:19,960 Speaker 2: He played Vegas, he got fired from Vegas and to 84 00:05:20,320 --> 00:05:24,280 Speaker 2: you know, morphing into the long hair hippie comedian who 85 00:05:24,400 --> 00:05:29,200 Speaker 2: you know, transitioned to less enumeration playing clubs. But anyway, 86 00:05:29,240 --> 00:05:32,560 Speaker 2: we hit it off because I was the hip music guy. 87 00:05:32,640 --> 00:05:34,240 Speaker 2: He was in the rock and roll. I mean, I 88 00:05:34,279 --> 00:05:36,520 Speaker 2: didn't know any of this, but getting to know him 89 00:05:37,400 --> 00:05:41,000 Speaker 2: when he was a lot younger, he was a DJ. 90 00:05:41,240 --> 00:05:44,120 Speaker 2: He loved music, he loved doop. So for me it 91 00:05:44,120 --> 00:05:46,559 Speaker 2: would be like, oh, you know what you know, what's 92 00:05:47,640 --> 00:05:50,560 Speaker 2: what's new? Or have you heard this band? And from 93 00:05:50,680 --> 00:05:54,400 Speaker 2: him I was more injured. We talked about Lenny Bruce 94 00:05:54,520 --> 00:05:57,960 Speaker 2: because Lenny Bruce's recordings were not available then, so it 95 00:05:58,040 --> 00:05:59,839 Speaker 2: was kind of a nice friendship. But he wasn't a 96 00:06:00,360 --> 00:06:04,000 Speaker 2: much because he was on the road and when typically 97 00:06:04,960 --> 00:06:06,840 Speaker 2: when he would be home, not only would he want 98 00:06:06,839 --> 00:06:09,280 Speaker 2: to be with his family, but he would be you know, writing. 99 00:06:09,400 --> 00:06:13,880 Speaker 2: He liked writing. So I borrowed his long shorts, I 100 00:06:13,920 --> 00:06:17,040 Speaker 2: borrowed his tape recorder, and I finished off the record 101 00:06:17,560 --> 00:06:20,919 Speaker 2: and a few months later we pressed it. So that 102 00:06:21,040 --> 00:06:25,920 Speaker 2: was the first record, and then I did a subsequent 103 00:06:26,080 --> 00:06:29,960 Speaker 2: single with a slightly different group of musicians, also from 104 00:06:29,960 --> 00:06:34,520 Speaker 2: the Daily Bruin, so those were privately pressed, and then 105 00:06:35,880 --> 00:06:40,120 Speaker 2: we recorded a third single. But the first those jobs 106 00:06:40,160 --> 00:06:43,760 Speaker 2: sold well. The second one, Street Baby, which was a 107 00:06:43,760 --> 00:06:47,320 Speaker 2: better record, but you know, straight record sold like less 108 00:06:47,320 --> 00:06:50,880 Speaker 2: than half as much. So for the third single, I thought, 109 00:06:50,960 --> 00:06:54,200 Speaker 2: rather than put out a third single, maybe I could 110 00:06:54,200 --> 00:06:56,919 Speaker 2: get more mileage, more attention by putting out an album. 111 00:06:57,760 --> 00:07:01,839 Speaker 2: And the Who's Lived leads had come out, and aside 112 00:07:01,839 --> 00:07:05,040 Speaker 2: from the live recording of this concert, they had all 113 00:07:05,080 --> 00:07:08,159 Speaker 2: these inserts from the history of the band inserts, so 114 00:07:08,200 --> 00:07:11,360 Speaker 2: I thought, oh, let's do like what they did, but 115 00:07:11,520 --> 00:07:14,400 Speaker 2: in our case, in some you know, we made fun 116 00:07:14,440 --> 00:07:17,040 Speaker 2: of the band. So we had Paul Rappaport, the new 117 00:07:17,080 --> 00:07:21,160 Speaker 2: guitar player, his failed music test at UCLA, you know, 118 00:07:21,280 --> 00:07:23,160 Speaker 2: a big f on it. So we did things like that. 119 00:07:23,200 --> 00:07:25,520 Speaker 2: So we made an interesting package and we got a 120 00:07:25,520 --> 00:07:29,679 Speaker 2: lot of attention. That came out in August nineteen seventy three. 121 00:07:30,880 --> 00:07:34,040 Speaker 2: This album was kind of like the fifty year and 122 00:07:34,120 --> 00:07:37,880 Speaker 2: a plus three year you know, reunion of this album. 123 00:07:38,800 --> 00:07:42,840 Speaker 2: And I really, you know, I didn't initiate doing this originally, 124 00:07:44,400 --> 00:07:48,080 Speaker 2: prior to Liberation Hall, you know, making the deal for this. 125 00:07:48,440 --> 00:07:53,400 Speaker 2: I was contacted by this guy in Australia who had 126 00:07:53,440 --> 00:07:57,240 Speaker 2: a small label, and he was saying, oh yeah, I 127 00:07:57,320 --> 00:08:00,720 Speaker 2: bought The Savage Young Linos by Morgan Day as Winos. 128 00:08:00,760 --> 00:08:04,360 Speaker 2: I bought the album at a record meet and I 129 00:08:04,400 --> 00:08:07,840 Speaker 2: always loved it and at some point a roommate made 130 00:08:07,920 --> 00:08:09,920 Speaker 2: off with it and I've been thinking about it. So 131 00:08:10,000 --> 00:08:14,520 Speaker 2: basically he got in touch because he wanted to reissue 132 00:08:14,520 --> 00:08:16,400 Speaker 2: it on his small label, and we went back and 133 00:08:16,440 --> 00:08:19,080 Speaker 2: forth for about a year. That didn't happen, and then 134 00:08:19,400 --> 00:08:23,680 Speaker 2: a year later a Liberation Hall contacted me and through 135 00:08:23,720 --> 00:08:27,880 Speaker 2: the process. So I'm really happy with how it's turned out. 136 00:08:29,280 --> 00:08:32,880 Speaker 1: That is such a saka. My goodness. Now I want 137 00:08:32,880 --> 00:08:35,840 Speaker 1: to go back to you mention of Paul Rappaport, my 138 00:08:35,920 --> 00:08:40,560 Speaker 1: dear friend who's been on this podcast before and worked 139 00:08:40,640 --> 00:08:43,400 Speaker 1: me many a record when he was working with the 140 00:08:43,920 --> 00:08:48,160 Speaker 1: Columbia great guy. He was he part of this band? 141 00:08:48,200 --> 00:08:51,599 Speaker 1: Did you say that? Or was he part of another incarnation? 142 00:08:52,160 --> 00:08:56,760 Speaker 2: He was an important part of the band. So Kellerman, 143 00:08:56,880 --> 00:08:59,240 Speaker 2: who was on the first record, he went off to 144 00:08:59,280 --> 00:09:01,520 Speaker 2: grad school so he didn't have time for us anymore. 145 00:09:01,920 --> 00:09:04,440 Speaker 2: So I met Paul when he was the college rep 146 00:09:04,800 --> 00:09:08,480 Speaker 2: for CBS Records at UCLA, and we became friends, and 147 00:09:08,559 --> 00:09:13,040 Speaker 2: in fact, when he graduated, I then became the college 148 00:09:13,080 --> 00:09:17,560 Speaker 2: rep after him. He got me that position. But yes, 149 00:09:18,080 --> 00:09:21,560 Speaker 2: so an important part of the band. You know, a 150 00:09:21,600 --> 00:09:28,000 Speaker 2: great guitar player, and he's on a more majority of 151 00:09:28,040 --> 00:09:31,600 Speaker 2: the tracks on the album. So and I just think 152 00:09:31,640 --> 00:09:34,640 Speaker 2: he's great and it's a lot of fun working with 153 00:09:34,760 --> 00:09:38,599 Speaker 2: him in general. But yeah, I mean, aside from you 154 00:09:38,840 --> 00:09:41,360 Speaker 2: just being a guitar that a really creative guy. I 155 00:09:41,400 --> 00:09:44,080 Speaker 2: mean just yeah, so and. 156 00:09:44,480 --> 00:09:48,520 Speaker 1: One of the great guys, and quite a magician and 157 00:09:48,880 --> 00:09:54,040 Speaker 1: card player or card trickery guy as well, but just 158 00:09:54,640 --> 00:09:59,440 Speaker 1: a wonderful, wonderful guy. Love his book. That's fantastic. So 159 00:09:59,440 --> 00:10:04,120 Speaker 1: so here we are. It's fifty plus years later, Liberation Hall. 160 00:10:04,320 --> 00:10:07,240 Speaker 1: You did the deal when you went back and forth 161 00:10:07,280 --> 00:10:11,560 Speaker 1: and kind of listened to the recordings again, Was it 162 00:10:11,640 --> 00:10:16,280 Speaker 1: all pride? Was there a little bit of cringe? Was 163 00:10:16,280 --> 00:10:19,240 Speaker 1: it nostalgia? Was it a little mixture of it all? 164 00:10:19,440 --> 00:10:22,800 Speaker 2: Tell me a little mixture. But first all, yeah, the 165 00:10:23,160 --> 00:10:27,720 Speaker 2: context of this, and there's significance for two reasons. One 166 00:10:27,840 --> 00:10:31,240 Speaker 2: is the two singles in the album that I originally 167 00:10:31,240 --> 00:10:36,679 Speaker 2: put out in the early seventies. This anticipated the DIY 168 00:10:36,880 --> 00:10:41,719 Speaker 2: trend you know, a few years later. And then secondly, 169 00:10:42,760 --> 00:10:47,880 Speaker 2: this gave me the wherewithal as it related to forming 170 00:10:47,920 --> 00:10:50,600 Speaker 2: the Rhino label. So I said to Richard Fuss, who 171 00:10:50,600 --> 00:10:53,560 Speaker 2: owned the store, I said, look, you know, I put 172 00:10:53,559 --> 00:10:55,800 Speaker 2: out these two singles and album. I know how to 173 00:10:55,840 --> 00:10:58,600 Speaker 2: do this. Let's start a label in the back room 174 00:10:58,640 --> 00:11:01,040 Speaker 2: of the store. So we started, you know, really slowly, 175 00:11:01,400 --> 00:11:04,000 Speaker 2: and then when we ramped up, we went in partners 176 00:11:04,080 --> 00:11:07,880 Speaker 2: and went to our our own location. So you know, 177 00:11:07,920 --> 00:11:10,680 Speaker 2: that's the significance of this. But but I think, you know, 178 00:11:11,240 --> 00:11:15,840 Speaker 2: in the context, it's really authentic, which is to say, 179 00:11:16,480 --> 00:11:19,319 Speaker 2: on the live tracks, you know, it's really us as 180 00:11:19,360 --> 00:11:22,520 Speaker 2: you well know, a lot of you know, live recordings, 181 00:11:23,040 --> 00:11:26,640 Speaker 2: you know people the musicians going later, they fix this, 182 00:11:26,800 --> 00:11:29,760 Speaker 2: they are the bass isn't very good, let me replace it. 183 00:11:29,800 --> 00:11:32,920 Speaker 2: So a lot of live recordings are you know, finagled 184 00:11:32,920 --> 00:11:35,320 Speaker 2: with in the studio. So this is all the live 185 00:11:35,360 --> 00:11:39,760 Speaker 2: stuff is all straight, and and the other thing is 186 00:11:39,800 --> 00:11:43,680 Speaker 2: it's a little bit rough again and kind of anticipating 187 00:11:44,000 --> 00:11:46,640 Speaker 2: what happened later on the decade. But I think it's 188 00:11:46,679 --> 00:11:51,199 Speaker 2: really good because our orientation was we love the music 189 00:11:51,280 --> 00:11:53,760 Speaker 2: from the sixties, you know, the rock band stuff from 190 00:11:53,760 --> 00:11:56,000 Speaker 2: the sixties. You know, we grew up with the Beatles 191 00:11:56,000 --> 00:11:58,720 Speaker 2: and the Rolling Stones, but of course the Who and 192 00:11:58,800 --> 00:12:03,320 Speaker 2: the Yardbirds, the Kinks, so that was fun for us. 193 00:12:03,360 --> 00:12:06,920 Speaker 2: And when we were playing out, most of our set 194 00:12:07,240 --> 00:12:10,560 Speaker 2: were from the you know, from that era, and nobody 195 00:12:10,679 --> 00:12:13,319 Speaker 2: in the Los Angeles area, nobody was doing it. So 196 00:12:13,360 --> 00:12:17,040 Speaker 2: people really enjoyed us because they would hear you know, 197 00:12:17,800 --> 00:12:20,560 Speaker 2: you really got me by the Kinks or just like 198 00:12:20,679 --> 00:12:22,760 Speaker 2: Me by Paul Revere and the Raiders, and nobody was 199 00:12:22,800 --> 00:12:24,960 Speaker 2: doing that. And then you know, we were you know, 200 00:12:25,960 --> 00:12:27,920 Speaker 2: we had a few originals. I mean, you know, those 201 00:12:27,920 --> 00:12:31,160 Speaker 2: are the part of the set as well. So what 202 00:12:31,200 --> 00:12:36,840 Speaker 2: I'm saying is that in the in this period it 203 00:12:36,920 --> 00:12:39,559 Speaker 2: was kind of like progressive and jamming bands Who of 204 00:12:39,640 --> 00:12:43,360 Speaker 2: His Big Band, Santana, the Alman Brothers. Yes, I mean, 205 00:12:43,559 --> 00:12:47,559 Speaker 2: we weren't anything like that. So by by myself and 206 00:12:47,640 --> 00:12:51,960 Speaker 2: my co writer Mark Levitton kind of crafting the songs 207 00:12:52,080 --> 00:12:54,360 Speaker 2: like the two and a half and three minute singles 208 00:12:55,000 --> 00:12:58,600 Speaker 2: we grew up with. You know, they're really enjoyable because 209 00:12:58,600 --> 00:13:01,319 Speaker 2: they're really well thought out. They're not kind of long 210 00:13:01,440 --> 00:13:06,880 Speaker 2: meanderan things. So yeah, so in putting it together, really 211 00:13:07,000 --> 00:13:10,319 Speaker 2: enjoying listening to it. I think the stuff is really good. 212 00:13:10,600 --> 00:13:14,600 Speaker 2: But at the same time, because we were really low budget, 213 00:13:14,720 --> 00:13:18,559 Speaker 2: in and out of the studio really quickly, they're not polished, 214 00:13:19,840 --> 00:13:20,680 Speaker 2: but it's real. 215 00:13:21,120 --> 00:13:26,480 Speaker 1: And that was ultimately, as you referenced, that was the 216 00:13:26,520 --> 00:13:30,280 Speaker 1: core of what Rhino was all about when you launched 217 00:13:30,320 --> 00:13:35,760 Speaker 1: as a label in seventy five. The early releases. Maybe 218 00:13:35,800 --> 00:13:38,520 Speaker 1: talk about some of those early releases. They were very 219 00:13:39,679 --> 00:13:45,679 Speaker 1: eclectic releases, and yet you gave the freedom, certainly to 220 00:13:45,920 --> 00:13:48,559 Speaker 1: artists to be themselves and be real. 221 00:13:49,600 --> 00:13:53,960 Speaker 2: Okay, So we experimented with a few singles, and we 222 00:13:54,120 --> 00:13:59,800 Speaker 2: date the label from nineteen seventy eight because that's when 223 00:13:59,840 --> 00:14:03,079 Speaker 2: we made more of a serious commitment by putting out albums, 224 00:14:04,280 --> 00:14:09,520 Speaker 2: you know, more expensive manufacturing than mere singles. In the 225 00:14:09,600 --> 00:14:14,000 Speaker 2: first year, the three things we were going for actually 226 00:14:14,000 --> 00:14:17,080 Speaker 2: remained consistent, but in different levels. So we love the 227 00:14:17,120 --> 00:14:20,360 Speaker 2: novelty records. We grew up with Alan Sherman and Purple 228 00:14:20,360 --> 00:14:23,000 Speaker 2: People and all that, and of course you know knows job. 229 00:14:23,840 --> 00:14:26,920 Speaker 2: So the first year, our most successful record we get 230 00:14:26,920 --> 00:14:31,960 Speaker 2: in an EP of the Temple City kazoo orchestra, so 231 00:14:32,160 --> 00:14:36,000 Speaker 2: kazoo versions of rock and roll songs. It got airplay 232 00:14:36,040 --> 00:14:39,680 Speaker 2: a little bit here and there. Much later we heard 233 00:14:39,720 --> 00:14:43,960 Speaker 2: from Lawrence Jewber, who was in Wings Paul McCartney's group, 234 00:14:44,160 --> 00:14:46,920 Speaker 2: that Paul McCartney was like, you know, looking all over 235 00:14:47,000 --> 00:14:49,960 Speaker 2: London for a copy. So that was nineteen seventy eight. 236 00:14:50,600 --> 00:14:54,880 Speaker 2: We also put out we supported local bands Los Angeles 237 00:14:54,960 --> 00:14:59,040 Speaker 2: area bands, and a little bit into the reissues. But 238 00:14:59,640 --> 00:15:01,760 Speaker 2: to do most of the reissues we had to pay 239 00:15:01,800 --> 00:15:05,840 Speaker 2: advances to the major labels in advance against royalties earned, 240 00:15:06,440 --> 00:15:09,320 Speaker 2: and it took a while for us to accumulate some 241 00:15:09,440 --> 00:15:12,160 Speaker 2: extra money to do that, so that was kind of slow. 242 00:15:13,000 --> 00:15:18,560 Speaker 2: Ultimately that's worked out best for us because local radio 243 00:15:18,960 --> 00:15:21,720 Speaker 2: didn't you know, support the bands. They didn't play, you 244 00:15:21,720 --> 00:15:23,640 Speaker 2: don't get the airplay. As you well know, you don't 245 00:15:23,680 --> 00:15:28,480 Speaker 2: sell records. Novelty radio tightened up, they stopped playing that sort. 246 00:15:28,720 --> 00:15:32,160 Speaker 2: So the only thing that really worked for us were 247 00:15:32,160 --> 00:15:36,520 Speaker 2: they were reissues. But the difference for us is the 248 00:15:36,600 --> 00:15:39,440 Speaker 2: major labels, if they had some of this out, they 249 00:15:39,480 --> 00:15:42,440 Speaker 2: would try to squeeze out a little bit extra profit 250 00:15:42,560 --> 00:15:45,840 Speaker 2: of these older masters. For us, it was this music 251 00:15:45,960 --> 00:15:49,880 Speaker 2: was important to us growing up. We've got to let's 252 00:15:49,920 --> 00:15:52,520 Speaker 2: make it, you know, sound really good, in some cases 253 00:15:52,560 --> 00:15:56,000 Speaker 2: better than when we you know, then the original records 254 00:15:56,240 --> 00:15:59,480 Speaker 2: track down rare photos, having sideful liner notes. So we 255 00:15:59,480 --> 00:16:01,800 Speaker 2: were really the first ones to approach this on a 256 00:16:01,800 --> 00:16:05,640 Speaker 2: consistent basis with quality in mind. And that's really what 257 00:16:05,720 --> 00:16:07,720 Speaker 2: built the business. There were a lot of people who 258 00:16:07,760 --> 00:16:11,320 Speaker 2: felt like us and appreciated what we did, and you know, 259 00:16:11,640 --> 00:16:14,920 Speaker 2: it was a slow build, but it was a build nonetheless, 260 00:16:14,960 --> 00:16:18,320 Speaker 2: and that's really what I built the business. I should, 261 00:16:18,440 --> 00:16:21,840 Speaker 2: you know, plug the Rhino Record story book, where you know, 262 00:16:21,880 --> 00:16:24,520 Speaker 2: the whole story of the Rhino label is in there, 263 00:16:24,520 --> 00:16:27,040 Speaker 2: including a lot of the wacky things we did. 264 00:16:27,560 --> 00:16:29,760 Speaker 3: We'll be right back with more of the Taking a 265 00:16:29,760 --> 00:16:38,000 Speaker 3: Walk podcast. Welcome back to the Taking a Walk Podcast. 266 00:16:38,880 --> 00:16:43,360 Speaker 1: Morning show radio, which I did back when when Rhino 267 00:16:43,600 --> 00:16:49,120 Speaker 1: was was first beginning. Morning show radio really benefited from 268 00:16:49,400 --> 00:16:52,760 Speaker 1: so many of these novelty songs that just became, you know, 269 00:16:52,840 --> 00:16:56,080 Speaker 1: the fabric of some of these morning shows. Some might say, 270 00:16:56,600 --> 00:16:58,920 Speaker 1: you know, maybe it really bailed us out because we 271 00:16:58,960 --> 00:17:02,480 Speaker 1: didn't have this tremendou this talent as morning shows. But 272 00:17:02,560 --> 00:17:05,119 Speaker 1: you gave us a lot of great music to be 273 00:17:05,160 --> 00:17:08,159 Speaker 1: able to play to kind of have this backdrop for 274 00:17:09,000 --> 00:17:12,679 Speaker 1: local radio, and it just puts a smile on my 275 00:17:12,720 --> 00:17:14,800 Speaker 1: face thinking about so many of those songs. 276 00:17:14,840 --> 00:17:17,399 Speaker 2: You know, well, you know our orientations, you know, growing 277 00:17:17,480 --> 00:17:19,840 Speaker 2: up with music in the fifties and sixties, a lot 278 00:17:19,840 --> 00:17:22,959 Speaker 2: of it was fun and spirited and of quart silly, 279 00:17:23,680 --> 00:17:27,119 Speaker 2: and you know, well into the seventies, you know, the 280 00:17:27,200 --> 00:17:30,159 Speaker 2: music business became much a bigger business, and it was 281 00:17:30,240 --> 00:17:35,000 Speaker 2: like everybody was so serious. We felt, you know, it 282 00:17:35,040 --> 00:17:37,199 Speaker 2: was really lacking. I mean on a different level. You know, 283 00:17:37,240 --> 00:17:40,160 Speaker 2: think of like somebody like Little Richard. If you weren't 284 00:17:40,160 --> 00:17:42,399 Speaker 2: familiar with Little Richard and you heard his records, he 285 00:17:42,480 --> 00:17:46,080 Speaker 2: almost sounds like a cartoon character. So you know, that's 286 00:17:46,080 --> 00:17:48,639 Speaker 2: what I'm saying. The spirit, the fun. Jerry Lee Lewis 287 00:17:48,760 --> 00:17:50,960 Speaker 2: is another one. So it's not to say we were 288 00:17:50,960 --> 00:17:54,320 Speaker 2: making records like that, but a lot of our orientation 289 00:17:54,640 --> 00:17:57,960 Speaker 2: was we just felt that the you know, fun was 290 00:17:58,000 --> 00:18:00,480 Speaker 2: missing from rock and roll. But like I said, we 291 00:18:00,520 --> 00:18:05,040 Speaker 2: didn't get enough airplay to you know, to sustain that. 292 00:18:06,320 --> 00:18:09,600 Speaker 1: But it was an incredible sense of differentiation that Rhino 293 00:18:09,720 --> 00:18:12,960 Speaker 1: really had compared to the rest of the landscape, which 294 00:18:13,040 --> 00:18:16,600 Speaker 1: was certainly chasing, you know, chasing hits and trying to 295 00:18:17,240 --> 00:18:20,879 Speaker 1: you know, build them into the next generation of hits. 296 00:18:21,960 --> 00:18:24,520 Speaker 1: But that sense of humor was so incredible. What were 297 00:18:24,560 --> 00:18:28,040 Speaker 1: some of the comedy albums that Rhino also put out 298 00:18:28,119 --> 00:18:29,399 Speaker 1: during that period. 299 00:18:30,400 --> 00:18:34,520 Speaker 2: I mean by comedians or over Yeah, okay, well not 300 00:18:34,680 --> 00:18:37,720 Speaker 2: this isn't the same thing. But the first best of 301 00:18:37,760 --> 00:18:41,560 Speaker 2: album we put out was by Alan Sherman. I was 302 00:18:42,200 --> 00:18:45,200 Speaker 2: for Richard and myself and other people like weird Al Yankovic, 303 00:18:45,520 --> 00:18:50,240 Speaker 2: you know, really important, really important to us. And again 304 00:18:50,720 --> 00:18:55,520 Speaker 2: also as it relates to not only parody but satire. 305 00:18:56,440 --> 00:18:59,960 Speaker 2: So Alan Sherman, what he was singing about wasn't mere, 306 00:19:01,080 --> 00:19:04,960 Speaker 2: oh this is a funny song. It was commenting on 307 00:19:05,560 --> 00:19:10,320 Speaker 2: you know, what was happening in society, is it was progressing, 308 00:19:11,200 --> 00:19:13,960 Speaker 2: So it was you know, there was a real good subject. 309 00:19:14,040 --> 00:19:16,240 Speaker 2: So I mean one of the first ones we put 310 00:19:16,280 --> 00:19:20,240 Speaker 2: out there was a Rodney Dangerfield album that he recorded 311 00:19:21,080 --> 00:19:26,000 Speaker 2: as Rodney Dangerfield before he became big. That was out 312 00:19:26,000 --> 00:19:28,959 Speaker 2: of print, you know, so we put that out. That 313 00:19:29,000 --> 00:19:32,600 Speaker 2: did well. We had a long term relation with the Turtles. 314 00:19:32,680 --> 00:19:35,920 Speaker 2: We reissued their catalog, We put out some of the 315 00:19:36,040 --> 00:19:40,359 Speaker 2: Flow and Eddy albums. Howard Kalin and Mark Vohman just 316 00:19:40,440 --> 00:19:44,280 Speaker 2: love those guys. At one point they were into craft work, 317 00:19:45,359 --> 00:19:49,920 Speaker 2: but their version of that was the little Cassio mini 318 00:19:50,040 --> 00:19:53,280 Speaker 2: kind of dinky toy that that made music in it. 319 00:19:53,400 --> 00:19:56,160 Speaker 2: That's similar to the big computer things the craft for. 320 00:19:56,640 --> 00:19:59,440 Speaker 2: So they would they composed this stuff and we did 321 00:19:59,440 --> 00:20:02,360 Speaker 2: a record with it was an EP like we made 322 00:20:02,440 --> 00:20:07,360 Speaker 2: up this German group called Salts and Theeffer Salt and Pepper, right, 323 00:20:08,160 --> 00:20:10,959 Speaker 2: and we put the we put out that the album 324 00:20:11,240 --> 00:20:14,440 Speaker 2: was in German, German and English. We made it look 325 00:20:14,600 --> 00:20:20,520 Speaker 2: like you know, we called it the group checkpoint Charlie. 326 00:20:20,840 --> 00:20:25,960 Speaker 2: But anyway, I cut the record so that you put 327 00:20:26,000 --> 00:20:28,360 Speaker 2: the needle not on the end when you normally would, 328 00:20:28,400 --> 00:20:30,800 Speaker 2: You put it where the label was, and it played 329 00:20:31,080 --> 00:20:34,639 Speaker 2: out so it kind of played backwards physically. So I'm 330 00:20:34,680 --> 00:20:37,280 Speaker 2: saying is we would be creative. We would do this stuff. 331 00:20:37,640 --> 00:20:39,760 Speaker 2: You know, most of the time we didn't get really 332 00:20:39,800 --> 00:20:42,560 Speaker 2: the attention or the appreciation like wow, look at look 333 00:20:42,560 --> 00:20:45,399 Speaker 2: at how great this is. But that's at least an 334 00:20:45,440 --> 00:20:49,199 Speaker 2: example of some of the stuff that we you know, 335 00:20:49,240 --> 00:20:49,840 Speaker 2: that we did. 336 00:20:50,920 --> 00:20:54,960 Speaker 1: So you were co president from seventy three all the 337 00:20:55,000 --> 00:20:58,679 Speaker 1: way to two thousand and one, almost three decades, and 338 00:20:59,440 --> 00:21:03,639 Speaker 1: is a one project in particular that sticks out that 339 00:21:03,680 --> 00:21:06,159 Speaker 1: you're just so immensely proud of. 340 00:21:07,200 --> 00:21:09,720 Speaker 2: Well, you know, it's a there's so many things that 341 00:21:09,760 --> 00:21:15,399 Speaker 2: we did. The main thing would be the Monkeys. Originally 342 00:21:15,480 --> 00:21:19,360 Speaker 2: we were licensors. I made that licensing deal and then 343 00:21:19,359 --> 00:21:22,239 Speaker 2: in a certain point we were able to buy the 344 00:21:22,320 --> 00:21:27,040 Speaker 2: rights to the catalog and the name, so I kind 345 00:21:27,040 --> 00:21:32,960 Speaker 2: of on a marketing level a quarterback. Then. Obviously there's 346 00:21:33,000 --> 00:21:36,440 Speaker 2: other people involved, a lot of people who were you know, 347 00:21:36,480 --> 00:21:38,520 Speaker 2: who did it. But for me, it was a matter of, okay, 348 00:21:38,880 --> 00:21:41,960 Speaker 2: every like six to eight months, let's put something in 349 00:21:42,000 --> 00:21:45,040 Speaker 2: the marketplace to remind people of the Monkeys, you know, 350 00:21:45,119 --> 00:21:48,920 Speaker 2: from oh, here's this special album or this album package too. 351 00:21:49,320 --> 00:21:54,400 Speaker 2: We did a documentary with the Disney Channel, and then 352 00:21:54,800 --> 00:21:58,199 Speaker 2: then we did the video box set, which before DVD 353 00:21:58,400 --> 00:22:02,240 Speaker 2: was on VHS, we made it looked like a TV box. 354 00:22:02,760 --> 00:22:05,600 Speaker 2: That was that so really well that was special. Or 355 00:22:05,640 --> 00:22:11,440 Speaker 2: then I did a docu drama with VH one that 356 00:22:11,600 --> 00:22:15,000 Speaker 2: was that came out in two thousand. So that's what 357 00:22:15,000 --> 00:22:17,719 Speaker 2: I'm saying is a matter of it was because I 358 00:22:17,800 --> 00:22:22,040 Speaker 2: was such a big fan, you know, the fandom, the 359 00:22:23,320 --> 00:22:26,560 Speaker 2: it just it generated all these ideas because like what 360 00:22:26,600 --> 00:22:30,439 Speaker 2: can we do to you know, expose this great music 361 00:22:30,520 --> 00:22:32,760 Speaker 2: and the TV show to people, and how do we 362 00:22:32,840 --> 00:22:34,760 Speaker 2: remind people of how, you know, how good it was. 363 00:22:35,520 --> 00:22:40,520 Speaker 1: So Warner Music Group acquired Rhino in the nineties. What 364 00:22:41,520 --> 00:22:43,879 Speaker 1: year was that that that acquisition occurred. 365 00:22:44,000 --> 00:22:47,639 Speaker 2: Well, the initial thing was we did a joint venture 366 00:22:47,680 --> 00:22:52,000 Speaker 2: with Atlantic Records. Atlantic Records of course part of the 367 00:22:52,040 --> 00:22:55,159 Speaker 2: Warner Music Group, and then that was in nineteen ninety 368 00:22:55,200 --> 00:22:58,919 Speaker 2: two and the main reason why we did that was 369 00:22:59,600 --> 00:23:03,719 Speaker 2: we had access to their catalog to reissue on Rhino. 370 00:23:04,000 --> 00:23:06,200 Speaker 2: So it wasn't like the top line stuff. It wasn't 371 00:23:06,240 --> 00:23:09,960 Speaker 2: like Led Zeppelin and Crosby Stills, A Nash and you know, 372 00:23:10,160 --> 00:23:12,800 Speaker 2: Emersilinka Palmer, but it was still good stuff. It was 373 00:23:12,960 --> 00:23:17,320 Speaker 2: Wretha Franklin and the Rascals and you know Stacks. I 374 00:23:17,320 --> 00:23:20,560 Speaker 2: mean a lot of things. And anyway, there was kind 375 00:23:20,600 --> 00:23:26,119 Speaker 2: of a formula involved. But that triggered in nineteen ninety 376 00:23:26,160 --> 00:23:31,080 Speaker 2: eight is when they became one hundred percent owners. And 377 00:23:31,480 --> 00:23:36,159 Speaker 2: I think we had like contracts like four years or 378 00:23:36,200 --> 00:23:39,760 Speaker 2: four years remaining on our contract. So at the so 379 00:23:39,840 --> 00:23:42,879 Speaker 2: I left, you know, towards the end of two thousand 380 00:23:42,880 --> 00:23:46,440 Speaker 2: and one. Richard left a few months later. We were 381 00:23:46,480 --> 00:23:50,880 Speaker 2: doing really well. So obviously, if you remember illegal downloading 382 00:23:51,440 --> 00:23:55,359 Speaker 2: sales within the industry were in decline, and you know, 383 00:23:55,440 --> 00:23:58,320 Speaker 2: the record of the labels are having difficulty. Ours were 384 00:23:58,400 --> 00:24:02,320 Speaker 2: still ascending, Our sales were up, our profits were up. 385 00:24:02,960 --> 00:24:06,679 Speaker 2: So I think Richard and I would have liked to 386 00:24:06,840 --> 00:24:09,560 Speaker 2: have at least extended by at least a year or so. 387 00:24:09,760 --> 00:24:12,640 Speaker 2: But the new head of the Warner Music Group want 388 00:24:12,720 --> 00:24:15,159 Speaker 2: did his own person in there, and you know, just 389 00:24:15,200 --> 00:24:21,399 Speaker 2: to somebody who was beholden to him, not necessarily somebody 390 00:24:22,400 --> 00:24:26,440 Speaker 2: or two people who were you know, successful aside from him. 391 00:24:26,520 --> 00:24:29,800 Speaker 2: So anyway, but the driving thing to us was never 392 00:24:29,840 --> 00:24:32,280 Speaker 2: really the money. It was always the music. 393 00:24:32,400 --> 00:24:32,639 Speaker 3: You know. 394 00:24:32,760 --> 00:24:35,240 Speaker 2: It's like like, oh wow, we can put this out, 395 00:24:35,320 --> 00:24:37,480 Speaker 2: or let's try and do this, or here's an idea. 396 00:24:38,119 --> 00:24:41,639 Speaker 2: The company was really well run. We treated our employees 397 00:24:41,680 --> 00:24:44,880 Speaker 2: really well as you could, you know, ask Emily, and 398 00:24:45,440 --> 00:24:49,600 Speaker 2: so I think the benefit was, you know, the financial, 399 00:24:49,640 --> 00:24:51,320 Speaker 2: It was never really the initial goal. 400 00:24:52,280 --> 00:24:56,520 Speaker 1: So you've had this this really fascinating career, your music 401 00:24:56,960 --> 00:25:00,320 Speaker 1: writing aspect of your career and being a critic and 402 00:25:01,200 --> 00:25:05,320 Speaker 1: then watching as a musician and watching the music industry 403 00:25:05,680 --> 00:25:10,439 Speaker 1: transform dramatically from the whole vinyl to cassette, the CD 404 00:25:10,760 --> 00:25:15,679 Speaker 1: to digital to streaming from your perch, what has the 405 00:25:15,760 --> 00:25:20,159 Speaker 1: industry gotten right and where has it gone wrong? And 406 00:25:20,240 --> 00:25:22,360 Speaker 1: how it treats its own history. 407 00:25:23,520 --> 00:25:28,480 Speaker 2: Well, So initially, you know, you have to think popular 408 00:25:28,560 --> 00:25:32,280 Speaker 2: music going way back, but it was always of the 409 00:25:32,320 --> 00:25:34,800 Speaker 2: immediate time, so you would try to get a hit 410 00:25:35,160 --> 00:25:37,520 Speaker 2: if you had to hit great, and as it was 411 00:25:37,600 --> 00:25:41,880 Speaker 2: going down the charts, you were thinking the next hit, 412 00:25:42,040 --> 00:25:45,840 Speaker 2: trying to get the next hit. So the catalog and 413 00:25:45,880 --> 00:25:50,560 Speaker 2: the history really wasn't valued that much until I think 414 00:25:50,920 --> 00:25:54,119 Speaker 2: we at least changed some minds and put a different 415 00:25:54,240 --> 00:25:58,359 Speaker 2: like focused on And so in a sense, I think 416 00:25:58,880 --> 00:26:03,800 Speaker 2: we created this whole industry because other labels saw how 417 00:26:03,880 --> 00:26:07,399 Speaker 2: well we were doing and they started their own little 418 00:26:07,400 --> 00:26:12,240 Speaker 2: boutique reissue labels and focusing more on quality. So music 419 00:26:12,320 --> 00:26:17,959 Speaker 2: fans everywhere benefited from something we started. But as it 420 00:26:18,000 --> 00:26:23,480 Speaker 2: relates to today, on one hand, streaming is great because 421 00:26:24,680 --> 00:26:27,760 Speaker 2: if you want to hear something, more likely than not 422 00:26:27,920 --> 00:26:29,879 Speaker 2: you have access you could find I wonder what this 423 00:26:29,960 --> 00:26:32,439 Speaker 2: sounds like? I heard this? Let me listen to it 424 00:26:32,480 --> 00:26:35,960 Speaker 2: again and you know, before determining whether you want to 425 00:26:36,040 --> 00:26:39,080 Speaker 2: make a purchase or not. But the difference for us 426 00:26:39,320 --> 00:26:44,119 Speaker 2: is we were trying to enhance the music experience. So 427 00:26:44,119 --> 00:26:47,800 Speaker 2: it wasn't only you know, here's the album, here's the song. 428 00:26:48,400 --> 00:26:55,560 Speaker 2: It was you know, let's deepen your understanding of you know, 429 00:26:55,680 --> 00:26:58,840 Speaker 2: what you're hearing. And by the way, this relates to 430 00:27:00,080 --> 00:27:02,800 Speaker 2: Savage Young Winos by Mogan David and his Whinos. So 431 00:27:02,920 --> 00:27:05,880 Speaker 2: in the new album, not only do you have well 432 00:27:05,920 --> 00:27:08,680 Speaker 2: here's the music, you have like a lot of photos 433 00:27:08,720 --> 00:27:11,760 Speaker 2: and you have the equivalent of the inserts I mentioned. 434 00:27:11,800 --> 00:27:15,159 Speaker 2: You have a couple crazy fan letters, you know, you 435 00:27:15,280 --> 00:27:19,640 Speaker 2: have you know, odd things. But also I have lengthy 436 00:27:19,680 --> 00:27:24,000 Speaker 2: I did new liner notes that give you the background 437 00:27:24,080 --> 00:27:28,000 Speaker 2: behind a lot of this stuff with you know, funny 438 00:27:28,359 --> 00:27:33,240 Speaker 2: little stories like on those job with Kellerman surf instrumental 439 00:27:33,280 --> 00:27:35,000 Speaker 2: Life thought, oh, you know, the Beach Boys have a 440 00:27:35,040 --> 00:27:37,920 Speaker 2: new label, Brother Records. You know, maybe the Beach Boys 441 00:27:37,960 --> 00:27:40,320 Speaker 2: would like to like the surf thing and don't want 442 00:27:40,320 --> 00:27:41,960 Speaker 2: to put it out, you know. Then you know, like, 443 00:27:42,040 --> 00:27:44,399 Speaker 2: oh but Dennis Wilson didn't like it, you know, little 444 00:27:44,440 --> 00:27:48,280 Speaker 2: things like that in there. So yeah, I just really like, 445 00:27:49,720 --> 00:27:52,760 Speaker 2: by the way, anybody could hear a song, then they 446 00:27:52,760 --> 00:27:54,600 Speaker 2: could enjoy it and they can take it on that 447 00:27:54,680 --> 00:27:56,560 Speaker 2: level and it can go no further than that, and 448 00:27:56,600 --> 00:27:59,760 Speaker 2: that's great. But if you kind of want to know, well, 449 00:28:00,320 --> 00:28:05,120 Speaker 2: what's behind the song and you know what's why did 450 00:28:05,119 --> 00:28:10,439 Speaker 2: the Beatles use these these terms or or like okay 451 00:28:10,960 --> 00:28:14,760 Speaker 2: specifically the Beatles, but a day in the life, what's that? Well, 452 00:28:14,840 --> 00:28:17,160 Speaker 2: now we know the story and John Lennon was reading 453 00:28:17,200 --> 00:28:20,080 Speaker 2: the newspaper and you know their friend Tara Brown who 454 00:28:20,080 --> 00:28:22,439 Speaker 2: wiped out in the car crashed. And you know what 455 00:28:22,440 --> 00:28:24,400 Speaker 2: I'm saying is that you don't need to know any 456 00:28:24,480 --> 00:28:27,520 Speaker 2: of that in order to enjoy it, but it's nice 457 00:28:27,560 --> 00:28:29,960 Speaker 2: to know it. It enhances that it gives it sort 458 00:28:29,960 --> 00:28:35,040 Speaker 2: of it's a deeper experience. So anyway, long and short 459 00:28:35,040 --> 00:28:37,879 Speaker 2: of it is I think you know that's declined in 460 00:28:37,920 --> 00:28:40,000 Speaker 2: a sense because of you know, streaming. 461 00:28:41,280 --> 00:28:44,800 Speaker 1: So before we close it out, Harold, since we call 462 00:28:44,880 --> 00:28:49,440 Speaker 1: this podcast taking a walk, I wanted you to suspend 463 00:28:50,480 --> 00:28:55,120 Speaker 1: belief here and reach back and think if you could 464 00:28:55,120 --> 00:28:57,680 Speaker 1: take a walk with somebody living or dead, or a 465 00:28:57,720 --> 00:29:00,600 Speaker 1: couple different people, who would you take a walk with 466 00:29:01,120 --> 00:29:04,160 Speaker 1: and where would you take that that saunter with them. 467 00:29:05,040 --> 00:29:08,520 Speaker 2: Well, I did think about that, okay, because on on 468 00:29:08,560 --> 00:29:11,200 Speaker 2: the website to listen to some of the shows. So 469 00:29:11,200 --> 00:29:16,880 Speaker 2: so here's the thing, you know, pragmatically, good friend of 470 00:29:16,920 --> 00:29:21,320 Speaker 2: mine for many years is Peter Noon from Herman's Hermits, 471 00:29:21,440 --> 00:29:24,640 Speaker 2: And in fact, in the new album there's a little 472 00:29:24,840 --> 00:29:28,560 Speaker 2: one of the songs I wrote for him he didn't like, 473 00:29:28,720 --> 00:29:31,440 Speaker 2: but that's that's in the album and there's a little 474 00:29:31,760 --> 00:29:34,080 Speaker 2: story about it. I'm not going to go into it now. 475 00:29:34,160 --> 00:29:37,800 Speaker 2: But I don't see him very often. You know, sometimes 476 00:29:37,840 --> 00:29:40,280 Speaker 2: we'll get together for lunch because you know, I'm in 477 00:29:40,320 --> 00:29:43,080 Speaker 2: Los Angeles. He lives in Santa Barbara. But on a 478 00:29:43,080 --> 00:29:46,440 Speaker 2: couple occasions, you know, I've said, oh, let's walk together, 479 00:29:46,560 --> 00:29:50,080 Speaker 2: which we never have. But we have had sort of 480 00:29:50,200 --> 00:29:52,920 Speaker 2: some chats when he's been walking and you know, and 481 00:29:53,080 --> 00:29:55,880 Speaker 2: I've been walking, but it's just kind of been haphazard. 482 00:29:56,000 --> 00:29:59,000 Speaker 2: So so even though I offered, like I come out 483 00:29:59,040 --> 00:30:01,080 Speaker 2: to Santa Barbara, let's go for a walk, we've sort 484 00:30:01,120 --> 00:30:03,880 Speaker 2: of never done that. So I would like to have 485 00:30:04,040 --> 00:30:08,080 Speaker 2: a walk with Peter Noon. I'd come to Santa Barbara 486 00:30:08,400 --> 00:30:10,240 Speaker 2: because we've never done that together. 487 00:30:11,720 --> 00:30:16,280 Speaker 1: Fantastic This has been so great. Harold, congrats on Savage 488 00:30:16,360 --> 00:30:19,800 Speaker 1: Young winos out for people to go find it. By 489 00:30:19,800 --> 00:30:23,600 Speaker 1: the time this podcast will be out via Liberation Hall. 490 00:30:24,600 --> 00:30:29,160 Speaker 1: An amazing career, still going strong, Harold Bronson, thanks for 491 00:30:29,200 --> 00:30:30,400 Speaker 1: being on Taking a Walk. 492 00:30:30,840 --> 00:30:31,840 Speaker 2: Thank you buzz. 493 00:30:33,400 --> 00:30:35,880 Speaker 1: I'm Buzznight, and thanks for listening to the Taking a 494 00:30:35,920 --> 00:30:40,800 Speaker 1: Walk podcast. Now. Please check out our companion podcasts produced 495 00:30:40,800 --> 00:30:44,880 Speaker 1: by Buzznight Media Productions with your host Lynn Hoffman. Music 496 00:30:45,000 --> 00:30:48,960 Speaker 1: Save Me showcasing the healing power of music, and comedy 497 00:30:49,080 --> 00:30:52,360 Speaker 1: Save Me shining a light on how laughter is the 498 00:30:52,400 --> 00:30:57,920 Speaker 1: best medicine. All shows are available on Apple Podcasts, Spotify 499 00:30:58,320 --> 00:31:01,280 Speaker 1: and are part of the iHeart podcast network.