1 00:00:01,120 --> 00:00:02,480 Speaker 1: Podcast Playground. 2 00:00:08,200 --> 00:00:10,360 Speaker 2: Hi, this is Buzz Night, the host of Taking a 3 00:00:10,400 --> 00:00:14,240 Speaker 2: Walk Music History on Foot, and you could follow us. 4 00:00:14,160 --> 00:00:19,599 Speaker 3: At Apple Podcasts, Spotify, the Podcast Playground, or wherever you 5 00:00:19,680 --> 00:00:23,040 Speaker 3: get your podcasts, and we appreciated you leave us a 6 00:00:23,079 --> 00:00:25,760 Speaker 3: review as well and share this with. 7 00:00:25,720 --> 00:00:30,080 Speaker 2: A friend coming up on this episode, really looking forward 8 00:00:30,800 --> 00:00:34,440 Speaker 2: to meeting up with an old friend Steve Morse, legendary 9 00:00:34,560 --> 00:00:36,400 Speaker 2: music critic in Boston. 10 00:00:37,040 --> 00:00:40,040 Speaker 4: He knows where all the bodies are buried. We're gonna 11 00:00:40,040 --> 00:00:46,280 Speaker 4: find out about it next. I'm taking a walk, Hi, Steve. 12 00:00:46,640 --> 00:00:48,400 Speaker 4: So great to be with you, boss. 13 00:00:48,479 --> 00:00:51,479 Speaker 1: That was quite an intro. I want to get that 14 00:00:51,560 --> 00:00:52,040 Speaker 1: every day. 15 00:00:53,040 --> 00:00:55,360 Speaker 2: I was going to go deeper, but I figured we 16 00:00:55,440 --> 00:00:57,560 Speaker 2: got to save some of this for this episode, right, 17 00:00:57,600 --> 00:01:00,000 Speaker 2: I hope. So it's so great to be with you. 18 00:01:00,040 --> 00:01:03,880 Speaker 2: We're walking the mean streets of Cambridge, yep. 19 00:01:04,200 --> 00:01:05,880 Speaker 1: And it's a beautiful day. 20 00:01:05,959 --> 00:01:09,000 Speaker 2: And to take a walking person is always a joy, 21 00:01:09,080 --> 00:01:12,360 Speaker 2: but reconnecting with you as a joy as well. 22 00:01:12,640 --> 00:01:14,600 Speaker 1: Yeah, we go way back, So thank you. 23 00:01:15,640 --> 00:01:17,920 Speaker 2: So do you remember the first time you walked into 24 00:01:18,000 --> 00:01:22,040 Speaker 2: the Boston Globe news room? 25 00:01:22,480 --> 00:01:31,000 Speaker 5: Oh boy, I was a terrified kid, freelancer and I 26 00:01:31,200 --> 00:01:33,120 Speaker 5: just was in way over my head. 27 00:01:33,160 --> 00:01:36,440 Speaker 1: I mean, the Globe became a goliath. 28 00:01:36,760 --> 00:01:39,360 Speaker 5: You two thousand people worked at the Globe and it's 29 00:01:39,920 --> 00:01:42,720 Speaker 5: heyday now. Of course, newspapers have a fraction of that, 30 00:01:43,760 --> 00:01:45,839 Speaker 5: so you know, you were on your heels right. 31 00:01:45,720 --> 00:01:46,360 Speaker 1: From the get go. 32 00:01:46,600 --> 00:01:50,160 Speaker 5: And I had an appointment with some interview with some 33 00:01:50,280 --> 00:01:54,080 Speaker 5: woman who grilled me, and all of a sudden, they said, hey, 34 00:01:54,600 --> 00:01:57,480 Speaker 5: let's let him do some freelancing. And I started freelancing 35 00:01:57,720 --> 00:02:03,520 Speaker 5: music reviews, and I at club past Scene David Bromberg 36 00:02:03,800 --> 00:02:07,760 Speaker 5: and Vassar Clemens and two you know legends in their 37 00:02:07,800 --> 00:02:11,359 Speaker 5: own way, Chicago blues. Ambassa was a fiddle player from 38 00:02:11,440 --> 00:02:14,360 Speaker 5: down South, and I just got turned on, you know, 39 00:02:14,440 --> 00:02:18,440 Speaker 5: by the music, turned on by the whole energy of 40 00:02:18,480 --> 00:02:21,880 Speaker 5: the Globe, and I just kept pushing and pushing and pushing. 41 00:02:21,880 --> 00:02:26,280 Speaker 5: It took me four years to get hired, but it 42 00:02:26,320 --> 00:02:27,200 Speaker 5: was well worth it. 43 00:02:28,240 --> 00:02:29,600 Speaker 1: So what year did you get hired there? 44 00:02:30,120 --> 00:02:36,079 Speaker 5: Seventy eight, started freelancing in seventy five, and hired in 45 00:02:36,560 --> 00:02:40,000 Speaker 5: seventy eight. But I'd grown up around Boston. I really 46 00:02:40,000 --> 00:02:44,120 Speaker 5: had a kind of a blessed path around here because 47 00:02:44,960 --> 00:02:46,720 Speaker 5: you know, I've cut all the shows at the Old 48 00:02:46,760 --> 00:02:51,720 Speaker 5: Boston tea party ten years after, you know, Fleetwood Mac 49 00:02:51,880 --> 00:02:55,639 Speaker 5: all the British bands would come, jet throw tall and 50 00:02:55,680 --> 00:02:59,280 Speaker 5: then I went nineteen sixty nine, I went over to 51 00:03:00,360 --> 00:03:03,919 Speaker 5: England for the summer. I was in an archaeological dig. 52 00:03:03,919 --> 00:03:07,320 Speaker 5: I somehow conned my way into an archaeological dig and 53 00:03:07,360 --> 00:03:09,920 Speaker 5: I got free room and board, and I saw led 54 00:03:10,000 --> 00:03:13,960 Speaker 5: Zeppelin twice, and I saw the Rolling Stones at Hyde 55 00:03:14,000 --> 00:03:18,920 Speaker 5: Park with four hundred thousand people right after Brian Jones 56 00:03:18,960 --> 00:03:22,160 Speaker 5: died in the swimming pool accident. And it was Mick 57 00:03:22,200 --> 00:03:27,680 Speaker 5: Taylor's first gig, very exciting. The Hell's Angels did security, 58 00:03:28,600 --> 00:03:31,280 Speaker 5: and of course the Health's Angels in England were a 59 00:03:31,400 --> 00:03:35,160 Speaker 5: very tame watt compared to the Hell's Angels in California, 60 00:03:35,200 --> 00:03:40,560 Speaker 5: because later that summer Altamahat happened where the Stones hired 61 00:03:40,560 --> 00:03:44,920 Speaker 5: the Hell's Angels in California, and you know, someone. 62 00:03:44,720 --> 00:03:48,400 Speaker 1: Was killed, you know, terrible tragedy. But I was in 63 00:03:48,400 --> 00:03:49,120 Speaker 1: the right place at. 64 00:03:49,080 --> 00:03:53,440 Speaker 5: The right time, and I just worked it up from there. 65 00:03:53,520 --> 00:03:56,160 Speaker 5: And I believe it or not, I went out to 66 00:03:56,240 --> 00:03:58,560 Speaker 5: catch music two hundred and fifty nights a year for 67 00:03:58,640 --> 00:03:59,280 Speaker 5: thirty years. 68 00:04:00,520 --> 00:04:03,280 Speaker 1: You never let up. I mean I would go to 69 00:04:03,400 --> 00:04:04,640 Speaker 1: a fair amount of shows. 70 00:04:05,480 --> 00:04:09,720 Speaker 2: But I don't ever believe I went to a show 71 00:04:09,800 --> 00:04:13,320 Speaker 2: around the Boston area where I didn't see you at 72 00:04:13,320 --> 00:04:13,680 Speaker 2: the show. 73 00:04:14,680 --> 00:04:18,080 Speaker 5: Wow, well that's kind of scary. 74 00:04:18,279 --> 00:04:20,120 Speaker 1: My ex wife would probably agree with you. 75 00:04:22,000 --> 00:04:26,599 Speaker 5: Yeah, it's a tough field in terms of a family 76 00:04:26,680 --> 00:04:29,760 Speaker 5: life and so forth, you know, because you're just you're 77 00:04:29,800 --> 00:04:32,359 Speaker 5: out at night, I mean a lot, and I wouldn't 78 00:04:32,360 --> 00:04:34,599 Speaker 5: go to bed till four thirty in the morning usually, 79 00:04:35,760 --> 00:04:39,000 Speaker 5: But you know, Willie Nelson said the nightlife ain't no 80 00:04:39,040 --> 00:04:43,680 Speaker 5: good life, but it's my life, and that quotious resonated 81 00:04:43,760 --> 00:04:46,720 Speaker 5: with me, and you know, I'd show up. 82 00:04:47,960 --> 00:04:50,120 Speaker 1: You know, it's a later marriage. 83 00:04:50,200 --> 00:04:53,920 Speaker 5: We had a son, and I'd show up at the 84 00:04:53,960 --> 00:04:57,880 Speaker 5: school bus station and whatnot, wearing a Metallica T shirt 85 00:04:58,200 --> 00:05:01,320 Speaker 5: and be the only man there. All the rest were women, 86 00:05:02,160 --> 00:05:03,840 Speaker 5: and they looked at me like I was from hell. 87 00:05:07,520 --> 00:05:11,320 Speaker 2: So when did you know you had this attraction with music? 88 00:05:11,440 --> 00:05:13,320 Speaker 1: At what point of your life? 89 00:05:13,800 --> 00:05:18,360 Speaker 5: Well, I, you know, played classical piano as a kid. 90 00:05:19,240 --> 00:05:22,920 Speaker 5: My mother tried to get me into that unsuccessfully, and 91 00:05:23,040 --> 00:05:27,120 Speaker 5: I just gravitated towards rock and roll instead. Saw the 92 00:05:27,120 --> 00:05:30,719 Speaker 5: Beatles on the Ed Sullivan Show and again right place 93 00:05:31,040 --> 00:05:34,640 Speaker 5: right time, and I couldn't play well enough to be 94 00:05:34,680 --> 00:05:38,520 Speaker 5: a professional. But I found a way to get into 95 00:05:38,520 --> 00:05:43,880 Speaker 5: the music business as a music critic, and you know, 96 00:05:43,920 --> 00:05:46,000 Speaker 5: I just just never never looked back. I mean it 97 00:05:46,080 --> 00:05:48,880 Speaker 5: was something that you know, you don't meet a music 98 00:05:48,880 --> 00:05:52,400 Speaker 5: critic every day for big daily newspapers, so you know, 99 00:05:52,400 --> 00:05:55,320 Speaker 5: I was very fortunate. And then I got on the 100 00:05:55,400 --> 00:05:58,760 Speaker 5: nominating committee of the Rock Hall of Fame and cut 101 00:05:58,760 --> 00:06:03,560 Speaker 5: the ball rolling on a CD, got them nominated. And 102 00:06:03,640 --> 00:06:08,440 Speaker 5: now I teach Berkeley College of Music. I teach the 103 00:06:08,480 --> 00:06:12,480 Speaker 5: online rock history course, which I wrote. They came to 104 00:06:12,520 --> 00:06:15,200 Speaker 5: me and said, hey, you know, we've got two guys 105 00:06:15,200 --> 00:06:17,160 Speaker 5: who flopped didn't write it. 106 00:06:17,920 --> 00:06:19,400 Speaker 1: You know, it's not an easy course to write. 107 00:06:19,400 --> 00:06:21,040 Speaker 5: It took me a year and a half to write it, 108 00:06:21,920 --> 00:06:25,520 Speaker 5: but I duckled down and it's been a big success. 109 00:06:25,600 --> 00:06:27,760 Speaker 5: And I can do it out of my home. I 110 00:06:27,839 --> 00:06:30,320 Speaker 5: just do a video chat once a week online. And 111 00:06:30,920 --> 00:06:35,320 Speaker 5: I got some great kids. I've got Amelia Presley this semester. 112 00:06:35,560 --> 00:06:41,640 Speaker 5: She's she's, you know, distant cousin of Elvis Presley. So 113 00:06:41,880 --> 00:06:46,320 Speaker 5: you know, Bernie Taupin's daughter took the course last semester. 114 00:06:47,240 --> 00:06:49,360 Speaker 1: So yeah, it's it's it's been very exciting. 115 00:06:49,440 --> 00:06:53,280 Speaker 5: I've had a continual kind of curve, you know, since 116 00:06:53,320 --> 00:06:54,000 Speaker 5: I was a kid. 117 00:06:56,080 --> 00:07:01,440 Speaker 2: It's like a joy to be for your work in 118 00:07:01,520 --> 00:07:04,159 Speaker 2: and around music, your life. 119 00:07:05,120 --> 00:07:05,760 Speaker 1: Well it is. 120 00:07:06,040 --> 00:07:09,880 Speaker 5: I mean, it's you know, I covered live AID, I 121 00:07:09,920 --> 00:07:13,160 Speaker 5: covered major events. I covered the you know, the last 122 00:07:13,160 --> 00:07:19,720 Speaker 5: two Woodstocks Woodstock two, Woodstock three, nineteen ninety four, nineteen 123 00:07:19,800 --> 00:07:24,720 Speaker 5: ninety nine, respectively. And I just you know, you're sitting 124 00:07:24,760 --> 00:07:27,960 Speaker 5: there like a live AID and it led Zeppelin reunions 125 00:07:28,000 --> 00:07:31,360 Speaker 5: going on, and I'm thirty feet away down in Philadelphia 126 00:07:31,400 --> 00:07:35,400 Speaker 5: with one hundred thousand people around me, and that excited me. 127 00:07:35,480 --> 00:07:39,280 Speaker 5: The bigger the show, the more excited I got. And 128 00:07:39,320 --> 00:07:41,559 Speaker 5: you had a press from home with about seventy five 129 00:07:41,640 --> 00:07:46,360 Speaker 5: writers from around the world, and that really fueled my 130 00:07:46,440 --> 00:07:50,240 Speaker 5: competitive instinct. I was always very competitive as a basketball 131 00:07:50,280 --> 00:07:53,240 Speaker 5: player as a kid, and I just love competing on 132 00:07:53,360 --> 00:07:56,400 Speaker 5: deadline against other writers from. 133 00:07:56,240 --> 00:07:57,120 Speaker 1: Around the world. 134 00:07:57,400 --> 00:08:02,200 Speaker 2: Well, as you know, on this podcast, Joel the San 135 00:08:02,200 --> 00:08:07,400 Speaker 2: Francisco Chronicle critic of record, the author was on. 136 00:08:08,240 --> 00:08:13,000 Speaker 1: So you guys were friendly but also rivals as well, 137 00:08:13,040 --> 00:08:17,280 Speaker 1: and there was a spirit right we hung out. 138 00:08:17,320 --> 00:08:21,680 Speaker 5: I remember once after you two opened its PopMart tour. 139 00:08:22,520 --> 00:08:25,160 Speaker 5: It was that nineteen ninety one, I think, and that 140 00:08:25,320 --> 00:08:28,720 Speaker 5: was in Vegas and Joel and I hung out later 141 00:08:28,760 --> 00:08:34,360 Speaker 5: that night. And he's just a fun guy. I wouldn't say, 142 00:08:34,400 --> 00:08:40,160 Speaker 5: you know, competitive, just go to mutual respect. You know, 143 00:08:40,240 --> 00:08:44,719 Speaker 5: he's a veteran. I'm a veteran. So you know, you 144 00:08:45,760 --> 00:08:48,600 Speaker 5: don't meet every day people who kind of do your job. 145 00:08:48,679 --> 00:08:51,880 Speaker 5: As I say, it's an unusual job. And now there's 146 00:08:51,920 --> 00:08:56,640 Speaker 5: fewer music critics because everybody's a blogger now, right, you 147 00:08:56,640 --> 00:09:01,560 Speaker 5: know everybody is a podcaster. Well, well some are better 148 00:09:01,559 --> 00:09:03,840 Speaker 5: than the others, and you you're one of them. But 149 00:09:04,080 --> 00:09:06,840 Speaker 5: so you know, that's why people want to talk to you, 150 00:09:06,880 --> 00:09:10,400 Speaker 5: because you've got to experience in the field, and you 151 00:09:10,400 --> 00:09:13,360 Speaker 5: know you're not just kind of popping out of the woodwork. 152 00:09:13,480 --> 00:09:15,880 Speaker 1: So it's it's but yeah, you're right. 153 00:09:15,920 --> 00:09:18,800 Speaker 5: I mean the Globe now doesn't even have a staff 154 00:09:19,120 --> 00:09:19,800 Speaker 5: music critic. 155 00:09:20,880 --> 00:09:24,600 Speaker 1: They just do freely use freelance. Isn't that a good shame? 156 00:09:25,200 --> 00:09:25,559 Speaker 1: It is? 157 00:09:25,840 --> 00:09:30,360 Speaker 2: I mean, look at all of media right where it's changed. 158 00:09:30,960 --> 00:09:34,720 Speaker 2: You know, the way the radio business has changed, the 159 00:09:34,720 --> 00:09:40,400 Speaker 2: way television has changed, the way print journalism it's shifting quickly. 160 00:09:41,200 --> 00:09:45,560 Speaker 5: Yeah, well I did my radio stint. I did that 161 00:09:45,800 --> 00:09:48,240 Speaker 5: once a week. I had to show more Sun music 162 00:09:48,280 --> 00:09:51,200 Speaker 5: for w BOS. I remember, come on and talk about 163 00:09:51,880 --> 00:09:52,560 Speaker 5: in the hallway. 164 00:09:53,280 --> 00:09:54,920 Speaker 1: Do you see me in the hallway? Right? 165 00:09:55,160 --> 00:09:59,720 Speaker 5: Occasionally a little hungover, probably had a steak and cheese 166 00:09:59,720 --> 00:10:01,440 Speaker 5: sand which with me to perk me up. 167 00:10:02,400 --> 00:10:04,040 Speaker 1: That is the magical la. 168 00:10:06,320 --> 00:10:09,000 Speaker 5: Greg Allman would call in. You know, we had a 169 00:10:09,040 --> 00:10:11,080 Speaker 5: lot of fun. I called in my chips, you know, 170 00:10:11,200 --> 00:10:13,040 Speaker 5: some of the people I've known through the years. And 171 00:10:14,120 --> 00:10:19,080 Speaker 5: I enjoyed radio, but my forte was writing, and that's 172 00:10:19,120 --> 00:10:24,040 Speaker 5: what I did. You know, I think the best and 173 00:10:24,240 --> 00:10:30,120 Speaker 5: the Globe, you know, top ten paper, so it's just 174 00:10:30,160 --> 00:10:32,320 Speaker 5: immediate respect. And a lot of the acts would only 175 00:10:32,360 --> 00:10:36,320 Speaker 5: do one interview in each market and that would be 176 00:10:36,320 --> 00:10:39,000 Speaker 5: the Globe. You know, you do the biggest paper. So 177 00:10:39,679 --> 00:10:43,120 Speaker 5: I was really writing a high. My whole life, my 178 00:10:43,440 --> 00:10:48,320 Speaker 5: professional life has been on a real high. And personal life, 179 00:10:48,320 --> 00:10:53,200 Speaker 5: while that's a whole other story, whole other podcast, but 180 00:10:54,600 --> 00:10:57,160 Speaker 5: professional life I just can't complain at all. 181 00:10:57,880 --> 00:11:00,240 Speaker 2: So let's talk about some of those interviews, some of 182 00:11:00,280 --> 00:11:03,360 Speaker 2: your favorite interviews that you've done through your career, because 183 00:11:03,400 --> 00:11:06,080 Speaker 2: I know you talked to pretty much everybody at one point. 184 00:11:07,160 --> 00:11:11,720 Speaker 5: Well, one of my favorites was Bob Marley. I went 185 00:11:11,760 --> 00:11:16,640 Speaker 5: down to the Essex Hotel in New York, right by 186 00:11:16,720 --> 00:11:21,240 Speaker 5: the Central Park, and they were on about this fourteenth floor. 187 00:11:22,200 --> 00:11:25,200 Speaker 5: It was eleven o'clock in the morning interview, and I 188 00:11:25,240 --> 00:11:26,880 Speaker 5: took the shuttle. I might have even have been the 189 00:11:26,880 --> 00:11:30,120 Speaker 5: Trump shuttle in those days. Trump Trump had the shuttles 190 00:11:30,120 --> 00:11:33,920 Speaker 5: from Boston to New York. And I arrived zip over there, 191 00:11:34,000 --> 00:11:38,000 Speaker 5: but at eleven couldn't find the room. And there's this lady, 192 00:11:38,360 --> 00:11:42,240 Speaker 5: you know, you know, working in the hallway, and I said, gee, 193 00:11:42,280 --> 00:11:45,360 Speaker 5: do you know where Bob Marley's room is, And she said, 194 00:11:45,400 --> 00:11:46,160 Speaker 5: go down here. 195 00:11:46,080 --> 00:11:51,480 Speaker 1: Take it right and follow your nose. I go, oh, 196 00:11:51,600 --> 00:11:54,200 Speaker 1: what am I getting into? So I walk in. 197 00:11:54,559 --> 00:11:57,839 Speaker 5: You know there's two giant splips, you know, king size 198 00:11:57,920 --> 00:11:59,960 Speaker 5: Jamaican splips, you know the five inch jobs. 199 00:12:00,200 --> 00:12:01,679 Speaker 1: Yeah, it's just eleven in the morning. 200 00:12:02,600 --> 00:12:06,160 Speaker 5: He's got Lee Scratch Perry's in there, the famous Jamaican producer, 201 00:12:06,880 --> 00:12:09,520 Speaker 5: his band is in There's a whole entourage. They're kicking 202 00:12:09,520 --> 00:12:12,760 Speaker 5: the soccer ball around the room, and and you know, 203 00:12:12,800 --> 00:12:16,280 Speaker 5: nobody's paying any attention to me. You know, I'm the Babylon, 204 00:12:16,360 --> 00:12:19,120 Speaker 5: you know what am I doing there? And Bob's in 205 00:12:19,160 --> 00:12:22,400 Speaker 5: the corner reading a sitting on the couch, reading the 206 00:12:22,440 --> 00:12:25,760 Speaker 5: Book of Revelations, lying the Judah, you know, the home 207 00:12:25,840 --> 00:12:29,800 Speaker 5: kind of basis for us to fireanism. And occasionally people, 208 00:12:29,880 --> 00:12:31,520 Speaker 5: you know, stop the soccer. 209 00:12:31,240 --> 00:12:33,520 Speaker 1: Ball and say, oh, brother Bob, brother Bob, you. 210 00:12:34,000 --> 00:12:38,120 Speaker 5: Know, start talking in tongues, and I'm not quite with 211 00:12:38,200 --> 00:12:40,160 Speaker 5: the program because I've got to get an interview here. 212 00:12:41,080 --> 00:12:43,520 Speaker 5: He was going to do to play the Monola concert, 213 00:12:43,600 --> 00:12:47,360 Speaker 5: which is a famous peace concert at Harvard Stadium, you know, 214 00:12:47,400 --> 00:12:48,800 Speaker 5: the next week or so. 215 00:12:48,840 --> 00:12:49,600 Speaker 1: It's a big. 216 00:12:49,400 --> 00:12:53,360 Speaker 5: Interview for him and for me, and I just finally erupted. 217 00:12:53,480 --> 00:12:57,560 Speaker 5: I said, Bob the Boston Globe, I appreciate the Bible reading, 218 00:12:58,120 --> 00:12:59,920 Speaker 5: but I really need to get something on your mal 219 00:13:00,720 --> 00:13:02,240 Speaker 5: And the rest of the room wanted to kill me, 220 00:13:02,320 --> 00:13:04,880 Speaker 5: the guys looking get him out of here. And Bob 221 00:13:04,920 --> 00:13:07,200 Speaker 5: looked at me in the eye and he said, you're right, mane. 222 00:13:07,840 --> 00:13:10,440 Speaker 5: And he calmed down everybody and Henry come over, sit 223 00:13:10,520 --> 00:13:12,920 Speaker 5: in the couch, gave me a great interview for about 224 00:13:12,960 --> 00:13:15,640 Speaker 5: twenty minutes or half an hour, and then I was 225 00:13:15,800 --> 00:13:19,720 Speaker 5: shepherded out and the soccer balls continued, you know, banging 226 00:13:19,760 --> 00:13:23,520 Speaker 5: off the windows and everything, and the two joints continued 227 00:13:23,559 --> 00:13:28,559 Speaker 5: as well, and I was gone. 228 00:13:28,160 --> 00:13:30,920 Speaker 1: Great interview, huh amazing, it must have been. 229 00:13:31,920 --> 00:13:35,920 Speaker 5: Yeah, well, you just never knew what was gonna happen. 230 00:13:36,000 --> 00:13:40,400 Speaker 5: Sometimes I love the scene, you know. Another favorite was 231 00:13:40,440 --> 00:13:43,000 Speaker 5: Dolly Parton. Boy, what a sweetie. She's like a little 232 00:13:43,640 --> 00:13:46,480 Speaker 5: tiny button. You know, She's like four foot ten and 233 00:13:46,520 --> 00:13:49,520 Speaker 5: I'm six foot five, so she got a big kick 234 00:13:49,559 --> 00:13:52,400 Speaker 5: out of that. But you know, I was just just lucky. 235 00:13:52,480 --> 00:13:56,120 Speaker 5: I mean, I was interviewed Springsteen, a bunch, the Stones, 236 00:13:56,160 --> 00:13:56,880 Speaker 5: a whole bunch. 237 00:13:57,559 --> 00:13:59,480 Speaker 1: Keith Richards was probably my favorite. 238 00:14:00,040 --> 00:14:02,800 Speaker 5: You know. He was so down to earth and you know, 239 00:14:02,840 --> 00:14:06,960 Speaker 5: he'd rather talk about your guitar strings or something like 240 00:14:07,000 --> 00:14:09,240 Speaker 5: that rather than some locker room Mick gets into. 241 00:14:09,360 --> 00:14:11,800 Speaker 1: You went to the London School of Economics. 242 00:14:11,160 --> 00:14:14,200 Speaker 5: And Mick knows everything that in the world, you know, 243 00:14:14,200 --> 00:14:18,800 Speaker 5: and it would be the first to tell you. Yeah, 244 00:14:18,840 --> 00:14:22,280 Speaker 5: he was something else, and I talked to. 245 00:14:22,280 --> 00:14:23,040 Speaker 1: Him, you know. 246 00:14:23,160 --> 00:14:26,120 Speaker 5: In succession was it was Mick first and then Keith. 247 00:14:26,840 --> 00:14:29,560 Speaker 5: Separate rooms at Rolling Stone Records when they had remember 248 00:14:29,600 --> 00:14:33,720 Speaker 5: they had their subsidiary label, and Mick you know, likes 249 00:14:33,720 --> 00:14:37,000 Speaker 5: a joint and does not you know, share make any 250 00:14:37,040 --> 00:14:40,160 Speaker 5: attempt to. And he's flying after about five ten minutes, 251 00:14:40,600 --> 00:14:43,480 Speaker 5: and I said, Mick, i'm here. I had two tape 252 00:14:43,480 --> 00:14:46,240 Speaker 5: recorders because I was afraid one might break down. 253 00:14:46,080 --> 00:14:48,480 Speaker 1: The redundancy factor, redundancy fan. 254 00:14:48,560 --> 00:14:50,920 Speaker 5: He's laughing his ass off, look at you the two much, 255 00:14:51,560 --> 00:14:53,880 Speaker 5: And I goes, all right, if I blow this, I'm 256 00:14:53,880 --> 00:14:57,120 Speaker 5: in trouble. And you know, I said, look, I'm not 257 00:14:57,120 --> 00:14:59,000 Speaker 5: going to ask you about your sex life. He'd been 258 00:14:59,440 --> 00:15:03,040 Speaker 5: linked to some supermodel from Thailand that week, you know 259 00:15:03,080 --> 00:15:06,840 Speaker 5: how it was, And he said, well that would be refreshing. 260 00:15:07,720 --> 00:15:10,040 Speaker 5: And five minutes later he's talking about his sex life. 261 00:15:11,160 --> 00:15:13,920 Speaker 1: And I didn't bring it up, but I figured, oh, 262 00:15:14,000 --> 00:15:14,800 Speaker 1: I'll induligen a. 263 00:15:14,720 --> 00:15:17,840 Speaker 5: Minute, just kind of getting through this. And I said, well, Mick, 264 00:15:17,880 --> 00:15:20,080 Speaker 5: what did you pay any mood music you put on? 265 00:15:20,200 --> 00:15:23,280 Speaker 5: You know, he played the Stones music at all. You've 266 00:15:23,280 --> 00:15:26,720 Speaker 5: got a lady and you know in your room. And 267 00:15:26,760 --> 00:15:29,760 Speaker 5: he says, oh, no, I never play any Stones music. 268 00:15:29,800 --> 00:15:32,360 Speaker 5: I don't play any music at all. I just coo 269 00:15:32,440 --> 00:15:37,000 Speaker 5: in their ears and that pretty much. I was cooling 270 00:15:37,000 --> 00:15:38,320 Speaker 5: out the door at that point. 271 00:15:39,480 --> 00:15:42,360 Speaker 1: I love that I just I love it. 272 00:15:43,360 --> 00:15:48,000 Speaker 2: Oh my god, did you get Springsteen early on? 273 00:15:49,360 --> 00:15:50,840 Speaker 1: No? No, I think it was. 274 00:15:52,240 --> 00:15:54,560 Speaker 5: Well, let's see it was it was back in the river, 275 00:15:54,720 --> 00:15:57,160 Speaker 5: so that yeah, I guess that was late seventies. 276 00:15:57,840 --> 00:15:58,320 Speaker 1: That's right. 277 00:15:58,680 --> 00:16:04,760 Speaker 5: It was down in Providence, Rhode Island. And Bruce kept 278 00:16:04,840 --> 00:16:08,000 Speaker 5: me waiting. He's a night owl, and I didn't get 279 00:16:08,000 --> 00:16:10,320 Speaker 5: in the room until about two in the morning. I 280 00:16:10,360 --> 00:16:13,080 Speaker 5: still had to drive back to Boston, an hour away. 281 00:16:14,000 --> 00:16:16,240 Speaker 5: But we started talking about Hank Williams because he was 282 00:16:16,240 --> 00:16:18,920 Speaker 5: getting into Hank and you know, there was the imagery 283 00:16:18,960 --> 00:16:21,800 Speaker 5: from down by the River and you know all that, 284 00:16:22,120 --> 00:16:26,480 Speaker 5: and you know, he said, I'm driving my band up 285 00:16:26,480 --> 00:16:28,160 Speaker 5: a wall because all I want to do is play 286 00:16:28,200 --> 00:16:30,040 Speaker 5: Hank Williams on the bus. 287 00:16:31,240 --> 00:16:32,760 Speaker 1: But he was just a wonderful guy. 288 00:16:33,920 --> 00:16:39,400 Speaker 5: And another time I interviewed him down in Hartford, Connecticut, 289 00:16:39,520 --> 00:16:42,200 Speaker 5: and you know, again a late interview, but this time 290 00:16:42,240 --> 00:16:45,280 Speaker 5: it was because he was greeting Make a Wish kids. 291 00:16:45,800 --> 00:16:50,760 Speaker 5: They were about ten twelve, Make a Wish kids and wheelchairs. 292 00:16:50,000 --> 00:16:52,920 Speaker 1: And whatnot, coming up to them. 293 00:16:52,120 --> 00:16:56,280 Speaker 5: Backstage in the corridor there, and he paid attention. 294 00:16:56,360 --> 00:16:57,880 Speaker 1: He talked to each one of them for five to 295 00:16:57,960 --> 00:16:58,480 Speaker 1: ten minutes. 296 00:16:59,240 --> 00:17:00,920 Speaker 5: It was in some meat and gree where he just 297 00:17:01,080 --> 00:17:04,879 Speaker 5: shake hands and run and I had the utmost respect 298 00:17:04,960 --> 00:17:07,640 Speaker 5: for him to do that. To see the kids were 299 00:17:07,640 --> 00:17:11,159 Speaker 5: crying and we got Bruce Springsteen's really caring about me, 300 00:17:11,359 --> 00:17:14,520 Speaker 5: asking questions about me, and you know, it was just 301 00:17:14,560 --> 00:17:17,760 Speaker 5: a lovely moment. So yeah, I have a lot of 302 00:17:17,760 --> 00:17:25,240 Speaker 5: respect for Bruce any beatles, uh McCartney. A couple of 303 00:17:25,320 --> 00:17:31,520 Speaker 5: times he's uh, he's a struggle. He's kind of a quipster, 304 00:17:32,520 --> 00:17:34,760 Speaker 5: you know, he likes to choke around with the media. 305 00:17:35,880 --> 00:17:40,680 Speaker 5: I don't have any breakthrough moments. And Ringo is kind 306 00:17:40,680 --> 00:17:46,080 Speaker 5: of ridiculous. Ringo would do phone interviews for five minutes 307 00:17:46,920 --> 00:17:51,000 Speaker 5: Max and I've we're in my watch. I had four 308 00:17:51,040 --> 00:17:53,879 Speaker 5: minutes and forty five seconds. I was still trying to 309 00:17:53,880 --> 00:17:57,440 Speaker 5: cram in a question and ring say, okay, last question, 310 00:17:59,320 --> 00:18:04,480 Speaker 5: you know, you know, come on covering some slack. But 311 00:18:04,600 --> 00:18:07,560 Speaker 5: he didn't have much respect for the media at that point. 312 00:18:08,040 --> 00:18:10,240 Speaker 5: So yeah, I sometimes had to follow in the footsteps 313 00:18:10,280 --> 00:18:13,760 Speaker 5: of real asshole, you know interviewers. 314 00:18:13,800 --> 00:18:16,080 Speaker 1: And Emmie Laharris. 315 00:18:16,080 --> 00:18:20,000 Speaker 5: Was one example. A quick quick story about her at Tanglewood. 316 00:18:20,080 --> 00:18:23,960 Speaker 5: Interviewed her at Tanglewood and she had had somebody I 317 00:18:23,960 --> 00:18:26,800 Speaker 5: think from the Washington Post come on her bus and 318 00:18:26,840 --> 00:18:30,760 Speaker 5: then turned a savager in a magazine pace. So she 319 00:18:30,920 --> 00:18:33,879 Speaker 5: was really down on the media, and I really had 320 00:18:33,880 --> 00:18:39,000 Speaker 5: to prove myself. And Phil Kaufman, her manager, who'd also 321 00:18:39,080 --> 00:18:42,480 Speaker 5: been you know, Graham Parsons manager, and he's the one 322 00:18:42,480 --> 00:18:47,119 Speaker 5: who burned Graham Parson's body in the desert and you 323 00:18:47,160 --> 00:18:52,040 Speaker 5: know California rock rock and roll story. He comes up 324 00:18:52,080 --> 00:18:55,200 Speaker 5: to and turns around right into my face and wons me, 325 00:18:56,600 --> 00:18:59,159 Speaker 5: takes his pants down and wounds me, and he goes, okay, 326 00:18:59,240 --> 00:18:59,880 Speaker 5: interview over. 327 00:19:00,320 --> 00:19:03,119 Speaker 1: Oh my god. So I mean it was laughing at 328 00:19:03,119 --> 00:19:06,160 Speaker 1: the what's going on? Said god? Yeah, I guess I've 329 00:19:06,160 --> 00:19:08,000 Speaker 1: had a few and eventful ones. 330 00:19:11,040 --> 00:19:15,920 Speaker 2: So Boston during that era that you describe early on 331 00:19:16,400 --> 00:19:21,160 Speaker 2: in particular, had some amazing venues that have disappeared. 332 00:19:22,119 --> 00:19:23,480 Speaker 1: Talk about maybe a few. 333 00:19:23,359 --> 00:19:26,000 Speaker 2: Of those venues and maybe some shows that you remember 334 00:19:26,040 --> 00:19:28,080 Speaker 2: at some of those places. 335 00:19:28,480 --> 00:19:33,440 Speaker 5: Well, let's see, Buston Tea Party is one of the legends. 336 00:19:35,200 --> 00:19:38,840 Speaker 5: You know, just a lot of acts there. It was 337 00:19:38,880 --> 00:19:43,439 Speaker 5: at a tabernacle down on the South End, and you know, 338 00:19:44,440 --> 00:19:47,040 Speaker 5: I was sorry to see that place go. It was 339 00:19:47,080 --> 00:19:50,399 Speaker 5: a ballroom, the early rock and roll rooms tended to 340 00:19:50,400 --> 00:19:55,160 Speaker 5: be ballrooms, and then later on there was a place 341 00:19:55,160 --> 00:19:59,080 Speaker 5: called the Crosstown Bus which hardly anyone remembers. It was 342 00:19:59,119 --> 00:20:02,159 Speaker 5: in Brighton and only opened for two weeks because they 343 00:20:02,160 --> 00:20:03,640 Speaker 5: didn't have an entertainment license. 344 00:20:04,440 --> 00:20:07,000 Speaker 1: But for the first week they had the doors. 345 00:20:07,600 --> 00:20:10,240 Speaker 5: Wow, so Jim Morrison and the doors, and they put 346 00:20:10,320 --> 00:20:13,760 Speaker 5: up go go cages for women to dance in. They 347 00:20:13,760 --> 00:20:19,800 Speaker 5: tried to recreate a sunset strip La Mystique and Brightened, 348 00:20:19,800 --> 00:20:22,679 Speaker 5: which is kind of those days, a working class, you 349 00:20:22,720 --> 00:20:27,280 Speaker 5: know city, and you know, Morrison was chugging every bottle 350 00:20:27,320 --> 00:20:29,440 Speaker 5: that was handed to him, and those days they didn't 351 00:20:29,760 --> 00:20:33,160 Speaker 5: frisk you at the door very well. Jo bottles coming 352 00:20:33,240 --> 00:20:35,280 Speaker 5: up and he's drinking everything. At the end of the night, 353 00:20:35,320 --> 00:20:39,119 Speaker 5: he was just completely hammered rolling around on stage and 354 00:20:39,160 --> 00:20:44,160 Speaker 5: there's Lizard King motions and everything. His nickname was Lizard King. 355 00:20:44,880 --> 00:20:49,040 Speaker 5: And afterwards, coming out of the men's room and Jim 356 00:20:49,160 --> 00:20:52,120 Speaker 5: is weaving his way towards the men's room. They didn't 357 00:20:52,119 --> 00:20:54,080 Speaker 5: have a backstage men's room. It was just a small 358 00:20:54,119 --> 00:20:57,200 Speaker 5: little place and I just held up my hand and 359 00:20:58,000 --> 00:21:00,520 Speaker 5: you know, I'm real tall, and he took it as 360 00:21:00,560 --> 00:21:02,480 Speaker 5: a guide and he said, oh. 361 00:21:02,240 --> 00:21:03,520 Speaker 1: Thank you, and he came. 362 00:21:03,760 --> 00:21:05,840 Speaker 5: He steered his way into the men's room and we 363 00:21:05,920 --> 00:21:06,960 Speaker 5: high fived each other. 364 00:21:07,200 --> 00:21:08,680 Speaker 1: Oh wow, and I said. 365 00:21:08,480 --> 00:21:10,240 Speaker 5: I'm my god, this is I've got to do this 366 00:21:10,280 --> 00:21:11,320 Speaker 5: as a career somehow. 367 00:21:11,520 --> 00:21:14,800 Speaker 1: What a moment. Yeah, yeah, but two weeks the. 368 00:21:14,760 --> 00:21:18,080 Speaker 5: Place existed two weeks and the second week was the 369 00:21:18,160 --> 00:21:21,600 Speaker 5: Jay Giles band. And I talked to Peter Woolf later 370 00:21:21,640 --> 00:21:24,960 Speaker 5: and he said, yeah, we had to bring our amplifiers 371 00:21:24,960 --> 00:21:28,240 Speaker 5: down the back fire escape to get away as the 372 00:21:28,280 --> 00:21:32,280 Speaker 5: police were closing it down. So those are kind of 373 00:21:32,920 --> 00:21:35,880 Speaker 5: wild and crazy days. Wow, back then. 374 00:21:36,040 --> 00:21:39,320 Speaker 2: But then of course the old Boston Garden. 375 00:21:39,480 --> 00:21:42,800 Speaker 5: The old Boston Garden where Billy Joel had a great 376 00:21:42,840 --> 00:21:47,320 Speaker 5: comment about that. He said, Steve, even even even hockey 377 00:21:47,400 --> 00:21:52,320 Speaker 5: sounds bad at the Garden. He's talking about the acoustics. 378 00:21:52,640 --> 00:21:55,399 Speaker 5: Even hockey sounds bad. And remember that place. It was 379 00:21:55,440 --> 00:21:58,520 Speaker 5: a terrible acoustic. Oh god, yeah, terrible acoustic. But you 380 00:21:58,560 --> 00:22:02,840 Speaker 5: saw a few shows there, many shows there. Billy Jove 381 00:22:03,200 --> 00:22:05,120 Speaker 5: he tour every year, whether he had a new album 382 00:22:05,240 --> 00:22:07,280 Speaker 5: or not. And you know, most people only toured with 383 00:22:07,320 --> 00:22:10,560 Speaker 5: an album in those days. The labels didn't want them 384 00:22:10,760 --> 00:22:15,160 Speaker 5: over you know, overplaying unless they had product to sell. 385 00:22:15,720 --> 00:22:17,800 Speaker 5: But Billy said, hell with that, I'm going out. And 386 00:22:17,920 --> 00:22:20,560 Speaker 5: every show in those days he would end it by saying, 387 00:22:21,080 --> 00:22:22,800 Speaker 5: don't let the bastards get you down. 388 00:22:23,080 --> 00:22:25,240 Speaker 1: Wow. He still does that once. 389 00:22:25,040 --> 00:22:27,320 Speaker 5: In a while, I don't know how often, but in 390 00:22:27,359 --> 00:22:30,600 Speaker 5: those days it was automatic. He would say that because 391 00:22:30,600 --> 00:22:33,159 Speaker 5: he had trouble. His own wife was his manager at 392 00:22:33,160 --> 00:22:35,959 Speaker 5: one time and they broke up and he ended up 393 00:22:35,960 --> 00:22:39,680 Speaker 5: in court with her. You know, he had bad counsel. 394 00:22:39,880 --> 00:22:43,440 Speaker 5: So he was very cynical about the music business. 395 00:22:44,840 --> 00:22:47,480 Speaker 2: Do you remember the famous James Brown show at the Garden. 396 00:22:48,000 --> 00:22:49,200 Speaker 1: I was not at that show. 397 00:22:50,960 --> 00:22:55,040 Speaker 5: I remember talking to Peter Wolfe extensively about it. He 398 00:22:55,080 --> 00:22:57,840 Speaker 5: and Muddy Waters couldn't get in. He was hanging out 399 00:22:57,840 --> 00:22:59,840 Speaker 5: with Muddy Waters and the police wouldn't let him in. 400 00:23:00,920 --> 00:23:03,000 Speaker 5: You know, it's because if they were so worried about 401 00:23:03,600 --> 00:23:06,639 Speaker 5: the night after Martin Luther King died and there was 402 00:23:06,680 --> 00:23:08,640 Speaker 5: going to be an eruption, and there's a good book 403 00:23:08,680 --> 00:23:12,600 Speaker 5: about that, the night that James Brown saved Boston because 404 00:23:12,640 --> 00:23:13,640 Speaker 5: they broadcast that. 405 00:23:13,640 --> 00:23:15,119 Speaker 1: It was on NPR. 406 00:23:15,560 --> 00:23:18,040 Speaker 5: It was on the NPR channel, which never used to 407 00:23:18,080 --> 00:23:21,359 Speaker 5: broadcast live Conscience but they did it as a community 408 00:23:21,400 --> 00:23:24,679 Speaker 5: service to keep people at home. So Boston didn't have 409 00:23:24,720 --> 00:23:30,320 Speaker 5: any significant you know, rioting or burning and looting like 410 00:23:30,400 --> 00:23:33,399 Speaker 5: some of the other place other cities did so. And 411 00:23:33,560 --> 00:23:35,919 Speaker 5: James Sullivan is a writer, you know, to this da 412 00:23:35,960 --> 00:23:38,680 Speaker 5: he's around here now. He wrote the book The Knight 413 00:23:38,840 --> 00:23:43,000 Speaker 5: James Brown Save Boston. And yeah, I would talk to James, 414 00:23:43,000 --> 00:23:46,040 Speaker 5: like in the phone later the years and the mayor 415 00:23:46,119 --> 00:23:49,320 Speaker 5: at the time of that show with Mayor Kevin White 416 00:23:50,040 --> 00:23:52,280 Speaker 5: and James with hopons. 417 00:23:53,000 --> 00:23:54,320 Speaker 1: How's Mayor White doing? 418 00:23:55,000 --> 00:23:57,479 Speaker 5: Well, he hadn't been mayor for ten years? 419 00:23:57,720 --> 00:23:59,040 Speaker 1: How's he doing? Tell him? 420 00:23:59,119 --> 00:24:04,280 Speaker 5: James says alone, because they really bonded. You know, White 421 00:24:04,320 --> 00:24:06,320 Speaker 5: came out and did the m Z role and you 422 00:24:06,400 --> 00:24:08,840 Speaker 5: know he took an active, proactive, you know. 423 00:24:10,480 --> 00:24:11,840 Speaker 1: Night. But it was tremendous. 424 00:24:11,920 --> 00:24:13,480 Speaker 5: I mean I was not there, but I feel like 425 00:24:13,520 --> 00:24:16,240 Speaker 5: I was because I've heard so much about it. 426 00:24:16,400 --> 00:24:21,000 Speaker 2: How about Dylan moments, either concert wise or ever have 427 00:24:21,119 --> 00:24:22,360 Speaker 2: a shot to interview him. 428 00:24:23,400 --> 00:24:24,200 Speaker 1: Dylan moments. 429 00:24:24,280 --> 00:24:27,879 Speaker 5: Most of what I remember is people running the opposite 430 00:24:27,880 --> 00:24:33,040 Speaker 5: direction because you know, his shows would kind of devolve 431 00:24:33,160 --> 00:24:34,960 Speaker 5: into these you know, he'd do his songs and you 432 00:24:35,080 --> 00:24:37,160 Speaker 5: do them, so differently that people didn't know what they 433 00:24:37,200 --> 00:24:40,439 Speaker 5: were remember, you know, he would change the arrangements. And 434 00:24:41,040 --> 00:24:43,960 Speaker 5: I got the one show and people are literally almost. 435 00:24:43,640 --> 00:24:44,920 Speaker 1: Trampling me to get out. 436 00:24:44,920 --> 00:24:47,800 Speaker 5: It was a Boston garden, almost trampling me to get 437 00:24:47,800 --> 00:24:50,040 Speaker 5: out because they were so fed up that he wasn't 438 00:24:50,040 --> 00:24:53,760 Speaker 5: doing the songs the way they wanted to hear them. 439 00:24:54,119 --> 00:24:57,159 Speaker 5: But that's Dylan, you know. And I went up to Woodstock. 440 00:24:57,240 --> 00:25:00,920 Speaker 5: He lived near Woodstock when the whole FA took place 441 00:25:00,960 --> 00:25:05,400 Speaker 5: in sixty nine, and this was about ten years ago, 442 00:25:05,440 --> 00:25:09,639 Speaker 5: and they have an amphitheater now, you know, next to 443 00:25:09,680 --> 00:25:13,480 Speaker 5: the grounds of the original Woodstock, and he was playing 444 00:25:13,880 --> 00:25:16,200 Speaker 5: and he said, oh, here's a chance for him to 445 00:25:16,240 --> 00:25:18,840 Speaker 5: say something about Woodstock. I mean, he regrets that he 446 00:25:18,880 --> 00:25:21,480 Speaker 5: didn't play the festival. He didn't say a thing. You know, 447 00:25:21,560 --> 00:25:25,000 Speaker 5: Dylan the famous for saying nothing. Like the Grateful Dead 448 00:25:25,080 --> 00:25:27,880 Speaker 5: rarely talks, and Dylan barely says anything. 449 00:25:28,119 --> 00:25:28,840 Speaker 1: And I was pissed. 450 00:25:28,840 --> 00:25:31,199 Speaker 5: They drove all the way up to Woodstock, thinking, oh, 451 00:25:31,200 --> 00:25:34,240 Speaker 5: this could be a cultural moment here, you know, saying 452 00:25:34,240 --> 00:25:38,119 Speaker 5: I'm sorry I miss Woodstock, and but no, nothing, just 453 00:25:38,240 --> 00:25:41,480 Speaker 5: the same show of reinterpreting his hits. So you didn't 454 00:25:41,520 --> 00:25:43,879 Speaker 5: know what the hell they were. I mean, I have 455 00:25:43,920 --> 00:25:45,840 Speaker 5: a lot of respect for him. It don't get me wrong. 456 00:25:45,880 --> 00:25:48,560 Speaker 5: He's a songwriter, but Bob as a performer, he can 457 00:25:48,600 --> 00:25:49,960 Speaker 5: be just so quirky. 458 00:25:49,720 --> 00:25:51,359 Speaker 1: Up and down, up and down. 459 00:25:51,440 --> 00:25:54,760 Speaker 2: Yeah, just like this guy Van Morrison too. 460 00:25:55,000 --> 00:25:57,600 Speaker 1: Oh yeah. Van. 461 00:25:57,760 --> 00:26:00,840 Speaker 5: He used to live around Cambridge and wrote part of 462 00:26:00,880 --> 00:26:02,000 Speaker 5: astral Weeks here. 463 00:26:01,920 --> 00:26:03,120 Speaker 1: In nineteen sixty eight. 464 00:26:03,920 --> 00:26:06,960 Speaker 5: And I interviewed him later on and I said, you know, 465 00:26:06,960 --> 00:26:08,840 Speaker 5: I asked him about Cambridge. He said, why are you 466 00:26:08,840 --> 00:26:11,080 Speaker 5: asking me that? And I said, well, I don't I 467 00:26:11,080 --> 00:26:13,800 Speaker 5: get a little local color here. You know you I'm 468 00:26:13,800 --> 00:26:18,040 Speaker 5: not good in local color. Next question. You know, he 469 00:26:18,080 --> 00:26:20,359 Speaker 5: could be so grumbly. 470 00:26:20,960 --> 00:26:22,960 Speaker 1: You know. And I'm just skidding you. By that point, 471 00:26:23,000 --> 00:26:25,240 Speaker 1: I'm going, oh my Jesus. You know, was he hanging 472 00:26:25,320 --> 00:26:28,199 Speaker 1: around with Pete Wolf at that period? Yes? See what 473 00:26:28,240 --> 00:26:28,840 Speaker 1: he still does? 474 00:26:28,960 --> 00:26:32,400 Speaker 5: Yeah, yeah, he still has stories with them, careening through 475 00:26:32,440 --> 00:26:36,000 Speaker 5: Harvard Square, you know, hitting the bars down there. 476 00:26:36,080 --> 00:26:37,240 Speaker 1: You know, they're they're good friends. 477 00:26:37,280 --> 00:26:41,520 Speaker 5: That's boys, that's good boys. 478 00:26:43,000 --> 00:26:44,520 Speaker 1: My god, I love it. 479 00:26:45,000 --> 00:26:47,000 Speaker 5: Yeah, he's be grateful dead. I got a classic from 480 00:26:47,080 --> 00:26:51,879 Speaker 5: nineteen sixty nine. They played the Boston Tea party, and 481 00:26:52,040 --> 00:26:54,520 Speaker 5: pig Pen was with him at the time, you know, 482 00:26:54,560 --> 00:26:57,560 Speaker 5: a keyboard player, and he fell off the stage during 483 00:26:57,760 --> 00:27:01,560 Speaker 5: Lovelight Turn on Your Love lighte big climac song, and 484 00:27:02,640 --> 00:27:04,720 Speaker 5: just he was so drunk he just fell off the 485 00:27:04,760 --> 00:27:08,480 Speaker 5: stage and the band continued to play. They didn't stop, 486 00:27:08,560 --> 00:27:10,520 Speaker 5: and you know, say to what happened? You know, they 487 00:27:10,560 --> 00:27:15,440 Speaker 5: just I remember Jerry Garcia and Bob, we're exchanging glances. Oh, 488 00:27:15,480 --> 00:27:18,639 Speaker 5: he fell off stage again. Let's just keep vamping. So 489 00:27:18,680 --> 00:27:21,400 Speaker 5: they just vamped their way through the song the Road. 490 00:27:21,400 --> 00:27:25,000 Speaker 5: He's dusted pig Pen off and got him back up 491 00:27:25,040 --> 00:27:26,040 Speaker 5: and he finished the song. 492 00:27:26,160 --> 00:27:27,119 Speaker 1: Oh my god. 493 00:27:27,520 --> 00:27:30,600 Speaker 2: Have you seen Bob Weir's workout that he does before 494 00:27:30,640 --> 00:27:31,639 Speaker 2: shows these days? 495 00:27:31,840 --> 00:27:33,920 Speaker 1: No, Oh my goodness. 496 00:27:33,720 --> 00:27:39,040 Speaker 2: It's this intense weight training. He's swiveling weights over his 497 00:27:39,200 --> 00:27:42,800 Speaker 2: head and doing various you know, just I don't know, 498 00:27:42,960 --> 00:27:46,240 Speaker 2: stretching moves, certainly, but a lot of weight related stuff. 499 00:27:46,560 --> 00:27:49,520 Speaker 2: He looks like he's in great shape. 500 00:27:49,960 --> 00:27:52,360 Speaker 1: Yeah. Well, I got a lot of respect for him. 501 00:27:52,400 --> 00:27:55,080 Speaker 5: He's done me a lot of favors through the years. 502 00:27:55,160 --> 00:27:58,280 Speaker 5: And you know, I interviewed Jerry four times. I was 503 00:27:58,359 --> 00:28:03,480 Speaker 5: lucky to do that, but interviewed Bob Moore. You know, Jerry, 504 00:28:03,520 --> 00:28:05,320 Speaker 5: you never knew what its condition was going to be. 505 00:28:06,359 --> 00:28:10,040 Speaker 5: But Bob would back do the backup interviews, and you know, 506 00:28:10,280 --> 00:28:12,000 Speaker 5: I have a lot of He did an interview for 507 00:28:12,080 --> 00:28:16,520 Speaker 5: my course at Berkeley College of Music, Wow, and talked 508 00:28:16,560 --> 00:28:19,760 Speaker 5: all about the acid tests and the ken Casey days 509 00:28:20,400 --> 00:28:24,119 Speaker 5: doing acid up in ken Casey's ranch and just fantastic stuff. 510 00:28:24,240 --> 00:28:25,480 Speaker 1: I love that. My god. 511 00:28:25,800 --> 00:28:28,960 Speaker 2: Well, let's talk about WBCN during that era two and 512 00:28:29,080 --> 00:28:33,560 Speaker 2: what integral part it was around the music scene of Boston. 513 00:28:34,960 --> 00:28:38,520 Speaker 5: Well, the BCN was the station, I mean, wasn't it 514 00:28:38,560 --> 00:28:42,280 Speaker 5: the free form rock station, one of the leading lights 515 00:28:42,280 --> 00:28:46,400 Speaker 5: of the whole new free form FM movement where DJs 516 00:28:46,440 --> 00:28:49,160 Speaker 5: could play what they wanted, you know, before the consultants 517 00:28:49,200 --> 00:28:51,760 Speaker 5: came in and sort of said here's what you've got 518 00:28:51,760 --> 00:28:52,320 Speaker 5: to play now. 519 00:28:53,280 --> 00:28:55,240 Speaker 1: And it was just exciting. You know. 520 00:28:55,320 --> 00:28:59,000 Speaker 5: You listen to the radio and you'd hear about Gee 521 00:28:59,040 --> 00:29:02,560 Speaker 5: led Zeppelin's into Tonight and the bands used to do 522 00:29:02,680 --> 00:29:07,440 Speaker 5: three nights Thursday through Saturday, and the Thursday they'd be 523 00:29:07,560 --> 00:29:10,120 Speaker 5: like half a house. You know, people might not have 524 00:29:10,200 --> 00:29:14,160 Speaker 5: heard too much about them, and by Friday and Saturday 525 00:29:14,160 --> 00:29:16,600 Speaker 5: there's a lot of word of mouth. Word of mouth 526 00:29:16,720 --> 00:29:20,640 Speaker 5: was big, and you know, the smoke shops coming in, 527 00:29:20,720 --> 00:29:23,640 Speaker 5: so people talk about, you know, ain't Coacy Zeppelin. 528 00:29:23,640 --> 00:29:24,400 Speaker 1: They're really good. 529 00:29:24,640 --> 00:29:26,640 Speaker 5: So by Saturday night there'd be lines at the door 530 00:29:26,760 --> 00:29:29,560 Speaker 5: to get in. But BCN was just part of They 531 00:29:29,560 --> 00:29:33,400 Speaker 5: were just another part of that whole revolution taking place. 532 00:29:33,440 --> 00:29:35,720 Speaker 5: And they were quite political. 533 00:29:35,280 --> 00:29:36,200 Speaker 1: In those days too. 534 00:29:36,280 --> 00:29:39,360 Speaker 5: They were involved with, you know, the Harvard protests, you know, 535 00:29:39,440 --> 00:29:43,000 Speaker 5: Vietnam protests, and you know they smuggled some papers out 536 00:29:43,040 --> 00:29:43,920 Speaker 5: of Harvard. 537 00:29:43,520 --> 00:29:44,360 Speaker 1: Remember that whole thing. 538 00:29:44,520 --> 00:29:47,840 Speaker 5: Yeah, you know Danny Schechter, the news dissector, they call 539 00:29:47,920 --> 00:29:52,440 Speaker 5: him yep. So you know, they were exciting, very exciting station, 540 00:29:52,640 --> 00:29:56,560 Speaker 5: and you know you listen to them just just every minute, 541 00:29:56,560 --> 00:29:59,360 Speaker 5: but you know they'd played a twenty minute songs. 542 00:30:00,080 --> 00:30:02,640 Speaker 1: Who does that? You know today you don't hear that anymore. 543 00:30:02,680 --> 00:30:06,560 Speaker 2: But yeah, we had Charles Lacuidera on the podcast and 544 00:30:07,000 --> 00:30:12,280 Speaker 2: Charles was talking about this one event where when he 545 00:30:12,400 --> 00:30:16,720 Speaker 2: was doing late Nights, when I guess Jerry Garcia, Dwayne 546 00:30:16,760 --> 00:30:20,680 Speaker 2: Olman they came up and hung out during the show 547 00:30:21,280 --> 00:30:25,000 Speaker 2: and I think played as well. I think somewhere, yes 548 00:30:25,800 --> 00:30:31,040 Speaker 2: this exists, that's that says they did a documentary. It 549 00:30:31,160 --> 00:30:34,200 Speaker 2: came out a couple of years ago, and that's they 550 00:30:34,200 --> 00:30:36,040 Speaker 2: get some footage of that, I believe a little bit. 551 00:30:36,680 --> 00:30:39,680 Speaker 2: And BCND they had for a while there the studio 552 00:30:39,800 --> 00:30:42,880 Speaker 2: right behind the tea party, right in the ballroom, so 553 00:30:42,920 --> 00:30:44,760 Speaker 2: that you know, the guys could come off stage and 554 00:30:44,880 --> 00:30:47,960 Speaker 2: go right back there. So imagine how exciting that was 555 00:30:48,000 --> 00:30:51,000 Speaker 2: in those days. Yeah, thank god. So what are you 556 00:30:51,080 --> 00:30:52,560 Speaker 2: listening to these days? 557 00:30:53,000 --> 00:30:53,800 Speaker 1: Oh? 558 00:30:54,000 --> 00:31:00,920 Speaker 5: Well, he was a coming full circle Stones that I 559 00:31:00,920 --> 00:31:05,959 Speaker 5: still listen to. Aftermath is my favorite Stones record. Painted 560 00:31:06,000 --> 00:31:08,400 Speaker 5: Black is on that It's the first album they wrote 561 00:31:08,440 --> 00:31:09,360 Speaker 5: all the material for. 562 00:31:09,800 --> 00:31:12,840 Speaker 1: They didn't do covers, so I listened. 563 00:31:12,640 --> 00:31:16,040 Speaker 5: To a lot of the old stuff, and to be 564 00:31:16,080 --> 00:31:19,080 Speaker 5: honest with you, old Yardbirds I've been Jeff Beck died 565 00:31:19,280 --> 00:31:21,920 Speaker 5: not long ago, so it got me back into listening 566 00:31:21,960 --> 00:31:24,800 Speaker 5: to to, you know, the Yardbirds, and I saw them 567 00:31:24,840 --> 00:31:29,360 Speaker 5: as well. So I just sort of coming full circle 568 00:31:29,400 --> 00:31:32,920 Speaker 5: a little bit to the sixties. And as far as 569 00:31:32,960 --> 00:31:36,640 Speaker 5: covering rock acts, I'm I'm open to suggestions. 570 00:31:36,680 --> 00:31:37,760 Speaker 1: Who's really good. 571 00:31:37,960 --> 00:31:41,440 Speaker 5: I'm not, you know, I like the Susan Tedesky, Tedesky 572 00:31:41,520 --> 00:31:44,280 Speaker 5: trucks and some of the Roots rocks. 573 00:31:43,720 --> 00:31:44,360 Speaker 1: You know stuff. 574 00:31:44,400 --> 00:31:46,680 Speaker 5: But but I'm looking for the next U two or 575 00:31:46,680 --> 00:31:49,840 Speaker 5: the next Nirvana like everybody else is, and if you 576 00:31:49,880 --> 00:31:51,160 Speaker 5: have any suggestions, let me know. 577 00:31:51,920 --> 00:31:54,120 Speaker 1: I appreciate it. I appreciate you being on Take it 578 00:31:54,160 --> 00:31:57,120 Speaker 1: a walk. This has been an absolute joy. Yeah. I 579 00:31:57,160 --> 00:31:59,200 Speaker 1: hope you're good. Good to see you, buzz It. It 580 00:31:59,280 --> 00:32:00,880 Speaker 1: means a lot to to have you talk to me. 581 00:32:01,600 --> 00:32:02,000 Speaker 1: Thank you for 582 00:32:03,440 --> 00:32:09,080 Speaker 2: Taking a walk with Buzznight is available on Spotify, Apple Podcasts, 583 00:32:09,200 --> 00:32:11,360 Speaker 2: or wherever you get your podcasts.