Latest / Booked On Rock with Eric Senich / Shooting Stars: Rock & Roll Tales with Photographer John Rowlands [Episode 252]

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Shooting Stars: Rock & Roll Tales with Photographer John Rowlands [Episode 252] · Booked On Rock with Eric Senich

• 0:00
  Speaker 1: We're totally boomed rock and roll. I think I'll leave you.
• 0:05
  Speaker 1: You're reading little hands this.
• 0:06
  Speaker 2: It's time to rock and roll roll out.
• 0:09
  Speaker 3: I totally booked.
• 0:16
  Speaker 2: Hey guys, welcome back to Booked on Rock, the podcast
• 0:18
  Speaker 2: for those about to read and rock. I'mrick Senech. Find
• 0:21
  Speaker 2: the podcast online at booked on rock dot com. You
• 0:24
  Speaker 2: get all the back episodes there in the audio and video.
• 0:27
  Speaker 2: Got a link to the YouTube channel. Also check out
• 0:30
  Speaker 2: the Booked on Rock merch got an online store now
• 0:32
  Speaker 2: at booked on rock dot com. This episode's guests are
• 0:35
  Speaker 2: author and rock and roll photographer John Rowlands and author
• 0:39
  Speaker 2: Bob Klanik. They have a new book out now called
• 0:41
  Speaker 2: Shooting Stars, Telling Tales behind the Lens of John Rowlands.
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  Speaker 2: John is a legendary rock and roll photographer. As a teen,
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  Speaker 2: he toured with the Dave park Five, the Rolling Stones,
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  Speaker 2: and the Beatles. He's photographed David Bowie, The Who, Rush Kiss,
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  Speaker 2: Sam Cook, Linda Ronstadt, Jimmy Hendrix, Bob Dylan, rod Stewart,
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  Speaker 2: Bruce Springsteen, Leonard Cohen, Elvis Presley, and many many more.
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  Speaker 2: He's got some amazing stories in this book, and he's
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  Speaker 2: going to share many of them with us today. Here
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  Speaker 2: are John Rowlands and Bob Klinick. John and Bob, welcome
• 1:14
  Speaker 2: to the show.
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  Speaker 1: Oh, thank you, Hey, Thanks Eric, Bob.
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  Speaker 2: I've had you on before. We were talking about last
• 1:20
  Speaker 2: time you're on, I think maybe two years ago, talking
• 1:22
  Speaker 2: about the book promo man that you worked with legendary
• 1:26
  Speaker 2: promoter Nick Panaseco on. So it's good to have you
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  Speaker 2: back on. I think that was like two years ago, right.
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  Speaker 3: I think it was twenty twenty one or twenty twenty two.
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  Speaker 2: Yeah, yeah, So, John, a lot of your photos have
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  Speaker 2: been seen in books over the years, but here we
• 1:38
  Speaker 2: get the stories behind the photos. What led to this
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  Speaker 2: idea and how did you team up with Bob for
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  Speaker 2: the book.
• 1:44
  Speaker 4: Well, you know, Bob has been privy to my library
• 1:48
  Speaker 4: and I was also very extensive on Facebook with it,
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  Speaker 4: so that all came about then. Of course, doing most
• 1:58
  Speaker 4: of the pictures in Knick's book, he saw a lot
• 2:01
  Speaker 4: of library shots that were mine because Nick and Warner
• 2:05
  Speaker 4: Brothers and Quality Records were an account.
• 2:10
  Speaker 1: And every time Nick.
• 2:12
  Speaker 4: Wanted the jobs, then I would shoot that and I
• 2:16
  Speaker 4: would even get to the point where I was doing
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  Speaker 4: something and knew that Nick's record company wasn't involved, so
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  Speaker 4: I would get him involved for the pictures he needed.
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  Speaker 1: It just clicked over. They had these two resources here
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  Speaker 1: and living in the same town.
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  Speaker 4: He could do it easily. So two years with Nick,
• 2:37
  Speaker 4: one year with me.
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  Speaker 3: John was doing these Rock and Rollins events in which
• 2:42
  Speaker 3: he would show pictures and then talk about the stories
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  Speaker 3: behind the pictures. And that's where I got the idea
• 2:47
  Speaker 3: that we should try and do a version of that
• 2:50
  Speaker 3: in print because John, as you pointed out, Eric was
• 2:54
  Speaker 3: done several rock photo books and his quotes have been
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  Speaker 3: in other books as well. But I'm a story guy,
• 3:02
  Speaker 3: and so I wanted to John told tell the stories
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  Speaker 3: behind the photos in these Rock and Rollans live events,
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  Speaker 3: and it just seemed like a natural thing to do.
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  Speaker 2: Yeah, that's what I love about this book, to get
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  Speaker 2: the stories behind the photos. So let's get to some
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  Speaker 2: of those stories. John, you toured with the day Clock five,
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  Speaker 2: the Stones, and the Beatles as a teenager. You're only seventeen.
• 3:23
  Speaker 2: How did you manage to land those gigs?
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  Speaker 4: The whole thing about it, in general is the record
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  Speaker 4: industry was a very different show in those days. Promo
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  Speaker 4: people pressed people ran the show as far as promo
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  Speaker 4: went and I knew a lot of these people even
• 3:41
  Speaker 4: on the phone. I hadn't met them and didn't know
• 3:46
  Speaker 4: them personally. But as the record industry changed, I was
• 3:50
  Speaker 4: most into getting to know these guys and grew with
• 3:56
  Speaker 4: them and their jobs as a freelance outside. That way,
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  Speaker 4: I could do every single record company in Canada and
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  Speaker 4: a lot of the independent labels and get what they need.
• 4:09
  Speaker 1: To do the promotion.
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  Speaker 4: And that's what culminated in Bob's book and the stories
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  Speaker 4: behind it, you know, the things that don't happen now.
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  Speaker 4: And like the Rolling Stones came to London, Ontario in nineteen.
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  Speaker 1: Sixty five sixty six.
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  Speaker 4: And I came down sat in a parade of cars
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  Speaker 4: with them as we cruised through London to the holiday
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  Speaker 4: in Here. And I was in the same car as
• 4:40
  Speaker 4: Brian Jones, which was a real treat for me. And
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  Speaker 4: here I am next to a fellow Pistas, creative guy
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  Speaker 4: known to all their fans, and I'm waving at the same.
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  Speaker 1: Fans he's got. It was pretty funny. At the time.
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  Speaker 4: I did the same thing with the Dave Clark five
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  Speaker 4: and I did the Canadian tour from Here London Toronto,
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  Speaker 4: and I had wound.
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  Speaker 1: Up and sue Saint Maries.
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  Speaker 4: So those were all things that were just thrown in
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  Speaker 4: and asked for. I was the current freelance photographer at
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  Speaker 4: Capitol Records and Paul White, who paid for all my
• 5:24
  Speaker 4: expenses out of petty cash so I.
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  Speaker 1: Could do all this.
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  Speaker 4: And I said to Paul, is okay to bring a friend.
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  Speaker 1: And he said fine.
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  Speaker 4: So I followed the band in a Greyhound bus, paying
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  Speaker 4: my ticket fare to get to the next city.
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  Speaker 1: And be like a local photographer.
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  Speaker 4: And all these towns, and that led me to other
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  Speaker 4: labels like London Records and the Rolling Stones and so
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  Speaker 4: many others after that. But the real genesis of it
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  Speaker 4: all I started writing to entertainers that I liked, and
• 6:03
  Speaker 4: a lot of the entertainers started writing back. So it
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  Speaker 4: was a teenage dream of mine, who want to meet
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  Speaker 4: the net Fromicello and so on. And Bob Cummings who
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  Speaker 4: had a TV show at the time as a photographer
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  Speaker 4: called Love That Bob and Perry Como was a weekly
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  Speaker 4: program that we all liked and featured at least once
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  Speaker 4: a month. Brenda Lead, so all the people that I
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  Speaker 4: cut my teeth on and just getting back to have
• 6:39
  Speaker 4: these record company access and validity of doing their work
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  Speaker 4: led me to working for them. So it was all
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  Speaker 4: just a rolling into the next situation every time.
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  Speaker 2: Bob, how soon was it for you just to get
• 6:54
  Speaker 2: all these stories from John as you're putting together this book.
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  Speaker 3: Oh, I mean I music myself, So these stories were
• 7:02
  Speaker 3: like monarch from heaven. As a writer, you know, you
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  Speaker 3: want to What I wanted to do is have more
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  Speaker 3: people hear these stories, because, as I say, John would
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  Speaker 3: tell them in these live events, but those were limited,
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  Speaker 3: you know, to just people that were there. And I thought,
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  Speaker 3: this way in a book, they'll be around forever.
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  Speaker 1: I said.
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  Speaker 3: The book is on Amazon and will be on Amazon
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  Speaker 3: long after I'm gone, So and I think it's important
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  Speaker 3: these stories are out there.
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  Speaker 2: Dave Clark five, I know well because as a Van
• 7:33
  Speaker 2: Allen fan, that was the band that Eddie van Haleen
• 7:36
  Speaker 2: talked about. That was a band that inspired him really
• 7:38
  Speaker 2: wanted to become That's when he wanted to become a
• 7:40
  Speaker 2: rock and roll musician. I mean, he and his brother
• 7:43
  Speaker 2: Alex were fans of the Beatles, of course, but there's
• 7:45
  Speaker 2: a Dave Clark five that he really really took to.
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  Speaker 2: I thought that was really cool.
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  Speaker 4: I really enjoyed working with them.
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  Speaker 1: They were kind of like the.
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  Speaker 4: Rough House Beatles with manners clean had the same outfits
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  Speaker 4: every night, and accommentating to all the radio disc jockeys.
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  Speaker 1: And whatnot that came out for the shows, posing a.
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  Speaker 4: Lot with the security teams of the opp here in
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  Speaker 4: Ontario and we're just gentlemen.
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  Speaker 1: I really liked them, and I'm in pieces, bits and pieces.
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  Speaker 4: All their songs were hot tunes of the day, and
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  Speaker 4: of course the tabloids all.
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  Speaker 1: Put together a rivalry.
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  Speaker 4: Between the Beatles and the Rolling Stones and the day
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  Speaker 4: plug five Who did you like Best? And all these
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  Speaker 4: very simple structured panel type of.
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  Speaker 1: Who do you like the best?
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  Speaker 4: And I was lucky I was part of all of that.
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  Speaker 4: Took them to Pizzerias when I was in Ottawa because
• 8:51
  Speaker 4: I lived there before, and all these things were added
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  Speaker 4: to my inventory of the music personality of these Working
• 9:01
  Speaker 4: out of my friend's dad's office, Phil McDonald, His father
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  Speaker 4: built the four oh one from Windsor to Toronto with
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  Speaker 4: a million dollars a mile, so I had a nice
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  Speaker 4: office when his dad wasn't home.
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  Speaker 2: What was it like just experiencing that emergence of the
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  Speaker 2: Beatles and the Stones and day Clark five, and especially
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  Speaker 2: the Beatles and the Stones were huge. Did you sense
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  Speaker 2: that this was going to be something really big?
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  Speaker 1: Yes, oh yeah.
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  Speaker 4: We were part of that because starting with Capitol Records,
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  Speaker 4: I asked if I could bring my friend Phil and
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  Speaker 4: they said, okay. It was logical to have two people
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  Speaker 4: working on the job, and for a personal friend to
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  Speaker 4: be doing this.
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  Speaker 1: The only thing I.
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  Speaker 4: Could put them to work doing was a gathering autograph
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  Speaker 4: of these people, just to prove to my friends really
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  Speaker 4: did meet them, and then a few days later the
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  Speaker 4: pictures would be out and in magazines in Canada. I got
• 10:07
  Speaker 4: a pass from Tana Bodiac and I was walking from
• 10:12
  Speaker 4: one side of the gardens to the other backstage so
• 10:16
  Speaker 4: I wouldn't have to fight through the crowd, and I
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  Speaker 4: saw George and the Vox amplifier sound man there because
• 10:24
  Speaker 4: he was out to monitor the sound of the Vox
• 10:29
  Speaker 4: super Beetle amplifiers, and at the Maple Leaf Gardens just
• 10:34
  Speaker 4: all funneled into electro voiced ten speakers at the top
• 10:39
  Speaker 4: of the gardens, so with every kid screaming for thirty
• 10:44
  Speaker 4: six minutes, you couldn't hear the band. And in order
• 10:49
  Speaker 4: to do this, you had to go downstairs into the
• 10:52
  Speaker 4: hockey dressing rooms with three blocks of cement bricks isolating
• 10:58
  Speaker 4: the sound down to hear able lyrics. And that was
• 11:02
  Speaker 4: the physicality of it. And talking with the box guy,
• 11:07
  Speaker 4: George said to me, do you want some dessert? We're
• 11:11
  Speaker 4: having dessert in the dressing room here in a couple
• 11:14
  Speaker 4: of minutes. So I joined the Beatle for rice pudding
• 11:17
  Speaker 4: and I have some dessert with the boys, and then afterwards,
• 11:23
  Speaker 4: waiting to go on stage, there was a preamble by
• 11:26
  Speaker 4: the local disc jockeys. I would get guitar lessons on
• 11:31
  Speaker 4: John and George's guitars. They told me how to play
• 11:35
  Speaker 4: eight days a week, and I feel fine. It was
• 11:39
  Speaker 4: a very personal thing, a very exciting thing, and a
• 11:43
  Speaker 4: very unbelievable thing. But I've got picture, you know. I
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  Speaker 4: don't have any setup shots with the Beatles, but I
• 11:53
  Speaker 4: have a shot of me in front of them at
• 11:56
  Speaker 4: the press conference at the back of my neck, which
• 11:58
  Speaker 4: was so the people tell me it was highly identifiable.
• 12:02
  Speaker 4: So that's, you know, all I really wanted, you know,
• 12:06
  Speaker 4: And the fact that the record companies would give me
• 12:08
  Speaker 4: money to do this was just an excellent arrangement, and
• 12:14
  Speaker 4: I'm still in high school seventeen. It was so much
• 12:18
  Speaker 4: fun to ride this pharaoh cell of musical act in
• 12:23
  Speaker 4: the beginning, and then after a while just throw into
• 12:25
  Speaker 4: the maturity of it all and a certain change.
• 12:29
  Speaker 1: To the recognistry.
• 12:30
  Speaker 4: But that was the premise from which it started.
• 12:34
  Speaker 2: A book on rock podcasts. We'll be back after this.
• 12:41
  Speaker 2: I've read about Chuck Berry being a shrewd businessman. There's
• 12:44
  Speaker 2: a story in the book on your experience with Chuck Berry.
• 12:46
  Speaker 2: You had an up close experience with him. Can you
• 12:49
  Speaker 2: talk about that. He talked about how he slept in
• 12:51
  Speaker 2: a Cadillac so he didn't have to pay to stay
• 12:54
  Speaker 2: in hotels. This is a good story.
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  Speaker 4: Well, that year I met him on the Elwick Glover's
• 13:01
  Speaker 4: TV show and started talking with him. I was at
• 13:06
  Speaker 4: Ryerson at the time, studying photography, and he had just
• 13:12
  Speaker 4: gotten a brand new video camera from.
• 13:15
  Speaker 1: Bo Diddley because Bo was just in.
• 13:18
  Speaker 4: Japan and replaced his video outfit with a new SSAI
• 13:23
  Speaker 4: outfit and gave the old one to Chuck. So I
• 13:26
  Speaker 4: knew about zooming and panning and all this, and covered
• 13:31
  Speaker 4: the show well.
• 13:32
  Speaker 3: And after the.
• 13:33
  Speaker 4: Elwick Glover Show, we sat there for the whole interview
• 13:36
  Speaker 4: to be played back, and Chuck said.
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  Speaker 1: Hey, this is really good.
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  Speaker 3: What are you.
• 13:41
  Speaker 1: Doing next week?
• 13:42
  Speaker 4: And I said, well, I'm in school, Chuck, what what
• 13:44
  Speaker 4: do you need? So he said, well, nine hundred bucks
• 13:48
  Speaker 4: be goose enough to take you away from.
• 13:49
  Speaker 1: School for a week.
• 13:51
  Speaker 4: I joined the tour at that point in nineteen seventy one.
• 13:55
  Speaker 4: How he worked, met some women that had his and
• 14:02
  Speaker 4: you know, only recently did I find out about his
• 14:05
  Speaker 4: wife in Saint Louis.
• 14:07
  Speaker 1: And you know, he's.
• 14:09
  Speaker 4: Got goot cook at wives around the country. At the time,
• 14:13
  Speaker 4: it was incredible to ride this vandwagon check with a
• 14:17
  Speaker 4: really smart man. And yeah, his favorite hotel was his Cadillac,
• 14:22
  Speaker 4: and you know, his favorite restaurant was ice box.
• 14:27
  Speaker 1: Food that he packed the day before.
• 14:29
  Speaker 4: And so on and so forth. And he made an
• 14:32
  Speaker 4: extra one hundred thousand dollars.
• 14:34
  Speaker 1: A year doing this.
• 14:36
  Speaker 4: And you know, I work with him on the updated
• 14:39
  Speaker 4: tours until I retired from the business, and he was
• 14:44
  Speaker 4: a storybook. Every show he'd want money up front, in
• 14:48
  Speaker 4: his case, thirty thousand bucks before he'd play, and then
• 14:53
  Speaker 4: he wanted a fifty seven twin reverb and if he
• 14:56
  Speaker 4: didn't have one he'd rent you his things like that.
• 14:59
  Speaker 4: That were a lot lot of fun from Chuck because
• 15:01
  Speaker 4: he was quite a showman, and I got a lot
• 15:04
  Speaker 4: of his shots, but I didn't see any duck walk,
• 15:08
  Speaker 4: but I have him leaning over and almost doing the
• 15:13
  Speaker 4: duck walk. He was a fantastic entertainer. The records were
• 15:17
  Speaker 4: all on the charts, big news, and it was a
• 15:21
  Speaker 4: delight to know Chuck Berry, even though his reputation for
• 15:25
  Speaker 4: getting along with most people with terrible.
• 15:28
  Speaker 2: You work with Rod Stewart and Faces at a time
• 15:31
  Speaker 2: when as Bob Wright, Stuart and the band were starting
• 15:33
  Speaker 2: to crack. What happened.
• 15:35
  Speaker 4: We had waited at the airport for aircraft to bring
• 15:39
  Speaker 4: him to Toronto from Detroit, and after five flights, so
• 15:45
  Speaker 4: we let the limos go and then.
• 15:48
  Speaker 1: He came in and reason being they were in jail
• 15:53
  Speaker 1: because they did a.
• 15:54
  Speaker 4: Show in Detroit. Came back to the hotel. There were
• 15:57
  Speaker 4: two thousand girls in the lobby and they had rooms
• 16:01
  Speaker 4: on the nineteenth floor, and the elevators were shut down,
• 16:06
  Speaker 4: so the guys had to run up to the rooms
• 16:09
  Speaker 4: and get away from the girls. So Rod said to
• 16:13
  Speaker 4: the next day when they were checking out, everybody check
• 16:17
  Speaker 4: out but light something on fire in your room. So
• 16:21
  Speaker 4: they did this, and that's why they were five flights late.
• 16:26
  Speaker 1: And we were.
• 16:27
  Speaker 4: Sitting at the airport, the promo team, and I had
• 16:30
  Speaker 4: the newest car, so I drove Rod and his manager
• 16:34
  Speaker 4: to the inn on the park hotel.
• 16:37
  Speaker 1: Get him into the room and then relax for a
• 16:40
  Speaker 1: few minutes.
• 16:41
  Speaker 4: And then he wanted to go in and have a
• 16:43
  Speaker 4: drink at the bar, which is pretty exclusive in those days.
• 16:47
  Speaker 4: And he had on a soccer car wrapped around his neck,
• 16:52
  Speaker 4: part of the show, part of his persona at the time,
• 16:56
  Speaker 4: and they said, sorry, sir, no tie, no admis So
• 17:00
  Speaker 4: there was an argument about that man. He went downstairs
• 17:04
  Speaker 4: on a spiral staircase and at the end of the
• 17:07
  Speaker 4: park they had a big Christmas tree. Well, I got
• 17:11
  Speaker 4: up on a karate dance and sidekicked the Christmas tree
• 17:16
  Speaker 4: onso the floor. We got in my car and drove
• 17:19
  Speaker 4: down to the gardens immediately and drove right into the
• 17:23
  Speaker 4: gardens with my car hot Rod.
• 17:26
  Speaker 2: Yeah, what about the everly brother story. So that's another
• 17:29
  Speaker 2: great one. You walked in on a moment between the
• 17:31
  Speaker 2: two brothers. They weren't getting along. So well, this is
• 17:35
  Speaker 2: back in seventy one.
• 17:36
  Speaker 4: Yeah, well they you know, at this time, for some reason,
• 17:40
  Speaker 4: they were fighting and there had been notices to the
• 17:44
  Speaker 4: record company that, you know, just be as cool as
• 17:48
  Speaker 4: you can with them because they're fighting. So I had
• 17:51
  Speaker 4: to photograph them and of course smiles because I wanted
• 17:56
  Speaker 4: them to look good, because they were one of the
• 17:58
  Speaker 4: bands that I used to think about rock photography when
• 18:02
  Speaker 4: I was ten years old, and some of their pictures
• 18:06
  Speaker 4: showed them.
• 18:06
  Speaker 1: As very happy guys.
• 18:08
  Speaker 4: Singing songs, and the pictures were so obvious they were
• 18:11
  Speaker 4: singer anyway.
• 18:13
  Speaker 1: I wanted them to get along, and so I came on.
• 18:17
  Speaker 4: With a very gay sounding voice and said, hey, boys,
• 18:20
  Speaker 4: come on, let's get together here and smile. Let's go smile,
• 18:24
  Speaker 4: And of course they burst into laughter with that kind
• 18:27
  Speaker 4: of thing, and it looked like they're friendly again. It
• 18:31
  Speaker 4: was not expected from them, but it did happen. Well.
• 18:35
  Speaker 2: I gotta say, John, I am very jealous after reading
• 18:37
  Speaker 2: your story about Linda Ronstad the photo in the book,
• 18:40
  Speaker 2: she just is stunning in this photo. She's got the
• 18:42
  Speaker 2: cut off jeans shorts, just beautiful. This takes place in
• 18:47
  Speaker 2: Los Angeles nineteen seventy three.
• 18:49
  Speaker 4: And you're no good you're no good with the record,
• 18:54
  Speaker 4: and Glenn Fry and Don Henley were in the band
• 18:58
  Speaker 4: and Linda was going out with Albert Brooks at the time.
• 19:03
  Speaker 1: One of the road you told me down.
• 19:06
  Speaker 4: Front, I met Glinda a little short press conference there,
• 19:10
  Speaker 4: and and you said, you know, you should pay more
• 19:13
  Speaker 4: attention to Linda because he really liked you.
• 19:16
  Speaker 1: So I didn't have a chance to pay more attention.
• 19:20
  Speaker 4: To Linda, but I was certainly in love with all
• 19:23
  Speaker 4: of photography, and I had to red shots and throughout
• 19:29
  Speaker 4: next career at Warners and I got to do that
• 19:33
  Speaker 4: kind of once again.
• 19:35
  Speaker 1: The excitement is the best for it.
• 19:38
  Speaker 2: Bob. What do you think when you heard that story
• 19:41
  Speaker 2: was running through your mind?
• 19:42
  Speaker 3: Well, you can imagine. I mean, that's a photo and
• 19:47
  Speaker 3: I'm it's funny because John John is a ten years
• 19:52
  Speaker 3: older than me, so he was kind of like living
• 19:54
  Speaker 3: the life that a lot of us, you know, kind
• 19:56
  Speaker 3: of thought we'd like to live, because it's quite a lifestyle.
• 20:00
  Speaker 3: He met as well. And of course these stories which
• 20:03
  Speaker 3: are like I said, Manner from.
• 20:04
  Speaker 2: Heaven absolutely and the Wolfman Jack guess whose story is
• 20:08
  Speaker 2: another good one. You contributed to their song Clap for
• 20:11
  Speaker 2: the Wolfman.
• 20:12
  Speaker 4: Yeah, he was doing a car show in Toronto and
• 20:16
  Speaker 4: Burton was in the studio and had written a song
• 20:20
  Speaker 4: Clap for the Wolfman because the midnight special was a
• 20:24
  Speaker 4: big deal in those days. So with or without Wolf
• 20:27
  Speaker 4: he was going to do the record anyway. But hey,
• 20:30
  Speaker 4: we got them after the show. Yeah, we showed up
• 20:33
  Speaker 4: at nimb with nine studios and we had lived our
• 20:39
  Speaker 4: way through it. And the side story was he showed
• 20:42
  Speaker 4: up with two girls and left with the two girls
• 20:46
  Speaker 4: and whatever happened with them was whatever happened. But Burton
• 20:50
  Speaker 4: had put together the tracks and has.
• 20:53
  Speaker 1: A whole gag trap for Wolf.
• 20:56
  Speaker 4: And we laid them down. You know, you've got the angles,
• 21:00
  Speaker 4: I got the curves, or you get the curve.
• 21:02
  Speaker 1: Got the angle. I've read all the lyrics, but it.
• 21:05
  Speaker 4: Was it just fit like the gloves, you know, And
• 21:09
  Speaker 4: it was so spectacular and so easy to do. Bert
• 21:14
  Speaker 4: was into all this recording stuff and the Nimbus nine
• 21:19
  Speaker 4: with Ben McPeak and Jack Richardson. We're up to capture
• 21:23
  Speaker 4: it on the tape and the excitement of it all.
• 21:26
  Speaker 4: And it went down sess and ended at five in
• 21:29
  Speaker 4: the morning, starting around midnight, and that's the record.
• 21:35
  Speaker 2: You hear Today, This episode's guest a rock and roll
• 21:38
  Speaker 2: photographer John Rowlands and author Bob Klanik. They have a
• 21:41
  Speaker 2: new book out now called Shooting Stars, Telling Tales behind
• 21:44
  Speaker 2: the Lens of John Rowlands. Bob, you not at the
• 21:47
  Speaker 2: start of the book quote this may come as a shock,
• 21:49
  Speaker 2: but not every act John lens is covered in his book.
• 21:53
  Speaker 2: It would be easier to find an act of the
• 21:55
  Speaker 2: rock and roll era John didn't shoot than the opposite.
• 21:58
  Speaker 2: Was it a challenge for you to decide which ones
• 22:00
  Speaker 2: to include in which to leave out? Did you have
• 22:02
  Speaker 2: a limit on how many words you could write? Was
• 22:04
  Speaker 2: there a page limit?
• 22:06
  Speaker 3: There really was no limit on word drating. John and
• 22:09
  Speaker 3: I went through and as part of the process we
• 22:12
  Speaker 3: went through and looked at over six hundred and fifty
• 22:14
  Speaker 3: photos of his You know, some were multiple versions of
• 22:20
  Speaker 3: the same act at the same show or something, so
• 22:22
  Speaker 3: you know, there's some overlap there. But we went through
• 22:25
  Speaker 3: pretty much everything and we didn't leave out I don't
• 22:28
  Speaker 3: think I left out much. I mean, it's on the
• 22:32
  Speaker 3: other hand, having said that, even as we'm listening today,
• 22:34
  Speaker 3: John's got an amazing memory. He keeps tossing in new
• 22:37
  Speaker 3: little kid bits. It's like Oh, okay, I don't really
• 22:40
  Speaker 3: remember us talking about that. So John's memory is amazing
• 22:45
  Speaker 3: and still is amazing.
• 22:46
  Speaker 2: That's what I was going to ask you about. That's
• 22:48
  Speaker 2: the challenge, right as you read quote, for every story
• 22:50
  Speaker 2: here he would provide an exhaustive overview of fascinating details
• 22:54
  Speaker 2: as extraneous to the story as they are fascinating. For
• 22:57
  Speaker 2: the sake of focus, many of these details are missing.
• 22:59
  Speaker 2: So how challenging was that for you to have to
• 23:03
  Speaker 2: decide on what details to leave out and what to
• 23:05
  Speaker 2: leave in.
• 23:06
  Speaker 3: Well, I had to I had to think like a reader.
• 23:08
  Speaker 3: I have to sort of think about, you know, is
• 23:12
  Speaker 3: John at what point today was just talking about and
• 23:14
  Speaker 3: he mentioned the name of someone who I can't remember
• 23:17
  Speaker 3: what it was. It was in the context of one
• 23:18
  Speaker 3: of the stories. And it's not a name that everyone's
• 23:22
  Speaker 3: going to recognize, and it's it's not, you know, key
• 23:25
  Speaker 3: to the telling of the story. But it's just a
• 23:28
  Speaker 3: sign of how much John remembers the names of people
• 23:33
  Speaker 3: that he worked with, you know, just to a lesser
• 23:36
  Speaker 3: degree sometimes and just all the names. So it was
• 23:40
  Speaker 3: typically a matter of trying to think like a reader,
• 23:42
  Speaker 3: what does the reader need to know? What does what
• 23:44
  Speaker 3: does the reader want to know? So that's it's kind
• 23:47
  Speaker 3: of like you're being a bit of an editor at
• 23:49
  Speaker 3: the same time. So so the the story flows, John.
• 23:54
  Speaker 2: Did you have a diary that you kept or is
• 23:56
  Speaker 2: this all by memory?
• 23:58
  Speaker 1: I kept the diary, but not very accurately. But they
• 24:04
  Speaker 1: were always a recollection for me too.
• 24:08
  Speaker 4: I work with in what year it was and whatnot.
• 24:11
  Speaker 4: I did people maybe six years worth, but the span
• 24:15
  Speaker 4: of this book.
• 24:15
  Speaker 1: Over was forty five years.
• 24:18
  Speaker 4: And it really all started from writing letters to people,
• 24:23
  Speaker 4: and you know, with good memories and good people that
• 24:28
  Speaker 4: was writing to. And I got a lot of the
• 24:31
  Speaker 4: postcards back from Disney with Ans and the Cello movie
• 24:36
  Speaker 4: she did.
• 24:37
  Speaker 1: And the other celebrities.
• 24:39
  Speaker 4: Like Bob Cummings owned the copyright on this car that
• 24:43
  Speaker 4: would have wings on it and actually fly way back
• 24:47
  Speaker 4: in the fifties, you had that. I loved the movie
• 24:50
  Speaker 4: Sabatur directed by Albert Hitchcock, and so on and so
• 24:55
  Speaker 4: on and so on, And there was obviously to these
• 24:59
  Speaker 4: people quite a connection enough to write me back. And
• 25:05
  Speaker 4: I even got a six page letter from Perry Como
• 25:09
  Speaker 4: in pencil. I'll ultimately work with Perry on a Anne
• 25:13
  Speaker 4: Murray's special in Quebec City. So taking something away in
• 25:19
  Speaker 4: the background from stay seventeen or twelve years old and
• 25:24
  Speaker 4: meeting the guy at ten or fifteen years later was
• 25:28
  Speaker 4: something I could fit in with as a conversation starter,
• 25:32
  Speaker 4: and the commonalty that let me do my job, and
• 25:37
  Speaker 4: the entertainer was often on my side saying, oh, let
• 25:41
  Speaker 4: him alone, he's with me.
• 25:43
  Speaker 2: A book on rock podcast, we'll be back after this.
• 25:48
  Speaker 2: Hold On, there's a chapter on Grace Slick and you
• 25:54
  Speaker 2: start off the chapter Bob by writing quote, it would
• 25:57
  Speaker 2: be nineyer impossible to be a forteographer looking through the
• 26:01
  Speaker 2: lens at a rock goddess and not feel more than
• 26:03
  Speaker 2: a twinge of something else. For John, Grace Slick of
• 26:06
  Speaker 2: the Jefferson Airplane made his heart or something like it
• 26:09
  Speaker 2: skipped some beats. John, you had quite a relationship with Grace.
• 26:13
  Speaker 2: Tell us about your experience working with her.
• 26:15
  Speaker 4: I was shooting stuff for the Nikon School of Photography
• 26:19
  Speaker 4: at the time, and they had a special camera they
• 26:23
  Speaker 4: wanted me to try out, and you know I often
• 26:28
  Speaker 4: played with.
• 26:28
  Speaker 1: These special things.
• 26:30
  Speaker 4: On Rolling Stone Stewards and whatnot. But Jefferson Starship opened
• 26:35
  Speaker 4: for the Stones on one tour. I think it's seventy five.
• 26:39
  Speaker 4: They did six dates with them, and I'm shather with
• 26:43
  Speaker 4: this camera that allowed me to take a four second
• 26:46
  Speaker 4: time exposure and shoot the flash at the end of
• 26:50
  Speaker 4: the exposure. So I captured a lot of motion freaking
• 26:54
  Speaker 4: through her hair. Highlight of her eyes is streaking, and
• 27:00
  Speaker 4: he's looks like she's in flame red flames, not yellow red.
• 27:05
  Speaker 4: So I blew up a sixteen by twenty and went
• 27:08
  Speaker 4: to Pine Knob in Detroit and shot the band for
• 27:13
  Speaker 4: the record company as well, and I backstage, I gave
• 27:18
  Speaker 4: her this big shot and she looked at it and
• 27:22
  Speaker 4: she said, Wow, that is magical, and then she proceeded
• 27:27
  Speaker 4: to stick her tongue down my throat, which.
• 27:29
  Speaker 3: Was just a real good dream.
• 27:32
  Speaker 4: For me to talk about. That photograph is on the
• 27:36
  Speaker 4: cover of the.
• 27:36
  Speaker 1: Book in the upper left.
• 27:38
  Speaker 4: To this day, it's still a magical shot and gets
• 27:42
  Speaker 4: requested by fans of mine and then they'll pay two
• 27:45
  Speaker 4: hundred dollars to get one.
• 27:48
  Speaker 1: Very very happy.
• 27:50
  Speaker 2: I would think, yes, I would think Alice Cooper story
• 27:53
  Speaker 2: is amazing. What a comebackstory in terms of him getting
• 27:55
  Speaker 2: sober and really taking control of his life in his career.
• 27:58
  Speaker 2: You've worked with Alison. It was through him that you
• 28:01
  Speaker 2: got to photograph Vincent Price. Can you talk about that
• 28:04
  Speaker 2: and the interesting thing that you did with the shadow
• 28:06
  Speaker 2: on his face in the photo that you took and
• 28:09
  Speaker 2: his photos in the book.
• 28:10
  Speaker 4: The whole thing about Vincent came about with once again
• 28:14
  Speaker 4: my relationship with Warner Brothers and Gary Slat, who was
• 28:18
  Speaker 4: Nick's boss at the time in promotion. Here's a good
• 28:22
  Speaker 4: local photographer who could.
• 28:24
  Speaker 3: Do the job.
• 28:25
  Speaker 4: So they assigned me to shoot the show for the
• 28:28
  Speaker 4: record company. And there's been a lot of other sources
• 28:32
  Speaker 4: that used those picks too. I would go there and
• 28:36
  Speaker 4: I was certainly accessible to all the highlights of the show.
• 28:41
  Speaker 4: And then reading Alison and Vincent, and also having some
• 28:46
  Speaker 4: background on knowing that Vincent Price was Red Skelton's fat
• 28:51
  Speaker 4: friend at the time, I wanted to shoot a portrait
• 28:55
  Speaker 4: of Vincent, and I was there arranging the lights that
• 29:00
  Speaker 4: didn't interfere with the TV show, and I worked on
• 29:04
  Speaker 4: those for two hours and eventually said to VNTO that
• 29:08
  Speaker 4: I'd like to take some shots, and I gathered up
• 29:12
  Speaker 4: and shot it with my hassle lad. I think I
• 29:15
  Speaker 4: got four shots and he said, well, take more job,
• 29:19
  Speaker 4: take more I said, mister Price, that fourth shot is
• 29:23
  Speaker 4: a great shot, and I'll show you tomorrow what I got.
• 29:28
  Speaker 4: So I went home, processed the film and I was
• 29:31
  Speaker 4: shooting the next day again. Brought them to the studio
• 29:34
  Speaker 4: and showed them to Vincent and he was amazed because
• 29:38
  Speaker 4: if you put your hand in the middle of his
• 29:41
  Speaker 4: face and feel the right side, you see the whimsical instant.
• 29:48
  Speaker 4: And you turn the hand on the left side of
• 29:51
  Speaker 4: his face and you see the horrific Dincent Price. I said,
• 29:56
  Speaker 4: you know, I'm.
• 29:57
  Speaker 1: Going to La tomorrow to work with Red Skelton. I'll
• 30:02
  Speaker 1: give a copy read. And he said to me, John,
• 30:05
  Speaker 1: I'll give a copy to read. Let me have this one.
• 30:08
  Speaker 1: And that's how I read.
• 30:10
  Speaker 4: And he looked at those pictures. And I was in
• 30:15
  Speaker 4: line for the cover of the biography that his son wrote,
• 30:19
  Speaker 4: but never got back to me because I moved around
• 30:23
  Speaker 4: so much in those days. But when I retired, I
• 30:27
  Speaker 4: came back to London.
• 30:28
  Speaker 2: So are you you originally from Canada?
• 30:31
  Speaker 4: Born in Oshawa, Canada, raised in Ottawa and currently living
• 30:36
  Speaker 4: in London.
• 30:37
  Speaker 2: I think my favorite story in the book has to
• 30:39
  Speaker 2: do with Leonard skannered Bob. I'm gonna ask you what
• 30:42
  Speaker 2: your favorite story from the book is, or maybe a
• 30:44
  Speaker 2: few stories, But if you could tell me this story
• 30:47
  Speaker 2: John about Leonard Skinner. They had quite a reputation. They
• 30:51
  Speaker 2: like to start a few fights when they went out.
• 30:53
  Speaker 4: The Skinner Deden was an incredible bunch of guys. I
• 30:58
  Speaker 4: can't say anything wrong with any of them, probably because
• 31:02
  Speaker 4: of my superficial knowledge of them in Friendship.
• 31:06
  Speaker 1: But seventy four I met them.
• 31:09
  Speaker 4: For the first time, and I'd work with them in
• 31:12
  Speaker 4: seventy three when they opened for the Who. But we're
• 31:16
  Speaker 4: working with them in seventy four. You know, I got
• 31:19
  Speaker 4: to hang out with them after the show. We went
• 31:21
  Speaker 4: to a bar. They couldn't find somebody that would fight
• 31:25
  Speaker 4: with them. Then they fight with themselves. So road manager
• 31:30
  Speaker 4: always carried about thirty thousand bucks in cash in a
• 31:33
  Speaker 4: Halliburton case, and that was to pay off the bartender.
• 31:37
  Speaker 4: You know, how much do I owe you for the
• 31:39
  Speaker 4: broken mirrors and the broken bottles?
• 31:42
  Speaker 2: That that's such a great art.
• 31:44
  Speaker 1: And that's how they paid up their tad.
• 31:48
  Speaker 2: Bob, do you have any favorite stories from the book
• 31:50
  Speaker 2: that stand out for you.
• 31:52
  Speaker 3: I really do like the chapter on letter Cohen, mainly
• 31:56
  Speaker 3: because it goes from the beginning of his career when
• 32:00
  Speaker 3: John shot him this great session in Montreal at his home,
• 32:04
  Speaker 3: and it carries on through through the Louie story all
• 32:08
  Speaker 3: the way to the to the story where he ran
• 32:11
  Speaker 3: into him again in California and he was a then
• 32:15
  Speaker 3: Buddhist monk, and then of course John got a chance
• 32:19
  Speaker 3: to photograph him in the final chapter of his career
• 32:22
  Speaker 3: when he went on tour again, and because he was
• 32:25
  Speaker 3: out of money because his manager robbed and blind, and
• 32:30
  Speaker 3: so in order to kind of have have some money,
• 32:33
  Speaker 3: he had to go on tour again. That toursulting consuliated
• 32:38
  Speaker 3: him as a as a you know, a legendary icon
• 32:42
  Speaker 3: music icon before he passed away. So I really kind
• 32:46
  Speaker 3: of liked the arc of Leonard Cohen's life as it's
• 32:49
  Speaker 3: captured in the book in terms of John's stories, and
• 32:52
  Speaker 3: John's photos of Leonard Cohen in the final stages of
• 32:55
  Speaker 3: his career are terrific.
• 32:58
  Speaker 2: Yeah, he was a fascinating guy. There's an absolutely phenomenal
• 33:01
  Speaker 2: photo you took John of David Bowie that's in this book,
• 33:03
  Speaker 2: and it's the Archer photo, Bob you right quote More
• 33:07
  Speaker 2: than any other artist, John Rowland's lasting reputation is intertwined
• 33:11
  Speaker 2: with his work with Bowie John. Can you share with
• 33:13
  Speaker 2: us this story behind the Archer photo and how it
• 33:16
  Speaker 2: was David who came up with that title.
• 33:18
  Speaker 4: I like David so much, having worked with him on
• 33:22
  Speaker 4: Diamond Dogs. When I got the tour.
• 33:25
  Speaker 1: For James from the Station album, he became the thin
• 33:30
  Speaker 1: white Duke.
• 33:31
  Speaker 4: In order to get these shots to him as quick
• 33:34
  Speaker 4: as possible, I put a dark room in the hotel bathroom,
• 33:39
  Speaker 4: brought along my little Durst and larger would process the
• 33:43
  Speaker 4: film and Nikon tanks, hang them up to dry, which
• 33:47
  Speaker 4: took four hours or so just hanging in the shower
• 33:51
  Speaker 4: in the hotel room, and then I'd cut them down
• 33:54
  Speaker 4: and make contact sheets, and then around nine thirty I
• 33:58
  Speaker 4: would go across the hallway to David drewm and we
• 34:01
  Speaker 4: sit and have breakfast, enjoying the contact. David was enjoying them,
• 34:07
  Speaker 4: and I came around at one of these shows at
• 34:10
  Speaker 4: Maple Leaf Gardens produced the Archer and he said.
• 34:14
  Speaker 1: Oh, you've got the Archer.
• 34:16
  Speaker 4: That's great, and he gave me the background all that
• 34:19
  Speaker 4: that they were taking an Alissante fain. There are two
• 34:25
  Speaker 4: sculptures there with metal leaf kind of wrappings around us
• 34:31
  Speaker 4: to go two archers with their bows pointed up and
• 34:35
  Speaker 4: into the sea, and they are the namesake out the
• 34:41
  Speaker 4: archer photograph that he was emulating. So I had captured
• 34:45
  Speaker 4: that and he knew right away who it was and
• 34:49
  Speaker 4: my angle was good. My friend Rob Bowman has got
• 34:54
  Speaker 4: shot very similar, but not captured with a Hasseblab and
• 34:58
  Speaker 4: not with the telep photo to fifty that I was
• 35:01
  Speaker 4: using on that night. Some of the mathematics aren't as good,
• 35:06
  Speaker 4: but I have a sequence of shots leading up to
• 35:10
  Speaker 4: it and going away from it, and I worked all
• 35:13
  Speaker 4: that out the night before in Montreal, watched the show,
• 35:18
  Speaker 4: made notes on where to be at what time, and then,
• 35:21
  Speaker 4: of course with the record company giving them Gold Records
• 35:24
  Speaker 4: Platinum Records, I had my validity established and could have
• 35:30
  Speaker 4: the run of the gardens. Sat down beside Jeff and
• 35:34
  Speaker 4: took the shot from the first row. And that's what
• 35:38
  Speaker 4: you know professional photographer should do. Look at all the
• 35:41
  Speaker 4: advantages you can get and make it better.
• 35:44
  Speaker 2: It's an amazing shot. Is David Bowie your favorite artist
• 35:47
  Speaker 2: to shoot or do you have favorite artists that you
• 35:51
  Speaker 2: always love to shoot that were just great on stage,
• 35:54
  Speaker 2: perfect for a photographer.
• 35:56
  Speaker 1: Well over the years.
• 35:58
  Speaker 4: That's my favorite shot, to no doubt. I wish I
• 36:01
  Speaker 4: had have been on some of the other tours that
• 36:03
  Speaker 4: I missed, but very happy I did get the ones
• 36:07
  Speaker 4: I got. And acts like Billy Gibbons and Ze Top
• 36:13
  Speaker 4: are always.
• 36:15
  Speaker 1: Fantastic and fun.
• 36:17
  Speaker 3: I've seen some.
• 36:18
  Speaker 1: Of Billy's cars. I met him at a car show
• 36:21
  Speaker 1: once and we had some diet pepsi.
• 36:24
  Speaker 4: And also I had a store in Palm Desert and
• 36:29
  Speaker 4: was there one morning and the guy went by with
• 36:31
  Speaker 4: I just caught him on the corner of my eye
• 36:35
  Speaker 4: and he looked like he had.
• 36:36
  Speaker 1: A hat on that Billy Gibbons war.
• 36:38
  Speaker 4: So I followed him for probably twenty feet behind him,
• 36:42
  Speaker 4: and then I got a little quoteser and said hey Billy,
• 36:46
  Speaker 4: and he turned around. So it was Billy Gibbons taking
• 36:50
  Speaker 4: advantage of the air conditioning in Palm Springs, walking through
• 36:55
  Speaker 4: this mall for exercise. He was the patient at the
• 36:59
  Speaker 4: Betty Ford came there for recharging every now and again.
• 37:03
  Speaker 4: On the road. Whenever we saw each other, we had
• 37:07
  Speaker 4: a great time. And it goes on to this day
• 37:12
  Speaker 4: that my associate and friend Max long Winning, he comes
• 37:17
  Speaker 4: out to see Max's art shows in Palm Desert, Palm
• 37:22
  Speaker 4: Springs and brings his girlfriend or wife with him and
• 37:28
  Speaker 4: living up to the memory. And of course Max from Houston,
• 37:32
  Speaker 4: Texas at the time, got to know the bass players
• 37:37
  Speaker 4: quite well and was a big.
• 37:39
  Speaker 1: Fan of Billies all along so us Hill. Yeah, it
• 37:43
  Speaker 1: was a.
• 37:43
  Speaker 4: Good friendly situation. His cars were at the National Hot
• 37:49
  Speaker 4: Rot Association museums, so.
• 37:51
  Speaker 1: I got to see the Mexican te Bird in the sixty.
• 37:55
  Speaker 4: Two Cadillac and stuff that he had collected and servish
• 38:00
  Speaker 4: to new and also cad Zilla made by Boyd Copington
• 38:08
  Speaker 4: and he charged Billy in those days nine hundred thousand
• 38:12
  Speaker 4: for the car.
• 38:13
  Speaker 2: Wow, that's the one that's in the videos. I think
• 38:15
  Speaker 2: the Cadzilla.
• 38:16
  Speaker 4: Yeah, and it's now owned by the Peterson Museum in LA.
• 38:22
  Speaker 2: Booked on rock Podcasts. We'll be back after this. You
• 38:29
  Speaker 2: worked at what was the Who's last final public concert
• 38:33
  Speaker 2: with Keith Moon before he passed away. This was at
• 38:35
  Speaker 2: the Maple Leaf Gardens I believe October twenty first, nineteen
• 38:38
  Speaker 2: seventy six. Keith was struggling on that tour. He managed
• 38:42
  Speaker 2: to test your patients. Can you tell tell the nitro
• 38:45
  Speaker 2: glycerin story?
• 38:49
  Speaker 4: When Who was there, and they always liked to end
• 38:53
  Speaker 4: their tours in Canada to Toronto and they would have
• 38:58
  Speaker 4: a party there.
• 39:00
  Speaker 1: First night would be a party.
• 39:01
  Speaker 4: For the Who put on by the crew. The second
• 39:06
  Speaker 4: night would be party for the Who put on by
• 39:09
  Speaker 4: the Who. I'd done my job, took my pictures and
• 39:13
  Speaker 4: went out at the party, took hands with everybody and
• 39:16
  Speaker 4: went out to the parking lot, brought in my friend's
• 39:19
  Speaker 4: car and were heading up University Avenue and right out
• 39:24
  Speaker 4: of the.
• 39:25
  Speaker 3: Blue fire truck.
• 39:26
  Speaker 4: Came whipping around the corner in front of me and
• 39:29
  Speaker 4: circled my car, and I said, what's what's going on here?
• 39:33
  Speaker 4: And the fire guy is screaming at me get out
• 39:37
  Speaker 4: of the car and open your trunk. So I got
• 39:41
  Speaker 4: out of the car and opened my trunk and my camera.
• 39:44
  Speaker 1: Case was in there.
• 39:45
  Speaker 4: Open it, open it, opened it up, and there's a
• 39:49
  Speaker 4: three asselebladge in there and sponge compartments the safe and.
• 39:54
  Speaker 1: Sound and the all of a sudden, all.
• 39:56
  Speaker 4: The attention when out of this fire guy the body
• 40:00
  Speaker 4: and he's just the holy shit, we've been duped. And
• 40:05
  Speaker 4: I said, what the hell's going on? What the hell's
• 40:07
  Speaker 4: going on? And I didn't get any answers till the
• 40:10
  Speaker 4: next day when I saw the WHO again and they said, well,
• 40:15
  Speaker 4: when Keith saw you getting into your friend's car, he
• 40:19
  Speaker 4: called it into the fire department that certain cheval A
• 40:25
  Speaker 4: or Cadillac or whatever you're in going up Avenue Road.
• 40:29
  Speaker 4: And I don't know what distinction. I guess he had
• 40:32
  Speaker 4: the plates had micro glisten in the trunk for the terrorists,
• 40:38
  Speaker 4: and that accounted for everything that happened after that. After
• 40:42
  Speaker 4: half an hour of explaining my naivety to it all,
• 40:46
  Speaker 4: my girlfriend and my secretary continued home and we had
• 40:52
  Speaker 4: to pull over about ten blocks away and then just
• 40:55
  Speaker 4: sit for a few minutes because we were so disorder
• 41:00
  Speaker 4: cased by what had happened and how it happened. Until
• 41:04
  Speaker 4: the next day.
• 41:05
  Speaker 2: Oh my god, he must have done this every town
• 41:07
  Speaker 2: city he went in. I mean, it's just another day
• 41:09
  Speaker 2: in the life Keith mode did. He told Alice Cooper
• 41:12
  Speaker 2: this is in the book Alice Cooper had a story
• 41:13
  Speaker 2: about Keith Mov living in his garage.
• 41:16
  Speaker 1: Well, that's that's the fact.
• 41:18
  Speaker 4: Yeah, he was living in the garage and he and
• 41:22
  Speaker 4: his wife are going to downtown Phoenix at the time,
• 41:26
  Speaker 4: and they're driving down the street and the next thing
• 41:29
  Speaker 4: you know, they see his eyes and the head come
• 41:31
  Speaker 4: over the front of the windshields and says where are
• 41:34
  Speaker 4: we going? And it was it was just like Keith.
• 41:39
  Speaker 4: He was a crazy man. He blew up his drums
• 41:42
  Speaker 4: on on Stetle Lot. He liked to destroy things. And
• 41:46
  Speaker 4: he was actually a deaf in his left ear because
• 41:51
  Speaker 4: the drums were always.
• 41:53
  Speaker 1: To the left of Pete. It cost him his hearing
• 41:56
  Speaker 1: in the left ear.
• 41:58
  Speaker 2: He was quite quite a The new Bob Dylan movie
• 42:01
  Speaker 2: is out. I thought it was amazing. Bob somewhat of
• 42:04
  Speaker 2: an enigma. How is your experience working with Bob Dylan?
• 42:08
  Speaker 4: Well, it was all kind of secondhand energy.
• 42:14
  Speaker 1: I like Bob.
• 42:15
  Speaker 4: I got the Rolling Thunder review. He was always not
• 42:19
  Speaker 4: coming to the party afterwards. When I first met him
• 42:24
  Speaker 4: years before that at Mariposa in Toronto, we sit in
• 42:30
  Speaker 4: the hallway outside the room. There'd be five or ten
• 42:34
  Speaker 4: friends that knew his room, and we'd go up there
• 42:37
  Speaker 4: and we'd sit and play as guitars with them in
• 42:40
  Speaker 4: the hallway and we could just actually hang around with
• 42:45
  Speaker 4: Bob in those days.
• 42:47
  Speaker 1: And you know, a lot of.
• 42:49
  Speaker 4: The official photography was done by art Hushiston, who's now
• 42:53
  Speaker 4: in Atlanta, and myself for the record company. So this
• 42:59
  Speaker 4: is a function that we used to do. And then
• 43:03
  Speaker 4: the last time I saw Bob, he had written the
• 43:07
  Speaker 4: program that they were selling. He was accessible, he was
• 43:10
  Speaker 4: going to go to the party. He saw executors in
• 43:13
  Speaker 4: the dressing room. So I posed them all together in
• 43:17
  Speaker 4: the dressing room and proceeded to take shots.
• 43:20
  Speaker 1: And my photo.
• 43:22
  Speaker 4: Cable that goes from the camera to the flash broke
• 43:26
  Speaker 4: and I couldn't take any pictures with.
• 43:28
  Speaker 1: It, so I took it off, put it back in
• 43:31
  Speaker 1: my camera case, and then I said, hold.
• 43:33
  Speaker 4: On, I'm going to do pictures. But I dialed in
• 43:36
  Speaker 4: a quarter of a second shutter speed, and I manually
• 43:40
  Speaker 4: tripped the flash in the quarter of a second. Thus
• 43:45
  Speaker 4: I got effective shutter speed being one fifty thousands of
• 43:50
  Speaker 4: a second to grab the light for the picture, prose
• 43:53
  Speaker 4: the picture and made a great image on it. And
• 43:58
  Speaker 4: I said, Bob, that thing, but you didn't have your
• 44:02
  Speaker 4: stether your cable plugged in. And I assured him that
• 44:06
  Speaker 4: we would have a.
• 44:07
  Speaker 1: Great picture and I'd show him tomorrow.
• 44:09
  Speaker 4: And the same thing happened.
• 44:11
  Speaker 2: There.
• 44:12
  Speaker 4: Showed up with the picture and he went Well, he
• 44:14
  Speaker 4: couldn't believe it that I had figured this out in
• 44:19
  Speaker 4: order to save the shots.
• 44:21
  Speaker 2: You impressed Bob Dylan. One last story, and that's about
• 44:25
  Speaker 2: Bruce Springsteen. You worked with him what you call the
• 44:28
  Speaker 2: Mission Impossible Tour. Why did you call it that?
• 44:31
  Speaker 4: Well, I got called by CBS and said, we wanted
• 44:36
  Speaker 4: to do some tour dates in Upper State.
• 44:39
  Speaker 1: New York. We're going to put you on.
• 44:41
  Speaker 4: The road with Bruce, and we wanted to black out
• 44:44
  Speaker 4: the Hasseblag chrome so he doesn't see you, and smuggle
• 44:49
  Speaker 4: the long Linds into the concert and so on and
• 44:52
  Speaker 4: so forth. Because Bruce was going out with Lynn Goldsmith,
• 44:56
  Speaker 4: another fine photographer, and he always made Bruce look like
• 45:01
  Speaker 4: a teddy bear, a nice guy, friendly guy, and her
• 45:05
  Speaker 4: aspect of loving this guy goes in her pictures. And
• 45:09
  Speaker 4: they wanted Boots as he really was, and I would
• 45:12
  Speaker 4: shoot all the emotions that he showed and CBS.
• 45:16
  Speaker 1: Would buy them.
• 45:18
  Speaker 4: Nobody was to know I was there in the crowd,
• 45:21
  Speaker 4: and I got away with it. I had enough money
• 45:25
  Speaker 4: to hire two kids to sit in front of me.
• 45:27
  Speaker 4: One kid could sit beside me and shield me from
• 45:30
  Speaker 4: that side of the aisle, and this kid sitting beside
• 45:34
  Speaker 4: me when he sees me take out a two fifty
• 45:37
  Speaker 4: from my boot Telecoto lens to put on the hats
• 45:41
  Speaker 4: of blood and he faked out and he said, wow, man,
• 45:44
  Speaker 4: right on.
• 45:46
  Speaker 2: What tour was that? I forget it? If it's in
• 45:48
  Speaker 2: the I'm sure it's in the book.
• 45:49
  Speaker 4: Yeah. It might have been seventy eight when Goldsmith shot
• 45:53
  Speaker 4: Springsteen's Darkness from Your Town cover and that came out
• 45:56
  Speaker 4: in seventy eight, so that seems about that time.
• 45:59
  Speaker 2: Quite a career. And these are just some of the
• 46:01
  Speaker 2: stories in the book Shooting Stars, Telling Tales behind the
• 46:03
  Speaker 2: lens of John Rowlands. It's out now. You can find
• 46:06
  Speaker 2: out wherever books are sold. And John, where can people
• 46:09
  Speaker 2: reach out to you if they want to contact you?
• 46:12
  Speaker 2: Do you have a website that people can go to.
• 46:15
  Speaker 4: I don't have a website at the moment. I'm looking
• 46:18
  Speaker 4: at website designers right now. But my email address is
• 46:24
  Speaker 4: John Robert Rowlands at gmail dot com.
• 46:28
  Speaker 2: Okay, John Robert Rowlands at gmail dot com.
• 46:32
  Speaker 3: Yeah, you know, everyone wants to get any prints done,
• 46:35
  Speaker 3: Just email John and you'll be happy to.
• 46:38
  Speaker 2: Work it out with you, all right, And Bob, you
• 46:40
  Speaker 2: have a Facebook page I know people can reach out
• 46:42
  Speaker 2: to you there, right.
• 46:43
  Speaker 3: Yeah, yeah, definitely for both books, for this and for
• 46:46
  Speaker 3: promo man. And yeah, definitely get a hold of me
• 46:50
  Speaker 3: The Growth Method.
• 46:51
  Speaker 2: Great, John Rowlands, Bob Klanic, thanks so much guys for
• 46:54
  Speaker 2: coming on sharing these stories.
• 46:55
  Speaker 3: Thanks for having us, Eric, thank you.
• 47:05
  Speaker 1: That's it. It's in the box.
• 47:08
  Speaker 2: H