Latest / Booked On Rock with Eric Senich / The J. Geils Band: A Discography Deep Dive [Episode 229]

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The J. Geils Band: A Discography Deep Dive [Episode 229] · Booked On Rock with Eric Senich

• 0:00
  Speaker 1: We're totally booked rock and roll.
• 0:04
  Speaker 2: I mean, I'll leave you. You're reading. Little Hands says
• 0:06
  Speaker 2: it's time to rock and roll.
• 0:08
  Speaker 1: Rock band rout I totally booked. Welcome back to Booked
• 0:16
  Speaker 1: on Rock, the podcast for those was about to read
• 0:18
  Speaker 1: and rock online at booked on rock dot com, where
• 0:21
  Speaker 1: you can find every episode in both audio and video.
• 0:24
  Speaker 1: Exclusive video segments from each episode, links to the social
• 0:27
  Speaker 1: media sites, the latest rockbook releases, and now we have
• 0:30
  Speaker 1: a Booked on Rock store. Pick up some book down
• 0:32
  Speaker 1: rock merch over at booked on rock dot com. Our
• 0:36
  Speaker 1: guest is James Romag, the author of Jagiles' band, Every Album,
• 0:39
  Speaker 1: Every Song, part of Sonic Bond's On Track series of books.
• 0:43
  Speaker 1: The definitive companion to the music of this hard driving band.
• 0:46
  Speaker 1: This book is a comprehensive overview of every track on
• 0:49
  Speaker 1: guiles eleven studio albums, where a look at their official
• 0:52
  Speaker 1: live releases and a rundown of the musicians projects beyond
• 0:56
  Speaker 1: the band. Jim and I talk about the book. Get
• 0:58
  Speaker 1: into the classic albums including Full House, Bloodshot, Love Stinks
• 1:02
  Speaker 1: and the massively successful Freeze Frame, along with of course
• 1:05
  Speaker 1: the classic tracks recorded by the band, like Looking for
• 1:08
  Speaker 1: a Love the Instrumental, wam or Jammer, give It to Me,
• 1:12
  Speaker 1: Love Stinks, Centerfold and Freeze Frame. Do you hear a
• 1:15
  Speaker 1: playlist of Jay Giles band Go to this episode show notes. Jim,
• 1:19
  Speaker 1: Welcome to the podcast.
• 1:21
  Speaker 2: Thank you, Eric. Good to be on Booked on Rock.
• 1:23
  Speaker 1: It's really cool to have you on this show because
• 1:26
  Speaker 1: this is and I've been doing this since like May
• 1:28
  Speaker 1: of twenty twenty one. I've yet to do a Jay
• 1:30
  Speaker 1: Giles band episode, so this is a long time coming
• 1:33
  Speaker 1: for me.
• 1:34
  Speaker 2: Yeah. And it's funny because I've been a Jay Giles
• 1:37
  Speaker 2: fan for well as far back as I can remember.
• 1:41
  Speaker 2: But if you go online and you start searching for
• 1:44
  Speaker 2: any books on the band, any member of the band,
• 1:47
  Speaker 2: there's nothing there. All that's going to come up. You
• 1:49
  Speaker 2: put in a search, and all that's going to come
• 1:51
  Speaker 2: up is some sheet music from forty years ago. And
• 1:54
  Speaker 2: I thought, and I would love to read a book
• 1:57
  Speaker 2: on Jay Giles.
• 1:58
  Speaker 1: It's hard to build. Nothing out there, very hard to believe.
• 2:01
  Speaker 1: Especially Peter Wolf. You would think maybe he's working on something,
• 2:05
  Speaker 1: and he is.
• 2:07
  Speaker 2: March Is when that one's coming out that's Waiting on
• 2:09
  Speaker 2: the Moon.
• 2:11
  Speaker 1: Okay, Yeah, that's right. I did hear about that? Did
• 2:13
  Speaker 1: you tell me about that? I think he told me when.
• 2:15
  Speaker 2: I sent you an email, I said, it's I think
• 2:17
  Speaker 2: March is the expected that he's been talking about that for.
• 2:20
  Speaker 1: Decades, can not wait?
• 2:22
  Speaker 2: Finally, Finally, I think it was just within the last
• 2:25
  Speaker 2: month or so. It was announced March of twenty twenty five,
• 2:29
  Speaker 2: Waiting on the Moon, which is the that's the title
• 2:33
  Speaker 2: of a song from I think his fifth album, fools Parade.
• 2:36
  Speaker 1: Okay, so he.
• 2:39
  Speaker 2: Took that song title, and he's using your first book.
• 2:43
  Speaker 1: And you do cover the solo albums in this book
• 2:45
  Speaker 1: along with Jay Giles, doesn't. Yeah, does a nice job
• 2:48
  Speaker 1: laying out how this band came to be as well.
• 2:51
  Speaker 1: Let's get a basic overview of brief history of how
• 2:55
  Speaker 1: the Jake Outs band formed goes all the way back
• 2:57
  Speaker 1: to the late sixties, right, Yes, Yeah, it was.
• 3:01
  Speaker 2: It's funny get started out with Jay himself, who unfortunately
• 3:06
  Speaker 2: passed away in I think twenty seventeen. So it was
• 3:09
  Speaker 2: Jay and Danny Klein met up after Jay had transferred
• 3:14
  Speaker 2: for his second year of school of college. He transferred
• 3:18
  Speaker 2: and met Danny Klein, and together they decided they were
• 3:22
  Speaker 2: going to start playing music. And Danny Klein asked, Jay,
• 3:26
  Speaker 2: you know, if you're going to play guitar, what should
• 3:28
  Speaker 2: I play? And Jay suggested bass. And that was really
• 3:32
  Speaker 2: funny because they started out as kind of a jug
• 3:35
  Speaker 2: blues band, and Danny actually had because I asked him.
• 3:38
  Speaker 2: I verified. I said, you're talking about a washtub bass?
• 3:42
  Speaker 2: Is what he started on? And I said, like in
• 3:44
  Speaker 2: the old cartoons with a wash tub and a stick
• 3:48
  Speaker 2: and one string, And he said, yeah, that's what he started.
• 3:51
  Speaker 1: Now. Was that Snoopy in the sp with Camel's Is
• 3:53
  Speaker 1: that the band?
• 3:54
  Speaker 2: Yeah?
• 3:55
  Speaker 1: Yeah, I didn't know.
• 3:56
  Speaker 2: It was when Magic Dick joined because he was walking
• 4:00
  Speaker 2: through the student quadrangle there and he saw these two
• 4:04
  Speaker 2: guys and he just asked if he could join him.
• 4:06
  Speaker 2: He had a harmonica or two with him and they
• 4:09
  Speaker 2: started jamming and it was this folk jug blues jug band,
• 4:14
  Speaker 2: blues folk stuff, and they came up with the name
• 4:17
  Speaker 2: Snooping in the Shop with Camels.
• 4:18
  Speaker 1: Yeah. And then how soon after is it Peter Wolf
• 4:21
  Speaker 1: entered the picture?
• 4:22
  Speaker 2: That was I think about two years because Snooping the
• 4:28
  Speaker 2: Shop with Camels became the Jay Ales Blues Band, and
• 4:32
  Speaker 2: by then they had added a couple other members it
• 4:35
  Speaker 2: was a drummer. They had I think a keyboard player
• 4:40
  Speaker 2: for a little while, and a few of the members
• 4:43
  Speaker 2: changed and eventually they moved to the Boston area and
• 4:49
  Speaker 2: Peter Wolf had moved there and he was in a
• 4:51
  Speaker 2: band called The Hallucinations with Steven Joe Blad, and I
• 4:55
  Speaker 2: talked to Paul Shapiro from The Hallucinations and he said
• 4:58
  Speaker 2: when they started, it was pretty much just a real
• 5:01
  Speaker 2: casual thing. They weren't serious about it. They were serious
• 5:04
  Speaker 2: about the music, but not as far as actually performing
• 5:08
  Speaker 2: or doing anything like that. And they started working out
• 5:13
  Speaker 2: some tunes and when Paul Shapiro started, he didn't. Peter
• 5:21
  Speaker 2: Wolf wasn't part of it initially, and they just happened
• 5:24
  Speaker 2: to me just kind of serendipitously at a party somewhere
• 5:29
  Speaker 2: around college. And then it started turning into more of
• 5:32
  Speaker 2: a real thing and they started booking gigs. And then
• 5:37
  Speaker 2: when Paul Shapiro, he said that the dig started falling
• 5:40
  Speaker 2: off a little bit and he wanted to get back
• 5:42
  Speaker 2: to art, which was his primary that was mainly what
• 5:47
  Speaker 2: he was interested in. And Peter Wolf and then Steven
• 5:51
  Speaker 2: Joe Blad joined the Jay Giles band because the Jay
• 5:55
  Speaker 2: Giles or Jayiles Blues band. At the time, they were
• 5:58
  Speaker 2: looking for a drummer and a singer, and so the
• 6:02
  Speaker 2: five of those came together. It was Magic Dick, Danny Kline, Jay,
• 6:06
  Speaker 2: Peter Wolf, and Stephen Blad and they were really really
• 6:11
  Speaker 2: all into blues and R and B funk jazz, and
• 6:16
  Speaker 2: they just took all of that together and they were
• 6:19
  Speaker 2: really committed to what they were doing.
• 6:21
  Speaker 1: At some point, Seth Justman, the keyboardist, enters to when
• 6:25
  Speaker 1: does he join?
• 6:26
  Speaker 2: Yeah. That was after they had already signed a contract
• 6:30
  Speaker 2: with Atlantic Records, and that was not progressing all that quickly.
• 6:36
  Speaker 2: They were trying different things, and Seth Justman had made
• 6:42
  Speaker 2: his way to Boston to start college, and it was
• 6:46
  Speaker 2: The story is that on his first night there at college,
• 6:50
  Speaker 2: he and his roommate wanted to go out and see
• 6:52
  Speaker 2: some live music, and his roommate suggested they go see
• 6:56
  Speaker 2: this Jayile's blues bag. So they immediately Seth wanted to.
• 7:00
  Speaker 2: They told him no, and I think it was about
• 7:02
  Speaker 2: six months where he was essentially following them around and
• 7:05
  Speaker 2: just kept badgering them, and finally they said okay, yeah,
• 7:08
  Speaker 2: and then that's when it came together.
• 7:12
  Speaker 1: Persistence paid off, And is this around the time Peter
• 7:15
  Speaker 1: Wolf was a DJ too. He was a disc jockey
• 7:17
  Speaker 1: on Boston.
• 7:18
  Speaker 2: Yes, yeah, he was still in the jag Ales band
• 7:21
  Speaker 2: had formed. He was in the band and he did
• 7:24
  Speaker 2: I think six or eight months at WBCN out of
• 7:27
  Speaker 2: Boston doing the overnight show. He was actually the once
• 7:30
  Speaker 2: they changed their format to this free form, a little
• 7:34
  Speaker 2: more radical rock music, doing the album cuts and interviews.
• 7:39
  Speaker 2: He was the second DJ who came on the air
• 7:41
  Speaker 2: once they changed that format.
• 7:43
  Speaker 1: The band's self titled debut came out in nineteen seventy
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  Speaker 1: November seventy, so let's get into that first one. The
• 7:49
  Speaker 1: lineup Peter Wolf on vocal seth Justman on keyboards, Magic
• 7:52
  Speaker 1: Dick on harp, Jay Gals and guitar, Danny Klein on bass,
• 7:56
  Speaker 1: Stephen Blatt on drums. So it's produced by Dave Crawford
• 7:59
  Speaker 1: and Brad Shapier. A few jigaws live classics on the album,
• 8:02
  Speaker 1: Hard Driving Man in the cover of the nineteen sixty
• 8:04
  Speaker 1: five song by the Contours First, I Look at the purse?
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  Speaker 1: Are you right? Despite the band's rapidly growing live reputation,
• 8:10
  Speaker 1: the debut album barely made a Ripple when it was released,
• 8:13
  Speaker 1: only reaching one hundred and ninety five on Billboard. Is
• 8:16
  Speaker 1: it fair to say that the blame goes to Dave
• 8:17
  Speaker 1: Crawford and Brad Shapiro because you quote Peter Wolf saying
• 8:20
  Speaker 1: they really didn't do that much. In fact, they sometimes
• 8:22
  Speaker 1: they forgot they were even there. They just hit the
• 8:24
  Speaker 1: record button.
• 8:25
  Speaker 2: Yeah. I think it might have been the style of
• 8:28
  Speaker 2: music because they were still heavily into the blues in
• 8:31
  Speaker 2: R and B. And when you listen to that album
• 8:33
  Speaker 2: one it sound it sounds great, But when you listen
• 8:36
  Speaker 2: to it compared to the later live albums and even
• 8:40
  Speaker 2: the studio albums, it sounds a little bit flat. And
• 8:44
  Speaker 2: that interview I found with because I didn't talk to
• 8:46
  Speaker 2: Peter Wolf directly, these are quotes that I found that
• 8:49
  Speaker 2: he had said. You said they were great at their job,
• 8:51
  Speaker 2: but they just he didn't use the word detached. But
• 8:54
  Speaker 2: that's kind of feeling I got. They were there, they
• 8:56
  Speaker 2: were recording, and of course the band had been working again.
• 9:00
  Speaker 2: They're on these songs like any band putting together a
• 9:03
  Speaker 2: debut album. They were the arrangements were finished, the playing
• 9:08
  Speaker 2: was tight, they knew what they were doing. I think
• 9:11
  Speaker 2: it just didn't have quite the didn't have quite the
• 9:16
  Speaker 2: energy that it should have, but you don't notice it
• 9:18
  Speaker 2: until you listen to later albums. And I think there's
• 9:22
  Speaker 2: two producers were on the staff at Atlantic Records, so
• 9:25
  Speaker 2: it was kind of like I got the feeling it
• 9:28
  Speaker 2: was just let's go in, get this one done and
• 9:29
  Speaker 2: move on to the next one whatever's on the schedule
• 9:32
  Speaker 2: for the next day or the day after that. But
• 9:35
  Speaker 2: the songs are great, I.
• 9:36
  Speaker 1: Would say too. I know Waimber Jammers the most famous
• 9:40
  Speaker 1: instrumental by Jay Giles, but Icebreaker is really cool. That's
• 9:47
  Speaker 1: the second track on the album. Jay Giles wrote it.
• 9:50
  Speaker 2: Yeah, and it's funny you mentioned Icebreaker. So I talked
• 9:55
  Speaker 2: to Mario Media's. He was the guy from Atlantic Records
• 9:59
  Speaker 2: who discovered Jay Giles, and he worked pretty hard to
• 10:03
  Speaker 2: get him signed to the label because people at the
• 10:05
  Speaker 2: label they initially weren't that interested. But that song, Icebreaker,
• 10:09
  Speaker 2: the title is Icebreaker, and then in parentheses it says
• 10:12
  Speaker 2: for the Big M, and that's Mario Medius, the Big M.
• 10:16
  Speaker 2: And when he saw them, or actually he heard them first,
• 10:20
  Speaker 2: he was at the Boston TV party in Boston. He
• 10:25
  Speaker 2: was backstage and he heard this blues band out front,
• 10:29
  Speaker 2: and he went to see who they were, and by
• 10:31
  Speaker 2: that time they'd finished their set and they were backstage,
• 10:33
  Speaker 2: so he was trying to figure out who they were,
• 10:36
  Speaker 2: and he thought it was some blues band from Chicago,
• 10:39
  Speaker 2: and it was the five piece Jay Giles, because Seth
• 10:43
  Speaker 2: hadn't joined it, and so Mario is the one who
• 10:47
  Speaker 2: got him signed. And he said that's the name of
• 10:50
  Speaker 2: the song, the Icebreaker, because Jay told him you're the
• 10:53
  Speaker 2: one who got to sign. You broke the ice for us.
• 10:56
  Speaker 1: Oh, that's awesome, what a great title. They bring in
• 10:59
  Speaker 1: a well producer for the next album, nineteen seventy ones
• 11:02
  Speaker 1: The Morning After, Bill Simsic, famous for his work with
• 11:05
  Speaker 1: the Eagles, among many others. The album charts as high
• 11:08
  Speaker 1: as number sixty four, so better than the first. One
• 11:10
  Speaker 1: funny story in the book, Simsic saw the band perform
• 11:12
  Speaker 1: in Detroit and he right here. Afterwards, everyone went back
• 11:16
  Speaker 1: to one of the band's hotel rooms. As Simsic explained,
• 11:20
  Speaker 1: we were watching TV and somebody had brought a watermelon in.
• 11:22
  Speaker 1: We cut it open and everybody had a piece and
• 11:24
  Speaker 1: the watermelon was rotten. Something on the TV was not
• 11:28
  Speaker 1: very good. Either, and I chucked my watermelon at the
• 11:30
  Speaker 1: TV and Peter Wolfe said, you're hired, yeah, and.
• 11:36
  Speaker 2: That was pretty funny. I was lucky enough to talk
• 11:37
  Speaker 2: to Bill. I was surprised that I was able to
• 11:40
  Speaker 2: talk to him, that I was able to get through.
• 11:42
  Speaker 2: But when he was telling that story, it was just
• 11:45
  Speaker 2: I thought, Yeah, that kind of fits because he had
• 11:49
  Speaker 2: been after the first album came out, somebody from Atlantic
• 11:53
  Speaker 2: Records gave him a copy of it and asked him
• 11:56
  Speaker 2: if he'd be interested in working with the band, and
• 11:59
  Speaker 2: he wasn't familiar with him yeat. So we went and
• 12:01
  Speaker 2: listened to the record, liked it, and then went to
• 12:05
  Speaker 2: see them, and he got hired based on just his
• 12:08
  Speaker 2: attitude towards what was on the TV.
• 12:11
  Speaker 1: The attitude perfect. Yeah. One of the band's most identifiable songs,
• 12:15
  Speaker 1: as we've already mentioned, is the instrumental whim or Jammer,
• 12:18
  Speaker 1: which is on here with Magic Dick just killing it
• 12:20
  Speaker 1: on the harmonica, a song that came about as a
• 12:23
  Speaker 1: way to keep live shows moving when equipment or technical
• 12:25
  Speaker 1: issues would otherwise delay the concert. Can you tell the
• 12:28
  Speaker 1: story behind the song title to this? And also there's
• 12:31
  Speaker 1: a Sonny Boy Williamson influence too.
• 12:33
  Speaker 2: Yeah, Magic Dick said that he picked up it was
• 12:39
  Speaker 2: the Yardbirds and Spunny Boy Williamson was it Bye Bye Bird,
• 12:43
  Speaker 2: so he'd like that and that was he based a
• 12:48
  Speaker 2: little bit. He was influenced by that. And then this
• 12:52
  Speaker 2: was another Mario Medias thing, the Big m who was
• 12:55
  Speaker 2: the Icebreaker, and he used to have an expression and
• 12:59
  Speaker 2: just say, oh, that's bad, Mamma jamma. That's a mamma
• 13:01
  Speaker 2: jamma and meaning I don't know if I can I
• 13:04
  Speaker 2: say it out here, just.
• 13:05
  Speaker 1: That's a motherfucker absolutely okay.
• 13:07
  Speaker 2: So that's what Mamma Jama went was about, and they
• 13:12
  Speaker 2: would use this song. I think it started out as
• 13:15
  Speaker 2: just a jam when there was a delay on stage,
• 13:18
  Speaker 2: just to keep things moving forward. And so they decided
• 13:23
  Speaker 2: tother they're going to record it, and they turned it
• 13:25
  Speaker 2: into Mamma Jama became Whammer Jammer because initially, apparently Peter
• 13:31
  Speaker 2: Wolf said, well, you can't really put Mamma Jamma on
• 13:33
  Speaker 2: and people are going to know what that is, and
• 13:36
  Speaker 2: you can't really say that, at least back in nineteen
• 13:39
  Speaker 2: seventy one, you weren't going to get away with putting
• 13:43
  Speaker 2: that on a record. So it became Whammar Jammer. I
• 13:47
  Speaker 2: saw Jay GAW's band with the original band lineup three
• 13:51
  Speaker 2: times and then once on a reunion tour and some
• 13:53
  Speaker 2: other shows too, But I didn't see this but in
• 13:56
  Speaker 2: the early days in the middle of a Wammer Jammer,
• 13:58
  Speaker 2: which started out think it was at any point in
• 14:01
  Speaker 2: the show, and then later because it was expected it
• 14:04
  Speaker 2: would be put on the set list intentionally, and toward
• 14:08
  Speaker 2: the end, after everybody's been you know, working up a
• 14:12
  Speaker 2: sweat and getting a workout, they played towards the end,
• 14:16
  Speaker 2: which would be pretty tough if Dick is out there
• 14:19
  Speaker 2: after having played for sixty to ninety minutes and then
• 14:22
  Speaker 2: doing this. But he would do somersaults wow while he's playing.
• 14:26
  Speaker 2: And and when I was talking to him, I said,
• 14:28
  Speaker 2: and that was with a corded microphone, which would be
• 14:31
  Speaker 2: even harder because now you got this thing following you
• 14:33
  Speaker 2: around that's getting tangled up when you're trying to And
• 14:37
  Speaker 2: he said, you can't really rehearse for that. You just
• 14:40
  Speaker 2: do the summer salt and keep going.
• 14:44
  Speaker 1: I didn't know that that he did that. It's got
• 14:45
  Speaker 1: to be footage on YouTube somewhere of him doing that.
• 14:48
  Speaker 2: I've looked and something eventionally.
• 14:51
  Speaker 1: Yeah, by the way, you are right, Bye bye Bird.
• 14:53
  Speaker 1: Yeah you have here.
• 14:54
  Speaker 2: Yeah.
• 14:55
  Speaker 1: Dick has often said the opening measures are greatly influenced
• 14:58
  Speaker 1: by Sonny Boy Williamson the Seconds nineteen sixty three Bye
• 15:01
  Speaker 1: by Bird podcasts. We'll be back after this.
• 15:06
  Speaker 2: We'll be back with the Magic Tones for the Armada
• 15:08
  Speaker 2: Rooms to our disco swing party after this short break
• 15:11
  Speaker 2: till then, don't you go change it.
• 15:15
  Speaker 1: The next song I want to talk about it is
• 15:16
  Speaker 1: looking for a Love. They recorded that the cover of
• 15:18
  Speaker 1: nineteen sixty two Valentino song. Their live recording of this
• 15:22
  Speaker 1: would become a hit that's included on the next album,
• 15:27
  Speaker 1: seventy two's Live Full House. It becomes a hit with
• 15:31
  Speaker 1: that version. It's taken from two nights in April seventy
• 15:34
  Speaker 1: two at the Cinderella Ballroom in Detroit, and you're right
• 15:36
  Speaker 1: that the audience was so loud it had to be
• 15:38
  Speaker 1: pushed lower in the mix. The album charted at number
• 15:41
  Speaker 1: fifty four. Some, maybe even the label Atlantic Records, may
• 15:45
  Speaker 1: have thought it was too early to release a live album.
• 15:48
  Speaker 1: Can you talk about whose idea? That was? Why he
• 15:50
  Speaker 1: thought it would work.
• 15:51
  Speaker 2: They had a manager at the time. Their first manager
• 15:54
  Speaker 2: was Rape Parrott, who unfortunately just passed away about a
• 15:58
  Speaker 2: month ago, but he was their original manager. He's the
• 16:02
  Speaker 2: one who kind of pushed him into not necessarily pushed,
• 16:06
  Speaker 2: but got them more deeper into the blues on a
• 16:09
  Speaker 2: lot of their initial music. But then the Anthony came
• 16:13
  Speaker 2: in and he was working with Humble Pie with Peter
• 16:17
  Speaker 2: Frampton and Steve Marriott, and he had had some success
• 16:23
  Speaker 2: with Humble Pies Rock in the film More of the
• 16:25
  Speaker 2: live album, and so it was his idea, apparently to
• 16:29
  Speaker 2: just after two studio albums, to go in and do
• 16:32
  Speaker 2: a live album. And what's interesting I think on that
• 16:36
  Speaker 2: is only two songs are from the second album that
• 16:41
  Speaker 2: Bill Simsic produced, and then the rest are taken from
• 16:45
  Speaker 2: the debut album. And I think that kind of reflects
• 16:48
  Speaker 2: the band's happiness with Bill Simsic, where when they selected
• 16:53
  Speaker 2: the songs to put on that album, they went back
• 16:56
  Speaker 2: and probably felt they could do a better job on
• 16:58
  Speaker 2: more of the songs from the first album and took
• 17:01
  Speaker 2: most of it from that and didn't feel like they
• 17:04
  Speaker 2: had much to improve on with what they had already
• 17:06
  Speaker 2: worked with on the second album. With Bill Simsick, you
• 17:08
  Speaker 2: probably saw it in there. The one disappointment with the
• 17:11
  Speaker 2: full House album was that it's just a single album.
• 17:14
  Speaker 2: It's not a double album. Rhino Records, who does all
• 17:17
  Speaker 2: these great reissues and deluxe editions, they were going to release,
• 17:23
  Speaker 2: i think it was in twenty ten, a double CD
• 17:27
  Speaker 2: with both nights of shows that had been recorded for
• 17:30
  Speaker 2: a full House, and they were going to do the
• 17:31
  Speaker 2: full sets from both nights, and they had announced that,
• 17:35
  Speaker 2: they even issued the track listing, and then it was
• 17:38
  Speaker 2: just pulled for no reason. But after a little while
• 17:42
  Speaker 2: it looked like Rhino Records had second thoughts, because no
• 17:46
  Speaker 2: one in the band had any saying this, and the
• 17:51
  Speaker 2: band had already thought that, well, we already put out
• 17:54
  Speaker 2: the best of what we wanted on that single album,
• 17:58
  Speaker 2: and they didn't want to reissue anymore any unreleased previously
• 18:02
  Speaker 2: unreleased suff which is a little disappointing.
• 18:04
  Speaker 1: Yeah, yeah, there are only eight tracks on that.
• 18:07
  Speaker 2: Yeah.
• 18:07
  Speaker 1: Jay Al's band continued the rise with their third studio album,
• 18:10
  Speaker 1: That's nineteen seventy three's Bloodshot, which reached number ten on Billboard.
• 18:15
  Speaker 1: Bill Simsic back again behind the boards and it opens
• 18:18
  Speaker 1: with that killer riff on Ain't nothing but a House Party,
• 18:20
  Speaker 1: originally recorded by the Philadelphia group The show Stoppers in
• 18:23
  Speaker 1: nineteen sixty seven. The single give It to Me number thirty.
• 18:27
  Speaker 1: Make Up Your Mind also reached number ninety eight Give
• 18:30
  Speaker 1: It to Me. Can you talk about how Peter wolf
• 18:32
  Speaker 1: was inspired to write the song thanks to his then
• 18:34
  Speaker 1: girlfriend and how Bill Simsic plays a role in the
• 18:36
  Speaker 1: reggae sound or the I should say amping up the
• 18:39
  Speaker 1: reggae sound.
• 18:41
  Speaker 2: Yeah. The story is that Peter Wolfe's girlfriend at the
• 18:45
  Speaker 2: time had been in England, where reggae was just starting
• 18:48
  Speaker 2: to get a foothold, but in the US it hadn't
• 18:51
  Speaker 2: really caught on yet, and there were that was about
• 18:55
  Speaker 2: the time Led Zeppelin had Jamaica, which had that reggae beat.
• 19:00
  Speaker 2: Eric Clapton hadn't done I shot the sheriff of Bob
• 19:03
  Speaker 2: Marley song that that was a few years away. The
• 19:05
  Speaker 2: police were a few years away. Bob Marley and Peter
• 19:11
  Speaker 2: Tosh and all those the reggaeers really hadn't hit big
• 19:15
  Speaker 2: in the US yet. But Peter Wilf's girlfriend brought some
• 19:18
  Speaker 2: reggae records back and so he and Seth Jusman started
• 19:22
  Speaker 2: working on a little bit of reggae and Bill Simsick
• 19:25
  Speaker 2: said he was the one who pushed because he was
• 19:27
  Speaker 2: a big reggae fan already, and the song started out
• 19:31
  Speaker 2: with a little bit of reggae influence, but the producer,
• 19:35
  Speaker 2: Bill Simsy pushed to make it as reggae as possible
• 19:39
  Speaker 2: and it's just man, it's just a phenomenal, so it works.
• 19:42
  Speaker 1: Was that was Fade Dunaway Peter's girlfriend at that time
• 19:45
  Speaker 1: or not yet?
• 19:46
  Speaker 2: Yes, yeah, yeah, okay, because it was right about that time,
• 19:52
  Speaker 2: within the previous year. I think they had met and
• 19:55
  Speaker 2: started dating, and they kept that pretty low key, so
• 19:57
  Speaker 2: there wasn't a lot. It wasn't they were in the
• 20:00
  Speaker 2: tabloids all the time or anything. Yeah, and she I
• 20:05
  Speaker 2: saw one reference or two references where she even while
• 20:09
  Speaker 2: they were making that album, Bloodshot, she dropped in at
• 20:11
  Speaker 2: the studio once or.
• 20:12
  Speaker 1: Twice, okay. Yeah, And she is part of the storyline
• 20:16
  Speaker 1: of the next album, which is nineteen seventy three's Ladies Invited,
• 20:20
  Speaker 1: which reached number fifty one. This record, you read, is
• 20:22
  Speaker 1: often overshadowed by the record before, which is Bloodshot, and
• 20:25
  Speaker 1: the one that follows, which is Nightmares. You say, only
• 20:29
  Speaker 1: one single was released failed a chart which was the
• 20:31
  Speaker 1: opening song. I believe is did You Know Wrong? Was
• 20:34
  Speaker 1: the sole single. The album cover and illustration by noted
• 20:37
  Speaker 1: fashion artist Antonia. It's reportedly of actress Faye Dunaway, who
• 20:42
  Speaker 1: Peter married the following year. The album cover may have
• 20:45
  Speaker 1: hindered the album's success. It took me by surprise when
• 20:48
  Speaker 1: I saw the album cover right away. Too. Doesn't reflect
• 20:52
  Speaker 1: It doesn't reflect Jay Giles to me now, and.
• 20:55
  Speaker 2: That was my thought too. Now the name of that,
• 20:57
  Speaker 2: they apparently saw somebody in the band saw hanging in
• 20:59
  Speaker 2: a bar, which used to be pretty common I think
• 21:02
  Speaker 2: back around that time where it would say Ladies Invited
• 21:05
  Speaker 2: or Ladies' night or something. But there was a sign
• 21:07
  Speaker 2: in the bar that said Ladies invited. See here's that
• 21:10
  Speaker 2: for the title. But then fee Dunaway wrote she did
• 21:14
  Speaker 2: an HBO documentary recently which I haven't seen. But back
• 21:18
  Speaker 2: whenever she wrote her autobiography, she mentioned she was in
• 21:23
  Speaker 2: Spain filming a movie and Peter Wolf came to visit
• 21:28
  Speaker 2: and he told her come with me. We're going to
• 21:30
  Speaker 2: go up and see this artist Antonio, and he's going
• 21:34
  Speaker 2: to paint you for he's going to do the next
• 21:37
  Speaker 2: album cover. And so and you can tell once you
• 21:40
  Speaker 2: know that she was the model. You can look at
• 21:43
  Speaker 2: that and you can see not really a rock and
• 21:45
  Speaker 2: roll type cover.
• 21:47
  Speaker 1: Well I find a Streisand album cover or something.
• 21:50
  Speaker 2: Yeah, yeah, and which is unfortunate because there's great music
• 21:55
  Speaker 2: on there. I think my favorite one on there is
• 21:59
  Speaker 2: it's the last song on so Want.
• 22:00
  Speaker 1: It's no doubt about it, no doubt about it.
• 22:03
  Speaker 2: Yeah, I think that's my favorite one on there. It's
• 22:05
  Speaker 2: just a really good Jake As song. But the album
• 22:10
  Speaker 2: cover I think hindered that, and maybe the record label
• 22:13
  Speaker 2: wasn't pushing as hard as they could have to get
• 22:16
  Speaker 2: something on the radio.
• 22:17
  Speaker 1: I think if you're younger and you're listening to this
• 22:20
  Speaker 1: right now, you're thinking, how could an album cover do that?
• 22:22
  Speaker 1: But in those days that mattered you're in a record store.
• 22:26
  Speaker 1: The album cover was very important.
• 22:29
  Speaker 2: Yeah, And you know, if I'm fifteen years old or
• 22:32
  Speaker 2: twelve years old or whatever, I'm looking for something with
• 22:34
  Speaker 2: a badass cover. I don't want right this, like you said,
• 22:37
  Speaker 2: like a Bible Streisand style cover.
• 22:39
  Speaker 1: Yeah. Yeah. Nightmares that's the next one. Full title is
• 22:43
  Speaker 1: Nightmares and Other Tales from the Vinyl Jungle, Number twenty
• 22:46
  Speaker 1: six album featured the number twelve single must Have Got
• 22:48
  Speaker 1: Lost and You Right. Wolf wasn't happy with the art
• 22:51
  Speaker 1: director at Atlantic Records, so when it came time to
• 22:53
  Speaker 1: design the album cover, Atlantic brought in Peter Choruston and
• 22:57
  Speaker 1: Pam Vassel from Album Graphics, Inc. The Surreal Nightmare's cover
• 23:01
  Speaker 1: rimage showed a man sinking into a tightly made bed,
• 23:03
  Speaker 1: his face, hands, knees, and some toes poking through the blanket,
• 23:07
  Speaker 1: similar to being sucked into quicksand The painting, titled I
• 23:10
  Speaker 1: Wish for Peace was something Wolf had come across by
• 23:13
  Speaker 1: abstract expressionist Jean Boy. Try pronouncing this one, John Lagarige, Yeah,
• 23:21
  Speaker 1: Laguero Lugger. That fit the album's Nightmare title. Tell the
• 23:26
  Speaker 1: story behind the hit must Have Got Lost? Who It's about?
• 23:29
  Speaker 2: Uh? That was based on I found a Red Beard
• 23:35
  Speaker 2: does in the studio.
• 23:37
  Speaker 1: Yeah, great show, and so.
• 23:39
  Speaker 2: I found an interview on there that Redbeard had done
• 23:41
  Speaker 2: with Peter Wolf, and Peter Wolf said this was based
• 23:44
  Speaker 2: on Uh. I don't know if it was his first girlfriend,
• 23:48
  Speaker 2: but a girlfriend he had that he just he was
• 23:51
  Speaker 2: in love with her and just kind of let her
• 23:54
  Speaker 2: slip away. And he wrote the lyrics while he was flying,
• 23:59
  Speaker 2: I think back after a tour or something. But he
• 24:01
  Speaker 2: wrote the lyrics on a plane and had some ideas
• 24:05
  Speaker 2: for the melody and sat down with Seth Jusman and
• 24:07
  Speaker 2: wrote the song. But it was about essentially not realizing
• 24:11
  Speaker 2: what he had until it was too late, and it
• 24:15
  Speaker 2: just there was no big incident. It was just something
• 24:19
  Speaker 2: that eventually slipped away and then he regretted it.
• 24:24
  Speaker 1: But it became a hit, so yeah, it's worth it.
• 24:28
  Speaker 1: The band's seventh release, nineteen seventy five is Hotline number
• 24:31
  Speaker 1: thirty six on Billboard. It's interesting to see as did
• 24:34
  Speaker 1: they slowly climb up the charts. The single love Itis
• 24:37
  Speaker 1: failed to chart. You see, as great as a record was,
• 24:40
  Speaker 1: it suffered from a lack of promotion. Why did Atlantic
• 24:43
  Speaker 1: not get behind it? What do you think?
• 24:45
  Speaker 2: No? No, I think it might have been because that
• 24:49
  Speaker 2: was a shift back toward their earlier sound on the
• 24:51
  Speaker 2: first two albums, where it was more of the raw
• 24:53
  Speaker 2: blues and it didn't have there were some harder rocking
• 24:59
  Speaker 2: songs in there, but I think I think it was
• 25:00
  Speaker 2: more of the blues than R and B, where maybe
• 25:04
  Speaker 2: that wasn't what was really being played on the radio
• 25:06
  Speaker 2: at the time, and maybe Atlantic Records just sort of
• 25:10
  Speaker 2: took the band for granted by that point.
• 25:13
  Speaker 1: I wonder knowing what would be happening as we get
• 25:15
  Speaker 1: closer to the Freeze Frame era than maybe that was
• 25:18
  Speaker 1: Peter Wolf who wanted that type of sound more, because
• 25:20
  Speaker 1: I think that's the reason why they started to disagree
• 25:25
  Speaker 1: around eighty three eighty four. I think right that was
• 25:28
  Speaker 1: the case.
• 25:29
  Speaker 2: Yep, that's the feeling that I got.
• 25:30
  Speaker 1: Yeah, yeah, yeah. Another live album released, and this is
• 25:34
  Speaker 1: another live classic from Jaygile's band, Blow Your Face Out,
• 25:37
  Speaker 1: released April of nineteen seventy six, recorded at two shows
• 25:40
  Speaker 1: held in November of seventy five, the first at the
• 25:42
  Speaker 1: Boston Garden, the second at Cobo Hall in Detroit. Detroit
• 25:46
  Speaker 1: was a great spot for them to play. They were
• 25:49
  Speaker 1: the song of Detroit Breakdown.
• 25:52
  Speaker 2: Yeah, Detroit Breakdown. Yeah. That was off Nightmares and then
• 25:54
  Speaker 2: it was on the Blower Face Out live album, and
• 25:57
  Speaker 2: they were big in Detroit from the start. There are
• 26:00
  Speaker 2: two big markets were Boston and the New England area
• 26:03
  Speaker 2: and then Detroit, and that sort of spread out through
• 26:08
  Speaker 2: the Midwest. But from the start they were playing in
• 26:11
  Speaker 2: Detroit and kept returning there to bigger and bigger venues,
• 26:15
  Speaker 2: and then they were doing you see. I think by
• 26:18
  Speaker 2: this point they were doing two three nights at the
• 26:20
  Speaker 2: same venue in the Detroit area, so it just kept
• 26:24
  Speaker 2: growing and grunt. So those were the two probably the
• 26:26
  Speaker 2: two areas that caught on earl Is.
• 26:30
  Speaker 1: It's interesting, that's like kiss same thing. And then they
• 26:33
  Speaker 1: wereree Detroit Rock City.
• 26:35
  Speaker 2: Yeah, yeah, Where.
• 26:36
  Speaker 1: Did Our Love Go? Reach? Number sixty eight Ain't Nothing
• 26:38
  Speaker 1: but a House Party also released as a single from
• 26:40
  Speaker 1: that live album. But we can't forget about Musta Got Lost,
• 26:44
  Speaker 1: that classic opening from Peter Wolf. This is where the
• 26:46
  Speaker 1: DJ skills come in. You're right here. While Wolf has
• 26:49
  Speaker 1: always been known for his extemporized woof of goofa with
• 26:52
  Speaker 1: a green teeth wild stage pattern, has now classic extended
• 26:55
  Speaker 1: rap form must Have Got Lost, titled the must Have
• 26:58
  Speaker 1: Got Lost on Nightmares, must Uh on the live album
• 27:02
  Speaker 1: must Have.
• 27:02
  Speaker 2: Yeah. It's it's funny because when they when they changed
• 27:05
  Speaker 2: those titles. I think, should I mention that in the book?
• 27:07
  Speaker 1: Yeah?
• 27:07
  Speaker 2: Because if I don't, Timm is gonna think he doesn't
• 27:09
  Speaker 2: know the band very well because they went from must
• 27:12
  Speaker 2: Have to musta.
• 27:13
  Speaker 1: Yeah anyway, yeah, so he Yeah, has now classic extended
• 27:18
  Speaker 1: rap for Must Have Got Lost was, as he reiterated
• 27:21
  Speaker 1: in a May twenty sixteen Stereophile interview, totally unplanned, totally spontaneous.
• 27:27
  Speaker 1: You later add after the album was released, crowds were
• 27:29
  Speaker 1: calling for the rap at every show, and Wolf had
• 27:32
  Speaker 1: to listen to Blow Your Face Out to learn his
• 27:33
  Speaker 1: own introduction to the song. You talk about how there
• 27:37
  Speaker 1: will likely be debates until the end of time as
• 27:40
  Speaker 1: to which is better Full House or Blow your Face Out.
• 27:42
  Speaker 1: If you had to pick one, they're both so good,
• 27:45
  Speaker 1: but maybe you get more on the second one.
• 27:47
  Speaker 2: You do get more on the second one, and there
• 27:50
  Speaker 2: are a few new tracks in the mix there. It
• 27:53
  Speaker 2: almost depends on my mood because there are some days
• 27:56
  Speaker 2: when I just want to blast out for that's short,
• 28:01
  Speaker 2: it's fast, and it's The performance on there is just phenomenal.
• 28:07
  Speaker 2: But then I look at Blow your Face Out and
• 28:10
  Speaker 2: I think, man, the performances on there are just as great.
• 28:14
  Speaker 2: It's a wider variety of music because you even have
• 28:17
  Speaker 2: there's a country track on their truck Driving Man, not
• 28:20
  Speaker 2: driving hard driving Man, this is truck driving.
• 28:23
  Speaker 1: Oh yeah, that's on the second side. Yeah, yeah, truck
• 28:27
  Speaker 1: driving Man.
• 28:28
  Speaker 2: So there's there's everything on there, and on both of
• 28:30
  Speaker 2: those the crowd is really into it. You can hear
• 28:33
  Speaker 2: a bit more call and response with the crowd on
• 28:37
  Speaker 2: Blow your Face Out, so maybe there's a little more
• 28:39
  Speaker 2: crowd interaction. They both seem just as wild and lively though.
• 28:46
  Speaker 1: Podcasts. We'll be back after this, I will, we can you, Jassy,
• 28:51
  Speaker 1: I will be back. You've been to their shows? They
• 28:57
  Speaker 1: have such a reputation for being a great live band,
• 29:00
  Speaker 1: And what's it like seeing them live? I've never seen
• 29:02
  Speaker 1: them live? How far back do you go too? Did
• 29:04
  Speaker 1: you see him in the seventies, in the eighties?
• 29:06
  Speaker 2: When did you see I saw him in the early eighties,
• 29:09
  Speaker 2: and then I saw Peter Wolf I think twenty ten
• 29:12
  Speaker 2: as a solo artist, and then I saw Blues Time,
• 29:15
  Speaker 2: which was Jay and Magic Dick so them in I
• 29:19
  Speaker 2: think ninety three. But the Jay Guile shows were just
• 29:24
  Speaker 2: it was Peter Wolf is obviously the focal point, being
• 29:28
  Speaker 2: the lead singer, but everybody on the stage was You
• 29:33
  Speaker 2: could just lock in on anybody on the stage and
• 29:36
  Speaker 2: they were going crazy and somehow they were able to
• 29:39
  Speaker 2: reach all the way to the back of however big
• 29:42
  Speaker 2: the venue was and get the people all the way
• 29:44
  Speaker 2: in the back, standing up, screaming, shouting, and I go
• 29:48
  Speaker 2: to I still go to a fair amount of concerts,
• 29:52
  Speaker 2: but and my reaction is depends on what the artist is.
• 29:58
  Speaker 2: Sometimes I'm really into and sometimes it's more like just
• 30:01
  Speaker 2: watch the musicianship and just be blown away by somebody
• 30:05
  Speaker 2: sitting there playing guitar. But with the Jay Giles Band,
• 30:08
  Speaker 2: I'd never been so uninhibited, jumping up, me down, streaming,
• 30:16
  Speaker 2: singing along, and it was like that every time I
• 30:19
  Speaker 2: saw him.
• 30:19
  Speaker 1: And you saw them when they were huge eighty three? Yeah, yeah,
• 30:25
  Speaker 1: venue where did you see him play?
• 30:27
  Speaker 2: Let's see uh once? The first time I saw him
• 30:29
  Speaker 2: it was a smaller venue, Riverside Theater in Milwaukee, which
• 30:35
  Speaker 2: is I think like probably not more than a couple
• 30:38
  Speaker 2: thousand seats. And then I saw them in Rockford at
• 30:43
  Speaker 2: the Metro Center, which I don't know what that is,
• 30:46
  Speaker 2: twelve twelve year yeah. And then there used to be
• 30:50
  Speaker 2: a venue near Chicago called Poplar Creek, which is a
• 30:54
  Speaker 2: bretty outdoor venue, and I saw them there. And then
• 30:58
  Speaker 2: on the first Reunion tour nine, I saw him at
• 31:01
  Speaker 2: hein Knab near Detroit, which is where the Showtime Live
• 31:05
  Speaker 2: album was recorded.
• 31:06
  Speaker 1: Yeah, I remember that reunion. They had a few reunions,
• 31:09
  Speaker 1: didn't they. They came back together again after that and
• 31:12
  Speaker 1: the two thousands. Yeah, my sister and her husband saw
• 31:16
  Speaker 1: Jay Giles play a solo gig in Maine, and this
• 31:21
  Speaker 1: was only maybe seven eight years ago, and it was
• 31:25
  Speaker 1: rough that he had. He actually couldn't make it through
• 31:28
  Speaker 1: the entire show. He was in rough shape, very rough shape,
• 31:32
  Speaker 1: and they had to have I think the guy who
• 31:35
  Speaker 1: opened for him come back out. And you know, it
• 31:37
  Speaker 1: wasn't long, maybe a few years later, that he passed away.
• 31:40
  Speaker 1: He was he was struggling towards the end. And then
• 31:42
  Speaker 1: they had their legal battles too. He was out, but
• 31:44
  Speaker 1: they kept the name. That was a whole story too. Yeah,
• 31:49
  Speaker 1: Getting back to the discography. Next is nineteen seventy seven's
• 31:52
  Speaker 1: Monkey Island. For their seventh studio record, the band made
• 31:55
  Speaker 1: some changes. The most visible was the shift in name
• 31:58
  Speaker 1: from the Jagaus band, who just Giles, prominently displayed in
• 32:03
  Speaker 1: all capital letters on Monkey Island's cover. In a February
• 32:06
  Speaker 1: nineteen eighty interview with Sweet Potato magazine, Justman said the
• 32:10
  Speaker 1: change to Giles was nothing more than the graphic artist
• 32:15
  Speaker 1: idea that.
• 32:16
  Speaker 2: I don't think that's entirely true. I talked to the
• 32:18
  Speaker 2: graphic designer, who was Peter Corston, who had been with
• 32:22
  Speaker 2: him since the Nightmares album. And by the way, I
• 32:27
  Speaker 2: don't know if you saw on their Peiter Corston he
• 32:29
  Speaker 2: did physical graffiti, he did that cover, he did tattoo you,
• 32:34
  Speaker 2: and I mean he did a lot of great, great
• 32:38
  Speaker 2: album covers. But he really didn't remember that. He was
• 32:43
  Speaker 2: just looking at the layout. I talked to him and
• 32:47
  Speaker 2: Alan mcwheeney, who did the photography for that album, and
• 32:53
  Speaker 2: there didn't seem to be either one of them didn't
• 32:55
  Speaker 2: seem to recall anything about intentionally changing the name, shortening
• 32:59
  Speaker 2: it to as Giles.
• 33:02
  Speaker 1: Yeah, black and white cover. That's a profile looks like
• 33:04
  Speaker 1: of Peter there closest.
• 33:05
  Speaker 2: Yeah. Yeah, And that was funny. Talking to Alan mcgueeney,
• 33:10
  Speaker 2: who did the photography, I said, it's such a somber,
• 33:12
  Speaker 2: sober image because I remember when that album came out.
• 33:17
  Speaker 2: I thought, Wow, they're kind of like, maybe they're getting
• 33:20
  Speaker 2: more serious or just more reflective of things. And he
• 33:24
  Speaker 2: said it was a hilarious photo session. He said they
• 33:27
  Speaker 2: had a really good time. They were all joking around,
• 33:29
  Speaker 2: and they did it in Fake Dunaway's apartment in New
• 33:31
  Speaker 2: York Is where that was photographed, and the photographer and
• 33:37
  Speaker 2: the album cover designer they were looking at that and
• 33:41
  Speaker 2: they said, putting six people on a cover doesn't have
• 33:44
  Speaker 2: the same impact as just one or two or three people.
• 33:47
  Speaker 2: So that was intentional to spread it out and figure
• 33:51
  Speaker 2: out where's the fold going to be and keep the
• 33:55
  Speaker 2: bad members just a little bit separated, so three would
• 33:58
  Speaker 2: be on the front, three would be on the back.
• 34:00
  Speaker 1: Yeah, so when you open it up, you see the
• 34:01
  Speaker 1: whole band.
• 34:02
  Speaker 2: Yeah.
• 34:02
  Speaker 1: Not produced by Bill Simsic. The album Reach number fifty
• 34:06
  Speaker 1: one had four singles Peanut Butter, You're the only one
• 34:09
  Speaker 1: which reached number D three, Surrender, and I Do. The
• 34:12
  Speaker 1: band is credited as producers, and this was Bill Simsck's
• 34:15
  Speaker 1: suggestion talk about why he felt they should produce it.
• 34:18
  Speaker 2: Part of it was because he was busy with the
• 34:21
  Speaker 2: Eagles and he wasn't going to be finished with them
• 34:25
  Speaker 2: anytime soon, and he had been apparently trying to convince
• 34:29
  Speaker 2: the Jay Aisles band to produce themselves, and he kept
• 34:33
  Speaker 2: telling him, you're ready for it. I've shown you everything
• 34:35
  Speaker 2: I've known, and you know how to do it on
• 34:40
  Speaker 2: your own, So why not just do it? He's not available,
• 34:43
  Speaker 2: so why not just rather than waiting, just get on
• 34:46
  Speaker 2: with the album. Well, a couple of things came from that.
• 34:49
  Speaker 2: One was took a very long time to put the
• 34:52
  Speaker 2: album together and the band got It's not in the book,
• 34:56
  Speaker 2: but the figures I found were this would have been
• 34:59
  Speaker 2: late seventies. They were about four hundred thousand dollars in
• 35:01
  Speaker 2: debt to the record label by the time they finished that,
• 35:05
  Speaker 2: because they weren't touring and they were just in the studio.
• 35:08
  Speaker 2: But Bill Simsack had told him, you know, record it yourself.
• 35:11
  Speaker 2: And when it was done, I found an interview where
• 35:14
  Speaker 2: Peter Wolf played it for Bill Simsic and he said
• 35:19
  Speaker 2: Simsick had been trying forever to get them to try
• 35:22
  Speaker 2: new things, and they kept resisting, and finally they were
• 35:24
  Speaker 2: trying some of that stuff. And when Simson here, he said, well,
• 35:27
  Speaker 2: welcome to this. Even daies find it. He liked it.
• 35:30
  Speaker 2: He was happy, and he said anytime he worked with
• 35:34
  Speaker 2: them that it was just a really good time. And
• 35:38
  Speaker 2: he referred to them several times as six comedians disguised
• 35:41
  Speaker 2: as a band, just because they were so great to
• 35:44
  Speaker 2: work with. Everybody that I talked to said the same thing.
• 35:47
  Speaker 2: They were just great to be around, great to work with,
• 35:50
  Speaker 2: and that album has it's still cohesive, which is kind
• 35:55
  Speaker 2: of odd because the first time I listened to it,
• 35:57
  Speaker 2: I thought it's sort of all over the place. There's
• 35:59
  Speaker 2: a pop love song, there's a little bit of do
• 36:02
  Speaker 2: up in there with the song I Do. There's some
• 36:05
  Speaker 2: really gritty rock and roll rock music in there. There's
• 36:09
  Speaker 2: even that Latin style Latin tins the song Monkey Island,
• 36:14
  Speaker 2: where it's just sort of all over, but it holds
• 36:17
  Speaker 2: together really really well.
• 36:19
  Speaker 1: Yeah, it's surprising because it seems like they all got
• 36:22
  Speaker 1: along so great but then things go bad. But that
• 36:26
  Speaker 1: happens with so many bands, just eventually creative differences.
• 36:30
  Speaker 2: And with these guys, I think part of it was
• 36:33
  Speaker 2: just from I didn't put it in the book, with
• 36:35
  Speaker 2: part of it from just some interviews over the years
• 36:39
  Speaker 2: and just digging up researching different things. I think part
• 36:45
  Speaker 2: of the reason they start together was because, especially during
• 36:48
  Speaker 2: the Atlantic years, the concerts were always successful. There was
• 36:52
  Speaker 2: never any question about their live performances, but the records
• 36:55
  Speaker 2: didn't always sell the way they should have, the way
• 36:58
  Speaker 2: they deserve to sell and it was I think out
• 37:02
  Speaker 2: of need that they stayed together because that was all
• 37:05
  Speaker 2: they could do, was just keep moving forward. And then
• 37:08
  Speaker 2: I think when this success hit really big, they could
• 37:12
  Speaker 2: finally take a breather and then some of those creative
• 37:17
  Speaker 2: differences started to come out and it wasn't as necessary
• 37:21
  Speaker 2: to stay together to keep things moving.
• 37:24
  Speaker 1: James Romg is the author of Jay Giles's Band, Every album,
• 37:27
  Speaker 1: every song book is out now, I believe right, so
• 37:30
  Speaker 1: y soon in the US in the UK.
• 37:34
  Speaker 2: It's out in the UK. Yeah, and now I think
• 37:36
  Speaker 2: they released it for the US has changed to November first,
• 37:39
  Speaker 2: so two weeks, three weeks.
• 37:41
  Speaker 1: Cool My Records would be the new home of Jay
• 37:45
  Speaker 1: Gile's band. There it is. He's showing the cover fils
• 37:47
  Speaker 1: for those just listening. We got this episode on YouTube too,
• 37:50
  Speaker 1: make sure you watch it. Yeah. November of nineteen seventy eight,
• 37:53
  Speaker 1: they released Sanctuary, which featured the number thirty five single
• 37:57
  Speaker 1: One Last Kiss, the number sixty seventh single take It Back,
• 38:01
  Speaker 1: and the title track. The album reached number forty nine.
• 38:05
  Speaker 1: You're right quote, what a difference a change of record
• 38:07
  Speaker 1: label made. With Sanctuary, the band had the full backing
• 38:11
  Speaker 1: of a new record Company, giving Guyles their first gold
• 38:14
  Speaker 1: record since nineteen seventy three's Bloodshot and their first top
• 38:17
  Speaker 1: forty hit since nineteen seventy fours Must Have Got Lost.
• 38:22
  Speaker 1: There's an interesting section on David Thorner, who was like
• 38:25
  Speaker 1: the seventh member of the band at the time he
• 38:28
  Speaker 1: returned as an engineer. Can you talk about the extensive
• 38:31
  Speaker 1: recording process approach that he had on this album? I
• 38:34
  Speaker 1: thought that was really fascinating.
• 38:36
  Speaker 2: They had the band moved to a new studio out
• 38:39
  Speaker 2: at Longview Farm in Massachusetts, which is I think about
• 38:43
  Speaker 2: sixty miles west of the Boston, and they'd already worked
• 38:46
  Speaker 2: with Dave, brought him in, and by now Seth Jusman
• 38:50
  Speaker 2: was producing. And I don't notice it when I listened
• 38:55
  Speaker 2: to it, but I suppose if you're an engineer or
• 38:58
  Speaker 2: you just have that the ear for that. He said
• 39:02
  Speaker 2: that the drums had a real dry sound because he
• 39:05
  Speaker 2: just set up in their studio portion and recorded that way,
• 39:10
  Speaker 2: and he feels the drums were just had a a
• 39:14
  Speaker 2: dry sound. It wasn't what he wanted, and so eventually
• 39:18
  Speaker 2: he moved and did some of the recording in There's
• 39:22
  Speaker 2: It's a it's an actual farm it's a working farm,
• 39:27
  Speaker 2: so he moved into He moved the drums and some
• 39:29
  Speaker 2: other stuff into the horse barn, which had a wood structure,
• 39:34
  Speaker 2: and he said it just gave it a fuller, richer sound,
• 39:37
  Speaker 2: which is pretty funny.
• 39:39
  Speaker 1: Book Don Rock Podcast. We'll be back after this.
• 39:43
  Speaker 2: Hold On.
• 39:46
  Speaker 1: There was a best of release before Love Stinks by Atlantic,
• 39:50
  Speaker 1: so Atlantic wanted to at least get what they could
• 39:53
  Speaker 1: out of Jay Giles and the material that they recorded
• 39:56
  Speaker 1: under their label, and that best stuff has done well.
• 39:59
  Speaker 1: I've seen that around them lot the best of collection.
• 40:03
  Speaker 2: I think the record label at that point might I realized,
• 40:05
  Speaker 2: oh we lost out. And I mean every record label
• 40:09
  Speaker 2: does that when they an artist signed to somebody else
• 40:13
  Speaker 2: or retires or whatever. They're still looking for ways to
• 40:16
  Speaker 2: make money off that back catalog. And so they did
• 40:19
  Speaker 2: the best of, which had some pretty good cuts. It
• 40:21
  Speaker 2: ignored a couple albums, but I think the first best
• 40:25
  Speaker 2: of did a pretty good job of picking the bigger songs.
• 40:29
  Speaker 1: So with the bowling ball on the cover and knocking
• 40:32
  Speaker 1: down the pins, south Side Shuffle, Give It to Me?
• 40:34
  Speaker 1: Where did Our Love Go Live? Need Nothing but a
• 40:37
  Speaker 1: House Party? The studio version Detroit Breakdowns on there waimber
• 40:42
  Speaker 1: Jammer live from Life Full House, I do must have
• 40:45
  Speaker 1: got lost looking for a nine tracks on that Best
• 40:49
  Speaker 1: of Love Stinks, released late January of eighty a number
• 40:53
  Speaker 1: eighteen album thanks to three hit singles, the number thirty
• 40:57
  Speaker 1: two Come Back which I love, there eight loves Stinks,
• 41:01
  Speaker 1: which is another great song, and the number seventy eight
• 41:04
  Speaker 1: just Can't Wait another song I love. This is maybe
• 41:07
  Speaker 1: my favorite album, with a close second being the next one,
• 41:12
  Speaker 1: which is obviously the huge head Freeze Frame. I'm going
• 41:15
  Speaker 1: to read what you wrote the book here. This is
• 41:17
  Speaker 1: so funny. Like its predecessor, the album was recorded at
• 41:20
  Speaker 1: Longview Farm in Massachusetts. David Thorner, who had worked on
• 41:24
  Speaker 1: Hotline Monkey Island Sanctuary, served as an engineer, so he returns.
• 41:29
  Speaker 1: He said, quote, We recorded the guitars in the horse barn,
• 41:32
  Speaker 1: and several times would have to punch in to redo
• 41:35
  Speaker 1: a spot because one or several of the horses would
• 41:38
  Speaker 1: neay loud enough to get my attention. Wind the tape back,
• 41:43
  Speaker 1: and punch back in the recording. Suffice it to say
• 41:45
  Speaker 1: that every aspect of Love Stinks was a new and
• 41:47
  Speaker 1: different way to approach recording. We would have a cable
• 41:51
  Speaker 1: stretching from the control room to the barn, so Jay
• 41:53
  Speaker 1: could stand in the control room listening with me to
• 41:55
  Speaker 1: the studio monitors while he was recording guitars, and the
• 41:59
  Speaker 1: speaker stack was in the barn. In the morning, it
• 42:01
  Speaker 1: was a funny sight to see birds perching on the
• 42:04
  Speaker 1: cable by the dozens. What a story, Let's talk It's
• 42:09
  Speaker 1: a great story. I Love Stinks the title track. Let's
• 42:11
  Speaker 1: talk about that one. Can you tell us what Peter
• 42:13
  Speaker 1: Wolf had to say about writing the song? And he
• 42:15
  Speaker 1: would come back to Fade Dunaway. Is it about her?
• 42:19
  Speaker 1: Who he was divorcing at the time the album was
• 42:21
  Speaker 1: being made.
• 42:22
  Speaker 2: It was separated, I think in the process of divorce.
• 42:25
  Speaker 2: But he said many times in different interviews that it
• 42:28
  Speaker 2: was not. The song had nothing to do with her
• 42:32
  Speaker 2: or what they were going through at the time. And
• 42:36
  Speaker 2: Seth Justman said he was talking to his brother and
• 42:38
  Speaker 2: his brother is the one that said love stinks, and
• 42:42
  Speaker 2: so they claim that's how it came about. There are
• 42:46
  Speaker 2: some other j. Giles songs on Sanctuary and Love Stinks
• 42:50
  Speaker 2: where you wonder just how much of those lyrics are autobiographical.
• 42:54
  Speaker 2: When he's talking about just bad relationships. I'm sure everything influence,
• 43:00
  Speaker 2: it's his songwriting like that. But Pierre Wolf said that
• 43:03
  Speaker 2: Love Stinks was not about him and fade down away.
• 43:06
  Speaker 2: There was nothing to do with her.
• 43:08
  Speaker 1: What do you think about now we're hearing some of
• 43:10
  Speaker 1: the synth in there would come back. That's you can
• 43:15
  Speaker 1: hear it on that one. It's a new direction for
• 43:17
  Speaker 1: the band. That kind of sets up where we go
• 43:19
  Speaker 1: with Freeze Frame.
• 43:21
  Speaker 2: Yeah, they had started using since moving moving more toward
• 43:26
  Speaker 2: a new wave direction on some of those songs, not
• 43:28
  Speaker 2: all of them, And I think they did a great
• 43:32
  Speaker 2: job mixing the rock sound because by Sanctuary they had
• 43:38
  Speaker 2: sort of dropped a lot of the I think they
• 43:41
  Speaker 2: had completely dropped the blues. They still had some R
• 43:43
  Speaker 2: and B influences in there, but it was mostly just
• 43:46
  Speaker 2: straight ahead rock for that album, and Love Stinks still
• 43:50
  Speaker 2: had the rock tunes but was bringing in the new
• 43:53
  Speaker 2: wave and seth justman. I found probably half a dozen
• 43:59
  Speaker 2: in viewers with him where he was always joking saying, well,
• 44:02
  Speaker 2: the reason they never had all the sense the synthesizers
• 44:05
  Speaker 2: before that was because he just didn't have the money
• 44:07
  Speaker 2: for me, couldn't, so he would stick to the Hammond
• 44:11
  Speaker 2: and the piano and leave it at that.
• 44:13
  Speaker 1: Yeah, you'd assume that it was this big decision they
• 44:17
  Speaker 1: all got around and discussed. It's like no, I just yeah,
• 44:20
  Speaker 1: I can afford one.
• 44:21
  Speaker 2: That was let's go. Yeah.
• 44:23
  Speaker 1: Yeah. I wonder if the longtime fans were disappointed in
• 44:26
  Speaker 1: the in the shift and the sound that can always happen.
• 44:28
  Speaker 1: I don't know if you can speak to that. I
• 44:30
  Speaker 1: don't know, because I know that the Jay Giles from
• 44:34
  Speaker 1: the first album to the final album, Freeze Frame, where
• 44:38
  Speaker 1: we can there's another one after that, you're getting given
• 44:40
  Speaker 1: well album getting odd from nineteen eighty four, but really
• 44:43
  Speaker 1: from the first album the Freeze Frame, there was there
• 44:46
  Speaker 1: definitely was a change.
• 44:48
  Speaker 2: Yeah, huge transition, and I was happy with all of it.
• 44:53
  Speaker 2: But almost everything. I think by around nineteen eighty you
• 44:58
  Speaker 2: turn on the radio and you're gonna hear all that
• 45:00
  Speaker 2: almost every song is going to have some kind of
• 45:02
  Speaker 2: synthesizer in it, and not the deep move loopy type
• 45:07
  Speaker 2: synthesizers from like you Raiah Heap or Emerson Lake and
• 45:11
  Speaker 2: Palmer something like that, but the more commercial type synthesizer
• 45:17
  Speaker 2: like the.
• 45:18
  Speaker 1: Cars I think reminds me of the Cars sound.
• 45:20
  Speaker 2: A little bit yeah, another Boston band. Yeah, And I
• 45:24
  Speaker 2: think it's a matter of appreciating what's there, because if
• 45:28
  Speaker 2: if that hadn't happened, they wouldn't have been around as long.
• 45:31
  Speaker 2: I think that's because they keep growing commercially and if
• 45:35
  Speaker 2: you're not commercially successful, it doesn't matter how great of
• 45:38
  Speaker 2: a musician you are, no one's going to hear you.
• 45:40
  Speaker 2: So you're kind of I don't know if that's a compromise,
• 45:43
  Speaker 2: but you look at you either play to no one
• 45:49
  Speaker 2: and be the best musician out there that no one
• 45:51
  Speaker 2: is aware of, or you change your style and adapt
• 45:54
  Speaker 2: and keep growing and bringing new fans and do your
• 45:58
  Speaker 2: best not to alienate any of the earlier fans.
• 46:02
  Speaker 1: Billy Givens an easy top eliminator. Yeah, that was, yeah,
• 46:06
  Speaker 1: the prime example, and it worked. Yeah, yeah, yeah. Yeah.
• 46:12
  Speaker 1: They couldn't get any higher with the next album. The
• 46:14
  Speaker 1: success of Loves Thinks sets up Freeze Frame all the
• 46:17
  Speaker 1: way to number one in the US, number twelve in
• 46:19
  Speaker 1: the UK, which they rarely charted in the UK. Didn't
• 46:22
  Speaker 1: realize until we need the book they pretty much were
• 46:25
  Speaker 1: non existing in the UK. Did they play a lot
• 46:27
  Speaker 1: of shows in the UK? Did they tour a lot
• 46:30
  Speaker 1: over there.
• 46:31
  Speaker 2: Primarily they had from the early seventies. I think around
• 46:34
  Speaker 2: seventy two seventy three, they were already in the UK
• 46:38
  Speaker 2: doing you know, half a dozen shows hitting spots in Europe.
• 46:43
  Speaker 2: And their manager back then, de Anthony, who we mentioned earlier,
• 46:49
  Speaker 2: he also managed Emerson Lake and Palmer, so he put
• 46:52
  Speaker 2: them on tour in Europe with Emerson Lake and Palmer,
• 46:56
  Speaker 2: and they were doing radio shows in I think in Holland,
• 47:02
  Speaker 2: they did rock Plast in Germany, the TV show, so
• 47:07
  Speaker 2: they were there. They were I don't think they were
• 47:11
  Speaker 2: all that commercially successful, but people would have been aware
• 47:14
  Speaker 2: of them because they came through fairly regularly.
• 47:17
  Speaker 1: Yeah, but yeah, they just didn't catch on until, of
• 47:20
  Speaker 1: course Freeze Frame number twelve in the UK. In the UK,
• 47:23
  Speaker 1: the album's reached October twenty sixth, nineteen eighty one, so
• 47:26
  Speaker 1: we're coming up on the anniversary of the album's released
• 47:29
  Speaker 1: Centerfold and number one single Freeze Frame number four, Angel
• 47:33
  Speaker 1: and Blue number forty Angel and Blue You're Right was
• 47:36
  Speaker 1: intended as the first single, but Centerfold was chosen instead,
• 47:39
  Speaker 1: which was a wise choice. Their different stories as to
• 47:42
  Speaker 1: the origin of the song Centerfold. What are the stories
• 47:45
  Speaker 1: and has anyone in the band ever confirmed who it's about.
• 47:48
  Speaker 2: No, I wasn't able to confirm anything on that. Just
• 47:53
  Speaker 2: repeat a few stories. One was that Steven Joe Blads
• 47:57
  Speaker 2: had a friend who's high school girlfriend showed up in
• 48:01
  Speaker 2: a porn magazine at some point, and so that's one
• 48:04
  Speaker 2: version of how the song came to be. And then
• 48:07
  Speaker 2: there's another one that said one of Peter Wolf's ex
• 48:11
  Speaker 2: girlfriends shut up and playboy, and that's that's another version
• 48:14
  Speaker 2: of it. One of the interesting things about that story
• 48:18
  Speaker 2: is the songwriting credit, so you can start to see
• 48:20
  Speaker 2: a little bit of it. Wasn't evident from the outside,
• 48:24
  Speaker 2: but I think there were starting to be a little
• 48:26
  Speaker 2: friction inside the band because Seth Justman that's a solo right,
• 48:32
  Speaker 2: writing credit for him, rather than most of the songs
• 48:35
  Speaker 2: by that point were Peter Wolf and Seth Jasman working together.
• 48:39
  Speaker 1: Interesting he writes he's the sole writer of Centerfold, Flamethrower,
• 48:45
  Speaker 1: River Blindness, Angel in Blue.
• 48:48
  Speaker 2: And that had never happened before. It was always a collaboration.
• 48:52
  Speaker 1: Flamethrowers one of my favorite. Jay Golison, Yeah, oh, I
• 48:56
  Speaker 1: love that song. Yeah, I love that. It took a
• 48:59
  Speaker 1: long time for this album to be completed too, because
• 49:01
  Speaker 1: during this period now the creative disagreements start to start
• 49:05
  Speaker 1: to happen, the creative tensions starting to surface. Was Peter
• 49:09
  Speaker 1: not on board with the rest of the band? Was
• 49:11
  Speaker 1: it Jay Gile's not happy with the direction of the band.
• 49:13
  Speaker 1: I remember hearing back in the day O Peter's his
• 49:16
  Speaker 1: ego is getting out of control. He thinks there was
• 49:19
  Speaker 1: a lot of stories going around. What's been said, what's
• 49:23
  Speaker 1: the cause of the breakup eventual breakup.
• 49:27
  Speaker 2: I didn't get much on that. When I was talking
• 49:31
  Speaker 2: to people, they just said, well, there was more friction
• 49:33
  Speaker 2: on that album than previous ones, but exactly what the
• 49:39
  Speaker 2: friction was, and none of it was public. So the
• 49:42
  Speaker 2: people in the band, anybody working on that record, is
• 49:45
  Speaker 2: going to know what really happened, as opposed to the
• 49:50
  Speaker 2: rest of us who are outside. And it's just I
• 49:54
  Speaker 2: think a difference of opinion as to where the music
• 49:58
  Speaker 2: should be going. I've never heard them bad mouth with
• 50:01
  Speaker 2: each other, and all these interviews that I did and
• 50:05
  Speaker 2: any interviews that I've read, they're all pretty mum about that,
• 50:10
  Speaker 2: and they just say it kind of happened. And I
• 50:12
  Speaker 2: got the feeling when I was working on this that
• 50:17
  Speaker 2: there was no big explosive argument or fight or anything.
• 50:21
  Speaker 2: It was just sort of a disintegration of things.
• 50:25
  Speaker 1: Yeah. In fact, they made an appearance somewhere in Boston
• 50:29
  Speaker 1: at one point when they knew it was pretty much over.
• 50:32
  Speaker 1: But yet they appeared and everything seemed fine, and they
• 50:34
  Speaker 1: kept it really well hidden. You mentioned that in the
• 50:37
  Speaker 1: book they showed up somewhere at some event.
• 50:39
  Speaker 2: Right at Good Words for Boston. It was some kind
• 50:43
  Speaker 2: of toys and promotion, and I can't find that was
• 50:46
  Speaker 2: filmed for I don't know if it was a TV
• 50:49
  Speaker 2: advertisement or what it was. And I kept finding references
• 50:52
  Speaker 2: to it, and I found a few still photos from that,
• 50:56
  Speaker 2: but I couldn't find the actual video.
• 50:58
  Speaker 1: Book Rock Podcast We'll be back after this.
• 51:01
  Speaker 2: Out of your Pants Pockets Hold Kids in the Future
• 51:03
  Speaker 2: were their pants and signed out.
• 51:07
  Speaker 1: Peter's part of the next album. He's there at the beginning,
• 51:11
  Speaker 1: which I didn't know about this. Very few people even
• 51:13
  Speaker 1: know this album exists nineteen eighty four, as you're getting
• 51:16
  Speaker 1: even while I'm getting odd, it's not even on Spotify
• 51:19
  Speaker 1: when I checked. I don't think this is the final
• 51:22
  Speaker 1: album that they made. It's the only Jay Gull's band
• 51:25
  Speaker 1: album Recorder without Peter Wolf, and there's the Uh, that's it.
• 51:30
  Speaker 1: Concealed Weapon was there? Yeah, And Concealed Weapons was the single.
• 51:34
  Speaker 1: It's got the sticker on there. That's cool. Wow, where'd
• 51:37
  Speaker 1: you get? Did you buy it when it was released?
• 51:39
  Speaker 2: Yeah? I bet hold on, hold on.
• 51:42
  Speaker 1: Because I'm dying to know what your response was when
• 51:44
  Speaker 1: you first heard it. Drop the needle on that?
• 51:46
  Speaker 2: Yeah, I thought I kept it. I used to on
• 51:48
  Speaker 2: all my old vinyl, which I've lost a lot of
• 51:50
  Speaker 2: vinyl over the years, but I thought I kept the
• 51:53
  Speaker 2: receipt in here. But the sticker on here says six
• 51:55
  Speaker 2: forty nine was the price sixty?
• 51:58
  Speaker 1: Did you know Peter Wolf was not on the album?
• 52:00
  Speaker 1: Did you know at that time?
• 52:03
  Speaker 2: Uh? It was I think two or three months before
• 52:06
  Speaker 2: this that Peter Wolf released his solo.
• 52:08
  Speaker 1: ALB his first one, lights Out, the single right that
• 52:11
  Speaker 1: was a big that was on n TV and then
• 52:13
  Speaker 1: we got some support from you, so you knew then?
• 52:17
  Speaker 1: Okay you were there's another one? Yeah, yeah, there it is.
• 52:22
  Speaker 1: Who does vocals on this album? Then it's mostly Seth.
• 52:26
  Speaker 2: Justman and Stephen Joe Blad the drummer had Uh did
• 52:31
  Speaker 2: two or three songs they did one where both of
• 52:33
  Speaker 2: them to lead vocals, but both Seth Justman and Steven
• 52:39
  Speaker 2: Joe Blad had been doing backup vocals from the start.
• 52:41
  Speaker 1: Anyway, what do you think of the songs? Are they good?
• 52:45
  Speaker 2: Of them? Are pretty good? Yeah, there's a definite difference.
• 52:48
  Speaker 2: It's has that new wave, avant garde experimental style to it.
• 52:56
  Speaker 2: And it's the last song on there I think is
• 52:59
  Speaker 2: my Face I Will Carry You Home because it's about
• 53:02
  Speaker 2: a six minute it has this gospel feeling to it.
• 53:07
  Speaker 2: I'd say the songs are worth hearing because they were
• 53:10
  Speaker 2: still trying to do new things and push forward rather
• 53:14
  Speaker 2: than just repeating themselves. But yeah, not everybody likes it,
• 53:18
  Speaker 2: and there is a difference because Peter Woolf isn't there.
• 53:21
  Speaker 2: And when I talked to one of their managers who
• 53:27
  Speaker 2: was with them during their biggest success in the last
• 53:30
  Speaker 2: couple of years, and then I talked to the record
• 53:33
  Speaker 2: label president from EMI America at the time, and they
• 53:38
  Speaker 2: both said that there was just nothing they could do
• 53:42
  Speaker 2: and they were disappointed how it all just sort of
• 53:44
  Speaker 2: fell apart, and they both tried to get everybody back together,
• 53:50
  Speaker 2: sat down and talked with them and said, look, you're
• 53:52
  Speaker 2: at your peak. You can be even bigger than you
• 53:56
  Speaker 2: already are, which was almost unimaginable how big they did
• 53:59
  Speaker 2: get and they just they couldn't make it work out.
• 54:03
  Speaker 1: Yeah. The quote that I pulled from the book here,
• 54:05
  Speaker 1: Bob Hinkle, who managed the band with Jeb Hart, said quote,
• 54:08
  Speaker 1: it was one of the most difficult periods of my life.
• 54:10
  Speaker 1: Jeb and I spent a lot of time on the
• 54:12
  Speaker 1: Eastern Airline shuttle between New York and Boston meeting with
• 54:15
  Speaker 1: the band to try to get them to come to
• 54:17
  Speaker 1: their senses. We couldn't do it. We finally had to
• 54:19
  Speaker 1: realize it was not meant to be. It wasn't a surprise,
• 54:23
  Speaker 1: just sad because they were poised for still bigger things. Yeah,
• 54:28
  Speaker 1: I wonder what could have been if they continued.
• 54:31
  Speaker 2: Yeah, and they had just finally started getting big in Europe,
• 54:35
  Speaker 2: especially they had toured with the Rolling Stones, and suddenly
• 54:41
  Speaker 2: the album was The frees Frame album was doing great
• 54:44
  Speaker 2: in Europe, their biggest success there. And if they could
• 54:48
  Speaker 2: have capitalized on that and just kept going for one
• 54:51
  Speaker 2: or two more albums, there's no telling how big they
• 54:54
  Speaker 2: would have become.
• 54:55
  Speaker 1: And it's still mind blowing to me. They're not in
• 54:57
  Speaker 1: the Rock roll Hall of Fame. I just give up
• 54:59
  Speaker 1: on the rock call.
• 55:00
  Speaker 2: We want to give up on that too.
• 55:01
  Speaker 1: Didn't even figure that out.
• 55:03
  Speaker 2: Yeah, at lest you just call it Music Music Museum
• 55:08
  Speaker 2: or something rather than rock and Roll Hall of.
• 55:09
  Speaker 1: Fame, because I mean, and having worked in classic rock
• 55:12
  Speaker 1: radio for many, many, many years, Jay Giles is just
• 55:15
  Speaker 1: a staple of FM rock radio. They've got so many songs,
• 55:19
  Speaker 1: it's just doesn't make any sense. You do cover the
• 55:22
  Speaker 1: project that the band members did after the breakup of
• 55:25
  Speaker 1: Jaygau's band in this book, any standouts for you personally?
• 55:28
  Speaker 1: I'm a big fan of Long Line, Peter Wolf's Long Line.
• 55:32
  Speaker 1: That's a great album.
• 55:34
  Speaker 2: When I look at those and I did this chronologically,
• 55:36
  Speaker 2: who was working on what. And the weird thing is
• 55:40
  Speaker 2: that there were creative differences with the band. That was
• 55:46
  Speaker 2: the reason for the given reason for the splinter, because
• 55:50
  Speaker 2: Peter Wolf wanted to go back and do more of
• 55:52
  Speaker 2: the earlier blues and R and B stuff, and apparently
• 55:57
  Speaker 2: everybody else wanted to just move on with more the
• 56:00
  Speaker 2: the new wave pop stuff. But then you listen to
• 56:03
  Speaker 2: Peter Woolf's solo album and it's not as different as
• 56:07
  Speaker 2: you would expect, because he really didn't go back to
• 56:09
  Speaker 2: the blues and R and B like you would have expected.
• 56:12
  Speaker 2: If that was the reason. He does eventually like Longline
• 56:17
  Speaker 2: and Fool's Parade and Midnight Souvenirs and all that.
• 56:20
  Speaker 1: That's another go with Midnight Souvenirs.
• 56:22
  Speaker 2: Yeah, that's the tour that I saw him on with solo.
• 56:26
  Speaker 2: I was in Virginia at the time, and I saw
• 56:28
  Speaker 2: him in Virginia. Yeah.
• 56:30
  Speaker 1: Yeah, some great work there. What about the other guys,
• 56:32
  Speaker 1: any notable records album songs from the other guys?
• 56:37
  Speaker 2: I like the Blues Time stuff with Magic Dick and
• 56:41
  Speaker 2: Jay and then the very last it's the last listing
• 56:45
  Speaker 2: in there about time with Magic Dick and shun Ing.
• 56:49
  Speaker 2: It's just an EP. It's six tracks, and oh man,
• 56:52
  Speaker 2: that is phenomenal to hear that one. That is phenomenal.
• 56:56
  Speaker 1: I'd like to see Magic Dick perform live. I don't
• 56:58
  Speaker 1: know if is he retied these days. No.
• 57:01
  Speaker 2: No, even this past summer, if I'd been in the
• 57:05
  Speaker 2: New England region, you could have seen Magic Dick. He
• 57:08
  Speaker 2: did a couple of shows I think with Mark Hummel
• 57:10
  Speaker 2: doing the harmonica blowout type stuff. Danny Klein is out there,
• 57:14
  Speaker 2: performs pretty regularly with his band Full House, so they
• 57:18
  Speaker 2: do Jakeile sets. It's not a tribute band, it's Danny
• 57:23
  Speaker 2: Klein doing jailes. And then Peter Wolf was doing some
• 57:26
  Speaker 2: shows this summer too.
• 57:28
  Speaker 1: So I know Peter's busy. Yeah. I see here Magic
• 57:31
  Speaker 1: Dick on his website. He's got a show he just
• 57:34
  Speaker 1: performed last month, couple shows in September, so he's still active,
• 57:38
  Speaker 1: which is great.
• 57:39
  Speaker 2: Yeah.
• 57:40
  Speaker 1: Born in New London, Connecticut. That's right, New London, Connecticut
• 57:44
  Speaker 1: now far like forty five minutes from where I am
• 57:46
  Speaker 1: right here. Jay Gile's band, every album, every song from
• 57:49
  Speaker 1: Sonic Bond Books. Okay, November one the US release date,
• 57:53
  Speaker 1: and then I believe it's out now in the UK.
• 57:55
  Speaker 1: You could go to burningshd dot com if you want
• 57:57
  Speaker 1: to order it through the UK outlet. Where can people
• 57:59
  Speaker 1: find you online, Jim if they want to reach out.
• 58:02
  Speaker 2: I'm on Facebook, just under the name James Romeg. I
• 58:06
  Speaker 2: don't have any author website or anything like that.
• 58:08
  Speaker 1: Okay, that's good enough. Facebook is easy enough. Yeah, thanks
• 58:13
  Speaker 1: for doing this book. Like we said at the top here,
• 58:15
  Speaker 1: you you even said it you're looking around for Jay
• 58:17
  Speaker 1: Giles's books and they're not out there. So we need
• 58:19
  Speaker 1: more of these. And I'm looking very much forward to
• 58:23
  Speaker 1: Peter's book when that comes out. You think you said
• 58:26
  Speaker 1: what March or April of twenty twenty Live Waiting on
• 58:30
  Speaker 1: the Moon. Yeah, looking very forward to that. Thanks again, Man,
• 58:33
  Speaker 1: thanks for being on the podcast.
• 58:35
  Speaker 2: Hey, thanks Jeric, thanks for being here.
• 58:45
  Speaker 1: That's it. It's in the books.