Latest / Booked On Rock with Eric Senich / [EP 403] Terry Kilgore: Eddie Van Halen, David Lee Roth & An Incredible Rock ’n’ Roll Comeback

Transcript

[EP 403] Terry Kilgore: Eddie Van Halen, David Lee Roth & An Incredible Rock ’n’ Roll Comeback · Booked On Rock with Eric Senich

• 0:00
  Speaker 1: He just developed that secondhand, you know, thing. He would
• 0:02
  Speaker 1: do chords like that. He showed me how to do it.
• 0:04
  Speaker 1: I said, well, that's cool, but I didn't think nothing
• 0:06
  Speaker 1: of it. I thought, of course, if you put your
• 0:08
  Speaker 1: finger down, that's going to make noise, right? And I thought, well,
• 0:10
  Speaker 1: it's a good trick. I use it for, like, you know,
• 0:12
  Speaker 1: stupid little things. But Ed picked up on it with
• 0:14
  Speaker 1: a venue. We're totally booked. Rock and roll! Well, I
• 0:18
  Speaker 1: think I'll leave you to your reading. Little Hand says
• 0:21
  Speaker 1: it's time to rock and roll.
• 0:23
  Speaker 2: Rock and roll!
• 0:24
  Speaker 1: We are totally booked.
• 0:30
  Speaker 3: Welcome back to Booked on Rock, conversations with authors, musicians,
• 0:34
  Speaker 3: and insiders revealing the stories behind classic rock's greatest songs, albums,
• 0:38
  Speaker 3: and artists. If you're enjoying the show, you'd like to
• 0:41
  Speaker 3: support it, you can sign up for the Booked on
• 0:43
  Speaker 3: Rock backstage pass on Patreon for just $ 5 a month.
• 0:47
  Speaker 3: Get every episode commercial free and before everyone else. You
• 0:49
  Speaker 3: can use the link in the show notes or visit BookedOnRock.com.
• 0:53
  Speaker 3: Now on to our guest. I'm very excited about this.
• 0:56
  Speaker 3: I'm joined by legendary guitarist Terry Kilgore, a longtime fixture
• 1:00
  Speaker 3: of Southern California's rock scene, whose remarkable careers included close
• 1:03
  Speaker 3: friendships with Eddie Van Halen and David Lee Roth, along
• 1:07
  Speaker 3: with acclaimed guitar and songwriting work on Roth's solo albums.
• 1:11
  Speaker 3: After surviving the devastating Eaton fire that destroyed his home, studio,
• 1:15
  Speaker 3: and treasured guitar collection, Terry is making an inspiring comeback
• 1:19
  Speaker 3: with his brand new album, The Devil's in the Details,
• 1:22
  Speaker 3: and he is here to share the incredible stories behind
• 1:24
  Speaker 3: the music. and the journey. Terry, thank you so much
• 1:27
  Speaker 3: for coming on the show, and we also have Christy's
• 1:31
  Speaker 3: with you as well. Christy, you are singing on this
• 1:33
  Speaker 3: upcoming album, right?
• 1:34
  Speaker 1: Yeah, writing the lyrics. Doing a bang-up job. Thank you.
• 1:37
  Speaker 1: Very different. And singing.
• 1:38
  Speaker 4: Then we produce together. I go in the studio sometimes.
• 1:42
  Speaker 4: Sometimes we go together for the production.
• 1:45
  Speaker 1: It's coming out different than anything I've ever done, but
• 1:47
  Speaker 1: that's what I want to do. When you want to
• 1:49
  Speaker 1: do things that you haven't done, you have to do
• 1:50
  Speaker 1: things that you don't do. It's just that stuff.
• 1:53
  Speaker 3: And the stage name is Corpus Christi, right?
• 1:55
  Speaker 1: I love that.
• 1:56
  Speaker 4: That's my stage name, yeah.
• 1:57
  Speaker 3: That's cool.
• 1:57
  Speaker 1: She plays out live more than I do. I mean, really,
• 2:00
  Speaker 1: you know, I'm definitely trying to make sense of a
• 2:05
  Speaker 1: studio that's inside of an RV. And it's different. You know,
• 2:09
  Speaker 1: the gear is up to snuff. It's better than it's
• 2:11
  Speaker 1: ever been. But, you know, it's like when the fire hit.
• 2:14
  Speaker 1: I mean, I wasn't thinking, obviously. I'd take a $ 600
• 2:16
  Speaker 1: guitar and leave a $ 30, 000 one. It was like....
• 2:23
  Speaker 4: You had a fire coming at you, so you weren't thinking.
• 2:25
  Speaker 1: I'd never seen the like of it. Nobody ever has,
• 2:27
  Speaker 1: I don't think. And, you know, they turn the power
• 2:30
  Speaker 1: off at 6 o'clock, and then they shut the water
• 2:32
  Speaker 1: off at about 3 in the morning. And we just
• 2:34
  Speaker 1: couldn't get it wet enough. It was aged redwood. My
• 2:36
  Speaker 1: place was 140 years old. And they never had a hitch.
• 2:41
  Speaker 1: And then they tried to say it was, you know,
• 2:42
  Speaker 1: homeless people up there smoking cigarettes up in 2,000 feet
• 2:45
  Speaker 1: up in a power tower. Then we come to find
• 2:48
  Speaker 1: that all 26 towers that lead up to Sylmar are
• 2:50
  Speaker 1: all faulty. because they didn't want to upset their shareholders.
• 2:55
  Speaker 1: So they burnt 9,000 structures and their CEO got a
• 2:59
  Speaker 1: $ 60 million bonus. Unbelievable.
• 3:01
  Speaker 3: That was almost exactly a year ago, wasn't it?
• 3:03
  Speaker 1: A year and a half ago.
• 3:04
  Speaker 4: In the RV for a long time.
• 3:06
  Speaker 1: It's always varied. Let me tell you something. It might
• 3:08
  Speaker 1: be fun on a camping trip, but you don't want
• 3:10
  Speaker 1: to live in one. Yeah.
• 3:12
  Speaker 4: It's too long.
• 3:12
  Speaker 1: With all the amenities, it's still a pain in the
• 3:14
  Speaker 1: ass because you're basically in a fiberglass kiln and doing
• 3:18
  Speaker 1: work in there. You have to have wind blowing on
• 3:19
  Speaker 1: you all the time, you know. So it stretches the opinion.
• 3:23
  Speaker 2: Yeah.
• 3:24
  Speaker 4: So we spend time in the studio. We spend time
• 3:27
  Speaker 4: playing here. And then he doesn't get up. You play
• 3:30
  Speaker 4: out a little bit, but he helps out more.
• 3:32
  Speaker 1: It's like when you played in front of a lot
• 3:35
  Speaker 1: of people and you've done whatever, it's not much fun
• 3:37
  Speaker 1: to play in front of 10, 12 people in these clubs.
• 3:39
  Speaker 1: It's really gotten small out here.
• 3:41
  Speaker 4: That'll change.
• 3:42
  Speaker 1: It's small. I mean, if you go into the only
• 3:44
  Speaker 1: places that we know that are really doing business are
• 3:46
  Speaker 1: like beer bars and bars. regular drinking bars that maybe
• 3:50
  Speaker 1: have enough room to set a band up that has
• 3:53
  Speaker 1: to stand amongst the audience, just like they're part of
• 3:57
  Speaker 1: the clientele. So it doesn't have a stage-like feel to it.
• 4:00
  Speaker 4: And for me, I'm fine with anything. I'll play anywhere
• 4:04
  Speaker 4: anyone asks me. And so we play House of Blues
• 4:07
  Speaker 4: quite a bit.
• 4:08
  Speaker 1: She's got a good off-the-cuff thing. She can adapt quick.
• 4:11
  Speaker 1: I can adapt, but it's just like you get used
• 4:14
  Speaker 1: to it. I have a certain idea about how I
• 4:17
  Speaker 1: want to be projected. And I haven't gotten to it
• 4:19
  Speaker 1: yet because there's a lot of work involved.
• 4:21
  Speaker 4: You've been in an RV doing your life. I mean,
• 4:25
  Speaker 4: so I think that you just need to give yourself
• 4:27
  Speaker 4: a little bit of time.
• 4:28
  Speaker 1: Well, you take shit for granted because, you know, I
• 4:30
  Speaker 1: have a beautiful studio and I'm thinking, I'd go in
• 4:32
  Speaker 1: there and record any time. I'll wait until it gets cool.
• 4:34
  Speaker 4: And now it's... It's got a bit of a life
• 4:38
  Speaker 4: adjustment until it's... everything sorts out and he gets his
• 4:41
  Speaker 4: house back. You know, once he gets the house back,
• 4:43
  Speaker 4: it'll change. But right now he's been uprooted. So, yeah,
• 4:46
  Speaker 4: he's not playing out like you used to. But that'll change.
• 4:49
  Speaker 1: Well, you know, I would play out, but, you know,
• 4:51
  Speaker 1: I don't want to play standards. I mean, I'm going
• 4:53
  Speaker 1: to play that funky music, White Boy. That's not the
• 4:56
  Speaker 1: place I came from.
• 4:57
  Speaker 4: You're going to play your originals.
• 4:59
  Speaker 1: And I think the guys who do that, they relegate
• 5:01
  Speaker 1: themselves to that life. Yeah. If you play that kind
• 5:04
  Speaker 1: of shit, people will devalue you to the point where
• 5:06
  Speaker 1: you don't make any money at all.
• 5:08
  Speaker 4: I don't find funky music right, but he doesn't like that.
• 5:12
  Speaker 1: I didn't get paid to do this shit, you know,
• 5:14
  Speaker 1: and I was better when I got paid.
• 5:16
  Speaker 3: I think a belated birthday is in order, right?
• 5:19
  Speaker 1: Yeah.
• 5:19
  Speaker 3: That's true.
• 5:19
  Speaker 1: 71.
• 5:19
  Speaker 4: You're so good.
• 5:22
  Speaker 3: I was going to say 71 years young.
• 5:24
  Speaker 4: Yes.
• 5:25
  Speaker 1: Yeah, I'm in better shape than some of them, but,
• 5:27
  Speaker 1: you know, I don't know what Dave did to himself,
• 5:29
  Speaker 1: but he looks bad. He looks fancy today. And he
• 5:35
  Speaker 1: was strong, believe me. When I worked with that guy,
• 5:37
  Speaker 1: you've never seen stronger fingers. He could take his middle
• 5:40
  Speaker 1: fingers and put them on a door jamb and take
• 5:43
  Speaker 1: his whole weight up and down with it several times.
• 5:45
  Speaker 5: He was always in amazing shape.
• 5:49
  Speaker 3: I think he's the same age.
• 5:50
  Speaker 1: Dave would have been a great gym coach. Right.
• 5:54
  Speaker 3: Or a game show host like in Hot for Teachers.
• 5:57
  Speaker 1: Sometimes it backfires. I was sword fighting. Remember on Jimmy Kimmel?
• 6:00
  Speaker 1: He kind of backfired on it. He knocked about and
• 6:03
  Speaker 1: knocked his beak off. Would you do that with your
• 6:06
  Speaker 1: own sword? You've got to look at that like, hey,
• 6:08
  Speaker 1: if that was a blade, you'd be missing your schnoz now. Yeah.
• 6:12
  Speaker 3: You grew up in a very musical family, right, in Altadena.
• 6:15
  Speaker 1: Talk about that.
• 6:15
  Speaker 3: Your father had a love of rock and roll, and
• 6:17
  Speaker 3: your mother was a flamenco guitar player?
• 6:21
  Speaker 1: Basically, I picked up the guitar. She played flamenco when
• 6:23
  Speaker 1: it was a craze. In 1960, there was a big
• 6:27
  Speaker 1: flamenco craze. All the housewives were getting guitars and learning flamenco.
• 6:31
  Speaker 1: And she had to do a certain, my uncles taught her,
• 6:34
  Speaker 1: I mean, real flamenco, you work on compas, your right hand,
• 6:37
  Speaker 1: for a year before you ever touch anything over here.
• 6:41
  Speaker 1: So it's like being a harp player. You have to
• 6:42
  Speaker 1: learn all those techniques and be able to play them
• 6:44
  Speaker 1: in time. So my mom was a harsh judge. You
• 6:48
  Speaker 1: know what I mean? My progress was slow. She was,
• 6:50
  Speaker 1: you suck, you gotta do this. And, you know, she
• 6:53
  Speaker 1: had a flamenco guitar that had action about that tall,
• 6:57
  Speaker 1: but it was not comfortable to play. And then finally
• 6:59
  Speaker 1: I got, you know, my first, I think it was
• 7:00
  Speaker 1: a 19, brand new 67 or 8 Telecaster. And after
• 7:05
  Speaker 1: beating it up for a couple of years, I got
• 7:07
  Speaker 1: an SG and then everything. That's when the golden era
• 7:10
  Speaker 1: started with the cool amps, you know, the old 50
• 7:13
  Speaker 1: watt Marshalls and the, you know, Goodman Audium speakers that
• 7:17
  Speaker 1: were in high watts. We got a really exotic clandestine
• 7:21
  Speaker 1: sound out of these things back then. And Ed had that,
• 7:25
  Speaker 1: Ed's Super League was the same one that they used
• 7:29
  Speaker 1: at the Rose Palace for rentals. That 68 Plexi that
• 7:32
  Speaker 1: John Zeta bought. And he played that thing to where
• 7:35
  Speaker 1: I remember it was in 5150, all was left of
• 7:37
  Speaker 1: the chassis. The box was gone.
• 7:40
  Speaker 3: Yeah, Eddie Van Halen.
• 7:41
  Speaker 1: You go to a rear stat, a big rear stat, right?
• 7:43
  Speaker 1: So Don Landy, really, you got to give Don Landy
• 7:46
  Speaker 1: a lot of credit for that Van Halen sound.
• 7:48
  Speaker 3: Rest in peace, just passed away.
• 7:50
  Speaker 1: That's what's dumb about that, you know, that 1176 compression,
• 7:53
  Speaker 1: like on Drop Dead Legs, where the chord comes in, dee-dee-dee-da-boom.
• 7:57
  Speaker 1: That's like really ingenious compression. So he used some good devices,
• 8:02
  Speaker 1: and don't forget the legendary Eventide 910, which was on
• 8:06
  Speaker 1: all Van Halen records, and all Ozzy stuff. It got,
• 8:11
  Speaker 1: you know, it had a really organic quality.
• 8:14
  Speaker 4: Is that what we're trying to get?
• 8:15
  Speaker 1: Yeah, I had one. I burned it up. Yeah. You know,
• 8:19
  Speaker 1: he had everything burning up. You find them in special
• 8:21
  Speaker 1: effects companies who do Foley and stuff like that because
• 8:24
  Speaker 1: it has, keyboard players are crazy about it because of
• 8:27
  Speaker 1: the godlike quality because it's got limiters and it keys
• 8:30
  Speaker 1: up on certain keys to define the mix. But, you know,
• 8:34
  Speaker 1: if you listen to what their progress was, the ones,
• 8:37
  Speaker 1: he was very frank to me about it. I said,
• 8:39
  Speaker 1: which one did you like? He goes, Guy Verdana hated.
• 8:41
  Speaker 1: It was the worst record we ever did.
• 8:43
  Speaker 3: He's talked about that because too many covers.
• 8:46
  Speaker 1: He didn't like Fair Morning either and he, he, It
• 8:49
  Speaker 1: was hostile. It was a hostile period because they got
• 8:52
  Speaker 1: to the point at, of course, you're Rudy Lahren, who
• 8:54
  Speaker 1: was Ed's guitar tech all those years, and Greg Emerson,
• 8:58
  Speaker 1: who killed himself and committed suicide. A lot of the
• 9:04
  Speaker 1: guys that we worked with did just that. I mean,
• 9:06
  Speaker 1: Doug Birch, who I've been touring with, he was decapitated
• 9:09
  Speaker 1: on his way to the gorge to do sound for
• 9:11
  Speaker 1: a concert. It took him a day and a half
• 9:14
  Speaker 1: to find his head.
• 9:15
  Speaker 3: Oh, my God. Was Greg Emerson the one that they
• 9:18
  Speaker 3: wrote the song uh for it was the a bonus
• 9:22
  Speaker 3: track on balance um crossing over i.
• 9:25
  Speaker 1: Think so yeah it's it it was uh i think
• 9:29
  Speaker 1: something ed conveyed but sammy did the vocals and you
• 9:31
  Speaker 1: know it's going to be his own viewpoint but uh
• 9:35
  Speaker 1: they needed somebody like sam with the personality because van
• 9:37
  Speaker 1: hill is pretty snotty when they had dave i mean
• 9:40
  Speaker 1: they made people get those brown m it picked up
• 9:41
  Speaker 1: brown m & ms out of stuff and they thought
• 9:44
  Speaker 1: that would make them much more attentive to the uh
• 9:46
  Speaker 1: She didn't want to get on the bad end of
• 9:48
  Speaker 1: those guys because, you know, with Sterling Ball and Edwards
• 9:51
  Speaker 1: like this, they had houses in Saugus that had the
• 9:54
  Speaker 1: golf course right in between them. so they'd meet on
• 9:57
  Speaker 1: the golf course. They had a falling out over how
• 10:00
  Speaker 1: much money Edwards was getting off the Music Man guitars
• 10:02
  Speaker 1: or whatever. So that went out the window. You know,
• 10:05
  Speaker 1: everybody that's dealt with them had to, they wanted more money.
• 10:08
  Speaker 1: They're a very European family. They kept their, to themselves, financially,
• 10:15
  Speaker 1: didn't let anybody in their deal, you know. And Dave was, like, ruthless.
• 10:19
  Speaker 1: I mean, he just told me, guys, when he was
• 10:21
  Speaker 1: first whipped to Van Halen, they were wearing, you know,
• 10:23
  Speaker 1: crotosackers and Pendleton and stuff, and that's what they did.
• 10:26
  Speaker 1: And he said, you got to flash up a little bit.
• 10:29
  Speaker 1: Start dressing Ed, you know, tell him what to dress in.
• 10:32
  Speaker 1: And they were resentful at first, but a friend of
• 10:35
  Speaker 1: mine has, we went to the Freak Ball, the annual
• 10:39
  Speaker 1: Freak Ball in LAX, and this was 1973 or 4,
• 10:42
  Speaker 1: and a bunch of name acts in Van Halen got
• 10:44
  Speaker 1: a spot there. And I wish I could pull the
• 10:47
  Speaker 1: pictures for that. A friend of mine has probably 300
• 10:49
  Speaker 1: pictures no one's ever seen. All 35 millimeter, you know,
• 10:53
  Speaker 1: done on a Leica M5, black and white. Very cool stuff.
• 11:00
  Speaker 3: Alex wrote the book Brothers, and he doesn't write about
• 11:04
  Speaker 3: the time with Sammy at all. He doesn't mention Sammy.
• 11:06
  Speaker 3: They don't talk. Sammy wants to talk with Alex, but
• 11:09
  Speaker 3: Alex does not talk with him.
• 11:11
  Speaker 1: Yeah, he doesn't. apparently Sammy became persona non grata. And
• 11:16
  Speaker 1: they were completely opposite of that. They were so thrilled
• 11:18
  Speaker 1: to have him. And I tell you what, with all
• 11:21
  Speaker 1: due respect, I mean, their top, when they really started
• 11:23
  Speaker 1: making money from Ed Leffler, Sammy's manager was Ed Leffler.
• 11:31
  Speaker 1: And he made them a lot of money. And when
• 11:32
  Speaker 1: he died, the whole thing got to where, why aren't
• 11:36
  Speaker 1: you running this business? He ever was not a businessman.
• 11:38
  Speaker 1: He wanted to play guitar. So he wasn't handling it.
• 11:41
  Speaker 1: Sammy was way experienced at it and made a lot
• 11:43
  Speaker 1: of money for him. And he took over. And they said,
• 11:47
  Speaker 1: who's going to run this thing? Alex?
• 11:49
  Speaker 3: And then Ray Daniels stepped in. Ray Daniels.
• 11:51
  Speaker 1: Well, Sammy just kind of had his management and he
• 11:54
  Speaker 1: was trying to find another manager. And they said, hey,
• 11:56
  Speaker 1: you're going to let Sammy run this. You know, people
• 11:58
  Speaker 1: got in between us. Just like the hard to handle
• 12:01
  Speaker 1: management got between me and Dave. Dave went off one
• 12:04
  Speaker 1: night and I called him out on it because I
• 12:05
  Speaker 1: went to school with him. I was like, fuck you.
• 12:06
  Speaker 1: You're not going to do this to me. He yelled
• 12:08
  Speaker 1: at the whole band and he We were so well rehearsed.
• 12:12
  Speaker 1: But it was very, all of a sudden it became
• 12:14
  Speaker 1: apparent that this was going to be a Van Halen
• 12:15
  Speaker 1: Top 40 tour. And I was a friend with Edward,
• 12:19
  Speaker 1: so it was an insult to me to have to
• 12:20
  Speaker 1: play his shit. I didn't want to play it. But
• 12:22
  Speaker 1: when you're a dad, you're going to be stuck with
• 12:24
  Speaker 1: that for the end of time. That was his thing.
• 12:27
  Speaker 1: I understand that, but I just soon got out of
• 12:29
  Speaker 1: it because I was getting paid for the publishing. And
• 12:33
  Speaker 1: mechanical royalties aren't that great on the road these days.
• 12:37
  Speaker 1: In fact, people aren't even averaging $ 2, 000 a week.
• 12:40
  Speaker 3: Is it publishing for the songs on Your Filthy Little Mouth?
• 12:43
  Speaker 1: Well, I had half that record. I mean, there's 45%
• 12:46
  Speaker 1: of the publishing of that record. And it just went
• 12:49
  Speaker 1: platinum about a year ago after, what, 20-something years? Because
• 12:54
  Speaker 1: all of his stuff sells generally. It's on the Van
• 12:56
  Speaker 1: Halen catalog list. But I haven't seen a whole lot
• 12:59
  Speaker 1: of money from it. I mean, there was one incident
• 13:01
  Speaker 1: where I asked for money and got it because he
• 13:03
  Speaker 1: was holding my cabs. I mean, Jesus Christ, man. We're
• 13:06
  Speaker 1: going to go for the Diamond Dave Enterprises.
• 13:09
  Speaker 4: And right now is the time that you could use
• 13:11
  Speaker 4: the money.
• 13:11
  Speaker 1: Yeah.
• 13:11
  Speaker 4: So, like, more in his portfolio.
• 13:14
  Speaker 1: They know he's going to jam, but I don't expect anything.
• 13:16
  Speaker 1: I didn't expect anything from Ebert. I mean, Ebert said
• 13:18
  Speaker 1: he's going to help get a record done in 1987.
• 13:21
  Speaker 1: We worked on it real hard, but he had to
• 13:23
  Speaker 1: go to Betty Ford so many times a year that
• 13:25
  Speaker 1: he just, the attention couldn't be given to him. Yeah,
• 13:29
  Speaker 1: and You had your income burned. I told him, I said, Ed,
• 13:34
  Speaker 1: I've been driving motorcycles for 30 years. You should not
• 13:37
  Speaker 1: be driving one. There's some guys that should drive them.
• 13:40
  Speaker 3: So right now you're owed money from your filthy little mouth?
• 13:43
  Speaker 1: I'm certain a lot of sources owe me money. I
• 13:46
  Speaker 1: haven't seen a dime.
• 13:47
  Speaker 3: And where does that stay? Have you spoken with attorneys?
• 13:50
  Speaker 1: There's songs published out there that I'm not making money on.
• 13:53
  Speaker 4: But he speaks with attorneys for Edison. But right now, like,
• 13:55
  Speaker 4: his studio burns. So that was a source of income.
• 13:58
  Speaker 4: His rental property burns.
• 13:59
  Speaker 1: It literally took my whole, I mean, my mom's ashes,
• 14:01
  Speaker 1: my brother's ashes, my stepmother's ashes. Everything's gone.
• 14:04
  Speaker 3: Yeah, I'm so sorry to hear that.
• 14:06
  Speaker 1: I mean, nothing, nothing left. And I didn't, wasn't thinking,
• 14:09
  Speaker 1: you know, I'm, or sitting there with Jamie hunting and
• 14:12
  Speaker 1: I'm out in the lawn chairs out in the front.
• 14:14
  Speaker 1: I said, you know what? I get pretty well. Only
• 14:16
  Speaker 1: if a firestorm could take me. Right?
• 14:18
  Speaker 3: There was a GoFundMe, and I know it was posted
• 14:21
  Speaker 3: on the Van Halen News Desk, too.
• 14:23
  Speaker 1: My daughter raised $ 45, 000 for me. Yeah. Thank you. And
• 14:27
  Speaker 1: I paid, I gave her a lot for college. She
• 14:30
  Speaker 1: helped her mother and got her a car because we
• 14:32
  Speaker 1: were gone.
• 14:32
  Speaker 4: So it definitely helped.
• 14:34
  Speaker 1: It definitely helped. Thank you to anybody. A lot of
• 14:36
  Speaker 1: my cousins and a lot of my friends came for her.
• 14:38
  Speaker 1: I'm grateful as hell. Yeah. But you know what? It's these,
• 14:42
  Speaker 1: this day and age, you've got to make a lot
• 14:45
  Speaker 1: of money just to live. I mean, it's got to
• 14:46
  Speaker 1: be tough in Connecticut. The taxes, the property taxes there.
• 14:49
  Speaker 3: Trust me. I have a, day job that I don't
• 14:52
  Speaker 3: necessarily love, but I got to make a living. And
• 14:54
  Speaker 3: then I come home and then I come home and
• 14:56
  Speaker 3: I do this stuff. And I love talking to people
• 14:58
  Speaker 3: like this.
• 14:58
  Speaker 1: The fact you want to business and I retire as
• 15:00
  Speaker 1: long as retired, I gave a business over to a
• 15:02
  Speaker 1: friend of mine and I still get residual from it,
• 15:05
  Speaker 1: but I'll tell you what, that was a damn good
• 15:08
  Speaker 1: business compared to the music business in the last 20 years.
• 15:12
  Speaker 1: It's been horrible. I mean, really nobody signed a deal.
• 15:14
  Speaker 1: If you, if you had a, if you're an act
• 15:16
  Speaker 1: that was established, like even Steve Piercy and they struggle.
• 15:21
  Speaker 1: Warren doesn't struggle, though. But, you know, Piercy's out there
• 15:24
  Speaker 1: playing a lot. He's killing him. He's basically killing himself.
• 15:27
  Speaker 1: It's tough to go and tour around the country. The
• 15:30
  Speaker 1: first thing you're going to get, if you go out
• 15:32
  Speaker 1: in the spring or wintertime, you're going to get pneumonia
• 15:34
  Speaker 1: within five weeks because they don't let you sleep.
• 15:37
  Speaker 4: Well, that was the tour you were on.
• 15:39
  Speaker 1: Yeah. When you go out with Dave, it's not like
• 15:43
  Speaker 1: fun and games.
• 15:44
  Speaker 4: Yeah, there's a lot of.
• 15:45
  Speaker 1: He gets mad at everybody, and you don't want to
• 15:46
  Speaker 1: be a guitar player or a sound or a drummer
• 15:48
  Speaker 1: with that guy. You just... Now he doesn't say anything,
• 15:52
  Speaker 1: but before it was like, it was so important. It
• 15:54
  Speaker 1: ruined a lot of fun times. We had great shows,
• 15:57
  Speaker 1: but man, he was always so distant.
• 16:00
  Speaker 3: Was it Ray Luzero who said he was on the
• 16:02
  Speaker 3: receiving end of one of those?
• 16:04
  Speaker 1: Yeah, Ron Wickso and Matt Bissonnette, but not real wild
• 16:07
  Speaker 1: about him either. They went at it quite a bit because,
• 16:10
  Speaker 1: you know, Greg's, to get along with anybody, you have
• 16:13
  Speaker 1: to be kind of a, I don't know, gregarious type
• 16:15
  Speaker 1: person to be around him and put up with it.
• 16:18
  Speaker 1: Because if you get on his inner circle, he's going
• 16:20
  Speaker 1: to start picking at you. He's a different guy. He's
• 16:24
  Speaker 1: been that way since he was 14. I have family
• 16:27
  Speaker 1: members like that. You know, you've got a thing that
• 16:31
  Speaker 1: parents may go to some juvenile delinquent class and you
• 16:34
  Speaker 1: never forgave them for it.
• 16:37
  Speaker 3: That's the question that people always have. Is the Dave
• 16:39
  Speaker 3: that we see on camera, on stage, is that the
• 16:42
  Speaker 3: Dave that's, you know, when the cameras are off, is
• 16:46
  Speaker 3: he the same way?
• 16:47
  Speaker 1: No, it's not the same. And wherever you go, it's different.
• 16:52
  Speaker 1: You go, well, we're going to get this. We're going
• 16:53
  Speaker 1: to get this today. He's eccentric and he's funny, but,
• 16:56
  Speaker 1: you know, he plays weird games. I mean, Robin Ford
• 16:58
  Speaker 1: got mangled up by his Rottweilers. Esther and Clara, his aunts, right?
• 17:03
  Speaker 1: He'd make me walk by the cage. I said, the
• 17:05
  Speaker 1: dogs are going to bite my genitals off. I'm going,
• 17:07
  Speaker 1: where did you hear this? You know? Yeah, they were
• 17:11
  Speaker 1: like little boys. They lived in the rooms of the
• 17:14
  Speaker 1: mansion with the map that's all tore up. It's like
• 17:16
  Speaker 1: the dog's room. He had a big place. His place
• 17:21
  Speaker 1: was originally owned by J.P. Doherty. Doherty was one of
• 17:25
  Speaker 1: the guys that was sitting on the board of directors
• 17:27
  Speaker 1: with Rockefeller when Teddy Roosevelt made him split the world up.
• 17:31
  Speaker 3: Oh, wait, you're talking about the mansion that Dave lives
• 17:33
  Speaker 3: in now?
• 17:34
  Speaker 1: Yeah, it was on Orange Grove. Yes. And that was
• 17:37
  Speaker 1: his summer home. His winter home was in Pennsylvania, where
• 17:40
  Speaker 1: the oil was, of course. But it was a beautiful place.
• 17:43
  Speaker 1: I mean, it goes all the way down that road.
• 17:46
  Speaker 4: He still lives there.
• 17:47
  Speaker 1: He worked 35 days a month. He's been out for weddings,
• 17:50
  Speaker 1: isn't he? Yeah, well, he did for a while because
• 17:53
  Speaker 1: he's not really financially solid. Well, yeah. And then he
• 17:55
  Speaker 1: sold his publishing. My question is, where did my end
• 17:58
  Speaker 1: of that publishing get sold? I want something, too.
• 18:00
  Speaker 3: I heard him talk about that.
• 18:01
  Speaker 1: That just happens. But, you know, Dave was never big
• 18:04
  Speaker 1: on promoting. Ever since Steve Vai really got a hand
• 18:08
  Speaker 1: up from Dave, he really did. Steve sold more records
• 18:11
  Speaker 1: than Dave did on the next record when we were
• 18:13
  Speaker 1: away from him.
• 18:14
  Speaker 3: Oh, why Snake?
• 18:15
  Speaker 1: And he didn't ever forget that. He was about to
• 18:17
  Speaker 1: help anybody else really.
• 18:18
  Speaker 3: Wow.
• 18:19
  Speaker 1: Here, I'm going to put you forward. He got mad
• 18:21
  Speaker 1: at me. He took away all my interviews, all the
• 18:24
  Speaker 1: magazine stuff. So I was basically as unknown as I
• 18:28
  Speaker 1: was when I went in. I went out only to
• 18:30
  Speaker 1: the people that knew me, the people I knew in
• 18:32
  Speaker 1: the business in New York, which is better than LA.
• 18:35
  Speaker 1: I'll tell you, I was the 802. Local 47 didn't
• 18:39
  Speaker 1: do shit for me. 802 got me the job.
• 18:43
  Speaker 3: You had to have thought. You know, when you're chosen
• 18:45
  Speaker 3: to be the guitars for Dave's album, you had to
• 18:48
  Speaker 3: have thought, you saw what it did for the careers
• 18:50
  Speaker 3: of Vi.
• 18:52
  Speaker 1: I figured I was going to go up a couple
• 18:54
  Speaker 1: of rungs, but then when I looked at Jason Becker,
• 18:57
  Speaker 1: I felt bad about picking up where he, because he
• 18:59
  Speaker 1: was done. Because ALS is like he said, he went
• 19:02
  Speaker 1: across the street, he just stopped. He couldn't move. Couldn't
• 19:05
  Speaker 1: take another step. And, you know, he's lived longer than
• 19:07
  Speaker 1: anybody I've ever heard of.
• 19:08
  Speaker 3: Isn't that amazing? Yeah, he's, how old is he now?
• 19:12
  Speaker 1: He only moved his eyes.
• 19:14
  Speaker 3: Yeah, they gave him a limited time, and he is
• 19:17
  Speaker 3: still going. A friend of his I've been in contact
• 19:20
  Speaker 3: with and interviewed him, and he said he's such an inspiration.
• 19:24
  Speaker 1: Well, he's got a great musical mind, and the thing
• 19:26
  Speaker 1: is he balanced the trickery with the musicality. Whereas sometimes,
• 19:33
  Speaker 1: you know, like George Lynch, a good buddy of mine,
• 19:35
  Speaker 1: and I kind of helped him in the beginning learn
• 19:37
  Speaker 1: how to pendulum pick. George, you had to double pick
• 19:41
  Speaker 1: the guitar. This is 45 years ago. And I said,
• 19:44
  Speaker 1: try this. He goes, wow, that's, you know, back and
• 19:47
  Speaker 1: forth It was something that somebody showed me, you know,
• 19:50
  Speaker 1: when I was a kid. And he's always, George has
• 19:52
  Speaker 1: always touted me, and he's a great technician, much better
• 19:56
  Speaker 1: technician than I am, but the musicality gets a little
• 19:59
  Speaker 1: bit out there. You know, these scary stuff. I mean,
• 20:02
  Speaker 1: it's like, it's got good tonality, but there's the royal ear,
• 20:07
  Speaker 1: you know what I mean?
• 20:08
  Speaker 3: On your filthy little mouth, I want to ask you
• 20:12
  Speaker 3: about that because you have such a feel on the guitar.
• 20:16
  Speaker 3: And when I was listening to that album just today
• 20:18
  Speaker 3: before this interview, just to listen to all the songs
• 20:21
  Speaker 3: that I love, which are She's My Machine, Big Train, Experience,
• 20:27
  Speaker 3: the title track, Land's Edge. You have such a great feel.
• 20:30
  Speaker 1: That's kind of cool.
• 20:32
  Speaker 3: And that album is so interesting because it's got like country,
• 20:35
  Speaker 3: it's got reggae it's got jazz it's got blues country
• 20:41
  Speaker 3: so yeah what what when you when you sat down
• 20:43
  Speaker 3: with him to go over the game plan on that
• 20:45
  Speaker 3: what was he saying to you like here's what we
• 20:47
  Speaker 3: want to do because uh we brought in um for
• 20:50
  Speaker 3: the producer was uh now rogers right so what was
• 20:54
  Speaker 3: he saying to you like here's what i'm looking for
• 20:56
  Speaker 3: because your style is so unique it's not like anything else.
• 21:00
  Speaker 1: That we're out there with steve hunter and did a
• 21:02
  Speaker 1: little bit of luck But Steve, you know, with Mitch
• 21:05
  Speaker 1: Ryder and the Detroit Wheels, he knew that whole genre.
• 21:09
  Speaker 1: And I put a guitar track on top of it
• 21:11
  Speaker 1: and did well. But it was a mood. He was
• 21:14
  Speaker 1: trying to get, it was like his art project. And
• 21:16
  Speaker 1: I thought, you know, I like the hard rock stuff.
• 21:19
  Speaker 1: But in New York, it's not really the mecca for
• 21:22
  Speaker 1: hard rock and roll recording. You could do it. But
• 21:26
  Speaker 1: the Hit Factory was like, you know, they were going
• 21:30
  Speaker 1: through a transition. They built that second factory down on 54th.
• 21:33
  Speaker 1: Remember when the blimp fell over the building like a
• 21:36
  Speaker 1: prophylactic hanging off the skyscraper there? It was funny. But
• 21:41
  Speaker 1: with Dave's, he would get in these mood swings. You know,
• 21:44
  Speaker 1: we're going to do this and do that. They'd take
• 21:45
  Speaker 1: it this way. And the whole process was fun. But
• 21:50
  Speaker 1: then all of a sudden writing songs for Travis Tritter.
• 21:52
  Speaker 1: I mean, there was one weekend I went to New
• 21:54
  Speaker 1: York from California three times in one weekend to do
• 21:57
  Speaker 1: one guitar correction. That's how extravagant it got. I mean,
• 22:01
  Speaker 1: the bugger was this is back in 93, you know,
• 22:04
  Speaker 1: when it was not the music business was getting ready
• 22:07
  Speaker 1: to implode. Yeah.
• 22:09
  Speaker 3: But it was a risky move on Dave's part because
• 22:12
  Speaker 3: we're talking about the climate of music at that time.
• 22:15
  Speaker 3: It was grunge era, right? You know, so I was wondering,
• 22:17
  Speaker 3: I thought maybe he was trying to try different styles
• 22:20
  Speaker 3: to see what's going to stick and where he wants
• 22:22
  Speaker 3: to go from there.
• 22:23
  Speaker 1: You know, downtown. I remember at Sunset Boulevard those days,
• 22:26
  Speaker 1: you couldn't put a flyer on a pole because there
• 22:28
  Speaker 1: were so many staples. on so many flyers that you
• 22:31
  Speaker 1: literally couldn't put anything on a pole. You couldn't post
• 22:33
  Speaker 1: handbills and you were getting in trouble for it. I mean,
• 22:36
  Speaker 1: the Pasadena police took me to jail. Really? Yeah, they
• 22:39
  Speaker 1: took me to jail and I had to paint off the,
• 22:41
  Speaker 1: I had to paint off all the, we were using
• 22:43
  Speaker 1: sticky glue to put our ads up for the weekend gigs.
• 22:47
  Speaker 1: If you didn't do that, you know, if they don't know,
• 22:49
  Speaker 1: they're not going to, this is pre-internet, right? But it
• 22:52
  Speaker 1: was a lot of, you know, you did a lot
• 22:53
  Speaker 1: of canvassing and stuff like that. And that Van Halen
• 22:56
  Speaker 1: had all kinds of people doing it for them. What
• 22:58
  Speaker 1: made them what they were was Steve Tortamante and Bob
• 23:02
  Speaker 1: Haley's whatever. Tortamante had worked at the Civic Auditorium in Pasadena.
• 23:07
  Speaker 1: So he had an in, and they made a fortune
• 23:09
  Speaker 1: on Van Halen. And they had him there, and more
• 23:11
  Speaker 1: of ours is looking at him going, wait a minute,
• 23:12
  Speaker 1: these guys are filling up the Pasadena Civic, and our
• 23:14
  Speaker 1: signed acts aren't filling up Santa Monica Civic. That's what
• 23:18
  Speaker 1: garnered the attention. Then Milton Berle sent his nephew, and
• 23:22
  Speaker 1: he took the nephew in there, took all the money
• 23:25
  Speaker 1: for the first grant, They came up hard. I remember
• 23:28
  Speaker 1: those guys, I would say they sacrificed a third of
• 23:31
  Speaker 1: their life. Yeah, they will, sir. That's awful. Sure. It
• 23:34
  Speaker 1: was relentless. They did three 300-day tours in three years
• 23:38
  Speaker 1: in a row. Well, if he would come home, you
• 23:41
  Speaker 1: could tell he had slept in two months. I mean,
• 23:43
  Speaker 1: and he... Every time he got back, he was an
• 23:45
  Speaker 1: even more voracious coke addict. I mean, he was voracious.
• 23:48
  Speaker 3: Who are we talking about, Dave or Ed?
• 23:50
  Speaker 1: No, Ed.
• 23:51
  Speaker 3: Oh, Ed, yeah.
• 23:52
  Speaker 1: Ed was a... I think that they experimented beyond the
• 23:56
  Speaker 1: dirt where they actually were tired of it, you know? Yeah. Wow.
• 24:02
  Speaker 1: Because I remember it really melted him and Valerie up.
• 24:04
  Speaker 1: They just did not get along because Ed would hide,
• 24:07
  Speaker 1: you know? And I remember going up there many times going,
• 24:10
  Speaker 1: did you sleep last night? You're wearing the same clothes.
• 24:12
  Speaker 1: And it just got, you start to deteriorate the drug itself.
• 24:17
  Speaker 1: But I'll tell you what, it never really affected his creativity,
• 24:19
  Speaker 1: his guitar playing.
• 24:20
  Speaker 3: It didn't.
• 24:21
  Speaker 1: He was at it all the time. And he had a,
• 24:24
  Speaker 1: you know, he had that beautiful board from the one
• 24:26
  Speaker 1: that they recorded Ben Hur on. He had a first
• 24:29
  Speaker 1: United Artists Yuri console that Don rewired it. It had
• 24:33
  Speaker 1: the big knobs, you know. That thing had tone up
• 24:36
  Speaker 1: the butt. You didn't have to do anything. Just turn
• 24:38
  Speaker 1: it on and go through it. It was like magic.
• 24:40
  Speaker 3: When was the last time you spoke with Eddie?
• 24:43
  Speaker 1: Well, he sent me a bunch of amplifiers for that tour.
• 24:46
  Speaker 1: Like four 5150 stacks. I think he was trying to
• 24:49
  Speaker 1: thumb Dave going weird. And I used them. during the
• 24:53
  Speaker 1: tour and afterwards, I wanted to thank him. You know,
• 24:55
  Speaker 1: I told him we kind of made amends because we
• 24:58
  Speaker 1: had a falling out over a certain financial thing that
• 25:01
  Speaker 1: I had to have handled and it wasn't being handled. So,
• 25:03
  Speaker 1: you know, it was stupid shit. I mean, at the
• 25:05
  Speaker 1: time it seemed big, but I saw him at the
• 25:08
  Speaker 1: Monsters of Rock and we talked for about a half
• 25:10
  Speaker 1: an hour and he just seemed like he was distant.
• 25:13
  Speaker 1: You know what I mean? Like he moved on from
• 25:15
  Speaker 1: his old friends in Pasadena. There was really nothing that
• 25:17
  Speaker 1: we could share that was any more than a laugh,
• 25:19
  Speaker 1: you know? They ran into different people. I mean, he
• 25:22
  Speaker 1: was in a different old mode of, you know. Actually,
• 25:26
  Speaker 1: I feel privileged because I was one of his real
• 25:28
  Speaker 1: friends from the old days.
• 25:30
  Speaker 3: Yeah, when did you first meet him? I'm curious to
• 25:32
  Speaker 3: know when you first met him and what was your
• 25:34
  Speaker 3: impression of him? He's quiet, right?
• 25:36
  Speaker 1: I met him at a place called Berry and Grasmack
• 25:37
  Speaker 1: when I was 13. And I knew about him because
• 25:41
  Speaker 1: we came, we played the first gig together where my
• 25:44
  Speaker 1: band opened up for his band over on Allen Street.
• 25:47
  Speaker 4: What was your band called?
• 25:48
  Speaker 3: Ready Kill A Lot. Oh, it wasn't ready. It wasn't
• 25:51
  Speaker 3: ready to kill a lot.
• 25:52
  Speaker 1: Oh, pretty rad cello later. This is what Van Halen
• 25:54
  Speaker 1: was called, Trojan Rubber Company. Yeah. One of the break
• 25:58
  Speaker 1: shoes on bass who couldn't play a word to shit.
• 26:01
  Speaker 1: I had two guys that I played with. I didn't
• 26:03
  Speaker 1: play drums that night. He just threw an iron at
• 26:06
  Speaker 1: his face and knocked both of his front keys right
• 26:07
  Speaker 1: out of his.
• 26:08
  Speaker 3: Oh, my God.
• 26:09
  Speaker 1: And he came in smiling like that. We were at
• 26:10
  Speaker 1: a lap of the door. And he played kind of
• 26:13
  Speaker 1: a funk rock and roll beats to who. You know,
• 26:17
  Speaker 1: it was like something I wanted to put together. We
• 26:18
  Speaker 1: played a... standard, but they played all Cream stuff and
• 26:22
  Speaker 1: only Cream, but they did it exactly like the record
• 26:26
  Speaker 1: with no vocals. You know, this is, we're high school,
• 26:29
  Speaker 1: you know. Then I saw him again in another gig
• 26:31
  Speaker 1: and we started hanging out and he had a Volvo,
• 26:34
  Speaker 1: 59 Volvo 160. Remember those? Oh, he had, it was
• 26:37
  Speaker 1: like an old towel gig and they got a cockroach
• 26:39
  Speaker 1: back on them, you know.
• 26:41
  Speaker 3: Is that the one that he had to tie? He
• 26:43
  Speaker 3: had to use guitar strings?
• 26:44
  Speaker 1: I'd give him guitar strings at the doors, yeah. I
• 26:46
  Speaker 1: remember driving with him down Orange Grove and his girlfriend's
• 26:49
  Speaker 1: in the front seat. She gave him a bunch of shit.
• 26:50
  Speaker 1: He stops the car, unwinds the string on this side,
• 26:53
  Speaker 1: rolls over and unwinds the string on that side. Yanks
• 26:56
  Speaker 1: her out of the street, jumps the door, dips back in,
• 26:58
  Speaker 1: takes off. And me and Alex were sitting in the
• 27:01
  Speaker 1: back seat going, well, you better turn around and pick
• 27:03
  Speaker 1: her up. And he goes, huh. Yeah. What I didn't
• 27:06
  Speaker 1: think about Ed was that everything was like this. Even
• 27:08
  Speaker 1: when he was a multimillionaire, he'd go, got to smoke.
• 27:12
  Speaker 1: Everything was fuck. And he even had a Ford emblem
• 27:15
  Speaker 1: that said fuck. You know, the Ford emblem, he just,
• 27:19
  Speaker 1: that was his word. He tried to explain people what
• 27:21
  Speaker 1: you have to go through to deal with them. I mean,
• 27:24
  Speaker 1: they dreaded the record people, dreaded them. Because, you know,
• 27:29
  Speaker 1: I talked to Tucker Carlson and we went off with
• 27:32
  Speaker 1: Dave's record, went off at 430 ads, which is like, man,
• 27:36
  Speaker 1: you're going to be rich. And I was like, yeah,
• 27:38
  Speaker 1: we're going to make some money, act right. And By
• 27:42
  Speaker 1: the time we got to Kansas City, we'd done about
• 27:44
  Speaker 1: 11 gigs back east, and we were coming back in
• 27:47
  Speaker 1: midwest and then going south. Tucker goes, we're underwater here.
• 27:52
  Speaker 1: You only got 100 ads left. And I thought, oh, fuck.
• 27:54
  Speaker 1: I said, so I'm going to be living in a
• 27:56
  Speaker 1: dog kennel instead of owning it, right? He goes, pretty much.
• 27:59
  Speaker 1: So we knew what we were in for.
• 28:01
  Speaker 3: Well, I remember that tour.
• 28:02
  Speaker 1: In the beginning, there was— He took it out on
• 28:03
  Speaker 1: the audience. Did he? Yeah, he took it out on
• 28:06
  Speaker 1: the audience, and they fucking pelted us. I mean, Jesus Christ.
• 28:10
  Speaker 1: Jamie got a lighter in the face. I got a
• 28:12
  Speaker 1: shoe on the side of my... People were taking their
• 28:14
  Speaker 1: clothes off and throwing them at me, not because we're popular.
• 28:17
  Speaker 1: They were saying they had one of those baseball diamond things,
• 28:19
  Speaker 1: you know, like I did in the Blues Brothers. They
• 28:22
  Speaker 1: beat the hell out of us.
• 28:26
  Speaker 3: It was quite a risk, though, with the music that
• 28:28
  Speaker 3: he recorded on that album, because it wasn't of the time, right?
• 28:31
  Speaker 3: And now, if you listen to it now, I really
• 28:35
  Speaker 3: urged those who listened to the album back then and
• 28:37
  Speaker 3: may have given up on it, listen to it now, right?
• 28:40
  Speaker 2: Yeah.
• 28:40
  Speaker 3: Without the context of, of the scene of the music
• 28:43
  Speaker 3: at the time, which was grunge and without the expectations
• 28:46
  Speaker 3: of what we were expecting from a Dave album, just
• 28:49
  Speaker 3: listen to it as an individual piece of work.
• 28:51
  Speaker 1: And it's, you're a real good, and that's a good
• 28:54
  Speaker 1: thing to say. Everybody said the same thing. What I have,
• 28:57
  Speaker 1: when I write songs, I mean, when I write up
• 28:59
  Speaker 1: something on the guitar, I try to make it was like,
• 29:01
  Speaker 1: It wouldn't matter what year it came out. You're going
• 29:03
  Speaker 1: to remember something about it. If you don't, how could
• 29:05
  Speaker 1: I distinguish myself if I was ever his best friend
• 29:08
  Speaker 1: and I played just like him? Yeah.
• 29:10
  Speaker 3: No, you played your own style, man. And I'm going
• 29:14
  Speaker 3: to tell you this, Terry. I really think now he
• 29:19
  Speaker 3: did a great job producing it, but I wanted you
• 29:21
  Speaker 3: up in the mix more.
• 29:22
  Speaker 1: They kept burying me. And it was like, you had it.
• 29:25
  Speaker 1: Gary Toll was a good big guy, but John Goldberger
• 29:27
  Speaker 1: was shit. And these are New York guys. I'm telling you,
• 29:29
  Speaker 1: look at, My demos were better than that record. I mean,
• 29:33
  Speaker 1: as far as the vibe, you have to create this
• 29:35
  Speaker 1: muddy library yeah you could add something to this and
• 29:38
  Speaker 1: make it into something and that's what my now rogers
• 29:41
  Speaker 1: told me that's what you've got this gig for because
• 29:43
  Speaker 1: you could set that picture up when dave looked like
• 29:46
  Speaker 1: he look at like this look i want this i
• 29:49
  Speaker 1: know exactly what he's talking about i know exactly what
• 29:51
  Speaker 1: he's talking about so i do that i know all
• 29:55
  Speaker 1: these youth fans he was i wanted to go So
• 29:57
  Speaker 1: here comes the cloud, it covers the sun, and then
• 29:59
  Speaker 1: the sun comes back out. It's like No Big Thing.
• 30:03
  Speaker 1: It lights like that.
• 30:04
  Speaker 3: I'm going to say I like that song. I have
• 30:06
  Speaker 3: a friend who doesn't. I love No Big Thing.
• 30:09
  Speaker 1: But a friend of mine... All the classic reggae drop
• 30:12
  Speaker 1: directions and ska stuff, and it was done well, but,
• 30:15
  Speaker 1: you know, and he sings it actually pretty good. I mean,
• 30:17
  Speaker 1: he's talking about... He's a good lyricist, I'd say. Some
• 30:22
  Speaker 1: of his lyrics are great.
• 30:24
  Speaker 3: Well, he was changing his approach lyrically and also vocally
• 30:29
  Speaker 3: he had used a different approach. Like he'd reached a
• 30:32
  Speaker 3: different octave.
• 30:33
  Speaker 1: Like Michael Franks and Bonnie Raitt and stuff like that.
• 30:36
  Speaker 1: I said, I know exactly where you're going. If you
• 30:38
  Speaker 1: want me to get you there, you've got to get me.
• 30:40
  Speaker 1: And he'd get mad. I said, look, if you could
• 30:42
  Speaker 1: rant and rave all you want, it's going to take
• 30:43
  Speaker 1: 10 days to squeeze this thing out to lay this egg.
• 30:46
  Speaker 1: Are you done yet? I said, I haven't even started
• 30:48
  Speaker 1: the progression yet. I mean, just let me find something
• 30:51
  Speaker 1: he likes that he'd give you. You got to play
• 30:53
  Speaker 1: it like every Van Halen song had a street fight
• 30:57
  Speaker 1: man beat to it. The popular, that's where they picked
• 31:00
  Speaker 1: it up. And then Al kind of hot rod the
• 31:02
  Speaker 1: shuffle on it. You know, I listened to Jeff Porcaro.
• 31:05
  Speaker 1: Porcaro was brilliant shuffle, man. The one that he picked up,
• 31:09
  Speaker 1: he took from his dad and John Bonham just had that.
• 31:12
  Speaker 1: It makes it drum. It swung on its own. You
• 31:14
  Speaker 1: know what I mean? It was like a perfectly firing engine.
• 31:17
  Speaker 1: That's time the valves are working right. You know, it
• 31:19
  Speaker 1: just synchronized. And I thought that we had that, but Dave,
• 31:24
  Speaker 1: we had a lot of troubled drummers on that record.
• 31:25
  Speaker 1: We had Larry Aberman, who was our Eastman grad. He
• 31:29
  Speaker 1: was way too stiff. Ray Brinker from Pat Benatar's outfit.
• 31:36
  Speaker 1: And then Ron Wickso. Wickso was probably the most fearless
• 31:39
  Speaker 1: of all of them, but he was by no means
• 31:41
  Speaker 1: the best one. We had Bob Birch come in on bank.
• 31:44
  Speaker 1: You know, Bob killed himself while Elton John's a bass player.
• 31:47
  Speaker 3: Oh, and he does a, Fantastic job on Dave's.
• 31:50
  Speaker 1: What's he like? And I told him, oh, why do
• 31:52
  Speaker 1: they always have to be that way?
• 31:54
  Speaker 3: And the drums, I mean, everything was, it was pristine production.
• 31:58
  Speaker 1: It was really a great, I miss him. You know
• 32:01
  Speaker 1: about John, right? He was up in Poughkeepsie. He was from,
• 32:05
  Speaker 1: where are they? What's the name of that town up there?
• 32:08
  Speaker 3: Poughkeepsie, New York, you're talking about. Oh, Lavender Falls.
• 32:10
  Speaker 1: Lavender Falls. He'd come down to New York, but he
• 32:12
  Speaker 1: did a lot of records. He worked for Pete Frampton
• 32:14
  Speaker 1: for years. Right.
• 32:16
  Speaker 3: And wasn't he on Ace's, in Ace's, Ace Frehley's band?
• 32:19
  Speaker 1: Like all the bass on the record. I know that much. Yeah. Yeah.
• 32:22
  Speaker 3: Steve Hunter, rhythm guitar on one track. John Regan bass.
• 32:24
  Speaker 1: There's who passed away. Tony was lived in old Greenwich, Connecticut.
• 32:28
  Speaker 3: Okay.
• 32:29
  Speaker 1: Yeah. Tony Dewey was the one that sung that Chevrolet
• 32:31
  Speaker 1: commercial back in the early nineties. Oh, wow. Didn't drive
• 32:34
  Speaker 1: worth a shit. There's like five jackpots in the garage.
• 32:36
  Speaker 1: It's all twisted up. Yeah.
• 32:38
  Speaker 3: Yeah, John Regan was in Ace Frehley's band. Yeah, Ace
• 32:42
  Speaker 3: Frehley's Comet, 84 to 90.
• 32:43
  Speaker 1: Yeah, John was a principal guy.
• 32:46
  Speaker 3: But getting back to that, yeah, I thought I would
• 32:49
  Speaker 3: have loved to hear your... In some spots, your guitar's
• 32:53
  Speaker 3: up in the mix, but in others, it's buried more
• 32:57
  Speaker 3: like a pop record, I guess. But your guitar was
• 33:01
  Speaker 3: driving those songs. And the other one I forgot to
• 33:05
  Speaker 3: mention is Everybody's Got the Monkey would have been a single,
• 33:08
  Speaker 3: I thought. I always thought that would have been a
• 33:09
  Speaker 3: great song.
• 33:09
  Speaker 1: Yeah, well, that was Frank Simes' tune. And I thought
• 33:13
  Speaker 1: it was a worthy song, but he just didn't... He
• 33:16
  Speaker 1: was emphasizing trying to sell Filthy, you know, that one line,
• 33:20
  Speaker 1: the title track.
• 33:21
  Speaker 4: Right.
• 33:21
  Speaker 1: And then You Never Know, which is like a Robert
• 33:23
  Speaker 1: Johnson thing I put together. I just had that... He said,
• 33:26
  Speaker 1: mention Bonnie Raitt. I said, I'll give you something that
• 33:28
  Speaker 1: Bonnie Raitt would do. And that was my talent. I
• 33:30
  Speaker 1: was like... I could lean into that, you know, she's
• 33:33
  Speaker 1: more of a country thing. So I'm leaning kind of
• 33:36
  Speaker 1: country into it and it's made a different, it's giving
• 33:39
  Speaker 1: us a different effect. She comes from a whole different
• 33:41
  Speaker 1: place and that's kind of what I wanted. Yeah. Because
• 33:44
  Speaker 1: you can't control it. See, I learned from Dave, you
• 33:46
  Speaker 1: can't control everything. And that's what he has, his problem
• 33:49
  Speaker 1: is he has a control freak and ever turn into
• 33:51
  Speaker 1: a control freak. They wanted this. And, you know, if
• 33:55
  Speaker 1: you look at Sammy, with all due respect, when Dave's
• 33:57
  Speaker 1: dad called Van Halen up and said, listen, he wants
• 33:59
  Speaker 1: to get back with you guys. You could make real money.
• 34:02
  Speaker 1: Alex said, with all due respect, we have 12 top
• 34:04
  Speaker 1: 10 hits with this guy. I remember that. They went
• 34:07
  Speaker 1: from 20 million to 70 million. So there's no disputing it.
• 34:12
  Speaker 3: I thought that Dave probably expected to be back before
• 34:15
  Speaker 3: the end of the 80s. I don't think he expected
• 34:17
  Speaker 3: Sammy to succeed.
• 34:18
  Speaker 1: Yeah, he did. But when he, you know, as you
• 34:20
  Speaker 1: said that on stage, when Beck was on the stage,
• 34:23
  Speaker 1: you know, that the artist. Oh, yeah, 96. Yeah.
• 34:25
  Speaker 3: 96 MTV video.
• 34:27
  Speaker 1: That was the last time I talked to Ed. He said,
• 34:29
  Speaker 1: I want to kick his balls all up around his head.
• 34:31
  Speaker 1: And because, you know, Ed and Jim always had, they
• 34:34
  Speaker 1: never got along.
• 34:35
  Speaker 4: No.
• 34:36
  Speaker 1: Never. And he would listen to them and they, but
• 34:39
  Speaker 1: they were not, after that second tour, Rudy said that
• 34:42
  Speaker 1: by the time that 1984 came out, he said they
• 34:44
  Speaker 1: were all in separate buses. They didn't speak to each other,
• 34:46
  Speaker 1: even a brother.
• 34:47
  Speaker 3: And who, right. And who knew, you know, on the outside,
• 34:50
  Speaker 3: the fans were just thinking, man, they must be all happy.
• 34:53
  Speaker 1: Everybody had their own entourage and, It's the people they
• 34:57
  Speaker 1: could stand to be around on the road that they
• 34:58
  Speaker 1: had control of because when you have all that conflicts,
• 35:02
  Speaker 1: like when we got off, we did Luis Munoz Stadium
• 35:04
  Speaker 1: at the kickoff in San Juan, Puerto Rico. Flew over
• 35:08
  Speaker 1: to Miami, and there the buses are waiting for us. Well,
• 35:13
  Speaker 1: there's an old American Eagle that's got 300,000 miles on
• 35:15
  Speaker 1: it with, you know, tippet bearings that make more noise
• 35:17
  Speaker 1: than an old walking machine. Then you have the brand-new Prevo.
• 35:21
  Speaker 1: Guess who gets the Prevo? The crew. In total, but
• 35:25
  Speaker 1: wait a minute, that's our, so we had to ride
• 35:27
  Speaker 1: in the American Eagle, and it was like, we were
• 35:30
  Speaker 1: kind of like, the roadies were much better revered than
• 35:33
  Speaker 1: we were. Yeah, their season, I mean, this is my
• 35:35
  Speaker 1: first tour around the country. I knew what to expect,
• 35:38
  Speaker 1: but it's like, my God, it was so cold, and
• 35:41
  Speaker 1: we'd get left outside those vestibules after the gig, and
• 35:44
  Speaker 1: Dave would be talking to somebody on the bus and
• 35:45
  Speaker 1: let us on, or something like that. going on like that.
• 35:49
  Speaker 1: And me and James, we came down with pneumonia like
• 35:52
  Speaker 1: the first three weeks of that tour, and I had
• 35:53
  Speaker 1: about five.
• 35:54
  Speaker 3: And a half months.
• 35:55
  Speaker 1: That's, you know, because you travel, it chills all the
• 35:57
  Speaker 1: vitamin C in you. And you got to take, we
• 36:00
  Speaker 1: were running for those beach well shots. I mean, you
• 36:03
  Speaker 1: couldn't get your pants off fast enough, you know.
• 36:05
  Speaker 3: Yeah, I told you before we started recording, I saw
• 36:08
  Speaker 3: you at the Sting in New Britain, which is no
• 36:10
  Speaker 3: longer there. The Sting in New Britain, Connecticut, that was
• 36:12
  Speaker 3: October of 94. I I believe I just graduated from college.
• 36:17
  Speaker 3: Green Days, Dookie was the big thing. And I just
• 36:20
  Speaker 3: remember my brother and I went to see you play there.
• 36:22
  Speaker 3: And that is now, I think, a CVS.
• 36:27
  Speaker 1: Something, you know. I remember that. You know, I'll tell
• 36:29
  Speaker 1: you another thing. The funniest thing, we started seeking it up.
• 36:33
  Speaker 1: On the second leg, before I quit, there was half
• 36:35
  Speaker 1: the crowd there with them in the first leg. It
• 36:37
  Speaker 1: just wasn't. The sales, it was, I don't think it
• 36:39
  Speaker 1: was his fault. If Motley felt Van Halen record fell in.
• 36:42
  Speaker 3: The dirt, It was a difficult time to be a
• 36:45
  Speaker 3: rock and roll band that came out of the 70s
• 36:47
  Speaker 3: or 80s.
• 36:47
  Speaker 1: The fun part was when we never went to a
• 36:51
  Speaker 1: lot of places. They played Guzzari's 94 times. I was
• 36:54
  Speaker 1: there at least 65 times for that. Nothing to do
• 36:57
  Speaker 1: as a kid. Thursday night, we'd go out for Thursday
• 37:00
  Speaker 1: or Friday, go down there and watch them do what
• 37:03
  Speaker 1: they had to do. It was like they worked really
• 37:06
  Speaker 1: hard and they were really hard.
• 37:08
  Speaker 3: Yeah, you had to have known, obviously, seeing Eddie play, like, yeah,
• 37:10
  Speaker 3: this guy's going somewhere. But also, Dave is a.
• 37:13
  Speaker 1: I knew it when he was 12 years old. I thought, geez,
• 37:15
  Speaker 1: I got some work to do. Right. And I was
• 37:17
  Speaker 1: more the fair hand. I mean, because I had guitar
• 37:19
  Speaker 1: experience up to Yit Yank. In fact, much broader than ever.
• 37:23
  Speaker 1: Ever very... But he knew what was good. Back in
• 37:27
  Speaker 1: those days, listen, 1977, 8, and 9, guitar was a
• 37:31
  Speaker 1: black art. We were trying to play it, but we
• 37:34
  Speaker 1: didn't know what the hell we were doing. You know,
• 37:37
  Speaker 1: you got chromatic scales diminished and all that, and start
• 37:40
  Speaker 1: combining them and sliding out of them and raising the
• 37:42
  Speaker 1: fifth and doing whatever. And I just wasn't afraid because
• 37:45
  Speaker 1: with Ember, you had to go balls out even to
• 37:47
  Speaker 1: get close to what he was doing. They were a
• 37:49
  Speaker 1: force to be reckoned with, and they didn't even know it,
• 37:52
  Speaker 1: you know. Like, they couldn't rehearse at their place loud
• 37:55
  Speaker 1: when they got Mike. When Mike got into the band,
• 37:57
  Speaker 1: they got rid of Mark Stone. Then we brought Scotty
• 38:00
  Speaker 1: and the Hankies, and they got jealous and everyone else
• 38:02
  Speaker 1: drove his car to their garden and did donuts. Juvenile delinquent. But,
• 38:07
  Speaker 1: you know, Ed was, when they played the Emler's House,
• 38:10
  Speaker 1: I mean, God, they were bringing 2,000 people in the
• 38:13
  Speaker 1: backyard back then.
• 38:15
  Speaker 4: And it was a place with huge yards.
• 38:17
  Speaker 1: And when they signed, it was like I had a
• 38:19
  Speaker 1: free ticket then because they were gone and we still
• 38:22
  Speaker 1: had that kind of audience. So we got, we reverbed
• 38:25
  Speaker 1: off that for about five years. Then we had to
• 38:27
  Speaker 1: go out and find another crowd. You know, they were
• 38:29
  Speaker 1: playing Madame Wong's and, you know, with Susie and the
• 38:32
  Speaker 1: Banshees and Dwight Yoakam. And a lot of people were
• 38:35
  Speaker 1: out there playing for, Very little money.
• 38:38
  Speaker 3: What was your opinion of Michael Anthony? We haven't talked
• 38:40
  Speaker 3: about him yet. He seems like a great guy.
• 38:42
  Speaker 1: He's the nicest guy in the world. I think Mike,
• 38:44
  Speaker 1: I stood next to him in one of those, what
• 38:47
  Speaker 1: is this? Like the Oles, like, you know, the Ace
• 38:52
  Speaker 1: Garden Center. He was buying a hose. I'm looking at
• 38:55
  Speaker 1: him like this. I didn't say nothing to him because
• 38:56
  Speaker 1: I've known him so well for so long. I remember
• 38:58
  Speaker 1: when he came in in late 72. He had the nice,
• 39:02
  Speaker 1: his gear was nice. He had a Chevrolet Kingswood wagon.
• 39:04
  Speaker 1: He never announced driving with Opel Cadets. Oh, my God.
• 39:07
  Speaker 3: The Opel Cadet.
• 39:08
  Speaker 1: Dave had an Opel Cadet wagon that was like, he
• 39:11
  Speaker 1: has it mounted on the wall at his house now
• 39:14
  Speaker 1: with a deer and duck. No. He's crazy. When you
• 39:18
  Speaker 1: go up the stairway, you go up the spiral staircase
• 39:21
  Speaker 1: and you start walking down the hall to his bedroom.
• 39:24
  Speaker 1: He's got at least 100 platinum records up there, right?
• 39:27
  Speaker 1: He turns around and looks at me and goes, cuts
• 39:28
  Speaker 1: down on the foreplay. But he was the most asexual
• 39:34
  Speaker 1: person I've ever seen. He never, ever was with a
• 39:36
  Speaker 1: woman I remember him seeing.
• 39:38
  Speaker 3: Who, Dave?
• 39:39
  Speaker 2: Wow.
• 39:40
  Speaker 1: He'd hang out with them, but no girl, no woman
• 39:43
  Speaker 1: to get the possession of that place. He had no girlfriends.
• 39:46
  Speaker 1: In fact, I know a girl that was crazy about him.
• 39:48
  Speaker 1: I said, don't do what I think you're going to do.
• 39:50
  Speaker 1: She followed him in to the gate. When the gate
• 39:52
  Speaker 1: opened up, she dangled hard behind him. She got chewed
• 39:55
  Speaker 1: out bad for that. I mean, he's just one of
• 39:58
  Speaker 1: those guys. He called me up and go, you got
• 40:00
  Speaker 1: to get down here. I'd be down waiting in the front.
• 40:01
  Speaker 1: He goes, you hear the intercom go, what are you
• 40:04
  Speaker 1: doing camping out over there? You told me to be here.
• 40:07
  Speaker 1: I rang the bell.
• 40:09
  Speaker 3: He's got a room that's dedicated strictly to all of
• 40:12
  Speaker 3: his outfits on stage and sunglasses.
• 40:14
  Speaker 1: That's long. When he's irritated, if he doesn't get his nap,
• 40:18
  Speaker 1: if he doesn't get his coconut soup in the morning,
• 40:20
  Speaker 1: look out. Ed Anderson, who was Bush's liaison, oh my God.
• 40:25
  Speaker 1: Ed got caught selling his underwear on eBay. That was
• 40:29
  Speaker 1: the end of that. And Karen McClellan and Migliotti, the
• 40:33
  Speaker 1: guys that were putting together his gay TV or whatever,
• 40:35
  Speaker 1: they got him for like age discrimination. And I was
• 40:40
  Speaker 1: going to work with him. He wanted to do 10
• 40:41
  Speaker 1: more songs with me. I said, listen, with all due
• 40:43
  Speaker 1: respect at the DLR band, I'm not really in a
• 40:45
  Speaker 1: hurry to give my music away for nothing.
• 40:48
  Speaker 4: Yeah, you have one song you want to put on
• 40:49
  Speaker 4: our album, right?
• 40:50
  Speaker 1: Yeah, it was a song called Dirty Work. He loved it.
• 40:52
  Speaker 1: I thought, yeah, well, I'll give it to you, but
• 40:53
  Speaker 1: you've got to give me Ken Brantford. And you can
• 40:56
  Speaker 1: put your name on it. I don't care if you
• 40:57
  Speaker 1: mention me. Because he's not real good at promoting his friends.
• 41:01
  Speaker 1: I mean, ever since Steve Lai, he's got, there's a
• 41:04
  Speaker 1: little ego thing in there, you know, a little bit
• 41:06
  Speaker 1: of narcissism. All lead singers have it. It's called LSD,
• 41:10
  Speaker 1: lead singer disease. I don't need a singer. No, but.
• 41:14
  Speaker 3: Yeah, present company.
• 41:15
  Speaker 1: No, I think Mike was really shortchanged by Van Halen.
• 41:19
  Speaker 1: They turned him into an employee. That was the last straw.
• 41:22
  Speaker 1: That showed me that, okay, this guy's been with them
• 41:24
  Speaker 1: since the very beginning. He was the backbone of their
• 41:27
  Speaker 1: backing vocal squad. You take Mike Anthony out there, you
• 41:31
  Speaker 1: ain't got no backing vocals in there. He was a great,
• 41:34
  Speaker 1: I don't know what you'd call him, a tenor, but
• 41:36
  Speaker 1: the guy could hit the notes. And he had that
• 41:40
  Speaker 1: kite-like voice. I don't think it was really a lead
• 41:41
  Speaker 1: singer's voice. He sang lead. But it just, he complimented, Don,
• 41:47
  Speaker 1: what was it, no, Ted Templeman saw what their deal was.
• 41:51
  Speaker 1: The only way they got away with all that was
• 41:52
  Speaker 1: that Letterman-style Brooklyn Bridge backing vocals. Right.
• 41:56
  Speaker 3: Almost like the beach.
• 41:57
  Speaker 1: He might have performed it. Dave could sing it along
• 42:00
  Speaker 1: with him. But Ed was, Ed's voice was plain. In tune,
• 42:05
  Speaker 1: but plain. You know, you wouldn't look at it like
• 42:07
  Speaker 1: it was a lead vocal. And I had a lead
• 42:11
  Speaker 1: quality vocal, but I hate singing. I hate it. Never
• 42:14
  Speaker 1: liked it. The joy of it means that I've got
• 42:16
  Speaker 1: to do two jobs to get paid once.
• 42:18
  Speaker 4: That's what he tells me. Yeah, because he's going to,
• 42:20
  Speaker 4: on one of the songs.
• 42:21
  Speaker 1: When I started singing, we did all the trio stuff,
• 42:24
  Speaker 1: ZZ Top stuff. After singing, I'd be so expectorant, exasperated.
• 42:28
  Speaker 1: I couldn't figure out what solo I wanted to do.
• 42:30
  Speaker 1: It took a long time to get you to hear that.
• 42:33
  Speaker 1: Then you just cut. We didn't know what the hell
• 42:35
  Speaker 1: we were doing. But in doing that, you learn how
• 42:37
  Speaker 1: to improvise. I mean, I had a guy come over
• 42:39
  Speaker 1: to my house, a black guy that was a bass player.
• 42:43
  Speaker 1: ate up all my spaghetti and meatballs, smoked up all
• 42:45
  Speaker 1: my weed, took all my money, and then you set
• 42:47
  Speaker 1: up a show at the Empire Vines. And he just, no,
• 42:51
  Speaker 1: you're too white. You're just spitting off the meat. And,
• 42:53
  Speaker 1: you know, after about eight hours of him beating the
• 42:55
  Speaker 1: shit out of me, I kind of picked up on it.
• 42:58
  Speaker 1: I was better, you know, on the fly, and I
• 43:00
  Speaker 1: have a good memory, so if I did something on
• 43:02
  Speaker 1: the fly, I said, I remember, let's do that. But
• 43:04
  Speaker 1: they were bits and pieces back then. The only thing
• 43:06
  Speaker 1: you had to do was get a riff. You were
• 43:08
  Speaker 1: a badass. There was a lot of gigs, a lot
• 43:11
  Speaker 1: of opportunities. Van Halen's weren't around anymore. If you want
• 43:13
  Speaker 1: to get anybody that can play cohesively, you're going to
• 43:16
  Speaker 1: get my group or Smile or Snow, one of those guys.
• 43:20
  Speaker 3: When did you form Ready Kill a lot?
• 43:23
  Speaker 1: 77, 76. Yeah, the drummer, he passed away. That really
• 43:27
  Speaker 1: got to me because he had a lot of, it
• 43:30
  Speaker 1: was the same thing. He wasn't a very good drummer
• 43:32
  Speaker 1: when it came down to it, but in those days,
• 43:34
  Speaker 1: we pushed it so hard. that we were actually kind
• 43:38
  Speaker 1: of lame good. You know, if you came to see us,
• 43:40
  Speaker 1: you didn't know what you were going to get. We
• 43:42
  Speaker 1: were going to get some good chops, and the tone
• 43:43
  Speaker 1: was right, you know, and it'd be just so. But
• 43:46
  Speaker 1: we really didn't know what the fuck we were doing.
• 43:48
  Speaker 1: I mean, there was a band, Uncle Sam, that played
• 43:50
  Speaker 1: all the standards, like Led Zeppelin to the bone. And Mick,
• 43:54
  Speaker 1: you know, Mick Mars, Mick was Mick Deal. He was
• 43:57
  Speaker 1: in a band called White Horse, and they played Gazzarda
• 43:59
  Speaker 1: along with Van Halen, and they did exact copies. Dancing Days,
• 44:04
  Speaker 1: you know, they did Zepp very well. Mick was a
• 44:08
  Speaker 1: great player and a very nice guy, you know. He
• 44:11
  Speaker 1: didn't get half the, you know, I asked him really
• 44:14
  Speaker 1: what he did, growth, growth, growth. How much money did
• 44:16
  Speaker 1: you make with Motley? So far it was about $ 600, 000.
• 44:18
  Speaker 1: I thought, $ 600, 000? Like any grocery money compared to what
• 44:24
  Speaker 1: they took, you know. I mean, it's like, that's what
• 44:27
  Speaker 1: they did to Michael. I mean, how would you feel?
• 44:29
  Speaker 1: You were a quarter partner and then they changed the deal.
• 44:31
  Speaker 1: They reshuffled the debt and go, you're an employee now.
• 44:35
  Speaker 1: And he shut his mouth and took it, you know. That's, like, sad.
• 44:39
  Speaker 6: It is.
• 44:41
  Speaker 1: It is. If they did that to him, they'd do
• 44:43
  Speaker 1: it to anybody. I thought, man, these guys have changed.
• 44:46
  Speaker 1: And a lot of people got mad about it. A
• 44:47
  Speaker 1: lot of people that were in Pasadena, not with their
• 44:50
  Speaker 1: good friends, they just, Bon Voyage, we don't see you
• 44:53
  Speaker 1: no more.
• 44:56
  Speaker 3: Why do you think they got rid of Noel Monk
• 44:58
  Speaker 3: as their manager?
• 45:00
  Speaker 1: Noel had had it. Noel was the second principal's manager.
• 45:04
  Speaker 1: That's where he came from, because the Sex Pimples were
• 45:06
  Speaker 1: a bunch of fuck-ups, and they got all the promotional
• 45:09
  Speaker 1: money to take off. When Marshall Burroughs stole all of
• 45:12
  Speaker 1: Van Halen's money, they crawled in under the door, according
• 45:15
  Speaker 1: to everybody who said, then we had to work. And
• 45:17
  Speaker 1: Rick Derringer's wife, Liz Derringer, used to write for Rolling
• 45:20
  Speaker 1: Stone or something. She said, you guys are going to
• 45:21
  Speaker 1: be on the roads for the rest of your life,
• 45:23
  Speaker 1: and she was right. They did like 1,500 days out there.
• 45:28
  Speaker 1: All four records were toured the same. I mean, they
• 45:31
  Speaker 1: did every possible gig they could do. We do, you know,
• 45:35
  Speaker 1: sometimes two shows a night. And then Alex at the
• 45:38
  Speaker 1: Lake Trust helped Leonard by his head to Italy. Denver
• 45:41
  Speaker 1: killed him. If he had to be wearing that neck brace,
• 45:44
  Speaker 1: his head would have fallen off. Dave injured himself. Everett
• 45:47
  Speaker 1: broke both of his wrists.
• 45:48
  Speaker 3: Dave did a split in his head on the disc
• 45:51
  Speaker 3: goal ball, I think.
• 45:52
  Speaker 1: Or something. Yeah. I mean, it's dangerous. It's a dangerous
• 45:55
  Speaker 1: trade when you look at it like that. They were
• 45:57
  Speaker 1: rough and tumble. But when you reach that point where
• 46:00
  Speaker 1: you still think you're a kid, but you're 40 years old,
• 46:01
  Speaker 1: 42 years old, You go about a roller rick and
• 46:05
  Speaker 1: all of a sudden you bite the rail, you know.
• 46:07
  Speaker 1: I don't see how they possibly had the energy. It's
• 46:10
  Speaker 1: a different world now, you know. Sure.
• 46:12
  Speaker 3: Dave was doing the splits right up until like 2002, 2003.
• 46:15
  Speaker 1: Oh, yeah. He did it all the way through our situation.
• 46:19
  Speaker 1: But I remember that he was paying out about $ 18, 000
• 46:22
  Speaker 1: a week for those buses and the crew. And it's like, geez,
• 46:26
  Speaker 1: I mean, you better be making some money out there
• 46:29
  Speaker 1: because ICM Premier Challenge don't exist anymore. There's no map.
• 46:34
  Speaker 1: Pete was with Dave all those years, the Picasso brothers, right? Yeah,
• 46:38
  Speaker 1: Pete Adams. Pete owns the Black Crows. He's their manager.
• 46:43
  Speaker 1: So he had the math, and he heard the record filthy,
• 46:46
  Speaker 1: and he didn't want anything to do with it. I
• 46:48
  Speaker 1: was kind of offended. I thought, hey, I did well
• 46:50
  Speaker 1: on that. I wrote good songs. It wasn't that. He
• 46:54
  Speaker 1: just saw that Dave was losing his mind. He said, look,
• 46:56
  Speaker 1: you can't portray the sting kind of a thing. You
• 47:00
  Speaker 1: don't have the talent that sting does. I mean, It's
• 47:02
  Speaker 1: not going to be the same kind of thing that
• 47:04
  Speaker 1: Sting would put together. Right.
• 47:05
  Speaker 3: He cut his hair, looked like Sting, yeah.
• 47:07
  Speaker 1: Had that work. What I liked that he did was
• 47:10
  Speaker 1: his blues. He's great blues. He could have been a
• 47:12
  Speaker 1: great blues singer. Hell yeah.
• 47:13
  Speaker 3: The cover of.
• 47:14
  Speaker 1: The thing he was best at, he didn't like to
• 47:16
  Speaker 1: do at all.
• 47:16
  Speaker 3: The cover of Nightlife. Willie Nelson's Nightlife.
• 47:19
  Speaker 1: He did a great job on that.
• 47:21
  Speaker 3: As did you.
• 47:22
  Speaker 1: And Steve Hunter was the inspiration for that. He goes...
• 47:26
  Speaker 1: I don't know who did the, I think the solo
• 47:28
  Speaker 1: was done by, it was a piano solo by champion
• 47:31
  Speaker 1: Jack Dupree. And I transposed it and it just had
• 47:34
  Speaker 1: that emotional. But there was only a few, you know,
• 47:37
  Speaker 1: with Dave, you've got a few little emotions. It was
• 47:39
  Speaker 1: like a circus act, okay? Here's a monkey, you eat
• 47:41
  Speaker 1: these pants now and then dinder flip and get the portals. Right.
• 47:45
  Speaker 3: Well, does he need somebody like what he was with
• 47:48
  Speaker 3: Van Halen to kind of keep him on track?
• 47:51
  Speaker 1: Yeah. Well, see, he got his own advert.
• 47:54
  Speaker 3: He's very restless creatively.
• 47:56
  Speaker 1: Yeah. I'm sitting here with Tybalt and Jamie and me,
• 47:58
  Speaker 1: and we're really the core of the group, the bass player,
• 48:01
  Speaker 1: guitar player, and keyboard player. And we're sitting like this,
• 48:04
  Speaker 1: and the tour catalog came out. I said, oh, good,
• 48:07
  Speaker 1: they're going to have pictures of us. There wasn't one. Nothing.
• 48:11
  Speaker 1: There wasn't one of us. It was one of them, Jamie,
• 48:13
  Speaker 1: barely making mics, way down at the end of the stage,
• 48:15
  Speaker 1: and it says musicians. And the names were like, look,
• 48:18
  Speaker 1: I've got to put my bifocals on so I can
• 48:20
  Speaker 1: see who these people are. And Ed Anderson said, what
• 48:24
  Speaker 1: do you think of it? I threw it at him.
• 48:27
  Speaker 1: We're part of this group, you know?
• 48:29
  Speaker 4: Yeah.
• 48:30
  Speaker 1: I had a phobia for Clayton Edwards stuff. I had
• 48:33
  Speaker 1: to really have Jamie's brother show me how to play jump.
• 48:36
  Speaker 1: It was like a psychological block. I did not want
• 48:38
  Speaker 1: to learn his stuff. The magic to me was when
• 48:42
  Speaker 1: I learned Jimmy Hendrix stuff, I thought, that's all it is?
• 48:45
  Speaker 1: You've got to put the mojo on it. And that's
• 48:49
  Speaker 1: what we had in the old days. We don't have
• 48:50
  Speaker 1: that now. I mean, I still have a little bit
• 48:52
  Speaker 1: of it, but the mojo, when you put the Like
• 48:54
  Speaker 1: Warren was the same way. He told me, this is
• 48:56
  Speaker 1: Warren's philosophy about the music business. He said, take all
• 49:00
  Speaker 1: your money, cash it out, everything, cars, the whole deal,
• 49:03
  Speaker 1: all your instruments. He said, go up to Las Vegas
• 49:05
  Speaker 1: and start shooting grabs. He said, you have a lot
• 49:07
  Speaker 1: better chance of making a living than doing the music business.
• 49:11
  Speaker 1: Because they also had Marshall Burrell, you know. So they
• 49:14
  Speaker 1: took a hit too. But Warren didn't have to worry
• 49:17
  Speaker 1: about that because he's one of the heirs to the
• 49:18
  Speaker 1: Morris Candy Fortress. didn't have anything to worry about.
• 49:21
  Speaker 3: Yeah, I heard about that, man. He's a great player.
• 49:24
  Speaker 1: Milton and Marvin. I don't know if his dad was
• 49:25
  Speaker 1: Milton or Marvin, but he's always had all his money well.
• 49:30
  Speaker 1: It wasn't Warren. It was the guy that first got
• 49:32
  Speaker 1: to give me a break. I got my first royalty
• 49:34
  Speaker 1: money from a rap detonator album.
• 49:37
  Speaker 3: Oh, which song?
• 49:37
  Speaker 1: All or Nothing.
• 49:40
  Speaker 3: All or nothing.
• 49:41
  Speaker 1: Oh, okay. That's my rip. You know, Warren, he mentioned
• 49:46
  Speaker 1: me in magazines all the time. He's a very generous guy.
• 49:48
  Speaker 1: And I've been to his house many times. You know,
• 49:51
  Speaker 1: his kids are all grown now, but I remember when
• 49:53
  Speaker 1: they first moved up on Laurel. He was very nice.
• 49:56
  Speaker 1: You know, he's been with the same woman for years.
• 49:59
  Speaker 1: She was a rock and roll photographer. And he's a
• 50:03
  Speaker 1: very even tempered, nice guy. You know, he really is.
• 50:06
  Speaker 1: He helped people. You know, he financed a lot of
• 50:09
  Speaker 1: my recordings back then at Silver Clown. Joe Floyd, the
• 50:13
  Speaker 1: Warrior Band, he was also a great player. Joe was
• 50:15
  Speaker 1: a great mix man. You know, you learn, you pick
• 50:18
  Speaker 1: up stuff all the way along. I used to go like,
• 50:21
  Speaker 1: people go, why can't we have any compressors? Because I
• 50:23
  Speaker 1: don't know how to use one. When you learn, it's fun,
• 50:26
  Speaker 1: you know? That's what I'm thinking. Why the hell would
• 50:29
  Speaker 1: I grab that $ 200 guitar for and I didn't pull
• 50:31
  Speaker 1: my $ 8, 000 Focusrite, didn't get the hell out of that
• 50:35
  Speaker 1: rack and take it and put it in the trunk.
• 50:37
  Speaker 1: You don't think of that when I was burned down.
• 50:39
  Speaker 3: Did you show Eddie finger tapping?
• 50:42
  Speaker 1: Well, Chris Holmes, a wasp, actually was responsible for it
• 50:46
  Speaker 1: because I was giving Chris lessons at a music store
• 50:49
  Speaker 1: right here at this town, Sierra Madre. And Chris saw
• 50:53
  Speaker 1: me getting a beef with a guy. I traded him
• 50:55
  Speaker 1: a Les Paul for a 65 number five Firebird, which
• 51:00
  Speaker 1: I was about to trade. You wanted it back. I said, no,
• 51:02
  Speaker 1: you got a box for it. Beat the shit out
• 51:04
  Speaker 1: of it like that. Chris goes, man, you know how
• 51:05
  Speaker 1: to fight. I said, those guys are, they were school kids.
• 51:10
  Speaker 1: And he goes, you know, my friend Don Ivers got
• 51:12
  Speaker 1: in a fight with Harvey Mandel's son at a school.
• 51:16
  Speaker 1: I thought, well, why are you telling me this? Because
• 51:18
  Speaker 1: I know where he lives. And I worship Harvey. I
• 51:20
  Speaker 1: thought he was one of the greatest players of the
• 51:22
  Speaker 1: early 70s. You know, he had, he just developed that secondhand,
• 51:26
  Speaker 1: you know, thing. He would do chords like that. And
• 51:29
  Speaker 1: he got that kind of a freestyle. But he didn't
• 51:31
  Speaker 1: take it where Ed took it. But he showed me
• 51:34
  Speaker 1: how to do it. I thought, well, that's cool, but
• 51:35
  Speaker 1: I didn't think nothing of it. I thought, first, if
• 51:38
  Speaker 1: you put your fingers down, I was going to make noise, right?
• 51:41
  Speaker 1: And I thought, well, it's a good trick. I use
• 51:43
  Speaker 1: it for, like, you know, stupid little things. But Ed
• 51:46
  Speaker 1: picked up on it with a vengeance. And he hated
• 51:49
  Speaker 1: two things. He didn't like doing that, and he didn't
• 51:51
  Speaker 1: like playing Stratocasters. So he reparated everything with, you know,
• 51:56
  Speaker 1: the secondhand thing where he really extrapolated it, you know.
• 51:59
  Speaker 1: But it's so used now that I would dare do it.
• 52:03
  Speaker 1: When he went to tremolo bar, I used to play
• 52:05
  Speaker 1: a Strat. He went to a tremolo bar, I went
• 52:06
  Speaker 1: back to a left paw. Because, you know, I had
• 52:09
  Speaker 1: a responsibility. I was his friend. I didn't want to
• 52:11
  Speaker 1: be identified like some little clone toad. You know what
• 52:14
  Speaker 1: I'm saying? Sure. You want to be your own identity.
• 52:17
  Speaker 1: However goofy that was, I would rather have mine than
• 52:21
  Speaker 1: somebody else's. You know, like I told Dave, I said,
• 52:24
  Speaker 1: I'd rather be a captain of my own rowboat than
• 52:26
  Speaker 1: be a first mate on your battleship. Sure. You know,
• 52:30
  Speaker 1: he doesn't have the same kind of vibe as a
• 52:32
  Speaker 1: guitar player. No, no, the new guitar I gave him,
• 52:35
  Speaker 1: the classical single 132 that he uses on stage. But
• 52:39
  Speaker 1: I can't figure out why he doesn't stretch out a
• 52:42
  Speaker 1: little bit and do something different, you know. Because the
• 52:45
  Speaker 1: Van Halen thing, that's all you're going to be going for.
• 52:47
  Speaker 1: I would not want to play that set into eternity.
• 52:50
  Speaker 1: Songs are great, but, you know, I didn't feel like
• 52:53
  Speaker 1: I could really tap up, jump, and go through all
• 52:56
  Speaker 1: that big deal, you know. So I just played it
• 52:58
  Speaker 1: real stock like Al plays it. And those guys got
• 53:02
  Speaker 1: a great gig. We had a hard gig. It was
• 53:04
  Speaker 1: a lot more mutual stress, you know what I mean?
• 53:07
  Speaker 3: Oh, I would think, because that was a difficult tour,
• 53:09
  Speaker 3: as you said.
• 53:10
  Speaker 1: Look like business class one way, then go on cattle
• 53:12
  Speaker 1: car on the way out.
• 53:15
  Speaker 3: But you have your own tone. How would you describe
• 53:17
  Speaker 3: your tone? It's got a really cool feel to it.
• 53:19
  Speaker 1: Ed used the 100 watts, and I didn't really like
• 53:22
  Speaker 1: the Marshalls like I liked the high-watt script logos, you know,
• 53:25
  Speaker 1: the 50s. Real hard to find. And we used to
• 53:28
  Speaker 1: go to Nadine's. music store, the big fat guy there
• 53:30
  Speaker 1: that played guitar. And I liked it because he'd stuff
• 53:33
  Speaker 1: a flying V down one of his pockets. He goes,
• 53:35
  Speaker 1: this is how you play one of these. And I said,
• 53:37
  Speaker 1: I like that market, but you got to hear the
• 53:38
  Speaker 1: script logo. And I was $ 50 short of getting it.
• 53:42
  Speaker 1: So I went way out of the limit, getting 50
• 53:44
  Speaker 1: bucks to buy. The Marshall was 400. I got that one.
• 53:48
  Speaker 1: And I stretched another 450 up to the high watt.
• 53:50
  Speaker 1: The tone I had was undeniably good. And Harmey had
• 53:53
  Speaker 1: given me an EP-1 tube Echoplex. which was a big
• 53:59
  Speaker 1: part of that, because it pre-amped the amps. And then
• 54:02
  Speaker 1: we started using Eventide. That was like, wow, got this
• 54:05
  Speaker 1: godlike tone. It was fun for backyards. It worked a
• 54:09
  Speaker 1: lot of places, but then the bigger the places were,
• 54:11
  Speaker 1: the less it would work. Because you got these big rooms,
• 54:14
  Speaker 1: you know. We played some horrible rooms, gymnasiums. They set
• 54:18
  Speaker 1: gigs up everywhere. The best places to play really were outdoors,
• 54:21
  Speaker 1: because you could play so fucking loud and get a
• 54:24
  Speaker 1: mix of some sort. And everybody struggled with PA systems.
• 54:27
  Speaker 1: Somebody could get a more powerful. That's why Van Halen
• 54:30
  Speaker 1: got Dave, because he had an 850 Acoustic PA. Right.
• 54:34
  Speaker 1: And then they upgraded it to, what were those, the
• 54:38
  Speaker 1: Altec 1240s or whatever they were, voice of the theaters. Yeah.
• 54:42
  Speaker 1: So we're so desperate that we went to Blair High School.
• 54:45
  Speaker 1: We got my manager. We crawled up the sports tower
• 54:49
  Speaker 1: that took the radiator slots, the big JBL radiator slots,
• 54:52
  Speaker 1: out of the public address for the games. Wrote them
• 54:56
  Speaker 1: down and built them. Cabbage for a head balance. No
• 55:01
  Speaker 1: reuser for a head. I'd use a 120-watt mat air.
• 55:05
  Speaker 3: But I hear when I listen to Ready Kilowatt, just
• 55:07
  Speaker 3: the one song is available online, Liquid Lady, and I
• 55:10
  Speaker 3: listen to You Filthy Little Mouth or your songs on
• 55:13
  Speaker 3: DLR Band. It's pretty similar, right? I mean, it's pretty consistent.
• 55:16
  Speaker 1: Well, I always used, like, you know, with Nile Rodgers,
• 55:19
  Speaker 1: Nile had so much money. I mean, sick. Sick. I said,
• 55:23
  Speaker 1: I need a Telecaster for Everybody's Got the Monkeys. That's right.
• 55:26
  Speaker 1: I felt that that would be the best sounding thing
• 55:29
  Speaker 1: because Dave was letting me use my ordinance. They brought
• 55:31
  Speaker 1: a Neve Kelso in, which I said, anything. You could
• 55:34
  Speaker 1: fart to one of those things. They sound great. But
• 55:37
  Speaker 1: I played it. I said, well, I want a Telecaster.
• 55:40
  Speaker 1: He goes, what year do you want?
• 55:40
  Speaker 4: I said, what do you mean?
• 55:42
  Speaker 1: He goes, I got all the years. I mean, from 1951.
• 55:45
  Speaker 1: All the years. Broadcaster all the way down to a 65.
• 55:46
  Speaker 1: I said, give me a 58. He goes, Andy, go
• 55:47
  Speaker 1: get him a 58. Comes out, it's a beautiful blonde 58,
• 55:53
  Speaker 1: so powerful. I mean, 10 times more gain than a
• 55:56
  Speaker 1: regular Telecaster. And I nailed it, you know, but it
• 55:59
  Speaker 1: was an easy thing. He said, he goes, it's a
• 56:02
  Speaker 1: Van Halen song. Basically, Frank built it like a Van
• 56:04
  Speaker 1: Halen song. Da-da-do-do. Right. Interesting timing, but for some reason,
• 56:11
  Speaker 1: it didn't fly. He was trying to get, you never
• 56:14
  Speaker 1: know to do it, and I thought, it was a
• 56:16
  Speaker 1: little left to center, you know? I'll tell you what,
• 56:19
  Speaker 1: the They loved that record. A lot of people really
• 56:21
  Speaker 1: liked it, and I liked it, but it was, we
• 56:24
  Speaker 1: had a hell of a time playing some of them. Like,
• 56:26
  Speaker 1: You're Breathin' It was, You're Breathin' It's a brilliant thing,
• 56:29
  Speaker 1: but he turned it into a rap song, and I thought,
• 56:31
  Speaker 1: this is not working for bass. You know, it was
• 56:34
  Speaker 1: its own practice. It couldn't deal, but, you know, I
• 56:36
  Speaker 1: did that record in four months, and it took it
• 56:38
  Speaker 1: three years to finish it. I just sat around on payroll,
• 56:42
  Speaker 1: you know, just going, well, someday.
• 56:45
  Speaker 3: And think about how much music had changed from 91
• 56:48
  Speaker 3: to 94.
• 56:48
  Speaker 6: Yeah.
• 56:51
  Speaker 1: I mean, that's the thing. I've got to get the product.
• 56:53
  Speaker 1: I understood the business then. It was ICM, William Works,
• 56:56
  Speaker 1: ICM Premier. They'll put you on the map. They'll take
• 56:58
  Speaker 1: you out. The company's even loaning you the money to
• 57:01
  Speaker 1: go on these tours. But you've got to pay it back.
• 57:04
  Speaker 1: And if you've got poor, you know, response, and you
• 57:07
  Speaker 1: don't have people out there canvassing the shit out of it,
• 57:10
  Speaker 1: which they quit doing, when the segments did their buyout,
• 57:13
  Speaker 1: it was like it was over right there. I had
• 57:15
  Speaker 1: a deal lined up with David Geffen, and it just
• 57:17
  Speaker 1: went dead flat that day. It was over. Wow. Geffen. Yeah.
• 57:21
  Speaker 1: I had a great other group together that was pretty good.
• 57:23
  Speaker 1: I had Chris Hillman on bass and Mike Sato on drums.
• 57:27
  Speaker 1: And we were tight. We had a really cool sound. But,
• 57:30
  Speaker 1: you know, it was getting to the point where it's like, gee,
• 57:32
  Speaker 1: how long am I going to keep selling this snake oil?
• 57:34
  Speaker 1: It wasn't like the old days when we played Ready, Kill,
• 57:36
  Speaker 1: or Watch. We'd ape shit, you know. I played a solo.
• 57:39
  Speaker 1: I'd just roll my eyes back on my head like
• 57:41
  Speaker 1: a great white shark and start biting. You know what
• 57:43
  Speaker 1: I mean? That's awesome. People thought it was brilliant because
• 57:46
  Speaker 1: it really was. You had to try to make it
• 57:48
  Speaker 1: sound good, you know. I participated more in my own
• 57:51
  Speaker 1: style than I do now, you know? Because you get wider.
• 57:55
  Speaker 1: You have to be virtual with Dave. You've got to
• 57:56
  Speaker 1: be really versatile to get anything out of it because
• 58:00
  Speaker 1: he has good background in music.
• 58:01
  Speaker 3: He really does, man. Yeah, he's got an appreciation for it.
• 58:04
  Speaker 1: He said, I want you to listen to this record.
• 58:06
  Speaker 1: I knew what he was doing, you know?
• 58:08
  Speaker 3: Yeah.
• 58:09
  Speaker 1: Ed always admired Angus Young. He said he's the best
• 58:11
  Speaker 1: of the best because how can you beat ACDC? Right.
• 58:15
  Speaker 3: Him and Wolfgang always listened to Power Age. I think
• 58:19
  Speaker 3: that was the album.
• 58:19
  Speaker 1: I saw Motley Crue many times because I really toured
• 58:22
  Speaker 1: with him. And I know him real well. I sold
• 58:25
  Speaker 1: him the 67 Flex he used on Girls, Girls, Girls.
• 58:29
  Speaker 1: I hated it. And he loved it because it's a
• 58:31
  Speaker 1: Jose mod, right? And Jose was like, his mods were
• 58:34
  Speaker 1: like Radio Shack, but they were brilliant. You know, remote standby.
• 58:37
  Speaker 1: I mean, I'm not going to need that for a
• 58:39
  Speaker 1: garage band. So Mick Flang, and that's a lot of times,
• 58:43
  Speaker 1: the Motley Crue was way better than Van Halen live.
• 58:45
  Speaker 1: Way better. Much better show. Because Van Halen was so
• 58:49
  Speaker 1: fucking loud. I mean, we played the decibel meter night,
• 58:54
  Speaker 1: it was 132. That's like sticking your head into a
• 58:58
  Speaker 1: GE turbofan motor on takeoff, you know? It makes you hurt.
• 59:04
  Speaker 1: It was like a gunfight every night. We'd come off
• 59:06
  Speaker 1: there and just go, God. It was a trial of it.
• 59:10
  Speaker 1: you know. They could see I wasn't happy because it's like,
• 59:14
  Speaker 1: do we have to play Beautiful Girls tonight? Do we
• 59:16
  Speaker 1: have to play Blunt with the Devil? I mean, it wasn't,
• 59:19
  Speaker 1: I felt like it was just like a top 40 set.
• 59:22
  Speaker 1: And then Tug of War, that's exactly what this is.
• 59:25
  Speaker 1: I thought, well, I didn't sign up for that shit.
• 59:27
  Speaker 4: Yeah, but the fans want that.
• 59:28
  Speaker 1: Yeah, but it was, see, I went to Japan and
• 59:30
  Speaker 1: we did a record. We played one gig and half
• 59:33
  Speaker 1: an hour later there was a record available. They had
• 59:35
  Speaker 1: a record made. That's amazing. They were selling our records,
• 59:39
  Speaker 1: live records.
• 59:40
  Speaker 4: They were selling our records.
• 59:41
  Speaker 3: Oh, gee, I think I heard, I think that surfaced online.
• 59:45
  Speaker 1: Wow.
• 59:46
  Speaker 3: I think so.
• 59:47
  Speaker 1: Mr. Udo was not happy with the ticket sales. Mr. Udo,
• 59:51
  Speaker 1: if you don't know Mr. Udo, you don't play in
• 59:53
  Speaker 1: Japan at all. He runs that racket. And all the
• 59:58
  Speaker 1: coke and secret halls are identical. We played Honshu Kiyoshi.
• 1:00:02
  Speaker 1: We were down in Hiroshima all the way up into
• 1:00:05
  Speaker 1: the northern provinces. And you could not tell the difference
• 1:00:08
  Speaker 1: between one hall and the next. Exactly the same bathrooms
• 1:00:11
  Speaker 1: with the, wow, urinals that are in the ground. A
• 1:00:14
  Speaker 1: little different thing.
• 1:00:18
  Speaker 3: Hey, before I forget, Mississippi Power. That is a B-side.
• 1:00:22
  Speaker 3: You're on that one, right?
• 1:00:24
  Speaker 1: Yeah. Okay.
• 1:00:25
  Speaker 3: That was not.
• 1:00:26
  Speaker 1: That was Preston Sturgis, the director, you know, from Uncle's Travels.
• 1:00:30
  Speaker 1: And she's a famous 30s, 40s director.
• 1:00:34
  Speaker 3: That would have been a great addition to the album.
• 1:00:36
  Speaker 1: Preston Jr. wrote that song. How about that? It was
• 1:00:39
  Speaker 1: originally called Lightning Strikes My Buick. Wow. Okay.
• 1:00:45
  Speaker 3: Do you think it should have been on the album?
• 1:00:47
  Speaker 1: It was. I thought it was. We played it right
• 1:00:49
  Speaker 1: along with the rest of the roster. I mean, we
• 1:00:50
  Speaker 1: had all 14 up and I did it. Steve Conner
• 1:00:52
  Speaker 1: came in with one of me and Frank came back
• 1:00:54
  Speaker 1: with another one. It was Cruel Obsession didn't make it.
• 1:00:57
  Speaker 1: And I even see the stuff that I did with
• 1:00:58
  Speaker 1: the business that's getting recorded out there. It's got, I'm
• 1:01:02
  Speaker 1: going to kill the guy in the car in front
• 1:01:04
  Speaker 1: of me. And what was it called? There were, there's
• 1:01:07
  Speaker 1: a set of tunes that I give of them. Actually,
• 1:01:11
  Speaker 1: John Lowry recorded a bill. I got Topanga and that's
• 1:01:14
  Speaker 1: where Dave went and did his demos. You know, there
• 1:01:17
  Speaker 1: were 24 track demos, but. I said, why don't we
• 1:01:20
  Speaker 1: use the business for the rhythm section? He goes, no,
• 1:01:22
  Speaker 1: they're too clinical. What the hell does that mean? Because,
• 1:01:25
  Speaker 1: you know, it was kind of weird going to New
• 1:01:27
  Speaker 1: York and not even knowing what bass player and drummer
• 1:01:29
  Speaker 1: I was going to play with. The day I met him,
• 1:01:31
  Speaker 1: we cut the first track, so I thought, this is
• 1:01:33
  Speaker 1: not very organic, you know?
• 1:01:35
  Speaker 3: That's what I was going to say, organic. Yeah, you
• 1:01:38
  Speaker 3: would prefer to play some gigs with him, at least
• 1:01:40
  Speaker 3: a few, right?
• 1:01:41
  Speaker 1: So many drummers down at B & J were absolutely
• 1:01:43
  Speaker 1: burnt out by the time the course started. Because we
• 1:01:46
  Speaker 1: had to rehearse every drummer. He'd fire one and fire another,
• 1:01:49
  Speaker 1: and we'd ask four drummers. So it was like we
• 1:01:52
  Speaker 1: had to go through a whole roster, and he wanted
• 1:01:54
  Speaker 1: us to rehearse 12 hours a day. I said, you
• 1:01:56
  Speaker 1: can get me in there for 12 hours, but I'm
• 1:01:58
  Speaker 1: gone in three. You start to have the headroom, that
• 1:02:01
  Speaker 1: kind of stuff.
• 1:02:02
  Speaker 3: What's your opinion of Dave's vocals live? There was always
• 1:02:06
  Speaker 3: this idea that fans will say, well, let me put
• 1:02:09
  Speaker 3: it this way. When he came back in 07 to
• 1:02:13
  Speaker 3: Van Halen, that tour, his voice sounded incredible. really, really good.
• 1:02:17
  Speaker 3: Like it almost sounded like he was doing something.
• 1:02:19
  Speaker 1: Oh, okay. Because, but then, but when we go back,
• 1:02:23
  Speaker 1: the last use of his youth, because he did not
• 1:02:26
  Speaker 1: do that well with us on the DLR. I mean,
• 1:02:28
  Speaker 1: the DLR man, I didn't feel that his live performances
• 1:02:33
  Speaker 1: were really up to snuff. He had some bad times
• 1:02:35
  Speaker 1: at that bomb factory and something all my kids. It's
• 1:02:38
  Speaker 1: the bomb, bomb factory, a bomb factory in Dallas was horrible.
• 1:02:43
  Speaker 1: It's like, you know what, it's like Gloria Swanson when
• 1:02:47
  Speaker 1: she finally gets in front of the camera, you know,
• 1:02:49
  Speaker 1: when Cecil B. DeMille goes, action. You know, it's like
• 1:02:54
  Speaker 1: she wants to do a play of Salome, but she
• 1:02:56
  Speaker 1: wants to be in every scene. Remember, she goes, Normie,
• 1:02:59
  Speaker 1: it can't be in every scene. Why not? You know,
• 1:03:02
  Speaker 1: it's like, I think it's kind of a privilege of
• 1:03:04
  Speaker 1: the rich. I have oil wells pumping and pumping. What
• 1:03:06
  Speaker 1: is it for? Money for all of us, you know.
• 1:03:10
  Speaker 1: Dave was never really a really generous guy. I mean,
• 1:03:13
  Speaker 1: if We'd be driving down Melrose. He'd go, you're a
• 1:03:16
  Speaker 1: fashion disaster. I said, okay, what do you want me
• 1:03:18
  Speaker 1: to do? Pull out one of those swanky joints on
• 1:03:21
  Speaker 1: Melrose that's got like 10 shirts in there and all
• 1:03:24
  Speaker 1: $ 800 a piece.
• 1:03:25
  Speaker 3: He closed the store.
• 1:03:26
  Speaker 1: And I got a big yellow luau shirt going, I
• 1:03:30
  Speaker 1: wouldn't wear this to a dog fight if I was
• 1:03:31
  Speaker 1: a state champ.
• 1:03:34
  Speaker 3: Yeah, he wears some crazy outfits.
• 1:03:35
  Speaker 1: He always liked the way I dressed and liked the
• 1:03:37
  Speaker 1: way Jamie dressed. It was a theater to us. If
• 1:03:40
  Speaker 1: you're going to dress like a rock star, you're going
• 1:03:42
  Speaker 1: to wear that when you have breakfast. You know, it's
• 1:03:44
  Speaker 1: just a way to rest. But it was so confusing
• 1:03:47
  Speaker 1: because we had gone through the 80s. Everybody had poofy
• 1:03:51
  Speaker 1: hair and Jaguar pants and Lycra shirts. And we starved.
• 1:03:57
  Speaker 1: So we looked like we were coming out of concentration camp.
• 1:04:00
  Speaker 1: And that was the look. And then we had plenty
• 1:04:03
  Speaker 1: of cocaine. Screw up your music. So everybody was waiting
• 1:04:07
  Speaker 1: for the after party. Nobody gave a shit about the
• 1:04:09
  Speaker 1: gig anymore. That's what happened. I mean, a monster's a rock.
• 1:04:12
  Speaker 1: Ed would angrily close the dime because they were just
• 1:04:15
  Speaker 1: doing so much flow, so much. And, you know, the
• 1:04:19
  Speaker 1: people said they weren't doing it. They were doing more
• 1:04:20
  Speaker 1: than anybody. And I, you know, regular civilians, we couldn't
• 1:04:24
  Speaker 1: afford to do what those guys did, thank God. So
• 1:04:27
  Speaker 1: you feel kind of left out because your friends move on. But,
• 1:04:29
  Speaker 1: you know, Ed would come over and he goes, he
• 1:04:32
  Speaker 1: let me drive his Lamborghini once. I think, you know,
• 1:04:35
  Speaker 1: I got in it. And the top of the thing
• 1:04:38
  Speaker 1: is crushing my head down like it. The legs are
• 1:04:42
  Speaker 1: real short, and the wheels are about 10 feet away.
• 1:04:44
  Speaker 1: That gorilla could drive it really good. He had a
• 1:04:48
  Speaker 1: lot of nice stuff. I appreciate it, but material stuff
• 1:04:53
  Speaker 1: only goes so far. Sure.
• 1:04:55
  Speaker 2: Yeah.
• 1:04:55
  Speaker 3: The coke will destroy a singer's voice, right?
• 1:04:59
  Speaker 1: Oh, to say the least. It wasn't just coke. A
• 1:05:02
  Speaker 1: lot of alcohol, too. Right, and alcohol does not improve
• 1:05:05
  Speaker 1: your beauty. Plus the cigarettes, yeah. Yeah, Ed was basically
• 1:05:09
  Speaker 1: living on, his food was McDonald's classic cheeseburgers, the orange
• 1:05:13
  Speaker 1: labeled ones. And they were all over the lounge all
• 1:05:16
  Speaker 1: the time. I just thought, man, how do you eat
• 1:05:17
  Speaker 1: that shit? I couldn't eat a McDonald's after 1975. It's like,
• 1:05:23
  Speaker 1: I thought it was like sheep dip. It didn't taste
• 1:05:25
  Speaker 1: right to me, you know. It turns out that 21%
• 1:05:27
  Speaker 1: of their product is paraffin wax. So if you want
• 1:05:30
  Speaker 1: to make a... candle out of yourself. I almost took
• 1:05:33
  Speaker 1: a wick up here. That's like beating McDonald and turned
• 1:05:35
  Speaker 1: into a candle. But, you know, he didn't take care
• 1:05:39
  Speaker 1: of himself. His hygiene, his teeth fell out, you know,
• 1:05:41
  Speaker 1: a lot of the stuff that goes with being a junkie, basically.
• 1:05:45
  Speaker 3: Yeah, it's very sad.
• 1:05:47
  Speaker 1: It was good, though.
• 1:05:47
  Speaker 3: He got himself together by the end there.
• 1:05:52
  Speaker 1: I made a joke out of it back then. My
• 1:05:53
  Speaker 1: bass player said we had a song called I Knew
• 1:05:55
  Speaker 1: a Guy Named Ed. He goes, son, go up before
• 1:05:58
  Speaker 1: we go to bed. He goes, he's nifty. He's nifty.
• 1:06:00
  Speaker 1: He's got a little studio called 5150. And we're doing
• 1:06:03
  Speaker 1: a rap song. He was doing that, look what's coming
• 1:06:06
  Speaker 1: in from the inside. You know that? This Dex Van Halen.
• 1:06:10
  Speaker 1: OU812 had a lot of my influence on him.
• 1:06:13
  Speaker 4: Really?
• 1:06:14
  Speaker 1: That was one of my tunes. He bagged it.
• 1:06:18
  Speaker 3: Get out.
• 1:06:19
  Speaker 1: The bastard. He never mastered. He never used a master.
• 1:06:21
  Speaker 1: He recorded my masters on a cassette tape. And it
• 1:06:25
  Speaker 1: got lost because it was on one of his motorcycles.
• 1:06:27
  Speaker 1: I thought, my God, where did my life work? Wow.
• 1:06:32
  Speaker 3: So black and blue was your riffs?
• 1:06:35
  Speaker 1: Yeah, I remember, yeah. Remember Angels, that band? Yes. Okay, Barry,
• 1:06:42
  Speaker 1: the drummer, Ed wanted to hire me. Barry goes, fuck you,
• 1:06:44
  Speaker 1: I know how you are. You're a cheapskate. He refused
• 1:06:47
  Speaker 1: to work for them. Walt Woodward from Americade down in
• 1:06:51
  Speaker 1: New Jersey was a good friend of mine. He said,
• 1:06:53
  Speaker 1: I'm not working for him. He yells at everybody. If
• 1:06:58
  Speaker 1: he came to visit me at the hip factory, he
• 1:06:59
  Speaker 1: wouldn't let him in. I was married at the time.
• 1:07:03
  Speaker 1: My wife went down there wearing this Georgio. It never
• 1:07:06
  Speaker 1: smelled good on her. He threw her right the fuck
• 1:07:08
  Speaker 1: out of the studio. That was embarrassing. She had to
• 1:07:11
  Speaker 1: go home, bathe, and change, and not put that Georgio on.
• 1:07:14
  Speaker 1: I thought, man, we're going to get back in here.
• 1:07:18
  Speaker 1: Dave did not spare the mustard on anybody. I mean,
• 1:07:21
  Speaker 1: I'd be in a restaurant with him, and somebody would
• 1:07:23
  Speaker 1: fuck up something, and I'd just be like, oh, that
• 1:07:25
  Speaker 1: poor person.
• 1:07:25
  Speaker 2: Oh, boy.
• 1:07:26
  Speaker 1: And of the whole lot, we used to go to
• 1:07:28
  Speaker 1: Burger Continental and all the places around town, and they're
• 1:07:31
  Speaker 1: all gone now. It's funny. I see him now and again.
• 1:07:35
  Speaker 1: He takes a bicycle ride. He pedals real slow like
• 1:07:38
  Speaker 1: an old man doing a barn stroke. And one day,
• 1:07:41
  Speaker 1: we had a little dispute over a check, and he
• 1:07:43
  Speaker 1: heard me screech up. The intercom's on, and I said, Dave?
• 1:07:47
  Speaker 1: He goes, yeah. I said, what the? I took off
• 1:07:51
  Speaker 1: and there was checks in my mailbox the next day. Well,
• 1:07:55
  Speaker 1: they almost had to give her a boy. So it's like,
• 1:07:58
  Speaker 1: they're not really concerned about, we're not trying to get
• 1:08:00
  Speaker 1: you your money. It's like, uh, when I, the boy
• 1:08:03
  Speaker 1: that saves me is that, that Jay Morgenstern, who was
• 1:08:06
  Speaker 1: affiliated all the way back to the Tiffany label, Columbia,
• 1:08:10
  Speaker 1: he ran a company that would track your money for you.
• 1:08:13
  Speaker 1: And we give really well at black Finland, black box. And, uh,
• 1:08:17
  Speaker 1: you know, the Benelux countries and stuff. I mean, And
• 1:08:19
  Speaker 1: one guy, he had 1.7% of the time goes, well,
• 1:08:22
  Speaker 1: I'm going to track my money. So he said, well,
• 1:08:23
  Speaker 1: you can call the Benelux country. They put you on hold.
• 1:08:26
  Speaker 1: They see how many records you sold. Not a very
• 1:08:28
  Speaker 1: efficient way to collect money. And he wanted a $ 10, 000
• 1:08:31
  Speaker 1: to do this for me. And I had 10 grand
• 1:08:34
  Speaker 1: left in the bank and I had still bought a house.
• 1:08:37
  Speaker 1: I thought, man, this is a leap of faith. Like,
• 1:08:39
  Speaker 1: you know, it ends up yielding like $ 85, 000 out of it.
• 1:08:42
  Speaker 1: So it was lucky. You have to get somebody to
• 1:08:44
  Speaker 1: track your money for you in Europe. Yeah.
• 1:08:47
  Speaker 3: You said on the, The TV, CBS that did the
• 1:08:52
  Speaker 3: segment on you that if it wasn't for Dave, you
• 1:08:54
  Speaker 3: wouldn't have had that home in Altadena?
• 1:08:56
  Speaker 1: Probably not because it gave me enough lucidity to buy it.
• 1:09:00
  Speaker 1: and really basically for cash and not have a big
• 1:09:02
  Speaker 1: mortgage fame because I figured if times get rough, which
• 1:09:04
  Speaker 1: they did, you know, there wasn't a whole lot of music,
• 1:09:07
  Speaker 1: money in music bands. You couldn't make $ 1, 000 a month gigging.
• 1:09:11
  Speaker 1: And I had a kid, a little girl. I had
• 1:09:13
  Speaker 1: to do something. So the way I look at it
• 1:09:15
  Speaker 1: is like it was Providence that did it and basically...
• 1:09:18
  Speaker 1: how he learned about Dave talking about AOR records, CHR,
• 1:09:22
  Speaker 1: two different animals. CHR is elephant bucks. That's a Barry Manilow.
• 1:09:28
  Speaker 1: That's really not that kind of thing. And AOR is
• 1:09:31
  Speaker 1: album oriented, deep tracks and stuff, which is, I, I
• 1:09:34
  Speaker 1: don't trust my own judgment. If I, if I like
• 1:09:36
  Speaker 1: a song, it's probably best to steer away from it.
• 1:09:39
  Speaker 1: Cause it's going to be a deep track, you know,
• 1:09:41
  Speaker 1: like those are my favorite stuff. Old Def Leppard. I
• 1:09:44
  Speaker 1: listened to Billy got a gun. Do you like to
• 1:09:45
  Speaker 1: wear a guitar? Yeah. That's me. It's better than Aromania.
• 1:09:50
  Speaker 1: I mean, we're with the title track and I get
• 1:09:53
  Speaker 1: stuck down there a lot of times. Those are the
• 1:09:54
  Speaker 1: very deep stuff. You know, the Cap Beyond.
• 1:09:58
  Speaker 3: Captain Beyond with Rod Evans.
• 1:10:04
  Speaker 4: Wow.
• 1:10:04
  Speaker 3: That's so cool you mentioned that. Rod Evans from Deep Purple,
• 1:10:09
  Speaker 3: who sings on Hush.
• 1:10:10
  Speaker 1: The doctor over at Glendale with Venice about 10 miles
• 1:10:14
  Speaker 1: from here.
• 1:10:15
  Speaker 3: Wow, that's such a great album. They only made one album,
• 1:10:19
  Speaker 3: I think.
• 1:10:19
  Speaker 1: I think they made two. Oh, they did two?
• 1:10:22
  Speaker 3: That first one. Oh, that first one is phenomenal.
• 1:10:25
  Speaker 1: Bunch of guys that got together and smoked pot. It
• 1:10:27
  Speaker 1: was Mike Panier and Rhino on guitars, but he used
• 1:10:30
  Speaker 1: a Telecat to the Marshalls and he crimped it way up.
• 1:10:32
  Speaker 1: It had a really neat staccato, kind of a weird
• 1:10:36
  Speaker 1: sound that I never heard a Tele get. All little
• 1:10:38
  Speaker 1: tricks like that. It's enough to use those big Thor amps.
• 1:10:40
  Speaker 1: It's incredible.
• 1:10:42
  Speaker 3: What was the talk around town about Montrose, that first album?
• 1:10:46
  Speaker 1: That was an impactuous record. I mean, Lonnie Montrose was,
• 1:10:50
  Speaker 1: he was a very sparse player, but that was a
• 1:10:53
  Speaker 1: goddamn good record. Everybody loved it. It was really the
• 1:10:56
  Speaker 1: closest thing to rock and roll you could get at 75.
• 1:10:59
  Speaker 1: And Andrew Witter, they only come out at night, remember? Yep.
• 1:11:03
  Speaker 1: Rick Derringer is due a lot of credit. Derringer was
• 1:11:07
  Speaker 1: one of the best guitar players out there for a
• 1:11:09
  Speaker 1: time because he went through South Salvador single string studies.
• 1:11:12
  Speaker 1: He had their legitimate chops. And he didn't look like
• 1:11:16
  Speaker 1: that ever really burned him down. But we all played
• 1:11:19
  Speaker 1: Rick Derringer stuff. He was to be respected. I thought
• 1:11:22
  Speaker 1: he was great.
• 1:11:23
  Speaker 3: Yeah, the Lee Van Illen did Rock and Roll Hoochie
• 1:11:25
  Speaker 3: Coo in the clubs.
• 1:11:28
  Speaker 1: Johnny was really a fascination. You know, he would sign
• 1:11:31
  Speaker 1: the biggest record contractor of all time, but he had
• 1:11:32
  Speaker 1: to keep putting Still Alive and Well and Rock and
• 1:11:35
  Speaker 1: Roll Hoochie Coo on every record he did.
• 1:11:37
  Speaker 3: Still Alive and Well, great time.
• 1:11:38
  Speaker 1: John Dawson, when it was a great record, I got
• 1:11:40
  Speaker 1: to play. And he lived in Connecticut. Really?
• 1:11:43
  Speaker 4: Really.
• 1:11:44
  Speaker 1: When he passed away, yeah.
• 1:11:46
  Speaker 3: Oh, I didn't know that.
• 1:11:47
  Speaker 1: Okay. A friend of mine, they live in Fairfield County,
• 1:11:50
  Speaker 1: which is right across, you know, just right next door
• 1:11:53
  Speaker 1: to New York. Yeah. Yeah. Right over to Connecticut. Yeah.
• 1:11:56
  Speaker 1: His dad was a public defender. He said, man, he goes,
• 1:11:59
  Speaker 1: did Johnny Winter live a mile away from him? Oh, okay. And, uh.
• 1:12:02
  Speaker 1: He lived a mile from Stanley Hook.
• 1:12:04
  Speaker 3: Oh my God.
• 1:12:05
  Speaker 2: Yeah.
• 1:12:05
  Speaker 1: Yeah.
• 1:12:05
  Speaker 3: That's right near where I worked at the radio station.
• 1:12:08
  Speaker 3: I-95 was in Danbury. I worked there for many years.
• 1:12:11
  Speaker 1: German, Irish, or Italian? Who, me? Yeah. Oh, I would be....
• 1:12:18
  Speaker 3: Senich is part Ukrainian, Irish, and Italian. My mother's maiden
• 1:12:23
  Speaker 3: name is Mango.
• 1:12:24
  Speaker 1: I'm Ukrainian. My mom's name is Capoletti, and my dad
• 1:12:30
  Speaker 1: was Southern Baptist, so we had a wild household. But
• 1:12:34
  Speaker 1: they all were Italians. My grandfather came over at 23.
• 1:12:38
  Speaker 1: So I'm only two generations out of... I could get
• 1:12:40
  Speaker 1: European citizenship because My grandpa came over and sat at
• 1:12:45
  Speaker 1: Ellis Island for a couple of months. He was the
• 1:12:47
  Speaker 1: master musician. He was a woodwind player. He played the
• 1:12:50
  Speaker 1: Orpheum all the time. Reminds me of a day, the
• 1:12:53
  Speaker 1: most violent gig I ever played was at the Avalon
• 1:12:55
  Speaker 1: in Boston. Oh, yeah. It didn't count. Those people had
• 1:12:58
  Speaker 1: Boston pitchers. Sure. Froggy. So I beat the shit out
• 1:13:02
  Speaker 1: of them because there was about seven girls and 3,000
• 1:13:04
  Speaker 1: guys or something. It wasn't a pretty sight.
• 1:13:07
  Speaker 3: And don't wear a New York Yankees hat in Boston.
• 1:13:09
  Speaker 1: Yes. So when are you a gang? I mean, we
• 1:13:12
  Speaker 1: were all wearing leather. It was like we went back
• 1:13:15
  Speaker 1: in time. Then we played the Theater of Living Arts
• 1:13:17
  Speaker 1: in Pennsylvania, which was kind of cool. But most of
• 1:13:23
  Speaker 1: the gigs we played were like skeds in movie theaters
• 1:13:26
  Speaker 1: and bowling alleys. That's where it was going in 94.
• 1:13:31
  Speaker 1: And I think that Motley Crue, when they had John Karabi,
• 1:13:33
  Speaker 1: I know John well, he said, it just wasn't worth
• 1:13:36
  Speaker 1: going on tour. They were looking at the numbers. The
• 1:13:38
  Speaker 1: math wasn't working.
• 1:13:40
  Speaker 3: And that's a great album. with what he did with
• 1:13:42
  Speaker 3: Motley Crue.
• 1:13:44
  Speaker 1: Everybody had a failing record that year. We got defaulted
• 1:13:47
  Speaker 1: for it because we got bumped from Warner Brothers down
• 1:13:49
  Speaker 1: to Atlantic. That's a death for sure. Yeah.
• 1:13:54
  Speaker 3: Was it Warner Reprise, right? What was the label?
• 1:14:00
  Speaker 1: When Erdogan had it, we put in with Sinatra's company
• 1:14:05
  Speaker 1: with Touchwood and the distribution company cheated the shit out
• 1:14:09
  Speaker 1: of us. We didn't get any money out of it
• 1:14:10
  Speaker 1: at all. It's just It's the music business. You can't,
• 1:14:12
  Speaker 1: I don't want to get upset about it. I mean,
• 1:14:14
  Speaker 1: I remember walking around being all bitter and mad. I thought,
• 1:14:16
  Speaker 1: I'm going to let this get to me. Everybody gets
• 1:14:18
  Speaker 1: ripped off. I think John Fogarty, they really got his ass.
• 1:14:24
  Speaker 1: That's where Vance can't dance, but he'll steal your mug.
• 1:14:26
  Speaker 1: Remember that one? Oh, yeah.
• 1:14:27
  Speaker 3: They said, you stole your own song.
• 1:14:30
  Speaker 1: Yeah.
• 1:14:31
  Speaker 3: Yeah, that was Saul Zantz.
• 1:14:34
  Speaker 1: I was most impressed with Dave's work on DLR Band.
• 1:14:36
  Speaker 1: I really was. He did never, what?
• 1:14:39
  Speaker 3: Yeah, let's talk about that.
• 1:14:40
  Speaker 1: You did good job on that.
• 1:14:41
  Speaker 3: He did. And I'm going to tell you one of
• 1:14:43
  Speaker 3: my favorite, maybe my favorite song that you did with
• 1:14:45
  Speaker 3: Dave is Black Sand. What do you know? What can
• 1:14:49
  Speaker 3: you tell us about that song?
• 1:14:51
  Speaker 1: Well, that was Erwin Musker's production. She got Erwin who
• 1:14:54
  Speaker 1: just did Van Halen. Erwin's done Taco de Vecilla. He's
• 1:14:58
  Speaker 1: done the Scorpions from one record to the first to last.
• 1:15:03
  Speaker 1: And he came in and he was a German, very German.
• 1:15:06
  Speaker 1: So All the 57s turned into Sennheiser 421s. It was
• 1:15:11
  Speaker 1: a really industrial sound. We had Ray Luzier on drums
• 1:15:14
  Speaker 1: who was... Phenomenal. Phenomenal, yeah. This was back when he
• 1:15:19
  Speaker 1: was a skinny little guy. I said, where'd you come from?
• 1:15:21
  Speaker 1: He goes, well, my dad's a farmer. He said, I
• 1:15:23
  Speaker 1: wasn't any good at farming, so I played the drums.
• 1:15:25
  Speaker 1: And he got, as soon as they heard him, he said,
• 1:15:28
  Speaker 1: get this guy. And John Lowry played on it, too.
• 1:15:31
  Speaker 1: He wasn't in the studio when I was there. and
• 1:15:34
  Speaker 1: John had like 51 Telecatchers, and I left my 53
• 1:15:37
  Speaker 1: in there, and he ended up using it. It pissed
• 1:15:39
  Speaker 1: me off. You got 50 Telecatchers. You had to use mine.
• 1:15:42
  Speaker 1: I said, Dave, I told you not to touch my guitars.
• 1:15:44
  Speaker 1: I let it go. It was interesting because Dave was
• 1:15:47
  Speaker 1: trying to intervene on the solo, and Herman Munster goes, look,
• 1:15:51
  Speaker 1: he goes, you, you paid me to produce a record.
• 1:15:54
  Speaker 1: Get out. And Kieran said, you know, we got a
• 1:15:59
  Speaker 1: guy here who's got a bastard degree in harmony. Why
• 1:16:01
  Speaker 1: don't we use him? That would be me. I got
• 1:16:04
  Speaker 1: from CalArts. Erwin got me, and that's the first song
• 1:16:09
  Speaker 1: I ever felt that anybody produced correctly. He completely changed
• 1:16:12
  Speaker 1: the whole song. All the changes. All the parts were there,
• 1:16:16
  Speaker 1: but he rearranged it, kind of tacked it together. He said,
• 1:16:18
  Speaker 1: go home and learn this. I thought, I've got to
• 1:16:20
  Speaker 1: do a good solo for this. And the solo was good,
• 1:16:23
  Speaker 1: but I didn't know what he was going to sing
• 1:16:25
  Speaker 1: to it. What I liked about it, it was just scant.
• 1:16:28
  Speaker 1: My toes on the nose, a bunch of bullshit. He
• 1:16:31
  Speaker 1: really vindicated himself in that first record. Going Places is
• 1:16:34
  Speaker 1: very good, too. We get that ocean and we get
• 1:16:37
  Speaker 1: it royal. And the 12-string guitar and shit. What makes
• 1:16:40
  Speaker 1: me mad is that John 5 got all the credit
• 1:16:42
  Speaker 1: for the hard stuff. I get all the hard stuff.
• 1:16:46
  Speaker 1: Lose the Shoes. It's like that's the album in all
• 1:16:48
  Speaker 1: strip clubs to this day.
• 1:16:50
  Speaker 3: You read my mind. Lose the Dress, Keep the Shoes. Yeah,
• 1:16:54
  Speaker 3: Lose the Dress, Keep the Shoes, man. Great tune.
• 1:16:57
  Speaker 1: Well, the original demo of that thing is badass. Yeah.
• 1:17:00
  Speaker 1: David loved it. I thought, okay, we got that one down.
• 1:17:03
  Speaker 1: And I had a bunch of other songs. We got
• 1:17:05
  Speaker 1: to five of them. John did seven. And I did.
• 1:17:08
  Speaker 1: I got there on weekend with the babysitter and fixed
• 1:17:10
  Speaker 1: that for him. Yes. Before I get that little whispering part.
• 1:17:13
  Speaker 1: The dynamics are cool. John's a great player, but he
• 1:17:17
  Speaker 1: doesn't have 40 years of marination, basically. I can marinate
• 1:17:23
  Speaker 1: a long time. But, you know, I put it in
• 1:17:26
  Speaker 1: the right place. I'm most proud of that as far
• 1:17:28
  Speaker 1: as recording with Dave Black Sam, without a doubt.
• 1:17:30
  Speaker 3: Oh, what a song, man. What a song.
• 1:17:33
  Speaker 1: I wrote when I was 16.
• 1:17:35
  Speaker 3: Wow, okay. Going places.
• 1:17:38
  Speaker 1: The car goes into like a Led Zepp, you know,
• 1:17:40
  Speaker 1: like a trample underfoot. It sounds like something out of
• 1:17:43
  Speaker 1: physical graffiti or something. It was just an obvious, you know,
• 1:17:48
  Speaker 1: Ray Smith, Seventh Down, whatever. I understood music better than
• 1:17:51
  Speaker 1: a lot of guys back then, but I didn't know
• 1:17:53
  Speaker 1: what the hell I was doing. All I knew is
• 1:17:55
  Speaker 1: that major scales sound better in other keys than the
• 1:17:58
  Speaker 1: keys they're supposed to be in, right? You play an
• 1:18:01
  Speaker 1: A major scale in G, G major scale, and you
• 1:18:05
  Speaker 1: do it against A, then you got something. In A,
• 1:18:08
  Speaker 1: it sounds like this guy's doing scales. He's practicing his
• 1:18:11
  Speaker 1: major scales, you know? But it's also, I mean, a
• 1:18:15
  Speaker 1: lot of it, my cousin was a very good player.
• 1:18:17
  Speaker 1: He said, Terry, it's all parlor tricks. It's all parlor.
• 1:18:20
  Speaker 1: To me, it was. The parlor trick was like trying
• 1:18:22
  Speaker 1: to get that lightening Every time you play, you know,
• 1:18:26
  Speaker 1: like you do when you play. Good nights, bad nights,
• 1:18:29
  Speaker 1: if you feel like she's on, then control that. There's
• 1:18:31
  Speaker 1: a full audience, get control of it.
• 1:18:33
  Speaker 3: And there's no explanation behind it, right? It's just when
• 1:18:35
  Speaker 3: you're on, you're on.
• 1:18:36
  Speaker 1: And it's like talking about what you do. I mean,
• 1:18:40
  Speaker 1: what you do for a trade is so automatic. You
• 1:18:42
  Speaker 1: do it so well. You put somebody else in that position,
• 1:18:45
  Speaker 1: they're going to be very uncomfortable. Right.
• 1:18:47
  Speaker 3: But but also I have, I'll have, I'll have interviews
• 1:18:50
  Speaker 3: where I just feel like I'm in a groove, you know,
• 1:18:51
  Speaker 3: like right now, everything's just locked in. Sometimes I'll do
• 1:18:54
  Speaker 3: an interview and it's just not like trying to get
• 1:18:56
  Speaker 3: over with it.
• 1:18:57
  Speaker 1: Understanding what's happening now in music business for some guys
• 1:19:00
  Speaker 1: that do these podcasts, think that there's an industry out there.
• 1:19:03
  Speaker 1: And it blows my mind because everybody raises a big
• 1:19:05
  Speaker 1: fuss about the NAMM show. And you go down there
• 1:19:07
  Speaker 1: and see a bunch of shit you can't afford to buy,
• 1:19:09
  Speaker 1: all that nice mercury stuff and all the recording here.
• 1:19:13
  Speaker 1: And it's a cottage industry on an industry that doesn't
• 1:19:16
  Speaker 1: exist anymore. There's really no way to make any money
• 1:19:20
  Speaker 1: at it anymore. But the companies are not going to.
• 1:19:22
  Speaker 1: Like Zappa said, the old days, you got the old Jews,
• 1:19:24
  Speaker 1: they're smoking cigars. And they said, mother's cookies, just give
• 1:19:28
  Speaker 1: us a foot $ 300, 000, I'd say I'd stick to the wall.
• 1:19:32
  Speaker 1: That's where you got the mother's intervention. Uh, you know,
• 1:19:35
  Speaker 1: all the, a lot guard stuff that was out there, you.
• 1:19:37
  Speaker 3: Know, now record labels have a piece in the touring
• 1:19:43
  Speaker 3: industry because that's the way they're going to make money.
• 1:19:45
  Speaker 3: And let's, unless it's like the stones are bigger, they
• 1:19:49
  Speaker 3: have their own touring company, but basically record labels. They
• 1:19:54
  Speaker 3: they're thinking I'm not going to make money off of albums.
• 1:19:56
  Speaker 3: So we got to get a piece of the tour.
• 1:19:58
  Speaker 1: They turned to spark pimped is what they did.
• 1:20:01
  Speaker 6: Yeah.
• 1:20:01
  Speaker 3: I thought that was interesting.
• 1:20:02
  Speaker 1: They don't put their girls out on the street anymore.
• 1:20:04
  Speaker 1: They say, we could just like Walmart, we can get
• 1:20:06
  Speaker 1: it for you if you need it. Right.
• 1:20:08
  Speaker 3: But do you get a little pissed at musicians where,
• 1:20:13
  Speaker 3: for me, as a music fan, musicians make music and
• 1:20:17
  Speaker 3: some musicians won't make an album because it's like, well,
• 1:20:20
  Speaker 3: why bother? I'm not going to make money off of it.
• 1:20:21
  Speaker 3: But the fans will.
• 1:20:23
  Speaker 1: They don't care about money. You know what? With me,
• 1:20:25
  Speaker 1: it's like they asked an old gold miner, That's, you know, yellow,
• 1:20:29
  Speaker 1: never gets any water. He's out in the desert wandering around.
• 1:20:31
  Speaker 1: He goes, hey, make it a living.
• 1:20:33
  Speaker 3: He never entered into this. It's just what you want
• 1:20:35
  Speaker 3: to do.
• 1:20:35
  Speaker 1: You can do that magic, that lightning going out in
• 1:20:37
  Speaker 1: front of people when you have a fun clam. You
• 1:20:39
  Speaker 1: don't need any money. That's dissatisfying. That's what people want now.
• 1:20:42
  Speaker 1: I mean, that's why the stones still go. I don't
• 1:20:45
  Speaker 1: need the money. They do it because they love it.
• 1:20:48
  Speaker 1: And I love it, but I just, I mean, it's
• 1:20:49
  Speaker 1: such a gauntlet to go through where they start pay
• 1:20:52
  Speaker 1: to play and all that shit. They lost a lot
• 1:20:54
  Speaker 1: of patrons like that.
• 1:20:56
  Speaker 3: Well, that's the question.
• 1:20:57
  Speaker 1: Back in the garages, you know, doing oil changes.
• 1:21:00
  Speaker 3: Right. Well, the radio business changed so much, I had
• 1:21:02
  Speaker 3: to get out. And I loved radio. I dreamt of radio.
• 1:21:05
  Speaker 3: I got an FM radio tattoo.
• 1:21:08
  Speaker 1: Right on.
• 1:21:09
  Speaker 3: But I had to leave the business because I couldn't
• 1:21:12
  Speaker 3: make a living. And that pissed me off. It pissed
• 1:21:15
  Speaker 3: me off. I still to this day, I hate that.
• 1:21:17
  Speaker 3: I got to go to a 9 to 5 job.
• 1:21:19
  Speaker 1: My Wheatstone SP6 from a religious station. And the guy goes, look,
• 1:21:25
  Speaker 1: he goes, you know, God has money problems. We know that.
• 1:21:28
  Speaker 1: He just has always had money problems. He said, I
• 1:21:31
  Speaker 1: can't make a living anymore. He had a huge congregation.
• 1:21:33
  Speaker 1: And I had it shipped out here from New Jersey.
• 1:21:35
  Speaker 1: And I love that. I mean, it was like, it
• 1:21:38
  Speaker 1: was so, so perfect for my use and stuff. And
• 1:21:41
  Speaker 1: everybody's going Pro Tools. They're saying, you know, we could
• 1:21:43
  Speaker 1: do all that in Pro Tools. It never impressed me. No.
• 1:21:46
  Speaker 1: What was it like on tape?
• 1:21:49
  Speaker 3: They have now in the radio business, AI voices, voice
• 1:21:52
  Speaker 3: tracking shifts, complete shifts, and nobody would know the difference,
• 1:21:57
  Speaker 3: which is depressing.
• 1:21:59
  Speaker 1: Oh, yeah. Like when Everett had that United Artists Yuri board,
• 1:22:01
  Speaker 1: Don Landy retired. He died recently. Landy was a genius.
• 1:22:05
  Speaker 1: I mean, he could get the tone out of a toilet.
• 1:22:08
  Speaker 1: And he wired that. He used to work for the
• 1:22:10
  Speaker 1: phone company. Well, what happened is that that was Van
• 1:22:13
  Speaker 1: Halen sound. Don Landy was it. If you take Don
• 1:22:16
  Speaker 1: Landy out of that equation, they'll never sound the same.
• 1:22:19
  Speaker 3: And Little C. And Little C and Doobies, right?
• 1:22:24
  Speaker 1: And then he got rid of the, I saw it
• 1:22:26
  Speaker 1: laying on the side of the, I said, what do
• 1:22:27
  Speaker 1: you got it over here for? He goes, I'm going
• 1:22:29
  Speaker 1: to put an SSL logic in it. I said, oh,
• 1:22:30
  Speaker 1: don't do that. They put a 9000 in there and
• 1:22:34
  Speaker 1: it never was the same. They threw out all the
• 1:22:37
  Speaker 1: micro-volts because they thought they were, it all went bad.
• 1:22:41
  Speaker 1: Did you read the part about the 48-volt thing to
• 1:22:43
  Speaker 1: switch to turn on? Because you want those mics to work.
• 1:22:47
  Speaker 4: Yeah, we record.
• 1:22:48
  Speaker 1: Throw away some huge RCA-45 and stuff like that to
• 1:22:51
  Speaker 1: have a power source.
• 1:22:52
  Speaker 4: But you and I record on analog.
• 1:22:54
  Speaker 1: Oh, yeah. Hybrid. Hybrid, yeah.
• 1:22:57
  Speaker 3: I was about to say, recording on analog.
• 1:23:01
  Speaker 1: But you have to be an egghead, you know?
• 1:23:03
  Speaker 4: Because both of us have that same taste when it
• 1:23:05
  Speaker 4: comes to recording.
• 1:23:06
  Speaker 1: We don't like. You can hear it. I mean, I
• 1:23:08
  Speaker 1: just hear the tape. What it is, is that everything
• 1:23:11
  Speaker 1: is an etching. Those little chips that make the sound
• 1:23:13
  Speaker 1: cards up. They're etchings, very mild. Like this is the
• 1:23:17
  Speaker 1: TLO-72 is probably the most famous etching, right?
• 1:23:21
  Speaker 4: It's an etching.
• 1:23:21
  Speaker 1: I mean, with tape, you've got heads that scrape, you know,
• 1:23:25
  Speaker 1: oxide off and make a real big footprint. And that
• 1:23:29
  Speaker 1: goes to say a lot. Like, you know, Townsend just
• 1:23:32
  Speaker 1: ordered those Mara machines. He's got a 2-inch 8-track. So
• 1:23:36
  Speaker 1: every track has a quarter of an inch. I mean,
• 1:23:38
  Speaker 1: that's nuts, you know? Yeah.
• 1:23:41
  Speaker 3: Yeah, everything's changed so much.
• 1:23:43
  Speaker 1: You have to have a lot of money to play
• 1:23:45
  Speaker 1: Buck Rogers in this thing. You see the labs they have.
• 1:23:48
  Speaker 1: My friend works there. Oh, my God. They've got $ 600, 000
• 1:23:51
  Speaker 1: worth of microphones.
• 1:23:53
  Speaker 4: Yeah, but everybody that I like, they're all doing it
• 1:23:56
  Speaker 4: on pure analog.
• 1:23:57
  Speaker 1: Yeah, well, there's people out there, these kids that, you know,
• 1:24:00
  Speaker 1: go and record records out of that one Apogee thing.
• 1:24:03
  Speaker 1: I can't do that. I just have to get it
• 1:24:06
  Speaker 1: in line. If you've got something going, if you don't
• 1:24:08
  Speaker 1: start a fire with one guitar line and a bass
• 1:24:10
  Speaker 1: and drums, you ain't got nothing to start anyhow.
• 1:24:13
  Speaker 3: The new song, Kilgore's Love Song, tell us about that,
• 1:24:15
  Speaker 3: because there's a great story behind that. How did it
• 1:24:17
  Speaker 3: finally come together? It was unfinished for many years.
• 1:24:20
  Speaker 1: It's a red herring. It's really rough. I had a
• 1:24:23
  Speaker 1: 1904 parlor guitar that just was magical. I never got
• 1:24:27
  Speaker 1: it out of the fire. It was really a Columbia
• 1:24:30
  Speaker 1: parlor that had stood 122 years without being crushed. And
• 1:24:36
  Speaker 1: the guy had steel strings. I said, there's no way
• 1:24:38
  Speaker 1: this had cad gut strings back in 1924. So I
• 1:24:41
  Speaker 1: put nylons on it, and it just got this kelp sound.
• 1:24:44
  Speaker 1: I started recording on my telephone, and I came up
• 1:24:47
  Speaker 1: with this little thing. I said, I tried this, and
• 1:24:48
  Speaker 1: she did something to it, and I thought, interesting. I've
• 1:24:52
  Speaker 1: never heard anything quite like that.
• 1:24:54
  Speaker 6: It's cold inside Lay your body on me Talk to me, darling,
• 1:25:07
  Speaker 6: till I go.
• 1:25:11
  Speaker 2: Yeah, that was around for quite a while, that song.
• 1:25:28
  Speaker 4: That song, the music, with no lyrics for years.
• 1:25:32
  Speaker 1: I don't know what the hell it was. I think
• 1:25:33
  Speaker 1: that's kind of an interesting thing here, you know? I
• 1:25:36
  Speaker 1: like to play a lot of Celt music. I started
• 1:25:39
  Speaker 1: doing that like seven or eight years ago, and I've
• 1:25:40
  Speaker 1: got quite a few songs that are rock, but they
• 1:25:42
  Speaker 1: have a Celtic, not like Blackmore, but it's got a
• 1:25:46
  Speaker 1: little bit more of a storyline, you know, something that, textures,
• 1:25:52
  Speaker 1: I don't know. If it invokes something and makes somebody
• 1:25:56
  Speaker 1: want to sing to it, they're going to try something that's,
• 1:25:58
  Speaker 1: why not try something good, a story? It's almost like
• 1:26:02
  Speaker 1: musical journalism.
• 1:26:04
  Speaker 4: Yeah, and he basically said, take whatever song you like
• 1:26:08
  Speaker 4: and put something down.
• 1:26:11
  Speaker 1: Get a singer and you start talking to them. I
• 1:26:12
  Speaker 1: want you to do that, I want you to do that.
• 1:26:14
  Speaker 1: You turn them into a chimpanzee.
• 1:26:17
  Speaker 4: Well, it's funny because he messaged me on Facebook and...
• 1:26:20
  Speaker 4: And then he goes, I need a songwriter. And you
• 1:26:23
  Speaker 4: asked our friend Gary Putman, our mutual friend, but we
• 1:26:25
  Speaker 4: never knew each other and we hung on the same circle.
• 1:26:28
  Speaker 1: Gary was in Dread Zeppelin. Yeah.
• 1:26:31
  Speaker 4: Gary's on like 85% of both of my albums. He's
• 1:26:35
  Speaker 4: a funny guy. He was so good to me, playing
• 1:26:39
  Speaker 4: on everything, gigging with me.
• 1:26:40
  Speaker 1: Me and Gary and Mike Fowler played at the Van
• 1:26:43
  Speaker 1: Halen book party that Greg Reynolds threw, right? Yeah. And
• 1:26:47
  Speaker 1: when Gary jumps out on that, he jumps on the
• 1:26:49
  Speaker 1: dance floor at this pace and says, here we go.
• 1:26:51
  Speaker 1: I don't know where it's going to go.
• 1:26:53
  Speaker 4: Me being in the studio with him, he was, he
• 1:26:56
  Speaker 4: didn't go wild, you know, because Gary will go off
• 1:26:58
  Speaker 4: on a tangent playing guitar and you're just like, whoop,
• 1:27:00
  Speaker 4: there he goes. You know, like Terry Seam.
• 1:27:02
  Speaker 1: But, you know, I can't play the clubs he plays.
• 1:27:04
  Speaker 1: He plays these goddamn clubs that are funny people.
• 1:27:07
  Speaker 4: Gary will play most.
• 1:27:08
  Speaker 1: He plays a lot of gigs. The more gigs you play,
• 1:27:10
  Speaker 1: the less people are going to start to lose attention.
• 1:27:13
  Speaker 4: And the other thought.
• 1:27:14
  Speaker 1: You can overplay yourself in this town.
• 1:27:15
  Speaker 4: But the other thought is that he's keeping his chops up,
• 1:27:19
  Speaker 4: you know? So that's how I see it. Because I'll
• 1:27:22
  Speaker 4: go downtown, Sierra Madre, and then I pop in the
• 1:27:25
  Speaker 4: local bar because I'm a runner.
• 1:27:26
  Speaker 1: That's where all the players are now, in the local bar.
• 1:27:30
  Speaker 4: But it used to be.
• 1:27:32
  Speaker 1: Like there was a gathering place like the FM station,
• 1:27:35
  Speaker 1: Freddie McNulty joint, or the Viper Room. And it just
• 1:27:39
  Speaker 1: slowly got phased out. It was just too much. A
• 1:27:41
  Speaker 1: lightning strike.
• 1:27:42
  Speaker 4: Come back around.
• 1:27:43
  Speaker 1: A lot of bands played at Lucky Strike, and now
• 1:27:45
  Speaker 1: they're playing down at Mozambique. There's a lot more work
• 1:27:49
  Speaker 1: in Orange County.
• 1:27:50
  Speaker 4: Yeah.
• 1:27:50
  Speaker 1: But it's factory work, basically.
• 1:27:54
  Speaker 4: I feel like everything's cyclical, you know, and it'll come back.
• 1:27:56
  Speaker 1: If I'm receiving a tribute, I'd never do it again.
• 1:27:59
  Speaker 4: Well, you're not going to be.
• 1:28:00
  Speaker 1: No, I'm saying I couldn't do that.
• 1:28:01
  Speaker 3: You're going to do your thing, man.
• 1:28:03
  Speaker 2: Yeah.
• 1:28:03
  Speaker 1: People are playing a rigid music out there.
• 1:28:05
  Speaker 4: And my friend, Artie Saroff, he's in the Fab Four.
• 1:28:08
  Speaker 4: So when I asked him to do backup on my
• 1:28:11
  Speaker 4: second album, I think it was, my first album, too,
• 1:28:14
  Speaker 4: it's like having Paul McCartney in the album. Yeah, Fab Four, yeah.
• 1:28:17
  Speaker 3: The Fab Four.
• 1:28:22
  Speaker 1: Well, I don't know.
• 1:28:24
  Speaker 4: I mean, I think some of them choose.
• 1:28:26
  Speaker 1: Well, when you go out and tour like that, and
• 1:28:27
  Speaker 1: you realize I went out and toured my own group
• 1:28:29
  Speaker 1: for a couple of years, I thought we could get
• 1:28:31
  Speaker 1: locked in the Automobile World District of North America and
• 1:28:34
  Speaker 1: never come back.
• 1:28:35
  Speaker 4: But you know, I asked Artie one time, I said-
• 1:28:36
  Speaker 4: You're out that door.
• 1:28:37
  Speaker 1: You're going to have to come back with your own money,
• 1:28:39
  Speaker 1: but you may be able to gig all the way
• 1:28:41
  Speaker 1: through it.
• 1:28:41
  Speaker 4: But I said to Artie, do you like playing, you know,
• 1:28:44
  Speaker 4: in the tribute band? And he goes, yeah.
• 1:28:48
  Speaker 1: He's sick of it.
• 1:28:50
  Speaker 4: And he goes, until I think of having a desk
• 1:28:53
  Speaker 4: job that I don't like. You know, nothing against desk jobs.
• 1:28:56
  Speaker 4: I have one at Yale for years. But he's Well,
• 1:28:59
  Speaker 4: I figure, you know, that would be some... There's only
• 1:29:02
  Speaker 4: guys like, you know, guys I've been listening to lately.
• 1:29:03
  Speaker 4: I love Joe Bonamassa because he's got the right psychology.
• 1:29:07
  Speaker 4: And he got real pissed off at me because I
• 1:29:09
  Speaker 4: go to the same guitar tech and I didn't recognize him.
• 1:29:11
  Speaker 1: He looks like the right... I don't know who the
• 1:29:12
  Speaker 1: hell he was. But I have a lot of respect
• 1:29:15
  Speaker 1: for him. And Eric Gales, I love the way he plays.
• 1:29:17
  Speaker 1: I mean, he's just got that kind of a spiritual zen...
• 1:29:22
  Speaker 1: quality of the magic you know what I mean yeah
• 1:29:24
  Speaker 1: and when.
• 1:29:24
  Speaker 4: You and I are finishing the album though there's gonna
• 1:29:27
  Speaker 4: be a lot like that love song is one unique
• 1:29:31
  Speaker 4: song that I just.
• 1:29:32
  Speaker 1: I told her I couldn't play it yeah I don't
• 1:29:34
  Speaker 1: know what the hell I did can't figure out the.
• 1:29:36
  Speaker 4: Mistakes that I picked that song you go of all
• 1:29:39
  Speaker 4: the songs they gave you you pick the one that
• 1:29:40
  Speaker 4: I never thought anybody would write a lyric to you know.
• 1:29:43
  Speaker 1: But thank God I want to get other people on
• 1:29:45
  Speaker 1: this thing because the way they think, you know?
• 1:29:48
  Speaker 4: Yeah, and I actually did sing that one in the bathtub.
• 1:29:51
  Speaker 4: I write lyrics real quick.
• 1:29:53
  Speaker 7: Baby, I'm gonna run Run to that man at the.
• 1:30:04
  Speaker 2: Top of his boat And I'm gonna.
• 1:30:06
  Speaker 7: Run, yeah To that man, Lord I want to run
• 1:30:19
  Speaker 7: to that.
• 1:30:20
  Speaker 2: Man at the.
• 1:30:24
  Speaker 3: Top of his room.
• 1:30:26
  Speaker 7: Guitar solo.
• 1:30:44
  Speaker 3: Was the plan all along to put together a whole album?
• 1:30:47
  Speaker 3: Or did that one song kind of instill?
• 1:30:49
  Speaker 1: I have an album of material, but you know what?
• 1:30:51
  Speaker 1: Unless I'm going to do a solo style record or
• 1:30:54
  Speaker 1: guitar record, I expect some guitar on there.
• 1:30:56
  Speaker 3: And lyrics.
• 1:30:57
  Speaker 1: And given the situation as it was, I've just now
• 1:31:00
  Speaker 1: acquired all the gear that I could pull that off with.
• 1:31:02
  Speaker 1: Because remember, I lost my whole, all my preamble and
• 1:31:07
  Speaker 1: stuff that I was accustomed to using. and it's a
• 1:31:10
  Speaker 1: hell of a far back away when you have 1073
• 1:31:13
  Speaker 1: Brett Admirals, and they're gone, and you're trying to do
• 1:31:17
  Speaker 1: something with the ART Pre-App. I mean, it's just you
• 1:31:20
  Speaker 1: have to rely on other factors. You know what I mean?
• 1:31:24
  Speaker 1: There's also beautiful hardware, but if you can't play, it
• 1:31:27
  Speaker 1: works shit. You have to have everything going at once,
• 1:31:32
  Speaker 1: and a lot of the people that have money would
• 1:31:34
  Speaker 1: rather have somebody else record it, and I go, if
• 1:31:36
  Speaker 1: you have money and luxury of time, I'm going to
• 1:31:38
  Speaker 1: do it. Yeah. And then you get addicts.
• 1:31:40
  Speaker 4: You and I do a mix. So we'll do recordings
• 1:31:43
  Speaker 4: in the house. The love song, I was practicing the
• 1:31:46
  Speaker 4: song and I ended up... just doing a sample, I
• 1:31:49
  Speaker 4: wasn't in bathtub and I'm sampling it. We brought it
• 1:31:52
  Speaker 4: in the studio and used that vocal. And then I
• 1:31:55
  Speaker 4: doubled it a little bit in certain spots because just
• 1:32:00
  Speaker 4: to clean it up, because, you know, when you have
• 1:32:02
  Speaker 4: the trap with the music on it, you can't separate.
• 1:32:05
  Speaker 4: And sometimes you need the vocals up, you know what
• 1:32:07
  Speaker 4: I mean? So if it wasn't working, then I would
• 1:32:09
  Speaker 4: double it. And then we'd use kind of a mix
• 1:32:12
  Speaker 4: of both interchange, but I, 90% of that song was
• 1:32:15
  Speaker 4: done in the bathtub.
• 1:32:16
  Speaker 1: Chuck Colbert said it poetically at Tampa Records. He goes,
• 1:32:20
  Speaker 1: you're like a missing link or something. You're like something
• 1:32:23
  Speaker 1: we should have heard that we didn't hear a long
• 1:32:25
  Speaker 1: time ago that you fill a hole that nobody, I've
• 1:32:28
  Speaker 1: heard fill like that.
• 1:32:29
  Speaker 4: Yeah, and that's how it was for me when I
• 1:32:31
  Speaker 4: met you.
• 1:32:31
  Speaker 1: It's very cryptic. It's not like intentionally done. Yeah. It's like,
• 1:32:35
  Speaker 1: I remember this vibe from when I was a kid. Yeah.
• 1:32:38
  Speaker 1: I wrote a song about, you know, I like repetitive lines.
• 1:32:40
  Speaker 1: Like if you're going to, do a guitar line. I
• 1:32:43
  Speaker 1: like one that reciprocates and one that modulates around it
• 1:32:46
  Speaker 1: because of my education. I had an education in harmony.
• 1:32:49
  Speaker 1: I understand how to use it. But really, I think
• 1:32:52
  Speaker 1: that people come out of dead stock with no schooling
• 1:32:54
  Speaker 1: at all and come up with the same kind of
• 1:32:56
  Speaker 1: shit all the time.
• 1:32:57
  Speaker 4: Well, I didn't, I'm not trained either.
• 1:32:59
  Speaker 1: I had a guy that come to me when I
• 1:33:00
  Speaker 1: was giving guitar lessons that he had a hundred songs
• 1:33:03
  Speaker 1: he put together out of seven chords that he knew
• 1:33:06
  Speaker 1: and none of it was bad. You just go, wow,
• 1:33:08
  Speaker 1: this guy's got talent.
• 1:33:09
  Speaker 4: But when I met you, with your sound, because I
• 1:33:11
  Speaker 4: didn't really know who he was.
• 1:33:13
  Speaker 1: I feel, you know. Nobody knows who I am. I'm volunteer.
• 1:33:17
  Speaker 1: I don't.
• 1:33:18
  Speaker 3: I know who he is.
• 1:33:19
  Speaker 4: See, Gary invited me down to the.
• 1:33:21
  Speaker 1: I have a lot of friends back east, too.
• 1:33:23
  Speaker 4: Yeah. And Gary invited me down to the local bar,
• 1:33:25
  Speaker 4: and I brought my son, and then he was playing,
• 1:33:28
  Speaker 4: and that's how we met. And then, but when I
• 1:33:31
  Speaker 4: heard his swampy slide.
• 1:33:33
  Speaker 1: I remember he asked us in Italian when I looked
• 1:33:34
  Speaker 1: at you. I was like, you're plump. anywhere near Federal Hill.
• 1:33:38
  Speaker 1: I mean, it's funny because John Reagan told me that
• 1:33:41
  Speaker 1: they changed their name to an Irish name because the
• 1:33:43
  Speaker 1: Irish cops were beating the shit out of his dad
• 1:33:45
  Speaker 1: all the time. He really, his Kalini. And my grandma,
• 1:33:50
  Speaker 1: there's so many of my relatives back east and a
• 1:33:52
  Speaker 1: lot of them are not. The Morolos are like the
• 1:33:57
  Speaker 1: horrible Jennas out of Chicago.
• 1:33:59
  Speaker 3: Are they not to be messed with?
• 1:34:00
  Speaker 1: Yeah.
• 1:34:01
  Speaker 3: Well, I mean, just as a huge David Lee fan, I,
• 1:34:05
  Speaker 3: Sure know who you are. I went out and bought
• 1:34:07
  Speaker 3: the album, the CD, when I was in my senior
• 1:34:10
  Speaker 3: year in college, went to the nearest record store. The
• 1:34:13
  Speaker 3: girl down.
• 1:34:13
  Speaker 1: The street goes, my brother is a big fan of yours.
• 1:34:15
  Speaker 1: And I'm thinking, I have a lot of popular people
• 1:34:20
  Speaker 1: back east that like me. And I think it was
• 1:34:22
  Speaker 1: more like they embraced me because I was like one
• 1:34:24
  Speaker 1: of them. I walked through red lights in New York.
• 1:34:26
  Speaker 1: I don't stop. I just don't walk.
• 1:34:30
  Speaker 3: What's the Waylon Jennings story?
• 1:34:32
  Speaker 1: Cover.
• 1:34:32
  Speaker 4: Oh, that's funny, yeah. So I, being a 1970 country... Yeah,
• 1:34:38
  Speaker 4: I talk about it all the time. So I, as
• 1:34:40
  Speaker 4: soon as I met him, I'm like, oh, he kind
• 1:34:42
  Speaker 4: of reminds me of Waylon Jennings, the way he looks. Yeah,
• 1:34:44
  Speaker 4: you're right. His voice.
• 1:34:46
  Speaker 1: Just not that much of a philanderer. It was bad
• 1:34:52
  Speaker 1: from the very beginning. I mean, when you get good
• 1:34:55
  Speaker 1: to Buddy, all he goes, I hope you guys crash.
• 1:34:58
  Speaker 3: That's a story, yeah. He felt terrible about that.
• 1:35:03
  Speaker 4: Felt terrible. But the point is, yeah, so.
• 1:35:05
  Speaker 1: They all threw that same banana that killed all those people.
• 1:35:08
  Speaker 4: But there's a song called So Good.
• 1:35:09
  Speaker 1: That killed everybody.
• 1:35:11
  Speaker 2: Yeah.
• 1:35:11
  Speaker 4: And I, so I made it a duet. So I
• 1:35:14
  Speaker 4: inserted my voice and then I'm hoping that Terry will
• 1:35:19
  Speaker 4: sing it and play on it. And I'd love for
• 1:35:21
  Speaker 4: you to play.
• 1:35:21
  Speaker 1: It's a parlor trick. It's a duet. It's a parlor trick.
• 1:35:24
  Speaker 1: The thing is, I know all this corny music stuff.
• 1:35:27
  Speaker 1: That's all the corny.
• 1:35:28
  Speaker 4: That's corny, but he does.
• 1:35:29
  Speaker 1: You know, Boney Fingers. It's an early 70s country.
• 1:35:32
  Speaker 4: Eclectic music.
• 1:35:35
  Speaker 1: But then, you know, the new country, I mean, I
• 1:35:36
  Speaker 1: love Danny Gatton's stuff. I love, you know, they're all
• 1:35:40
  Speaker 1: great players.
• 1:35:41
  Speaker 4: Yeah, and I like old school. I like George Jones.
• 1:35:43
  Speaker 1: You know, we discovered Jerry Reed a few years back.
• 1:35:46
  Speaker 1: I thought, my God, I didn't know a guy who
• 1:35:47
  Speaker 1: was such a great guitar player.
• 1:35:48
  Speaker 4: Yeah.
• 1:35:49
  Speaker 3: Fabulous.
• 1:35:49
  Speaker 7: Yeah.
• 1:35:50
  Speaker 1: Economic hands you've ever seen, just the bare minimum to
• 1:35:53
  Speaker 1: get the sound and the controls, like, fuck, unbelievable.
• 1:35:57
  Speaker 4: So if that song gets on the album, it's already tracked,
• 1:36:00
  Speaker 4: but if Terry ends up playing on it, which I'm hoping,
• 1:36:03
  Speaker 4: because we get busy, you know, that would be a
• 1:36:06
  Speaker 4: gift to me.
• 1:36:09
  Speaker 3: Do you know when the album will be out? Isn't
• 1:36:11
  Speaker 3: it September? I thought that, wasn't that?
• 1:36:13
  Speaker 1: It would be like September.
• 1:36:15
  Speaker 4: Well, see, I'm going to New York for a bit.
• 1:36:17
  Speaker 1: I can't live without it if I don't like what
• 1:36:19
  Speaker 1: I hear. I won't go anywhere. I do.
• 1:36:22
  Speaker 4: If I go in myself, I bring home and then
• 1:36:25
  Speaker 4: I send.
• 1:36:25
  Speaker 1: It to him. I've aged enough songs where I know
• 1:36:29
  Speaker 1: that if this thing stands up and it was four
• 1:36:31
  Speaker 1: years old, I'll do it. Yeah.
• 1:36:33
  Speaker 4: But I would love for him to take the last
• 1:36:36
  Speaker 4: one we did. What was it called? The last one
• 1:36:40
  Speaker 4: we did? I don't know what we're just working on.
• 1:36:43
  Speaker 4: Not Back to Eve.
• 1:36:44
  Speaker 1: Oh, Crying Shame.
• 1:36:45
  Speaker 4: Crying Shame, yeah. Maybe you could be the one to
• 1:36:48
  Speaker 4: release it for us.
• 1:36:50
  Speaker 3: Well, you know, I want to play, I would be
• 1:36:53
  Speaker 3: happy to do that and Killgore's Love Song, play a
• 1:36:55
  Speaker 3: clip of it, and hopefully they don't pull it down
• 1:36:57
  Speaker 3: on YouTube. That's the thing that drives me insane. Well,
• 1:37:02
  Speaker 3: if they do, I'll let you know and I'll dispute it.
• 1:37:04
  Speaker 4: Yeah, there's no way they could because that's, nobody owns
• 1:37:08
  Speaker 4: the console.
• 1:37:08
  Speaker 1: The way I look at it, if somebody steals something
• 1:37:10
  Speaker 1: and they liked it that much and they're playing it,
• 1:37:13
  Speaker 1: you have it.
• 1:37:14
  Speaker 4: Right.
• 1:37:16
  Speaker 1: They can de-exploit it until you get to a certain point.
• 1:37:18
  Speaker 4: You can play it, but we're certainly not going to.
• 1:37:20
  Speaker 1: Music's a gift. I mean, you can like, look at
• 1:37:22
  Speaker 1: how long I'm going to be around and how long
• 1:37:24
  Speaker 1: I want to have the same energy because you get, like, look,
• 1:37:28
  Speaker 1: if it's not working, like, Snuffy was one of my
• 1:37:30
  Speaker 1: favorite guitar players in the world. He said, just wasn't
• 1:37:32
  Speaker 1: making any money. He had to go to doing film,
• 1:37:35
  Speaker 1: but he still plays. The guy who's doing shit in 1973,
• 1:37:39
  Speaker 1: they still are now catching up with.
• 1:37:41
  Speaker 2: Yeah.
• 1:37:41
  Speaker 4: And see me, I've never made any money playing music.
• 1:37:44
  Speaker 4: And I'm okay, though.
• 1:37:47
  Speaker 1: That's how everybody is before they make anything into business.
• 1:37:49
  Speaker 1: And I'd rather be like, you know, I would have
• 1:37:54
  Speaker 1: much rather gone to work for John Waite than David
• 1:37:56
  Speaker 1: Lee Robb because he's more of a serious. looking for songs,
• 1:37:59
  Speaker 1: but the guys that aim for those shits like that,
• 1:38:02
  Speaker 1: it's a shooting gallery. You know what I mean? It's
• 1:38:05
  Speaker 1: like Graham Bond. It's a shooting gallery. You're going to
• 1:38:07
  Speaker 1: be doing.
• 1:38:07
  Speaker 3: The moving target.
• 1:38:09
  Speaker 2: Yes.
• 1:38:10
  Speaker 1: Everybody's ears are moving targets. I mean, it's like Oh,
• 1:38:14
  Speaker 1: that's the best sounding amp I've ever heard. Next week,
• 1:38:16
  Speaker 1: they're going to talk about, this is the best sounding
• 1:38:18
  Speaker 1: amp I've ever heard.
• 1:38:19
  Speaker 4: It's funny to see what you play on now, because
• 1:38:22
  Speaker 4: in comparison to what you grew up on, the Marshalls
• 1:38:24
  Speaker 4: and all that, now you're playing on.
• 1:38:25
  Speaker 1: Well, that's the thing.
• 1:38:26
  Speaker 4: We know everything.
• 1:38:27
  Speaker 1: I can build you a Super League now, but we
• 1:38:29
  Speaker 1: knew everything about them. We didn't know shit about them.
• 1:38:31
  Speaker 4: He built my son a guitar, which is so cool.
• 1:38:34
  Speaker 1: We didn't know anything about music at all. Ed had
• 1:38:37
  Speaker 1: the bicycle paint. Ed had that $ 140 Charvel. And that
• 1:38:42
  Speaker 1: thing changed. And a lot of guys were putting humbuckies
• 1:38:44
  Speaker 1: and Stratocasters and Telecasters back then.
• 1:38:47
  Speaker 3: Did you go to that house that he lived in,
• 1:38:49
  Speaker 3: that little house that's still there?
• 1:38:50
  Speaker 4: Yeah, it's still there. Apparently, it looks exactly the same.
• 1:38:55
  Speaker 1: It's like off an alleyway off of Las Lunas, which
• 1:38:58
  Speaker 1: is like lower middle class. It was. I'm really looking
• 1:39:04
  Speaker 1: for more money than that. I was broke. We lived
• 1:39:07
  Speaker 1: in Eaton Canyon. We were monitoring each other constantly because
• 1:39:12
  Speaker 1: I kept him on his toes and he really kept
• 1:39:15
  Speaker 1: me on mine because he was hard guy to beat, Pace,
• 1:39:18
  Speaker 1: they were always in charge. But, you know, there was
• 1:39:21
  Speaker 1: a room enough for other people as long as you
• 1:39:23
  Speaker 1: didn't play like him. You had to play kind of
• 1:39:26
  Speaker 1: like it, you know, the same kind of, but a
• 1:39:28
  Speaker 1: lot of guitar players were developing styles. Gary, Carl Hassett,
• 1:39:32
  Speaker 1: they all were good players. We all kind of came
• 1:39:34
  Speaker 1: into the same thing. We listened to the English guys
• 1:39:36
  Speaker 1: and played blues licks. Then we heard Jimmy Page and
• 1:39:39
  Speaker 1: Jeff Beck and blow-by-blow changed me. I thought, well, I'm
• 1:39:43
  Speaker 1: in tremendous stuff. You know what I mean? Only Jeff
• 1:39:46
  Speaker 1: Beck can pull that off.
• 1:39:47
  Speaker 3: I just interviewed Brad Talinsky and Chris Gill, who wrote
• 1:39:50
  Speaker 3: that great book on Eddie, and they just wrote a
• 1:39:51
  Speaker 3: book on Jeff Beck. And it's a fabulous book.
• 1:39:54
  Speaker 1: You know, like Rob Grange and Derek St. Combs. You're
• 1:39:59
  Speaker 1: a Boogers fan, right?
• 1:40:00
  Speaker 3: Stranglehold, these things are.
• 1:40:02
  Speaker 1: They went through the same shit. I mean, with Derek St. Combs,
• 1:40:05
  Speaker 1: they did all the goddamn work there. Kev just took
• 1:40:07
  Speaker 1: a lot. That's basically what happened. And so, you know,
• 1:40:10
  Speaker 1: those guys, I co-write with them for Brad Whitford, the
• 1:40:14
  Speaker 1: Aerosmith Bucks, because they have their own projects.
• 1:40:17
  Speaker 3: Whitford Holmes, I think, was in that band.
• 1:40:21
  Speaker 1: Yeah, they had a cool, they used one of my tunes. Yeah.
• 1:40:25
  Speaker 1: You know, I had some good, if I hear something
• 1:40:27
  Speaker 1: somebody's playing, I go, okay, I'm going to do something
• 1:40:30
  Speaker 1: like that too, but I'll do it a little differently,
• 1:40:31
  Speaker 1: you know. That was hard to go see what we
• 1:40:35
  Speaker 1: would come up with. I'd be real quiet. You wouldn't
• 1:40:37
  Speaker 1: hear me for a week. I'd be playing the song.
• 1:40:39
  Speaker 1: I'd go, where'd you pick that?
• 1:40:41
  Speaker 4: How'd you pick that up?
• 1:40:43
  Speaker 1: It was competitive, but it was a friendly way.
• 1:40:46
  Speaker 3: As a fan, I miss when he passed. It was like,
• 1:40:50
  Speaker 3: that's it. There's no more hope and possibility than another
• 1:40:54
  Speaker 3: Van Halen.
• 1:40:55
  Speaker 1: I remember all the good times we had, how close
• 1:40:58
  Speaker 1: we were. And then I remember him, his son said
• 1:41:01
  Speaker 1: when he, I always told him, Ed, don't drive motorcycles.
• 1:41:05
  Speaker 1: You haven't got the temperament for it. You will die.
• 1:41:07
  Speaker 1: You got to drive a motorcycle like you drive a car,
• 1:41:08
  Speaker 1: you'll be all right. Drove him like he drove a motorcycle.
• 1:41:11
  Speaker 1: And when he cracked his head off, they did a
• 1:41:14
  Speaker 1: CAT scan and saw that tumor the size of a
• 1:41:16
  Speaker 1: lemon in his head. He got his spine. He died
• 1:41:20
  Speaker 1: very painfully. I know.
• 1:41:22
  Speaker 3: I heard that's what Ted Templeman said.
• 1:41:24
  Speaker 1: Well, I saw him, you know, when you grow up
• 1:41:27
  Speaker 1: with somebody like that, you see them And they're young
• 1:41:29
  Speaker 1: and they're strong. I mean, he pushed the outside of
• 1:41:32
  Speaker 1: the envelope a little harder than me. He thought I
• 1:41:35
  Speaker 1: was the heavier drinker. I thought, hell no, I just
• 1:41:37
  Speaker 1: don't drink all that beer. I can't hold it. But
• 1:41:39
  Speaker 1: then he went straight to vodka. Addictions are progressive and
• 1:41:44
  Speaker 1: they get the better of you. He looked like Gollum
• 1:41:48
  Speaker 1: for a while. He looked really kind of out of
• 1:41:53
  Speaker 1: his tree.
• 1:41:55
  Speaker 3: Yeah, that was wild. It was a dark time.
• 1:41:59
  Speaker 1: He used to use that Marshall amp. He had a
• 1:42:00
  Speaker 1: Marshall and a couple little effects that are great. And
• 1:42:02
  Speaker 1: he always said he had this Bradshaw, it was as
• 1:42:04
  Speaker 1: big as a Sub-Zero refrigerator. It had 26 racks. I
• 1:42:09
  Speaker 1: don't know what the hell it was. The guitar inside,
• 1:42:12
  Speaker 1: it looked like a big monster.
• 1:42:14
  Speaker 3: Yeah, the sound of his guitar, nothing fills me up more, man.
• 1:42:19
  Speaker 3: It's like just.
• 1:42:20
  Speaker 1: My people knew when I got rid of my 50,
• 1:42:23
  Speaker 1: my black flags, I had two black flags, 50 watts.
• 1:42:26
  Speaker 1: And Black Clags were like, before Jim Marshall and Teresa
• 1:42:29
  Speaker 1: were divorced, it was Jim and Teresa Marshall. Well, he
• 1:42:32
  Speaker 1: wanted her out, and they went to JMP, Jim Marshall Productions.
• 1:42:36
  Speaker 1: But the Black Clags were special amplifiers. They worked about $ 10, 000
• 1:42:40
  Speaker 1: a piece. I sold them off because I got sick
• 1:42:42
  Speaker 1: of the sound. And my fans told me, you don't
• 1:42:46
  Speaker 1: have the same sound you used to have when you
• 1:42:48
  Speaker 1: were a faggot. And then I got it back with Randall's.
• 1:42:51
  Speaker 1: I'm getting Pantera. We started using the Randall stuff because
• 1:42:54
  Speaker 1: I was touring The South Sea. He couldn't use a
• 1:42:56
  Speaker 1: tube amp. I couldn't have the budget to run tube
• 1:42:59
  Speaker 1: amps 12 hours a day because I couldn't do it.
• 1:43:02
  Speaker 1: We played Singapore, all the military bases. That was the
• 1:43:05
  Speaker 1: only thing you could get. You paid $ 1, 500 a week. And, man,
• 1:43:08
  Speaker 1: it was tough. It was rough stuff. You go on
• 1:43:11
  Speaker 1: those islands where the military is, everything rough in one day.
• 1:43:16
  Speaker 1: There's a big pile of bicycles that are all covered
• 1:43:18
  Speaker 1: in brush. Everybody beats bicycles. We've been on Tirabati. I mean,
• 1:43:22
  Speaker 1: I've been on all the Gilbert Islands, the Solomons. Because
• 1:43:26
  Speaker 1: we still have bases out there everywhere. They're AW reservations.
• 1:43:30
  Speaker 1: So the guys that go there, they go in for
• 1:43:32
  Speaker 1: a six-month stay and they're going, oh, we're going to
• 1:43:34
  Speaker 1: be here. It's an atoll that's maybe a mile long
• 1:43:37
  Speaker 1: and 900 yards wide or something. And a half a
• 1:43:41
  Speaker 1: million people live on it. You know, that's what the
• 1:43:44
  Speaker 1: South Seas tours were about. But that's the only money
• 1:43:46
  Speaker 1: we could make in the 80s. Everybody had everything locked up.
• 1:43:50
  Speaker 1: Every van looked the same. They all looked like poisoned or.
• 1:43:53
  Speaker 3: Oh, God, yeah.
• 1:43:54
  Speaker 1: Remember that? Oh, yeah.
• 1:43:55
  Speaker 3: Yeah, I sure do. I was in high school.
• 1:43:58
  Speaker 1: Yeah, man.
• 1:43:58
  Speaker 3: Warrant, winger.
• 1:43:59
  Speaker 1: I got mad at someone. I said, you guys are
• 1:44:01
  Speaker 1: going to be back in Pomona doing oil changes by
• 1:44:04
  Speaker 1: the 90s. And I was right, because the only thing
• 1:44:06
  Speaker 1: that was really... I got picked up because I dressed
• 1:44:09
  Speaker 1: in a black suit with no collars, like a starving
• 1:44:12
  Speaker 1: blues musician. That's what I was, basically.
• 1:44:15
  Speaker 3: And Eddie used to say, don't blame me. Because everyone
• 1:44:17
  Speaker 3: was like, oh, you inspired all these bands, these copycat bands.
• 1:44:21
  Speaker 3: He's like, I didn't do it on purpose. Let's just
• 1:44:23
  Speaker 3: play and.
• 1:44:24
  Speaker 1: Just playing the way I play. Just playing the way
• 1:44:28
  Speaker 1: I play. I just couldn't imagine taking their set because
• 1:44:32
  Speaker 1: it's like, you know, I wasn't a big fan of
• 1:44:34
  Speaker 1: their music because I hadn't heard it so many times.
• 1:44:36
  Speaker 1: I mean, I can listen to the record and see
• 1:44:39
  Speaker 1: where he's flying. I know exactly how he played. We
• 1:44:42
  Speaker 1: used to laugh because I played up like this because
• 1:44:44
  Speaker 1: I had a steel plate in my arm. So I
• 1:44:47
  Speaker 1: kind of go at it differently what I pick for
• 1:44:49
  Speaker 1: Don Epps. And Ed played like this. Right. Oh, it
• 1:44:54
  Speaker 1: was never an easy. Yeah, exactly. But he was, you know,
• 1:44:58
  Speaker 1: I think that he was just a constant musician. When
• 1:45:02
  Speaker 1: Al talked about it, he said, you know, Ed was
• 1:45:04
  Speaker 1: definitely the cornerstone of that group, I mean. And Dave
• 1:45:09
  Speaker 1: bought it in on that. You know, that was the
• 1:45:10
  Speaker 1: only money going out of town because there was other bands.
• 1:45:13
  Speaker 1: But Ed just, he beat them down bad because they
• 1:45:16
  Speaker 1: had the work ethic. Alex was instrumental in that because
• 1:45:19
  Speaker 1: he was the oldest and he was the biggest. And
• 1:45:22
  Speaker 1: to argue with Al, you beat the shit out of him.
• 1:45:24
  Speaker 1: You've got to get his way. I mean, he ran that.
• 1:45:27
  Speaker 3: That's what I love. They didn't rely on talent. They
• 1:45:31
  Speaker 3: just worked their ass off. They didn't just expect things
• 1:45:33
  Speaker 3: to come to them because Eddie was so good.
• 1:45:35
  Speaker 1: They didn't make their money like that. I mean, it's
• 1:45:37
  Speaker 1: like he utilized every– they were made about $ 100 a week,
• 1:45:41
  Speaker 1: which in those days was about as much as a
• 1:45:43
  Speaker 1: kid could make on any job. If you got paid–
• 1:45:47
  Speaker 1: if my dad was a police sergeant, you got paid $ 1, 000
• 1:45:49
  Speaker 1: a month. Now they get paid $ 130, 000. It's a different world, man.
• 1:45:54
  Speaker 1: It really is. We're growing up in a 20s economic system,
• 1:45:58
  Speaker 1: watching it go through the ceiling six times. I mean,
• 1:46:01
  Speaker 1: my parents were alive. They'd just go, what the hell?
• 1:46:04
  Speaker 1: Did he kill or what?
• 1:46:06
  Speaker 4: And Terry got a plate in his arm because he
• 1:46:08
  Speaker 4: was in an auto accident.
• 1:46:10
  Speaker 1: Oh, I didn't know that.
• 1:46:11
  Speaker 3: When you were a kid, okay.
• 1:46:13
  Speaker 1: Compound fracture of the humerus.
• 1:46:14
  Speaker 4: Yeah, we were driving in a.
• 1:46:16
  Speaker 1: There was only about two bunches of technology they had
• 1:46:18
  Speaker 1: to fuse bone again. They couldn't do it.
• 1:46:20
  Speaker 4: And I'm driving with him, and he goes, oh, there,
• 1:46:23
  Speaker 4: see that tree right there, that big gouge in the tree?
• 1:46:25
  Speaker 4: He says, oh, I did that. I knew it was
• 1:46:29
  Speaker 4: in the accident, but I didn't know it was right there.
• 1:46:31
  Speaker 1: The scourge of World War II osteomyelitis, which means if
• 1:46:34
  Speaker 1: you got a shot through a bone, it couldn't fuse
• 1:46:37
  Speaker 1: the marrow together or kill you. If the marrow touch
• 1:46:40
  Speaker 1: got outside where the pristine part of your flesh is,
• 1:46:44
  Speaker 1: you'd lose the arm. So I almost lost the arm.
• 1:46:46
  Speaker 3: I was going to say, you almost had like a
• 1:46:48
  Speaker 3: Rick Allen situation.
• 1:46:50
  Speaker 4: And his dad was a police officer, like you said.
• 1:46:53
  Speaker 4: And his dad, didn't you say?
• 1:46:54
  Speaker 1: It was his car. We were in. My aunt was driving.
• 1:46:56
  Speaker 1: And you didn't know it was his own kid's land.
• 1:46:59
  Speaker 4: He comes to the accident, his father.
• 1:47:01
  Speaker 1: This was a bad accident. They spread you in the seat,
• 1:47:04
  Speaker 1: cut loose. We got my cousin 90 stitches. I was
• 1:47:07
  Speaker 1: strung out of the car. We were all stripped naked,
• 1:47:09
  Speaker 1: damn near naked. He ripped our shoes off.
• 1:47:11
  Speaker 4: Yeah, one lady was at a bus stop.
• 1:47:13
  Speaker 1: Was that what happened? That ripped your clothes off?
• 1:47:14
  Speaker 4: One lady was at a bus stop, and her daughter
• 1:47:17
  Speaker 4: was at her daughter.
• 1:47:17
  Speaker 1: Yeah, I got crushed. I lost both of her legs,
• 1:47:19
  Speaker 1: and Grandma got lost. Her leg ran out of the spot.
• 1:47:21
  Speaker 1: I roped up next to her foot, and I went.
• 1:47:23
  Speaker 4: And he was just a little boy.
• 1:47:24
  Speaker 1: I think I was eight, yeah, 1963.
• 1:47:27
  Speaker 3: Wow.
• 1:47:28
  Speaker 2: Wow.
• 1:47:29
  Speaker 1: You know, it came back, but Ed didn't have any,
• 1:47:33
  Speaker 1: he never had any, He was probably the fastest runner
• 1:47:37
  Speaker 1: I've ever seen at PHS. He had a 100-yard dash
• 1:47:39
  Speaker 1: in like nine and a half seconds.
• 1:47:41
  Speaker 4: Eddie, really?
• 1:47:42
  Speaker 1: But his hips from jumping off those drum risers and shit,
• 1:47:46
  Speaker 1: they were shot. I mean, he had to come down
• 1:47:49
  Speaker 1: in the golf cart. The last time I saw him, and,
• 1:47:52
  Speaker 1: you know, you drive a golf cart down to the
• 1:47:54
  Speaker 1: driveway in Coldwater, Maine, because he couldn't walk. He really
• 1:47:57
  Speaker 1: couldn't walk that well, you know.
• 1:47:59
  Speaker 3: That was the famous thing Dave told Eddie. Eddie, at
• 1:48:03
  Speaker 3: the 96 MTV Video Awards, Eddie's like, the press is like,
• 1:48:07
  Speaker 3: what's going to happen next? Are you going to make
• 1:48:08
  Speaker 3: an album? He's like, oh, I got to get my
• 1:48:09
  Speaker 3: hip replaced. And apparently Dave was like, tonight's about me,
• 1:48:14
  Speaker 3: not your fucking hip.
• 1:48:17
  Speaker 1: I'm back. No, I had the thing. Oh, my God.
• 1:48:21
  Speaker 1: You want to rub Ebert the wrong way? Oh, my God.
• 1:48:23
  Speaker 1: I see him looking at this whole thing. He's going
• 1:48:26
  Speaker 1: to kill him right in front of me. He tried
• 1:48:28
  Speaker 1: to get back in the game for years. They said,
• 1:48:30
  Speaker 1: don't even bother calling here. And it was, you know...
• 1:48:34
  Speaker 1: They became full of themselves. I mean, the only thing
• 1:48:37
  Speaker 1: I don't like, I think it was of low character
• 1:48:39
  Speaker 1: to put Michael as an employee. He was an integral
• 1:48:42
  Speaker 1: part of that band.
• 1:48:43
  Speaker 3: Well, what do you think that brought him back? Was
• 1:48:45
  Speaker 3: it Wolfgang that ultimately was the reason Dave came back?
• 1:48:48
  Speaker 3: That's the story.
• 1:48:49
  Speaker 1: Well, no, he wanted to play with Wolfgang, and Mike
• 1:48:52
  Speaker 1: understood that, but.
• 1:48:54
  Speaker 3: But Wolfgang called Dave up.
• 1:48:56
  Speaker 1: I wouldn't let her play drums in my group.
• 1:48:58
  Speaker 4: And I play with my son all the time.
• 1:49:00
  Speaker 1: Well, her kids are musical. You know, you've got to
• 1:49:02
  Speaker 1: do a different thing.
• 1:49:04
  Speaker 4: Yeah, well, my son's a songwriter, so he plays with me.
• 1:49:08
  Speaker 4: So we can play that. We just played Friday. Saturday
• 1:49:11
  Speaker 4: we played a music festival in Big Bear. So we're
• 1:49:15
  Speaker 4: up all the time playing. And then I'm in the
• 1:49:17
  Speaker 4: studio constantly. And Sunday we were in the studio. You
• 1:49:20
  Speaker 4: didn't come to that session.
• 1:49:21
  Speaker 1: Did you? No, not that. It was only two hours.
• 1:49:24
  Speaker 1: It was three hours. I like to go in and
• 1:49:25
  Speaker 1: do something. Yeah.
• 1:49:27
  Speaker 4: Well, you know, sometimes he makes it, sometimes he doesn't,
• 1:49:30
  Speaker 4: and that's fine. But he always hears everything to make
• 1:49:33
  Speaker 4: sure that we're doing well.
• 1:49:35
  Speaker 1: I kind of let things go the way they are.
• 1:49:36
  Speaker 1: If it sounds good, I don't want to try to
• 1:49:38
  Speaker 1: put too much of me in here. Trust me now.
• 1:49:40
  Speaker 1: But you don't want to put too much of yourself,
• 1:49:42
  Speaker 1: even in your own recordings, because it's kind of tunnel vision.
• 1:49:47
  Speaker 1: I don't know.
• 1:49:48
  Speaker 4: Playing with multiple musicians.
• 1:49:50
  Speaker 1: I don't think I'd like that as much if our
• 1:49:51
  Speaker 1: plant wasn't saying anything. John? Paul Jones wasn't playing bass.
• 1:49:55
  Speaker 1: Me neither.
• 1:49:55
  Speaker 2: Who?
• 1:49:55
  Speaker 1: That was the magic. The different, the different players. Now
• 1:49:59
  Speaker 1: it's like, uh, you know, the guys I like to
• 1:50:01
  Speaker 1: play with, I spent two years getting James to play
• 1:50:04
  Speaker 1: bass for me and it's all burned up. I didn't get,
• 1:50:07
  Speaker 1: I should've got the hard drives out because that's where
• 1:50:09
  Speaker 1: everything was.
• 1:50:10
  Speaker 3: Oh, that's right.
• 1:50:11
  Speaker 1: Every fucking thing I ever did is gone.
• 1:50:16
  Speaker 3: What happened? Like home insurance, people are wondering like, they, uh,
• 1:50:20
  Speaker 3: didn't they help you out?
• 1:50:21
  Speaker 1: Uh, Well, I've got a $ 3 million lawsuit going, but
• 1:50:25
  Speaker 1: the thing is, utility companies historically pay less, get out
• 1:50:32
  Speaker 1: of it. The bigger the corporation, the more money. They
• 1:50:34
  Speaker 1: have a monopoly that, you know, they made $ 4. 8 billion
• 1:50:39
  Speaker 1: this last quarter, and this was all about keeping their shareholders,
• 1:50:43
  Speaker 1: but they were told to move the towers in 1971,
• 1:50:46
  Speaker 1: and they refused to do so. So it's negligence, which
• 1:50:50
  Speaker 1: puts me... And I lost my insurance three weeks before
• 1:50:53
  Speaker 1: that because the fare plan, Gavin Newsom just ran all
• 1:50:56
  Speaker 1: the insurance companies out. Nobody would cover me. Allstate, Northbrook
• 1:51:00
  Speaker 1: was my company. They canceled my auto. They canceled everything.
• 1:51:03
  Speaker 1: They put me on a fare plan list. So here
• 1:51:05
  Speaker 1: I'm going.
• 1:51:06
  Speaker 4: Months before the fight.
• 1:51:07
  Speaker 1: Three weeks. I called every day. Nobody would insure me.
• 1:51:11
  Speaker 1: And it's the same thing all the way up the slope.
• 1:51:13
  Speaker 1: Here I was. It's so close to the mountains that
• 1:51:16
  Speaker 1: it turned a fare plan all up there. Yeah.
• 1:51:18
  Speaker 4: And Terry and I are probably, how far are we
• 1:51:20
  Speaker 4: from each other? Maybe two miles.
• 1:51:23
  Speaker 1: Five miles. Four and a half. Whatever.
• 1:51:25
  Speaker 4: Yeah. And so we're both- The fire.
• 1:51:27
  Speaker 1: Was here, right? This place is here and the wind
• 1:51:30
  Speaker 1: blew it over at 90 miles an hour.
• 1:51:31
  Speaker 4: Yeah, so if you look this way, like this is
• 1:51:33
  Speaker 4: the big window right there. So out that window, I'm
• 1:51:38
  Speaker 4: standing with my daughter looking at the flames coming our way.
• 1:51:41
  Speaker 4: And I'm like, we got to get all the animals out.
• 1:51:43
  Speaker 4: I started packing up the guitars, moving all the cars,
• 1:51:46
  Speaker 4: you know?
• 1:51:47
  Speaker 1: I've lived up there my whole life. I've never seen
• 1:51:48
  Speaker 1: anything like this.
• 1:51:49
  Speaker 4: So the whole time we have electricity and water, he's
• 1:51:52
  Speaker 4: in Altadena, five miles away. I'm closer to the mountain
• 1:51:58
  Speaker 4: than you are. And then the wind suddenly changed position
• 1:52:02
  Speaker 4: and went towards Altadena. And we said prayer. I don't
• 1:52:06
  Speaker 4: know if that was true.
• 1:52:07
  Speaker 1: There's five streets off the National Fork. Each street would
• 1:52:09
  Speaker 1: go every 10 minutes.
• 1:52:11
  Speaker 4: And I took two blocks from the mountain, and he's
• 1:52:13
  Speaker 4: five streets from it.
• 1:52:15
  Speaker 1: Wind blew right over to the Meridian, where my neighborhood is,
• 1:52:18
  Speaker 1: and that turned around and came due south at 80
• 1:52:20
  Speaker 1: miles an hour.
• 1:52:21
  Speaker 4: Yeah.
• 1:52:22
  Speaker 1: Firestorm. It was like being bombed.
• 1:52:24
  Speaker 3: Christy had missed your house.
• 1:52:25
  Speaker 4: It turned away from Sierra Madre. But the ironic thing
• 1:52:29
  Speaker 4: is he has no power at six in the evening.
• 1:52:33
  Speaker 4: And then they turn off the water. And here I'm
• 1:52:35
  Speaker 4: in Sierra Madre and I got water and power. Why
• 1:52:38
  Speaker 4: would they shut off the water?
• 1:52:39
  Speaker 1: We had a recording of the police chief calling Edison going,
• 1:52:43
  Speaker 1: tell your boss to turn the grid off. But he's
• 1:52:47
  Speaker 1: not going to be in till 9 a.m. in the morning. Well,
• 1:52:49
  Speaker 1: it was over by then. Yeah.
• 1:52:51
  Speaker 4: I got a notice. that my insurance was going to
• 1:52:53
  Speaker 4: be canceled. His was already canceled. And so then we
• 1:52:56
  Speaker 4: have to go on the fair plan, which is double
• 1:52:58
  Speaker 4: the amount of money that you're paying, or triple, of
• 1:53:02
  Speaker 4: a regular insurance company.
• 1:53:03
  Speaker 1: Well, I have it under advantage. My in-laws went to
• 1:53:05
  Speaker 1: school with my attorney, Michael Watts, and he's the guy
• 1:53:08
  Speaker 1: that got the money out of Lahaina. And now they
• 1:53:11
  Speaker 1: can't delay it much longer. What they do is they
• 1:53:15
  Speaker 1: delay it until so many people are dying. It was
• 1:53:18
  Speaker 1: an old neighborhood that they... Didn't pay a lot of taxes.
• 1:53:21
  Speaker 1: Grandfather's in.
• 1:53:22
  Speaker 4: Gerald Holmes, you know.
• 1:53:23
  Speaker 1: It allowed us out.
• 1:53:25
  Speaker 4: Oh, dear.
• 1:53:26
  Speaker 3: You got out around 4 a.m., right?
• 1:53:28
  Speaker 1: I stepped in 4.21, and I was literally covered with soot.
• 1:53:32
  Speaker 1: There was no more oxygen. I couldn't breathe. Had to go.
• 1:53:35
  Speaker 1: I got the last loads in the car. I left
• 1:53:37
  Speaker 1: my most valuable stuff, and I couldn't get it back
• 1:53:39
  Speaker 1: in the house.
• 1:53:40
  Speaker 4: And I took everything that I could, all my pictures,
• 1:53:42
  Speaker 4: all my guitars, all my animals, and I moved all
• 1:53:45
  Speaker 4: the cars down because I was thinking something could happen.
• 1:53:49
  Speaker 4: And then I took the RV, which we take to gigs.
• 1:53:53
  Speaker 1: We stayed with both of them. So we evacuated this
• 1:53:55
  Speaker 1: old woman down in Spirit Island. I went down and
• 1:53:57
  Speaker 1: insisted she get out.
• 1:53:58
  Speaker 4: Yeah.
• 1:53:59
  Speaker 1: Because my cats, I got to get my cats. I said,
• 1:54:00
  Speaker 1: the hell with you. Cat, you're not going to live
• 1:54:02
  Speaker 1: through this. It was that bad.
• 1:54:03
  Speaker 4: She had to leave immediately. The house went up.
• 1:54:05
  Speaker 1: She lives in Connecticut now, too, and she called me
• 1:54:07
  Speaker 1: and goes, thank you, you saved my life. Yeah. Her
• 1:54:10
  Speaker 1: poor cats die, but, you know. Yeah, she was out
• 1:54:13
  Speaker 1: here because she's a 63 Playboy centerfold. Oh.
• 1:54:16
  Speaker 4: It was his name.
• 1:54:18
  Speaker 3: Okay. And she lives in Connecticut now? She lives in
• 1:54:22
  Speaker 3: Connecticut now?
• 1:54:23
  Speaker 1: Yeah, she loves it up there.
• 1:54:25
  Speaker 3: So, yeah, and then your mom's ashes, right? Is that what?
• 1:54:29
  Speaker 1: She didn't get anything out. The studio, it was so funny.
• 1:54:31
  Speaker 1: I mean, I had an old 50s O'Keeffe and Merritt stove.
• 1:54:34
  Speaker 1: It looked like it had been sodomized in prison. It
• 1:54:36
  Speaker 1: was over. And all the new appliances were all made
• 1:54:40
  Speaker 1: out of that plastic composite. They weren't there. Nothing survived.
• 1:54:45
  Speaker 4: It was just an empty lot.
• 1:54:46
  Speaker 1: JPL came up because the neighbors, the JPL employees, they
• 1:54:49
  Speaker 1: measure it at 2,100 degrees.
• 1:54:52
  Speaker 4: Yeah. As you have to remember, we live right by NASA.
• 1:54:54
  Speaker 4: I used to work there, JPL. That didn't burn. It
• 1:54:58
  Speaker 4: didn't burn. Now, had it burned, it would have been
• 1:55:00
  Speaker 4: so toxic.
• 1:55:02
  Speaker 1: No, it would have been a praises upon my life.
• 1:55:04
  Speaker 4: Yeah, it would have been so detrimental to the whole area,
• 1:55:08
  Speaker 4: but it didn't get touched.
• 1:55:09
  Speaker 1: All my houses got safe.
• 1:55:11
  Speaker 4: It's ironic. You know what I mean? It's really weird.
• 1:55:14
  Speaker 1: I've never seen a whole city, though. I remember the
• 1:55:17
  Speaker 1: Oakland fire when I was a kid. Nothing compared to this.
• 1:55:21
  Speaker 3: In that video, there's a shot overhead of all the homes.
• 1:55:26
  Speaker 4: Yeah, and don't forget, you're talking about the mountains way
• 1:55:29
  Speaker 4: up here, and you got blocks and blocks way down
• 1:55:32
  Speaker 4: in Pasadena.
• 1:55:33
  Speaker 1: Way down to, like, Washington Boulevard, Katsing, and Gordo.
• 1:55:35
  Speaker 4: You know, like, yeah. It was like, we have apartments,
• 1:55:38
  Speaker 4: and the tenants were calling me saying, should we leave?
• 1:55:40
  Speaker 4: And I'm like, leave.
• 1:55:41
  Speaker 1: It was a quirky thing. You look at one house
• 1:55:43
  Speaker 1: and go, how the hell did this thing survive? Yeah.
• 1:55:45
  Speaker 1: And everything around it.
• 1:55:46
  Speaker 4: But they were right, the tenants.
• 1:55:47
  Speaker 1: It was like a bombing run.
• 1:55:49
  Speaker 4: The fire was coming down so far.
• 1:55:51
  Speaker 1: It struck me as like, it wouldn't be like a fire.
• 1:55:53
  Speaker 1: It was like a bombing. It was, yeah. It was
• 1:55:55
  Speaker 1: almost nuclear because it was just literally melting everything. The
• 1:55:58
  Speaker 1: wheels melted on the car.
• 1:55:59
  Speaker 4: Yeah, the next day we went driving around, and it
• 1:56:02
  Speaker 4: would look like a movie set. There was just fire. Like,
• 1:56:04
  Speaker 4: they left all the gas on, and all the gas
• 1:56:06
  Speaker 4: was just burning in the car.
• 1:56:08
  Speaker 1: And they blamed the gas company. It had nothing to
• 1:56:10
  Speaker 1: do with it. It was crazy.
• 1:56:11
  Speaker 3: Terry, are you just, are you in shock like the
• 1:56:14
  Speaker 3: next day?
• 1:56:14
  Speaker 1: I mean, what's emotionally, what are you, it's going to
• 1:56:16
  Speaker 1: think about his Baptist days for about four months. My
• 1:56:19
  Speaker 1: in-laws took care of me. Now I think he's still,
• 1:56:21
  Speaker 1: he gave me a room there and I just kind
• 1:56:22
  Speaker 1: of recuperated. And then all of a sudden I think
• 1:56:25
  Speaker 1: started to click. Yeah. I figured I got to get
• 1:56:27
  Speaker 1: out of here and live off these people. So the
• 1:56:30
  Speaker 1: Mormons donated a RV to me and it's not a bad,
• 1:56:33
  Speaker 1: but I put solar power in it and turn it
• 1:56:36
  Speaker 1: off grid because it's I'm not going to give Edison
• 1:56:38
  Speaker 1: any more money.
• 1:56:39
  Speaker 4: They wanted him to pay to hook up electricity.
• 1:56:42
  Speaker 1: Yeah, they want like $ 900 to put a line in.
• 1:56:43
  Speaker 1: I'm going, you guys burned my whole world down and
• 1:56:46
  Speaker 1: you want $ 900. Yeah.
• 1:56:48
  Speaker 4: And then you and I met, what, one month after
• 1:56:50
  Speaker 4: the fire.
• 1:56:51
  Speaker 1: Was it one month? No, I think it was. Was it? Yeah,
• 1:56:54
  Speaker 1: about a month.
• 1:56:55
  Speaker 4: And then he never would come out of his house
• 1:56:57
  Speaker 4: very often. He was kind of a guy that just.
• 1:56:59
  Speaker 1: My father. Yeah.
• 1:57:00
  Speaker 4: And so... It was funny that had the fire net come,
• 1:57:04
  Speaker 4: you and I wouldn't have met.
• 1:57:05
  Speaker 1: No, I wouldn't be talking to the cops. I got
• 1:57:07
  Speaker 1: bored playing again.
• 1:57:08
  Speaker 3: Yeah, that's the feeling I get. That's the vibe. Like, Christy,
• 1:57:13
  Speaker 3: you met him. There's a reason that you came into
• 1:57:18
  Speaker 3: his life. Oh, we both talked about it. Yeah, there's something.
• 1:57:22
  Speaker 1: Underlying that. Right. It's true, yeah.
• 1:57:26
  Speaker 3: Big picture stuff, you know?
• 1:57:27
  Speaker 1: If you got to Torino, do you think it's because
• 1:57:28
  Speaker 1: we didn't try it?
• 1:57:29
  Speaker 4: Yeah, and the funny thing is we're only 12 years
• 1:57:32
  Speaker 4: apart in age.
• 1:57:33
  Speaker 1: We're not that, oh, only 12 years. Listen, I'd like
• 1:57:35
  Speaker 1: to have a 12 back. I'll play that.
• 1:57:37
  Speaker 4: But we're not that far off in age. But it's
• 1:57:40
  Speaker 4: interesting because his generation does feel different, but we ran
• 1:57:43
  Speaker 4: in the same circles more or less.
• 1:57:45
  Speaker 1: You know where I come out of it? You know what?
• 1:57:47
  Speaker 1: You do stupid shit, you get stupid prizes. And I
• 1:57:50
  Speaker 1: got tired of taking stupid prizes. I mean, it's like playing.
• 1:57:53
  Speaker 1: It's like you just know nothing that you get out
• 1:57:56
  Speaker 1: there is going to be permanent. It's going to be
• 1:57:58
  Speaker 1: This is the way it changed. It morphs into this.
• 1:58:00
  Speaker 1: We've got a roller. But when you can put that.
• 1:58:02
  Speaker 4: Out there, it kind of is permanent.
• 1:58:04
  Speaker 1: You've got to give them something. I think you have
• 1:58:06
  Speaker 1: to give people something that's like they can hang on
• 1:58:08
  Speaker 1: to mentally or something that sticks in their head. We will.
• 1:58:11
  Speaker 1: I agree. That's what I'm talking about.
• 1:58:13
  Speaker 4: He's always looking. I love it. Because he's always looking
• 1:58:16
  Speaker 4: for the next thing that moves him. But I never
• 1:58:20
  Speaker 4: discount the stuff that's already there. I'm like, you know what?
• 1:58:23
  Speaker 1: I'm a goofy fucker. I like the deep tracks. If
• 1:58:27
  Speaker 1: you follow my case, pretty soon you're going to go, hey, yeah.
• 1:58:29
  Speaker 1: But you wrote all the... You went around the bend again.
• 1:58:32
  Speaker 4: Yeah, but you wrote all.
• 1:58:33
  Speaker 1: The tracks that we're working on.
• 1:58:35
  Speaker 4: So you're... You know, there's none of mine.
• 1:58:37
  Speaker 1: Well, a lot of people write from the lyrics. I write,
• 1:58:39
  Speaker 1: the song's got to move me before the lyric. Oh,
• 1:58:41
  Speaker 1: me too.
• 1:58:42
  Speaker 4: I have the music first, then I put the lyrics. But,
• 1:58:45
  Speaker 4: you know, my, well, I don't remember.
• 1:58:48
  Speaker 1: I think it's all been done so much that you
• 1:58:51
  Speaker 1: have to honestly, like, you know, Alan Holwork was a
• 1:58:53
  Speaker 1: big influence on me. He's the one that does all
• 1:58:55
  Speaker 1: the John Carpenter movies.
• 1:58:57
  Speaker 3: Yes. Oh, yeah, man.
• 1:58:59
  Speaker 1: In fact.
• 1:59:00
  Speaker 3: The opening scene to Halloween 4 is one of my
• 1:59:03
  Speaker 3: favorite musical movie moments.
• 1:59:05
  Speaker 1: Or you say. It's good. You know, he believes in 442.
• 1:59:08
  Speaker 1: What I do, too. I mean, it's just a nicer.
• 1:59:10
  Speaker 1: 440 irritates me. If I listen to it a long time,
• 1:59:15
  Speaker 1: it irritates me. I start to go like that pitch.
• 1:59:18
  Speaker 1: 442 is like more the natural rhythm of the universe.
• 1:59:21
  Speaker 1: I can hear it. We knew this in school. You
• 1:59:23
  Speaker 1: know what I mean? I went to the same school
• 1:59:25
  Speaker 1: Pee Wee Herbert went to. Graduated.
• 1:59:27
  Speaker 3: Get out. Well, that's you. Where should people go to
• 1:59:31
  Speaker 3: get the update on the album? And they should go
• 1:59:33
  Speaker 3: to the website, right, Terry?
• 1:59:34
  Speaker 4: Well, I'm going to start putting things up on Spotify.
• 1:59:37
  Speaker 4: I've just been so busy doing all the things that
• 1:59:39
  Speaker 4: we're doing, promoting and gigging and in the studio.
• 1:59:42
  Speaker 1: I don't want to talk shit about it. I'd rather
• 1:59:44
  Speaker 1: put it out and let it speak for itself, you know? Well, yeah,
• 1:59:47
  Speaker 1: but you've got to have something to give them.
• 1:59:51
  Speaker 3: Because I want to help get the word out.
• 1:59:54
  Speaker 4: Oh, thank you. Thank you so much.
• 1:59:55
  Speaker 1: We'll give you every release that we have.
• 1:59:58
  Speaker 4: YouTube right now is where I put it most quickly.
• 2:00:01
  Speaker 4: But definitely, once I get it, because I work with
• 2:00:04
  Speaker 4: one company that helps promote it. Websites are places that
• 2:00:07
  Speaker 4: things will be updated. I have a Facebook page, Instagram,
• 2:00:12
  Speaker 4: that gets updated regularly. And then also the channel for
• 2:00:17
  Speaker 4: YouTube and YouTube. Then we'll start doing Spotify and all
• 2:00:22
  Speaker 4: that kind of stuff as well.
• 2:00:23
  Speaker 3: So let's wind down with books here because obviously this
• 2:00:26
  Speaker 3: podcast is booked on rock, so we focus on rock
• 2:00:29
  Speaker 3: and roll books. So any music books that have meant
• 2:00:32
  Speaker 3: a lot to you?
• 2:00:34
  Speaker 1: I read Hammer of the Gods. I read me, Alice.
• 2:00:37
  Speaker 1: I thought Alice Cooper's one was interesting because he had
• 2:00:39
  Speaker 1: a lot of good narrative in it. How, you know,
• 2:00:42
  Speaker 1: Shep Gordon came into the Cheetah Club and they were
• 2:00:44
  Speaker 1: so bad that they cleared the whole club out in
• 2:00:46
  Speaker 1: like 10 minutes. And he came and goes, I want
• 2:00:48
  Speaker 1: to manage you guys. I don't want to see anybody
• 2:00:49
  Speaker 1: clear out an auditorium. Quick.
• 2:00:52
  Speaker 3: I think that's out of print, though.
• 2:00:54
  Speaker 1: I liked Up and Down with the Rolling Stones, but
• 2:00:55
  Speaker 1: that was mainly kind of, he was down. Yeah. You know,
• 2:01:01
  Speaker 1: heroin and coke and all that kind of nonsense. That
• 2:01:03
  Speaker 1: was a good book, though, I thought. Well, it showed you,
• 2:01:06
  Speaker 1: it showed how Keith Richards was when Bobby Keys was OD'd.
• 2:01:09
  Speaker 1: He said, fuck you, I'm not going to give you
• 2:01:12
  Speaker 1: any of mine.
• 2:01:12
  Speaker 4: You know, and I just got the Keith Richards book,
• 2:01:15
  Speaker 4: but I haven't read it yet.
• 2:01:16
  Speaker 1: The Who, The Who had a good one, but they're
• 2:01:19
  Speaker 1: so crazy. I mean, the ones, the band, some of
• 2:01:23
  Speaker 1: the English bands were so flamboyant. I mean, how the
• 2:01:26
  Speaker 1: hell did The Who survive? And Kent Lankford said if
• 2:01:29
  Speaker 1: they kept destroying gear, they're going to go bankrupt. It
• 2:01:32
  Speaker 1: went bankrupt the first tour they did. And then, you know,
• 2:01:35
  Speaker 1: then Roger punched Pete Uck and he just, the Vogels
• 2:01:39
  Speaker 1: are loured up on quadrophenia and shit like that. I
• 2:01:41
  Speaker 1: was interested in all that stuff, but a lot of
• 2:01:44
  Speaker 1: it was a hooey, you know, that was written by
• 2:01:47
  Speaker 1: the author that either had an antagonistic view of the,
• 2:01:50
  Speaker 1: of the players or stuff, you know what I mean?
• 2:01:53
  Speaker 3: Well, the Keith Richards book is, that, that was like,
• 2:01:56
  Speaker 3: that brought a resurgence of, rock and roll books, memoirs. Now,
• 2:02:02
  Speaker 3: so many. I read Dave's book, David Lee's book. Yeah,
• 2:02:06
  Speaker 3: that was too, that was an exciting shit.
• 2:02:08
  Speaker 1: There should be one time in my name, way in
• 2:02:10
  Speaker 1: the back of the index, Alex mentioned me in his
• 2:02:12
  Speaker 1: book one time.
• 2:02:13
  Speaker 4: Did you read that?
• 2:02:15
  Speaker 1: Yeah, I read it. I had an autographed copy of it. Oh.
• 2:02:19
  Speaker 1: It's more of a, he's, I like the moment you
• 2:02:22
  Speaker 1: got the girl in the cab. She goes, my mom
• 2:02:23
  Speaker 1: really knows how to pack a lunch. She'd find some
• 2:02:26
  Speaker 1: funny shit, but I've seen him make thick and Was
• 2:02:30
  Speaker 1: Robin Williams and Jay Leno are the two best improv
• 2:02:33
  Speaker 1: guys in the business? He really stepped in it that night.
• 2:02:36
  Speaker 3: That was surreal. That was 95.
• 2:02:39
  Speaker 1: The grass where he played with me when he did
• 2:02:41
  Speaker 1: Las Vegas and they got fired in Las Vegas. I mean,
• 2:02:44
  Speaker 1: it was like he had a residency there and they said,
• 2:02:46
  Speaker 1: we don't want you anymore. There's another way of kind
• 2:02:49
  Speaker 1: of shooting yourself in the foot.
• 2:02:50
  Speaker 4: I just think, like, what about that theory of, you know,
• 2:02:53
  Speaker 4: there is no bad publicity? Did that work for him?
• 2:02:55
  Speaker 3: There's no such thing as bad publicity.
• 2:02:56
  Speaker 1: There's bad publicity.
• 2:02:58
  Speaker 3: Well, you were with him around the time he got
• 2:03:00
  Speaker 3: busted for pot. In New York City, right?
• 2:03:02
  Speaker 1: I was with him, yeah. Spring of 94.
• 2:03:04
  Speaker 3: Isn't that funny to think?
• 2:03:05
  Speaker 1: He got mad at me for getting drunk at Sammy's
• 2:03:07
  Speaker 1: Romanian restaurant, and he goes to get the bucket the
• 2:03:09
  Speaker 1: next day. I score a joint down in Gramercy Park.
• 2:03:15
  Speaker 1: He would, you know, drive around the city on bicycles.
• 2:03:17
  Speaker 1: He goes, you know what? He goes, They hung 4,000
• 2:03:19
  Speaker 1: people on that tree. I said, I'm going to write
• 2:03:21
  Speaker 1: a guitar which sounds like it made it from the wood.
• 2:03:23
  Speaker 1: I said, I don't think it would make any difference.
• 2:03:25
  Speaker 1: I paid a little bit of money to be in
• 2:03:27
  Speaker 1: the bar. We had to go record there.
• 2:03:32
  Speaker 3: You should write a book about your... I could.
• 2:03:34
  Speaker 1: I know more than I should, I'll tell you that.
• 2:03:38
  Speaker 1: I like watching, you know, I remember introducing Everett and
• 2:03:43
  Speaker 1: Norm Harris. Norm had all the guitars, right? Norm's rare guitars.
• 2:03:47
  Speaker 1: Him and George wouldn't control the world market. And Norman
• 2:03:51
  Speaker 1: started out in Florida selling Sunburst Les Pauls for $ 450.
• 2:03:55
  Speaker 1: And at the point when I got Edward those 259s,
• 2:03:59
  Speaker 1: he paid $ 11, 500 for both of them. And then he
• 2:04:02
  Speaker 1: took the pickups out of them and he gave them
• 2:04:04
  Speaker 1: back to Norman about 20 years later and said, Norman,
• 2:04:06
  Speaker 1: we'll let him own them because I'd have given you
• 2:04:08
  Speaker 1: half a million for them. But you took the pickups
• 2:04:10
  Speaker 1: out of them. So, you know, that was like, he
• 2:04:13
  Speaker 1: had some beautiful stuff.
• 2:04:15
  Speaker 3: If I can help in any way, I could. you know,
• 2:04:17
  Speaker 3: get you some contacts in the publishing business. And it's,
• 2:04:20
  Speaker 3: you know, if you're ever interested in that, Mark Kendall's
• 2:04:22
  Speaker 3: got a book coming out from.
• 2:04:23
  Speaker 1: Yeah. Wow.
• 2:04:25
  Speaker 3: Yeah, man, it'd be great. So you got all the
• 2:04:28
  Speaker 3: stores from the, from, from the days growing up.
• 2:04:31
  Speaker 1: Oh, it's a funny shit. We used to go out
• 2:04:32
  Speaker 1: on the marquee at the Troubadour and put all kinds
• 2:04:35
  Speaker 1: of obscene words out there and Doug Wecker gets all
• 2:04:37
  Speaker 1: pissed off. Edward was like, they, they, they weren't real
• 2:04:41
  Speaker 1: popular with the, with the, with the, with the management class.
• 2:04:45
  Speaker 1: I mean, like I remember Rod Stewart, um, We were
• 2:04:48
  Speaker 1: watching a soccer game because I knew his hairstylist. And
• 2:04:52
  Speaker 1: I went down there to watch him play. And he goes, hey,
• 2:04:54
  Speaker 1: this guy knows Van Halen. And Rod Stewart goes, they're
• 2:04:56
  Speaker 1: a bunch of dick.
• 2:04:58
  Speaker 3: Jesus Christ.
• 2:04:59
  Speaker 1: Rod himself will tell you that he has very short
• 2:05:01
  Speaker 1: arms and long pockets.
• 2:05:03
  Speaker 3: He's been canceling some shows recently, Rod Stewart.
• 2:05:05
  Speaker 1: Rod Stewart?
• 2:05:06
  Speaker 3: Yeah, he's just having some issues. One show, he had
• 2:05:10
  Speaker 3: to put the thing to get oxygen.
• 2:05:11
  Speaker 1: Really?
• 2:05:12
  Speaker 3: Yeah, he had to sit down. I hope he's okay.
• 2:05:14
  Speaker 1: Rod Stewart, fam.
• 2:05:16
  Speaker 4: That was something that you and I, when we met.
• 2:05:18
  Speaker 1: One of the best performers out there. He was in
• 2:05:20
  Speaker 1: his prime in 1977. They were on them.
• 2:05:23
  Speaker 4: And faces. Working together, we were thinking of the faces,
• 2:05:26
  Speaker 4: the sound.
• 2:05:29
  Speaker 1: His vocals on was right. He said, I want you
• 2:05:31
  Speaker 1: to do Too Bad by The Faces. Right. It's got
• 2:05:35
  Speaker 1: the big piano intro with Dickie Hopkins. I used a
• 2:05:37
  Speaker 1: guitar synth and simulated because it just blocked chords. And
• 2:05:41
  Speaker 1: That song, you got to remember, these guys were playing
• 2:05:44
  Speaker 1: stadiums back in 1973. Yeah. They were a stadium band.
• 2:05:48
  Speaker 1: Ronnie Lane built a 405 from a 405 watt, you know,
• 2:05:53
  Speaker 1: amp head that was just absolutely, yeah, outside of the envelope.
• 2:05:57
  Speaker 1: I thought they did that because they played stadiums. They
• 2:06:00
  Speaker 1: wanted to use one amp.
• 2:06:01
  Speaker 4: They're one of my favorite bands.
• 2:06:02
  Speaker 3: Well, his vocals on Jeff Beck's Truth.
• 2:06:07
  Speaker 1: Yeah. I mean, Morning Dew. Oh, my God. Somebody gave
• 2:06:14
  Speaker 1: Jeff Beck a bad time about the truth, because the
• 2:06:17
  Speaker 1: truth of the album would be, this is the truth
• 2:06:19
  Speaker 1: about this album. Yeah, yeah. But I think he was
• 2:06:23
  Speaker 1: the most brilliant guitar player that ever lived. Nobody wanted
• 2:06:25
  Speaker 1: to touch him. He's all by himself, man. I mean,
• 2:06:30
  Speaker 1: he didn't influence that many people, but he influenced everybody. Right.
• 2:06:33
  Speaker 1: Because if he could touch the guitar the way he did,
• 2:06:36
  Speaker 1: it was like a divining rod for him. He had a,
• 2:06:39
  Speaker 1: you know, it sounds like a sad, you can make
• 2:06:41
  Speaker 1: it sound like a little sad animal. Yes. Oh, it's
• 2:06:45
  Speaker 1: talking to you. You know, he play along with little
• 2:06:47
  Speaker 1: birds in his kitchen. I mean, yeah, yeah, yeah.
• 2:06:50
  Speaker 3: He did that on, uh, you had it coming. He's
• 2:06:52
  Speaker 3: got that one where he's talking to, I think it's
• 2:06:53
  Speaker 3: called Blackbird and he's talking to the birds. Yeah. But
• 2:06:58
  Speaker 3: the other, um, thing I was going to say is
• 2:07:01
  Speaker 3: if you get a chance, get that book by Brad
• 2:07:03
  Speaker 3: and Chris, uh, blow by blow. It's, it's a really
• 2:07:05
  Speaker 3: good book. It's really good.
• 2:07:07
  Speaker 1: I would like to read that. The last one I
• 2:07:09
  Speaker 1: read that was good was just recently, and I wasn't
• 2:07:13
  Speaker 1: impressed with the writing. I think that somebody had a
• 2:07:15
  Speaker 1: chip on their shoulder about that. Allo's book was not
• 2:07:19
  Speaker 1: very informative to me. It was kind of like closed off,
• 2:07:22
  Speaker 1: you know. He talked about the people, about all the
• 2:07:24
  Speaker 1: people that really were in their lives back then are
• 2:07:26
  Speaker 1: all dead. They were tightest, but the Emerson brothers, they
• 2:07:30
  Speaker 1: both committed suicide. I mean, their own cousins, They stole
• 2:07:34
  Speaker 1: their platinum records. They thought there was real platinum in
• 2:07:36
  Speaker 1: those records. I mean. Oh, yeah.
• 2:07:39
  Speaker 3: Stole them off the wall in that little house there.
• 2:07:42
  Speaker 1: Yeah, Los Luis.
• 2:07:44
  Speaker 4: Yeah.
• 2:07:45
  Speaker 1: And I got blamed for it. And Amber goes, she
• 2:07:47
  Speaker 1: was at the forum with me. Because they invited me
• 2:07:51
  Speaker 1: down to the first couple tours. Well, they said they
• 2:07:55
  Speaker 1: thought I was jealous or something. I was no way jealous.
• 2:07:58
  Speaker 1: I was glad to get rid of those fuckers. so
• 2:08:00
  Speaker 1: I could get a gig. We got all the great
• 2:08:04
  Speaker 1: gigs after that. See, we're the last big dog in town. Oh,
• 2:08:08
  Speaker 1: my God. Yeah, the problem was that my rhythm section
• 2:08:11
  Speaker 1: was never as good as Al and Mike were. Al
• 2:08:13
  Speaker 1: was a great drummer. I'd stand by it. He was
• 2:08:16
  Speaker 1: as much entertainment to watch as ever was because he
• 2:08:19
  Speaker 1: had such attitude. I mean, energy, those guys had. I
• 2:08:22
  Speaker 1: remember Artie Agajinian's raceway, Ascot. It was a big raceway
• 2:08:27
  Speaker 1: out here. Artie Agajinian would throw parties down Lombardi's huge
• 2:08:30
  Speaker 1: house that had four acres of land. And Al would play,
• 2:08:34
  Speaker 1: and he'd jump up on those drums and spit and
• 2:08:36
  Speaker 1: drink Schlitzmalt and then fight with somebody, spar with them
• 2:08:39
  Speaker 1: all night long after the kick. They did ridiculous shit.
• 2:08:43
  Speaker 1: I mean, Don Bosco Tech. They said, hey, Terry, better
• 2:08:47
  Speaker 1: regret that for me. And I bent over and had
• 2:08:48
  Speaker 1: a smoke pot with about a quarter pound of gunpowder
• 2:08:51
  Speaker 1: in it. It blew me right off the stage. I
• 2:08:53
  Speaker 1: thought it was the funniest thing in the world. I said,
• 2:08:54
  Speaker 1: you guys are assholes. And Alec could drive up next
• 2:08:58
  Speaker 1: to people on the freeway and pull his pants down
• 2:09:00
  Speaker 1: and stick his ass out the window. And everybody was driving.
• 2:09:03
  Speaker 1: A little sucker car, he's driving home from work, and
• 2:09:05
  Speaker 1: Alec's in his car. They like to get a reaction
• 2:09:08
  Speaker 1: out of people, you know?
• 2:09:10
  Speaker 3: But see, this is the book. You've got the stories, man.
• 2:09:14
  Speaker 3: You've got to definitely consider that.
• 2:09:17
  Speaker 1: They played a place called Barnacle Bills, and it was
• 2:09:19
  Speaker 1: like something out of the Barbary Coast. I mean, if
• 2:09:23
  Speaker 1: you could get the saliva off the walls, the nicotine
• 2:09:26
  Speaker 1: stains on the ceiling were like you could smoke it. Right.
• 2:09:29
  Speaker 1: The amount of beer that they drank, we used to
• 2:09:32
  Speaker 1: call them alcohol.
• 2:09:33
  Speaker 4: Oh, man.
• 2:09:34
  Speaker 1: He played down at that... what is it, the Dutch,
• 2:09:39
  Speaker 1: the Danish place down in Hawthorne that's got the, oh,
• 2:09:43
  Speaker 1: all the European, your dad probably went there. All the
• 2:09:45
  Speaker 1: European people went to these, they played polkas, right? Yeah.
• 2:09:48
  Speaker 1: That's where Jan came from. Me and Ed did have
• 2:09:51
  Speaker 1: the edge because we both had grandfathers that were woodwind players.
• 2:09:56
  Speaker 1: And we'd say John Ackerman, you know, focus, hocus, focus,
• 2:09:59
  Speaker 1: because Ackerman was fast. And we didn't figure out what
• 2:10:02
  Speaker 1: he was doing and Ed's dad goes, it's a backwards
• 2:10:05
  Speaker 1: diminished scale that's been notated. I thought, Look at that.
• 2:10:08
  Speaker 4: Alpine Village.
• 2:10:09
  Speaker 1: Yeah, Alpine Village. And I was playing in my grandmother's
• 2:10:12
  Speaker 1: house when I was about 14, and my grandfather comes in.
• 2:10:15
  Speaker 1: He hadn't played a Boston Orpheum in Carnegie Hall for
• 2:10:19
  Speaker 1: 20 years. What are you playing that Chinese music for?
• 2:10:22
  Speaker 1: You know, that guy that wears underwear all the way
• 2:10:24
  Speaker 1: up the ears. What are you playing that Chinese music for?
• 2:10:27
  Speaker 1: Don't you know what a sharp and a flat is?
• 2:10:29
  Speaker 1: I said, no, Grandpa. He goes, sit down. I'm going
• 2:10:32
  Speaker 1: to show you something. He got out of his corner
• 2:10:33
  Speaker 1: and showed me how to do all seven modes. That's
• 2:10:37
  Speaker 1: your diminution mode. You pay attention to that. That's what
• 2:10:39
  Speaker 1: you guys, you hop heads do now. They call it
• 2:10:42
  Speaker 1: top head, Jeremy. My mom goes, you're not letting those
• 2:10:49
  Speaker 1: Van Halen boys in the house, are you? Tell them
• 2:10:52
  Speaker 1: to take their shoes off when they come in here.
• 2:10:54
  Speaker 1: And I remember going over to Ed's house on a Halloween.
• 2:10:58
  Speaker 1: I was wearing a boiler suit like towns who used
• 2:11:00
  Speaker 1: to wear the white.
• 2:11:01
  Speaker 3: Yeah.
• 2:11:01
  Speaker 1: A boiler suit.
• 2:11:02
  Speaker 4: You were that the other day.
• 2:11:04
  Speaker 1: I was yelling at him. I was yelling at him.
• 2:11:06
  Speaker 1: And his mom goes, she's a Dutch-Indonesian lady. She goes, oh, Edward,
• 2:11:10
  Speaker 1: there's a spook by the fence. And I remember, Edward,
• 2:11:15
  Speaker 1: somebody has overcrowded coming out. He was very much a mom-and-boy.
• 2:11:19
  Speaker 1: And he dealt with the girl. And Ed's liked to
• 2:11:23
  Speaker 1: control everything. She had matriarchal. They come from a very
• 2:11:26
  Speaker 1: matriarchal European family. And a moment dominates, I mean, Mr.
• 2:11:31
  Speaker 1: Van Halen was always drunk sitting in his fishing boat
• 2:11:33
  Speaker 1: out in the yard. Yeah, stuck his boat in the yard.
• 2:11:37
  Speaker 1: He played at Alpine Village with the clarinet.
• 2:11:41
  Speaker 3: Did Ed boil his, is it true he boiled his
• 2:11:44
  Speaker 3: strings in his mother's pot?
• 2:11:47
  Speaker 1: What are you doing with strings? You boil all the
• 2:11:49
  Speaker 1: life out of them. They're dead when you put them on.
• 2:11:52
  Speaker 4: I knew another guy that did that.
• 2:11:53
  Speaker 1: We used a Floyd Rose without any fine tuners. How
• 2:11:55
  Speaker 1: the hell do you keep that in tune? You couldn't
• 2:11:57
  Speaker 1: keep it in tune.
• 2:11:59
  Speaker 3: And did he also hang the guitars after they were
• 2:12:02
  Speaker 3: painted on the clothesline? That's the stories that he would
• 2:12:05
  Speaker 3: hang his guitar on his mom's.
• 2:12:07
  Speaker 1: What the hell are you doing with the electrical tape
• 2:12:09
  Speaker 1: and twin bicycles? White lacquer with black pieces of electrical
• 2:12:14
  Speaker 1: tape that were done in a pattern. Say, that's kind
• 2:12:17
  Speaker 1: of neat. And all of a sudden, it's like a
• 2:12:20
  Speaker 1: Picasso thing. It's a trademark. Like 50 years, but he
• 2:12:25
  Speaker 1: beat those guitars up something fierce. But I remember we
• 2:12:29
  Speaker 1: played the last gig they ever played, Pat and Gina,
• 2:12:31
  Speaker 1: I did an opener. And we were actually very good,
• 2:12:34
  Speaker 1: but Ember, they went for broke. I mean, they played
• 2:12:38
  Speaker 1: that night like it was the last night they were
• 2:12:40
  Speaker 1: ever going to play a non-professional gig. And they did.
• 2:12:42
  Speaker 1: I mean, they could have, that band could have broke up,
• 2:12:45
  Speaker 1: but they stuck together and they worked 300 days a
• 2:12:48
  Speaker 1: year for several years to get back what they didn't
• 2:12:52
  Speaker 1: get from the Sex Pistols got all the attention. They
• 2:12:55
  Speaker 1: were a bunch of fuck-ups. I mean, look at Sidney. Oh,
• 2:12:58
  Speaker 1: that woman. I mean, you can't... Those tables, that's for sure. Yeah,
• 2:13:01
  Speaker 1: I mean.
• 2:13:02
  Speaker 3: I have a bootleg of the Pasadena Civic, and Dave
• 2:13:06
  Speaker 3: says this is the last show. This is the last
• 2:13:10
  Speaker 3: show we're ever going to... Because they just signed a one.
• 2:13:12
  Speaker 1: Bulk House and Ready Kilowatt and Van Halen. Well, and
• 2:13:19
  Speaker 1: I'm going to say... Yeah, we're different. I mean, like,
• 2:13:21
  Speaker 1: they got popular because... They had such a draw. I mean,
• 2:13:25
  Speaker 1: all the schools, Arcadia High, all the way down to
• 2:13:28
  Speaker 1: Pico Rivera, they had a big promotional thing. People would
• 2:13:31
  Speaker 1: go out, you know, put 10,000 flyers out. And when
• 2:13:34
  Speaker 1: they played, I mean, all they'd do is show up.
• 2:13:37
  Speaker 1: They'd play Guzzaris all the time, which didn't, you know,
• 2:13:39
  Speaker 1: there was a lot of nights there was nobody in there.
• 2:13:42
  Speaker 1: And then there was nights that Roger Waters and Richie
• 2:13:44
  Speaker 1: Blackmore came in, and I said, what are you going to,
• 2:13:47
  Speaker 1: don't play out of tune. It was like a half
• 2:13:49
  Speaker 1: step out of tune. They played Firehouse by Kiss. I mean,
• 2:13:52
  Speaker 1: it was all.
• 2:13:53
  Speaker 4: Back then, they didn't even have tuners, though, did they?
• 2:13:55
  Speaker 1: No, we didn't tune cars. I mean, just you tuned
• 2:13:58
  Speaker 1: them up and you played and that's it. Exactly, yeah.
• 2:14:00
  Speaker 4: That's why sometimes you listen to old albums and you
• 2:14:02
  Speaker 4: hear they're slightly off, you know, and it's kind of cool. Yeah,
• 2:14:05
  Speaker 4: it's a mistake. That's one thing I don't like about
• 2:14:08
  Speaker 4: modern studios is all the engineers, they want to take
• 2:14:11
  Speaker 4: it and make everything perfect. And I'm like... I don't
• 2:14:14
  Speaker 4: want it to be.
• 2:14:15
  Speaker 1: Let's say we do a song, you like it, you
• 2:14:16
  Speaker 1: play a really good verse, you take that same verse
• 2:14:18
  Speaker 1: and you thread it in all the other verse slots,
• 2:14:22
  Speaker 1: it loses something.
• 2:14:23
  Speaker 4: I agree, yeah. Yeah, and then like, you never would.
• 2:14:25
  Speaker 1: Have a Jagger, Richard, Put a stake to the teleporter.
• 2:14:28
  Speaker 4: Harmony, if you wanted it perfect, like they would destroy that,
• 2:14:32
  Speaker 4: you know, so I always let it be.
• 2:14:35
  Speaker 1: No, but you know how they recorded the old days,
• 2:14:37
  Speaker 1: like Tropical Harem on the home album, they did it live.
• 2:14:41
  Speaker 1: They sang it and played it live.
• 2:14:43
  Speaker 2: Yeah.
• 2:14:44
  Speaker 4: You don't mess up. But just like back in the
• 2:14:46
  Speaker 4: big band era, too, it was the same. We had
• 2:14:47
  Speaker 4: a good lecture tour. Yeah, the whole band redo the
• 2:14:49
  Speaker 4: whole thing.
• 2:14:50
  Speaker 1: They had outtakes from that home album, and they played
• 2:14:52
  Speaker 1: it exactly. Everybody showed up, got in there, and performed.
• 2:14:57
  Speaker 1: No overdubs, no nothing. And you think, wow, that's how
• 2:15:00
  Speaker 1: they used to do it.
• 2:15:01
  Speaker 3: And there was a drummer telling me recently that Charlie
• 2:15:03
  Speaker 3: Watts was technically not perfect, but who better to play
• 2:15:09
  Speaker 3: the stone?
• 2:15:09
  Speaker 1: Charlie, you know what you could do with Charlie? You
• 2:15:11
  Speaker 1: could turn a metronome on him. He never went off
• 2:15:13
  Speaker 1: the beat. He likes Charlie Watts. So do I.
• 2:15:15
  Speaker 3: I know I'm a Charlie Watts. I love Charlie Watts.
• 2:15:17
  Speaker 1: And Ringo, that shuffle, have you ever seen where Greg
• 2:15:19
  Speaker 1: Visanet explains it and all the drummers explain the Ringo thing?
• 2:15:24
  Speaker 1: And it's just, you know, it was his own thing.
• 2:15:26
  Speaker 3: Charlie would do that thing where he would like, it
• 2:15:29
  Speaker 3: almost sounds like it's the sound of somebody like diving
• 2:15:31
  Speaker 3: into the water. He'd hit the snare and then, snare
• 2:15:34
  Speaker 3: and then quickly, yeah, it was a really cool effect
• 2:15:39
  Speaker 3: to that. So, okay, this was, Phenomenal. This is fantastic.
• 2:15:43
  Speaker 3: We were talking for like almost, what, three hours here.
• 2:15:45
  Speaker 3: This is so awesome.
• 2:15:47
  Speaker 1: I mean, I think it breaks down. The guy that
• 2:15:50
  Speaker 1: I really think really needs to get some credit here
• 2:15:53
  Speaker 1: is Harvey Mandel because he was like Jeff Beck back
• 2:15:58
  Speaker 1: at Glow By Volume doing instrumental music. His son was
• 2:16:01
  Speaker 1: murdered up by the Oakland police because his kid got
• 2:16:05
  Speaker 1: into some trouble. But Harvey had a hard life. He
• 2:16:07
  Speaker 1: was a great guitar player. He got kind of stepped on.
• 2:16:10
  Speaker 3: Was he doing the finger tapping stuff as well?
• 2:16:13
  Speaker 1: He was on a Rolling Stones album, Black, what was it,
• 2:16:16
  Speaker 1: Black and Blue.
• 2:16:16
  Speaker 3: Black and Blue? Which song?
• 2:16:19
  Speaker 1: Oh my God, what a great song. That's Harvey, that
• 2:16:23
  Speaker 1: vibe is Harvey Vandell all the way. Oh, okay. And
• 2:16:26
  Speaker 1: then that's when they were thinking about you could put
• 2:16:28
  Speaker 1: Harvey in the band and then, you know, naturally Ronnie
• 2:16:31
  Speaker 1: Wood fit in a lot better than Harvey.
• 2:16:33
  Speaker 4: And you love Ronnie Wood.
• 2:16:34
  Speaker 1: So do I.
• 2:16:35
  Speaker 5: And they thought about Jeff Beck joining the Stones. Harvey
• 2:16:38
  Speaker 5: plays with, what were they called? Don Sugarcane Harris, the jockey,
• 2:16:44
  Speaker 5: dead now. He's a fiddle player.
• 2:16:47
  Speaker 1: But he would play with the Pure Food and Drug Act.
• 2:16:49
  Speaker 1: That was a big act in L.A. back in 1971.
• 2:16:53
  Speaker 1: But he had a neat sound. He had a really
• 2:16:55
  Speaker 1: organic kind of cool sound. And I knew his family
• 2:16:59
  Speaker 1: really well because I took lessons from him. I adored
• 2:17:02
  Speaker 1: the way he played. And he traded me for, like,
• 2:17:04
  Speaker 1: babysit my son Eric, and I'll give you some lessons.
• 2:17:08
  Speaker 3: All right, Terry, Christy, thank you so much. I was
• 2:17:11
  Speaker 3: telling Christy to just send me all the links you
• 2:17:13
  Speaker 3: guys want to send me so people can stay up
• 2:17:14
  Speaker 3: to date on this album when it comes out, and
• 2:17:16
  Speaker 3: then send me some tracks and we can play some.
• 2:17:20
  Speaker 1: I'll do the best I can to try to make
• 2:17:22
  Speaker 1: some magic there.
• 2:17:23
  Speaker 3: Make some magic?
• 2:17:24
  Speaker 4: He's already made it.
• 2:17:26
  Speaker 3: Hell yeah. And will you be playing some of the
• 2:17:28
  Speaker 3: Dave stuff? Live is like play Black Sand.
• 2:17:31
  Speaker 1: Yep. I really hope that I get a good settlement
• 2:17:34
  Speaker 1: because then I can buy back some of this shit. Yeah.
• 2:17:37
  Speaker 4: I invested in trying to get what he needs to record.
• 2:17:40
  Speaker 4: And so we definitely are going to play live. That's
• 2:17:42
  Speaker 4: not cool.
• 2:17:44
  Speaker 1: It's all digital. It's going to end up on midget
• 2:17:46
  Speaker 1: P3 anyhow. Yeah.
• 2:17:48
  Speaker 3: Are you feeling optimistic about that? the lawsuit?
• 2:17:52
  Speaker 1: Oh, very. Because you know what? They've proven them that
• 2:17:55
  Speaker 1: they're all 26 towers were faulty and the wind blew
• 2:17:58
  Speaker 1: the derelict tower and molten metal went down the ground.
• 2:18:02
  Speaker 1: They didn't, that unveitment thing you were supposed to clean up.
• 2:18:05
  Speaker 1: They fucked up all the way around.
• 2:18:06
  Speaker 4: Terry's got soap in here. I put my soap in here.
• 2:18:09
  Speaker 1: And they got $ 19 billion at the ready, and it's
• 2:18:11
  Speaker 1: not even on their movie. Sure.
• 2:18:13
  Speaker 3: Is the lawyer telling you to be patient? Because those
• 2:18:15
  Speaker 3: things get drunk.
• 2:18:15
  Speaker 1: Well, we were at a meeting, and they started talking
• 2:18:18
  Speaker 1: about how their CEO got a $ 16 million bonus for
• 2:18:21
  Speaker 1: burning my house down. Of course.
• 2:18:23
  Speaker 7: Yeah.
• 2:18:23
  Speaker 4: Yeah, the same year. Yeah, if that's the case, you know,
• 2:18:27
  Speaker 4: but it's terrible.
• 2:18:28
  Speaker 3: Yeah, all the best without any whatever. Whatever I could
• 2:18:31
  Speaker 3: do to help our dad, man.
• 2:18:32
  Speaker 4: Yeah, you'd.
• 2:18:33
  Speaker 1: Yeah, yeah. For Connecticut, you got some WAP and some
• 2:18:35
  Speaker 1: Irish in you.
• 2:18:36
  Speaker 3: I can't be made. I'm like De Niro. I can't
• 2:18:38
  Speaker 3: be made.
• 2:18:39
  Speaker 1: I couldn't get made either. That's why I didn't stay.
• 2:18:42
  Speaker 1: Believe me, if I was back east, I'd have been
• 2:18:43
  Speaker 1: in a cruise.
• 2:18:44
  Speaker 3: I'd never been in a cruise. It's a small world story.
• 2:18:46
  Speaker 3: Robert De Niro's aunt lived in my hometown. She was
• 2:18:48
  Speaker 3: friends with my mom. She passed. She passed only a
• 2:18:50
  Speaker 3: few years ago. She was like 90-something. But yeah, she
• 2:18:52
  Speaker 3: lived right in town here. And he used to come. Yeah,
• 2:18:55
  Speaker 3: he would come by.
• 2:18:57
  Speaker 1: Long line of Eastern Democrats.
• 2:19:01
  Speaker 3: Man, I'd love to meet you someday in person if
• 2:19:04
  Speaker 3: you guys will come around.
• 2:19:05
  Speaker 1: Yes, Chris. I'll get out that way. She'll be out
• 2:19:07
  Speaker 1: that way tomorrow.
• 2:19:08
  Speaker 2: Yeah.
• 2:19:09
  Speaker 4: Oh, yeah?
• 2:19:10
  Speaker 3: Yeah. You look okay.
• 2:19:11
  Speaker 1: Yeah.
• 2:19:12
  Speaker 3: Yeah, get ready for the humidity.
• 2:19:13
  Speaker 1: Mind us. Call it building. You can't go as far
• 2:19:16
  Speaker 1: up in there as you can.
• 2:19:16
  Speaker 4: And then he's telling me all those places he stayed,
• 2:19:20
  Speaker 4: and I'm like looking him up. I'm like, oh, I
• 2:19:22
  Speaker 4: won't be staying in those places where you toured as days.
• 2:19:25
  Speaker 4: You know?
• 2:19:25
  Speaker 1: Hey, Flora, my bill is like $ 5, 600 every month. I said,
• 2:19:27
  Speaker 1: why are we here?
• 2:19:28
  Speaker 4: Mm-hmm.
• 2:19:31
  Speaker 1: Go home. Ocean's seven miles away. I mean, Ocean's the
• 2:19:33
  Speaker 1: best room we had there. It's an old supermarket that
• 2:19:36
  Speaker 1: turned into a studio.
• 2:19:38
  Speaker 3: Yeah, well, thanks again, guys. This was so cool, man.
• 2:19:42
  Speaker 3: I'm just so glad we made this happen.
• 2:19:44
  Speaker 1: God bless, man. That's it. It's in the books.