Latest / Booked On Rock with Eric Senich / Rock & Roll Dreams and Iconic Collaborations with Musician/Author Elliott Murphy [Episode 227]

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Rock & Roll Dreams and Iconic Collaborations with Musician/Author Elliott Murphy [Episode 227] · Booked On Rock with Eric Senich

0:00
Speaker 1: We're totally booked rock and roll. I think I'll leave you.
0:05
Speaker 1: You're reading Little Hans says it's time to rock.
0:07
Speaker 2: And roll, roll out, I totally booked. Welcome back to
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Speaker 2: book Down Rock, the podcast for those about to read
0:19
Speaker 2: and rock online. A bookdown rock dot Com. Every episode
0:22
Speaker 2: there in both audio and video, and get exclusive video
0:25
Speaker 2: segments from each episode. Find out all the latest rock
0:27
Speaker 2: book releases, and you can link up to all of
0:30
Speaker 2: the social media sites there. Our guest is veteran musician
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Speaker 2: and author Elliot Murphy. Has released a new book titled
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Speaker 2: Elliot Murphy's Rock Dreams. Four decades have passed since the
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Speaker 2: release of Elliot's classic first album, Aqua Show from nineteen
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Speaker 2: seventy three, and fans continue to fill his shows while
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Speaker 2: critics praise his albums. I asked Elliott in this episode
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Speaker 2: about his amazing body of work, his experiences working with Billy,
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Speaker 2: Joel R. Springsteen, Phil Collins, and Mick Taylor in his
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Speaker 2: most recent book, Elliott Murphy's Rock Dreams. Playlist to Elliot
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Speaker 2: Murphy can be found in this episode's show notes. Ellia,
1:03
Speaker 2: Welcome to the podcast.
1:05
Speaker 1: Thank you, Eric, good to be here.
1:07
Speaker 2: I was telling you before we started recording. I try
1:09
Speaker 2: to keep these two aout an hour. So you got
1:11
Speaker 2: so much that I want to ask you about what
1:13
Speaker 2: a career. You were born here on the East Coast,
1:16
Speaker 2: where I'm from. Right now, you are in Paris.
1:20
Speaker 1: Paris, France, where I lived for the last thirty five years.
1:24
Speaker 1: I was born in Long Island. It's funny because I
1:28
Speaker 1: was born the hospital was actually in a place called
1:30
Speaker 1: Rockville Center, and whenever I show the French say I
1:34
Speaker 1: was born in rock Avilla, they just can't believe it
1:36
Speaker 1: that a rock contition was born in a place called
1:39
Speaker 1: City of Rock. And I grew up in Garden City,
1:43
Speaker 1: Long Island is where Charles Lindbergh took off from to
1:47
Speaker 1: fly to Paris on that solo voyage. And yeah, then
1:52
Speaker 1: I lived in Manhattan for a while, but I've been
1:55
Speaker 1: in Paris for thirty five years.
1:57
Speaker 2: You were born to a show business family. I see
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Speaker 2: on their your website.
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Speaker 1: I was my father. I'm actually a junior Elliot Murphy
2:06
Speaker 1: Elliot James Murphy Junior, and my father. He had a
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Speaker 1: show called the Aqua Show, which is what I named
2:11
Speaker 1: my first album after It was kind of a water
2:15
Speaker 1: spectacular water show on the site of the nineteen thirty
2:20
Speaker 1: nine World's Fair, and they had some big orchestras there.
2:24
Speaker 1: Duke Ellington played there, Cap Callaway, some famous comedians and
2:30
Speaker 1: eight thousand people could get in there. And so I
2:33
Speaker 1: do come. I know about the I know about show
2:37
Speaker 1: business and how much luck plays a part. And my
2:40
Speaker 1: father used to always tell me, he said, no matter
2:43
Speaker 1: how good the show was, if it was raining, nobody came.
2:46
Speaker 1: And when you've played as many outdoor festivals as I have,
2:50
Speaker 1: and quite a few get rained on this summer, you
2:53
Speaker 1: realize how true that is.
2:55
Speaker 2: Yeah, Talent isn't just what it's about time. It's right place,
2:58
Speaker 2: right time, a.
3:00
Speaker 1: Lot of it. It's interesting when I thought we had
3:02
Speaker 1: some time for this interview, I was responding to an
3:05
Speaker 1: interview I have to do for a South African writer
3:09
Speaker 1: and he was talking about an album of the Velvet
3:12
Speaker 1: Underground that I wrote the liner notes for. It's called
3:16
Speaker 1: Live nineteen sixty nine, and that was just, again a
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Speaker 1: question of timing, being in the right place, knowing this
3:22
Speaker 1: person Boom and doing that and then getting to me.
3:26
Speaker 1: Lou reed, But I'm jumping ahead a little bit.
3:28
Speaker 2: Yeah, Well, let's go back a little bit. This is
3:30
Speaker 2: according to Wikipedia, So you tell me what's correct. Your band,
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Speaker 2: the Rapscallions, won the nineteen sixty six New York State
3:37
Speaker 2: Battle of the Bands. Okay nineteen seventy one, You Travel
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Speaker 2: to Europe appeared in the Federico Fellini film Roma Correct. Okay.
3:46
Speaker 2: Returning to New York in nineteen seventy three, secured a
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Speaker 2: record contract with Polydor Records after being noticed by rock
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Speaker 2: critic Paul Nelson Okay. In nineteen eighty eight, returned to
3:56
Speaker 2: college studies he had given up in the nineteen sixties,
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Speaker 2: and completed his bachelor's degree at Empire State College.
4:02
Speaker 1: So far, so good, So far, so good. Paul Nelson
4:06
Speaker 1: was the one who he actually worked for Mercury, and
4:09
Speaker 1: he was the one that was putting together that velvet
4:11
Speaker 1: underground album Okay, do the Liner Notes all Right?
4:16
Speaker 2: And the debut album Aqua Show nineteen seventy three critically
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Speaker 2: acclaimed and a favorly reviewed in Rolling Stone Newsweek in
4:23
Speaker 2: New Yorker. So the debut album Aqua Show reviewed along
4:27
Speaker 2: with Bruce Springsteen's The Wild The Innocent in the Eastreet
4:30
Speaker 2: Shuffle in Rolling Stone under the headline quote, He's the
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Speaker 2: best Dylan since nineteen sixty eight, which earned you and
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Speaker 2: Bruce the quote New Dylan tag. How did that feel
4:38
Speaker 2: at the time to be compared to Bob Dylan? Did
4:41
Speaker 2: you feel elated? Did you feel under pressure? Did you
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Speaker 2: feel both?
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Speaker 1: Well? I felt a tremendous amount of pressure. I wasn't
4:48
Speaker 1: really expecting it. I never thought I sounded too much
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Speaker 1: like Bob Dylan, all those New Dylan's if you look
4:57
Speaker 1: at him back now, Bruce, myself, Loud and Rain Ride,
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Speaker 1: John Prime, even Tom Petty, none of us really sound
5:05
Speaker 1: like each other, and none of us really sound too
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Speaker 1: much like Bob Dylan. But the difficult thing, Eric was
5:12
Speaker 1: that was my first album and they were comparing it
5:15
Speaker 1: to Blonde on Blonde, which was Bob Dylan's fifth or
5:18
Speaker 1: sixth album. Yeah, the question is where do you go
5:21
Speaker 1: from there? You know, what do I do now?
5:23
Speaker 2: You know?
5:24
Speaker 1: Maybe I should just stop now. And there's always been
5:27
Speaker 1: a mystery about that headline, He's the best Dylan since
5:30
Speaker 1: nineteen sixty eight? Was it about me? Was it about Bruce?
5:34
Speaker 1: Was it about both of us? But I mean, in
5:37
Speaker 1: a way, it was a very good thing because it
5:40
Speaker 1: really I was not a big signing to Polygo Records.
5:44
Speaker 1: It was really just I was a favorite project of
5:46
Speaker 1: Peter Siegel, who was the head of Head of A
5:50
Speaker 1: and R at the time. Was a small deal of
5:52
Speaker 1: minuscule advance, but when this really tidal wave of press
5:59
Speaker 1: followed that, Polydor had to pay attention and really started
6:05
Speaker 1: putting some money into the album and launched a tremendous
6:09
Speaker 1: promotional campaign, which included posters in the New York Subway
6:13
Speaker 1: and a lot of things. So it was really because
6:16
Speaker 1: of all that press was generated just on the strength
6:19
Speaker 1: of the album. It wasn't the record company that did that,
6:23
Speaker 1: and they were then trying to play ketch up after
6:25
Speaker 1: that album came out.
6:27
Speaker 2: You talk about not sounding like Dylan. Who were the
6:29
Speaker 2: artists that influenced you in your sound? Do you think?
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Speaker 1: Well, I was in nineteen seventy one, as you mentioned,
6:35
Speaker 1: I took a trip to Europe, and I was kind
6:37
Speaker 1: of before that. I was in Long Island kind of bands.
6:41
Speaker 1: I was playing, you know, hard rock. I was playing
6:43
Speaker 1: the Stooges, I was playing the Who, I was playing
6:45
Speaker 1: the MC five. But when I went to Europe, something happened.
6:50
Speaker 1: There was a sea change in my musical direction and
6:55
Speaker 1: I was singing on the streets, and I was singing
6:57
Speaker 1: Leonard Cohen and I was singing Paul Simon and I guess,
7:01
Speaker 1: and Lou read a little bit, and of course Bob
7:04
Speaker 1: Dylan and I guess. I got away from wanting to
7:07
Speaker 1: be a guitar hero to concentrating on the incredible singer
7:12
Speaker 1: songwriters who were around at the time, and that really
7:15
Speaker 1: became my focus.
7:17
Speaker 2: What's your songwriting process? How does song start for you?
7:19
Speaker 2: I always ask this the musicians because I'm fascinated with it.
7:22
Speaker 2: What's the part that seems to come easiest for you?
7:24
Speaker 2: What's the biggest challenge for you as a songwriter.
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Speaker 1: I would say it's been about over fifty years I've
7:32
Speaker 1: been doing this, so I must have written five hundred
7:35
Speaker 1: songs at least. But the process has changed over time.
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Speaker 1: In the early days, I was blessed with this kind
7:43
Speaker 1: of organic inspiration. Music and words would come together. Some
7:47
Speaker 1: of my you know now, most classic songs were written
7:51
Speaker 1: in a very short amount of time. Last of the
7:53
Speaker 1: Rock Stars I think I wrote it in a hotel
7:56
Speaker 1: room in Switzerland one night in nineteen seventy one, so
8:01
Speaker 1: it came very quickly. Now, I'd say I get ideas
8:06
Speaker 1: you know, I get a chorus, I get a verse,
8:08
Speaker 1: and then they kind of they got to live inside
8:12
Speaker 1: me for a while. But something it can take even
8:14
Speaker 1: a couple of years for those songs to come to fruition.
8:17
Speaker 1: But the main thing is that the story you want
8:21
Speaker 1: to tell in the song.
8:23
Speaker 2: How autobiographical are your lyrics?
8:28
Speaker 1: I would say they run the gamut. I mean, there's
8:31
Speaker 1: a song called on Elvis Presley's Birthday, which actually began
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Speaker 1: as a poem. That one of the few songs of
8:37
Speaker 1: mine that began that way, And that's about a day
8:40
Speaker 1: I passed with my father and it was Elvis Presley's birthday.
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Speaker 1: We heard it on the radio. This was in the sixties,
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Speaker 1: so that was completely autobiographical. Other songs, there's a song
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Speaker 1: called three Complete American Novels. It's really three fictional stories.
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Speaker 1: But I think there is I always wanted to tell
9:00
Speaker 1: my story in the music. I think that's why I
9:03
Speaker 1: got into it. That's what attracted me. You know, I
9:06
Speaker 1: didn't necessarily want to write hit songs or write love songs,
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Speaker 1: or you know, I wanted to tell a story that
9:13
Speaker 1: was that was close to me, even if it was fictional.
9:18
Speaker 2: Book on Rock podcast Will be back after this.
9:21
Speaker 1: This is heavy. There's that word again, heavy? Why are
9:24
Speaker 1: fin heavy in that future? Is there a problem with
9:26
Speaker 1: yours gravitational poll?
9:30
Speaker 2: Your album's Lost Generation, night Lights and Just a Story
9:32
Speaker 2: from America from seventy five, seventy six and seventy seven
9:36
Speaker 2: were produced by Doors producer Paul Rothschild. What was that
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Speaker 2: experience like recording music with Paul Rothschild.
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Speaker 1: Well, my second album, Lost Generation, which Paul produced, It
9:47
Speaker 1: was originally going to be produced by Lou Reed because
9:50
Speaker 1: Lou had brought me to RCA Records. It started coming
9:53
Speaker 1: to my after I wrote those liner notes for the Velvets,
9:56
Speaker 1: who became kind of friendly, started coming to my shows
9:58
Speaker 1: at Maxis Kansas City. He was a club in New York.
10:02
Speaker 1: And then Lou got arrested for something I think it
10:06
Speaker 1: was bad phony prescriptions in a drug store and I
10:10
Speaker 1: had to find another way to do this and Paul Rothschild,
10:13
Speaker 1: who was I knew him as the Doors producer. He
10:16
Speaker 1: had also produced one of my all time favorite albums,
10:18
Speaker 1: which was the first Paul Butterfield blues album.
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Speaker 2: Oh I didn't know that.
10:23
Speaker 1: Yeah, with the one with Mike Bloomfield Boy because he
10:27
Speaker 1: was kind of the Electra staff producer. So I knew
10:29
Speaker 1: the name right away, and I knew him from Janis Joblin.
10:31
Speaker 1: But you got to remember at that time the doors
10:34
Speaker 1: were not kind of they were kind of out of
10:36
Speaker 1: fashion in their early set, and it wasn't really until
10:40
Speaker 1: the movie came out and things. So Paul was he
10:44
Speaker 1: was hustling for gigs that he had tried with Bonnie
10:47
Speaker 1: Raid almost had a hit with her cover of Runaway.
10:51
Speaker 1: So he was anxious to do this project and he
10:53
Speaker 1: brought me to La. I didn't have a band, because
10:56
Speaker 1: the first thing Polydor did when they signed me has
10:59
Speaker 1: broke up my band. They just wanted to sign me
11:01
Speaker 1: and my brother. But he put together this kind of
11:04
Speaker 1: all star band, which I contributed some of the elements.
11:08
Speaker 1: He said, who's your favorite drummer? And I said, Jim Gordon,
11:11
Speaker 1: who had played with jerichab Domino's Yes and had co
11:14
Speaker 1: written Laila with Eric Clapton, and who had just a
11:18
Speaker 1: tragic ending of schizophrenia, murdered his mother, spent the rest
11:25
Speaker 1: of his life in a psychiatric hospital. And have you
11:28
Speaker 1: ever met him? He was such a a sweet guy.
11:31
Speaker 1: It's just tragic.
11:32
Speaker 2: Well, sorry interrupt, but yeah, elliott I had the author
11:35
Speaker 2: of the book on Jim and it's a fascinating read
11:39
Speaker 2: and it's a it's a Joel Selvin was read that book.
11:46
Speaker 2: It takes it has a lot of empathy for Jim.
11:49
Speaker 2: It's it's about how just what you were saying, his
11:52
Speaker 2: struggles and how the system really let him down. He
11:57
Speaker 2: put him in prison, but he just needed he needed
12:00
Speaker 2: some serious psychological assistance, people that would actually care about
12:05
Speaker 2: him rather just throw him in a prison. Yeah, yeah, that.
12:09
Speaker 2: Joel Salvin wrote the book and I just gott to
12:12
Speaker 2: find the title here by the fascinating reach. So, yeah,
12:14
Speaker 2: tell me Jim. So they say he was a sweet guy,
12:18
Speaker 2: but he was.
12:19
Speaker 1: Doing that unbelievably great musician, amazing. He was one of
12:24
Speaker 1: those drummers he could just create the swing and the
12:26
Speaker 1: groove to the song and then everyone kind of hooked
12:29
Speaker 1: onto that. So we also brought in Richard t who
12:32
Speaker 1: was Paul Simon's piano player. Paul Rothschild was trying to
12:39
Speaker 1: get a deal for these musicians from New Orleans who
12:42
Speaker 1: we'd brought to LA, including Sonny Landreth, the great Sunny Landreth.
12:47
Speaker 1: So he played a little on the album and I
12:50
Speaker 1: played guitar too, So he put together this kind of
12:53
Speaker 1: all star band there and we recorded at Electra Studios,
12:57
Speaker 1: and after the sessions were over sometimes he drag out
13:00
Speaker 1: some of the doors tapes, rare and unreleased stuff from
13:05
Speaker 1: the vaults there and play it for me. Though. That
13:07
Speaker 1: was really fascinating, and tell me stories about Jim Morrison,
13:11
Speaker 1: how Jim Morrison lived in a motel and didn't have
13:14
Speaker 1: a phone in his room and whenever they wanted to
13:16
Speaker 1: get him, they'd have to call the office of the
13:18
Speaker 1: motel and someone knock on his door. Anyway, I was
13:23
Speaker 1: staying at the Beverly Hills Hotel, which was a far
13:25
Speaker 1: cry from that. So that was a great experience with Paul.
13:29
Speaker 1: The problem was that album Last Generation. The head of
13:33
Speaker 1: A and R at RCA was a guy called Mike Bernecker,
13:37
Speaker 1: who was again a great producer and ranger and musician,
13:41
Speaker 1: but he was not into rock and roll. He had
13:43
Speaker 1: produced Barber streisand people, and he looked upon me as
13:48
Speaker 1: a solo singer artist and he he could it was
13:53
Speaker 1: very hard for him to understand how rock album should
13:55
Speaker 1: have sense. We had to remix a lot of that
13:57
Speaker 1: album to please him, change the order he insisted we
14:01
Speaker 1: start the album with a ballad, which we did. I
14:04
Speaker 1: don't think it was the best song on the album,
14:06
Speaker 1: but again the album came out, got great reviews, and
14:11
Speaker 1: what I didn't know then on which I knew now,
14:14
Speaker 1: those albums were doing very well in Europe. With Aquasho
14:20
Speaker 1: Lass Generation, I came back to New York and did
14:23
Speaker 1: my next album with RCA with Steve Katz, who was
14:29
Speaker 1: in the Blues Project, and he was really the one
14:31
Speaker 1: who gave Lou Reed his second life in his career
14:34
Speaker 1: because he put together the Rock and Roll Animal Live
14:37
Speaker 1: album of Lou which when Lou put out Berlin, it
14:44
Speaker 1: was a colossal failure, colossal failure at the time, and
14:49
Speaker 1: Steve put together this great band of a Steve Hunter
14:52
Speaker 1: and other musicians and anyway, so I worked with Steve Katz.
14:57
Speaker 1: We recorded an Electric Lady land Uh. Patty Smith was
15:02
Speaker 1: recording her first album in the Studio A and I
15:04
Speaker 1: was in Studio B. I recorded much of that album
15:08
Speaker 1: with a couple of members of the Modern Lovers, Jerry
15:10
Speaker 1: Harrison and Ernie Brooks. Jerry went on to join the
15:13
Speaker 1: Talking Heads, of course, and again you know, I think
15:19
Speaker 1: if you look at the sales. In terms of what
15:21
Speaker 1: albums sell today, they probably did pretty well. But back
15:25
Speaker 1: in those days, you know, the market was exploding. And
15:29
Speaker 1: then from my fourth and kind of last major label album,
15:33
Speaker 1: I went to London and worked with a famous engineer
15:37
Speaker 1: who was trying to become a producer named Robert Robin Cable.
15:41
Speaker 1: He had worked a lot with Elton John, with Carly Simon,
15:44
Speaker 1: he was part of the Trident sound. And again I
15:47
Speaker 1: had an amazing drummer on that album, Phil Collins.
15:50
Speaker 2: Yeah, he plays on every track, doesn't he He's on
15:53
Speaker 2: all of them. He's on every track, I think except
15:55
Speaker 2: for one, Oh, except for one, except for one.
15:57
Speaker 1: He had another gig. But it was interesting because I
16:01
Speaker 1: got to know and Phil was such a great guy,
16:03
Speaker 1: so funny, just he almost he kept everyone laughing all
16:08
Speaker 1: the time in the studio and Genesis Peter Gabriel had
16:13
Speaker 1: just left Genesis.
16:14
Speaker 2: Right around seventy seven, and.
16:18
Speaker 1: So I said to Phil, I said, what are you
16:20
Speaker 1: going to do now with Genesis? And he has some
16:23
Speaker 1: side projects he was working on and he said, well,
16:26
Speaker 1: I don't know, he said. We have auditioned so many singers.
16:29
Speaker 1: He said, I'm thinking I might even sing myself. And
16:33
Speaker 1: that's exactly what he did. Came out just a store
16:37
Speaker 1: of America that was on Columbia, and that album had
16:43
Speaker 1: a lot to do with why I'm speaking to you
16:45
Speaker 1: from Paris today, because there was a song on that
16:48
Speaker 1: album called Anastasia, which was kind of a hit in France. Again,
16:53
Speaker 1: I didn't really know it, although Columbia did send me
16:56
Speaker 1: to Paris to do a lot of press and interviews.
17:00
Speaker 1: That album and that song kind of set the stage
17:03
Speaker 1: and gave me enough enough credence here in France that
17:09
Speaker 1: I could move here and continue my career, which I
17:12
Speaker 1: did in nineteen eighty nine.
17:14
Speaker 2: Booked on rock podcast We'll be back after this difficult
17:17
Speaker 2: see Always in Motion is the future. I'm sure a
17:23
Speaker 2: lot of Lou Reed fans listening right now. What was
17:25
Speaker 2: Lou like? What was your relationship like with Lou So?
17:27
Speaker 2: He misunderstood. He was always an enigma too many, especially
17:31
Speaker 2: the media. He wasn't one. He certainly wasn't one to
17:36
Speaker 2: open up. I think, you know, the music was his priority.
17:39
Speaker 2: He wasn't interested in being a famous rock star. I
17:41
Speaker 2: don't think.
17:43
Speaker 1: I think he was very interested in being a famous.
17:45
Speaker 2: Rock oh really okay, very.
17:48
Speaker 1: Interested in that Lou. Lou was into Lou. And first
17:53
Speaker 1: time I met Lou, I went to a Mitch Ryder
17:57
Speaker 1: concert at the Cafe a Go Go in New York.
18:00
Speaker 1: This is before I had ever recorded a note of music,
18:03
Speaker 1: and Mitchell covered rock and Roll, the Velvet Underground song
18:06
Speaker 1: that Lou had written. And I was with someone who
18:08
Speaker 1: knew Lou, and I remember Lou was kind of he'd retreated,
18:12
Speaker 1: he had quit the Velvet Underground. He went back to
18:15
Speaker 1: Long Island and he was working, I think in his
18:17
Speaker 1: father's company, and he was wearing a Mickey Mouse t shirt.
18:21
Speaker 1: I always remember that. And I this person, Danny Fields,
18:25
Speaker 1: who's a legendary scene maker in New York. He introduced
18:29
Speaker 1: us and I said, oh, all I could think of
18:32
Speaker 1: saying was you're from Long Island. I'm from Long Island,
18:36
Speaker 1: and he like yes, said yes, I'm from Long Island.
18:38
Speaker 1: You know, Lou was mercurial. I can say that that's
18:43
Speaker 1: kind of a kind way. He loved to torture the press,
18:47
Speaker 1: but he loved doing interviews and he loved people asking
18:50
Speaker 1: him questions. You know, uh heuh. When he was very
18:57
Speaker 1: important in the early days of my career because he
19:00
Speaker 1: gave some interviews and really talked about Aqua show. Loved
19:05
Speaker 1: the lyrics, and he brought me to RCA Records because
19:09
Speaker 1: he was on RCIA at the time, so we had
19:12
Speaker 1: a period there. And he also brought me to Dennis Katz,
19:15
Speaker 1: who was my manager and Low's manager for a while.
19:18
Speaker 1: But he had for instance, he had just recorded Sally
19:21
Speaker 1: Can't Dance his album. In later years he has totally
19:26
Speaker 1: he totally disowned that album, but I'll tell you swear
19:31
Speaker 1: he took me in the studio to listen to the
19:33
Speaker 1: final mixes and he loved that album, just loved it.
19:37
Speaker 1: You know. So Louis could be the sweetest, nicest guy
19:41
Speaker 1: in the world, and then he sometimes his demons took
19:44
Speaker 1: over and he's not that. But I will say this
19:48
Speaker 1: about lou He was always into the music. I mean,
19:52
Speaker 1: he was always doing something, even when he made Metal
19:54
Speaker 1: Machine Music, which I did a long interview with him
19:59
Speaker 1: for a music magazine called Circus at the time. You know,
20:03
Speaker 1: he was into it. You know, he was into it.
20:06
Speaker 1: But he was a very mercurial character.
20:09
Speaker 2: Though I was fascinated with comments he made. I don't
20:13
Speaker 2: remember where it was a documentary on him maybe, but
20:15
Speaker 2: his fascination with sounds and how you can create music
20:18
Speaker 2: out of sounds. Sounds are everywhere, They're all around us,
20:21
Speaker 2: and he just loved it, just the whole process of
20:25
Speaker 2: creating music. And Mick Taylor of the Rolling Stones played
20:29
Speaker 2: guitar I think on the track rock Ballad exactly, okay,
20:33
Speaker 2: and I think if I recall correctly too, I watched
20:36
Speaker 2: an interview with you we said Mick almost produced an
20:39
Speaker 2: album of yours or am I getting that right?
20:43
Speaker 1: No? You get I asked Mick Jagger to produce a
20:45
Speaker 1: Mick Jagger okay and the other Mick and okay. Now,
20:51
Speaker 1: Mick Taylor had just left the Rolling Stones and he
20:54
Speaker 1: was signed to Columbia as I was, and I went
20:57
Speaker 1: to the Columbia in the CBS Records in National Convention.
21:01
Speaker 1: I loved it and I met him and I asked
21:03
Speaker 1: him he would play on my album although I didn't
21:07
Speaker 1: really have a song, excuse me, that would be good
21:10
Speaker 1: for him, and he said he would, And I really
21:13
Speaker 1: wrote rock Ballad for him to play on. And I
21:16
Speaker 1: remember he carried his own amp into the studio. He
21:20
Speaker 1: had an amp because Keith had given him this amp.
21:23
Speaker 1: It was a music man or some some bizarre mark
21:28
Speaker 1: and h he can't because he liked to play in
21:30
Speaker 1: that amp, but he didn't bring a guitar. He played
21:32
Speaker 1: my guitar, my nineteen sixty month strata on that cover.
21:36
Speaker 1: Mick Jagger was. I asked Mick to produce my second album.
21:39
Speaker 1: I asked a lot of people to lose my second
21:41
Speaker 1: I asked David Bowie to produce it. I met with David.
21:45
Speaker 1: He was He was such an English gentleman. I mean
21:49
Speaker 1: he was really he was really wonderful. Although he did
21:52
Speaker 1: give me my first line of cocaine and I could
21:54
Speaker 1: have done without that. He was great. Uh. You know,
22:00
Speaker 1: I was all of a sudden, I went from the
22:02
Speaker 1: before Aqua Show was released, I was totally anonymous. I
22:05
Speaker 1: was a nobody, you know. I was just a kid
22:07
Speaker 1: from Long Island who had gone to Europe and kind
22:10
Speaker 1: of reinvented himself. But once that album hit, you know,
22:15
Speaker 1: I wanted to be in that club and I wanted
22:17
Speaker 1: to be able to meet all those people who were
22:19
Speaker 1: my heroes. You know. David boyce Changes album had influenced
22:23
Speaker 1: Aqua Show a lot as well.
22:25
Speaker 2: Another fellow Long Island native, Billy Joel, and he played
22:30
Speaker 2: piano on the track Deco Dance from I think seventy
22:33
Speaker 2: six is.
22:34
Speaker 1: Night Lights nide Lights he did.
22:35
Speaker 2: Yeah, how long before that did you know Billy? Did
22:39
Speaker 2: you run the same circles? Had you run into him
22:41
Speaker 2: years before?
22:43
Speaker 1: My story with Billy goes way back and continues to
22:46
Speaker 1: this day. Billy was a pretty well known long armed
22:50
Speaker 1: musician Nassau County in his early days because he was
22:53
Speaker 1: so incredibly talented. There was a band called the Hassles
22:57
Speaker 1: and he was the organ player and this singer imember
23:00
Speaker 1: going and to see them on a snowy day in
23:02
Speaker 1: nineteen sixty six or sixty seven, and he did a
23:06
Speaker 1: version of Gimme Some Lovin And you would have swore
23:09
Speaker 1: you know, Stevie Winwood was in the room. And then
23:13
Speaker 1: when I got to know Billy when I was on Columbia,
23:17
Speaker 1: he was on Columbia. I opened a lot of shows
23:19
Speaker 1: for Billy back in the day, Allan in Allentown where
23:23
Speaker 1: he had a hit song called Allentown At the time.
23:28
Speaker 1: I was married at the time and we were friends
23:30
Speaker 1: with him and his wife who he was married to
23:32
Speaker 1: at the time. It was his manager who was married
23:34
Speaker 1: to his manager. Big mistake, I think, and then I
23:40
Speaker 1: didn't see Billy for a long time when I moved
23:43
Speaker 1: to Europe, and then we kind of reconnected together again.
23:46
Speaker 1: I found a picture of him and I with doctor John,
23:50
Speaker 1: and I managed to get that picture, that photo to him,
23:53
Speaker 1: and then we reconnected. And then a couple of years ago,
23:56
Speaker 1: I was inducted into the Long Island Music of Fame
24:01
Speaker 1: and Billy did the induction. He gave the speech, which
24:04
Speaker 1: was just wonderful. And then a few days later he
24:07
Speaker 1: invited me to come on stage with him at Madison
24:10
Speaker 1: Square Garden and I sang Walk on the wild Side
24:14
Speaker 1: by Lou Reid. Another Long Island nay but.
24:17
Speaker 2: Native, Liberty Devillo, was on this podcast, and I was
24:21
Speaker 2: really happy to see that those those two guys were
24:23
Speaker 2: able to rekindle their friendship. And seems like everything's cool
24:27
Speaker 2: with him now. Liberty is a great guy and Billy
24:29
Speaker 2: seems like a great guy too.
24:32
Speaker 1: Billy is just it's overwhelming. I mean, he could really
24:35
Speaker 1: be a classical pianist. I mean he denies it, but
24:38
Speaker 1: I think he could. And he was one of those
24:41
Speaker 1: guys he could just hear a song and he could
24:42
Speaker 1: play it, you know. Immediately he was brilliant.
24:45
Speaker 2: What did you think of the song he put out recently?
24:48
Speaker 2: I thought was amazing his new song.
24:51
Speaker 1: Well, you know, all the cats like that that I'm
24:55
Speaker 1: friends with, you know, be it Billy or are Bruce
24:59
Speaker 1: Springstein or even the Rolling Stones, Not that I'm friends
25:02
Speaker 1: with them, but anything they do I like. Yeah, it
25:06
Speaker 1: just it's just part of their story, you know, I
25:08
Speaker 1: don't I don't really judge it, you know, I think
25:10
Speaker 1: it's and I've been I've been taught, I've been humbled
25:16
Speaker 1: that many albums which I didn't like, I ended up
25:19
Speaker 1: loving Exile on Main Street. Did not like that album
25:22
Speaker 1: when it first came out, and now it's one of
25:24
Speaker 1: my favorite albums of all times.
25:25
Speaker 2: Isn't that interesting that happens with me two albums and songs,
25:29
Speaker 2: albums that I didn't like then Now as you get older, Yeah,
25:32
Speaker 2: something clicks.
25:33
Speaker 1: Yeah, And some of I was just listening to some
25:36
Speaker 1: of Bruce's later albums Working on a Dream, which are
25:41
Speaker 1: Magic and Magic, and I love those albums now they
25:44
Speaker 1: all got some brilliant songs on them. And so you know,
25:49
Speaker 1: although music has many many elements like international, like professional sports.
25:57
Speaker 1: Now I mean big concerts are held in arena. I
26:01
Speaker 1: don't think it should be a competitive endeavor. You know,
26:05
Speaker 1: they started rating albums on Rolling Stone, remember when they
26:08
Speaker 1: did that with the Star System. And that's when Paul
26:11
Speaker 1: Nelson quit as the review editor of Rolling Stone because
26:14
Speaker 1: he didn't believe that was that was the way we
26:17
Speaker 1: should look at art as well.
26:18
Speaker 2: Bruce Springsteen, he sings on nineteen eighty five's Everything I
26:21
Speaker 2: Do leads me back to from your album Selling the Gold.
26:24
Speaker 2: How did that collaboration come to be? How long ago
26:26
Speaker 2: had you met Bruce back? Did you meet him at
26:29
Speaker 2: the time that Rolling Stone Headline was out.
26:33
Speaker 1: I met him at the time before that. He was
26:36
Speaker 1: playing an early show at Maxis Kansas City. Maybe he
26:39
Speaker 1: was opening for the Whalers. They were opening for him
26:43
Speaker 1: and Paul Nelson, who I've mentioned before. He brought me
26:46
Speaker 1: to the show, and I'll tell you Eric, there were
26:48
Speaker 1: twenty people in the audience, but Bruce performed as if
26:52
Speaker 1: there was twenty thousand. And I met him afterwards and
26:56
Speaker 1: he was you know, we kind of something clicked right away.
27:00
Speaker 1: And then when Acerto came out and there were all
27:03
Speaker 1: those comparisons, you know, we were all in the New
27:05
Speaker 1: bubb doing club together. We've pretty much been closed ever since.
27:11
Speaker 1: You know, I consider Bruce a great friend, not that
27:15
Speaker 1: I see him that much. He lives in New Jersey
27:17
Speaker 1: and I live in Paris, but he's invited me on
27:20
Speaker 1: stage with him many times. You know, all over Europe
27:24
Speaker 1: he sang and on selling the Gold. I had this
27:27
Speaker 1: song everything I Do Leads Me Back to You, which
27:29
Speaker 1: I really thought Bruce could could sing on. And I
27:34
Speaker 1: went to see him in New Jersey to play him
27:37
Speaker 1: the tape see if he'd agree to do it. I'll
27:40
Speaker 1: never forget. It was like a rainy winter night in
27:42
Speaker 1: New Jersey and I had a DAT tape. I don't
27:45
Speaker 1: know if you remember.
27:45
Speaker 2: Those unless you.
27:47
Speaker 1: Digital little cassettes, and Bruce had a dad player in
27:51
Speaker 1: his car, so we had to go out into his
27:54
Speaker 1: car in the rain and play that song. It was
27:58
Speaker 1: like being in a Bruce Springsteen song, right, yeah. And
28:01
Speaker 1: he listened to it and he said, yeah, I could
28:03
Speaker 1: sing on that. So, you know, all the tapes were
28:07
Speaker 1: sent to him from Belgium, where I was recording, to
28:10
Speaker 1: New Jersey, and a couple of months passed and I
28:13
Speaker 1: didn't hear anything, and I figured, well, maybe he got
28:15
Speaker 1: too busy. And then one night, it was about four
28:18
Speaker 1: o'clock in the morning and the phone rang and it
28:21
Speaker 1: was Bruce. He said, oh, yeah, I did it. I
28:24
Speaker 1: did it. And I said, WHOA, Do you know what
28:27
Speaker 1: time it is? He said, I he me know what
28:28
Speaker 1: time it is in New Jersey. And he was originally
28:34
Speaker 1: gonna just sing on the choruses, but there's a verse
28:36
Speaker 1: in there which has a real automobile metaphor, I'm rolling
28:40
Speaker 1: on my rims. And he couldn't resist and he sang
28:43
Speaker 1: that verse as well. And it was such a generous
28:46
Speaker 1: you know, fellow, part of the fellowship of we all belong,
28:53
Speaker 1: such a generous thing to.
28:54
Speaker 2: Do, you said in one of the interviews, I saw
28:56
Speaker 2: that it just it was just instant once the pair
28:59
Speaker 2: of and you just seemed to be It's like you
29:02
Speaker 2: were meant to be living there. What is it about
29:05
Speaker 2: Paris that you love?
29:07
Speaker 1: Well, I think what I love about Paris and France
29:12
Speaker 1: and the French. They always looked at rock and roll
29:17
Speaker 1: and what I do, what we all do as part
29:20
Speaker 1: of culture in America. Sometimes it's just looked upon as
29:24
Speaker 1: part of show business, a commodity. So there's a many
29:29
Speaker 1: American any English artists who didn't have huge success in
29:33
Speaker 1: their homeland. Who did find a public here and I'm
29:36
Speaker 1: one of them. And when I came here as seventy
29:39
Speaker 1: nine or to play my first show, I thought it
29:43
Speaker 1: was going to be in a little club of fifty people,
29:45
Speaker 1: and it was, you know, there was a thousand people
29:47
Speaker 1: in the audience and I did six encores and I
29:49
Speaker 1: didn't want to lead the age. And I thought my
29:54
Speaker 1: career was over by that time because I had been
29:56
Speaker 1: left Columbia Records, and I was really struggling in America.
29:59
Speaker 1: Really I struggling. I was broke, and nineteen seventy seven
30:06
Speaker 1: I always thought it was a horrible year for rock
30:10
Speaker 1: and roll. Many would disagree with me, but it was
30:12
Speaker 1: the beat. Elvis Presley died first of all, Disco began
30:17
Speaker 1: and punk began. I like a lot of punk music,
30:21
Speaker 1: a lot of punk bands, but the term singer songwriter
30:25
Speaker 1: definitely became a dirty word no one was interested in,
30:29
Speaker 1: you know. And so I was really struggling in America.
30:33
Speaker 1: And when I came here and played that show, I said, Wow,
30:36
Speaker 1: maybe there's a second act to be had, And so
30:40
Speaker 1: I started playing all over France. I started playing in Spain,
30:44
Speaker 1: and I played in Spain in eighty three. I think
30:47
Speaker 1: it was eighty two was my first show, and Franco
30:49
Speaker 1: had died the Dictator in seventy six I think. And
30:54
Speaker 1: before that there was no rock and roll in France.
30:56
Speaker 1: You know, they wouldn't love Beatlerock. I mean in Spain. Sorry,
31:00
Speaker 1: So now one of my greatest public is probably in
31:03
Speaker 1: Spain because I you know, I'm like the first generation
31:05
Speaker 1: of rockers to them. So in those ten years everything changed.
31:10
Speaker 1: In nineteen eighty nine, I've finally made the move and
31:14
Speaker 1: it came to Paris. I've been here ever since, booked.
31:18
Speaker 2: On rock podcasts. We'll be back after this. Now you
31:21
Speaker 2: wait here, I'll be right back. My guess is Elliot Murphy.
31:25
Speaker 2: He's released a new book titled Elliot Murphy's Rock Dreams.
31:28
Speaker 2: So I want to ask about the new book. Let's
31:30
Speaker 2: make the transition to your writing career. Your published author
31:33
Speaker 2: numerous collections of short stories, including the recently released Garden
31:37
Speaker 2: City Stories and four novels, the rock trilogy Marty May,
31:41
Speaker 2: Tramps and Diamonds by the Yard, and the neo Western
31:44
Speaker 2: poetic Justice. Your writing has appeared in Rolling Stone, Vanity Fair,
31:49
Speaker 2: other publications. You're nineteen eighty five short story The Line
31:52
Speaker 2: Sleeps and I was recently made into the feature film
31:55
Speaker 2: Broken Poet by acclaimed Spanish director Emilio j Ruiz. When
31:59
Speaker 2: did you dive passion for writing?
32:03
Speaker 1: Well, let me start by saying my overused quotation, which
32:09
Speaker 1: I said once on a TV show. Literature is my
32:12
Speaker 1: religion and rock and roll is my addiction. I really
32:16
Speaker 1: need both of them. I started reading in a young age,
32:20
Speaker 1: and I found great escape in you know, Jack Kerouac,
32:26
Speaker 1: John Steinbeck, and especially f Scott Fitzgerald and the Great Guests.
32:31
Speaker 1: We took place on Long Island, where I'm from, and
32:36
Speaker 1: at that time it's hard to think of it now,
32:39
Speaker 1: but in the late in the sixties, literature and music
32:43
Speaker 1: started coming together. You know, here's some very literate singer
32:47
Speaker 1: songwriters such as Leonard Cohen, the greatest example, who also
32:51
Speaker 1: wrote a couple of novels. If you remember on the
32:55
Speaker 1: cover of Sad Sergeant Pepper, all those faces there, I mean,
32:58
Speaker 1: I think the majority of them were writers, you know,
33:00
Speaker 1: Edgar Allan, Poe, Oscar Wild. So it's always been important
33:05
Speaker 1: to me. I've always found inspiration in writing. It's a
33:08
Speaker 1: totally different process from writing songs and performing music. You know,
33:12
Speaker 1: when you write a great paragraph, nobody applauds, and writing
33:16
Speaker 1: is inspiration is important, but just sticking at it and
33:22
Speaker 1: editing is really important important. So Marty May was really
33:27
Speaker 1: the first long long form piece of writing I did.
33:33
Speaker 1: I wrote that as a short. Part of it was
33:36
Speaker 1: published as a short story in Rolling Stone in nineteen eighty, which, again,
33:42
Speaker 1: I was really kind of a difficult time for me
33:43
Speaker 1: in America. And I ran into Yon Winner, the publisher
33:47
Speaker 1: and owner of Rolling Stone, on fifty seventh Street and
33:50
Speaker 1: Fifth Avenue, and I knew him, and he asked me
33:52
Speaker 1: what I was up to, and I said, well, I'm writing,
33:55
Speaker 1: and he said he wanted to read it, and he read.
33:58
Speaker 1: He read it was called Cold an Electric, and he said,
34:01
Speaker 1: I'm going to publish it in Rolling Stone, and he
34:03
Speaker 1: actually edited it himself. And you know, we talked today
34:06
Speaker 1: about cut and paste. He actually would cut with scissors
34:11
Speaker 1: and paste different things. I mean, that's where that term
34:13
Speaker 1: came from.
34:14
Speaker 2: Yeah, old school. Yeah, I've worked in the newspaper business
34:18
Speaker 2: when it was still the layout. You had the big boards, yeah,
34:21
Speaker 2: and you had to line each photo just so.
34:24
Speaker 1: Just so, and uh, yeah, that was a great experience,
34:27
Speaker 1: and then we tried to expanded the book into what
34:30
Speaker 1: became Marty May and John Winner and Rolling Stone tried
34:33
Speaker 1: to get a publisher in America, but the attitude among
34:36
Speaker 1: publishers was, you know, people who are interested in rock
34:38
Speaker 1: and roll don't read books. Nothing could be further from
34:42
Speaker 1: the truth.
34:42
Speaker 2: Yeah, well this whole podcast is all about books on
34:46
Speaker 2: rock and roll. So yeah, I think.
34:50
Speaker 1: That changed when some rock memoirs and auto of great
34:53
Speaker 1: musicians became so successfully, you know, from Keith Richards to
34:56
Speaker 1: Bruce Springsteen to Patty Smith and now there's a day
35:00
Speaker 1: lose of them. You know, I've written my own memoir,
35:02
Speaker 1: just Destroy from America. So I did get a find
35:06
Speaker 1: a publisher in France who contacted me and wanted to
35:09
Speaker 1: publish it. So that was published in France, first as
35:12
Speaker 1: a short version called Colds and Electric, and then as
35:14
Speaker 1: a long the full novel as Marty May some years later.
35:18
Speaker 1: So you know, I like to write. I still do.
35:23
Speaker 1: I need the solitude. I think it's a great form
35:26
Speaker 1: of therapy.
35:27
Speaker 2: I agree. I agree. Bruce is a great writer too.
35:30
Speaker 2: The book he wrote not surprised lyrically how amazing he is,
35:35
Speaker 2: but reading his book the way he Yeah.
35:39
Speaker 1: But a great writer. And he's a great reader too.
35:43
Speaker 1: He reads a lot. He's taught me about some writers
35:46
Speaker 1: I would Carson mccullu, and I think he was really
35:48
Speaker 1: into her. He gave me Woody Guthrie's biography, gave me
35:55
Speaker 1: the actual paperback copy, and yeah, Bruce, he's what the
36:03
Speaker 1: water was water, the Springsteen waters run deep. Let me
36:06
Speaker 1: tell you that.
36:07
Speaker 2: I was just saying to guests recently. I always it
36:09
Speaker 2: seems like the best lyricists are prolific readers.
36:13
Speaker 1: I think it makes sense, although lyrics barely stand up
36:20
Speaker 1: on a piece of paper by themselves, you know, it's
36:23
Speaker 1: truly the music that gives them the wings and the
36:27
Speaker 1: emotional gravity. But everyone I know, you know, Lou was
36:33
Speaker 1: a great reader. He loved Delmore Schwartz, who was a poet,
36:37
Speaker 1: and he was a teacher of his up at Syracuse.
36:40
Speaker 1: My friend Garland Jeffries turned me on to some of
36:45
Speaker 1: James Baldwin's books. So, you know, I think I think
36:50
Speaker 1: it goes hand in hand. I think everybody I know
36:56
Speaker 1: who writes good rock lyrics, we like films and we
36:59
Speaker 1: like books.
37:01
Speaker 2: Booked One Rock podcast. We'll be back after this Eliot
37:09
Speaker 2: Murphy's Rock Dreams. What a great idea for a book.
37:12
Speaker 2: I suppose we should credit your fans for this.
37:14
Speaker 1: That's pretty much it. Eric. What happened was, I've often
37:19
Speaker 1: dreamed about other musicians and rock stars, just I don't
37:24
Speaker 1: know why they're living there in my sub conscious I guess,
37:27
Speaker 1: but I never really started writing them down. And then
37:29
Speaker 1: a couple of years ago, because as you know, as
37:32
Speaker 1: everybody knows, if you don't write down your dreams, they
37:34
Speaker 1: disappear right away, within seconds. It's like smoke in the air.
37:39
Speaker 1: It's gone. And so I started writing them down and
37:42
Speaker 1: then I started posting them on Facebook, and the reaction
37:46
Speaker 1: among the fans was tremendous, and they really pushed me
37:50
Speaker 1: to put this together as a book. So now I
37:52
Speaker 1: think it's the perfect kind of book to have on
37:55
Speaker 1: your bedside table. There read a dream before you go
37:59
Speaker 1: to sleep, I wrote. There's about one hundred and fifty
38:02
Speaker 1: of them there, you know, full of all the real characters,
38:06
Speaker 1: although in my dreams you know it's nothing to do
38:08
Speaker 1: with their their truth. But everyone from Debbie Harry to
38:13
Speaker 1: Mick Jagger, to Keith Richards to Lou Reed, who else
38:16
Speaker 1: is in there?
38:17
Speaker 2: Oh, there's so many. Steven Tyler makes an appearance. I'm
38:20
Speaker 2: gonna ask you about a few of them that you'll
38:22
Speaker 2: up in there. Well, what I'm going to let's play amateur.
38:25
Speaker 2: We're gonna play amateur psychologists. Is much written about documented
38:28
Speaker 2: about dreams and what they really mean? Where do you
38:31
Speaker 2: think dreams come from? This is deep. We're getting here,
38:35
Speaker 2: We're getting deep.
38:36
Speaker 1: But I think, you know, I think dreams are sometimes
38:40
Speaker 1: the way we we un entangle our lives. And I know,
38:50
Speaker 1: in my case, I think a lot of my hopes
38:52
Speaker 1: and dreams my a lot of my hopes in my
38:55
Speaker 1: own career are in my dreams. You know, I'm on
38:58
Speaker 1: stage with a lot of very famous people in those dreams,
39:02
Speaker 1: and you know, that's the club I always wanted to
39:05
Speaker 1: be a member of, so they inhabit my dreams.
39:10
Speaker 2: I want to pick out a few favorite dreams from
39:12
Speaker 2: the book. Let's start with Well, this is the very
39:16
Speaker 2: first one you had a dream you remember of the
39:17
Speaker 2: Beatles and this this reminds me of a dream where
39:22
Speaker 2: you're where you're running still, It's like you're not getting anywhere.
39:27
Speaker 2: It's kind of like that you're supposed to be writing
39:29
Speaker 2: songs with these guys, do nothing's happening.
39:31
Speaker 1: I've had so many dreams where I'm on stage and
39:35
Speaker 1: I can't find my guitar. Are I'm on stage and
39:38
Speaker 1: I don't know what song I'm supposed to play, you know,
39:41
Speaker 1: are on stage and I'm on dressed.
39:43
Speaker 2: You know, that's the famous one. I'm not wearing anything, and.
39:48
Speaker 1: I think you know, my wife is an actress, and
39:51
Speaker 1: actress actors have the same kind of dreams. They often
39:54
Speaker 1: have dreams of being on stage and forgetting their lines
39:56
Speaker 1: or forgetting what play they're in, so better there than
40:00
Speaker 1: in real life.
40:00
Speaker 2: Yeah.
40:02
Speaker 1: The only time I ever came close to that was
40:04
Speaker 1: Bruce invited me once on stage and in Paris to
40:10
Speaker 1: sing with him, and I said, well, we're going to
40:11
Speaker 1: sing and he said, oh, let's do Born to Run
40:14
Speaker 1: And that is a very complicated song. And I really
40:18
Speaker 1: had to so I knew most of it and but
40:23
Speaker 1: that whole middle section.
40:29
Speaker 2: Yeah.
40:29
Speaker 1: So then I came back the next night and the
40:33
Speaker 1: day after I really rehearsed that song, and when I
40:36
Speaker 1: was on stage with him the next night doing it,
40:38
Speaker 1: and I got it. And after the show, Steve ends
40:41
Speaker 1: In said to me, you practiced.
40:45
Speaker 2: That's great. Yeah, I'm actually there's a book on Stevie
40:47
Speaker 2: vans Inn that just came out and have the author
40:49
Speaker 2: on soon. I'm really looking forward to that because Stevie's
40:52
Speaker 2: a He's a great musician and a lover of all
40:56
Speaker 2: things rock and roll.
40:58
Speaker 1: Oh and I think he has just an encyclopae to
41:00
Speaker 1: acknowledge music and and I really, I mean, he has
41:06
Speaker 1: dedicated his life to this, to this music we all
41:09
Speaker 1: love absolutely.
41:10
Speaker 2: Last night I dreamed I was a member of the
41:12
Speaker 2: Beatles and we were all together rehearsing in a suburban
41:15
Speaker 2: house on Long Island, and I was pissed off because
41:17
Speaker 2: we were supposed to be writing songs and nothing was happening,
41:20
Speaker 2: and John was fooling around all the time. But Paul
41:22
Speaker 2: was surprised at my impatience and said, be cool, we'll
41:26
Speaker 2: come up with something.
41:28
Speaker 1: I love it all right, you know. That was one.
41:31
Speaker 1: That was the first one I wrote down. I was sure.
41:34
Speaker 2: Yeah.
41:34
Speaker 1: And as I got in the habit of doing this,
41:36
Speaker 1: I could remember more and they get expanded.
41:39
Speaker 2: I noticed that, yeah, they do, they expand and.
41:44
Speaker 3: They were very short and sweet, and I just thought
41:46
Speaker 3: that was so ironic, you know, typical of the Beatles.
41:49
Speaker 3: I mean, if you've seen that marvelous documentary you know
41:53
Speaker 3: about them, let it be oh when they're in the
41:56
Speaker 3: studio and you see how they came up with songs
41:58
Speaker 3: and they came there with nothing, and they came out
42:02
Speaker 3: with just some of the most well known songs to
42:04
Speaker 3: this day.
42:06
Speaker 2: Unreal. All right? This one from you that has Steven
42:10
Speaker 2: Tyler from Aerosmith in it. Very interesting rock dream number nine.
42:14
Speaker 2: Stephen Tyler guitar salesman Extraordinaiy. What happens in this dream?
42:20
Speaker 2: And why do you think it's Stephen Tyler who appears
42:23
Speaker 2: and as a guitar salesman? What do you make of this?
42:26
Speaker 1: Well? I knew Stephen because he was managed by the
42:30
Speaker 1: same managers as me. They were Lieber and Preb, So
42:34
Speaker 1: I got to know Arismith. I opened a few shows
42:36
Speaker 1: for Aerosmith, did you Back in the early days. I
42:41
Speaker 1: was playing a series of concerts at a place in Cambridge, Massachusetts.
42:46
Speaker 1: It's called the Performance Center. I was playing three nights there,
42:50
Speaker 1: or four nights, supposed to be opening for the New
42:53
Speaker 1: York Dolls. But the first night the Dolls missed the plane,
42:56
Speaker 1: and so quickly Aerosmith came in so I got to
43:00
Speaker 1: know them, and I know Stephen a little bit, and
43:04
Speaker 1: he was there, and Bruce invited me to a Rock
43:07
Speaker 1: and Roll Hall of Fame dinner and were sitting next
43:10
Speaker 1: to Stephen. But Stephen is a great salesman, I will
43:14
Speaker 1: tell you that of his own music. And he's got
43:17
Speaker 1: the gift of gab and he you know, he's just
43:19
Speaker 1: an extraordinary personality. And so I'm not have you ever
43:24
Speaker 1: been into a guitar store and you know, you walk
43:27
Speaker 1: out buying something, It's like so. And Aerosmith was always
43:33
Speaker 1: into the gear. They were always into the guitars. They
43:35
Speaker 1: always had. Joe Perry had great guitars. He still has
43:38
Speaker 1: great guitars to these days. The same night I played
43:41
Speaker 1: with Billy Joel, he came up and did walk this
43:44
Speaker 1: way and he had this backwards half left, left handed stratocaster.
43:48
Speaker 1: And but Stephen Tyler is one of the most colorful
43:52
Speaker 1: personalities in mout of rock and roll that I ever met.
43:56
Speaker 2: You know, yeah, nobody like him before since there nobody
43:59
Speaker 2: ever will be.
44:00
Speaker 1: He's I'm sorry to hear he has some vocal problems,
44:04
Speaker 1: I know, Yeah, got to call it quits.
44:07
Speaker 2: Yeah, great voice. Last night I dreamed I was with
44:10
Speaker 2: my longtime guitarist Olivier is it Olivier Olivier Deron, and
44:15
Speaker 2: we were thinking about changing to smaller guitars so we
44:18
Speaker 2: would appear bigger on stage, and Steven Tyler of Aerosmith
44:21
Speaker 2: was a very dynamic guitar salesman. It was showing me
44:24
Speaker 2: a small white electric guitar like a Fender Mustang, which
44:29
Speaker 2: is a three quarter three quarter sized guitar, and saying
44:31
Speaker 2: that it looked very cool on me. And the next
44:33
Speaker 2: thing I knew, I was in the basement restaurant of
44:35
Speaker 2: the theater. I was going to play later that evening
44:37
Speaker 2: with Joss, my French agent, and was planning on singing
44:40
Speaker 2: some songs before my show accompanied only Buy a Pianist. Yeah,
44:48
Speaker 2: you know, it's.
44:49
Speaker 1: Interesting about dreams. They're often in two parts. There's often
44:53
Speaker 1: an early part and then there's the sex man, and
44:56
Speaker 1: they can take place in two different you.
44:59
Speaker 2: Know, you're right, huh yeah, and.
45:02
Speaker 1: With a different cast of characters. But I have noticed
45:04
Speaker 1: that since I started paying attention to my dreams, they
45:06
Speaker 1: can be separated into two parts.
45:09
Speaker 2: Yeah, Aerosmith. The story is they first played dream on
45:12
Speaker 2: live in Connecticut. Here where I am and at the
45:14
Speaker 2: Sheboo Inn in Willhelmanta, Connecticut. Do you ever play any
45:18
Speaker 2: shows in Connecticut?
45:20
Speaker 1: I played a lot of shows, Okay, Toad's plays. I
45:25
Speaker 1: did a number of times. I think I opened for
45:27
Speaker 1: in Hartford for maybe for Elo if that sounds.
45:31
Speaker 2: All right, that might have been what the Harvard Civic Center.
45:34
Speaker 1: Maybe might have been. Yeah, I mean there was a
45:36
Speaker 1: period I was opening for a lot of open for
45:38
Speaker 1: the Kinks and Yellow Hole of Notes, a lot of
45:42
Speaker 1: other bands. Bruce and I were once comparing notes as
45:46
Speaker 1: to who we had opened for. He had opened for
45:48
Speaker 1: Black Oak Arkansas. Oh yeah, back in the days. So yeah.
45:53
Speaker 1: But I played all over all over these ghasts.
45:56
Speaker 2: I think podcast We'll be back this spam the future
46:03
Speaker 2: rock and roll Rock Dream Number twenty Clive Davis, Jerry
46:09
Speaker 2: Garcia and Dancing with Cher. What's this dream about? Please
46:15
Speaker 2: tell us?
46:16
Speaker 1: Clive Davis, the legendary music executive. It was always my
46:20
Speaker 1: dream to be signed by him to Columbia, and he
46:24
Speaker 1: wrote me a very nice letter once, also talking about
46:29
Speaker 1: the lack of singer songwriters on the radio. But yeah,
46:35
Speaker 1: Jerry Garcia, I never the closest I came to meet
46:39
Speaker 1: meeting the West Coast music scene. I opened some shows
46:42
Speaker 1: for Jefferson Starship and many for Hot Tuna as well.
46:47
Speaker 1: I've never really met Jerry Garcia and dancing with Chare
46:53
Speaker 1: you tell me? I don't know where that?
46:56
Speaker 2: Yeah, your dream, let's see it says. Last night I
46:58
Speaker 2: dreamed I was walking down Broadway with the legendary Clive
47:01
Speaker 2: Davis US record company EZECH who signed Dylan Joplin Springsteen
47:05
Speaker 2: to Columbia Records and later Whitney Houston to Arisa Records,
47:08
Speaker 2: on our way to meet with a Grateful Dead, and
47:11
Speaker 2: asked them if they would record with me on my
47:13
Speaker 2: new album. This is the Dead owned two tall buildings
47:17
Speaker 2: in San Francisco, and Clive told me they like to
47:20
Speaker 2: meet on a kind of platform that bridged the rooftops
47:23
Speaker 2: of both buildings. We went up there, but only Jerry
47:25
Speaker 2: Garcia was there, and the three of us sat down
47:27
Speaker 2: on steel folding chairs in the open air, and Clive
47:30
Speaker 2: asked Jerry if they wanted to do the project, and
47:32
Speaker 2: so Jerry yelled out do you want to do it?
47:35
Speaker 2: And hundreds of voices, all presumably members of the Dead
47:38
Speaker 2: but unseen by me, started responding from the two buildings
47:41
Speaker 2: all saying, I don't know. Jerry looked at me and
47:45
Speaker 2: Clive and shrugged his shoulders.
47:48
Speaker 1: I think that was probably some continuation of the incredible
47:52
Speaker 1: relation the Dead has always had with their fans.
47:55
Speaker 2: Yeah, you're right, you're right.
47:57
Speaker 1: And the grateful Dead how they it's such an oil
48:00
Speaker 1: and vinegar mix and the music business. They are so
48:03
Speaker 1: not what the music business would know what to do with,
48:09
Speaker 1: and it continues to this day. I mean, but I
48:13
Speaker 1: give them. It's great that they survive without really having
48:17
Speaker 1: any big hits, right, I know, yeah, they never really had.
48:21
Speaker 1: You never heard the Dead on AM radio, I mean
48:23
Speaker 1: back in the day, or hardly on I FIM radio.
48:26
Speaker 1: But I guess, you know, And that's really myself. I
48:30
Speaker 1: always took my fans for granted in the early days,
48:33
Speaker 1: and then once you lose the support of the major labels,
48:36
Speaker 1: you really realize that's who keeps you going, your fans,
48:41
Speaker 1: and you've got to give everything every show to keep
48:44
Speaker 1: them coming back. And in my case in particular, my
48:48
Speaker 1: European fans have just been marvelous. And I have some
48:52
Speaker 1: hardcore groups that come to maybe used to come to
48:54
Speaker 1: forty or fifty shows a year.
48:56
Speaker 2: Wow, Yeah, that's well. We mentioned Facebook too. It's a
48:59
Speaker 2: great way to keep in touch and communicate with your fans.
49:02
Speaker 1: It is. Yeah, everything you know, the Internet and Spotify
49:07
Speaker 1: and all that for an artist like me has been
49:10
Speaker 1: very helpful. You know. I was able to break down
49:13
Speaker 1: the wall between me and my fans, many of them
49:17
Speaker 1: I know by a first name basis. I release a
49:20
Speaker 1: lot of music on Spotify. I just released a new
49:23
Speaker 1: song a week ago called night Surfing.
49:26
Speaker 2: Okay, I'll put that on the show notes that I
49:29
Speaker 2: make a playlist, so I'll include that.
49:31
Speaker 1: Yeah. And so maybe that dream was reflecting, you know,
49:36
Speaker 1: the bridge between the two buildings, and maybe that was
49:39
Speaker 1: the grateful between the music live representing the music business.
49:42
Speaker 1: I don't know. Yeah, you know, I want you know,
49:46
Speaker 1: I say my songs know more about me than I
49:48
Speaker 1: know about my songs, and the same goes for my dreams.
49:51
Speaker 2: Yeah, and this is just what you said. It's like
49:54
Speaker 2: a two parter all of a sudden. Next thing, I know,
49:56
Speaker 2: I'm dancing with the Dancing the Boogloo with Share and
49:59
Speaker 2: a Hollywood disc and it was the seventies. Chaer was
50:02
Speaker 2: very tan and dressed in designer white leather belt bottom,
50:04
Speaker 2: jeans with a matching middrift bearing top and metallic bengals
50:09
Speaker 2: and colored beads and long fringe were flying from her
50:12
Speaker 2: outfit as we danced to her nineties hit single do
50:14
Speaker 2: You Believe.
50:17
Speaker 1: Yeah, which is the song I Love by the Way,
50:20
Speaker 1: My Taste can go run the gamut and Share is
50:24
Speaker 1: another one. You know, she's what she started out with
50:26
Speaker 1: Sonny and Cher and I Got You Babe. She was
50:29
Speaker 1: almost considered very counterculture, you know, the two of them
50:32
Speaker 1: singing that song and the way they looked, and she
50:34
Speaker 1: is a great singers. On the other hand, there's a
50:37
Speaker 1: part of her that is does very well in Las Vegas.
50:41
Speaker 1: Always had done not to mention she's a great actress.
50:44
Speaker 2: I was just about to say, mask that saw that
50:47
Speaker 2: movie mass she was amazing, and.
50:51
Speaker 1: Which is bace. We also she was marvelous and then.
50:54
Speaker 2: Yes, you're right, I'm going to give you my favorite
50:57
Speaker 2: rock dream. We'll finish with this one. This is dream
50:59
Speaker 2: number one oh seven, my favorite, hands down, and that's
51:02
Speaker 2: titled The Flying Stones. And somehow Colombo ends up in
51:06
Speaker 2: this along with lou Reed and the comment about Lipatour
51:10
Speaker 2: being a Greek god is receless. Let's talk about this
51:16
Speaker 2: and do you remember do you remember this dream and
51:19
Speaker 2: what you thought when you walk up and you're like,
51:22
Speaker 2: what was that? Yeah, let's go to it. Here. This
51:26
Speaker 2: is one oh seven. Let's see, we're going to one
51:30
Speaker 2: o flying Stones. Here we go. The last night I dreamed,
51:33
Speaker 2: I was back in my hometown of Garden City, a
51:35
Speaker 2: middle class, leafy suburban village on Long Island about forty
51:39
Speaker 2: minutes from Manhattan. On's famous and now nearly forgotten novelist
51:43
Speaker 2: Thomas Wolfe said, you can't go home again, but I
51:45
Speaker 2: certainly seemed to do it in my dreams. And I
51:47
Speaker 2: was wearing my Garden City High School varsity jacket. The
51:51
Speaker 2: truth was, I lost interest in sports before I ever
51:54
Speaker 2: earned the right to wear one, although I did play
51:56
Speaker 2: lacrosse because it had its roots in Native American culture.
52:00
Speaker 2: And I was standing on the corner of Seventh Street
52:02
Speaker 2: in Franklin, av which was the epicenter of where US
52:05
Speaker 2: board local teenagers would hang out because right because right
52:08
Speaker 2: on that corner was the only cool spot in that town,
52:11
Speaker 2: the Garden City Music Center in all caps. Inside that
52:14
Speaker 2: temple of rock and roll, we could listen to forty
52:16
Speaker 2: five rpm records on headphones before we bought them. This
52:20
Speaker 2: is how I first heard Deon's run Around Suit and
52:22
Speaker 2: Bob Dylan subterranean homesick blues, take guitar lessons from hungover
52:27
Speaker 2: jazz guitarists out of a real gig, And most importantly,
52:31
Speaker 2: it's where I bought my first guitar strap, because playing
52:33
Speaker 2: stand up. Playing standing up is the first step into
52:36
Speaker 2: show business. And well, before I go too deep into
52:39
Speaker 2: the black hole of my nostalgia, let me get out
52:41
Speaker 2: with my dream. Okay, So you're standing on the corner
52:44
Speaker 2: of seventh of Franklin. It it's like a scene out
52:46
Speaker 2: of a George lucasfilm American Graffiti. Yes, and there were glorious,
52:53
Speaker 2: extravagant hot rods passing by in every direction, and sitting
52:56
Speaker 2: in the driver's seat of a chrome metal, fake fuel
52:58
Speaker 2: injected beauty was the last of the movie stars, none
53:01
Speaker 2: other than Harrison Ford himself. So he's in the dream too.
53:04
Speaker 2: And he was stopped at the red light on seventh
53:06
Speaker 2: and Franklin when another hot rod with Becks Balero written
53:09
Speaker 2: on the side pulled up next to him. I knew
53:12
Speaker 2: that this must be the late guitar Wizard Jeff Beck's car,
53:15
Speaker 2: and when the light turned green, they both burned rubber
53:18
Speaker 2: and sped off into the night. And I stood there,
53:20
Speaker 2: lost in the existential suburban darkness, looking for salvation. When
53:24
Speaker 2: the neon sign of the Garden City Music Center beckoned,
53:27
Speaker 2: and just as I was about to walk in and
53:29
Speaker 2: check out the Astronauts album, Ok, Mick Jagger, Keith Richards
53:34
Speaker 2: and Ronnie Wood, I was stunned, unable to move. Here
53:37
Speaker 2: are the rolling Stones, I said to Mick, not anymore,
53:40
Speaker 2: make reply? Now were the flying stones? Next thing I know,
53:45
Speaker 2: A red and white stripe big top circus style tent
53:48
Speaker 2: floated down from the heavens and set up right in
53:51
Speaker 2: the middle of the street, and US Garden City teenagers
53:54
Speaker 2: filled the grand stands and Mick, Keith, and Ronnie paraded
53:57
Speaker 2: out under the spotlight, now dressed as acrobats, and climbed
54:00
Speaker 2: their way to the top of the tent with the
54:02
Speaker 2: tight rope and trapeze lay waiting while we cheered wildly
54:06
Speaker 2: like we were at a rock concert. You should join us, Keith,
54:09
Speaker 2: yell down to me, this is where we put the
54:11
Speaker 2: roll into the rock, he chuckled, as only Keith cann
54:16
Speaker 2: and I was sorely tempted to climb that ladder with him.
54:18
Speaker 2: Come on up, said Ronnie Wood. We could surely use
54:20
Speaker 2: a fourth set of hands. Ronnie looked a little nervous,
54:23
Speaker 2: and I noticed that Keith kept a cigarette in one
54:25
Speaker 2: hand even when he was flying through the air. Keith
54:29
Speaker 2: always looking cool, even when he's flying through the air.
54:31
Speaker 2: I think we forgot to set up the net, said
54:33
Speaker 2: Mick as he looked down. Fuck the net, said Keith.
54:37
Speaker 2: Never used one. Never will. The crowd cheered as Keith chuckled,
54:40
Speaker 2: No net in that case. I don't think I'll be
54:42
Speaker 2: joining you guys, I said. You're turning down a chance
54:45
Speaker 2: to be a member of the Stone, said Mick. This
54:47
Speaker 2: is like Mick Taylor all over again. Well, Mick Taylor
54:50
Speaker 2: played on my album Just a Story from America because
54:53
Speaker 2: he left the Stone, so your loss was my gain. Honestly,
54:57
Speaker 2: I would join the Rolling Stones in a minute. But
54:59
Speaker 2: the Flying Stones is an other story. Oh boy, there's
55:03
Speaker 2: something in here too, I think answers kind of the
55:06
Speaker 2: connection here. You mentioned about the Stones are so amazing,
55:12
Speaker 2: the Flying Stones, they're death defying. Yeah, oh here it is. Yeah,
55:18
Speaker 2: I think this we can get into a little psychology,
55:20
Speaker 2: the Flying Stones are about to begin their death defying act,
55:24
Speaker 2: and then in parentheses kind of what they've been doing
55:26
Speaker 2: all these years, isn't it. But I certainly wasn't going
55:28
Speaker 2: to join and hope that Keith would catch me as
55:30
Speaker 2: I flew through the air, and he kept a cigarette
55:32
Speaker 2: in one hand, so I left and walked down on
55:34
Speaker 2: the street. But I think that that speaks to the
55:37
Speaker 2: just how amazing the Rolling Stones are. I mean, at
55:40
Speaker 2: their age now, it seventy ninety years old and they
55:43
Speaker 2: just put out an amazing album and they're still out
55:46
Speaker 2: there touring.
55:47
Speaker 1: I mean, thank you for reading that. It's the first
55:51
Speaker 1: time I've had one of these dreams read it did
55:55
Speaker 1: such a great job. Well say, first of all, it's
55:58
Speaker 1: not surprising. Just does know something about getting high.
56:02
Speaker 2: I guess that's the quote of the episode right there.
56:07
Speaker 2: Let's isolate that.
56:08
Speaker 1: One and the Flying Stones. Yeah, that's my favorite dreams too.
56:15
Speaker 1: And let's you know, the older you get each time
56:19
Speaker 1: you get on stage, it's kind of like a death
56:21
Speaker 1: stifying high flying act. You know, you want to get
56:25
Speaker 1: through that concert, get through this, keep your voice, you know,
56:28
Speaker 1: remember the chords, play that guitar like you're still sixteen
56:33
Speaker 1: years old, and so there's a lot of parallels there.
56:37
Speaker 2: So Detective Colombo all of a sudden shows up that
56:40
Speaker 2: that's interesting to say, mister Murphy, can you help who's that?
56:45
Speaker 2: It's me, Detective Colombo. Can you help me solve this case? Yeah? Well,
56:49
Speaker 2: let's see who was he looking for? He was trying
56:51
Speaker 2: to he was on some case here. Let's see. Oh
56:56
Speaker 2: was he looking for lou Reed?
56:57
Speaker 1: I think?
56:58
Speaker 2: Ah, let me see you see lou Reid dropped down
57:02
Speaker 2: from heaven again. It says, here too, what's lou Reed
57:06
Speaker 2: doing in my dream?
57:07
Speaker 1: Ah?
57:08
Speaker 2: What does he?
57:09
Speaker 1: Oh?
57:09
Speaker 2: Here we go Columbo thumb through a smudged little notebook
57:12
Speaker 2: with his penciled notes. I could see that, according to
57:15
Speaker 2: my notes, lou Reid was from Freeport on the south
57:17
Speaker 2: shore of Long Island. So he's got a right, that's
57:20
Speaker 2: what the law says. Yeah, so I guess he's got
57:23
Speaker 2: a right to be in your dream.
57:26
Speaker 1: Yes, Colombo was uh, he was giving out the tickets
57:29
Speaker 1: for who shouldn't it should and should not be in
57:31
Speaker 1: my dreams? Yeah. But you know, these great these characters,
57:36
Speaker 1: I mean, Colombo is such a great example. How many
57:40
Speaker 1: Colombo episodes did I watch in my life, You know,
57:43
Speaker 1: years of they must inhabit are subconscious somewhere, and you know,
57:51
Speaker 1: I think that in many cultures they really the culture
57:56
Speaker 1: of the society is carried on in dreams, and dreams
57:59
Speaker 1: are given great importance. In Western society not so much.
58:04
Speaker 1: You know, there's the Freudian interpretation of dreams, but they're
58:09
Speaker 1: not considered part of the culture as they are in
58:12
Speaker 1: many primitive societies. And I think they're important, you know,
58:15
Speaker 1: I think everybody should write down their dreams.
58:18
Speaker 2: Absolutely.
58:19
Speaker 1: As Bob Dylan said, I'll be in you can be
58:23
Speaker 1: in my dream if I can be in yours.
58:26
Speaker 2: And we'll finish with a lipator comment because this is
58:30
Speaker 2: this is perfect, you right. I settled into the corner
58:32
Speaker 2: booth of the Spoon, which was a tiny luncheon at
58:34
Speaker 2: we hung out at it. We hung out at as
58:37
Speaker 2: nineteen sixties teenagers on Franklin Avenue. Lou the Greek owner
58:41
Speaker 2: made the best French fries and was always yelling at
58:44
Speaker 2: his kids to settle down or he'd throw us out.
58:46
Speaker 2: He came right over to my booth and put down
58:48
Speaker 2: a plate of fries and a bottle of ketchup. Things
58:51
Speaker 2: have changed, Lou, I said, can't eat this stuff anymore?
58:53
Speaker 2: Why not? He seemed annoyed. High cholesterol doctor said, I've
58:57
Speaker 2: got to get it down or I'm going on lippatour.
59:00
Speaker 2: Who's lipatour? A Greek god asked Lou sounds like, huh,
59:05
Speaker 2: that's how it ends, and that's how we end this interview.
59:08
Speaker 2: What a way to end it? Well, hey, any recent
59:12
Speaker 2: dreams that any recent dreams that you can think of it?
59:14
Speaker 2: You could add.
59:15
Speaker 1: I posted a few since the book was published, but
59:18
Speaker 1: I have not been as conscientious about writing them down
59:23
Speaker 1: as god. Everyone. Last night, what was I telling my wife?
59:28
Speaker 2: Yeah? All right, so you gotta write it down.
59:31
Speaker 1: I had a dream last night and I was somewhere
59:36
Speaker 1: and someone gave me a like an award, and the
59:42
Speaker 1: award said, you are now certified a legend.
59:46
Speaker 2: Oh nice, and I was so.
59:48
Speaker 1: I was so happy in my days. It's like I
59:51
Speaker 1: finally made it. I'm a legend. Okay, now I'll tell
59:56
Speaker 1: you then. You know what they say, No man is
59:58
Speaker 1: a prophet in his own land, And with your wife
1:00:00
Speaker 1: it's even worse. So she certainly does considered being legend.
1:00:03
Speaker 2: Well, I consider you a legend, and you have a
1:00:05
Speaker 2: lot of fans who consider you a legend. So thank you.
1:00:09
Speaker 2: Elliott Murphy's Rock Dreams. It's out now and you can
1:00:11
Speaker 2: find it wherever books are sold, and where can people
1:00:14
Speaker 2: find you online? You mentioned Facebook, website, Instagram.
1:00:19
Speaker 1: We have a website www. Elliott Murphy dot com. Two l's,
1:00:23
Speaker 1: two t's, and Elliott and yeah, basically and if people
1:00:27
Speaker 1: want to contact me, you know, I basically get back
1:00:30
Speaker 1: to everybody cool.
1:00:31
Speaker 2: Any shows coming up? Any live shows.
1:00:33
Speaker 1: I got a live show in France next week and
1:00:37
Speaker 1: then I play. I go back to Spain. I got
1:00:39
Speaker 1: a live show in Barcelona. I hope to get back
1:00:42
Speaker 1: to America next year. Used to go there a lot,
1:00:46
Speaker 1: and when my son was going to school at Sunny Purchase,
1:00:49
Speaker 1: which is a good webster. But I hope to get back,
1:00:52
Speaker 1: and I hope to get to Nashville to record an album.
1:00:54
Speaker 1: That's kind of my dream to do before I hang
1:00:59
Speaker 1: up my spurs.
1:01:00
Speaker 2: Well, i'd love to see if you come around here
1:01:02
Speaker 2: to the States. I'd love to catch it perform. It'd
1:01:05
Speaker 2: be great. Thanks Elliott.
1:01:06
Speaker 1: All right, Eric. In the words of Steven Tyler, dream on,
1:01:16
Speaker 1: that's it.
1:01:17
Speaker 2: It's in the books.