Andy Frasco's World Saving Podcast - EP 40: Chuck Morris (AEG Presents)

Episode Date: March 26, 2019

Travis from Wild Adriatic is Andy's co-host again this week. The guys talk promoters and debut a few songs. This all leads up to the main event: legendary promoter, manager, and trailblazer in the Colorado music scene- Chuck Morris. He tells us about his journey and even a story about a hockey puck?! Episode 40 live now. Follow us on Instagram @worldsavingpodcast For more information on Andy Frasco, tour dates, the band and the blog, go to: AndyFrasco.com The views discussed on this podcast do not necessarily reflect those of the guests. Check out Andy's new album, "Change Of Pace" on iTunes and Spotify Produced by Andy Frasco Joe Angelhow Chris Lorentz Audio mix by Chris Lorentz Featuring: Arno Bakker Travis Gray Scott Hannay Andee Avila Shawn Eckels Brian Schwartz Dolav Cohen

Hey, it's Schwartz. I know you're prepping the Chuck Morris episode. Please, just keep the intro tame. Try to leave out the songs about cum and, you know, whatever else you so often like to talk about. I have a great deal of respect for Chuck Morris. He's the patriarch of our scene out here.

Just a solid dude with an incredible story, incredible career. Please, Andy, keep it tame. Tone it down. I don't want him to listen to the first two minutes and then go, what the fuck did I get myself into? And then he's going to come march over here and and then go, what the fuck did I get myself into?

And then he's going to come march over here and be like, Schwartz, what'd you get me into? Please, thank you. Schwartz has left a voicemail And he cares about what we're saying And if we want to play Red Rocks Don't sing about jizz. It's not about cum.

It's not about blowjobs. It's not about tripping, drinking, doing bums, subwoofing Bali. There's a choice we're making to save the podcast's life. We all know this thing needs cum to stay alive. It's not about cum. No. It's not about blowjob. It's not about blowjob.

It's not about tripping, drinking, doing bumps A-boofin' Molly A-boofin' Molly We chose to do this Despite what Schwartz has said But we still wanna talk about cum So tune on in But we still wanna talk about cum So tune on in

Let's start the show! Here we fucking are! Good morning, handsome Good morning, baby boy Eddie Frasco's World Saving Podcast I got my boy It's the last couple dates of our tour Good morning, baby boy. Eddie Frasco's World Saving Podcast. I got my boy. It's the last couple dates of our tour.

I'm kind of getting sad. It's finally hitting me. It's hitting me bad. We're in New York City. We're playing the Williamsburg Music Hall. We sold a shit ton of tickets. This is a big fucking room, dude. It's huge.

This is like a dream room. Yeah, it's like the perfect size. Like 650 cap. It's a. This is like a dream room. Yeah, it's like the perfect size. Like 650 cap. It's a good... I hope you feel accomplished. Man, I walked in. You don't really feel shows until you walk into an empty room that you're gonna and you can visualize what's gonna happen

kinda. And there's something special like the kind of venue we're playing tonight. I feel like it's not just like a big club. It's like this is a... this looks like a ballroom in New York City. It's a real room in New York City. I don't have a time slot at a tiny venue. No. I have a real show.

Trav, we made it, bud. You made it, bud. No, you did it with me, pal. Shit. I mean, this is a big step from rough. We sold out Rough Trade. And that was 300 last time we were in New York. So we're at a double the size room.

So you're helping a lot. Thanks. Thanks for taking me along for the ride. It's been a fucking... I got a couple questions for you. First, we got Chuck Morris on the show. If you don't know who Chuck Morris is, he built the Colorado music scene. He was basically Strasburg.

Like, you know Don Strasburg, our man. Books Red Rocks. Well, this guy taught Strasburg a lot of things, what he knows. This guy helped build the Fillmore in Denver. He basically booked every...

He brought the Eagles to fucking Colorado. That's crazy shit. That's huge, man. It's crazy. Well, it to fucking Colorado. And that's crazy shit. That's huge, man. It's crazy. Well, it's a legend. I'm a promoter. I grew up being a promoter. This is just an honor to have one of the top promoters in the world on the show.

So this is going to be a fun show. We got, we made a lot of songs. No songs about cum, like Schwartz says. Oh, yeah. They're definitely not. There's definitely not songs about cumartz says. Oh, yeah. They're definitely not. There's definitely not songs about cum. No, no, no, no. They're not about that.

But they're about opening bands and stuff. Should we show them? Okay, so while I have Travis in my area, Kai is so fucking genius about finding lyrics inside songs. But check out what we're doing this segment, it's all about the opening bands. Opening bands don't get enough credit. And we're all opening

bands sometimes. We're all opening bands at some point of our lives. We still are opening. We're still all opening bands. We still open for bigger bands and like, we're all openers. All of us. We all grew up opening. And we know we can all relate to this shit. So, let's just hear a glimpse of what's going to happen throughout the episode.

Kind of like the cum episode last weekend. But this one is triggered to our opening bands. Hit it, Chris. We're in the opening band. We're in the opening band. We're in the opening band. A 20 minute set. We're going into debt. We're in the opening band.

We're in the opening band. We're in the opening band. There's no one in the crowd. The bar is super loud. We're in the opening band Wow. Tell ya. Fucking real. Too real.

There were some moments when we were writing these tunes where the eyes get bigger like, oh, that's just fucking true. That's just reality. I mean, it's true. When you're the opening band, you don't make dick. It's all about exposure. They always pitch you about exposure gigs.

But sometimes, you know, it's not worth it. This is like the first time, first tour, I haven't been bitter about something about being the opening band. Oh, dude. I've never been on opening like tours like besides like the home the only homies that let us go on tours has been pigeons my dogs and turquoise yeah not a lot of good tours though it was fucking fun i mean yeah i mean like

it was a perfect way to start tours but you know yeah it's it's hit or miss because sometimes there ain't no one in the fucking crowd when you're opening. Yeah, and it must be weird for you. You had a backwards trajectory of being, usually you get it the other way around.

You get a musician first who turns into a promoter and then you get Andy Frasco starts as a promoter, turns into a musician. How the fuck did that happen? It's fucking karma because every time

I fucked a band and fucking 15, I feel it. You know, like when I fucked a band and fucking 15, I feel it, you know, like when I was 15 and like hustling, you know, and trying to make money for, you know,

um, and I'd hire these touring bands that just wanted to expose your gig. Like I wanted exposure gigs now. Yeah. And you end up only paying them a hundred bucks when there's 500 people in the room. I'm like, well, you agreed to that.

It's true. And you know, I, I walk out with a thousand, 2000 bucks in my hands when i was i was hunting it was it was definitely got karma dude because there are shows where i didn't get paid do you think you're more understanding when something like that happens to you now now now that you've done that yes like i get it now that's why i read every contract i read every deal point it's important to know when the back end

when you have a guarantee like when your money say you have X amount of money and then the back end and how many tickets and how much the venue costs and how much they're charging for sound production

like all that little things that go into the back end that's how promoters make all their money because they get to overprice all those things so you just like, working as a promoter, you had to be like, those guys are just having more fun. Right? What, the bands?

Yeah, the bands. I mean like, yeah. They got all the prime girls. Like the ones that are like wife material. I got the girls who just wanted to fucking party and be on the guest list. I know the promoter. I know the promoter. I got the girls who just wanted to fucking party and be on the guest list. Oh, I know the promoter.

I know the promoter. I'm on the list. Oh, what's that meme going around? It's like this girl, she's like talking about a guest list and like, oh yeah, I know the promoter. It's like this ranchy ass fucking girl. I haven't seen it yet, but...

I'll show you. But yeah, it's tough, man. I mean, I remember one time I almost fought a band. Oh, shit. I was 17. This band called Steel Train. You remember Steel Train? Oh, yeah, dude. I remember.

Oh, this guy was an asshole. I don't know. He's probably... I was 17. I was probably an asshole too, but he was like... He's in Fun now. Yeah. He's in something.

Jack? No, dude. I don't know which one's in fun I know the dude from Steel Train is in fun he's a big producer now now I feel bad

for fucking you know like fucking with him but he was being a fucking asshole yeah he was like we put him on

at 6 o'clock it was a drive-thru night where it's like I booked like five bands on drive-thru at this little venue at the Cobalt Cafe all age venue

it was like Hidden in Plain View Alistair Rx Bandits threw at this little venue called at the cobalt cafe all age venue it was like um hidden in plain view allister rx bandits hello goodbye and then i and then we threw in steel train because i loved steel train that was like it hurt my feelings that he was such a dick that would hurt you're a sensitive guy yeah and like especially when i'm like making like selling out this room I mean granted those bands would sell out but like you know it's like I could have put one of my friends bands as the opening band

do you think that the relationship that you started forming with these bands where they were kind of like it was kind of like you're on the other side it made you want to be like you're like everybody's best friend now did it get contributed to that? I think fuck I never thought of it. But I think

from learning how to talk to bands. Yeah. And like, because I was there for being there for the fan, like as a fan. And I didn't know I was fucking people because I was just doing like any business model. I didn't realize that, oh yeah, these guys drove six hours

to play for a hundred bucks. Dude dude even though it's a packed room like there's i don't get that's how hard these fucking five band bill punk rock shows are like 30 minutes sets like how do anyone make any money you know man i don't know and we were the same age ish so we grew up around the same time listening to these same bands. And I remember I was playing shows with Mateo and we were in our pop punk band. Yeah, dude, there was like 12 bands, a show at Saratoga Winners, it was called. Do you remember that?

12? Yeah, Saratoga Winners, upstate New York. There was like 12 bands. It was like Hawthorne Heights, Alistair, all these fucking, all these like bands that were bowling for soup was there. All these bands that were, Bowling for Soup was there. All these bands that were huge at the time, but man. And then you guys got on the bill?

We had like, we opened the day at like noon. And like no one was there? There were kids everywhere. It was packed. Oh, that's true. That's the only thing great about the All Ages show is like, they show up hours before doors. They just want to be in it all day. They're ready to go hard and they're young and they're ready to party

Yeah for sure I mean fuck it's crazy man I didn't realize I didn't realize how karma You know when you're younger and you just do shit So if you were promoting a show You're a promoter of a show and you're at a venue And there's this guy and he's on the stage

And he's fucking partying out And a joint comes out What do you do as a promoter? Oh, dude. I'd probably freak out. Here I am, Mr. Fred. Now I realize like, God, I got to take it.

I took my promoter hat off so long ago. Oh, yeah. That like, God, some of these guys, I wonder if like when I roll into Kansas or like fucking just like Alabama,

like these places where it's super conservative about weed and drugs. And I'm out there fucking eating a bag of mushrooms on stage and fucking drinking, like I handle and passing it out and pretending to everyone that there's LSD in the Jameson, you know?

Dude, yeah. I fuck with people a lot. Like, yeah, we're going to play acid roulette. I just love fucking with people. Man, it's fucking hilarious and it makes for a hell of a show. But I mean, we're going to play acid roulette. I just love fucking with people. It's fucking hilarious and it makes for a hell of a show. You could tell some of the... It happened to me in Utah. I'm never invited back.

The whole state. There's only a handful of promoters that run the game out there. When you piss off two of them, where else are you going to go? I don't know. The sister wives people got kicked out too. Really? They had to move.

They had to get out. For the same reasons. Obviously, too much LSD. Too much LSD. And then mushrooms. But it's crazy, dude. Like, I've had multiple times where I had to send flowers to promoters.

So you got to do a lot of damage control. A lot of damage control. Like, especially my show, where it's like, it's a lot of shock value. Like, like fucking just doing but you have i've seen it firsthand like you have some the closest relationships with some of these promoters yeah but it's so important and you have you really i mean and you you want to i can see you're genuinely like these yeah and i don't i because i i i understand the game like i want to be them. Like, I wanted to be Chuck Morris.

I wanted to be Don Strasberg. That was the vision when I was fucking 13, when I wanted to be in the music industry. Like, oh, dude, I want to be like a David Geffen. I want to run a label. It's nice. It really gives you like a nice perspective. And I feel like it's probably helped you

get to where you are right now in your own music career. I think so. I mean, well well now i'm just yeah i think it helped me businessly yeah like to like know how to budget a band know how to not overspend yeah even you know learn how to say no and like you know it's like sometimes like i had to cut down the band this tour like i did i i was rolling with eight people that's a lot like because i just wanted my friends to travel with me but i'd have to pay the bill right you cut down the band this tour. I was rolling with eight people. That's a lot. Because I just wanted my friends to travel with me.

But I'd have to pay the bill. You have to foot the bill. You have to try to pay your guys. I love the Dutch guys. It was getting expensive. I had to shave it down because Sean's getting married and these guys are turning 40s and 35s, 33s. Becoming people.

They're becoming people and they want their own lives. And I got to fucking figure that out. I know. And you, dude. How do you do this? How do you take a month of taking fucking opening money? Suck it up. Suck it up.

Suck it the fuck up. Whoever's around you in your life Has to be supportive and involved That's the thing Everybody's feeling pressure That's why bands don't take the dive They got a girlfriend, they got a wife They got a family who's giving them too much pressure About something else

Instead of being supportive and being like Hey, do this On the other hand, there's some people Who don't have the means to do that But we don't have the means to do this We all don't We're still doing it anyway. And we'll figure it out later.

It's like, look what happened to you guys. Your fucking van broke down. Yeah. In the middle of the tour, we had to leave Travis and Mateo on the side of the fucking street because we were borrowing their bass player. We're like, peace, bro.

And I appreciate you for letting us borrow Richie. Oh my God. The other Afro brother you've been seeing on instagram been telling everyone that he's my son do you think people believe that some people are will believe it i don't i won't say that it's ridiculous to believe but he has a full-on beard he's a full-on beard the only way that he could ever be your son is if you had him when you were one yeah that's the only way i don't get it. Do I look that old to people? I don't think so. I don't think so, man.

I mean, I get this a lot when I'm tired. If I'm on the road, people are like, you look like shit. When I'm home and then I can rest and be myself a little bit, then I start to get my youth back. I think it's the same thing. There's days where you look better than other days like today let me get look those eyes like

you don't have bad dark circles today you look good you got some nice you got a nap in the van you're looking good dude i look like a creature nabbing beats i took a video of me like fucking just like it's so hard to sleep in those fucking sprinters. Yeah, dude. I mean, they're super spacious, and you guys have the bunks in the back, which is awesome. But the seats,

they stick into your back and up your spine. Fucking first world problems. First world problems. My Mercedes sprinter seats. My Mercedes sprinter sucks, dude. Dude, Eddie Frasco's Mercedes sprinter. Dude, thanks for letting us crash the van. That was the story I was going to get at. So these guys had fucking, you know,

they're making dick for money right now. And, you know, I've never had an opener, so this is the first time we've ever had support money budget. So we're all playing ball. We're all worried if people are going to show up anyway every night. And, like, these guys get on a tow truck, start driving their van back to get it fixed,

and the tow truck fucking breaks down. So your van is broken down. Now the tow truck is breaking down. What is in your mind right now? Like, fuck this, I'm going home? What was it? How'd you prevail?

We're sitting in the tow truck with the van behind us, you know, up on the truck. And when the tow truck breaks down, I think Mateo and I both just started laughing. It was fucking hilarious. Because this guy, luckily, you remember the tow truck driver, he knows what he's doing and shit, but he was not happy that the tow truck broke down.

And he said words. He had words with the truck. He had to encourage the truck to start back up. He said, oh my God, I just serviced you last week. Don't fucking do this shit to me right now. And then he took a deep breath, turned the key. Motherfucker started right up. Oh my God.

That would freak me the fuck out, dude. I would be so pissed. I get pissed when just a plan doesn't go. You know when you give up? You're just like, oh, I'm going for the ride now. Like, oh, plans have changed. Mateo and I are not making the show tonight.

So we're along for the ride of this van. This day was crazy. Everything was breaking down. We were trying to get rent rentals we don't have a credit card to use do you have any horror stories of shitty promoters like showing up driving 12 hours and fucking butt fuck whatever just like because you took a an email from some guy and you know like hey man I'm starting a first festival dude. Yeah. This is the first time my uncle has this killer farm you know.

We've done it too many times. Let's fucking do it. Too many times not getting paid, making mistakes there's still stuff we're waiting to get paid from. Yeah. There's a guy, the promoter who shows up he's more fucked up than anyone you know who's fucked up on drugs and he's just like you can't promote, You can't work.

You're who I'm supposed to settle up with at the end of the night? Oh my God. Did he pay you? We got paid. Usually when it's a guy like that, it's usually you'll get paid half or more than you're guaranteed

because he's just so fucked up and drunk. He's like, it's money. We're good. I love you guys. I love you guys. Come back anytime. I had a time where I got in a brawl with a

promoter. Holy shit. It was in Utah. I didn't start the brawl. I've never gotten in a fight in my life. Never started a fight. Well, that's a lie. I fought someone because they talked shit about my mom in like eighth grade. That's like one of the few reasons out there to throw

down. Yeah, I threw it down. This little Jewish punk ass kid. Oh man, he was such a bitch. Everyone in this room is Jewish. Yeah, everyone's Jewish. You know, we're trapping. But this happened. Our van broke down. We were in Nebraska. One of our amazing broke down we were in Nebraska

one of our amazing fans picked us up in their Ford Prius drove us all the way to Utah there's six of us we had to leave six of them because we had I don't think it was 12 but there was like 10 of us

you got picked up in a Toyota Prius? kind of like the hybrid Prius that are SUVs too. Oh, okay. Yeah. But they're not SUVs but they're like that fucking It's bigger.

Baby gap SUV, you know? So there's like three people in the trunk and I'm like, fuck this, dude. And then we're just having the shittiest day ever and then we get to the venue and they said, we're not paying you becauseittiest day ever. And then we get to the venue and they said,

we're not paying you because Andy Frasco and the UN. And it was just Andy Frasco. It was Andy. I'm like, fuck you. You're paying us. I put on a great show. I brought local bands in with me and I threw a show. I'm always going to go.

You did what you had to do. Nope, we're not paying you. My buddy, I was on high on mushrooms. But my buddy, I love Ron Johnson, my fucking guy i was on high on mushrooms but my buddy i love ron johnson my fucking guy he was high on lsd he's like you will fucking pay this bad right he went into this like animal instinct and he started he jumped on the promoter started biting his fucking leg and shit i'm like ron stop this isn't the right because we're like in green river utah like fucking i you know like i don't even know.

We were out there. And this is a fucking Wookfest. And I was like, okay, we need to figure this out. Because I don't have a car. We'd be stuck here. And then we're... Money? I mean, I have money.

But who's going to drive us after I start a commotion? I'm like biting the promoter. My co- Now Ron's got W I'm like biting the promoter. My co- Now Ron's got whoop flu from biting the promoter. Yeah, he's got fucking whoop rabies. So I'm pulling his leg. I'm like, Ron, fucking stop, Ron. He's like, no!

He just flipped the lid. And dude, it's just been crazy. I mean, that's why we need to- You have to have you're always going to deal with these shitty promoters as i hear my band sound checking well yeah we're we're at the venue right before soundcheck um we'll leave this until we go to chuck morris um there's going to be shitty promoters in your life but there's going to be a moment where you find that right promoter exactly like a Morris like a Don Strasberg

like a Harold from George's Majestic wherever yours was or Shane from The Hollow Shane from Spillinger from Albany the man helped our career big time that helps everything at the end don't give up until you find that right guy right?

hell yeah dude because they're out there they're out there like look at us now we're in the Williamsburg fucking music hall. Yeah, this is great. It's crazy. And it's because of promoters. They factor in there.

And it's because of those promoters who had a plan. It's like Chuck. Chuck's plan is always, he works for AEG. His plan is, first we're starring in Larimer. Then we're going to the Bluebird Theater.

Then we're going to the Ogden. Then you're going to support Red Rocks. Then you're going to fucking headline Red Theater Then we're going to the Ogden Then you're going to support Red Rocks Then you're going to fucking headline Red Rocks Get to the fucking trajectory And you see all these bands that he does this project Don Strasberg too That's why I fucking love AEG AEG is

Like out of AEG and Live Nation I feel like AEG nurtures their bands Just feels more homey Yeah and they're such a big-ass company. I mean, like, represent. They own the Staples Center. Fucking Lakers, baby. Dude, well, that's going to be tight for you.

This guy's decked out in all Lakers gear right now, as always. Whenever I, like, walk into an AEG event, I just feel like I'm part of the team. Like the Lakers. I wear my Laker gear. I'm, like, running in, going backstage. My Sapporo beer is there. They always give me the nice shit.

We have oranges today. You know, that's good. You got to be friends with your team and your promoters. You want to be friends. You want to be buddies. Yes. Travis, it's been so fun having you with me, man. Dude, it's been such a pleasure.

Thank you so much for having us out here on the show. I hope people showed up as the opening band for you guys for our shows. They did. I feel like they came early to watch you play. I feel like it helped push people. You helped push people out to see us for sure. I mean, we're here together, man. We're here to fight the same fight.

You hear this? Sean Eccles is sound checking me. I got to get out of here. We're going to listen to Chuck Morris. Travi, thanks for being with us on this tour. I got to get out of here. We're going to listen to Chuck Morris. Travi, thanks for being with us on this tour. I love you, buddy. And I'll check you out until next time. Hell yeah.

Be safe out there. I'll see you soon, right? Yeah, we'll see each other like every couple months. Go follow Wild Age Geotic. I got to go sound check. All right, enjoy Chuck Morris. I'll call you in on the tail end Fuck yeah Chuck fucking Morris

That's me babe What are you up to man The legend the goat of the industry Really I wanted to be a promoter I talked to Strasburg about this Ever since I was 13 Anything he told you

He just copied me 25 years later That's Anything he told you, he just copied me 25 years later. That's what he told you. That's what he told me. He did say that. He did say that. Well, I opened, I,

a little bit of me. I was born in Brooklyn, New York. Yeah. In Crown Heights. Yeah. On Montgomery Street. Went to PS221. Yeah.

My father was a school teacher. It was a poor neighborhood in Brooklyn. What part of Brooklyn? Crown Heights. Crown Heights. Was it ghetto or? In those days, lower middle class neighborhood in Brooklyn. What part of Brooklyn? Crown Heights. Crown Heights. Was it ghetto? In those days, lower middle class.

Pretty lower. A lot of Jews out there? Yeah. All Jews. I'm Jewish. Jews and Italians. Me too. I'm a Jewish and Italian.

I figured that. And my father was a school teacher. Okay. And then we moved to Forest Hills when we became an assistant principal. We made a few extra bucks with my dad. So we moved up a little to an apartment house in Forest Hills. Went to Forest Hills when we became an assistant principal. We made a few extra bucks with my dad. So we moved up a little to an apartment house in Forest Hills. Went to Forest Hills High School,

graduated there at 16, and then Queens College at 20, and got a partial scholarship to come out to Boulder in 1965 to get a PhD in political science. That was my major. Really? But I loved music.

Loved music more than anything. So tell me about this move from, what made you go, come to Boulder? Just for the degree? I was going to get a PhD in political science. I went for two years on my way to a doctorate. I was a TA at 21. TA at 21?

Yeah. Oh yeah, I was 20 was when i started so in boulder i didn't even know what colorado was but they gave me some money to be honest i got into like four graduate schools university of florida university of boston university of colorado and i can't remember else but there was a beautiful girl on the cover of front of norland library and i said i think i want to go there i didn't know just for the because of the Norland Library. And I said, I think I want to go there. I didn't know. You just pulled it just because of the... Wow.

Well, they gave me some money. I didn't have any money. My parents are poor. I took a train out here, only from New York. How long did that take? It stopped in Chicago. Then we took the Denver Zephyr, changed trains, and came out here like a day, day and a half,

and lived in the graduate school dormitories and went for a PhD at 20. I did very well, but I grew up loving music. Every summer, my dad was a camp counselor. You know, teachers are off in the summer. In a place called Lake Chautauqua, New York. Which is a famous old resort that has a lot of music, opera, symphony, speeches. It's 160, 180-year-old resort. It was started for a resort for ministers in upstate New York, 70 miles south of Buffalo

in Lake Chautauqua, New York. So he was a counselor there. I went up, and they have an amphitheater there where they have pop bands and the Chautauqua Symphony, which is one of the best summer symphonies in the world. have an amphitheater there where they have they have pop bands and to talk with symphony which is one of the best summer symphonies in the world it's like a resort summer thing like yeah yeah people would rent small houses and a couple of some hotels but they it was a it was an educational and musical uh and and music awareness place every summer for about three months a gated community where you had to pay for the summer to get in if you wanted to go to the concerts you paid just for that night to come in

through gates okay and i went and sold programs starting about 12 11 years old at at the amphitheater in lake chautauqua just to listen to the music like that or was you was your force because your dad was working no i just it was fun and then I'd sneak in the front on the floor and watch the shows. It seated about 8,000 people. Wow. It was an amphitheater. It was open around the sides and closed on top. And you're talking 1955, 1956.

And the first show I saw was the Kingston Trio. Wow. And I fell in love with folk music. Hang down your head, Tom, to leave. They were huge then. Wow. And I fell in love with folk music. They were huge then. They sold out the amphitheater, and I bought every Kingston Trio album. I learned to play tenor guitar. How old was it?

Twelve. Twelve. I learned to play tenor guitar. It's a four-string guitar tuned to a banjo or the four strings of a guitar. That was played by Nick Reynolds, the guitar player in Kingston Trio. And we were little folk bands when I was in high school. I wasn't that good. But I spent every penny I could buying albums and going to concerts. I saw Bob Dylan while I was living in Forest Hills.

My parents were still there. I saw him when I was 16 at the Forest Hills Westside Tennis Club. That was the second show Bob played with- How many people were there? Oh, 17,000. That's where the National West Tennis Club was. Oh, okay. Championship.

It's still there. In fact, our company, AEG, runs the rock shows there. Oh, really? Yeah, it's funny. Mike Luba- Oh, Forrest Till. Yeah. Yeah, okay, I know that.

Yeah, Mike Luba, one of the partners for Madison House, who moved to New York, works with us at AEG Presents. So get back to this folk. What made you love folk music? What was it about it? I just loved it, man. I just loved folk music. So I bought every Kingston Trio album, every Odetta album,

every Brothers Four album, every folk band, and learned all the music and loved it. And then as things got a little later. It was Bob Dylan and Phil Oakes and Tom Paxton and Tim Harden and Tom Rush. And I later started promoting those guys. But that's another story. I'll get into that a little later. So I worked for two years.

So I went to school for two years. And I decided one day I was going to drop out of graduate school and try to make it in the music business. Did you have a special – was there a certain moment? Like, did you see a concert, like, I want to do this? Or anything like that? It was the back of my mind since I was 12. And in my family, my father's a teacher,

my brother was a dentist, all my uncles are doctors and lawyers. You know, this generation of Jewish people, it's all about education so i was going for a doctorate at 20 but i really wanted to be in music so so after two years i dropped out didn't know what i was going to do but i wanted to do something maybe run a bar or book bands and do something and i got a break the biggest most successful three two bar place on the hill in boulder is still around called the sink the hill in Boulder. It's still around called The Sink.

The owner was a gentleman who's still alive named Herb Kabar. And I used to have a beer with him. There was no alcohol on the hill then, just 3-2 beer. So it was 18 and up. So the bars on the hill, like Don's place, the Fox, it's alcohol, you got to be 21. Our places were 18, so most college kids hung out there. Fox wasn't even existent here. It was a movie theater.

Wow. It was a movie theater. Fox Theater was a movie theater. Yeah, I saw movies there as a student. Yeah. Okay, keep going. Keep going. Anyway, so one day I got friendly with Herbie.

I used to have the sink closed at midnight. You couldn't sell 3-2 beer after 12. Norlin Library would close at 1130. I would study there. I was a very good graduate student. Were you partying? I started to when I came to Boulder. Yeah.

Yeah. I didn't know much in high school at all. Or even college. Was it like LSD or just weed? Oh, Boulder? Oh, no. It was everything. Everything. Coke, everything. Yeah. It was everything. You're talking 19.

I got there in 65. I dropped out in 67. Anyway, so I got friendly with the owner of the sink. Used to have a beer with him after I left Norland Library studying. And one day I told him I had dropped out of graduate school and I wanted to work with people and maybe music. And the sink had no music at that point. But it was one of the most successful 3-2 bars in the state.

Literally, you've been in the place, haven't you? Oh, yeah. Literally, on Friday afternoons, it was called FAC, the Friday Afternoon Club. It was a half hour to get in there, just to show IDs. In the afternoon? It was lines around, college kids.

Yeah, yeah, true. Lines around the block. And one day, I was sitting at the bar at 11.30 telling Herbie I dropped out of graduate school. And we became sort of friends, much older than me, much older gentleman, very successful. I had a lot of other businesses. Did he see himself in you? I don't know.

But I sat there and said I dropped out of graduate school and I want to work with bands and music and maybe clubs. I didn't know. And he said, my manager of the sink just quit yesterday. His name was Chick Williams. Were there bands playing at the sink? Not then. I started bringing some bands in, a few. What was this?

It was a jukebox. The biggest jukebox in the state. Was there any live music in Boulder? Oh, yeah. There was a bunch of venues, bars that had rock and roll bands. But not like a serious venue. Well, none that had national bands, which I'll get to a little later. Bring it.

So Herbie said, why don't you manage the sink? I was sitting there. venue well none that had national bands which i'll get to a little later bring it so hervey said why don't you manage the sink just i was sitting there and i said you're kidding me i've never taken a business class i've never run a bar he said you're really smart and uh you i think you people love you in here and and i think you ought to you know i thought about it for about 12 seconds and said, okay. And I started managing the sink. And I started doing things that the sink was very successful before me for 50 years. It's one of the oldest three, two bars on the hill of any college hangout in the country. Wow, I didn't know that.

Oh, yeah. Oh, for years. Years and years and years. But I started doing different things. And I found that I had a really good aptitude for promotions. Like the sync, the only music in the sync was a jukebox. Put in a quarter, you got three songs. But jukebox in those days and even today are top 40 hits.

It's like, you know, jukebox companies. The generic. Yeah, what was on the top 40 AM charts. So what about when there was new charts? Did they have to change the vinyls? Well, that was later, later, later, later. So it would be the top... Maybe there were 60 records.

There were 45. So those were the singles of all the top 40 hits that week. And they'd change them every couple of weeks. The jukebox owners owned a lot of the jukeboxes around the state. Oh, really? They rented them. Anyway anyway so i came up with this idea because a lot of crazy wonderful students ex-students graduate students dropouts all hung out of the sink it was a great place and um i came up with this crazy idea that i was going to go down to a place that could make 45s, and I would get 45s that you couldn't get from the jukebox company. Things like the theme from Bonnie and Clyde that everybody knew from 2001, stuff that people were very popular but not hit singles. I would make album cuts from like The Birds or some of the big groups and put them in the jukebox. That jukebox became the biggest jukebox in the state because kids loved it.

They just loved it. So were you allowed to do that? I got the jukebox company made a percentage of every quarter that came in. Yeah, they didn't mind at all. Okay, so they're making money off the quarter. And then I started booking upstairs. We had a place called the Alley-Ed, which was a pool hall in the upstairs of the sink. And I started-

What was the cap? It was free. No, what was the cap, the capacity? Oh, it was like three pool tables. And people played like, you put quarters in to play like around the pool. And I started booking some local bands in the back room. play like around the pool and i started booking some local bands in the back room and i booked like uh well chris daniels runs our colorado music hall of fame now he had a band by the way congratulations on oh thank you for being and i really appreciate that he played up there and a

young kid named tommy bolin who became a big star was later well he started he was he joined a band called zephyr and then he was in the James Gang he was a 17 year old runaway from Sioux City I immediately became great friends with him and I love Tommy he was in the James Gang well let me tell you that story Tommy came from Sioux City at 17, moved to Boulder

the kid was the best guitar player I've ever seen and I've promoted almost every great guitar player Hendrix was already dead when I got into the business but all of them and he was one of the greatest at a very early age so he moved there was in a band called Zephyr then decided to leave and played in the upstairs of the sink and in the next club that I'll talk about in a minute but Tommy was seen there was a guy named Joe Walsh that guy right there picture of me and Joe from 30 years ago. He looks young, isn't it?

Anyway, Joe moved to Boulder. Really? From Cleveland. He was the founder of the James Game. He was the lead singer, guitar player. So that James Game was out of Boulder? No, they're out of Cleveland. He's from Cleveland.

So he moved to Boulder to start a new band. Okay. And he started a new band called Barnstorm. And with Joe vitale and kenny passarelli kenny's from from here from denver who i knew since he was 18 or 17 and they wrote a song called rocky mountain wave joe and kenny wrote it and that became a big hit But anyway, Kenny, Joe got to see Tommy play on the hill in Boulder and called the other, the band had tried another guitar player, but it didn't work out.

And they basically had broken up. And he saw Tommy Boland play and called the other two guys left. It was a trio, the James gang. Yeah. And said, there's this young kid who's a better guitar player than me, and you ought to audition him and get back together. And he auditioned, and he went back to Cleveland.

He moved to Cleveland. Tommy did. And the James Gang then got reformed with Tommy as the guitar player singer. They made two albums, James Gang albums. One was called James Gang Bang, and one was called James Gang Miami because they did it at the Criterion Studio in Florida, in Miami.

Is Joe Walsh as crazy as all the Misses? I love Joe. We've been friends ever since then. Yeah. Yeah, he was crazy. But almost everybody I knew was crazy in those days. Yeah, he was young, right? Yeah, he was probably 25 then.

Do you remember any of the craziest moments you had with these guys when you were a kid? Yeah, I was the same. We were all crazy. Oh, you're all the same age? Pretty much. Everybody was in their 20s, early 20s, middle 20s. You guys getting like rock and roll mischief? Yeah, but anyway, so I did this thing for three years from 68 to the middle of 70.

And then there was a club up the street called Tulagi, T-U-L-A-G-I, that was bankrupt, closed, seated 500 seats. And Boulder was becoming a very hip town in the early 70s. It had an underground magazine called Cake Eaters that my friend Kenny Weisberg started. It was sort of like Westford is now, but a small version of it.

We had a very hip rock station in Boulder that was free form radio. DJs could play any music they wanted. Any music. It became KBCO. Oh, fuck. Yeah. And people, very famous musicians were moving to Boulder. Joe Walsh left the James Gang and moved to Boulder. Stephen Stills moved to Boulder and started Manassas in Boulder. What? Oh yeah. I'm not done yet. Dan F James Gang and moved to Boulder. Stephen Stills moved to Boulder and started Manassas in Boulder. What? Oh, yeah. I'm not done yet.

Dan Fogelberg moved to Boulder and had a house there. Chris Hillman from the Byrds moved to Boulder. Then it was in the Flying Burrito Brothers. And actually, I managed Chris later in his country band called Desert Rose. But anyway, a whole bunch of people moved there. The Nitty Gritty Dirt Band moved to Colorado from Southern California. So it became a mecca

for great music and I still didn't have a penny because I wasted all my money on women and drugs and having fun. Same here. Which I stopped 30 years ago, I might say.

Yeah. Anyway, so I sort of convinced Herbie that we ought to buy this bankrupt 500 seat club right next to Don's Fox. Were you making money at this point or no yeah but i was yeah i was making but you're blowing it you're just yeah yeah i bought cars every if i couldn't get a date i'd buy a new car seriously i was a chubby jewish guy who ran a club yeah yeah so um i was really pissing more

away than i had yeah but anyway so i convinced Herbie we ought to buy Talagis. And he gave me, I didn't have any money, but I got a piece of it. I became a partner. And we opened Talagis with Zephyr, this great band with Tommy Boland and a bunch of great candy-givings and her husband. And they were the greatest band, Colorado band. They almost happened nationwide. They were huge in Colorado.

They had this hit called Going Back to Colorado that was a huge hit in this part of the country, but not the rest of the country. And they were the greatest band that happened out of Boulder in the early 70s. And then Joe Walsh and Ron Thorn exploded and all these other bands exploded and Karen W. was becoming this hip station that was playing everything from blues to folk to jazz to rock and roll. And every kind of eclectic music you can think of because they had no playlist. The disc jockeys could play anything. So they did it.

They did anything they wanted. Do you think they were getting paid off? Or no. If you had an indie band, you could go up to these DJs or, like, were they no bullshit? Like, how were these DJs back then? They were the greatest. They were music freaks. Like, all of us who were in the music business that early.

We all loved music. Anyway, so we opened Talaagis. And in a period of three years, these are some of the acts I booked. And I'm going to forget many of them because we we did about 280 shows a year in blues we had 280 shows a year at your at the first venue yeah maybe yeah 280 events because some acts played for a week so we had in blues i had john lee hookerer, Muddy Waters, Lightning Hopkins, Manse Lipskin, Big Mama Thornton, Johnny Ode, let me think,

Segal Schwab Blues Band, Clifton Chenier, all of them, man. And college kids loved that stuff then, and they all went to them, and it was great. In folk, they had, which is my heartfelt music, they had the Dirt Band, they had Tom Rush, they had Tim Harden, they had Tom Rush. They had Tim Harden. They had Tom Paxton. They had Doc Watson.

I had Doc and Merle a million times. We had Earl Scruggs Review. We had all that kind of music. Tim Harden. And you were the only buyer. Yeah, I ran the whole club and bought all the talent and did all the advertising.

So you did everything. Yeah. In rock, we had the first tour of Bonnie Raitt. We had the first tour of ZZ Top out of Texas. The Eagles played the second show. They were rehearsing to make the first album. And they played it in Boulder. And they played for four nights.

I paid them $100 a night. They were rehearsing. They played a week in Aspen. They wanted two weeks to rehearse. And they played a week in it before they made the first album. They were managed by Elliot Roberts and David Geffen. I know. And a young guy named Irving Azoff was working there.

That's one of your close friends, right? Yes, and still is. And so they wanted places out in the boonies to rehearse and then make their first album. They had a deal with Asylum Records. And so they played for a week in Aspen at a club up there. And then they played for me. And it was right before Christmas.

The school was out. Finals were over. And I told Irving, I told all those guys, you know, they're not going to draw. But when he told me who the four guys were in the band, I felt that when the album came out, I didn't hear any music because they had no album out yet. They were rehearsing to make it. And they flew, their producer of the first Eagles album, a guy named glenn johns flew in from england he was english and took notes right in front of me for five four or five nights you watched that record yeah no well not i watched the record i watched him play that's what i mean like peaceful

easy feeling and all those songs from the first album i like the way your sparkling earrings and they drew about 12 people a night because it was right before finals and it was snowing. And in fact, one night they played with gloves on because it was so cold because the heater went out. And the original band, if people might remember, was Don Henley, Glenn Frey, Randy Meisner. Randy? Randy was the original bass player. Oh, I didn't know that. Who was from Poco.

Uh-huh. Glenn Frey was from Poco Glenn Fry was from the Linda Ronstadt band Don Henley was in a band called Shiloh I believe and the first guitar player was Jack oh god he's a friend of mine

for 40 years I should know his name I'll think of it in a minute why'd they pick Boulder? they wanted to be somewhere out of the woods somewhere not in a major city so they can practice their songs and not get distracted and they drew nobody and i watched history because i heard those great songs from the first album right oh yeah and then when i locked the door at the end of the night uh glenn johns took notes and talked to the band in front of me there was nobody else left in the club what was he saying talking

about how the arrangement should be and the harmony should be and i was watching history because i had a feeling they're going to get very big they went in this that was uh november the last week of november first week of december of 71 they went in the studio in january of 72 and the album came out in june of 72 in those days you've made a record it came out pretty fast now it takes forever and that album came out and they of 72. In those days, you made a record. It came out pretty fast. Now it takes forever. And that album came out. And they, you know. They became the Eagles.

Well, yeah. Peaceful, easy feeling. And their first single, which Glenn Frey wrote for Jackson Browne. What was it? It's so amazing because you had Joe, too, before even him even being a wink in the Eagle's eye. And we had so many other acts. REO Speedwagon's first tour. You know, a whole bunch of bands.

It became part of the rock and roll circuit. The Troubadour in Los Angeles, the Bottom Line in New York, the Bitter End in New York, the Quiet Night in Chicago. There was a whole bunch of small rock clubs around the country, and I had one of them, and all the bands stopped there. So what was the route? If that was the route, it'd be Los Angeles? Well, there was a lot of places.

Salt Lake, Kansas City. I mean, that's how it went. And a lot of great bands got started on their first or second tour. Bonnie Raitt, her first tour out of Boston where she got started working clubs in Boston, she played for me. And now she still plays for me. Yeah. I mean, it was pretty. How many of these guys still

play for you, Chuck? That are alive? Almost all of them. That's amazing. A lot of them. And so it became very successful. And then I had there was a big promoter in town named Barry Fay. And he had a company called Fay Lion.

Was that the guy you look up to? Yeah. Barry was the big promoter he was doing the Stones already and Early Who and Led Zeppelin and he was the big arena promoter and I was bringing these acts in that he didn't even know about and then I brought hip acts in like Dan Hicks and the Hot Licks

and Cold Chisel no not Cold Chisel, that's an Australian band Cold Blood and all these obscure underground bands that would do great business. And I would literally go down to KRNW, play a record, and if the DJ liked it, they'd start playing the crap out of it.

So I had acts that came to Boulder, had never played before, that would sell out because the label... They trusted you. Well, they were also being played for a month on the station that every kid in town listened to. But the DJs trusted you that you're going to give the right hip acts. Well, but they liked it too.

I heard about this guitar player named Leo Kottke from a band that was coming through. And so I went and bought his record on the hill. It was a record store called Discount Records, a chain of record stores. And I fell in love with Leo Kottke. I brought it down, and they started playing the hell out of Leo Kotke, who I ended up managing for 40 years.

And they started playing it. He came into town for the first time from Minnesota, where he still lives, and sold it out because they had been playing him for a month. Same with people like Dan Hicks and the Hot Licks, all these kind of acts. So what was the transition like between, how did you get to the arenas? Because if you're doing a 500 cap room. Well, let me tell you how it happened.

So when these bands started getting big, they played for Faye. Okay. And we'd fight over it, but he'd usually get them. And I figured, if I wanted to get bigger in the music business, we fought over the phone, by the way.

In fact, opening night, I had Zephyr and he managed Zephyr. What was the biggest argument you had with Faye off the phone? Opening night of Telaghi's with Zephyr. Candy Givens, the lead singer, who was one of the greatest, I mean, she was one of the greatest lady singers in the world. And she was an hour and a half late and had to give refunds. And I had a big fight because I didn't pay him in full. And he started screaming at me. He was a screamer. And he was actually right because I was a rookie he said well i know people left but didn't you sell tickets when other people left i said yeah but i had the show was two hours late he said but you got all the money and he was right but we had a big scream out but i decided after about two years that i was discovering a

lot of these bands that barry never heard of and then they when they got to be a 5 000 seat act he got him because he was the big machin you know he's one of the biggest promoters in the country there was five or six were you doing 2 000 people rooms yet or no no i was just doing talagis so i called barry one day and said and i didn't think he'd take my phone call because the only time i ever talked to him was fighting over bands that i thought like i did jj kale the first time he ever played in Boulder, in Colorado. He became, he sold out for a week then, the second and third times.

And when J.J., or John's his real name, but when he actually signed with Shelter Records, there was already a John Kale. And American Federation of Musicians, if there's a name that has your name, they have to change your name. Oh, really? Yeah.

I didn't know that. Yeah, so Danny Cordell owned Shelter Records in Tulsa, where JJ grew up and Leon Russell grew up, was also on that label, changed his name from John to JJ. And he was the greatest, by the way. And when he got big, Faye got him. And I said, I better call this guy and see if I can go into business with him or do something because I ain't going to ever get bigger.

Yeah. And I was doing well. I was breaking all these new artists. But so I called him and I didn't think he would take my call because he was, he could be tough. How old are you here?

How old was I then? How old were you? 27 maybe. Okay. So you're in your prime. You're getting ready to rock. Yeah. I'm getting ready to rock.

And I didn't think Faye would take my call and um i thought he if he did take the call he'd hang up on me because we had fights over bands and he usually won and he said he and the way barry answered his phone he was a he was a guy from chicago and he was becoming one of the biggest promoters certainly in the west if not the whole country you know you had bill graham you had Bill Graham, you had Jack Boyle, you had Ron Delsner, and you had Barry Faye in the Rockies. He said, what the fuck do you want?

Am I allowed to say this? That's how Barry used to answer his phone. I said, Was he serious or was he joking? He was dead serious. That's how he said hello. Of course. Bill Graham was a little like that too how he said hello. All these guys. I love Barry. Of course. All these bigger promoters are kind of like mob bosses.

Bill Graham was a little like that, too. Yeah. We're going to go after Bill, too. Anyway, I said, well, you know, I've done really well in this club in Boulder. He said, I know. I said, you know, there's no rock club then in Denver, and I want to get bigger. And every time I get an act that I break, you get them. So how would you like to put up some? I still didn't have much money,

put up some money and I'll find a club and we'll open it in Denver. And he said, what are you doing tomorrow night? I said, I have a show. I still remember the show. It was a great band from San Francisco called Stoneground. And the lead singer was Sal Valentino, who was the original lead singer in the Bo Bermels.

And the opening act was Mance Lipscomb, who was like a 70-year-old blues, Delta blues singer from Mississippi, black, and he was great. And Barry came up, all 300 pounds of him, and sat in my office and said, so what do you want? I said, Barry, I'm not going to get any bigger

because every time I break an act, they play for you. I want you to put some money up and we'll go build a new club in Denver there was no National Rock Club then and he said go find a club I'll put up all the money and I'll give you half of it so I left to Loggies that one call?

right in front of me first time I met him in person so I left to Loggies we had more meetings. I started looking for places. And there was a little MOR room called Marvelous Marves. And we bought it with Barry's money. What was the cap?

265 seats. And we bought it. And we opened with the Mark Allman Band. And in that club, I wish I had a list here, but you won't believe who played there. I mean, everybody. Coming up,

or they just wanted to play there? Well, we had a lot of people. The first tour of Emmylou Harris. We had Steve Martin as he grew up as a stand-up comic. I had Martin Mull. I had the first tour

of a guy named Richard Pryor. I had, I mean, the list goes, Gentle Giant. A lot of comedians? Yeah, we had a lot of comedians. Martin Mall. That's a nice room for a comedian.

It was a real good room, yeah. But we had a lot of famous rock bands on the way up. Fairport Conventions and all the folk rock bands from England that were all playing there. And a million bands. Moby Grape. We had just amazing acts. The first tour of Jimmy Buffett and the Coral Reefers.

The first tour of Dan Fogelberg. You found these guys? Well, they were playing already touring. I know, but you took the chance on the night, though. Were a lot of people submitting? Yeah, but they were already getting play in town. I would look at record sales

and airplay. Find a buzz band. What's the formula in that? Find a buzz band. What's the formula in that? Formula is find great music first. And then if they weren't being played, I would go down with a record and get KR&W to play their records because there was no playlist in those days. They could play anything they wanted.

So there was a second free-form radio station in Denver that's called KFML. It's the same thing. They play some great music. So we had a history, a great history there. Taj Mahal played there. Everybody played there. I have a list of about 600 acts that played there.

You wouldn't believe it, but I don't know. Were you managing bands at this point? No. No. No. So Ebbets Field became Billboard's Club of the Year. We were very, very successful. Yeah, from 72 to 76.

And then Feline, Barry's company, was getting so big, started doing like five cities with the Stones and the Who and a bunch of other acts. And he asked me that I should sell the club and become his right-hand guy. So we sold Ebbets Field in 76 to some other people and went out of business about a year and a half later and i became the number two guy at fay line and we did some of the biggest acts in the world so what was it were we putting people to film was the film are there yet oh no no i built the film later but anyway um this is fucking crazy chuck

oh yeah um but anyway no we were booking booking something. Denver Coliseum was then. And then McNichols Arena, which was torn down to become the new arena. Not new anymore. It's 25 years old now. It is halftime at the Andy Fresco interview hour. Now, a message from the UN. We're in the opening band. We're in the opening band We're in the opening band We play for 20 kids And no one gives a shit

We're in the opening band We're in the opening band We're in the opening band We're coming to your town And then the van broke down We're not the opening bed We play our biggest song Nobody sings along

We're in the opening bed The venue kicked us out We're sleeping on your couch We're in the opening bed. We're drinking all the paps. We get three free apps. We're in the opening bed. I got a piss like a faucet.

Our fucking green room's a closet. We're in the opening bed. We're all on Medicaid because we don't get paid. We're in the opening bed We never get soundchecked, owner's a total dick We're in the opening bed We're giving rock a shot, we live on tater tots We're in the opening bed

We're drinking shitty beer, headliners won't share gear We're in the opening bed We're sleeping in the bed, my mom's our biggest fan We're in the opening bed We jerk the owner off. We got a better slot. Now we're a regional band. So what was the next room you made? Well,ry and i opened a room called a rainbow musical which had a whole bunch of great acts what was that that was 1250 seats it was an old three-in-one movie theater converted into a rock club and um started fayline became really big we were doing

the stones in five or Six Cities, The Who, some of the biggest acts. At the Rainbow, we had the first tour of Mellencamp. We had the first tour. There's so many acts I can't even think anymore that played there.

And I started doing bigger shows for Barry. And at the same time in about, when was it? So I was the number two guy or,

you know, at Feline for... At 29? Yeah, something like that. And in 1981, I got real friendly with the Nitty Gritty Dirt Band who had moved to Colorado, had a bunch of hits in the 70s, make a little magic, Mr. Bojangles.

I knew a man, Bojangles, and he danced for you in worn out shoes. And they had softened up a little I knew a man, Bojangles, and he danced for you. In worn-out shoes. And they had softened up a little more and get an airplay because rock radio in the early 80s wasn't playing a band that had a banjo player and a violin player. They were a country rock band. And they were stopping playing that music

because that was the years of Donna Summer and all that kind of stuff. So their manager who was brilliant a guy named Bill McEwan his brother was John McEwan who was the fiddle player in the dirt band was busy with a young comic named Steve Martin who was starting to explode and he was too busy for his brother's band and they all lived up in Aspen by the way and he was getting ready to produce a movie called The Jerk for Steve Martin. Oh, my God. And Bill McEwen signed another comic who was obscure at the time, who I had at the Rainbow Music Hall,

who is one of the funniest comics I've ever had, and his name was Pee Wee Herman. And so he produced, Bill McEwen produced The Jerk movie and Pee Wee's Big Adventure, and he asked me if I'd take over his brother's band, which I did, and I started managing the band. That was the first band you ever managed. Yeah, ever managed yeah basically a few obscure ones that didn't do much but yes and i decided uh about 1984 that since rock radio wasn't playing that kind of music

anymore that i would get him a deal in nashville and go after the country country radio in the country world because that's what they were playing, really. It was that kind of music. So we signed with Warner's Country in Nashville and had a streak of about 15 top 10 singles. Had a big comeback with the Dirt Band. They were group of the year. What was your marketing plan to get that band back into shape? Didn't have to change their music.

What they were playing was country, but they were a bunch of hippies. And we had a bunch of hits. And our marketing plan was to find some, they were some really good writers in the band, but they needed a bunch of hippies and we had a bunch of hits and a marketing plan was to find some they were some really good writers in the band but they needed some other songs too so we got some other people to write some other songs and we had a string of of hits and then they had a legendary record before i was with them called with a circle being broken volume one which was they in fact here's the kicker the dirt band with touring they played for me at

tulagi's and bill mckeown john's brother who's managing also produced their early records he had this idea of this hippie band from southern california and moved to colorado was going to go down to nashville and make a record with these old nashville guys and i had the earl scruggs review at tulagi's and john mckeown and jeff hanna the lead singer came to the they were living in they were living in denver then some were living in aspen some were living in denver and they came and asked asked earl if he would play on this record and he said yes and then about two weeks later i had doc and merle watson and they asked him if he'd play and they

did will a circle bear and welcome volume one which won all sorts of awards it was a legendary record anyway after i had these string of hits for the dirt band i convinced him we ought to do a They did Willis Circle Beer and Woken Volume, which won all sorts of awards. It was a legendary record. Anyway, after I had these string of hits with the Dirt Band, I convinced them we ought to do a Circle 2. So we did a Circle 2 in 1990, which won three Grammys. And we had people like John Denver and John Prine and Amy Lou Harris and all these people on the record. Did you stop booking for this part of your career? No, I was still managing some bands

and still being the number two guy at fay so who did you have by 90s 1990 well i picked up leo kaki i became managed him for 40 years had a still has a great career although i retired from managing bands and um what do you like about managing um well i liked what i like about managing i liked first of all i love to have a young band and make them bigger yeah or an old band that's on the way down making a comeback it's always exciting yeah what i hated about management is getting calls at you know 11 o'clock at night from a band telling me this sound sucked in omaha you know what i mean those are the calls you get

that's i didn't like that part yeah that's not fun And you know You only get paid When they get paid Yeah And doesn't matter How many tickets they sell They still get paid As a promoter You know You get paid

Yeah Did Jeff ever deal with Bill Graham as a manager? We co-promoted dates with Bill Feline did Was he a gangster? Everyone thought Was he what?

Like really gangster Nah He was a tough guy He also had a wonderful great side to him Did a lot of charity stuff He was the dean he was the godfather of promoters He built the Fillmore in New York And then he moved to San Francisco

Moved his company there the Bill Graham company Built the Fillmore in San Francisco And did Managed the dead In the early days Managed a bunch of bands and promoted all over the country and did big tours

and I always liked him and we co-promoted sometimes we split dates with him like if he did the Rolling if he did the Stone Story if he came to Denver he'd split it with us because he didn't want to compete with us so we became friends

but go back to the managing in the 90s who did you have? because he didn't want to compete with us. So, you know, we became friends. But go back to the managing in the 90s. Who did you have? Well, then in 1986, the Dirt Band were exploding as a country act, coming back really big. And I was spending a lot of time in Nashville, made a lot of friends there. And I decided in about 86 that there was no country band with a lead girl singer at all zero now there are a lot of them these days and so i was going to put a

band together i was going to audition people and put a band together in denver and i was with fay then but still managed the dirt band while i was still co-running Faye, Faye Line. And I decided, and we had the greatest drummer in the world that I knew since he was 17, grew up here, named Cactus Mosier. And I said, I talked to Cactus, who was moving to LA to try to make it. And I said, I'm going to put a band together. When I find a girl singer, I'm going to fly you back, and we're going to do auditions for the rest of the band. And we're going to go do a demo and get us a deal in Nashville.

Put a country band together. And I got in the mail. I used to get a lot of, because of Dirk Band's success, I got a lot of tapes in the mail from starving artists. And I got a tape in the mail from this young girl, struggling girl named Paulette Carlson, who was from Minnesota. And she could sing like an angel. And so...

Were you listening to all these demos? Oh, yeah. Are you serious? And I was listening to songs for the Dirt Band. Oh, okay. How did you have all this time to do all this stuff? You just loved it. I did a lot of blowing, never slept. And worked. I was a workaholic. Yeah, I mean, of course.

Yeah, we all were. You still are. I still am. And I'm 73. But. Yeah. I mean, of course. Yeah. We all were. You still are. I still am. And I'm 73. Yeah. But anyway, so I put this band together. 73? Yeah. So I put the band together.

We auditioned people at the Rainbow Musical during the days. Put this band together. Got my friend Paul Worley, who's still a famous producer, who produced the Dirt Band early hits early hits country hits to come out and help audition with me lived uh crashed in my living room and cactus came back from la and paulette came in and then we found these two other guys uh curtis and jack and we they practiced for about two weeks we went in the studio with paul, who had already had like four number ones for the Dirt Band in Nashville, was becoming a pretty big country producer young, but getting real big.

And he put a demo together. We played it for Warner Brothers and got us a singles deal, which means you can do one single at a time. They wouldn't put up money for a whole album. How much was the budget for a single deal? Oh, probably $8,000. Wasn't that much. It was about $100,000 to make an album in those days. a single deal oh probably eight thousand dollars wasn't that much it's about a hundred thousand

dollars to make an album in those days but anyway we made one single with stiffed and they gave us one more chance to make a second single to put out and paulette wrote a song called the bed you made for me and it became a top five country hit for the and by the way i named we named the band the band was called Highway 101 and Cactus actually came up we actually got a record deal from one of the it was called

the No Name Band didn't even have a name this is crazy and you built this idea yeah me and Cactus and the other guys in the band we all pitched in

and Paul Worley produced the demos and then produced the albums and we became group of the year in like 88 and 89 and we uh had a lot of success uh had about a good five six year run with highway 101 where when'd you meet azoff irving i knew from the early eagles dates and with folgerberg who's his best friend he managed him from the beginning yeah and we just became great friends i heard some story

about a hockey puck with azoff what's that it's on the wall that's a long story up there oh god you want to get into that story i kind of do i mean irving azoff is a big inspiration i mean i want really i love irving irving is the guy he can be tough but i love him anyway yeah is he yeah he's still talking all the time although you know he's he's at war with our company not war but you know he competes yeah but we're still best friends yeah um well when i um let me remember let me get the story straight um highway 101 did no it wasn't highway 101 was it highway 101 yeah it was highway 101 we made this great demo that paul worley produced and like irving was then president of mca records he had left frontline his management company become president of mca corporation okay and he had started a country division and he he no he had wanted to sign the dirt band did geffen have a label yet? yeah Geffen Records and I had signed the Dirt Band

and we were leaving Capitol because the deal was up and Irving wanted to sign the Dirt Band because he knew the guys because he had a house in Aspen and they all lived up there and was best friends with me and he wanted to sign them and he offered them not a great deal

and Mo Austin who was president of Warner Brothers offered them a much better deal like a lot more money per record. And I called Irving and said, Irving, you got to come close to what Mo Austin and Warner Brothers offered, and I'll try to convince the guys to go with you. He said, no, that's all they're worth. I said, they need the money. And so the guys decided to sign with Warner Brothers.

And Irving called me and called me every name in the book. And then he never, I mean, I consider him one of my best friends. I had booked all his bands, early Dan Fogelberg early. He managed a band from the beginning. REO Speedwagon, we still company still manages. And of course the Eagles and Steely Dan and all those bands have been playing for me. And, and so he hung up on me

he said I was a motherfucker and ungrateful I said Irving you wouldn't raise the price and somehow he forgot that but I still love him

but anyway so we signed with Warner's and Durban had a streak of number one hits so he didn't talk to me for a year and a half and I

this is before emails I would first I'd call him and he'd hang up on me for a year and a half And I This is before emails I would First I'd call him And he'd hang up on me That went on for about six months And then I'd send him letters Never respond

And I loved the guy And I missed being friends That didn't matter about the business And about That really got to him? That one signing? That really You remember that?

Well that's what I said When he was screaming at me I said Ernie It's at me I said Irving it's like you lost the fucking Eagles yeah I mean the Turban were a pretty big act

but they weren't the goddamn Eagles but he you know if Irving loses it's like he's competitive you call his mother a whore

it's like you don't do that he doesn't lose no he doesn't not very often anyway so he didn't talk to me for a year and a half almost two years

hung up on me and I considered him my closest friend. And finally one day, that red little rubber hockey puck, he sends it to me in the mail, and it says from the, with nothing on it, it says, from the desk of Irving Azoff MCA Corporation. And I called Susan Markheim, who was his assistant then, who still works for him, by the way, in his management company at Azoff Music. And she was laughing. This was two years later. I said, Susan, what the fuck

is this? You know, this hockey puck I just got. Overnight. Overnight. She's laughing. And she gets back. Irving doesn't get on the phone. She gets back on the phone. He said, Irving woke up yesterday and he decided he missed his chuckles. Irving is always to this day calls me up yesterday And he decided He missed his chuckles Irving is always To this day Calls me chuckles And he decided That starting tomorrow You can talk to him So you can call him tomorrow

And I called him the next day And it's like We never had a fight Shut the fuck up I swear to God It was just like He just turned it I missed

Yeah He's just like that That's Irving Oh my God Did he teach you a lot About managing? Oh yeah He still is The greatest manager That ever lived Why? Why do you say that? just like that that's Herbie oh my god did he teach you a lot about managing oh yeah he was

he still is the greatest manager that ever lived why why do you say that he knew how to find great acts when you find

the Dan Fogelbergs and the Eagles and Fleetwood Macs and Jimmy Buffett and all these great bands he had great ears he knew how to

promote he knew how to market he was just a genius at it but anyway so i did that with fay for a while and then i sort of got burnt out by promoting and i decided just to manage bands for a while which i did for about eight years and i managed highway just managed what years with this? Starting in 86, I quit Faye Line. Wow. Barry was having financial troubles, and he had a guy named Michael Cole bail him out, very famous Canadian promoter.

And so I quit and decided I was making good money while I was at Faye with a dirt band, and Highway 101 was starting, and I had signed Leo Katia. I signed two years later a young folk singer from kline texas named lyle love it yeah i was managing a lot of great acts and um but i stayed on as a consultant for fay so i worked part-time on certain acts that wanted me to be involved in when they played denver so i stayed on part-time at fay line and i managed a bunch of acts and then when barry decided to retire the first time in a in 96 i decided i was always the number two promoter in denver that i might as well

be the number one be the number one so i called the bill graham company now bill had died yeah four years earlier in a helicopter crash but his second second in command guys, led by Greg Perloff and Sherry Wasserman, bought the company from Bill's kids. So they owned the Bill Graham, kept the name, Bill Graham Company, Bill Graham Presents. And I called Greg Perloff. It was sort of like when I called Fay. I didn't think he would jump.

But we had co-promoted with Bill for years, and we were friends with everybody who worked there when I was still with Faye full-time and Greg said I said I said Barry's retiring and I'm interested in going back to promoting full-time so you want to start a promoting company and Perloff and I still talk to Greg all the time um he left there but later but but anyway he said you know it's funny bill and i never wanted to come to denver because we never wanted to fuck with you and barry and barry wants is retiring and you want to be start a company i'll fly in tomorrow

and talk to you so he and nick cleaners who were the presidents of bill graham presents after bill had died and running the company flew in the next day and knew that you weren't fucking around oh no i wasn't fucking around and um said let's start chuck marsh bill graham presents which we started here and the first thing i said was i grew up in fillmore east i used to come hang out with them to fillmore west fillmore san francisco i said there's an old beat up building in downtown Denver, um, that I thought could make a great Fillmore.

And, um, they looked at it, had a little qualms about it, but decided we were going to, we were going to buy it together. Um, was it expensive compared to today?

It was a joke. That's what I'm saying. It was a joke. Um, um, was Denver scene popping? Oh yeah, it was pop. Compared to today It was a joke That's what I'm saying It was a joke Was Denver's scene Popping? Oh yeah It was popping

The music scene in Colorado Has been popping for years You built it brother And so We converted it into a film war Opened with Trey From Phish And that exploded

And BGP Chuck Morris Exploded What year is this? 1999 98 So were you doing like String cheese and all this everybody yeah and um promoting i became doing a lot of shows of red rocks doing a lot of everything

and um but when i made the deal with perloff he was telling me this guy bob sillerman was buying was talking about buying bill graham and in turn he would buy my part of the company in Colorado. I was buying a bunch of promoters. SFX was buying most of the major promoters in 98, 99. And I said, so what does that mean for me, for Chuck Morris, Bill Graham? And this is before we actually opened. He said, well, it means for you is you'll get a nice check. You'll continue to run it. You'll have more money to develop new rooms and do anything you want. And nobody will quit. I said, well, that's not a tough decision there. I said,

fine. So we started Chuck Marsfield Graham. Was that the biggest film? It feels like that's one of the bigger film ones. It's much bigger than the other ones. Yeah, like even bigger than Philly? Oh, yeah. That was late. Yeah, it's 3600. So this was a big mammoth mammoth event center, which was dumpy, beat up old 1911 building that I thought could be a Fillmore.

And we converted it. You always thought it would be a Fillmore? For years I wanted Faye to buy it and he wouldn't. And when I made the deal with BGP, they looked at it and said this could be a Fillmore. So we opened and did great. We did great. We sold it and we became sfx Denver yeah and then sfx Bob Silliman bought about 15 promoting companies around the country

for about two billion dollars and sold them all for four billion dollars two years later to who AG no no he sold it to clear channel So he became Clear Channel My company in Denver And then Clear Channel spun it off to Live Nation I kept the same company And I became running Live Nation Oh so it went to Live Nation first No it went to First it went to SFX

Which sold to Clear Channel Which is the largest radio conglomerate and TV Was Clear Channel buying a bunch of promotion They bought the whole thing They bought everything from SFX All the promoting companies Which is the largest radio conglomerate and TV. Was Couture buying a bunch of promotion? They bought the whole thing. They bought everything. They bought everything from SFX, all the promoting companies. So they're like the new age, agey nation. Yeah, but it didn't quite work because they thought, you know, vertical integration.

They had all the radios. They had 1,700 radio stations. They bought the major promoters. Isn't that Monopoly? You know, Monopoly is a word that's sort of dying in America Yeah But um So um We then became

Spun off and became Live Nation I kept running the company with the same people So you're now Live Nation I'm now Live Nation Denver, Colorado This part of the country And um And I signed with them a couple of times, kept the same people, hired my boy Don Strasberg.

One day a week, he was running the Fox. And I was watching this kid who was exactly like me, except 25 years later. Yeah. This wacky, brilliant kid. They're kind of parallel. Well, yeah, he opened a club on the hill, and I opened a club on the hill.

But mine was 1970. His was 1991 or 92. I went to the opening of the Fox. He still owns it. Yeah. And I hired the third buyer from, well, from Fay's company who quit, and we started the S of Equal. Well, we started Chuck Morris, Bill Graham, hired Donnie one day a week,

then two days a week, then three days a week. And then I finally told him, listen, keep your club. You're going to die if you stay there because it almost killed me living in a club. And come work for us full time, which he did.

And so we did very, very well. And then- When did you guys start booking Red Rocks and stuff? Oh, I started booking Red Rocks with Faye. But Faye started booking Red Rocks and stuff? Oh, I started booking Red Rocks with Faye. Faye started booking Red Rocks before me. But... No shit. Yeah.

But now... So anyway, I'm losing thought here. So you... I did that till about 2008. And I was best friends with a wonderful guy named phil anchors who started a company called aeg and i was friendly with phil and i and i'm friendly with the whole family he's from actually he's from russell kansas but he lived most of his life here yeah very successful guy who started aeg and started building these beautiful buildings around the world like the

stable center and started booking tours competing with live nation that i was running this part of the country with and i love phil and i was getting ready to sign a new deal at live nation and phil came to me and i couldn't resist and i took most of the company and started aeg for this part of the country and then now you're regional so how many states do you guys do oh we do here all over to the northwest Northwest. Yeah, yeah. And Fay, at its biggest time, did about 44 shows at Red Rocks. We, right now, do about 118 a year. And we took over a beat-up old Fiddler's Green and remodeled it, and that's doing great. And we have the Ogden, the Bluebird, the Gothic,

and we're building the greatest club ever called the Mission Ballroom that's going to be open in August. Tell me about that a little bit. Well, when I left my old company, I wanted to build a new film war. Yeah. And when we started AEG, I had Don, who was a great club guy. I built some clubs, and Brent's brilliant. And we had a company that was building arenas and clubs all over the world.

And when we started AEG, it took us about seven or eight years to find the right place the right place in town to buy it and to build it and it's going to be open in august it's going to be 3950 seats it's going to be the finest club ever built with a stage that moves so the capacity can look sold out at different different amount of people this is your dream yeah this is like the dream this is like my last hurrah. It's not your last hurrah. Well, I'm close to maybe slowing down.

But, so this, was this always the dream? Even when you were a kid? Well, when I left, when I left Live Nation, I definitely, and had Don with us and Brent and most of the people here, a lot of them, I wanted to build a new film. We're up to date. And we took about eight years to find the right places in a part

of the town called Rhino, which has become the hottest neighborhood. And I don't know if Don showed you, it's about 70% done. We're opening in August. August. Weekend of August 8th. You got a band yet? Yeah, but I won't tell you. Tough zombies. You say that in Brooklyn, right? It's going to blow Yeah but I won't tell you Tough to zombies

You say that in Brooklyn right Anyway so that's pretty much How it went And we've had more fun at AEG It's been a great 11 year run With my sidekicks Which I made them partners Don and Brent

We started AEG equal partners And we've done pretty good we do about now about believe it or not about 800 shows just in Colorado a year

and we do the Northwest we have gotten real big just in Colorado yeah a year when did you see the real spike in the Colorado music well we created

we had a lot to do with it I mean Faye in the 70s which I helped book many of the shows and co-ran it or was the number two guy. You know,

we did about 40 Red Rock shows. We do, we've done 118 a year for the last three years. Yeah. And Fiddlers we took over, which was a dumpy, beat up old Amory theater.

We put a bunch of money in and now we've had the Foo Fighters there and Dave Matthews and all a bunch of bands. Dave's coming back for two this summer. You know,

a whole bunch of great bands. Chuck, what a fucking story, dude. And coming back for two this summer. You know, a whole bunch of great bands. Chuck, what a fucking storm, dude. And that's about my life story. I got one question. I got actually two questions for you. Okay, wait. Is it dirty? No, no dirty.

Okay, well, why not? Well, I don't know. I don't know if you're... No, I'm just kidding. I know. I know, you're sober now. I've been sober 31 years. The question I was going to ask,

like, what is that movie? It ask It was like Don he's sober He's still a crazy motherfucker and so am I You don't change You just wake up a little easier And you work a little harder Was there a moment like I got to stop doing all these drugs Yeah I started getting so hung over From what blow or

From everything Booze, blow, everything And I started going to work at 1130 And I was such a workaholic and so what blow or from everything yeah booze blow and everything more everything and i started going to work at 11 30 and i was such a workaholic that it started affecting my work and um decided i i gotta get sober because i was you know getting way past 40 and it was i was feeling it so i started uh i decided one day and started going a lot of meetings of this organization I don't like to talk about. And got sober. I've been sober 31 years.

It'll be June 10th. Amazing. Which I would not be around if I hadn't done that. You think so? Yeah. Well, you've had. We've had friends that have died or got so mixed up they got canned out of the business.

And you know, the business now, business when I first started in 68, 70 was ma and pa, you know. Now it's run by billionaires or it's publicly traded companies. And there's a lot more lawyers and accountants sometimes than promoters. And you have to change. And I've changed with the times. I've learned to change to be like that. Wow.

Because if you didn't't you wouldn't last anymore and I don't think it's so bad by the way I don't think it's so bad at all it's just a different kind of business and that's what's kept me in it and still loving it we'll leave with this

but thanks Chuck this is so amazing man I'm learning so much and our listeners are going to be fucking this is crazy you built this'm like I'm learning so much and our listeners are going to be fucking this is crazy you built this scene if you could tell yourself you know

well I'll tell you one thing Don and Brent and a bunch of 54 people this team is a power fucking house it's a powerhouse it's not me man you know

when I first started I sort of my favorite line is I consider myself like at Phae Line, like the first violinist. I was the guy who listened to every record, found some bands, like U2. Yeah.

A whole bunch of bands. Pat Benatar. We had a bunch of bands that were breaking early. And now I'm more like the orchestra leader. Love it. So make sure things just sort of go right and make it a big pep rally and make it fun for everybody and hire some really unreal people

that are a lot smarter than me and that's how I kept going Chuck one last thing if you could tell yourself 73 73 year old Chuck yeah with 5 kids by the way same wife?

two wives that's fucking impressive you're in the music business year old Chuck. Yeah, with five kids, by the way. I know, I heard that. Yeah, it's pretty sick. Same wife? Two wives? Two wives. That's fucking impressive. You're in the music business. That's pretty impressive. Fucking expensive, too. No, I love my kids. I love my kids to death. But if 73 Chuck could give advice to 21 year old Chuck, what would that advice be?

You mean to be in the music business? That first start. When you're burnt out, stressed out, about this 500-person room you're running with. My advice, and I love to teach in college, I do a lot of guest speaking, is follow your heart, man. If you love something, don't give up. Work your ass off until it happens.

And go with what you want to do. Don't, you know just follow you your your dream that's what i did the power of intuition yeah and and keep your fingers crossed and you got to get lucky sometimes and um never give up and follow what you want to do yeah you know um and uh you got a good chance of making it. Do you have any regrets in life? No, not one. Really? Not one.

I really don't. But I've been lucky and blessed and lucky that, you know, if I have a – probably my best trait – you know, I used to pick bands. I used to have ears for the young music. Now I say there are people a lot smarter than me with new music. Like Donnie. Donnie's such a good – A whole bunch of people here. now I say there are people a lot smarter than me with new music like Don's and Brenton a whole bunch

a whole bunch of people other buyers like Scott and Danny and a whole bunch of people that are great the guys from Cervantes

we hired they're the greatest and now I'm more organized maybe find new buildings or you know see if we can

do some new interesting stuff. But I let other people do that. In the old days, you know, I was the ears, but I learned that smarter people and younger people do a better job with a lot of the new music and what's going on. So, you know, the anxious one told me the smartest thing to do is to hire people smarter than you and you'll probably do pretty well

and that's pretty much what I did yeah what an amazing story Chuck thanks for being on the show my pleasure man I won't get you kicked off the air

no no way man sure yeah you're fucking great dude it better be better than Strasburg's show though oh yeah Strasburg gave me 20 minutes I gotta go

yeah he does that to me for the last 40 years but I love him no I love him too. I love you guys. Thanks, Chuck, for being on the show, man. Thank you, sir. He's talking shit about the game.

He's got a weird fucking name. It's Sports with Dolove. Hello, everybody, and welcome to Dolove Sportscast. This week, we're going to be talking some fantasy basketball playoffs. That's right, the moment we've all been waiting for. Andy Frasco versus Dolav Cohen in the motherfucking championship. Let's go, right here, right now. We fucking did it.

My fucking squad's been dominating the league all season long. James Harden, Rudy Gobert been on a fucking tear. did it my fucking squad's been dominating the league all season long james harden rudy go bear been on a fucking tear i lost the last couple games you know going into the playoffs you thought i was done but no fuck you fuck you jerem you ain't shit homie jack jack brown you fucking suck homie you talked all that shit to andy all that fucking shit and for what? To fucking lose in the semi-final? Are you kidding me? You fucking suck, Jack. But not as much as Andy's gonna suck on my fucking dick, man. Yeah, you're going down. You're like, oh, I'm gonna win again. Three times in a row. Yeah, nah, dude. Not back to back. Not fucking three feet.

Not no more. It's my time. I'm going to own that shit. My fucking championship. Let's go. It's Sports with Doloff. And there we have it. Great episode. Fantastic.

Chuck Morris. Good guy. Oh, man. I got to tell you. So we couldn't do the after The show closing segment So we're here in Woodstock We're playing at this venue called The Colony

And it is placed right next to Levon Helm's grave And we are sitting down right now Right next to his grave I think I'm on his body right now I think you are sitting on on Levon's body dude

this is crazy music legend Arkansas boy Woodstock this gives me chills just like talking music and finishing the show sitting

to the presence of the grave even and everything around it Man, Levon was such a good guy For his community I mean, Woodstock was He's such a huge in this community You know? Oh yeah, dude, Big Pink

Yeah, legendary Dude, this whole community is legendary This whole episode talking about Chuck Morris Like, fuck, dude He knew everybody Now we're sitting at one of the other legends You know, and I'm noticing there's a box of tissues Next to his drum set on the grave

I wonder what that is Oh, and everyone's crying and stuff What is this thing? Is this a Christmas tree next to it? It's some kind of decorative Wreath-y I like how they're keeping this grave maintained And there's an Arkansas flag

A Canadian flag Yeah A bunch of stuff. This is Dream Big. I mean, it totally feels like Levon right now. It's super Levon. The Arkansas flag. The true Arkansas man of the band. What did Levon mean? Do you like the band?

Yeah, I love the band. What do you love about Levon? Levon is real. That's what I love about Levon and the band. He's the guy behind the image and the sound of the band. Thaton is real. That's what I love about Levon and the band. He's the guy behind the image and the sound of the band. That's his thing. And he was the singing drummer and he just... The soul, dude.

Yeah, he really had it. He had the soul. That thing that you're born with that you can't just practice, he had that shit. And I think he got fucked in the publishing. Oh, he did. I wasn't even thinking about all that Yeah he didn't even make any money He was broke

He got super fucked Robbie Robertson I wanna He's kind of a dick right I mean like Levon was the heart and soul of that band Take care of your boys right Yeah

Oh dude Levon was the total heart and soul Of that fucking band Yeah I mean like Even on the songs that I didn't write, like, the songs my band didn't write on the album, I'm still giving them album points.

Yeah. That's an interesting point because we had this conversation in our band, like, no, we're splitting the songs. Like, it's different. Like, you know, we're a band. It's not Travis Gray and the idiots or whatever. Yeah, but it's like, I think that's,

I mean, you take care, you know, it doesn't have to be the full thing, but like at least that the thought, like you're grinding it out

with me. We're doing this together. You guys are putting in a lot of work. We're gonna split it. Levon was fucking working his ass off. Yeah,

dude, fuck that. Those relationships are more important. I hope they keep the studio around too, you know? Oh,

yeah. This Woodstock is so fucking magical. We do this mound jam. You're doing mound jam with us this year. Yeah. It's gonna be fun, you know? Oh, yeah. This Woodstock is so fucking magical. We do this mountain jam. You're doing mountain jam with us this year. Yeah. It's going to be fun. It's going to be, yeah, Bethel Woods this year.

Yeah. Right around here. Yeah. From Hunter Mountain to Bethel Woods. But this whole area is pretty fucking magic. It's this energy. I can't wait for you to play this colony. It's fucking crazy.

I'm super excited, man, because we just walked into that room for, I walked in for my first time And you can feel the vibe and the energy in there It's nice, it's intimate And it's fucking right next to the band graveyard We walked over to Levon's grave I want to go to Big Pink We should go

How can we go? I think it's still around I don't think it's that far from here Is it private? Does somebody own it now? That's a good question. You know, the bass, we're looking at a portrait of the Big Pink right now. They did all the songs in the basement.

Yeah, dude, and Bob Dylan's been in there writing tunes. I know, dude. Woodstock is pretty magical. We should try to write a, like, should we write another opening band song? We should. Okay, we'll play it after the line. Let's see what gets us inspired.

Hope you like it. Subscribe to the podcast. Travis, thanks for being on the show, buddy. Thanks for having me, man. Thanks for being on the tour. My pleasure. It's been so fun, dude. The most fun.

It's been so fun getting to know you guys, and I feel like now we're homies for life. Homies for life. This has been one of the best months, man, so thank you. Thank you, Bubba. And subscribe to the podcast. Rate it.

Listen to Travis's band, Wild Adriatic. They're amazing, man. This guy sings like a fucking angel. And he's going to be putting out the Come Songs, the collection of Come Songs on Spotify and Patreon. It's going to be Come Now, like 47. Come Now by Travis Gray. It's only like three and a half minutes of album.

That's all you need. But a lot of exciting stuff. Next week on the show, we have Neil from Dope Pod. And I got Mikey Gansster As my co-host The show keeps rolling The good times keep coming Thanks for being a part of this Comb your hair

Wear condoms Don't be an asshole Because people remember that shit Take care of yourself Got any last advice for the people? Travi? You gotta really make sure you don't smell when you're around your friends. Like, make sure you take a shower.

If you're going to be in a van, get me out of the middle sea. I'm like, no problem, man. Take a fucking shower, man. Take a shower, guys. You don't know. Your neighbor could, you know. Those balls smell, I mean. You smell worse.

Or just change your underwear. You smell worse than you think. your underwear You smell worse than you think Yeah you smell worse than you think And brush your teeth Brush them I never used to brush my teeth And people were nice to me And didn't say anything

And then Who was the friend? Oh the band Good Good friends God Andy I was like Andy you better fucking brush your teeth

You're talking to too many people Dude you got that halitosis You got that You got a brush set You got that Diarrhea tongue talking to too many people. Dude, you got that halitosis. You got that diarrhea tongue. Subscribe to the podcast. Love you guys.

Be safe. I'm feeling Levon's ground right now. Levon loves. Levon loves you too. I can feel it. I feel like he's with me right now. It's so weird. I don't know.

I kind of believe in this energy. No, we're vibing. Dude, there's a vibe. There's a vibe here. For sure. And it's with me right now. It's so weird. I don't know. I kind of believe in this energy. No, we're vibing. Dude, there's a vibe. There's a vibe here. For sure. And it's really, really strong. Levon says hello. What's up?

Love you, Levon. Rest in peace, my guy. Have a great one. Be safe out there, guys. Well, thank you for listening to episode 40 of Andy Fresco's World Saving Podcast. Produced by Andy Fresco, Joe Angel Howe, and Chris Lawrence. produced by Andy Fresco, Joe Angel Howe and Chris Lawrence. Please subscribe and rate the show on iTunes and Spotify so we can make this a worldwide phenomenon.

For info on the show, please head to our Instagram at worldsavingpodcast. For more info on the blog and tour dates, head to andyfresco.com. Did we mention our new album, Change of Bass? Well, go check it out. For more information on our guest Chuck Morris from AEG Rocky Mountains, please head to aegpresents.com. Special co-host for this week is Travis Gray from Wild Adriatic. Find those guys on wildadriatic.com.

Opening band. A rock opera was written by Sean Eccles, Travis Gray, Andy Avila, and the rest of the band. This week's special guests are Sean Eccles, Andy Avila, Wildaedriatic, Arno Bakker, Brian Swartz. Somehow I couldn't help my mind slipping off to my childhood years. Lone Wolf McQuaid, The Delta Force, Missing in Action, Saving the Day Made Easy for Chuck, for Mighty Mouse, and I bet Andy saved quite a lot of days as well.

Playing with Andy is never a day lost anyway. So, with my pension plans in mind, I am looking forward to joining the band again in April and to save every day somewhere safe. My big warehouse of savory, savable memorabilia. Until the day I lose my nuts and I'm stuck with Chuck.

Forever. Well, see you next week. We're in the opening band. We're in the opening band. It's a 500 cap, but only 30 o'clock. We're in the opening band. It's a 500 cap, but only 30 clock. We're in the opening band. We're in the opening band. We're in the opening band.

It's an exposure gig, which means it don't pay shit. We're in the opening band. We'll see you next week.