S1: E20: Fee Waybill (TheTubes) - From The Saddle to the Stage

Fee Waybill Master

Thu, 12/23 8:25AM • 1:15:01

SUMMARY KEYWORDS

song, called, record, band, big, moved, tubes, wrote, play, album, music, prairie, san francisco, backstage pass, day, sing, polo, artists, scottsdale, rock

SPEAKERS

Randy Hulsey, Fee Waybill, Adam Gordon

Randy Hulsey  00:00

Hey everyone, it's Randy Hulsey here at backstage pass radio. I have a special show coming up this afternoon for all of you that were 80s rock fans that were glued to MTV back in the day. My guest today joins me from the Hollywood Hills in sunny California. He is a longtime frontman of a theatrical and iconic 80s rock band that formed in San Francisco back in the 70s. Over the years, they've had songs in the top 10. And my guest has worked and collaborated with some of the best in the business. We will talk with the one and only fee Waibel of the tubes when we return.

Adam Gordon  00:34

This is backstage pass radio, the podcast that's designed for the music junkie with a thirst for musical knowledge. Hi, this is Adam Gordon. And I want to thank you all for joining us today. Make sure you like, subscribe and turn alerts on for this and all upcoming podcasts. And now here's your host of backstage pass radio, Randy Halsey.

Randy Hulsey  01:03

The man the myth, the legend seaway Bill, how are you sir? I'm good Randy. How about yourself? I'm doing very well. Thank you so much for joining me today. It was nice, uh, Tom to get a set up together? No problem. Yes. Having me I didn't interfere with a tennis match or a tennis game or anything that I know. I had my whole day today has been working and setting up interviews for upcoming tour of the of the East. Awesome. It's my understanding. I was reading something a day or so ago. And I guess maybe during the pandemic sometime you took up tennis, is that correct? Yes. Is my wife is a is a great player. And she is she? She said boy be great if you learn how to play. You know what, in reality, she's trying to get me away from playing Polo. And I've been a polo player for almost 20 years now. And I have horses and I play polo, two or three times a week. And she thinks it's really dangerous. It is really dangerous. Well, sure. She's worried about me playing polo and you know, falling and, and killing myself or breaking something. And so she said she thinks that if I get into tennis, I'll really like it and I'll quit playing Polo. But she's She's not listening and

Fee Waybill  02:31

she is way off on that assumption. Because I love polo and I love my horses and I'll play as long as I can play but I do love tennis to and it's a lot better you know it polo most of the exercises done by the horse Yeah, I was gonna say doesn't the horse get most of the exercise and a polo and in tennis it's there's no horses in Tennessee. It's all you and and I've been taking lessons and I love it. It's really great. It's really a lot of fun. Mostly doubles we played mostly doubles. And I'm still not at the point where I can I can match or give give my wife a good game. But she's been playing you know ever since high school. Sure. Really good. Well, I think it's important as we get up there and age a little bit I think the important part there is just staying active and keeping the keeping the joints lube Do you know what I'm saying? Yeah, I should I should do it's interesting. There's a there's a really nice Polo. I don't know what you call on fee you can correct me if my terminology is way off, but I've never really followed polo but I'm I'm assuming a polo arena or a polo field, but there's one not too far from my house. And I've never seen you know a live polo match. I'm assuming that it's a little bit like soccer and hockey, you know, you're trying to to score but you're riding around on horses to do that correct? Yeah. And you're it's sticking ball and you're whacking the ball and trying to put it into the goal. And I mostly play arena Polo. I used to play on the grass a lot more. Okay, the arena is kind of like an arena football. It's a it's a smaller version. And it's in a it's in a walled arena. And like eight foot walls and it's a different ball. It's a bigger ball. It's like a little soccer ball about the size of a of a softball. And the outdoor game is a hard plastic ball about the size of the baseball. And in the arena. It's less dangerous because your horse really never gets to full speed before he comes to the end of the 100 yard arena. That makes sense. In 300 yards. Your horse can get up to absolutely full speed. And if you go down if it steps in a hole or something happens and you go down at full speed. It's big

Randy Hulsey  05:00

Trouble? Yes, you don't, you don't want to do that. And in the arena, like I say, you can't, if you go down, it's soft dirt, and your horse is not going for full speed. And you don't nearly you don't usually get hurt nearly as bad the survivor, the survivability rate is much higher, right? I don't know, you know, I'm not gonna divulge my age, but let's just say that these days, I like to just kind of keep my feet on the ground. I don't I did a lot of those types of things back in the day. And some I look back now and say, How did I survive half of those dumb things that I did not not not that sports were dumb, but I just, you know, it's a different it's a different kind of a fear factor. The older you get, you know, we start really thinking about, is that going to hurt me? And how long is it going to take me to heal from that? If nothing happens or so? I choose my battles.

05:57

Yeah. Okay. I understand that. And, and that's, you know, and that's, that's kind of my thinking, too. You know, if I hurt myself, what happens? I can't tour and tour. I can't, you know, there's a lot of things I can't do. I can't play tennis. I cannot. So I'm I'm pretty careful. And we play at a I played in an arena club here and in LA, and it's really friendly. There's nobody, you know, trying to hurt you or Yes, everyone really cares deeply about their horses, so they don't want them to get hurt. And it's all really friendly. It's that's good. Not like playing the Pacific Coast open, where there's money involved.

Randy Hulsey  06:41

Absolutely. You know, that the money thing brings a whole different level of competition and the play I would imagine, right, you know, when there's when there's money at stake. Well, what do you what do you say we take a high level journey in the Time Machine for just a second. And let's go all the way back to Omaha, Nebraska. Now, it's my understanding. Is this where you were born and spent some of your childhood

07:08

I was born? Yes. I was born in Omaha. And I lived there. I think we moved to Scottsdale Arizona when I was maybe five. I think I went to kindergarten was my last last school in Omaha. And then I started first grade here in Scottsdale, Arizona.

Randy Hulsey  07:27

Okay, so you we we fast forward a little bit to Arizona. At what age? Did you kind of think that music would be your life? Was there a certain age that that came about? Well,

07:42

I don't know if

Fee Waybill  07:44

my mother, I mean, there was always music in our house. My mother was a singer. And before she got married in Omaha, she used to sing with big bands that would come to town on tour. And a lot of times they didn't carry a singer with them. And so she would sing with them. And they would they would call her up and she would go sing with Tommy Dorsey or Tex Benaki, or

08:11

some big band that came to town. And she was a great singer. And then, you know, she got married, and she had kids and all that whole thing ended and then we moved but as I was growing up, there was always music in our house, she would sing and, and we would she loved Broadway soundtrack albums. So we would get Broadway soundtrack albums and put them on our big gigantic record player. And, you know, like, you know, Oklahoma or Kansas, or sound music or my favorite was West Side Story. And we would sing all the time. I was always singing. I don't think I ever realized or or I ever, maybe I wished and I tried to manifest but I don't think that I ever really came around to the thought that I'm going to make a living and spend my life in music until until I got in the band until interesting till I moved to San Francisco. Okay. And I and I moved up from being the roadie for Rogers band to being a background singer for the tubes band. Okay. And it was at the time, which is a combination of Rogers band and Bill spooners band and and they kept saying you sing too damn loud. Okay. The background singer, too loud, tone it down. You're supposed to blend in, right? I just went like, you know, I'm not good at a background singer. But why don't you let me be lead singer. And so they did and then and you know, and there's there was always that question as there is with so many bands that you know, are you going to are you going to make it are you just you know Are you better not quit your day job? Yes, you know, and we finally got signed in 74 We got signed to nm records. And and we started making records. And, you know, and I think at that point, you know, we still had day jobs. You know, we lived in San Francisco. And, you know, we weren't, you know, I actually used our moving our equipment truck to move furniture. Me and I are the roadie for Bills fans, we would go get gigs, moving furniture. And, and until, you know, the 75, when we actually released an album, and we planned a national tour, you know, we're going to go out on tour, and I kind of had to quit the day job, cuz work, we're going to go out and and be a band on the road in the USA. So you know, I don't I don't know if you know, it's, I think you're we always worried about oh, you know, is this album going to do? Well are absolutely. Another album? You know? There's always that thought in the back of your head, I

Randy Hulsey  11:15

think. Absolutely. And you talked a little bit about Oklahoma, The Sound of Music. You were of course listening to those things as a kid, but was there?

Fee Waybill  11:27

Maybe, maybe mainstream is probably what was there something that was more mainstream at that time that you were latching on to like, rock and roll wise or glam wise, or whatever the genre of choice was? Was there something else besides the ones that you mentioned that you were kind of latching on to as a kid? Yeah, I mean, the Beatles? Yeah. Okay. The Beatles came out when I was a freshman in high school. And that's when please, please, me came out that first album, and I've I lost it. You know, that changed everything. For me. I walked around singing Beatle songs all day long. And that made me want to be a singer in the band. Sure. And I wanted so bad to be in a band. And, and the Beatles just just, I mean, I used to write, I used to write my own lyrics to Beatle songs, you know, and in the same, you know, the same melody and everything. Yes. And, and that kind of got me into lyric writing. And, I mean, I just, you know, I was such a Beatles fan. And in when I grew up in Scottsdale, in Arizona, there was a radio station called K ri z is radio, and it was an am radio station that played rock and roll. And every Friday, they would do a battle of the bands between the Beatles and The stones, really. And they would have people call in. And they would play Beatle songs and stone songs. And they would have people call in, and they would count the vote and vote for him. Yes. And they would, and the Beatles would win every week. It's fair. Right? Yeah. It's interesting that you say that because, you know, I've always respected both of those bands. I can't say that I ever ran out and bought up all of their music. But I think it wasn't until much later in my years that I really got into them. But the other interesting, either band, right, I'm a musician here in the greater Houston, Texas area. And I cover a lot of stone stuff. I don't do much by way of the Beatles, but I really drew a liking to the stones much later in life than I ever did, you know, coming up, but the common denominator there is that in a lot of these interviews that I do so many of the artists cite the Beatles were it you know, the Beatles, you know, when they came across the pond back in, what was it 64 I'm horrible would date some, you know, somewhere in the mid 60s. It was a game changer back then. You know? Oh, yeah. Oh, yeah. Completely. You had mentioned you know, you grew up in Scottsdale, you know, Scottsdale is probably not much known for its music scene. But what took you to San Francisco because you mentioned that you left Arizona, you went to California? Was it music, Dan? Or was it for something totally different? No, it was music. What happened was Roger and Prairie, and a guy named David had a band in Phoenix, a trio called the Red White and blues band. And they used to play at a little club. And this was in you know, in the 60s when I was in high school. We used to go to this rock and roll club. It was called the VIP club. And I used to go to watch bands. And they played there. And in 1969 prairie, who was an artist in high school had submitted a bunch of work To the San Francisco Art Institute, and he got a full boat scholarship to the San Francisco Art Institute for a three year scholarship starting in the fall of 1969. And that's what precipitated us moving there. And I, at the time, I had dropped out of college at ASU and then moved with a bunch of hippies to a ghost town in, in northern Arizona, okay. And we were there was a town called Jerome. And it was on the side of a mountain, where a mining company Phelps dodge had once had a copper mine. And they drilled holes all over the side of the side of the mountain, and they sucked out all the copper there was, and then they left. And they left all of these little shacks on the side of the hill that miners used to live, okay. And this friend of ours, we used to go on the weekend, we used to go out to this guy's house, which is way out on the outside of town, and sit around and smoke pot and play music. And Terry, his name was Terry. And he decided one day that we're all going to move to Jerome, because there's all these, these abandoned minor shacks, and you can just take your pick and move into squatting. Okay, yeah.

16:25

So I, I said, Okay, great. And so I went with them, I dropped out of school, and I went with them, and got my own little minor shack. And, you know, there was no running water. There was no indoor toilet. It was

Randy Hulsey  16:41

your rough, rough, and it

16:43

was rough in it. But and there was also no work and we had no money and my dad used to bring up 25 pound bags of brown rice for us, you know, because he felt sorry for all the starving hippies in Jerome and the people that Jerome that were left that still lived there. They were just aghast while their towns had been taken over by a bunch. And so finally, I, I guess it was about maybe I only lived there for maybe three or four months as long as I could take it. And I ended up going to work for a cowboy in Cottonwood, Arizona, a cowboy named Dave Perkins who had a big cattle ranch. My dad was a riding instructor, and a horse show judge in Scottsdale. And so we had, we had a stable and we had a rental place. And I had been on a horse from the time I was about five or eight years old. And so I knew how to ride and I went to this cowboy. And he was looking for cheap labor, and didn't want to hire a real cowboy. And so I went to this guy, as Dave, I said, Dave, you know, would you hire me? And he was kind of progressive, you know, and all the other cowboys in town were thinking he was, you know, he's hiring hippies, you know, and they were not bad at all right? And so he said, Can you ride? And I said, Yeah, I can ride. And he goes, Oh, go get on that horse right there and show me you can ride. And so I did. And I he says, Okay, you're hired. And he paid me $50 a month, holy cow. and room and board. I lived in the Ranch House, and they fed me. And I wrote around the range, rounding up cows for him, at 1.1 of the one of the hands, was going to get married. And his name was Michael, he was going to marry this girl that he had met. And they were going to have a wedding at the ranch. And they were looking for a band to play at the wedding. And I said, Well, I know these guys in Arizona in Phoenix that they have a band, they probably come up and play at the wedding. And so I got ahold of Roger. And I said, Well, you know, I don't know what they paid him. I can't even remember 100 bucks, maybe come up to cottonwood and play the wedding. And so they did. And that was the beginning. That was the beginning. And at that time, that was that was in the summer of 69. And they said when they went up there, they said, you know, we're moving to San Francisco in the fall. And we'd like you to drive our equipment truck to San Francisco and be our roadie. And I was you know, a little tired to ride in the range at that point. Sure. And so I said, Okay, so I did, I left and I went and gotten the truck and I drove it to San Francisco and Prairie started school in the fall of 69. And that's when it all started and we lived in a little house in the Sunset District of San Francisco and started doing gigs. And and I was the roadie and I had no clue. Anything technical whatsoever, right. I I knew the extent of my knowledge was put the O N switch

Randy Hulsey  20:02

They say fake it until you make it fee. You know what I'm saying?

20:06

I didn't have a clue. There were

Randy Hulsey  20:08

so many great bands that have come out of that area. No, you had the dead you had journey you had bands like train coming out of the San Francisco area. Jefferson airplay? Yes, absolutely. Gosh, there's

20:24

so many of them.

Randy Hulsey  20:26

Three things just popped into my head as you were telling your story of the transition, you know, living in the ghost town. And then it hadn't California before. Before you said it was you were living in a ghost town. Ranch kind of thing. Right. Before you said it was in Arizona. I immediately thought that you had moved into spawn ranch. California, which, which, which that wouldn't have been a good ranch to move to I don't think we've acidotic My second question that kind of came out of that whole story is, if you weren't working, you weren't making money. Where were you getting money for the pot? You have the herb bright work with some

21:07

a friend. We didn't have money. What we do is wait for somebody to come up from the city and hope that they brought drugs.

Randy Hulsey  21:17

Okay. Rely on your buddies, right?

21:21

Yeah, I think I was wondering if we even were trying to grow I don't think we wouldn't we're trying to grow pot at the time. And we were living you know, living on a Rock Hill. And there was like, all these holes all over the place. And you know, they would they would drill these holes, these mine holes, and then just leave them. Wow. And oh, you would always be hearing about somebody falling in a hole or something. Goodness. But no, we had no drugs at all. We had no food, no drugs, no electricity, no water. No indoor toilet.

Randy Hulsey  21:52

It was It doesn't sound like y'all had a whole lot of anything fee.

21:57

Nothing. That's why I was all ready to move to whatever I guess, you know, I can imagine. Other situation I could get myself into. Well, it's interesting,

Randy Hulsey  22:06

that story about you know, being kind of a ranch hand. And I may have my story a little mixed up. But I think that was kind of a similar story of Neil Young's that he he worked on a ranch for an old man. And that's where he got the song old man. You know, when he wrote old man, I think that's kind of the story. I probably have a little of it messed up somehow. But that's kind of the gist of it.

22:29

I think you're right. I think you're right. I think he did too. And I mean, this guy, David, Dave Perkins, imagine it's a desert, okay. And he, he's got a Forest Service lease for 250,000 acres of land. And they tell you how many cows you can have on your land based on how much food there is for them to eat. Okay, right. So his limit was 150 mother cows on 250,000 acre.

Randy Hulsey  23:08

That's how little food there I was gonna say there wasn't much food there.

23:12

There wasn't much food, it was desert, there was cactus geese. And, and so every, you know, in the spring in the fall, you have to go out on 250,000 acres and round up 150 cows to bring them in to whatever brand calves or castrate the the male calves, or, or whatever is shipped the one ship the ones off to the feedlot that we're raising. I mean, it was was not fun.

Randy Hulsey  23:40

Well, with that much land, you almost needed a helicopter to round them up. It sounded like that's a lot of land. Yeah, it

23:46

was, well, the only the only saving grace was there was no water.

Randy Hulsey  23:50

So they stuck around a certain area. I'm sure they

23:53

stuck around though areas that had water, there was a river verde river ran up through the middle of it. And there was a couple of things they called water tanks, where they would take a bulldozer and push a big hole into the earth. So when it rained, the water would fill. And that's where you go first just start trying to find them. But Gotcha. It was the I didn't break my heart to

Randy Hulsey  24:18

to move on. Hmm. So you guys were on both. You were assigned to both a&m and Capitol Records. Do you remember the year that the tubes got the big break and which which of the labels was it that you assigned where

24:31

we signed first to a&m? Okay, in 75. Five, okay. came out in 75 on an M, okay. And, you know, am herb and Jerry and Ms. Alpert moss right. Herb Alpert and Jerry moss. Yes. And they loved us. And it was like a little family. They had a in LA they own this. They owned a studio. It was called the Charlie Chaplin. It was a studio that Charlie Chaplin built for to make movies. LeSean and they had a great big soundstage, where they would film movies. And they had all it was like a little, it was a little quadrant with four sides in a driveway on one side. And there was offices around the whole thing in the studio. And they had their own press people there. And Herb had his own little office, and he would herb used to just sit there all day long and play his horn. And if you pulled into the place to whatever, to do an interview, or do some kind of press, Herb would be over in his saying playing his horn, and the whole thing would just be, you know, that's all you could hear. And Jerry was kind of the businessman of the of the do, okay. And, and so it's really cool. And, you know, they loved us, and we even painted, we even painted the place for them. We painted big flying records on the side of the, of the building, we recorded there and and so we made five records there at a&m, and, you know, we were kind of their cult band, we were their punk baster, and it wasn't like the police or carpenters or Captain into Neil. I mean, they had other really commercial bands. And then after your five years, they kind of got, you know, they kind of got over the whole cult mystique of it all. Okay, let's say, and they released us, and we didn't think that we'd ever get another deal. You know, a lot of a lot of companies turned us down. And we kind of floundered around for a while and but then we met a guy once again, because a fairy Prince, Bobby Colombi, was an a&r guy at Capitol Records. And Bobby Columbia used to be the drummer in blood, sweat and tears. And he flipped out for Prairie I guess he's they saw us play somewhere. And he thought he was an and he was the one that talked them into signing us at Capitol Records. And, and, you know, he had a vision in he said, you know, and they told us from the beginning, you know, this will give you a three record deal. But each record is contingent upon the last record. So if you make a record, and it does really well, we'll give you another record. And if that doesn't really well, we'll give you another record. And so it was, it was, but and then he was the one that I don't know, where he got the idea that David Foster would be a good fit with us. David Foster had never produced a rock record at the time.

Randy Hulsey  27:32

He was a Motown guy, right? Earth, Wind and Fire,

27:37

Earth Wind and Fire. Yeah, he was actually a Canadian, okay. And he produced Boogie Wonderland, was the last record he had done before us. And he had a big hit with after the love is gone. Number one. And Bobby put him with us. And he came up to see us in San Francisco. And, you know, and here was this kind of young Canadian guy who had never done rock and roll, and we're a rock band. And we were definitely hesitant to begin with until he sat down at a piano and started playing. And he said, play me your songs with so we played him a song and then and he like, immediately he could he could play the chords to this. He was a genius came out, right? Yeah. And, and at the time, at the time, they were looking for a big rock ballot. Okay, rock ballads were what was happening at the time, in 1980. And the journey had just had a big hit with a rock ballad. REO Speedwagon had a big hit with a rock ballad. And they they said, well, we want we want a big ballad to start to release first. And we had talked to you later. And they went now. Now we know we're a rock band. This is this big rock song, we want to do that talk to you later. No, we want to ballad. And so David's goes, Well, you got any ballads? And we went, No. But then Vince, well, Nick, who is who was brilliant. And Vince was actually the only theatrical I mean, musically trained member of the entire classically musically trained member of our band. Everybody else taught themselves to play. Roger, and me and Bill and Rick, and everybody taught prairie never took a lesson. We taught ourselves to play. And Vince had classical training, and he started playing don't want to wait anymore. And David said, Man, that's it. That's the that was the one. Yeah, that was the one and I wrote the lyrics to it. And he said that's what they're looking for. And so that's what they went with the first single and even though I don't think they ever released talk to you later as a single in the United States, but talk to you later went to number one and 17 other countries. But and went to number one on the Rock chart of Billboard here in the USA. But then but don't want to wait was the one I think that

Randy Hulsey  30:09

one went all the way up to 35. But I think it was also on like four different charts too if I'm not mistaken.

30:17

Yeah, it was probably on an AC chart and

Randy Hulsey  30:21

UK chart UK chart. I

30:23

think it did well in the UK. Yeah. So that's that kind of combination with with David Foster never doing rock and yeah, we had always wanted to do r&b. But we were a rock band, and we never really, you know, had the opportunity to infuse r&b into our music. And so it just kind of was the perfect, perfect combination.

Randy Hulsey  30:47

Yes. So that's kind of an interesting segue into the discography. Right. I think you know, you mentioned you guys got going in the, in the early to mid 70s. And then you release somewhere around five to six records on a&m, late 70s ish. And then I think around what was it 77 You released a song. And I believe it was off the first record, and it was called White punks on dope. Do I have that? Correct. That was on the first record, right?

31:17

That was on the first record and then we we rereleased it as a live version. From the fourth album, which was live in London, the what do you want from live it was called Okay, and we rereleased it a second time in a live version. Okay.

Randy Hulsey  31:38

I was gonna say I think that one peak somewhere around 28 on the charts, and if I'm not mistaken, didn't Motley Crue cover that song as well. They I'm sure they weren't the only ones but I think they were the ones that kind of stuck out if my memory serves me correctly.

31:56

For the first person to cover it was a German girl named Nina Haagen. Eva Haagen did a version, but she used the music, but changed the lyrics. And in German, it was called I watch TV. It was called TV Glod. Sir, and Nina Hagen did that. Now that was first and then Motley Crue did a version and which we weren't crazy about because they didn't put in the bridge. Okay, kind of change the arrangement. But most recently, Joe Elliott. He has a side band called The down and outs, okay. And they did a version of white punks on dope, just within the last few months. And it's great.

Randy Hulsey  32:46

Now it's Is this the same Joe Elliott, lead singer of Def Leppard Joe Elliott? Okay. Okay, yes. I haven't heard that version. I'll have to look for

32:55

man. He's got a solo band called The down. Okay. And they did white punks. And it's sort of a great version. And Joe's a great singer. And so that's most recent. And, and then, I don't know why pumps on dope. I mean, it's so it's like, it's really hard for bands to write a song that's qualified as an anthem shirt. But I think somehow we did that. That was Uh huh. And that's, I mean, when we play that song, people go crazy and all sing back to you know, yes. They sing with us. They sing, they sing. Why punks on dope, they sing the chorus, I mean, the they sing amnesia, they sing talk to you later, they sing. A lot of times they sing don't want to wave anymore. And everybody kind of waves their horn and back and forth. And, and oh, it's

Randy Hulsey  33:50

that's got to feel good to the artist, when the people you know, you have so many millions of people that have adored the music and they know it word for word note for note. And there's, that's got to be really cool for the artists to have that kind of feedback. You know,

34:05

it's amazing. It's really amazing. And I think that, that, you know, it's kind of, it's kind of our arc has kind of changed over the years. You know, where, where back in the day. It used to be kind of more theatrically emphasized. Yes. And the music was, you know, part of the the theatrical show, but as the years went by, I think it's completely flip flop now. And now these songs, you know, the the dog and pony show doesn't doesn't exist anymore. So much other than on my shoes, but the music has held up and now the players are so great. Roger is so great. I mean, it's so it's so gratifying to see that. You know, I mean, I still do a lot of theatrical stuff, but I do more just stand there and sing than I ever did before. Yes and sing the songs that have stood the test of time. Absolutely. And, you know, people sing along with amnesia and they sing along with talk to you later. And I'm not wearing you know, any funny outfit. Just singing.

Randy Hulsey  35:17

You're just being you now, right?

35:20

That ified for me, you know, to know that, that they really appreciate us after all these years

Randy Hulsey  35:26

for the music. I agree. And that's been 40 plus years now, right? So it's, it's great when that music stands the test of time without getting into the, I guess the granular aspect of this question. How does that work when a band like Motley Crue or somebody like Joe Elliott from Def Leppard, want to? I'm assuming record your song in there some kind of monetary gain from it, what? Walk the listeners a little bit through high level like, does the artist reach out to you or your publicist? And then they give permission and then they negotiate what the royalties would be that you get paid versus what they get paid? Is that kind of in a nutshell how it works?

36:11

No, okay. Nobody asked us Motley Crue never came to us and asked us if they could do white punks. Or Joe Elliott or Anita haga? No, no, they've never done it. The all you have to do is I mean, you can cover anybody song, you just have to pay the synchronization licenses. You have to pay the writers, okay. Have to pay the sync license, which is for the writers and the publishers. And you know, if Motley Crue sells a million albums, they don't have to give us anything. That sale is artists royalties go straight to the artists, and they're not using the original master. If you use the original master from us, that's different. You know, if that's called a master use license if they use it in a movie or commercial or something like that, but if they re record the song, all you have to do is pay the writer. Okay, and pay the guys who wrote the song. Okay. And the publisher that published the song. Okay. And and that, that that's a royalty rate that's negotiated through the record company. Okay. Yeah,

Randy Hulsey  37:27

let's far more than you know, I thought went into it. I thought it was just kind of a high level Hey, you get you know, you have a blessing from the the group that wrote it, and then there's a negotiation of, okay, if you make this much money, then we get this portion of it right. I certainly simplify that whole process. But I always wondered how that how that works.

37:49

That only the writers get paid. Okay. The tubes never got any artists royalty checks from Motley Crue for that song. It only goes to the guys who wrote the song.

Randy Hulsey  37:59

But so if you are a writer on that song, if you were like, say the you didn't co write it you the label is the only writer on that song, then those royalties would come back to you correct? Yeah. Okay, gotcha. I follow you. Okay. Well, there was another song that I don't think it went as far up the chart as don't want to wait any more. But I think it became more widely known because of the MTV rotation or not more widely known, but I think it was made popular by the MTV rotation that it had. And this was the song called Talk to you later. Tell me a little bit and tell the listeners, what did this song do for the tubes from a popularity standpoint? And from a record sales perspective? did was it a catapulting song or not so much?

38:49

Well, no, I think that I think that whole album that completion, backward principle, the first album on Capitol, that catapult that changed everything. I mean, we went from playing little, you know, 1500 seat theaters, to playing 10,000 cedars, that quickly, and, you know, hockey rinks and basketball courts, and because like I said, Talk to you later, was huge in the MTV rotation. And even though it wasn't a Billboard Top 100 single, it was number one on the Rock chart. It was number one on 17 different countries. And it just, it's funny because that that's, you know, that song ever since we wrote that song. It's been the closer for the tube set, okay, for all these years talk to you later has been the closer up until this tour, when we're doing completion backward principle, or you're doing it it's the first song on

Randy Hulsey  39:49

the album. So you're doing it first now right? In the show. Okay,

39:53

so that just that I mean, from there, the set takes off like a free training. Yeah, and And it just, it's interesting, you know how that every once in a while back in the old days, every once in a while, if we were playing a show, if we were playing a show where, you know, we were in an area that didn't quite know who we were, or, you know, it was kind of a, we used to open with, she's a beauty. Because immediately everybody knew that song. You know, everybody knew who it was. And, but we never opened, we've talked to you later ever before before this tour. And now we open with that. And it's such a rocker and it's such a sing along that the it just sets sets the mood. And it's great. And it's it's really been fun doing it. And you know, and then we do the whole album in a row in this current show, the whole 10 songs, and then, and then there's a big drum solo. And I'd go back and change costumes and come back out and we do what do you want from life? And we do a bunch of other songs why punks are dope? And then, and then she's a beauty as the Encore, and maybe some others. Sometimes we do piece by piece. Sometimes we do. I don't know. Turn Me On sign. I don't know we've. But then we but we still close with talk to you later. We do a reprise of talk to you later to still close on the show. So it's really kind of it kind of changed our whole world that well, it just changed everything for us.

Randy Hulsey  41:28

I could imagine so that now that song, I'll talk to you later. That was the one you mentioned that was co written by David Foster. And wasn't Steve Luthor a writer on that as well. Yes. Okay.

41:42

We needed I mean, it was it was David's idea. You know, he said, you know, we really need an a super up tempo rock song. And we didn't really have it. On the Record, even though they said they wanted the big rock ballad. He said, Well, we really should have an up tempo rock song that we can fall back on. And so the band had a number of other songs, and we played him a bunch of other songs. Anything No, no, I don't think any of that. No, this is not right. He said, You know, I have an idea. I know this guy, Steve Lucca, who is like at the time, he was like the session guy in LA. Yep. He was the guy. If you needed the killer guitar player, he was the guy you call. And David had worked with him on a number of things. And he says, I got this guy, Steve, look at her. I hadn't met him half the time, even though at the time total. And the tubes were at the same management company. Okay. And he said, Let's meet. He said, Let's, we were playing. We were here in LA, working in a studio in the valley. And we were booked from like, four to midnight. That was our regular session time. And we were working on this album completion backwards. And he said, How about if you and Steve and I meet at about 10 in the morning, and we'll see if we can come and come up with something. And I said, Okay. And so we did we met at 10 in the morning. And, and David kind of explains to him what we're looking for. And Steve, is, I mean, and we've been friends, ever since for 40 years. Steve comes up with the lick for talk to you later, in literally 10 seconds. David went that okay, that's the and, and, and then he turns to me, he goes, I can start writing lyrics. And I you know what? And I just because I, you know, I don't know, it takes me a while to write lyrics. I usually, like when I'm writing with Richard Marx or something. You know, I listened to the track about 1000 times. Yeah, before I something comes to me, my muse hits me and I figure out is it happy or sad? Or is it a song about some girl or whatever? And so I, it's funny, because I'm sitting there trying to think of, and usually I start with the chorus, writing a song, and then I kind of back back up to the first verse, and make the verses lead, you know, to the chorus, the chorus, yes. And make sense of the whole chorus. Yep. And so I started with the chorus and the chorus was dead. And I kind of plagiarized. Well, I didn't really plagiarize. But in the studio when we were working with David Foster, we had an engineer named Umberto, good Tika. He was from Chile. And he was a brilliant and he, you know, he was always trying new stuff. And we were in the studio. We were in awe of him. And we would always ask him what Umberto, what's that? What's that? What? Where'd you get that? What kind of sound? Is that? Or is that eco? Is that delay? Or what is that? And we kept asking him questions. And he hated BS questions. And so instead of answering any of the questions, he would say, Talk to you later. That was his answer. Talk to you later. Talk to you later. And he wouldn't say, you know, whatever, you know, shut the fuck up.

45:32

Anything like that? We just say talk to you later, man. Story. That's where I got it. You know, that's when it came to the chorus who had not done it. And I will talk to you later. Yes, talk to you later. Okay. And that's what kind of, that's what set me off. And I started writing the lyrics. And I ended up writing the lyrics that that afternoon, and we recorded the whole song between 10 and four o'clock. We recorded, Luke recorded the guitar, he recorded the rhythm guitar, he recorded the bass track, foster recorded the, the keyboard track, I did the lead the background vocals. And, you know, we were we were using a, I think we were using click track for the drums on it. And then when we got all this down, we call prairie up at the hotel, you know, and it was like, you know, two, we said, Can you come down a couple of hours early, before our four o'clock session started. He went okay, sure. And so he came down, and we put him on the drums between two and four. And then the band shows up at four o'clock. And we've got this whole song done, you know? And, you know, they're not all that pleased. I have to say, you know, they're really, you know, and but they couldn't deny this is what was a great song. Oh, my God, it was a great song. And so, you know, that's how it happened. It happened in like, one day,

Randy Hulsey  47:01

that's crazy. And so it sounds like there was actually a fourth writer and that song right, your studio guy that gave the inspiration to the lyrics, right?

47:10

I got a picture that

Randy Hulsey  47:14

sometimes it's the simple things that mean so much. Well, I always wondered what the kind of the the connection was with Toto and, and Lou, and, and I didn't realize it initially, but you know, you guys put out a video that was huge on MTV was she's a beauty and I didn't realize it at the time that that was Robert Arquette as a young boy in that video, who, of course later became Alexis Arquette and and then so you know, you talked about todo and and Luke and then, you know, they had the hit song, Rosanna which was about Rosanna Arquette so there was there was a lot of ties back to the Arquette somehow so I was wondering how that connection with the tubes and Toto and the our cats how that all kind of came about

48:06

that? Like I said, they were we were both at Fitzgerald Hartley management company here in LA. And, and so, you know, we knew Rosanna from that she was the girlfriend of one of the guys in the total band. And you know, and I got to meet Steve. And and then Steve also wrote she's a beauty with me. And some of the total guy I mean, it was a whole connection with foster and total because he used those guys. He used David Page for keyboard sessions, and he used Jeff bacaro and Steve Bokaro. They were all like, you know, intersection guys that had done everything and played with everybody interesting. And so that, you know, that whole thing was just kind of an LA kind of connection.

Randy Hulsey  48:59

Well, I had an interview recently with a guy named Tony Hazleton, who was the guitar player for a Louisiana based band called LaRue. And there was there was a connection there with with todo I think there was some time Bobby Kimball spent with LaRue or vice versa, but then Fergie Fredrickson, who was the lead singer of Leroux went on and sang for toto for a year or so I think before he passed away of cancer. So there was a tie with LaRue toto as well, which was kind of interesting. So if we fast forward a couple of years to 83, the outside inside record is released and you guys have a top 10 Mega smash with she's a beauty. And I wanted to play a quick clip of that for the listeners that maybe haven't heard it. Maybe they're the younger generation and didn't get to see it on MTV, but I wanted to share that with the listeners, and also remind the people that Dude listen to the show that this was a tube song and then we'll come back and chat a little bit about the song Fair enough.

50:07

Okay all right good?

Randy Hulsey  51:23

That was cheese a beauty off the outside inside record now was that a song fee that that you wrote alone? Was that a co written song talk to me a little bit about the writing of that song?

51:35

No, that was a song once again that I wrote with with Steve Luthor and David Foster, same writing team. And as funny once again, something that foster used to always say one of his Canadian isms was beauty a beauty a and so I kind of stole that from him. But I got the inspiration for that song, which is kind of twisted. There was in San Francisco, there was a red light district, who was called the tenderloin. And in the tenderloin, there was outside of like a massage parlor. There was a kiosk like imagine a phone booth, an old style phone booth. Okay, that was that was closed on all sides. But on the front of it. If you put a it was called Pay $1. Talk to a naked girl. Okay, okay. And if you put $1 in the slot, the front wall would come down. And she would start stripping. Okay. Okay. And you couldn't actually talk to a naked girl until you put in quite a few dollars. Okay, she wouldn't she goes off pretty slowly. Yes. And a little bit here, another dollar a little bit more here, another dollar. And so I saw this. And I did it. I put $1 in. And the thing went down. And here's this gorgeous girl. I mean, she was stunning. And, and I just and I immediately started to chat her up and talk her into being a tubes dancer. And I said, You should I said oh, I have this band. And Oh, you're so beautiful. Can you dance and you know we want to get you in the band and and she was completely oblivious to me and she would just go Okay, Hi, honey. And she went into her wrap you know? Yeah. Blah blah blah blah blah and then the thing would come back down. And then you put in another dollar I went No No Look I'm not interested in in in any Mr. Happy Ending massage. I'm really I'm thinking you shouldn't be doing this. You're too pretty. Yeah, you could do so you could be a model you could be a to bats. Haven't you heard of me I'm I'm in this band called the tunes and chill, baby. So nature, nothing would come down again. And I just finally I gave up. I don't know how many dollars I put it in. But I didn't get to see much nudity. And I was out about 10 bucks. And and originally when I wrote the song, the line was you can talk to a naked girl. You could talk to a naked girl and then foster went no, you can't say naked. You can't say naked in the lyric. You have to change it. And I said really? He has it. No, you can't. I said but it's the tubes were weird. And he says no, this is going to be the single. You can't see naked on the radio. So you change it to pretty high. Yeah, and I had to change it to pretty, pretty girl. Well,

Randy Hulsey  54:49

I guess things weren't then they were a little more censored, tight lipped back then than they then they were now and all the music that's out now. Right?

54:58

Yeah, exactly. And yeah, exactly it was I mean, even the video for she's a beauty is a good story. The video for she's a beauty before we had Robert our catch. And before we had this concept of him in the little cart kind of going through like the the Midway ride. We were enamored, there was a movie. There was a movie in 1939 by a guy named Todd Browning called freaks. You ever hear a freak? I haven't freaks was a movie about a sideshow. And, you know, with the, the, the fat lady and the sausage boy. Yes, yes. The chicken woman. And it was it was a story about a guy. The guy who ran the show was in love with the chicken woman who and the chicken woman was a chicken with a woman's head. And it was very twisted. And, and there was a character called there was a Mongoloid guy named slit see the Pinhead? Okay, so let's see the Pinhead. He was also one of the character actors, Mongoloid. And we thought that was such a great, obscure, weird, twisted movie. We tried to we came up with a storyline kind of on that theme, okay. And we we hired a in LA here, there, there was a little funky little circus. And it was like, you know, if if Ringling Brothers was attend, this was a one and it was a tiny little circus with like, lame animal and they would tour around Southern California was called circus Vargas. And we contacted them and we said we want you to we want to use your little midway and your little scene. And they would set up and funky little fairs, county fairs and stuff. We said we want to do a video at at at some place, you know, and they had like a, they had like a vacant lot where they would park all their stuff during this winter when they weren't touring. And we said well, we want to set this whole thing up in your parking lot and have this weird little video in in the, in the sideshow we wanted to real weird, obscure quirky sideshow, you know, and maybe some Mongoloids if we could find that chicken woman or whatever, right? And so we did this whole storyboard. And we gave and capital you know, Capital Records Service paying for the video. And we showed them and they went not it's not a fucking crazy. We can't have geeks. You can't. We can't show geeks in the video on MTV. That's not happening. Yeah. Oh, okay. So then we had to redo the whole thing to what had me we couldn't even look the woman in the mermaid fake aquarium Maria. topless? No. They said, No, we can't. Sorry,

Randy Hulsey  58:32

they didn't let you have your way with that one at all. Did they

58:36

know. And even at the very end, where where the the ride goes through this big screen this kind of fuzzy focus this big paper thing that it bust through? Well, originally, that was a big ticket. airbrushed on there by prairie Prince, it was a large breasts with giant nipple. And it was supposed to bash the No.

Randy Hulsey  59:00

So the he said they blurred that out.

59:05

He got nothing but censorship from the beginning.

Randy Hulsey  59:08

And these are the stories that I love. Because what you don't know about me is that from a young age, I was the guy that always bought the album and read the liner notes first, right? I wanted to know who the players were, I love the storytelling behind the songs. And when I said I want to put backstage pass together to not only expose the artists to maybe a new group of listeners, but for also, you know, for me to learn more about the artist and and the ideas behind the song. So I love that you shared that I had no idea that you know that song was written about that. But if we fast forward a little bit, you released a solo effort, I think it was during the pandemic. And there was a song on this record which this is a fantastic record. If you guys get a chance to listen to it. It's called correct me if I'm wrong fee it's fee Weibo Rides Again. Correct. That's the latest solo release. Yeah, and there was a song called Faker on there and I wanted to play a quick clip of Faker and we'll come back and chat real quick about that

1:00:13

okay career time we will show the truth you gave free space the backhoe that sugar

Randy Hulsey  1:01:26

where were the songs written and recorded for that record see,

1:01:31

it was recorded in Chicago at Richard Mark's house. And that was the first song we did on the record. I think that was gosh, it was 2015 Maybe it was like five or 614, maybe six or seven years ago. That was the first song we wrote on the record. Okay. And you know, Richard, you know, he said, Oh, let's do another solo record. And he was he was instrumental in the record before that. Don't be scared by these hands. Richard and Bruce guy, ah, and he said, you know, we haven't done a record for a long time. And so we recorded it in Chicago. And we, you know, we used to, he's got three sons, and I'm the godfather to his three sons, Brandon, Lucas, and Jesse. And when they were kids, we used every summer, we would have a boy's trip, where just the boys, no girls, and we would they had a his dad had a cabin in Minocqua, Wisconsin, north of Chicago, way at the northern end of Wisconsin. And we would go up to the cabin. And we would spend a week out there with just the boys and we'd go fishing, and we go go kart riding and we go horseback riding, and we just pretty much have a boy's trip. And we did that every year for a long time. And then, so I think I was thinking that we were going to do that. I think it was 2013 actually. And so that would have made I mean that that would have made Brandon like 21 or something. Anyway, I thought we were going to go do a trip again. And we got there and all the boys went no, we're not interested. You know, we want to go to the movies with our girlfriends. And they all had something else to do Sure. Rather than go with the grandpa, you know, yeah. Cabin and go fishing. Exactly. I couldn't care less. So, so and I was there. And so Richard said, Well, let's go to the studio and write a song. And so we did. And then we wrote, actually, during that time, during Dallas, we wrote four of the songs on the album, what we wrote, what a should a could, and faker. And how dare you? And I can't remember the other one we wrote, but and so we had a few songs in the can. And then every year after that, we'd go let's go, let's let's, you know, either I would say or Richard would say, oh, let's finish off the soul album. And you know, maybe we do one more song and then, you know, then finally we got to in 2019. We said, Richard said, Let's go I have some time. Let's just finish this. Okay, let's try and compile some songs here that we want to finish this with. And there was a couple of songs. We wrote two new songs that we didn't have already written we wrote, meant to be alone and don't want to pull the trigger. Those were the most recent ones but the other one like to say goodbye song was a song I had written for him. And it never made at one of his albums, but I always loved the song. And you know, my wife, I play it for my wife and she would cry. She said I love that song. You're gonna do that song. And then another song. He he had written steal you on the inside was a song. Richard and Chad Kroeger from Nickelback had written for Daughtry. Okay, just submit to a Daughtry album. And he didn't want to do it. And he would say he sent the song to me. And he said, What? How? You know, you like this? I love the song. Yeah, I played it a million times. And so when we got I said, No, I want to do still you on the inside? And he goes, Well, really? Okay. Well, you think you can beat Chad's vocal? And I just went, No. He's incredible, great singer, he is. And I said, but I can do, I'll do my version, I still want to do it. And so Oh, we were promised land was the one we wrote, okay, within the original four. And then. So we just kind of tried to compile all the songs and put them together, and go in and record and put on vocals or whatever needed to be done. And, and we finished, like in January of 2020. And we had a great engineer Matt proc, as a young kid from Chicago that Richards used on his records and, and we used him to mix and master.

1:06:16

So, you know, and that was, so we finally get it all done. And then the what the pandemic hits, March, and new age score, perfect, perfect timing. But then we thought, you know, thought again, you know, the world is quarantined. And you know, what the, what the hell are they going to do? Exactly? Great for them to listen to me as something new? Absolutely. And so we did it, the record

Randy Hulsey  1:06:41

is fantastic. I've listened to it in its entirety, probably three times in the last few days. So congratulations on that. I know that it was, I think a 2020 release. But you guys make sure you check that out. I was going to ask you from a producing standpoint, what are you doing producing wise? Are you doing much of that right now? Or none at all? Or a whole bunch?

1:07:03

Not at all?

Randy Hulsey  1:07:04

None at all. Okay,

1:07:05

I'm doing nothing producing wise, right now I'm just concentrating on the band and getting back on the road. And, you know, we have a bunch of shows in October, you know, and, and I'm just, you know, we want to do Completion backward, and I want it to be great. And I want to, I want to just get back in the swing of things. You know, so really, I just pretty pretty much hunkering down with that. Fixing mice. You know, it's funny, what the first show we did, I put on the big shoes, and I went out to the gig, and the shoes broke.

Fee Waybill  1:07:40

And they, you know, I hadn't I hadn't looked at him for 19 months. And I just put them on and went out there and that the both of them broke. And I just hit the deck, and then spent the rest of the song holding on for dear life cheese. And, and then, you know, then I had to do two more shows with the broken shoes. You know, then I went in and took him to the shoe repair. And I said you got to fix all these things, fix this, fix this, fix this. And so I've just been fixing and retool getting ready, getting ready to go back on the road. It's amazing how, even when I have two weeks in between shows, you feel like you get up on stage and you just feel like you've got to knock cobwebs off like man is it things seem a little foreign? So I could imagine a 19 month hiatus where you're trying to get back into the swing of things, it's probably foreign to you at first, do you have something still going on with the book? Are you still writing a book about your, your life and time? Where do you stand with that? And as did is there an expected release date on that? I don't know about respect to but we have. I'm looking over at the giant pile of plastic boxes full of stuff. And I mean, I don't know if I told you this when my mother died in 2004. We went to the house in Scottsdale I grew up in, in in her bedroom, I found five boxes full of stuff. And people always said oh, you ought to write a book. Now you ought to write a book and I went okay, well, I don't know. And then in these five boxes, were was every newspaper review and Okay, sure. Every magazine that she had kept right, and that she had kept after all these years. Wow. And so I went okay, well, here it is. You got no excuse. Now you've Exactly. So we've been putting it together. And we're pretty much down to the end. And we're trying to figure out, you know, how do I do it? You know, I'm still going here. When How do I end this?

1:09:44

Yeah, part one's absolutely true. Or how do I sum up everything, you know, without without, you know, making it sound like well, you're dead and gone and right. This is your memoir. To get hours. So that's it's pretty close. We've already gotten into finding rights for all the photos and stuff like that. I've done a ton of interviews, telling stories. We've got a lot, we've got a pretty, we've got a big book full of compiled it all, all the interviews and all the pictures and everything. Elizabeth has been helping me put it all together. And like I said, it's down to how do you end it? Yeah, that's what it's down to.

Randy Hulsey  1:10:28

Yeah. Well, I look forward to reading that when it comes out. What's the friendship between you and Wayne Gretzky? Oh, where did that develop? Was that an LA thing when he was playing in LA? And the reason I ask is because I spent 17 years in professional hockey myself, and I, I knew his brother Brent from back in the international and the American Hockey League days. I never knew Wayne personally, but I heard that there was a friendship or connection there with you. And Wayne, and I was just curious what that was. I

1:10:58

mean, I can't say that I'm friends with him anymore, actually, because I haven't seen him in years and years, but it was through David Foster. Foster was a Canadian. And it makes sense. A couple of times, Wayne, David and Wayne were friends. And he asked David to come to Edmonton when he was with the Oilers. Yep. And so a couple of times, I went with them up to Edmonton and stayed at his house. He had a big penthouse on the top of some giant apartment building. So we got to be friends. And he came to see us a number of times, he came to when we played in Edmonton opening for David Bowie. In 1983. Wayne was there. And we went out together afterwards after the show and hung and, and the other Paul coffee and Ken and Rob Lowe. And I think there were three or four of us. And then when he moved to the kings in LA, we were still close. And I used to go to King's games. And, you know, go backstage, go to the dressing room. Hang out in the dressing room. And it was I you know, I was never really into hockey. But live hockey is amazing. It's

Randy Hulsey  1:12:16

great. It's it's one of the greatest games out there for sure.

1:12:20

Yeah. Is it since he retired and then I think he moved to Arizona to to buy that hockey team there. Correct. And so ever since then, I've kind of lost lost touch.

Randy Hulsey  1:12:31

Well, that's a great story to tell the listeners real quick how they find you on the internet, the tubes. The way bill how how do they find you? You have a website?

1:12:41

Yeah, we have the tubes. I have a website V waybill calm and the tubes. Have a website and word Instagram, you can go there tubes have an Instagram page. I have an Instagram page. So you can find us there. And and you know, I'm not a huge social media guide. Not Yeah. Richard is like a king of Twitter. And he is so funny if people just rage about how great he is on Twitter. And I don't I just you know, I don't have the time. I'm too busy. Okay. Yeah, I'm, I'm really not a huge social media guy. Yeah, that makes sense. You can reach me at a few labels calm or the tubes calm. Or our Instagram page.

Randy Hulsey  1:13:25

Awesome. Well, good to know. You guys, make sure to check out fi in the band fi thank you so much for joining me today. It's been a treat and an honor to talk to you. I asked the listeners to like, share and subscribe to the podcast. As always, you can find the show on Facebook at backstage pass radio podcast, on Instagram at backstage pass radio, on Twitter at backstage pass PC and on the website at backstage pass radio.com. Make sure to follow fee and the boys there and support them on the tour when they're in a town near you. V again, thank you so much for being gracious with your time. And hopefully our paths will cross sometime soon.

1:14:07

Well, I hope so. I hope so. I don't know when we're going to be in Houston next. But I hope so I definitely appreciate your time. Thank you.

Randy Hulsey  1:14:15

It's my pleasure. My pleasure. Best of luck to you guys. And hope to see you soon.

1:14:20

All right, man.

Randy Hulsey  1:14:21

Thanks. Have a good one, buddy. Bye bye.

Adam Gordon  1:14:24

Thanks so much for joining us. We hope you enjoy today's episode of backstage pass radio. Make sure to follow Randy on Facebook and Instagram at Randy Hulsey music and on Twitter at our Halsey music. Also make sure to like, subscribe and turn on alerts for upcoming podcasts. If you enjoyed the podcast, make sure to share the link with a friend and tell them backstage pass radio is the best show on the web for everything music. We'll see you next time right here on backstage pass radio