Live recordings have been a part of the music industry since day one of the crude technology of the earliest devices. In fact, since there were really no studios available for recording purposes, all of those early “records” were “live recordings” in the strictest sense. However, the live album, as we now know it, is a completely different animal. That animal came into its own in the rock era and exploded with the release of ALIVE, a 1975 album by KISS, (a career making release with an overabundance of what has come to be known as “studio sweetening”), and FRAMPTON COMES ALIVE in 1976 (also hurtling “the face” and former Humble Pie guitarist to superstardom). With the unprecedented success of Peter Frampton’s fifth solo release, everybody and their brothers were releasing these documents of their latest tours (sometimes used as stop gaps between studio albums; sometimes used as a means to gain an artist’s release from a record label contract, commonly referred to as the “contractual obligation” record).

A lot of people don’t like live albums. I’m not one of those. Some of my favorite records were recorded on the road. Here’s a list of 20 live albums that I think are the best. These records are all official releases, not bootlegs… that’s a whole other list (and one you may see somewhere down the line, as well). I had a hard time keeping this list to 20 (it started out as a “Top10”) and, I’m sure that your list would look very different from this one. But, that’s what makes these things so much fun, right? So, starting with number 20, here’s the first in a series of reviews presenting 20 live albums that you should check out:



wings over america

To say that the original release of WINGS OVER AMERICA was a behemoth may be overstating things… but, just barely! It was a beautiful thing to look at and – in a time before gargantuan box sets were an industry norm – the three record set (enclosed in a true masterpiece of design by Hipgnosis) was one of the biggest (and, at nearly two hours, one of the longest) releases ever.

WINGS OVER AMERICA inner gatefold painting by JEFF CUMMINS

WINGS OVER AMERICA inner gatefold painting by JEFF CUMMINS

The band (drummer Joe English, guitarists/bassists Jimmy McCulloch and Denny Laine, keyboardist Linda McCartney and her husband… I think his name might have been Lester, but I’m not sure… wonder whatever happened to him?) comes out of the box rocking hard with a medley of “Venus and Mars,” “Rock Show” and “Jet.” Despite the many comments regarding Linda’s musical and vocal abilities, she was – in my humble estimation – just as integral a part of the group as Laine, McCulloch or English… heck, I even like the songs she sang lead on! Anyway, with the aid of a four man horn section, Wings proved from the get-go that they were there to play. Following a great take on “Jet” is another track from BAND ON THE RUN, the bluesy “Let Me Roll It.” Then it’s back to the VENUS AND MARS material with “Spirit of Ancient Egypt” and McCulloch’s “Medicine Jar,” a pair of tunes that had me reevaluating the merits of said album. Side two opens with a stunningly effective version of McCartney’s solo song, “Maybe I’m Amazed,” featuring some awesome, tasty guitar from McCulloch. Another slow blues – and another tune from VENUS AND MARS – follows. “Call Me Back Again” features more solid guitar work and a nice horn chart. When Paul announced this jaunt (as part of the Wings Over the World tour and his first live dates in the States since 1966), the burning question was, “Will he play any of those old songs?” The rabid fans got their answer very early in the set, as a pair of lesser (by comparison) Beatles tunes – “Lady Madonna” and the dreamy “Long and Winding Road” – were given the Wings treatment. The hyper-kinetic theme to 1973’s James Bond flick, LIVE AND LET DIE closes out the second side of the set, with McCartney pulling every cliché from every musical genre he could access at the time he wrote the song.

Wings: Linda and Paul McCartney (photo credit: BOB ELLIS)

Wings: Linda and Paul McCartney (photo credit: BOB ELLIS)

The second album (side three, by the way things were figured way back then) starts off slow, melody wise, with one of the gentler tunes from BAND ON THE RUN, the French dancehall vibe of “Picasso’s Last Words (Drink To Me),” coupled here with a nice, lilting cover of Paul Simon’s “Richard Cory,” itself an adaptation of a late nineteenth century poem about a suicide. Vocalist Denny Laine changes the last line of the first chorus to “I wish I could be… John Denver.” The acoustic set continues with another song from BAND… , “Bluebird” before dipping into Paul’s back catalog once more, with a trio of classics: the country-tinged “I’ve Just Seen a Face,” a rather funky “Blackbird,” and what may just be the perfect ballad, “Yesterday.” A record flip (yes, kiddies, to get from side three to side four, you actually had to physically turn the thing over!) and it’s back to the electric stuff and another dose of VENUS AND MARS music, with the ragtimey “You Gave Me the Answer,” which is followed by McCartney’s paean to a few of Marvel Comics’ oddest villains in “Magneto and Titanium Man.” Denny is back on lead vocals reprising his hit with the Moody Blues, “Go Now.” It’s a nice, bluesy number enhanced by the horn section. It’s rather unfortunate that the best song on the RED ROSE SPEEDWAY album was “My Love.” It’s even more unfortunate that McCartney deemed the slow schmaltz worthy enough to perform live. Side four closes out with the rollicking “Listen To What the Man Said,” highlighted by Thadeus Richard’s clarinet.

Wings: Jimmy McCulloch and Paul McCartney (uncredited photo)

Wings: Jimmy McCulloch and Paul McCartney (uncredited photo)

Side five introduces the new album, WINGS AT THE SPEED OF SOUND, starting with the goofy pop of “Let ’em In,” one of two big hits from the record. Laine’s sinuous “Time To Hide” kicks up the rock ‘n’ roll again before the other big hit, “Silly Love Songs,” gets an early airing. I know that a lot of people cite this song, in particular, as proof that McCartney’s post-Beatles work was schmaltzy pop crap, but I’ve always liked it. So sue me, ’cause I think this version is pretty darn fun! Rocker Paul returns on “Beware My Love,” one of his more muscular forays into the realm of hard rock. Throughout WINGS OVER AMERICA, Paul, Jimmy and Denny had been switching back and forth between guitar and bass (and, occasionally, piano) but, the imaginative bass work (and the tone) on this side is all Paul and, for that reason alone, is the highlight of the set. Paul continues on bass on the final side with “Letting Go” another VENUS AND MARS rocker. “Letting Go” is followed by what is probably McCartney’s most well-known post-Beatles tune, “Band On the Run.” The bass (McCartney again) is quite prominent and the guitars, drums and Linda’s synthesizer cut through at times, but the song sounds thin somehow. It’s still a great rocker. The encores, “Hi, Hi, Hi” and “Soily,” sound better. The guitar interaction between McCulloch and Laine is possibly the strongest of the entire album, with McCulloch on slide and Laine playing a double neck. Paul McCartney wanted to prove that this wasn’t just his Wings, but a cohesive unit of five very talented musicians. I’d have to say that they definitely proved his point with the Wings Over the World tour and the WINGS OVER AMERICA album, which is why it’s one of the 20 best live albums ever.

The most recent release of WINGS OVER AMERICA came in 2013, with standard two CD and three LP versions, a Best Buy version with an extra CD of eight songs recorded at San Francisco’s famed Cow Palace and a sprawling box set featuring all three CDs, as well as a DVD of a television special called WINGS OVER THE WORLD and four books.



Joey Molland , circa 2013 (uncredited photo)

Joey Molland , circa 2013 (uncredited photo)

Joey Molland has known the highs and lows that comes from a life in music. He’s experienced those same highs and lows in his personal life, as well. Born in 1947, by the early 1960s, a teenage Molland was performing in bands around his hometown of Liverpool. Playing with the Assassins and the Profiles led to Joey joining a group called the Masterminds in 1965. Members of the Rolling Stones and their manager/producer, Andrew Loog Oldham, heard the group play at a club. Oldham was impressed enough to produce and release a single on his Immediate label. From the Masterminds, Joey became part of a backing band for the Merseys (Tony Crane and Bill Kinsley, formerly of the Merseybeats) called the Fruit Eating Bears. A stint in the Cryin’ Shames led to an opportunity for Molland to show off his songwriting abilities with Gary Wilson and the Rain.

When the Rain washed away, he was offered a spot with a group called the Iveys. The band had been recording music for a movie soundtrack, to be released on the Beatles’ Apple Records. Before the album MAGIC CHRISTIAN MUSIC was released, the Iveys became Badfinger and, though Joey’s name appears in the album credits, he didn’t appear on any of the tracks. The band, including Molland, however, had already begun working on the follow-up, a more proper album from Badfinger. Guitarist/singer Pete Ham, bassist Tome Evans and Joey played on various sessions for solo Beatles projects aside from their work in Badfinger. However, the guitarist/songwriter’s time in Badfinger was, to say the least, tumultuous. Things finally came to head in 1974 when, after the release of WISH YOU WERE HERE, their third album in 12 months, Joey walked away from the band. The decision was based on problems with management. These problems continued and were a factor in Pete Ham’s suicide in April, 1975.

Natural Gas (Mark Clarke, Joey Molland, Peter Wood and Jerry Shirley) (publicity photo)

Natural Gas (Mark Clarke, Joey Molland, Peter Wood and Jerry Shirley) (publicity photo)

After an album and successful tours with his new band, Natural Gas, Joey reconnected with bassist Tom Evans in 1979 for a couple of albums under the Badfinger banner (AIRWAVES and the hugely under-rated SAY NO MORE). That relationship fell apart, leading to both musicians touring their own versions of Badfinger. Evans, unable to shake the lingering effects of the gross mismanagement of the band’s early ’70s career, hung himself in September 1983. Drummer Mike Gibbins died in October, 2005, leaving Molland as the only surviving member of the once promising Badfinger. Though he still tours with a version of the band, called Joey Molland’s Badfinger, his recorded output since 1981’s SAY NO MORE have been released under his own name. The Molland discography is short: Before the release of RETURN TO MEMPHIS, Joey released his debut solo outing, AFTER THE PEARL, in 1983 with THE PILGRIM following hot on the heels… in 1993. THIS WAY UP, released in 2001, has been called “one of the best solo discs that ex-members of the Beatles never made.” An album of demos called BASIL was offered on Joey’s web-site in 1999.

Joey Molland onstage with Tom Evans, 1979 (uncredited photo)

Joey Molland onstage with Tom Evans, 1979 (uncredited photo)


Joey Molland Return To Memphis

On the new RETURN TO MEMPHIS (released on GONZO MULTIMEDIA), Joey’s voice has grown into a pleasant Mark Knopfler laid-back delivery, with just a hint of the young Zimmerman. Continuing the Beatles comparisons, I would liken the album to the John Lennon comeback, DOUBLE FANTASY, simply because – after an extended lay-off between releases – every song and each performance is so strong that it’s impossible to imagine that he’d ever been away.

Walk Out In the Rain” is a heartfelt, world-weary mid-tempo track enhanced by the female vocal backing and a Memphis style, Sunday-go-to-meeting organ. “A Ship To Mars” recalls Badfinger’s gentler moments, featuring a nice bass line and some excellent guitar work. More great guitar work highlights “Only When It Rains,” while “Got a Feeling” takes you back to those early Memphis rhythm and blues/rockabilly sides by Elvis Presley… one of the best songs here. Not the Paul McCartney song, “Yesterday” may be the most “modern” sounding tune here, delving into a kinda Gothic shoe-gazing vibe before heading off into more direct pop sound, sprinkled with a little Middle Eastern flavor. “All I Ever Dreamed” offers a more prominent Knopfler vocal resemblance and features some really tasty guitar work from Joey. The song, again, benefits from strong backing vocals, bass and organ. The laconic Knopfler sound is on display once more on the lyrical masterpiece, “Hero.” :All I Need Is Love” is a funky response to the Beatles’ “All You Need Is Love,” maybe taking a little bit of the wind out of the whole hippie love-fest of the late ’60s. The song is another back to the roots Memphis soul track, with some great, pounding piano. One of the things that gave Badfinger such a unique sound was Molland’s slide work. That slide work is elegantly displayed on “Is It Any Wonder,” another favorite of yours truly. The final track, “Still I Love You” is a hypnotic, Cajun voodoo kinda thing, with some awesome, fuzzed out guitar. Whether you were ever a fan of Badfinger or any of Joey’s other work (or were even aware of it), this album is a fantastic introduction to the man and his music.


THE MULE: Joey, you’re solo output is small but quite impressive. Is the length between releases by design or is it dictated by your creative process? How much does your practice/touring schedule with Joey Molland’s Badfinger have to do with your release schedule?

Joey Molland, 2013 (uncredited photo)

Joey Molland, 2013 (uncredited photo)

JOEY: My experience with Badfinger left me a little jaded and pretty broke. Our name, even though we had some success, was never a strong draw in the live concert world, so it has never been easy to make a regular living as a performer. I’ve always written what came to mind, commercial or not. Making records costs money, so I’ve had to wait for opportunities to present themselves.

THE MULE: I really enjoyed RETURN TO MEMPHIS. The album stands well as a cohesive whole, but seems to fall into two distinct styles. There’s plenty of old Memphis/Stax soul groove, while other tracks have a definite Badfinger feel. Are all of the compositions new or are some of the more “rocking” tunes older things that may not have fit (either due to time constraints or stylistic differences) on earlier projects? How did your love for Memphis soul play into the music you’ve created in the past 40 plus years?

JOEY: I always have plenty of material to use. When I was going to Memphis to make the record, I sent Carl Wise, the producer, 30 songs, written over the past 5 or 6 years. If some of them sound Badfingery, it’s probably because I wrote and sang over half the songs we – Badfinger – recorded and I played guitar on all of them. I think my songs all have a certain rhythmic element and I think that’s the Memphis/soul element. At the same time, I’ve never tried to sing like I was from Memphis, but I could never hide the influence.

THE MULE: All of these questions, obviously, lead up to this: Can you give us a bit of insight into the creative process – writing and recording – that led to the album, RETURN TO MEMPHIS? Who played on the album? Do you plan to tour in support of this release or to incorporate any of the tunes into Badfinger’s live sets?

JOEY: A long while ago some friends of mine in Minneapolis, the Echo Boys, told me they had access to a studio in town on Tuesday nights and, if I would bring a song to do, we could record it on those nights for free. Well, I said, “OK, great,” and we started. I think “Hero” was the first, but I’m not really sure. Anyway, we recorded every week and soon, come Friday or Saturday night, I’d get an idea and we’d work it the next Tuesday night and, voila, out of nowhere, a tune would come. All sorts of tunes. So, most of the …MEMPHIS CD came out of those nights with the Echo Boys.

The Memphis players were Lester Snells (piano, B3, Wurlitzer and Rhodes), Steve Potts (drums and percussion) and Dave Smith (bass) – all full grown musos. Carl and I recorded 12 demos, some acoustic and some from the Echo Boys sessions and gave them to Lester. He wrote charts as guides for everybody – all of us – and we went into Royal Studios and recorded the tracks. I played acoustic on all the basics. When we had the tracks done, I overdubbed my electric bits, did my vocals and was finished. I should say, of course, Carl directed the whole thing. He got what he needed and sent me home. He’s great to work with and understood what I was doing there. That’s why the CD sounds so natural. It was scary at first, but when I heard those girls, I lost my fear. It was a great experience for me and I’ll never forget it. It would be great to do some roadwork with them all. I do a couple of the tunes onstage now, in both my acoustic “storyteller” type shows and in the Joey Molland’s Badfinger concerts.

THE MULE: Backtracking, historically, you joined the Iveys (the band that was re-named Badfinger) after the recording of MAGIC CHRISTIAN MUSIC, a piecemeal offering that featured a few new “Badfinger” songs, including “Come and Get It.” What memories do you have of coming in under that situation… basically learning and playing those songs live, songs that you had no input, creatively?

Joey Molland onstage, circa 1971 (uncredited photo)

Joey Molland onstage, circa 1971 (uncredited photo)

JOEY: When I joined the band, they had already recorded “Come and Get It” and the three other songs for the movie and were looking for a new name. They fired the bass player and, because Tommy Evans took over on bass, they started looking for a new guitar player and I came along. They gave me the job and changed their name to Badfinger. I’d been playing cover songs all my life, although I’d written some songs in 1968 for the Gary Walker and the Rain album, so it was no big deal to learn and play those songs. The ones we played were “Come and Get It,” “Crimson Ship,” “Carry On ’til Tomorrow” and “Rock of All Ages.”

THE MULE: With the live appearances behind you and the chance to gel with the other three guys, were things easier for you going into writing and recording the next album? Obviously, with the group now featuring four strong songwriters, the decision process to decide which songs actually made it to the final cut must have been fairly difficult. What was that process like?

JOEY: We started recording before we went on the road. The process was simple: we played the ideas we had and worked them for a while; we may have demoed them, but usually we’d never heard the songs before. It would become obvious which songs would work and we’d develop those into what became our records. There was no formula. That’s clear from the different styles of songs we recorded – Folk, Rock, Pop, R and B. As long as we liked the idea, we did the song. Of course, the producers put their two cents in, too.

Badfinger, STRAIGHT UP photo shoot (Tom Evans, Pete Ham, Mike Gibbins and Joey Molland) (photo credit: Richard DiLello)

Badfinger, STRAIGHT UP photo shoot (Tom Evans, Pete Ham, Mike Gibbins and Joey Molland) (photo credit: Richard DiLello)

THE MULE: I know that you’re probably sick of being asked questions like this, but I know a lot of our readers will be interested. Please indulge us for just a couple of questions about your relationship with the Beatles. First, while the Beatles were all a few years older than you, did you ever run into any of the guys growing up in Liverpool?

JOEY: I never met the Beatles in Liverpool. I still haven’t met Paul… probably never will.

THE MULE: In Greg Kihn’s novel, RUBBER SOUL, the main character traded certain “services” to sailors coming in to port at Liverpool from the United States for American 45s. You’ve mentioned that, at an early age, you were learning Chuck Berry and Elvis Presley tunes on guitar. How did you get those American singles to learn from? If they were available at all, they must have been very expensive as imports.

JOEY: I’ve never read the book. I got most of my records from my older brother, Chris, and learned on his guitar. I was 11 at the time. Later, I would go and search the used 45s in the Liverpool stores. Friends had records, too, so one way or another, I heard the stuff. Musn’t forget Radio Luxembourg.

THE MULE: When Badfinger came to the States, I know that most journalists seemed more interested in your relationship with the Beatles and Apple Records. In retrospect, do you feel that the group’s connection to the biggest band in the world and being on their record label helped or hindered your artistic development? Did you ever get the feeling that there was a backlash against Badfinger that the band was “riding the coattails” of the Beatles? How difficult was it to handle a press rabid for information about another act?

JOEY: I’ve been thinking about this Beatles/Badfinger relationship thing a bit lately and the way it affected Badfinger’s reputation and the band’s career. Initially, we didn’t think too much about it. We were aware of people’s attitudes about the comparison to the Beatles and after “Come and Get It” was such a big hit and the teeny bop image was in cement, it made us very paranoid about our music. We knew nobody would believe we weren’t copying them, singing like them and even dressing like them. It got worse after the big rock papers said we were more together and our songs were just as good and maybe we weren’t quite as teeny bop as they first thought. We couldn’t get any gigs in the UK or America at first. Actually, in the UK, that’s never changed, Some people expected George or Paul to be with us. We took ourselves seriously but, of course, we started to doubt ourselves and each other. Why couldn’t we get gigs? Why didn’t the record label put more singles out? Were the songs too crappy, too stupid or something? We had no idea so we just stopped thinking about it and blamed ourselves: we must be crap on stage and the songs couldn’t have been that good after all. In the end, it wasn’t a band anymore – just four blokes doing what they’d always done and, when people asked us about what it’s like being compared to the Beatles, we’d laugh it off. You know, we all thought we were very lucky. There were loads of bands like us, weren’t there? Good singers and players who wrote songs, had ideas… so, we were lucky, weren’t we? From our perspective, the press and music business weren’t interested in us; they had the real Beatles, we supposed.

THE MULE: Finally, Joey, thanks for taking the time to answer our questions. Before we finish, can you let us know what’s next for Joey Molland?

Joey Molland, circa 2013 (uncredited photo)

Joey Molland, circa 2013 (uncredited photo)

JOEY: The next thing I’m planning is a book about our managers, agents, roadies and friends, but the best laid plans… I keep getting ideas for songs, so I guess I’ll keep making music. Still don’t know where the ideas come from. Maybe they’re the ones the big guys throw back.


Greg Kihn is a man of many talents, as you’ll see as you read this interview. For nearly an hour, Mister Kihn reminisced on his life, his family, his music career, his radio career, his writing career, his new book – RUBBER SOUL, the Beatles, Bret Michaels’ sex appeal, Sammy Hagar’s sexual prowess and Willie Nelson’s appendage. So, strap in, boys and girls… this is Greg Kihn uncut and unfiltered. The conversation took place over the phone on August 29, 2013, a few days before the release of RUBBER SOUL. My apologies to Greg for the delay in posting this but, computer glitches have been kicking my butt for the past several weeks. To paraphrase some dead guy named Bill… “Read on, McDuff!”

Greg Kihn (publicity photo)

Greg Kihn (publicity photo)

THE MULE: First of all, RUBBER SOUL. Awesome book. It’s really intriguing and it’s actually a really nice, fun read. How did you come up with the idea… obviously, a coming of age story. But there’s also murder, foreign intrigue and… the Beatles.

GREG: You know, it all came to me after I had interviewed Ringo. It was back when he was on tour with his All-Starr Band. So I had the privilege of Interviewing Ringo and I asked him, “Where did the Beatles get their records?” You know, in the early days, you couldn’t buy this stuff in Liverpool. They didn’t have import shops and so forth. He said, “You know, we got ’em from Merchant Marines that were traveling back and forth from the States to Liverpool.” Liverpool’s is a big port town, obviously. And these guys would come back and bring all the latest records from the States with ’em and you had to know a guy who knew a guy who knew a guy so that you could get your hands on these rare American 45s. They normally wouldn’t come out for six to twelve months over there… if they came out at all. A lot of ’em never made it out. So, that gave me the idea for this character, Dust Bin Bob, who’s a young guy… a young and penniless guy just like the Beatles when they started. He’s got a booth at the flea market in Penny Lane and he’s getting these American 45s from Merchant Marines and he’s selling them at his small stall at the flea market. One day the young Beatles walk by… this is years before they made it and they see these records and they flip out. They become life-long friends with Dust Bin Bob because he furnishes them with music for their whole career; suggesting songs, turning them on to things. Of course, that became their early repertoire and, really, the backbone of their sound.



You know, it was… that was really interesting because I didn’t expect that answer. But it gave me the idea for Dust Bin Bob. “Dust bin,” by the way, is English for “trash can.” So… kinda like “Trash Can” Bob because he’s got a stall at the flea market, he’s rummaging through trash cans. Obviously, they’re all poor; this is years before they made it. And it just gave me the idea for a story. You know… “How do you become life long friends with the Beatles?” Well, obviously, you gotta be their age and start out with them before they become famous and help ’em out by giving them the records. So, they become life long friends, all through Beatlemania and it climaxes in the Philippines with the assassination attempt by the Marcos regime on the Beatles.

Now, a lot of this stuff was based on interviews. I got to interview Pete Best, the original drummer for the Beatles. He told me all about the Hamburg days. I got to talk to Ringo. I even got to talk to Paul and I got to talk to their driver, Alf Bicknell, who really had some hair-raising stuff to say about what happened to the Beatles when they got to Manila. It was just nuts. But, I don’t wanna give to much away! You gotta read the book, man!

THE MULE: Oh, absolutely!

GREG: It’s unlike anything that you’re probably going to read in years. I know it’s unlike any other Beatles book because it’s Beatles fiction.

THE MULE: Exactly. So, the character of Dust Bin Bob is, basically, a composite of… I would guess… the Beatles’ persona as well as the people that provided the music to them early on.

GREG: That’s correct. You know, it was a composite character, which is always fun when you do a guy like that. What I was able to do – once I created the character – I was able to fit my story over actual events in the Beatles’ lives. There’s lots of juicy tidbits in there about the Hamburg days, the early days at the Cavern, and you see it through their eyes, through the eyes of Dust Bin Bob. And, really, it’s a unique… I’ll tell you, it came to me after the Ringo interview and once I got this far, I asked everybody where they got their records and, you know what? They all had the same thing to say: Merchant Marines coming back from the States. So, I thought, well that just helps me bolster my character of Dust Bin Bob. And, I’m telling you, everybody that’s read the book so far has loved it! It’s just completely unique and different. You don’t really have to be a Beatles fan because it’s a murder mystery, too.

THE MULE: Exactly! And, that’s the one thing… you say that a book is a page turner and this one, literally, is. It keeps you engaged and intrigued from the first sentence to that final sentence. So, kudos to you, my friend.

GREG: Hey, that’s why… You know what? I really appreciate it because when you read it, it’s as much fun for the reader… I had so much fun writing it! Though it was fun, I didn’t really do that much research. I know… All this stuff was already inside my brain and based on a couple of interviews. Some things write themselves. I couldn’t wait to get home every day to work on the book. It seemed like it was just writing itself. The story was just bigger… It seemed like I was just channeling the story. Every day, I’d get home from the radio station and I’d just write for two or three hours and the thing was just writing itself. It was like I had a ghostwriter in my brain! It may have been the ghost of Stuart Sutcliffe. I don’t know.

THE MULE: Could be. Or was it John and George, also, you know? Who knows?

Greg Kihn (publicity photo)

Greg Kihn (publicity photo)

GREG: Oh, I agree. I gotta tell you, Darren, I’ve been really… I don’t know if you know my story but, back around last September, I got fired from KFOX, where I’d been for 17 years, doing the morning show. Of course, that’s devastating when you’ve been doing something that long. But, that was a good kick in the pants! I’m really glad that happened now, because I really made good use of my time. In the last six months, I wrote and published RUBBER SOUL; I’ve got a brand new internet radio show that’s up and going, which you can find it at It’s really good. We put out a show every day; of course, I’ve got the Kihncert coming up… a big bash that we do out here in California. This year we’ve got Bret Michaels for our headliner and then the Greg Kihn Band and the Tubes. It’s gonna be a fun, fun concert.

But, you know, the cool thing is Bret Michaels draws beautiful women. Women love this guy! When you go and look out into the audience, you are going to see nothing but hot looking women. You’re gonna see a lot of leg, you’re gonna see a lot of leather, you’re gonna see a lot… probably a lot of tattoos. I’m really looking forward to it this year. He really does… I really haven’t known guys that drew women before. When we were… We did a tour with Rick Springfield. That guy drew incredible, beautiful women to every gig. In fact, it was 99% women at every gig! I’m kind of expecting that this year at the Kihncert. Of course, all that information can be found, for anybody that would want to travel… it’s gonna be a hell of a party! It’s all at It’s one stop shopping there, Darren.

THE MULE: Yeah. You’ve also… to spread a little bit more info here, you have re-released all of the Bezerkley albums? Is that true?

GREG: Yeah. You know, I got ’em back, man. It took me years and years. I’ve been working on this for, like, the last 15 years and one by one, I got every album back. Believe it or not. Some I bought… you know, I paid for; some I had to sue… I had to sue Universal to get a couple of the albums back; some of ’em were just outright released to me. So, we’ve putting together all of the albums. And, I’m one of the few musicians… I know Todd Rundgren’s the other one… who owns all of his own stuff. So, that means that I can put out my own greatest hits packages. And, what we’ve done, we’ve released the entire catalog over the last 12 months or so… every album, in order. You can go to iTunes, download all that stuff. Then we put together a BEST OF BEZERKLEY package, which I think is one of my favorite albums of all time because I hand picked every song. There’s, like, one song from every album and it’s got all our greatest hits on it. The nice thing about that was, I got to do liner notes and I include in a little booklet with lots of pictures of the old days and how the band looked and little stories about each song and how we recorded it.

Greg Kihn Band: THE BEST OF BERZERKLEY cover

Greg Kihn Band: THE BEST OF BERZERKLEY cover

You know, I’m older than dirt. My first album came out in ’76. I’ve had a hell of career, man! Eighteen albums all total, in 18 years; I had a bunch of hits, with “Jeopardy” and “The Breakup Song.” Then, I got into radio and did that for 17 years straight. Held down the number one spot in the morning, so you know that’s a toughy! No less than San Francisco, which is a major market… the whole Bay Area there. Definitely, the odds are a jillion-to-one that I could have done that.

So, I started writing books in there somewhere and now, I’ve got this new book out and I’m thinking this could be a best seller. It’s certainly got all the earmarks. And all of the reviews have been great. So far everybody’s loving it. Wouldn’t it be cool… I mean, I’m not gonna make the Rock and Roll Hall of Fame, but I’m gonna definitely make a whole bunch of little Hall of Fames. I’m in the Bay Area Radio Hall of Fame. I got fired the same week I was inducted into the Bay Area Radio Hall of Fame. I’d already won the ratings war but, you know how it is, man… it’s all the bottom line and you work for these companies… you know… you take your chances. I’m not bitter about it. In fact, I think we had a great run. I’m very happy to have 17 years on the air and what it did was set me up really comfortably. I’m workin’ for myself and it’s a lot of fun.

THE MULE: Plus, you have the time to do all this other stuff.

GREG: Yeah. That was the key. When you’re doing a morning show, you’re getting up at four, you’re going to bed at nine… you don’t have time to do anything else. Really, you don’t have time for anything. What time you do have, you’re pooped… you’re ready to take a nap. So, you know, suddenly I had all that time and I really fell right into writing the book. In fact, I’m about one third of the way through the sequel to RUBBER SOUL right now and that should be coming out next year around this time.

THE MULE: Really? That sounds awesome. Is this going to be another book… Is it gonna be just Dust Bin Bob or is it gonna continue the Beatles theme?

GREG: Yep. It’s going to be the continuing adventures of Dust Bin Bob. I don’t wanna let the cat out of the bag but, it’s, like, the next chapter in Dust Bin Bob’s life. It’s real exciting. Once again, he’s involved in a murder mystery. It’s a lot of fun. You know, I gotta tell ya, life’s been pretty good to me so far. It’s just a little complacent being on the radio and, now, it’s nice to be out there doing stuff… You know what we’re going to do next? The audio book to RUBBER SOUL. We’re going to follow this up… because the book comes out on September 3, which is Tuesday. That’s the actual street date for the book. So, I’ll be doing a bunch of book signings and promotions all around California. But, then I’m going to start working on that audio book here in my own little studio. I have no idea how long that’s gonna take. You know what I did? Dig this, Darren… I got a guy to help me, ’cause I’m reading this and there are a lot of parts that require Liverpool accents. I got this vocal coach. This guy does a great Liverpool accent and he’s going to coach me on all the Liverpool parts so, when I do it, it’s an authentic Liverpool accent. So, all of that stuff’s here and I wouldn’t be doing any of this… It looks like I’m going to continue to enjoy life. I really love being footloose and fancy free and working on what I wanna work on.

THE MULE: So, let’s stay with the books for a little bit. This is not the first book that you’ve written.

GREG: That’s correct. This is actually my fifth, right? Yeah… it’s my fifth. My first book was HORROR SHOW, which came out in ’96. That was my first novel. And, that was nominated for the Bram Stoker Award for best first novel. I was very flattered. We’re trying to get… Here’s another thing that I’m going to be doing in the next year. We’re trying to get funding to make a movie of HORROR SHOW. I wrote a script for it and it’s just a really crazy horror movie. I just think it would be a lot of fun. So, that may be something that we’ll be doing a year from now.

But, HORROR SHOW… the second one was BIG ROCK BEAT. No… I’m sorry. The second was SHADE OF PALE. BIG ROCK BEAT was the third one and that was the sequel to HORROR SHOW. And then, MOJO HAND was the fourth one, which was the sequel to BIG ROCK BEAT. So, I tend to do things in sequels. I mean, once I get some characters, I like to transform through their lives to see what’s going on. So, I’ve done that multiple times and that’s going to be fun doing it with Dust Bin Bob because this guy leads an incredible life.

THE MULE: Oh, yeah! The adventures in RUBBER SOUL are really phenomenal and, you know, you start reading a book like this and you think, “Aw, man! That’s pretty impossible!” But, I think, maybe by you introducing real people into the story and into the plot, I find it pretty plausible. I mean, some fairly weird things happened to the Beatles.

GREG: Oh, yeah. Well, they certainly lived an exciting life.

Greg Kihn Band, circa 1977 (Steve Wright, Dave Carpender, Greg, Larry Lynch) (publicity photo)

Greg Kihn Band, circa 1977 (Steve Wright, Dave Carpender, Greg, Larry Lynch) (publicity photo)

THE MULE: Yeah, there’s no doubt about that! Also, let’s talk a little about the music again. The Greg Kihn Band now features your son, is that correct?

GREG: Yep. My son, Ry, plays lead guitar in the band and he’s phenomenal. He started off as a student of Joe Satriani when he was in the band. He’s got a little touch of Joe in him. That kid can play. He’s graduating with a guitar master from Cal Arts and he went to the Berkley School of Music in Boston so, he’s… Actually, unlike his old man, he can read music and he’s legit. The kid can play any style. Now, having him in the band ’cause he grew up watching all the great guitar players we’ve had in the band… we had Joe Satriani, Jimmy Lyon, Greg Douglass, Dave Carpender… we’ve had great guitar players and he grew up watching these guys! So, he knows how everybody played each solo and he’s been in the band now for awhile so, he’s real comfortable. I tell ya, I’m very proud. When I’m onstage, It’s an extra kick for me to look over there and I see my son. I’m really proud of the way that kid plays. You know, he gets a lot of standing ovations for a lot of his solos. It’s fun! I gotta tell you… I’m a proud papa!

Also… here’s another thing: I’m a grandfather now. My daughter had got two sons. They’re four and one-and-a-half. Now, these kids are both lovin’ the guitar! They love to play with grandpa on the guitar. We got them all kinds of toys… you know, various musical instruments. I’m tellin’ you, give us about 15 more years and we’ll have three generations of kin in the Greg Kihn Band. Wouldn’t that be a kick? We’d probably teach Nate how to play keyboards, we’ll teach the other one how to play bass and we’ll have a great time!

THE MULE: It’ll be like the Partridge Family, almost.

GREG: Yeah! There you go. Life is good. You know, I think part of it is, you just gotta kick back, enjoy life and not work so hard and grind your face into the wall. You know what I mean? You just gotta enjoy life and take things as they come. You gotta have… as a guy once said, “You gotta have rubber soul.” The title of RUBBER SOUL comes from a conversation that John Lennon is having with Dust Bin Bob. And, he says, “What do you think the human soul is?” I think the measure of a man is how you bounce back from adversity. You know? ‘Cause everybody feels good when they’re doing good but, when you’re bouncing back from adversity, and there’s a lot going on, you’ve got to have a rubber soul to bounce back. And, John goes, “That’s brilliant!” and writes it down. Of course, they used it for that album title years later.

THE MULE: There’s a lot of stuff that you put into the book that is really – you know – like I said, it’s very, very believable. Even though, upfront, you’re telling us Dust Bin Bob is a fictional character, this whole thing is fictional… you know, some of this stuff with the Beatles really happened but these are fictional accounts. But… reading something like that, you think, “You know what? That is a conversation that John Lennon could have had with anybody. That topic could have come up and, it’s very believable. So, “What are we gonna call the album?” “Oh. How about RUBBER SOUL?” It works!

GREG: Yeah. Exactly. And a lot of the stuff, little things like that… Like, did you know that, originally, they were called Long John and the Silver Beetles? And that they changed their names to Paul Ramone and George was… Well, they all had different names.

THE MULE: Yeah. His was Carl Harrison, right? After Carl Perkins.

GREG: Yeah, that’s right… Carl Harrison. By the end of the first year, they got back to their old names and they changed the group to the Beatles with the B-E-A and Dust Bin Bob goes, “That’s the dumbest name I’ve ever heard. You guys’ll never make it with a name like that!”

THE MULE: Yeah. I mean… it really is just – like I said before – it’s a fun read! It’s a good read. It’s a page-turner, because it is exciting and, you know, it feature’s some people that just about everybody on the face of the planet has a feeling about.

GREG: I agree. And, it was really fun working with them because they are so famous, we know so much about John and George and Paul and Ringo. We know these guys. They’ve been part of our lives for so long and, I don’t… This book, like I said before, wrote itself, man. It was real easy.

THE MULE: Obviously, you’ve already told us that Dust Bin Bob will make a… will have a sequel. Do you look forward, maybe, to any other books featuring different musical artists?

GREG: Well… As a matter of fact, I do. I’ve been making notes for probably two or three books down the line. I have always been fascinated with the life of Hank Williams – Hank Williams, Senior… the original Hank Williams – and I’ve got some notes on an idea for a book called THE DEVIL AND HANK WILLIAMS that I think will be a hell of a good read. All about Hank makin’ a deal with, you know, the Prince of Darkness and then trying to get out of it for the rest of his life. Of course, he died on his way to a gig in 1953. A lot of people thought, “Hey, the Devil came to reclaim ol’ Hank,” ’cause he had a hell of a career. He was only, like, 27 when he died. It’s ridiculous.

THE MULE: Yeah. Was he even that old? I was thinking he was even younger, but I… you know, I could be wrong. I mean, I’ve been wrong before.

GREG: Yeah, I’d have to check that. But, there’s so much about Hank and I thought, “You know, here’s a guy… “ and I was gonna draw a parallel to Paganini, go all the way back to the FAUST thing. And, it really is a retelling of the FAUST story. But, back in the 1800s, people thought that the great violinist Paganini had sold his soul to the Devil. Another claim… People claimed that in concerts, they could see the Devil over his shoulder, guiding his fingers; that he played these insane things that only he could play. And, I thought, “You Know, that’s kinda like Hank Williams.” The Devil was looking over Hank’s shoulder the whole time and the poor guy suffered his whole life. I think there’s a great novel in that so, I’ll probably be working on that next year.

THE MULE: Sounds good. I’m in, man! Whatever you write, I will read!

GREG: (Laughs) That’s what I love to hear!

THE MULE: You write it, I’ll read it.

GREG: I’m trying to start this new genre. You know how Tom Clancy writes techno-thrillers and John Grisham writes the legal thrillers… I’m trying to write music thrillers, trying to spark a new genre here. And, I like the fact that I use historical… you know, it’s like historical fiction. It’s like you’re writing about… Abraham Lincoln, or something. You can write about these historical characters because, really, all you’re doing is taking facts and adding your story to them.

THE MULE: Yeah… exactly. You know, a lot of people were kind of upset about ABRAHAM LINCOLN, VAMPIRE HUNTER or whatever the heck the name of it was…

GREG: Exactly. You know, here’s another thing… Another thing, I’d like to say this because I think it’s important. I’ve always treated the Beatles with respect. I mean, I love them, they are a part of my life, they’re talented, creative people. I think that a certain amount of respect… that was the trouble with …VAMPIRE HUNTER. Really… that’s so disrespectful of, you know, Abe Lincoln. The whole thing, I find it repugnant. I always try to treat my guys with respect. All I can say is… I think what goes around, comes around and a lot of it is just having good karma.

THE MULE: Yeah. Anything new on the music side of things? Are you still writing…

Greg Kihn onstage (photo credit: BR COHN)

Greg Kihn onstage (photo credit: BR COHN)

GREG: Well, we have the Kihncert coming up and we’re starting to rehearse. Yeah, I’m starting to write songs again after years of not writing hardly anything. And, we may going back into the studio maybe this winter. Right now, I’ve got so much on my plate, I’m not gonna have time. But, we just leased a beautiful warehouse in Martinez, California… which is where I’m talking to you from now. We’ve got one room set up like a radio station and we’re doing the internet show from there. We’ve got the other huge studio room with 20 foot ceilings there. We’re going to change that to a recording studio and, we’re going to have the band rehearsing in there. Then, as we get… as we come up with the material, we’ll cut it right here. You know, there’s a lot on my plate and there’s going to be a lot on my plate as time goes by but, I tell you, man… I’d rather be working than not working, you know?

THE MULE: Yeah. You know, it sounds like you’ve got some things mapped out there and you are definitely keeping busy!

GREG: (laughs) You’ve got to, man! It’s what… It keeps you young, it keeps you moving, man! I’ve got to wrap it up here in a second. Let me just end this with a little story that happened to me a couple of months ago. I was at a big charity gig at a winery out here in Napa. Sammy Hagar and Joe Satriani were there and the Doobie Brothers were there. We were all backstage, yakkin’ away… talkin’ and I was bragging to Sammy. And, you know, you don’t brag to Sammy! First of all, the guy could buy and sell all of us… twenty times over! He’s got more money than God. He told me he’s got more money than he can spend from his tequila thing. So, anyway, I’m sitting there, kinda bragging to Sammy: “Hey, Sammy, you know, I’m a Grandpa now! Got two kids, got two grandsons! Two grandsons, four and one-and-a-half!” And, he looks at me and he goes, “Hey, man, we’ve got children younger than my grandchildren!” And… I’m thinking, “Wait a minute, that means that you’ve boned your wife in the last… twelve months?” I thought to myself, “Wow! That’s impressive!” His own kids are younger than his grandkids! That’s insane! It shut me right up. Sobered me right up! You can’t brag to a guy like that. He’s still got bullets left in the chamber… I was blown away!

I just read on the air yesterday a funny poem by… you should look this up on the internet… it’s a funny poem by Willie Nelson and it’s called, “I’ve Outlived My Pecker.” He’d just turned 75 and it’s this poem about how it used to get him trouble and he was proud of it and now it’s just hangin’ there. It’s really funny but, you know, in a way, it’s kinda true. I mean, when Sammy told me that, I didn’t know what to say except, “Well, Sam, you got me beat, buddy!” I don’t think I could go out there and have babies at my age, at this point in time. Not that I’d want to but, apparently, he’s still bumpin’ ’em out and he’s older than me and you! Anyway, that guy is amazing!

So, I’ve got to wrap it up, Darren. Anything else you want to ask me in closing?

THE MULE: No… We’re just talking about You’ve have the radio show that’s on there. RUBBER SOUL is coming out on September 3. That’s next Tuesday. You have all of the Bezerkley albums that have been released over the last few months, actually. The Kihncert… when is that again?

GREG: October 12 in Morgan Hill, California and it’s gonna have me and Bret Michaels and the Tubes.

THE MULE: Sounds awesome! Thanks for the time.

GREG: Hey, thank, Darren! Great interview, too.

THE MULE:Take care, Greg. Thanks.

So, there you have it. Again, my apologies to Greg for the delay but, I guess – as the old adage goes – better late than never, huh? Greg’s a great guy and a real character. It was an extreme pleasure to just let the tape roll and see where his stream-of-consciousness, kamikaze approach to an interview would lead next. If you haven’t done so yet, go to Greg’s site (or any of the usual places) and pick up a copy of the coming-of-age, murder and espionage thriller, RUBBER SOUL, starring the Beatles. You will not be disappointed! It really is as good and as fun as I said. Obviously, the Beatles, their likenesses and their voices are so familiar to most of us who are of a certain age and I was really having fun reading the book, imagining the voices of John, Paul, George and Ringo actually saying their lines. All right, Greg, I’m ready for that sequel!