July 7, 2025 • 38 mins
American musician and rock star Peter Wolf is best known for being the lead vocalist of The J. Geils Band. Wolf has lived quite an adventurous and exciting life starting at an early age. As a rock star, Wolf had the privilege of crossing paths and rubbing elbows with legendary figures in the world of entertainment and culture. Notably, some of the icons he met include Andy Warhol, Muddy Waters, Van Morrison, Fred Astaire, Aretha Franklin and so many more! To share his incredible stories with the world, Peter Wolf authored a book called, Waiting for the Moon: Artists, Poets, Drifters, Grifters, and Goddesses. He joined Bradley Jay to share some of those stories!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's Night's Eyes with Dan Ray. Ongoing Basy Boston's.
Speaker 2 (00:04):
News Radio.
Speaker 3 (00:07):
WBZ News Radio ten thirty. This is Nightside with Dan Ray.
I'm Bradley J for Dan. Our first guest is none
other than the best frontman in the music business, Peter Wolf.
Peter has an incredible life going. Most of us don't
know a lot about it, but now you can find
out all about it in his new book called Waiting
on the Moon. Artists, poets, drifters, grifters, and goddesses. It's great,
(00:30):
not just good, but great. How great? Well, let's take
a look on the back here and see what Bob
Dylan said. By the way, I bought my book in
a small bookstore, not the big a word, you know
what I mean, in the small bookstore, and we recommend
you do that. This is what Bob Dylan said. This
book reads like a fast train and you'll get a
(00:53):
glimpse of everyone passing by through the window, characters that
have crossed Pete's path, who he's known up close and personal.
A diverse crowd, one you wouldn't think would belong in
the same book. Marilyn Monroe with a scarf on her head,
sitting next to him in a movie theater, Muddy Waters, Fade, Dunaway,
David Lynch, the filmmaker, Eleanor, Roosevelt, Jagger, Tennessee, Williams, Merle Haggard.
(01:18):
They all play an important part in Pete's life come
alive in more ways than one. As you'll see, Pete's
been on quite a journey. But before it all began,
he had hopes to become a great painter. But then
out of nowhere, early on, he went in another direction
and never came back. This memoir has been a long
time in coming, and it's Pete's great painting. That's from
(01:40):
Bob Dylan. What did Bruce Springsteen say? Arriving home from
my one hundred and fourteenth tour date, I find that
Peter Wolf's book has kept me wonderful company. As the
Eastern sun rises through my airplane window, the warmth of
its rays reminds me of the love of life and living.
It's so beautifully expressed in his writing. That's Bruce Springsteen
(02:04):
and Elvis Costello. This is the book I've been waiting.
This is the book I've been hoping Wolf would write
since we walked the streets of Paris together. Back in
the twentieth century, A true account of his life, love
and music, told with unique humor and rare humility. That's
Elvis Costello.
Speaker 4 (02:25):
Now.
Speaker 3 (02:25):
I like the book so much that I took time,
and it was quite a lot of time to write
a formal blurb and Peter, you can feel free to
use this in a future reprint if you want. Here's mine.
Peter Wolfe's memoir Waiting on the Moon is an assemblage
of great stories, well told, energy, persistence, and serendipity. What
(02:46):
Wolf in situations we can only dream of, But somehow
he manages to stay humble as he shares intimate moments
with some of the most respected talents of our time.
The writing, happily devoid of cliche, is so deft you
feel like you're sitting at a bar with Peter, hearing
his anecdotes firsthand. And the big payoff is that as
you towel off from this immersion in greatness, you'll know
(03:09):
the real Peter wolf Bradley, j Boston Broadcaster.
Speaker 4 (03:14):
Ladies and Jael Bradley, thank you so much, ladies and.
Speaker 3 (03:17):
Gentlemen, please welcome the real Peter wolf.
Speaker 4 (03:19):
Hi, Peter, how you doing well?
Speaker 2 (03:21):
Thank you? So much.
Speaker 4 (03:22):
If I knew that you could read a copy so well,
I could have let you do my audio book.
Speaker 3 (03:28):
Well, no one could tell the stories like you actually
in your voice. I think it really needs your voice.
Speaker 4 (03:34):
But thank you very much, No, thank you very much,
and thank you for having me. It's a treat to
be able to chit chat with you as the evening
rolls on.
Speaker 3 (03:44):
So the writing is fantastic. And even though it's written
as I mentioned, it feels like you're telling the stories
in person. There's no awkwardness. I don't feel you writing
no cliche and lots of writers never achieved that. How
did you manage it? Did you just good at it?
Did you practice? Have you done it before?
Speaker 2 (04:02):
Well?
Speaker 4 (04:03):
I started many many years ago, and I made an
outline and then I just stopped. And I was about
to release another CD Bradley, and I just thought, you know,
if I released this record, if it's good or bad,
no matter how good it might be, it you know,
sort of gets lost in the ether. And I don't
(04:24):
know a matter of days. So I thought, now is
the time maybe to sit down and seriously, uh think
about writing a book. And I started and it took
me about two years actually, and I had little subtexts,
and I decided to try to make each chapter like
(04:47):
its own short story. And so there's I think thirty
something chapters, and you could read chapter twenty seven or
read chapter four. And though there's a chronological shift throughout
the book time wise, it's basically I try to make
it each like a short story. Now, how I avoid
the cliches, I don't really know. I'm an avid reader.
(05:12):
I would love to read. And during the pandemic, with
all my musician friends who are creating rock operas and
writing new albums and recording and all of that, I
just sat around and read all the books I loved,
and I reread them, and slowly I started writing and
it just started coming out, one page after another.
Speaker 3 (05:33):
One thing that makes it really sing is the dialogue.
Dialogue is hard to write, and this isn't such detail.
I'm curious, how did you How did you remember the
conversations like that? Did you take notes or maybe you
remembered them because you planned on writing them someday in
a book.
Speaker 4 (05:50):
Well that's a good question. As I say in the prologue,
you know each word is not exactly you know, to
the exact point, but I really made a very distinct
attempt to capture the tone and tenor of what was said.
So there's a meeting between me and Bob Dylan. Early
(06:12):
on I get to be introduced to Bob's music. I
think it was the second week he was first came
to Greenwich Village, and so I tried to recreate the interaction.
Though some of the words might be a bit different,
the tone and what was said back and forth, I
(06:33):
would say it's pretty accurate.
Speaker 3 (06:35):
So, speaking of Dylan, you take us pretty deep into
the Greenwich Village scene of the sixties and ken right now,
you paint a picture of that village scene and how
you came to be a part of it, and maybe
a little bit of the story about how Dylan's wineglass
kept mysteriously emptying.
Speaker 4 (06:54):
You know, Greenwich. I grew up in Bronx, New York,
and in New York City. What's wonderful about it is
you can hop on a train and just you know,
get off any point of call. Take the train all
the way to the last stop in the Bronx and
you're at Coney Island, or you can get off at
Greenwich Village. And as a young kid, when I say young,
(07:16):
at eleven twelve years old, I was always riding the trains,
getting off at forty second Street and walking around Times
Square and going into the funhouses and u bits flea circus,
but getting into the village that in those years was
full of artists. It was a bohemian enclave. There was
(07:39):
a lot of great musicians and painters, and people hung
out in the streets. There was no neon lights, there
was no tourism. It pretty much was very much like
what people think of Paris's Left Bank. And I have
to say when I first came to Boston, Harvard Square
was pretty much it's very similar. There was a lot
(08:02):
of little shops, a lot of artists and students and
musicians all mingling together, a lot of outdoor cafes, and
there was a lot of interchange and activity. So I
always gravitated to those kinds of places.
Speaker 3 (08:17):
All right, you know we're gonna take casts. Peters agreed
to take your calls. Six one seven two five four
ten thirty.
Speaker 2 (08:23):
I believe they take some phone calls.
Speaker 3 (08:25):
The number, if I remember correctly, six one seven two
five four ten thirty.
Speaker 4 (08:29):
If you'd like to chat with me, If you remember correctly.
Don't you have a written down in front of you, Bradley, No, no.
Speaker 3 (08:35):
I don't actually, I just uh just really it's burned
into my mind. Okay, So give us a shout and uh,
you know, chat with Peter Wolf. This is a once
in a lifetime deal. Six one, seven, two, five, four,
ten thirty WBZ News Radio ten thirty.
Speaker 1 (08:51):
It's Night Side with Dan Ray on wbzs Boston's news radio.
Speaker 3 (08:56):
This is Nightside with Dan Ray. Bradley j in for
we are speaking with Peter Wolf. Yes, that Peter Wolf.
We're talking about his excellent book, Waiting on the Moon. Artists, poets, drifters,
drifters and goddesses. Get yourself a copy. It's it's fun.
When's the last time you bought a hardcover book? There
is an audio version. We'll talk about that later as well.
(09:19):
Let's take a.
Speaker 2 (09:20):
Brad Limit before we let me ask you a question. Yeah,
what what the heck is pickleball? Do you take a
pickle and just throw it around the net?
Speaker 3 (09:27):
Pickleball? It's it's hard. It's like tennis, only smaller with
wooden paddles and hit you hit you do. Hit a
pickle back and forth across and that that's correct.
Speaker 2 (09:38):
Sour pickle or a half sour.
Speaker 3 (09:40):
I think it's got to be a deal.
Speaker 2 (09:42):
Actually, oh dial, okay, deal pickle. I got you all.
I always wondered about that.
Speaker 3 (09:47):
We have Jim in Boston. Jim, you're on w b
Z with Believe It or Not with Peter Wolf.
Speaker 5 (09:53):
Hi, Jim, Hi, Hey guys, how you doing?
Speaker 6 (09:57):
Uh to hear you on the air.
Speaker 5 (10:00):
I'm a cabs cab driver in Boston for the last
fifty four years. I've recently retired.
Speaker 2 (10:05):
Peter.
Speaker 5 (10:06):
Uh, You've been in my cab a few times over
the years and we talked about certain things, well, like
candy cane back in the seventies and stuff like that.
But I just want to say how sorry I am
about your assistant me me.
Speaker 6 (10:18):
She was just a sweetheart and.
Speaker 5 (10:23):
Well, listen on a page book and I read about it,
and you know, it's just sad, sad to hear about it.
She was such a good girl.
Speaker 2 (10:34):
Oh, thank you, Yeah, of course.
Speaker 6 (10:37):
Yeah.
Speaker 5 (10:37):
And Bradley, you sold the book pretty good.
Speaker 1 (10:39):
You know.
Speaker 5 (10:40):
I'm not a good reader, but uh, if I can
read things like you know, people I know and whatever
I think, Peter, I want to go out by the book,
but I just want to thank you for taking taxi
cabs over the years, and uh, just a little tribute
to MEMI.
Speaker 2 (10:56):
Oh right, are you still a taxi driver?
Speaker 6 (10:59):
No, Tirriet.
Speaker 5 (11:00):
Back in October, I sold the cab and uh, you know,
I just bounced around. But I I just happened to
hear that you were going to be on the show tonight,
and I said, you know, I waited for eight o'clock,
put them put them Ky Radio on and here I am.
So but I let you find myself with a Cabby.
Speaker 4 (11:18):
You know.
Speaker 2 (11:19):
Okay, oh yeah, well we like ol Cabby. Thank you?
Speaker 5 (11:22):
What what what question on Inside Baseball? Is Candy Kane
in the book?
Speaker 2 (11:28):
Candy Kane is not in the book?
Speaker 5 (11:30):
Okay, very good. Okay, if you remember, that.
Speaker 2 (11:33):
Was pretty fly though, that was pretty fly.
Speaker 3 (11:36):
Thank you, Jim appreciate it.
Speaker 6 (11:37):
Thank you very good.
Speaker 5 (11:38):
Thanks Bradley, thanks for having me.
Speaker 3 (11:40):
Oh guys, and Jim said he wasn't much of a reader.
You're going to get the book anyway, but but take
note there is an audio book and Peter voices it himself,
which is a pretty big deal. Maybe that's a richer
experience for you. Either way, we have Rick and Bill
Ricca Now on wb Z. Hi Rick, you're on with
Peter Wolf.
Speaker 6 (12:00):
Hang first of all, Bradley, So it was so nice
to hear you. And uh, I don't know. Do I
call you Peter or mister Wolf? Tell me?
Speaker 2 (12:10):
Or you can call me Pete.
Speaker 6 (12:11):
No, No, that's cool. Yeah, mister Wolf might sound kind
of evil.
Speaker 2 (12:14):
I don't know.
Speaker 6 (12:15):
I just want to say, no, great, great to have
your congratulations about.
Speaker 2 (12:20):
How about this? How about calling me wolfe Gooba mama
to bapaufa. That might be good.
Speaker 3 (12:25):
Yeah ahead, go ahead, try it.
Speaker 6 (12:29):
I can't say it. He's a vaudevillion. I'm just a regular,
you know. I try to sing it a song or two,
but he's a true vad million. No, I just wanted
to say sorry about your sister too. I didn't know
about that, but I really am. Because she wasn't my inter.
Speaker 2 (12:46):
She was my assistant.
Speaker 4 (12:48):
She worked for me for many many years and also
worked at the Old Tower Records and was an intern
at WBCN for many many years, and that's how I
met her.
Speaker 6 (12:59):
Well, she was special to you, So I you know,
I want to say sorry sorry if you lost getting
you know, but we're getting.
Speaker 2 (13:06):
Old where do you know where are you calling from.
Speaker 6 (13:12):
I'm at work in Wilmington, just cleaning up a dealership.
But uh, but I live in bill Ricker. Okay, so,
but I wanted to say that I I had a
band back in the early two thousands and you weren't
in bell Ricker when the Jay Giles Band played bill Ricker.
Uh prison for the Youth. Uh the Youth prison in
(13:35):
bell Ricker on Christmas Eve?
Speaker 2 (13:37):
Were you? No? I was, and I was.
Speaker 6 (13:41):
I grew up in Burlington, and uh, I know that's
I'm not surprised.
Speaker 2 (13:45):
I'm not.
Speaker 6 (13:45):
You guys played all over the place. My my friend Micah,
owns a landscaping business at the end of this building,
said that he believed that you got Aerosmith on the map.
I said, how do you figure that? And he goes, well,
they always have them at like you know, I believed it,
But I said, how do you figure? And then he goes,
they always were opening from at the Cape Cod Coliseum,
(14:06):
back when they were less famous or not even known yet.
I don't is that is that true? Probably is?
Speaker 2 (14:13):
Well? No, Arasmith.
Speaker 4 (14:15):
You know, for a while, bands couldn't come out of
Boston because there was this thing called the Boston Town Sound,
which was kind of a made up thing.
Speaker 2 (14:23):
And so the Gyles Band was the first, you know.
Speaker 4 (14:25):
Band to be able to break out of Boston and
get some into you know, national acclaim. But Arasmith, we
did play with Arasmith in the early days and when
they were cooking and based up in New Hampshire and
all around.
Speaker 2 (14:39):
And I still stay in touch with Joe.
Speaker 4 (14:41):
Perry and he's putting together a whole new.
Speaker 2 (14:45):
Entourage. So that should be pretty exciting.
Speaker 6 (14:49):
Yeah, I know it should be, and I have yet
to I want to see you play because I I
I got to see the Blues time when sorry about
you know your guitar player. He was one of the greats,
an unsung, an unsung guitar hero, and I saw him
a Bluestime magic tick Jake Giles and maybe Dan maybe
Danny uh on bass and then now that was thirty
(15:13):
years ago or something. And then I saw the Incline
playing Oh six at that place in Medford. But I've
never seen you, but I got to meet you once
and I wasn't supposed to be. I was told not
to bother you, but I did anyway. And this is
what happened. I got to tell you that, Bradley, you're
gonna love this so because all the problems are gonna
want it to. But you you were recording at at
(15:34):
a at a studio in Boylston and O two and
my band was recording there as well. Not quite the
status of you, of course, but but we were recording there.
And I was told by David, who owned the studio, now,
don't bother, Peter's coming in. And I was like, yeah,
I'm gonna bother. And so I think I pretended I
left something and I walked in the studio and you
(15:55):
you opened the door or something, and uh, you knew that.
I was like, oh God, there he is. So you
said to me, said to me, Hey, what color am
I thinking of? I said, I don't know. Yellow, he
goes wrong, Green, What number I think it of? Day
fifty one ninety nine or something like that. And I
(16:19):
laughed my head off. And so you gave me a
beautiful memory of meeting him as you're toyed with me
because you saw that grin that I had in my face.
And uh, and then I think I said before I left,
I just love blow your face out, and must have
got lost, but you know.
Speaker 2 (16:35):
Well, I got to have a question for you before
before we go. What day of the week am I
thinking of?
Speaker 3 (16:45):
You have to be able to get this one? It's
one out of seven.
Speaker 6 (16:48):
It's gotta be Monday because you live in the mall.
Speaker 4 (16:50):
I'm sorry.
Speaker 2 (16:52):
Close, You're very close. It was Tuesday, But.
Speaker 6 (16:55):
I just wanted to say one more thing. Uh what
was I going to say? This is pointy, and I
swear to pointy. I somehow I got my hands on
the Long Line. You might have given it to me
that day. I don't know, but I listened to it
and I thought it was a terrific record, and uh,
you know, just just just what a great record you
had some real, real fine solo stuffs. And I got
(17:17):
to revisit it as I clean up my house. My
parents passed away. I brought tons of stuff to the
house after we sold it, so I can listen to
records all day while i'm decluttering, and records I've never
heard or haven't heard in a long time. So I'm
gonna look at your catalog. But thank you for the
song one last kiss. I don't know how the hell
you and I think he and Seth wrote Pat right, I.
Speaker 3 (17:40):
Don't know testing did you and Seth write one last kiss?
That was the question?
Speaker 5 (17:45):
Oh?
Speaker 2 (17:45):
Yeah, as we do?
Speaker 3 (17:46):
All right, Rick, I gotta I gotta run because there's
a million people.
Speaker 6 (17:50):
Yeah, I'm just.
Speaker 3 (17:52):
Solid, solid college. Yeah, take care. All right, there's only
what I go a minute till the news or something
like that. All right, let's just see what David in
San Francisco can do with sixty seconds. Hi, David, You're
on WBZ with Peter Wolf.
Speaker 4 (18:07):
Oh, this is great.
Speaker 2 (18:09):
Hello Peter, and Hello Bradley.
Speaker 5 (18:13):
Bradley's gonna wat since I've talked to you the last
times with some uh more than white.
Speaker 3 (18:18):
True, you know, we only have a little time with Peter.
Got thirty seconds. They have a question or something to
say to Peter.
Speaker 2 (18:22):
Yeah, okay, well I just want to say, uh, Peter,
you buble like uh nobody on stage and that's.
Speaker 4 (18:29):
Somebody to the study.
Speaker 2 (18:30):
And so you moved twenty five miles.
Speaker 4 (18:32):
Wow, that is a lot, you know, twenty twenty five
miles and twenty five seconds.
Speaker 3 (18:38):
Peter is the greatest front man in the music business, uh,
in all of rock history. And we're gonna find out.
I'm going to ask you where you learned those moves
coming out there, you go, I'm gonna find We're gonna
find out where you learned those moves? Coming up on
WBZ News Radio ten thirty.
Speaker 1 (18:58):
With Dan Ray on del you Bezy Boston's news Radio.
Speaker 3 (19:02):
That's right. This is WBZ and night Side with Dan Ray.
I'm Brady Jay and for Dan, and we are with
Peter Wolf, author of the spectacular new book. And I'm
not just saying that Waiting on the Moon artists, poets, drifters,
drifters and goddesses. You got to pick it up tomorrow
because after this interview they're going to cellerrate out. There's
also an audio book as well, and we are taking
(19:24):
calls with Peter. If you want to talk, you want
to chat. But I promised to get this information from him.
As you know, Peter Wolf is a spectacular front man.
And you know, I think I heard that Mick Jagger
was on the side of the stage once kind of
going to school on Peter's moves. And I want to
know where you learn those those those moves. Actually, I
know I heard it in an interview, but will you
(19:45):
share the.
Speaker 2 (19:46):
Story, Well, what story did you hear?
Speaker 4 (19:52):
I heard?
Speaker 3 (19:52):
I heard the Apollo. Used to go to the Apollo.
Speaker 4 (19:55):
Oh yeah, well I used to go to the Apollo
because my high school was one hundred and thirty sixth
in Harlem, and the Apollo, the Great Apollo Theater in
New York was one hundred and twenty fifth Street. And
for people who don't know, the Apollo housed all they
would have. Each week would have a different review, and
they had all the greatest Rhythmond blues soul singers, blues singers,
(20:17):
and all the great comedians like Moms, Maybe Lee and
you know Rats Fox and Pig Meat Martin, and it
was just for me, it was an education seeing people
like Jackie Wilson and Billy Stewart and just all of
James Brown and Litha Franklin, Dinah Washington, all the great artists,
(20:37):
and they just all had a way of making the
stage feel like they were sort of in a church
and the congregation with the audience. And Don Cove, a
great songwriter. He wrote Chaine of Fools and we wrote
Lights Out together. He said to me, man, if you
can't move your audience, you're not doing your job. And
(20:57):
so I appreciate the accolades, plaudits and kidos. But there
are a lot of great frontmen out there. Mick Jagger
is one of my favorites. Bruce Springsteen is sure knows
how to do this thing. And there's many many rockers
out there that can twist and shout, shake, rattle and
roll and do it too it and get right through it.
(21:19):
But you were asking me about the book, and you
were asking me about how I went about the book
and how I remembered certain things, yeah, and a certain dialogue.
And I am going to have you put you through
a little thing to show you how my process worked. Okay, Now, Bradley,
can you remember your first real romantic kiss from somebody
(21:44):
that you really desired, that wanted, that you thought about
for a while.
Speaker 2 (21:49):
Do you remember it?
Speaker 7 (21:50):
Well?
Speaker 3 (21:50):
The closest icing comes to that is, I do remember
a kiss out and back of Jerry's Shop and Save
in Rochester, O Hampshire.
Speaker 4 (21:58):
Okay, so we'll count you remember the time and the
place yep, that's right, And you remember the lady's name.
I assume a little lady, right yep? Okay, So you
remember probably a gal or you know, a young girl?
Speaker 2 (22:14):
Correct?
Speaker 4 (22:14):
How old were you?
Speaker 3 (22:15):
I was in high school? Probably maybe freshman in high school.
So what's what's that?
Speaker 4 (22:22):
Okay, fifteen, so you're okay, so you're around fifteen. I
guess yeah, Now the two year back there, and there
had to be some kind of conversation going on. You
didn't just walk up to her and go, you know,
throw your lips on her. There had to be some
lead up. What what do you remember as being the
(22:43):
lead up to that first great romantic kiss?
Speaker 3 (22:47):
I can't remember. I'll be honest with you. I can't remember.
I could make something up, but I can't. Maybe that
must not have been the great romantic kiss, otherwise I
would have remembered.
Speaker 4 (22:58):
Well, okay, what was the nextural the kiss?
Speaker 3 (23:01):
You know, I don't think I said anything. You know,
when you kiss somebody, you don't really say anything, right,
You just kind.
Speaker 4 (23:06):
Of well, well, but but you don't just walk up
to somebody and kiss them. You gotta have some Let
me help you out. You might need to move a
Google take logical.
Speaker 3 (23:18):
Maybe I was doing it wrong. I was probably doing
it wrong.
Speaker 2 (23:21):
You're gonna walk up to somebody and give my nice
big roman to kiss.
Speaker 3 (23:24):
You gotta have some, Okay, I say, you know what,
we've been hanging around a long time, and I think
it's I think it's, you know, time to move beyond
the friends stage. What do you think? And she she
leans in, and I lean in and and uh, there
you go. That's that's what it would be.
Speaker 4 (23:43):
Okay, So you just recreated that moment, and you would
say that that conversation was pretty close to the way
it probably happened, right right, All right, Well that's how
the book was done. Okay, but I think I might
have most swave.
Speaker 2 (24:02):
How do juggle with you?
Speaker 4 (24:04):
But that's that's basically for people who a lot of people,
you know, wonder how somebody you know does write a book,
and a lot of people are always interested in writing
the book.
Speaker 2 (24:14):
And that's basically the way it is. Is you think about,
you know.
Speaker 4 (24:18):
An event, and you just trying to put down what
you can remember. Be it your first baseball game, be
it your first high school dance, being the first time
you had a you know, major breakup with with somebody
that you really cared about, being the first you know,
things like that, and you put that together and you know, one,
(24:40):
one little anecdote leads to another, right, And that's what
I tried to do in the book. That's how I
at least that's how I did it.
Speaker 3 (24:47):
I think I read. I really remember the rejections. I
remember those conversations much more a cute right, let's hear
it all right, I'll tell you there was one girl.
She was so hot, she was the hottest girl in
all of the in the whole school. And I decided, Okay,
tonight at the football game, I'm going to put my
arm around her. I'm going to make her mind. This
is the big move. And I put my arm around her,
(25:09):
and I thought, we'll find out the deal.
Speaker 4 (25:10):
Right now?
Speaker 3 (25:11):
Are we getting out of the friend zone? And she
didn't say anything, She didn't recoil in horror, she didn't
do anything. But then a little while, this is a
terrible rejection, by the way, in a little while she left,
never came back. I went walking around the track at
the football game to find her, and I found her
hiding behind her friends to stay to hide from me.
It was a terrible rejection. I was so such a shameful,
(25:35):
you know thing, and I was. I remember every second
of that burning failure. It was terrible. So that's what
I remember with the failure.
Speaker 4 (25:44):
You see, but that you could fill up three or
four pages with that right there.
Speaker 3 (25:48):
Yeah, it could, I could. I could fill it out
even more. How I was crying. I actually cried on
the bus home. It was terrible. Can you believe that
I shouldn't even tell it? I tell you, I can't
tell you. I shouldn't tell you. I was like boohooing
on the bus on the way home.
Speaker 4 (26:04):
Well, I had a similar situation, a little different, and
I was taking Bennie Jacobson on a date. I love
Bennie Jacobson. I had the hots of Bennie Jakobson. Man,
she was something else. And we went I took it
to the movie and the movie was Breakfast at Tiffany's
and the theme Loo River starts coming in and Audrey
(26:28):
Heppens on the fire escape. She's singing you know Loo
why Now on her guitar. And I moved in close
to Benny Jacobson and I start putting my arm around her,
and I'm just about to go for my first kiss,
and she turns to me and says, Peter, I think
I want to let you know I'm seeing some guy.
(26:50):
Some guy said yeah, and he's thirty two years old.
Now we were all sixteen.
Speaker 2 (26:54):
I go thirty two years old. Well you crazy?
Speaker 4 (26:58):
And she got up and left, And every time I
hear I see Breakfast at Tiffany's, I could remember the
exact moment, sitting with Benny Jacobson, riding in that seat
as she walked out and left to meet her new
or more.
Speaker 2 (27:16):
But then I think about it, that's kind of strange.
A sixteen year old girl back then going with a
thirty two year old guy.
Speaker 4 (27:23):
Something was going on.
Speaker 3 (27:25):
Yeah, those are the that's the stuff that makes life.
That's real, true life right there.
Speaker 4 (27:30):
And fortunately I can hear moon River, Whi's one of
my favorite songs without thinking of Benny Jacobson. But it's
always the movie, especially the scene with or heppern on
the fire Escape playing moon River, that always brings back
to that exact moment.
Speaker 3 (27:45):
So did Benny ruin the movie for you? Pretty much?
Speaker 4 (27:48):
Well? I wasn't too much into the movie because I
kept trying to think of how am I going to
make my move? I'm Benny Jacobson, how am I going
to do it? And my arms slowly like yours, lid around.
Oh god, you know, and I was just way I
thought this was the romantic moment Moon River you know,
being sung by Audie Hipburn.
Speaker 2 (28:05):
It'll be our song forever. Well, I was completely wrong
about that.
Speaker 4 (28:10):
Trials and tribulations and who knows.
Speaker 2 (28:12):
So there you go.
Speaker 3 (28:14):
All right, let's take a call from Harvey Silver, the
famous Harvey silver Glade. I don't know if you know him,
but he's a famous weed. If this is the Harvey
silver Glade, I know he was a promoter of marijuana
long before everyone else was hot. Harvey, How are you.
Speaker 2 (28:33):
Good, Peter? How are you?
Speaker 3 (28:35):
What's going on? So had Peter Wolf?
Speaker 2 (28:37):
Harvey.
Speaker 4 (28:38):
I am so glad you called because you have just
reminded me of one of the greatest faux pars that
I could have done. You should have been the first
on the list, and you were on the list to
get a book, and I don't think I ever did
I send you one or not?
Speaker 2 (28:55):
You did not, But I bought the book and I've
read it and it's a fabulous, fabulous photo biography.
Speaker 4 (29:02):
Well, thank you, Harvey, but I'm going to have to
still send you a personalized copy because Harley's wife, the
late great Elsa Dweffman, was a fantastic photographer. And if
people remember these beautiful, great big polaroid prints that covered
Harvard Square at one time. And Harvey, I was going
(29:23):
to get in touch with you during the writing of
the book, because Harley Elsa took one of the most
amazing photographs of Bob Dylan.
Speaker 2 (29:34):
And it's a.
Speaker 4 (29:34):
Photograph that she was the only one allowed backstage if
I'm getting this correctly to the war of the review.
And there's an amazing photograph she took of Bob Dylan
teaching Alan Ginsberg accords.
Speaker 2 (29:51):
To some of his songs. And it's called the Music
It's called the Music Lesson.
Speaker 4 (29:58):
And it is, you know, an iconic decisive moment of
a photograph. Bob, you know, and Alan are so deep
into concentration and only someone as gifted as Elsa could
have captured that moment. And uh, Harvey sent me a
beautiful print of that uh, and I treasure it and
(30:18):
framed it and it's hanging in my music room. And
thank you, Harvey.
Speaker 2 (30:23):
How are you good? I'm writing a biography of Elsa? Ah? Well,
if you need my help, I'm always here. I will
I will interview you for it. You you knew her well,
you were at a memorial program. If I recall.
Speaker 4 (30:42):
She was beloved by so many musicians, you know, uh
that people like Jonathan Richmond who who loved Asa Brennan
and uh, you know, William Queskin. The list is just
you know, goes on and on and on, and you know,
of course Alan Ginsburg and all that whole crew.
Speaker 2 (31:03):
And she was.
Speaker 4 (31:06):
An amazing person. And she had one of the few
people that had one of the largest polaroid cameras. Is
that correct, Harvey?
Speaker 2 (31:15):
Yes, there were five of them in the world, and
she had one of them. It turned out contact prints
that were twenty inches by twenty four inches, and you would.
Speaker 4 (31:27):
She would put you in front of it, and she'd
get ready and then click and that was it. There
was no price, no nothing it.
Speaker 2 (31:36):
It was basically that that moment.
Speaker 4 (31:41):
And that's why I loved the Dylan photograph so much.
It's a real treasure and I really thank you for that.
Speaker 2 (31:48):
Harvey. Will you were you ever taken did elsoever take
your photograph?
Speaker 4 (31:53):
She took my photograph actually three times, she took it,
once with Fayan myself, once with just myself, and once
with say William Alfred and myself.
Speaker 6 (32:06):
So I have.
Speaker 2 (32:10):
I donated twelve thousand of the Prince tot and four
hundred to the Museum of Fine Arts. Oh, but I saved.
I have one of Fay and William Alfred. Well, that's
a great one. I know that one. That is a
great photograph. I love it.
Speaker 3 (32:28):
Harvey, thank you very much for checking in. I've I've
got a scoot now, but thank you so much.
Speaker 2 (32:34):
I'll get in touch with you.
Speaker 3 (32:36):
Bye bye. Peter will get in touch with you. In
case you didn't hear that out there more with Peter
Wolf on w b Z.
Speaker 1 (32:43):
In a moment, you're on Night Side with Dan Ray
on WBZ, Boston's news radio.
Speaker 3 (32:50):
That is correct. We're here with Peter Wolf and we're
talking about the new book Waiting on the Moon. Artists, poets, drifters,
drifters and goddesses. When's the last time you went into
a bookstore. It's fun it out and this is a
great excuse better than buying it online. Go in the bookstore.
Feel that feeling of a bookstore. When's the last time
you felt it. We'll take some more calls now, and
I have to tell you I have to be I'm
(33:11):
a little bit more strict on the time, so kind
of get right to the point. There's so many people
waiting so long. I apologize for that. First we go
to Lisa in Boston and I think this might be
Lisa Traxler WBC and DJ AM.
Speaker 6 (33:23):
I correct, Hey, it is hi Bradley.
Speaker 3 (33:25):
How are you to Peter?
Speaker 7 (33:28):
Hey, Peter, how's it going?
Speaker 4 (33:30):
Very good?
Speaker 2 (33:30):
Lidia good.
Speaker 7 (33:32):
I wanted to say first, all Brad great to hear
you back on the air. That I have to say
at first, And then congratulations on your book, Peter. I
think it's awesome that you got it out. You're a
man of so many talents. You know, your music, everybody
knows your art is fabulous, but the people in Boston
are really lucky that you're also an awesome radio DJ.
And I wonder if you talk about that a little
(33:54):
bit how you got into that. It's pretty much youth.
Livestone and Tom Petty are the only stars that are
also DJs, So I was wondering if you could.
Speaker 4 (34:02):
Talk about that nice, Oh thank you. Whalen Jennings was
a DJ too. There's actually quite a quite a few
artists that were DJs. But I got into it by accident.
A fella that ended up buying a radio station called
WBCN used to come into my little apartment in Cambridge
(34:24):
after the last call and actually pass out on my
little living room floor.
Speaker 2 (34:32):
And one day he asked if I wanted to help
him buy a radio station.
Speaker 4 (34:36):
I didn't have ten cents to my name, and so
he said, well, you got all these records, how about
helping me out and becomeing, you know, be a DJ
on this. So the first night that WBCN became Rock
and Roll, I am Mississippi Harold Wilson. We were the
first DJs on the air, and I became from ten
(35:00):
o'clock to I think it was two or three, and
then from midnight to five six in the morning, I
had the Whoop a group of Mama Tufi show and
I played everything and it was great. I loved being
a DJ, and I loved my anniversary shows with Chachi Lapette,
who has a great show on another Dial Beatles show
(35:22):
in the morning on Sundays. I always try to stay
up all night so I could listen to it. So
being a DJ is a thrill. And I also enjoy
so much the phone calls and I actually got to
interview so many people. I interviewed Muddy Waters, Johnley Hooker,
I interviewed Jeff Becken, Rod Stewart, I interviewed Carls, Thomas,
Rowland Kirk. You know, it just was amazing all the
(35:47):
people that came to the Boston Tea Party in those
years would stop by the radio station. So unfortunately, people
like Van Mahs and things, I didn't have tape. We
didn't have we couldn't afford tape to stay, so none
of those interviews were taped, so they're out there somewhere
out in the atmosphere.
Speaker 2 (36:07):
Yep.
Speaker 7 (36:08):
Well, it's great to hear you only on the air
right now, and congratulations on the book again. And it
was really fun to do those annivers for shows of
you all those years for us at BCNS.
Speaker 4 (36:19):
Great to hear Bradley back on the air.
Speaker 3 (36:21):
Thank you, thank you, Lisa.
Speaker 6 (36:23):
Yep, bye bye bye.
Speaker 3 (36:24):
Speaking of WBCN, now you you were right there day one, right, Peter.
This a common friend of ours, David Bieber, pointed out
that this is a certain symmetry because you did the
first basically the first show ever at WBCN.
Speaker 2 (36:38):
No, no, not the first show.
Speaker 4 (36:40):
I was on the first night, first night, first show,
first show to my memory was Mississippi, and he did
the first show and I followed Mississippi, and then following
me was a gentleman called crazy Al.
Speaker 2 (36:54):
Al Perry and that was That was the first day
of the lineup.
Speaker 3 (36:58):
So you were there on the first day and the
symmetry comments because I was there on the last day.
I did the very last show.
Speaker 4 (37:04):
Ever.
Speaker 3 (37:04):
Think of all all the stuff that went on in
between those.
Speaker 2 (37:08):
Two shows, and what was the last record you played?
Speaker 3 (37:12):
The last record I played was shine On You Crazy
Diamond Pink Fluid.
Speaker 2 (37:18):
Oh wow? And why did you choose that one?
Speaker 3 (37:20):
Because it was tough because it had to be something
for everybody, not just me. It had to have a
certain gravitas, and it had to have a message that
was appropriate. Like BCN was a Crazy Diamond and it
was like, yeah, we're blinking out in one way, but
in another way, we're going to shine on.
Speaker 2 (37:41):
Well, that was a good choice.
Speaker 3 (37:43):
So also regarding the DJ thing, we have another thing
in common. We both understand the intensity of doing overnights.
It's a hard and you work harder than anybody on
the air and you're doing like through the night.
Speaker 2 (37:59):
So well.
Speaker 3 (38:01):
I get that, and because of that, we have really
tight relationships with the listeners. So I want there's a
certain story I want you to share, and it has
to do with well, I'll leave that mystery. Pete's gonna
stay with us a little bit longer. But is it
time to say okay? All right? More in a moment
with Peter Wolf,
It's Night's Eyes with Dan Ray. Ongoing Basy Boston's.
Speaker 2 (00:04):
News Radio.
Speaker 3 (00:07):
WBZ News Radio ten thirty. This is Nightside with Dan Ray.
I'm Bradley J for Dan. Our first guest is none
other than the best frontman in the music business, Peter Wolf.
Peter has an incredible life going. Most of us don't
know a lot about it, but now you can find
out all about it in his new book called Waiting
on the Moon. Artists, poets, drifters, grifters, and goddesses. It's great,
(00:30):
not just good, but great. How great? Well, let's take
a look on the back here and see what Bob
Dylan said. By the way, I bought my book in
a small bookstore, not the big a word, you know
what I mean, in the small bookstore, and we recommend
you do that. This is what Bob Dylan said. This
book reads like a fast train and you'll get a
(00:53):
glimpse of everyone passing by through the window, characters that
have crossed Pete's path, who he's known up close and personal.
A diverse crowd, one you wouldn't think would belong in
the same book. Marilyn Monroe with a scarf on her head,
sitting next to him in a movie theater, Muddy Waters, Fade, Dunaway,
David Lynch, the filmmaker, Eleanor, Roosevelt, Jagger, Tennessee, Williams, Merle Haggard.
(01:18):
They all play an important part in Pete's life come
alive in more ways than one. As you'll see, Pete's
been on quite a journey. But before it all began,
he had hopes to become a great painter. But then
out of nowhere, early on, he went in another direction
and never came back. This memoir has been a long
time in coming, and it's Pete's great painting. That's from
(01:40):
Bob Dylan. What did Bruce Springsteen say? Arriving home from
my one hundred and fourteenth tour date, I find that
Peter Wolf's book has kept me wonderful company. As the
Eastern sun rises through my airplane window, the warmth of
its rays reminds me of the love of life and living.
It's so beautifully expressed in his writing. That's Bruce Springsteen
(02:04):
and Elvis Costello. This is the book I've been waiting.
This is the book I've been hoping Wolf would write
since we walked the streets of Paris together. Back in
the twentieth century, A true account of his life, love
and music, told with unique humor and rare humility. That's
Elvis Costello.
Speaker 4 (02:25):
Now.
Speaker 3 (02:25):
I like the book so much that I took time,
and it was quite a lot of time to write
a formal blurb and Peter, you can feel free to
use this in a future reprint if you want. Here's mine.
Peter Wolfe's memoir Waiting on the Moon is an assemblage
of great stories, well told, energy, persistence, and serendipity. What
(02:46):
Wolf in situations we can only dream of, But somehow
he manages to stay humble as he shares intimate moments
with some of the most respected talents of our time.
The writing, happily devoid of cliche, is so deft you
feel like you're sitting at a bar with Peter, hearing
his anecdotes firsthand. And the big payoff is that as
you towel off from this immersion in greatness, you'll know
(03:09):
the real Peter wolf Bradley, j Boston Broadcaster.
Speaker 4 (03:14):
Ladies and Jael Bradley, thank you so much, ladies and.
Speaker 3 (03:17):
Gentlemen, please welcome the real Peter wolf.
Speaker 4 (03:19):
Hi, Peter, how you doing well?
Speaker 2 (03:21):
Thank you? So much.
Speaker 4 (03:22):
If I knew that you could read a copy so well,
I could have let you do my audio book.
Speaker 3 (03:28):
Well, no one could tell the stories like you actually
in your voice. I think it really needs your voice.
Speaker 4 (03:34):
But thank you very much, No, thank you very much,
and thank you for having me. It's a treat to
be able to chit chat with you as the evening
rolls on.
Speaker 3 (03:44):
So the writing is fantastic. And even though it's written
as I mentioned, it feels like you're telling the stories
in person. There's no awkwardness. I don't feel you writing
no cliche and lots of writers never achieved that. How
did you manage it? Did you just good at it?
Did you practice? Have you done it before?
Speaker 2 (04:02):
Well?
Speaker 4 (04:03):
I started many many years ago, and I made an
outline and then I just stopped. And I was about
to release another CD Bradley, and I just thought, you know,
if I released this record, if it's good or bad,
no matter how good it might be, it you know,
sort of gets lost in the ether. And I don't
(04:24):
know a matter of days. So I thought, now is
the time maybe to sit down and seriously, uh think
about writing a book. And I started and it took
me about two years actually, and I had little subtexts,
and I decided to try to make each chapter like
(04:47):
its own short story. And so there's I think thirty
something chapters, and you could read chapter twenty seven or
read chapter four. And though there's a chronological shift throughout
the book time wise, it's basically I try to make
it each like a short story. Now, how I avoid
the cliches, I don't really know. I'm an avid reader.
(05:12):
I would love to read. And during the pandemic, with
all my musician friends who are creating rock operas and
writing new albums and recording and all of that, I
just sat around and read all the books I loved,
and I reread them, and slowly I started writing and
it just started coming out, one page after another.
Speaker 3 (05:33):
One thing that makes it really sing is the dialogue.
Dialogue is hard to write, and this isn't such detail.
I'm curious, how did you How did you remember the
conversations like that? Did you take notes or maybe you
remembered them because you planned on writing them someday in
a book.
Speaker 4 (05:50):
Well that's a good question. As I say in the prologue,
you know each word is not exactly you know, to
the exact point, but I really made a very distinct
attempt to capture the tone and tenor of what was said.
So there's a meeting between me and Bob Dylan. Early
(06:12):
on I get to be introduced to Bob's music. I
think it was the second week he was first came
to Greenwich Village, and so I tried to recreate the interaction.
Though some of the words might be a bit different,
the tone and what was said back and forth, I
(06:33):
would say it's pretty accurate.
Speaker 3 (06:35):
So, speaking of Dylan, you take us pretty deep into
the Greenwich Village scene of the sixties and ken right now,
you paint a picture of that village scene and how
you came to be a part of it, and maybe
a little bit of the story about how Dylan's wineglass
kept mysteriously emptying.
Speaker 4 (06:54):
You know, Greenwich. I grew up in Bronx, New York,
and in New York City. What's wonderful about it is
you can hop on a train and just you know,
get off any point of call. Take the train all
the way to the last stop in the Bronx and
you're at Coney Island, or you can get off at
Greenwich Village. And as a young kid, when I say young,
(07:16):
at eleven twelve years old, I was always riding the trains,
getting off at forty second Street and walking around Times
Square and going into the funhouses and u bits flea circus,
but getting into the village that in those years was
full of artists. It was a bohemian enclave. There was
(07:39):
a lot of great musicians and painters, and people hung
out in the streets. There was no neon lights, there
was no tourism. It pretty much was very much like
what people think of Paris's Left Bank. And I have
to say when I first came to Boston, Harvard Square
was pretty much it's very similar. There was a lot
(08:02):
of little shops, a lot of artists and students and
musicians all mingling together, a lot of outdoor cafes, and
there was a lot of interchange and activity. So I
always gravitated to those kinds of places.
Speaker 3 (08:17):
All right, you know we're gonna take casts. Peters agreed
to take your calls. Six one seven two five four
ten thirty.
Speaker 2 (08:23):
I believe they take some phone calls.
Speaker 3 (08:25):
The number, if I remember correctly, six one seven two
five four ten thirty.
Speaker 4 (08:29):
If you'd like to chat with me, If you remember correctly.
Don't you have a written down in front of you, Bradley, No, no.
Speaker 3 (08:35):
I don't actually, I just uh just really it's burned
into my mind. Okay, So give us a shout and uh,
you know, chat with Peter Wolf. This is a once
in a lifetime deal. Six one, seven, two, five, four,
ten thirty WBZ News Radio ten thirty.
Speaker 1 (08:51):
It's Night Side with Dan Ray on wbzs Boston's news radio.
Speaker 3 (08:56):
This is Nightside with Dan Ray. Bradley j in for
we are speaking with Peter Wolf. Yes, that Peter Wolf.
We're talking about his excellent book, Waiting on the Moon. Artists, poets, drifters,
drifters and goddesses. Get yourself a copy. It's it's fun.
When's the last time you bought a hardcover book? There
is an audio version. We'll talk about that later as well.
(09:19):
Let's take a.
Speaker 2 (09:20):
Brad Limit before we let me ask you a question. Yeah,
what what the heck is pickleball? Do you take a
pickle and just throw it around the net?
Speaker 3 (09:27):
Pickleball? It's it's hard. It's like tennis, only smaller with
wooden paddles and hit you hit you do. Hit a
pickle back and forth across and that that's correct.
Speaker 2 (09:38):
Sour pickle or a half sour.
Speaker 3 (09:40):
I think it's got to be a deal.
Speaker 2 (09:42):
Actually, oh dial, okay, deal pickle. I got you all.
I always wondered about that.
Speaker 3 (09:47):
We have Jim in Boston. Jim, you're on w b
Z with Believe It or Not with Peter Wolf.
Speaker 5 (09:53):
Hi, Jim, Hi, Hey guys, how you doing?
Speaker 6 (09:57):
Uh to hear you on the air.
Speaker 5 (10:00):
I'm a cabs cab driver in Boston for the last
fifty four years. I've recently retired.
Speaker 2 (10:05):
Peter.
Speaker 5 (10:06):
Uh, You've been in my cab a few times over
the years and we talked about certain things, well, like
candy cane back in the seventies and stuff like that.
But I just want to say how sorry I am
about your assistant me me.
Speaker 6 (10:18):
She was just a sweetheart and.
Speaker 5 (10:23):
Well, listen on a page book and I read about it,
and you know, it's just sad, sad to hear about it.
She was such a good girl.
Speaker 2 (10:34):
Oh, thank you, Yeah, of course.
Speaker 6 (10:37):
Yeah.
Speaker 5 (10:37):
And Bradley, you sold the book pretty good.
Speaker 1 (10:39):
You know.
Speaker 5 (10:40):
I'm not a good reader, but uh, if I can
read things like you know, people I know and whatever
I think, Peter, I want to go out by the book,
but I just want to thank you for taking taxi
cabs over the years, and uh, just a little tribute
to MEMI.
Speaker 2 (10:56):
Oh right, are you still a taxi driver?
Speaker 6 (10:59):
No, Tirriet.
Speaker 5 (11:00):
Back in October, I sold the cab and uh, you know,
I just bounced around. But I I just happened to
hear that you were going to be on the show tonight,
and I said, you know, I waited for eight o'clock,
put them put them Ky Radio on and here I am.
So but I let you find myself with a Cabby.
Speaker 4 (11:18):
You know.
Speaker 2 (11:19):
Okay, oh yeah, well we like ol Cabby. Thank you?
Speaker 5 (11:22):
What what what question on Inside Baseball? Is Candy Kane
in the book?
Speaker 2 (11:28):
Candy Kane is not in the book?
Speaker 5 (11:30):
Okay, very good. Okay, if you remember, that.
Speaker 2 (11:33):
Was pretty fly though, that was pretty fly.
Speaker 3 (11:36):
Thank you, Jim appreciate it.
Speaker 6 (11:37):
Thank you very good.
Speaker 5 (11:38):
Thanks Bradley, thanks for having me.
Speaker 3 (11:40):
Oh guys, and Jim said he wasn't much of a reader.
You're going to get the book anyway, but but take
note there is an audio book and Peter voices it himself,
which is a pretty big deal. Maybe that's a richer
experience for you. Either way, we have Rick and Bill
Ricca Now on wb Z. Hi Rick, you're on with
Peter Wolf.
Speaker 6 (12:00):
Hang first of all, Bradley, So it was so nice
to hear you. And uh, I don't know. Do I
call you Peter or mister Wolf? Tell me?
Speaker 2 (12:10):
Or you can call me Pete.
Speaker 6 (12:11):
No, No, that's cool. Yeah, mister Wolf might sound kind
of evil.
Speaker 2 (12:14):
I don't know.
Speaker 6 (12:15):
I just want to say, no, great, great to have
your congratulations about.
Speaker 2 (12:20):
How about this? How about calling me wolfe Gooba mama
to bapaufa. That might be good.
Speaker 3 (12:25):
Yeah ahead, go ahead, try it.
Speaker 6 (12:29):
I can't say it. He's a vaudevillion. I'm just a regular,
you know. I try to sing it a song or two,
but he's a true vad million. No, I just wanted
to say sorry about your sister too. I didn't know
about that, but I really am. Because she wasn't my inter.
Speaker 2 (12:46):
She was my assistant.
Speaker 4 (12:48):
She worked for me for many many years and also
worked at the Old Tower Records and was an intern
at WBCN for many many years, and that's how I
met her.
Speaker 6 (12:59):
Well, she was special to you, So I you know,
I want to say sorry sorry if you lost getting
you know, but we're getting.
Speaker 2 (13:06):
Old where do you know where are you calling from.
Speaker 6 (13:12):
I'm at work in Wilmington, just cleaning up a dealership.
But uh, but I live in bill Ricker. Okay, so,
but I wanted to say that I I had a
band back in the early two thousands and you weren't
in bell Ricker when the Jay Giles Band played bill Ricker.
Uh prison for the Youth. Uh the Youth prison in
(13:35):
bell Ricker on Christmas Eve?
Speaker 2 (13:37):
Were you? No? I was, and I was.
Speaker 6 (13:41):
I grew up in Burlington, and uh, I know that's
I'm not surprised.
Speaker 2 (13:45):
I'm not.
Speaker 6 (13:45):
You guys played all over the place. My my friend Micah,
owns a landscaping business at the end of this building,
said that he believed that you got Aerosmith on the map.
I said, how do you figure that? And he goes, well,
they always have them at like you know, I believed it,
But I said, how do you figure? And then he goes,
they always were opening from at the Cape Cod Coliseum,
(14:06):
back when they were less famous or not even known yet.
I don't is that is that true? Probably is?
Speaker 2 (14:13):
Well? No, Arasmith.
Speaker 4 (14:15):
You know, for a while, bands couldn't come out of
Boston because there was this thing called the Boston Town Sound,
which was kind of a made up thing.
Speaker 2 (14:23):
And so the Gyles Band was the first, you know.
Speaker 4 (14:25):
Band to be able to break out of Boston and
get some into you know, national acclaim. But Arasmith, we
did play with Arasmith in the early days and when
they were cooking and based up in New Hampshire and
all around.
Speaker 2 (14:39):
And I still stay in touch with Joe.
Speaker 4 (14:41):
Perry and he's putting together a whole new.
Speaker 2 (14:45):
Entourage. So that should be pretty exciting.
Speaker 6 (14:49):
Yeah, I know it should be, and I have yet
to I want to see you play because I I
I got to see the Blues time when sorry about
you know your guitar player. He was one of the greats,
an unsung, an unsung guitar hero, and I saw him
a Bluestime magic tick Jake Giles and maybe Dan maybe
Danny uh on bass and then now that was thirty
(15:13):
years ago or something. And then I saw the Incline
playing Oh six at that place in Medford. But I've
never seen you, but I got to meet you once
and I wasn't supposed to be. I was told not
to bother you, but I did anyway. And this is
what happened. I got to tell you that, Bradley, you're
gonna love this so because all the problems are gonna
want it to. But you you were recording at at
(15:34):
a at a studio in Boylston and O two and
my band was recording there as well. Not quite the
status of you, of course, but but we were recording there.
And I was told by David, who owned the studio, now,
don't bother, Peter's coming in. And I was like, yeah,
I'm gonna bother. And so I think I pretended I
left something and I walked in the studio and you
(15:55):
you opened the door or something, and uh, you knew that.
I was like, oh God, there he is. So you
said to me, said to me, Hey, what color am
I thinking of? I said, I don't know. Yellow, he
goes wrong, Green, What number I think it of? Day
fifty one ninety nine or something like that. And I
(16:19):
laughed my head off. And so you gave me a
beautiful memory of meeting him as you're toyed with me
because you saw that grin that I had in my face.
And uh, and then I think I said before I left,
I just love blow your face out, and must have
got lost, but you know.
Speaker 2 (16:35):
Well, I got to have a question for you before
before we go. What day of the week am I
thinking of?
Speaker 3 (16:45):
You have to be able to get this one? It's
one out of seven.
Speaker 6 (16:48):
It's gotta be Monday because you live in the mall.
Speaker 4 (16:50):
I'm sorry.
Speaker 2 (16:52):
Close, You're very close. It was Tuesday, But.
Speaker 6 (16:55):
I just wanted to say one more thing. Uh what
was I going to say? This is pointy, and I
swear to pointy. I somehow I got my hands on
the Long Line. You might have given it to me
that day. I don't know, but I listened to it
and I thought it was a terrific record, and uh,
you know, just just just what a great record you
had some real, real fine solo stuffs. And I got
(17:17):
to revisit it as I clean up my house. My
parents passed away. I brought tons of stuff to the
house after we sold it, so I can listen to
records all day while i'm decluttering, and records I've never
heard or haven't heard in a long time. So I'm
gonna look at your catalog. But thank you for the
song one last kiss. I don't know how the hell
you and I think he and Seth wrote Pat right, I.
Speaker 3 (17:40):
Don't know testing did you and Seth write one last kiss?
That was the question?
Speaker 5 (17:45):
Oh?
Speaker 2 (17:45):
Yeah, as we do?
Speaker 3 (17:46):
All right, Rick, I gotta I gotta run because there's
a million people.
Speaker 6 (17:50):
Yeah, I'm just.
Speaker 3 (17:52):
Solid, solid college. Yeah, take care. All right, there's only
what I go a minute till the news or something
like that. All right, let's just see what David in
San Francisco can do with sixty seconds. Hi, David, You're
on WBZ with Peter Wolf.
Speaker 4 (18:07):
Oh, this is great.
Speaker 2 (18:09):
Hello Peter, and Hello Bradley.
Speaker 5 (18:13):
Bradley's gonna wat since I've talked to you the last
times with some uh more than white.
Speaker 3 (18:18):
True, you know, we only have a little time with Peter.
Got thirty seconds. They have a question or something to
say to Peter.
Speaker 2 (18:22):
Yeah, okay, well I just want to say, uh, Peter,
you buble like uh nobody on stage and that's.
Speaker 4 (18:29):
Somebody to the study.
Speaker 2 (18:30):
And so you moved twenty five miles.
Speaker 4 (18:32):
Wow, that is a lot, you know, twenty twenty five
miles and twenty five seconds.
Speaker 3 (18:38):
Peter is the greatest front man in the music business, uh,
in all of rock history. And we're gonna find out.
I'm going to ask you where you learned those moves
coming out there, you go, I'm gonna find We're gonna
find out where you learned those moves? Coming up on
WBZ News Radio ten thirty.
Speaker 1 (18:58):
With Dan Ray on del you Bezy Boston's news Radio.
Speaker 3 (19:02):
That's right. This is WBZ and night Side with Dan Ray.
I'm Brady Jay and for Dan, and we are with
Peter Wolf, author of the spectacular new book. And I'm
not just saying that Waiting on the Moon artists, poets, drifters,
drifters and goddesses. You got to pick it up tomorrow
because after this interview they're going to cellerrate out. There's
also an audio book as well, and we are taking
(19:24):
calls with Peter. If you want to talk, you want
to chat. But I promised to get this information from him.
As you know, Peter Wolf is a spectacular front man.
And you know, I think I heard that Mick Jagger
was on the side of the stage once kind of
going to school on Peter's moves. And I want to
know where you learn those those those moves. Actually, I
know I heard it in an interview, but will you
(19:45):
share the.
Speaker 2 (19:46):
Story, Well, what story did you hear?
Speaker 4 (19:52):
I heard?
Speaker 3 (19:52):
I heard the Apollo. Used to go to the Apollo.
Speaker 4 (19:55):
Oh yeah, well I used to go to the Apollo
because my high school was one hundred and thirty sixth
in Harlem, and the Apollo, the Great Apollo Theater in
New York was one hundred and twenty fifth Street. And
for people who don't know, the Apollo housed all they
would have. Each week would have a different review, and
they had all the greatest Rhythmond blues soul singers, blues singers,
(20:17):
and all the great comedians like Moms, Maybe Lee and
you know Rats Fox and Pig Meat Martin, and it
was just for me, it was an education seeing people
like Jackie Wilson and Billy Stewart and just all of
James Brown and Litha Franklin, Dinah Washington, all the great artists,
(20:37):
and they just all had a way of making the
stage feel like they were sort of in a church
and the congregation with the audience. And Don Cove, a
great songwriter. He wrote Chaine of Fools and we wrote
Lights Out together. He said to me, man, if you
can't move your audience, you're not doing your job. And
(20:57):
so I appreciate the accolades, plaudits and kidos. But there
are a lot of great frontmen out there. Mick Jagger
is one of my favorites. Bruce Springsteen is sure knows
how to do this thing. And there's many many rockers
out there that can twist and shout, shake, rattle and
roll and do it too it and get right through it.
(21:19):
But you were asking me about the book, and you
were asking me about how I went about the book
and how I remembered certain things, yeah, and a certain dialogue.
And I am going to have you put you through
a little thing to show you how my process worked. Okay, Now, Bradley,
can you remember your first real romantic kiss from somebody
(21:44):
that you really desired, that wanted, that you thought about
for a while.
Speaker 2 (21:49):
Do you remember it?
Speaker 7 (21:50):
Well?
Speaker 3 (21:50):
The closest icing comes to that is, I do remember
a kiss out and back of Jerry's Shop and Save
in Rochester, O Hampshire.
Speaker 4 (21:58):
Okay, so we'll count you remember the time and the
place yep, that's right, And you remember the lady's name.
I assume a little lady, right yep? Okay, So you
remember probably a gal or you know, a young girl?
Speaker 2 (22:14):
Correct?
Speaker 4 (22:14):
How old were you?
Speaker 3 (22:15):
I was in high school? Probably maybe freshman in high school.
So what's what's that?
Speaker 4 (22:22):
Okay, fifteen, so you're okay, so you're around fifteen. I
guess yeah, Now the two year back there, and there
had to be some kind of conversation going on. You
didn't just walk up to her and go, you know,
throw your lips on her. There had to be some
lead up. What what do you remember as being the
(22:43):
lead up to that first great romantic kiss?
Speaker 3 (22:47):
I can't remember. I'll be honest with you. I can't remember.
I could make something up, but I can't. Maybe that
must not have been the great romantic kiss, otherwise I
would have remembered.
Speaker 4 (22:58):
Well, okay, what was the nextural the kiss?
Speaker 3 (23:01):
You know, I don't think I said anything. You know,
when you kiss somebody, you don't really say anything, right,
You just kind.
Speaker 4 (23:06):
Of well, well, but but you don't just walk up
to somebody and kiss them. You gotta have some Let
me help you out. You might need to move a
Google take logical.
Speaker 3 (23:18):
Maybe I was doing it wrong. I was probably doing
it wrong.
Speaker 2 (23:21):
You're gonna walk up to somebody and give my nice
big roman to kiss.
Speaker 3 (23:24):
You gotta have some, Okay, I say, you know what,
we've been hanging around a long time, and I think
it's I think it's, you know, time to move beyond
the friends stage. What do you think? And she she
leans in, and I lean in and and uh, there
you go. That's that's what it would be.
Speaker 4 (23:43):
Okay, So you just recreated that moment, and you would
say that that conversation was pretty close to the way
it probably happened, right right, All right, Well that's how
the book was done. Okay, but I think I might
have most swave.
Speaker 2 (24:02):
How do juggle with you?
Speaker 4 (24:04):
But that's that's basically for people who a lot of people,
you know, wonder how somebody you know does write a book,
and a lot of people are always interested in writing
the book.
Speaker 2 (24:14):
And that's basically the way it is. Is you think about,
you know.
Speaker 4 (24:18):
An event, and you just trying to put down what
you can remember. Be it your first baseball game, be
it your first high school dance, being the first time
you had a you know, major breakup with with somebody
that you really cared about, being the first you know,
things like that, and you put that together and you know, one,
(24:40):
one little anecdote leads to another, right, And that's what
I tried to do in the book. That's how I
at least that's how I did it.
Speaker 3 (24:47):
I think I read. I really remember the rejections. I
remember those conversations much more a cute right, let's hear
it all right, I'll tell you there was one girl.
She was so hot, she was the hottest girl in
all of the in the whole school. And I decided, Okay,
tonight at the football game, I'm going to put my
arm around her. I'm going to make her mind. This
is the big move. And I put my arm around her,
(25:09):
and I thought, we'll find out the deal.
Speaker 4 (25:10):
Right now?
Speaker 3 (25:11):
Are we getting out of the friend zone? And she
didn't say anything, She didn't recoil in horror, she didn't
do anything. But then a little while, this is a
terrible rejection, by the way, in a little while she left,
never came back. I went walking around the track at
the football game to find her, and I found her
hiding behind her friends to stay to hide from me.
It was a terrible rejection. I was so such a shameful,
(25:35):
you know thing, and I was. I remember every second
of that burning failure. It was terrible. So that's what
I remember with the failure.
Speaker 4 (25:44):
You see, but that you could fill up three or
four pages with that right there.
Speaker 3 (25:48):
Yeah, it could, I could. I could fill it out
even more. How I was crying. I actually cried on
the bus home. It was terrible. Can you believe that
I shouldn't even tell it? I tell you, I can't
tell you. I shouldn't tell you. I was like boohooing
on the bus on the way home.
Speaker 4 (26:04):
Well, I had a similar situation, a little different, and
I was taking Bennie Jacobson on a date. I love
Bennie Jacobson. I had the hots of Bennie Jakobson. Man,
she was something else. And we went I took it
to the movie and the movie was Breakfast at Tiffany's
and the theme Loo River starts coming in and Audrey
(26:28):
Heppens on the fire escape. She's singing you know Loo
why Now on her guitar. And I moved in close
to Benny Jacobson and I start putting my arm around her,
and I'm just about to go for my first kiss,
and she turns to me and says, Peter, I think
I want to let you know I'm seeing some guy.
(26:50):
Some guy said yeah, and he's thirty two years old.
Now we were all sixteen.
Speaker 2 (26:54):
I go thirty two years old. Well you crazy?
Speaker 4 (26:58):
And she got up and left, And every time I
hear I see Breakfast at Tiffany's, I could remember the
exact moment, sitting with Benny Jacobson, riding in that seat
as she walked out and left to meet her new
or more.
Speaker 2 (27:16):
But then I think about it, that's kind of strange.
A sixteen year old girl back then going with a
thirty two year old guy.
Speaker 4 (27:23):
Something was going on.
Speaker 3 (27:25):
Yeah, those are the that's the stuff that makes life.
That's real, true life right there.
Speaker 4 (27:30):
And fortunately I can hear moon River, Whi's one of
my favorite songs without thinking of Benny Jacobson. But it's
always the movie, especially the scene with or heppern on
the fire Escape playing moon River, that always brings back
to that exact moment.
Speaker 3 (27:45):
So did Benny ruin the movie for you? Pretty much?
Speaker 4 (27:48):
Well? I wasn't too much into the movie because I
kept trying to think of how am I going to
make my move? I'm Benny Jacobson, how am I going
to do it? And my arms slowly like yours, lid around.
Oh god, you know, and I was just way I
thought this was the romantic moment Moon River you know,
being sung by Audie Hipburn.
Speaker 2 (28:05):
It'll be our song forever. Well, I was completely wrong
about that.
Speaker 4 (28:10):
Trials and tribulations and who knows.
Speaker 2 (28:12):
So there you go.
Speaker 3 (28:14):
All right, let's take a call from Harvey Silver, the
famous Harvey silver Glade. I don't know if you know him,
but he's a famous weed. If this is the Harvey
silver Glade, I know he was a promoter of marijuana
long before everyone else was hot. Harvey, How are you.
Speaker 2 (28:33):
Good, Peter? How are you?
Speaker 3 (28:35):
What's going on? So had Peter Wolf?
Speaker 2 (28:37):
Harvey.
Speaker 4 (28:38):
I am so glad you called because you have just
reminded me of one of the greatest faux pars that
I could have done. You should have been the first
on the list, and you were on the list to
get a book, and I don't think I ever did
I send you one or not?
Speaker 2 (28:55):
You did not, But I bought the book and I've
read it and it's a fabulous, fabulous photo biography.
Speaker 4 (29:02):
Well, thank you, Harvey, but I'm going to have to
still send you a personalized copy because Harley's wife, the
late great Elsa Dweffman, was a fantastic photographer. And if
people remember these beautiful, great big polaroid prints that covered
Harvard Square at one time. And Harvey, I was going
(29:23):
to get in touch with you during the writing of
the book, because Harley Elsa took one of the most
amazing photographs of Bob Dylan.
Speaker 2 (29:34):
And it's a.
Speaker 4 (29:34):
Photograph that she was the only one allowed backstage if
I'm getting this correctly to the war of the review.
And there's an amazing photograph she took of Bob Dylan
teaching Alan Ginsberg accords.
Speaker 2 (29:51):
To some of his songs. And it's called the Music
It's called the Music Lesson.
Speaker 4 (29:58):
And it is, you know, an iconic decisive moment of
a photograph. Bob, you know, and Alan are so deep
into concentration and only someone as gifted as Elsa could
have captured that moment. And uh, Harvey sent me a
beautiful print of that uh, and I treasure it and
(30:18):
framed it and it's hanging in my music room. And
thank you, Harvey.
Speaker 2 (30:23):
How are you good? I'm writing a biography of Elsa? Ah? Well,
if you need my help, I'm always here. I will
I will interview you for it. You you knew her well,
you were at a memorial program. If I recall.
Speaker 4 (30:42):
She was beloved by so many musicians, you know, uh
that people like Jonathan Richmond who who loved Asa Brennan
and uh, you know, William Queskin. The list is just
you know, goes on and on and on, and you know,
of course Alan Ginsburg and all that whole crew.
Speaker 2 (31:03):
And she was.
Speaker 4 (31:06):
An amazing person. And she had one of the few
people that had one of the largest polaroid cameras. Is
that correct, Harvey?
Speaker 2 (31:15):
Yes, there were five of them in the world, and
she had one of them. It turned out contact prints
that were twenty inches by twenty four inches, and you would.
Speaker 4 (31:27):
She would put you in front of it, and she'd
get ready and then click and that was it. There
was no price, no nothing it.
Speaker 2 (31:36):
It was basically that that moment.
Speaker 4 (31:41):
And that's why I loved the Dylan photograph so much.
It's a real treasure and I really thank you for that.
Speaker 2 (31:48):
Harvey. Will you were you ever taken did elsoever take
your photograph?
Speaker 4 (31:53):
She took my photograph actually three times, she took it,
once with Fayan myself, once with just myself, and once
with say William Alfred and myself.
Speaker 6 (32:06):
So I have.
Speaker 2 (32:10):
I donated twelve thousand of the Prince tot and four
hundred to the Museum of Fine Arts. Oh, but I saved.
I have one of Fay and William Alfred. Well, that's
a great one. I know that one. That is a
great photograph. I love it.
Speaker 3 (32:28):
Harvey, thank you very much for checking in. I've I've
got a scoot now, but thank you so much.
Speaker 2 (32:34):
I'll get in touch with you.
Speaker 3 (32:36):
Bye bye. Peter will get in touch with you. In
case you didn't hear that out there more with Peter
Wolf on w b Z.
Speaker 1 (32:43):
In a moment, you're on Night Side with Dan Ray
on WBZ, Boston's news radio.
Speaker 3 (32:50):
That is correct. We're here with Peter Wolf and we're
talking about the new book Waiting on the Moon. Artists, poets, drifters,
drifters and goddesses. When's the last time you went into
a bookstore. It's fun it out and this is a
great excuse better than buying it online. Go in the bookstore.
Feel that feeling of a bookstore. When's the last time
you felt it. We'll take some more calls now, and
I have to tell you I have to be I'm
(33:11):
a little bit more strict on the time, so kind
of get right to the point. There's so many people
waiting so long. I apologize for that. First we go
to Lisa in Boston and I think this might be
Lisa Traxler WBC and DJ AM.
Speaker 6 (33:23):
I correct, Hey, it is hi Bradley.
Speaker 3 (33:25):
How are you to Peter?
Speaker 7 (33:28):
Hey, Peter, how's it going?
Speaker 4 (33:30):
Very good?
Speaker 2 (33:30):
Lidia good.
Speaker 7 (33:32):
I wanted to say first, all Brad great to hear
you back on the air. That I have to say
at first, And then congratulations on your book, Peter. I
think it's awesome that you got it out. You're a
man of so many talents. You know, your music, everybody
knows your art is fabulous, but the people in Boston
are really lucky that you're also an awesome radio DJ.
And I wonder if you talk about that a little
(33:54):
bit how you got into that. It's pretty much youth.
Livestone and Tom Petty are the only stars that are
also DJs, So I was wondering if you could.
Speaker 4 (34:02):
Talk about that nice, Oh thank you. Whalen Jennings was
a DJ too. There's actually quite a quite a few
artists that were DJs. But I got into it by accident.
A fella that ended up buying a radio station called
WBCN used to come into my little apartment in Cambridge
(34:24):
after the last call and actually pass out on my
little living room floor.
Speaker 2 (34:32):
And one day he asked if I wanted to help
him buy a radio station.
Speaker 4 (34:36):
I didn't have ten cents to my name, and so
he said, well, you got all these records, how about
helping me out and becomeing, you know, be a DJ
on this. So the first night that WBCN became Rock
and Roll, I am Mississippi Harold Wilson. We were the
first DJs on the air, and I became from ten
(35:00):
o'clock to I think it was two or three, and
then from midnight to five six in the morning, I
had the Whoop a group of Mama Tufi show and
I played everything and it was great. I loved being
a DJ, and I loved my anniversary shows with Chachi Lapette,
who has a great show on another Dial Beatles show
(35:22):
in the morning on Sundays. I always try to stay
up all night so I could listen to it. So
being a DJ is a thrill. And I also enjoy
so much the phone calls and I actually got to
interview so many people. I interviewed Muddy Waters, Johnley Hooker,
I interviewed Jeff Becken, Rod Stewart, I interviewed Carls, Thomas,
Rowland Kirk. You know, it just was amazing all the
(35:47):
people that came to the Boston Tea Party in those
years would stop by the radio station. So unfortunately, people
like Van Mahs and things, I didn't have tape. We
didn't have we couldn't afford tape to stay, so none
of those interviews were taped, so they're out there somewhere
out in the atmosphere.
Speaker 2 (36:07):
Yep.
Speaker 7 (36:08):
Well, it's great to hear you only on the air
right now, and congratulations on the book again. And it
was really fun to do those annivers for shows of
you all those years for us at BCNS.
Speaker 4 (36:19):
Great to hear Bradley back on the air.
Speaker 3 (36:21):
Thank you, thank you, Lisa.
Speaker 6 (36:23):
Yep, bye bye bye.
Speaker 3 (36:24):
Speaking of WBCN, now you you were right there day one, right, Peter.
This a common friend of ours, David Bieber, pointed out
that this is a certain symmetry because you did the
first basically the first show ever at WBCN.
Speaker 2 (36:38):
No, no, not the first show.
Speaker 4 (36:40):
I was on the first night, first night, first show,
first show to my memory was Mississippi, and he did
the first show and I followed Mississippi, and then following
me was a gentleman called crazy Al.
Speaker 2 (36:54):
Al Perry and that was That was the first day
of the lineup.
Speaker 3 (36:58):
So you were there on the first day and the
symmetry comments because I was there on the last day.
I did the very last show.
Speaker 4 (37:04):
Ever.
Speaker 3 (37:04):
Think of all all the stuff that went on in
between those.
Speaker 2 (37:08):
Two shows, and what was the last record you played?
Speaker 3 (37:12):
The last record I played was shine On You Crazy
Diamond Pink Fluid.
Speaker 2 (37:18):
Oh wow? And why did you choose that one?
Speaker 3 (37:20):
Because it was tough because it had to be something
for everybody, not just me. It had to have a
certain gravitas, and it had to have a message that
was appropriate. Like BCN was a Crazy Diamond and it
was like, yeah, we're blinking out in one way, but
in another way, we're going to shine on.
Speaker 2 (37:41):
Well, that was a good choice.
Speaker 3 (37:43):
So also regarding the DJ thing, we have another thing
in common. We both understand the intensity of doing overnights.
It's a hard and you work harder than anybody on
the air and you're doing like through the night.
Speaker 2 (37:59):
So well.
Speaker 3 (38:01):
I get that, and because of that, we have really
tight relationships with the listeners. So I want there's a
certain story I want you to share, and it has
to do with well, I'll leave that mystery. Pete's gonna
stay with us a little bit longer. But is it
time to say okay? All right? More in a moment
with Peter Wolf,
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