Apple Daze
(Tommy Evans interview, Late January 1983)
last update: June 16, 2023

Note: This interview was conducted under a tree in the backyard of Tom's house.

TOPICS:

pre-Iveys

Glenn A. Baker: The earliest I know you from is The Iveys, but is there something before that that I should know?

Tommy Evans: No, a band called The Calderstones from Liverpool; the local mod band in Liverpool. Apart from that it went straight to The Iveys. Five years on the road in England in a transit van, and then we met The Beatles and recorded "Maybe Tomorrow."

signing with Apple

Glenn A. Baker: That's jumping quite... How did you meet The Beatles? I mean, how did you get signed to the prestigious Apple label? How did that happen?

Tommy Evans: Well, it was during a period... we were always interested in songwriting. We all lived in Golders Green in the same house. Had a small studio there with Revox tape recorder. That was the first... to be able to overdub voices on one tape recorder was the amazing thing for me. That's why I left Liverpool for London and give up all the background I had in engineering and all that bullshit. So, we had about 500 songs on tape. We'd go and play on the road, come back home at night and go in the studio and make a [unclear]. And we were looking around at publishers, record companies. Dean (Ford) out the Marmalade wanted to do things with us. There was a lot of interest in the band and Paul McCartney's dad used to place in a dance band and this manager we had, Bill Collins, used to be in a rival dance band in Liverpool in the '30s, so he knew McCartney's dad, and he said, "I think they'll go down to Abbey Road..." I think they were making probably Sgt. Pepper... they were all out of their heads on acid or whatever, you know... and this old grey-haired guy goes in there smoking a pipe - he gets into EMI somehow. He says, "Paul?" And he says, "Yeah?" "My name's Bill Collins. I used to play... I used to be in a rival dance band to your dad's, you know." This is this guy out of his head on acid and... but anyway, the guy took the time to talk to him about the old days, you know, and he told Bill that they were forming a record company, send us some tapes. So we just put a big box of tapes... 500 songs in a box and sent them to Apple. But that was before Apple just actually started. It was in I think Baker Street then. I think they must have gone through one tape and McCartney came back and said, "well, yeah, I like the ideas and everything but there's no singles there, you know, keep on." So, we just carried on doing what we were doing. And in the end it was Lennon actually who said, "yeah we'll sign..." Lennon and Harrison said, "we'll sign them." So, we were on the label for about a year before we had anything out.

The Iveys LP

Glenn A. Baker: Well, in fact, you did an album that was only ever released in Italy.

Tommy Evans: Yeah, what we were doing was just recording loads of tracks trying to get the single, you know. A lot of them were very inferior quality. A lot of people said they like that album, but some of it's very naff.

Glenn A. Baker: I like it. I think it's a lovely pop album, very bright and unpretentious. It's been pirated so well that you can now buy copies of it anywhere.

Tommy Evans: It's got a lot of tracks on there that are really embarassing to me, the pirate... the European version.

Glenn A. Baker: Well, that's the only version. There was only a European album, wasn't there? Italy was the only country to put it out.

Tommy Evans: A lot of the tracks went on Magic Christian, but some of the things (sings "I'm In Love" badly). Some of the things are really BAD.

Glenn A. Baker: Well, apart from the Italian album, how did you finally grind into action on the Apple... and apart from the Maybe Tomorow single?

Tommy Evans: We had Maybe Tomorrow and I always remember Paul coming down the stairs of Apple saying, "I think you've got a hit record there." We went in and played it to... Tony Visconti was producing at the time and we played all the back tracks that we did. It was a great period that. We were doing it at Trident, and McCartney came down one night. It was kind of our first recording experience with him. We were doing this one song, and the bass player at the time, Ron Griffiths, did this kind of monologue over the top of it, and it really... looking back on it now, it wouldn't have stood up to the test of time, you know, 'cause it was a like a joke thing. McCartney came in and said, "you know, boys, I don't think you really should leave that on there. You're gonna... ten years time, you're gonna listen to that and you're gonna think... you're gonna say, 'did I do that'."

Hey Jude

Tommy Evans: Anyway, he went down the basement in the studio, got on the drum kit, tried the kit, you know, the sound out and whatever. He got on the piano and started playing this song. He said, "I've just been to John's." He said, "he didn't like this song. I've been working with him... really weren't getting anywhere with it, so, I don't think we'll use it, but what do you think of it?" And he... It was like (sings: "Hey Jude, don't make it bad") and he was doing all the (sings drum bits)... all the drum bits, and at the end of it he said, "what do you think of it? Do you think it's any good?" You know in the McCartneyesque type way... the innocence that he has in his eyes. We were just like young kids, going "what can you say?"

Come And Get It

Glenn A. Baker: Although you said it was Lennon & Harrison's choice to sign the band, McCartney was closer to you, wasn't he? I mean, he...

Tommy Evans: Well, he was the one that...that got The Magic Christian Music, you know. The film for that was out and he said, "look, I've got this song; I've been asked to do the film and I really don't have the time. Do you wanna do it? You know? Here's the song." And it was Come And Get It and it was demoed with him playing everything on it, and we just... "just copy that, the way it is, and I think you'll have a hit with it." You know? So, we all learned all the parts on it, you know. We did it in about 3 hours.

Rock Of All Ages

Tommy Evans: And, uh, then we went on to write the rest of the music for the film. Um, there was one, there was one, uh, scene in it, it's like a disco scene in it where they had, I think it was... Respect , maybe, Aretha Franklin singing Respect; it was like a soul thing, anyway, and we had to cover that in the film with what... with our song, and we really didn't know what to do with it, to do a soul song or whatever, you know. Anyway, the time for the recording of it came, and we're all sittin' around there NOT having a song together, you know. We had a soul-type song together, and he says, "what have you got, lads?" McCartney comes in, "what have you got?" Well, we don't really know. And he says, "what do you mean? What do you know that's exciting?" And I said, well, I can do Long Tall Sally in G. And he goes. "G, eh? Okay, then." So, we just made a song up like Long Tall Sally in G. And we didn't know how the tune was going to go. We just played a back track, you know? And that was probably the... one of the best pieces in my life, that, one of them, when we come to do the tune over it and I was floundering 'cause I didn't really know how the tune was going to go, and so he sang with me. We just kinda both made it up. And there was a great take of me and him singing, that was... I said, you've got... you've got to use that on the record. Please use that on the record! He says, "No. You go down and do it proper now, you know." Uh, Rock Of Ages. [sings: Takin' all my money...] It's the B-side of Come And Get It.

Glenn A. Baker: Well, I presumed as much. I just wanted to...

Tommy Evans: McCartney's playing the piano on that, actually. There's a lot of good fluff bum piano notes on that if you listen to that record, if you've still got one.

Maybe I'm Amazed

Tommy Evans: After that session, as well, he played us another song. He said, "I've just written this song last night (sings: "Maybe I'm Amazed at the way you love me."), and he played that one. So, then he asked again, "what do you think of that?" He was having a lot of troubles with Lennon at the time; the phone was going all the time; a lot of swearing down the phones and things.

getting rid of the Junior Beatles tag

Glenn A. Baker: You must have found it very hard as a band to escape that junior Beatles tag, being on Apple and having Paul write your first big hit.

Tommy Evans: Yeah.

Glenn A. Baker: Was it difficult to assert yourselves as a band after that?

Tommy Evans: Well, it was the time of the early '70s, the time of heavy, heavy Rock music, grow you hair, take dope, and be out of it on stage. So, we went through all that period, and I think that's what basically degenerated the band. We lost that ability to just write simple Pop songs, and we got into blowing and jamming onstage. It kind of lost its identity. The band got a lot better for it, you know, but I think from there on out, purely because we were trying to get rid of that Beatles tag too, I mean that's why we went that direction, you know, but I think it was a big mistake to do that.

Glenn A. Baker: Along the way, there were some stunning singles. I mean, in retrospect it seems quite the opposite. It seems that while everyone was going heavy and that you guys remained very bright and very fresh.

Tommy Evans: Yeah.

Glenn A. Baker: Maybe it's different from the outside than the inside.

Tommy Evans: Yeah. On those American tours, it wasn't so bright and fresh. I mean, some of the situations you used to get in there. We used to arrive at some college town, and everybody would be out of it on mesculine. So, "okay, we'll take some mesculine." Everybody's just... the whole place is out of it. It kinda does something to your brain, all that stuff. It doesn't do you any good.

No Dice

Tommy Evans: Well, "No Matter What", for instance was... we had that in the can for a year. That and "Believe Me", because after we had "Come And Get It" out, they said, "well go on, do another single." So we did "Believe Me" and "No Matter What" and presented...Allen Klein had taken over then... presented it to Klein and he said, "I don't think it's a single. Go and carry on." And we said, "it IS a single." So that was there for a year. And in the end, we'd done the same thing again as we did with the first album, just a load of disoriented... you know, tracks that weren't any connection with each other, in an attempt to get a single. And in the end, Klein said we'll put that out as a single (No Matter What) after making the whole album, finishing it, and more or less producing it ourselves. We really produced that second album ourselves.

Glenn A. Baker: And then, he had to eat his words.

Tommy Evans: No, well, he wasn't the type of man to eat his words.

Glenn A. Baker: No (laughs).

Baby Blue

Tommy Evans: "Baby Blue" is about Peter's infatuation for this girl who lived in Arizona... is in his acid days. The first time we ever went to L.A., we drove across the Arizona desert, you know, all on acid...and he fell in love...we picked this girl up...actually he fell in love with her on the bus (laughs), and he wrote a song when he was in L.A. about her.

songwriting credits

Glenn A. Baker: I suppose Badfinger will live in "legendary" status. "A", because you were different when everyone around you was going off in another direction. Regardless of what you think, we think you were quite bright and fresh, but there were little touches there that were very clever like the songwriting credit was always "Tom" and "Pete"...

Tommy Evans: Yeah. That was corny.

Glenn A. Baker: Why did you use first names on all your songwriting credits?

Tommy Evans: I don't know. It's just 'cos we were naive, you know. That's a guess.

musical influences/Cavern Club experiences/growing up in Liverpool

Tommy Evans: It was a kind of dogma about the early Beatle thing. It was, you know. Let's face it. I mean, now, looking back on it, I can tell you the truth about it. People would ask us who's your favorite bands, who's your biggest influence. We said, oh, The Band and Leon Russell, you know, anything but The Beatles, because it just wasn't the thing to say. But now looking back on it, I'm proud of the fact that we were identified in that way, and it's kind of an honor.

Glenn A. Baker: You came from Liverpool like The Beatles. Did you feel a certain identity with The Beatles because you were fellow Liverpudlians?

Tommy Evans: Yeah. I mean, they were the first band I ever saw when I was fifteen. We used to snitch off school in the dinner hour, you know. Someone had told me about this place called The Cavern. So, it was like a penny bus ride to there, and I went in there. I've still got my card. It was like a shilling to join. They were the first live band I ever saw in my life. I was into the Everly Brothers, Buddy Holly. So, I was into records and music. And I saw this band, they were playing "Red Sails In The Sunset". It just hit me like a brick. It just hit me. I mean, I saw all the other Mersey bands after that, but The Beatles were the ones. They really were. The Big Three were there and The Searchers would play... Gerry & The Pacemakers, but The Beatles definitely had something. Definitely had something.

Glenn A. Baker: What? What was it that was so invigorating?

Tommy Evans: Vitality, humor, songs... I mean, I didn't know perhaps a third of the songs they were playing were their own: "P.S. I Love You", and "Love Me Do". They never played "Please Please Me". They used to do "I Remember You", Frank Ifield.

Glenn A. Baker: It's on their "Live at Hamburg" album.

Tommy Evans: Is it?

Glenn A. Baker: They did some very odd things.

Tommy Evans: A lot of Country & Western infuence there with R&B stuff. I always remember Lennon singing "Mr. Moonlight". I mean, I didn't know what a PA was in those days, but this voice coming... it was amazing. It got really packed in there. I just started going just before when they came back from Hamburg the second time. It started getting really crowded in there. It got ridiculous in there. It was people on people's shoulders and you were just standing, you know, your hand on a... (laughs) your hands were everywhere, people... and it was just sweat. The place stunk.

Glenn A. Baker: What was it like growing up in Liverpool, which we now see as one of the most musical cities in the whole world at that point? What were the influences and what was the musical environment like growing up in Liverpool?

Tommy Evans: There were loads of clubs and loads of bands, and the competition was amazing. The musical environment was... well, everyone had those old records. Everyone copied all those Coasters hits, The Shirelles... As everyone knows, they just come from the dockers, from the people off the ships. To me, I don't know really, because I was just there, living it. I'd never been anywhere else, so I can't really quite... I mean, it's like looking at the Rock scene today. I wouldn't really know what that's about.

Glenn A. Baker: But was there an impetus to play music, for young people to get into music?

Tommy Evans: Well, yeah. Liverpool's a kind of musical place. I remember from the age of five, my mother has about six or seven sisters and brothers, and the grandparents had these parties every Saturday night. There was thousands of cousins and everybody had to do a turn, as they call it... All my mother's sisters, they all played piano, so each one of them got up in turn and played the piano, and they had their sons or daughters do a tap dance. I started off on the mouth organ and graduated to a ukelele. Some people who weren't musical they would do magic tricks or stand on their hands for ten minutes. Anything, just to entertain. Every Saturday, you had to have a new set together (laughs), you know? And I think a lot of families were like that. There was a lot of singing in pubs. You'd hang outside the pub steps, and your parents would go for a drink on Saturday afternoons. It would be rocking, everyone in the place would be singing. So, I really don't consider that. It is part of my background. I mean, there's nothing I like better than to, when I'm at a party, get a guitar out and have a sing song. It's great. I love it. And that's, I think, where it's the Irish and all the Liverpool people... it comes from Ireland (laughs), you know.

choosing the name Badfinger

Glenn A. Baker: Where did the name Badfinger come from?

Tommy Evans: It came from a tree (laughs). It was just a... I think, um... The Beatles had, uh... It was "Lady Madonna", had "Lady Madonna" out, and that's from an old Humphrey Lyttleton record, called "Bad Penny Blues", and which is a direct rip-off of it. Neil Aspinall said, "what about Bad Penny?" Someone must have been saying, "Doesn't that sound a bit too much like that song". So, it must have been on everyone's consciousness, and someone said "Badfinger", and "okay, it's as good as anything". 'Cos we used to come out with lists and lists everyday. Everyone had to write a hundred names out, you know, it was like being in school (laughs). And then we'd give them to Derek Taylor. We'd hone them down to twenty every day. "What'd you think of that?" He said, "oh, that..." I mean, since then, there's so many names come out of those lists we had.

Glenn A. Baker: You had the supreme honor of Derek Taylor wrote the liner notes on your first Italy-only album (laughs)!

Pete Ham's tragic end

Glenn A. Baker: Strong success, couple of giant hits, tragedy stuck with the death of Pete. Perhaps, you could tell me about that?

Tommy Evans: Well, Peter moved in a house just up the road from me. We used to work quite a lot together upstairs, just writing. And it was coming to a state. Joey was getting dissatisfied with the management situation and I'd, two albums previous to this time, I'd found out we were getting robbed really bad, you know? And I just overlooked it. I just felt, well, the best thing to do is just carry on, you know? But Peter is the type of person who, if he put his trust in someone, he would feel humiliated if he was wrong. He was a very stubborn type of guy. We were sitting around one night playing guitars, actually, it was my birthday, and we live on the river here, and Marianne had bought me a dinghy for my birthday. It was like 12:30 at night. Peter bought a bottle of scotch, 'cos at 12:00, it would be the birthday, so we were drinking away, and I said, "let's pack it in, now." We were upstairs. Meanwhile, downstairs, Marianne's blowing this dinghy up, trying to make it a surprise. Anyway, he wouldn't let me down. Comes 12 o'clock, the dinghy's there, and we take it to the bottom of the garden there. Just as this joke, he just falls in the water instead of... pretending he's going to go in the dinghy, he just falls in the water. I said, "there's something wrong with this guy. He's going..." So, I talked to him later. I said, "what's on your mind?" He said, "well, this situation, I don't think is very good." I said, "well, everybody knows that. Just waiting for you to realize it." So, he said, "I think I wanna do something about it." So, I phoned the manager up, or it was the vice-manager kind of thing, who was more aware of what was going on. And he said, "yeah." He was gonna leave this manager that we had. He said, "yeah, you're getting robbed. I was advised to leave." This was spoken directly to Peter. So, the next night, it's like 10 o'clock. He said, "let's go out for a drink. I've decided." So, we go in the pub up the road there and the English closing hours close at 10:30... last drinks. And he'd drunk about ten scotches in that time. And I said, "look, what's wrong?" He said, "well, I've decided. Let's go back to your house and call this guy up and tell him it's all over." So, we came back and talked some more, and he phoned him up. The guy, more or less, said, "you're in too deep now. If you wanna get out, you try it." So, it was down to a whole band situation getting together and try to figure it out. So, I dropped him off about 3:00 in the morning and tried to write a few songs. And the last thing he said to me was, "I'll see you again." At 5 o'clock, his wife gets on the phone to me, screaming, "Peter's dead!" So, I went there and she hadn't phoned the police, and that's all I know.

Glenn A. Baker: I'm sorry.

[tape stopped]

Tommy Evans: I just gave up, just packed in, 2-3 years.

Glenn A. Baker: That essentially dissolved the band.

Tommy Evans: Yeah.

Glenn A. Baker: Although the band under Joey does still sporadically, occasionally exists.

Tommy Evans: Yeah.

Glenn A. Baker: Recorded for Warners and did things like that.

Tommy Evans: Yeah, I did that with Joey, but basically blew it all up. Joey was on the way out anyway 'cos of the situation that we were involved in. It just put me right off the music business, totally. But after a few years, I realized, well, you know, Peter didn't stop anything. He didn't change anything. So, what the hell. It's gonna carry on, anyway. So, I might as well get back in the rut. Well, not the rut. Join it again.

who ripped off Badfinger?

Glenn A. Baker: Was it Apple that ripped you off?

Tommy Evans: Apple didn't rip us off. No. I mean, Allen Klein might have done. We got paid from Apple, but it all went to this [unintelligible], who used to pay us 1000 dollars a month.

Glenn A. Baker: Each? And pocket the rest.

Tommy Evans: Well, when you'd ask for statements... where's my money? He'd say, "what do you want?" So, I started demanding things. I said, "well, I want a house. I want a Porsche." I thought, I'm never gonna get any hard cash to do with what I want, so I'll just keep demanding things.

Glenn A. Baker: Did you get the Porsche and the house?

Tommy Evans: Yeah. I crashed it. I got the house. Yeah, it's right here.

Glenn A. Baker: This is... Badfinger bought this house?

Tommy Evans: No. I bought it. Everybody else was like... Joey was too interested in buying stuff on his credit card. He got a gold... You know, treated like kids, total kids.

the Concert for Bangladesh/working with Bob Dylan

Glenn A. Baker: How did your relationship with McCartney, or with The Beatles themselves fare after that initial burst with, yeah, The Magic Christian?

Tommy Evans: Well, it was good because after that then Harrison took an interest, you know. We did a few things with him and we played on his All Things Must Pass thing. We played Bangladesh. There's another...

Glenn A. Baker: Yes, of course, I've gotta ask you about that too.

Tommy Evans: ...big performing.

Glenn A. Baker: Why don't you tell me about the Bangladesh concert, uh, uh, about...?

Tommy Evans: Well, that was funny because they -- we played acoustic guitars on most of the tracks on All Things Must Pass, and they said, take the Badfinger boys over with us, you know. We did -- they couldn't hardly hear us [laughs] those things, you know.

Glenn A. Baker: What was the concert like? What do you remember about the concert?

Tommy Evans: Well I remember, I remember the week before there was a rehearsal period and George was phoning all over the place trying to get the people. There was only Klaus Voorman, Ringo, us [Badfinger], um, and Jim Keltner I think was there. So there was really, no, you know, there was all these hearsay reports, oh, Dylan might be coming or Lennon's coming, you know... Anybody and anybody's gonna come, but as the week went on, no one was turning up, you know, and it was like -- it came to the -- the sound rehearsal at Madison Square and , and uh, there was still the same five or six people that started the whole week -- and Clapton was supposed to be coming, that's right. And at this rehearsal -- it's the day before the gig, everyone was getting really cold feet ---well George was. And after we did all those those things that we rehearse, and then George said, "let's get Bob up now." And Dylan had been watching -- he'd arrived, and then -- that was one of the greatest things in my life, that, just um -- I was sitting with, uh, Ringo's wife in Madison Square Garden while Dylan just went through -- he must have gone through about 20 or 30 songs to find out the ones he was gonna play on there, you know. And he remembered the words to all of them, you know, remembered the words to all of them. It was amazing.

Glenn A. Baker: What was he like to work with backstage and...? I mean, did you actually play during -- during his performance?

Tommy Evans: No, no. It was -- that was very elite, that. There was a lot of, um... I don't know whether I should mention -- a bit of backstabbing going on there, because, um, Klaus Voorman was playing bass and Leon Russell said, "I'll, I'll do that." You know, and it was a kind of uh, little bit of tense moment there... And then, before the gig, me and Pete were just having a blow on acoustic guitars in the dressing room, heads down, you know, going away there and another guitar joins in and it's Dylan playing along and it's like -- uuh, and I just froze, and he says, "No, carry on. It's good, you know." And that was uh, I don't know -- you get starst--, you know, you get awestruck by things like that. To me, Dylan is one of my biggest heroes, you know.

Glenn A. Baker: I think there's not many people left in Rock you can get awestruck by, but if there is anybody left, it's Dylan.

Tommy Evans: Yeah.

Glenn A. Baker: Eh...

Tommy Evans: I mean, just those words he said -- the words he's -- the statements he's made, uh -- come from somewhere else, you know, something...

Glenn A. Baker: Oh...

Without You

Glenn A. Baker: Let's talk about the song. Let's start with the song. I mean, a contemporary standard.

Tommy Evans: Well, it was two bits of song. It was Pete's idea to stick it together. The bit I had was like "Help!" In essence, the chorus bit. He just had this other bit. He said, "we should stick those together." We got in the studio and we were doing it and I said, "I don't like this. It's too corny." I really didn't like it. And that's... if you listen to our version of it, it's kind of... It's earthy, but I mean, I'm not really trying on it. I just disregarded it. Then we were working with Todd Rundgren in AIR Studios... we were doing "Straight Up", I think it was. And then Nilsson comes in, and said, "I've got this song I want you to hear." I didn't know. I knew who Nilsson was, but I didn't know him personally. He come in and introduced himself, and he took us to the mixing room. He said, "I want you to hear this." And then he played "Without You". That really showed me what you can do with a song production-wise, and with a good singer (laughs). It just blew me away. And I said, "well, where did you pick it up from?" He said, "well, I thought it was an old Beatles tune, and I asked Richard Perry to find it for me." He said he went through all The Beatles albums and he was stumped. He said, "I've heard this song somewhere, you know." He had it in his brain. They said, "we started going through your albums, you know, Beatles, Badfinger. Try that." And they found it. He said, "to tell you the truth, we came to England to do this album with just this one song. We didn't have any other songs. We just went 'round publishers and everywhere else. We built this album around this song." I said, "well, I thought it was corny." He said, "well, what do you think of it now!" That's why I don't mind ballads anymore (laughs).

Glenn A. Baker: How many copies of that sold for Nilsson?

Tommy Evans: I don't know. I really don't know. It keeps me in pocket, still. There's still a big lawsuit in Apple. It's made a lot of money since it's been a hit too. All the K-tels and the Classical Pops. It's been on a lot of things.

Glenn A. Baker: How many people have recorded it now?

Tommy Evans: I have no idea. I have no idea. A lot of people have recorded it.

Glenn A. Baker: What are some of the versions apart from Harry's?

Tommy Evans: Well, English people, Shirley Bassey... Someone did it today. Roberta Flack did it the other day on TV. I was knocked out by that 'cos I really think she's a great singer. It was on the Tom Jones show (laughs), and I'm sitting there really depressed, and I'm thinking, what am I gonna do here and Roberta Flack comes on. I said, "That's alright. I'll watch her, 'cos I like her." Then she starts doing "Without You", and I went, "eh!" I felt a lot better. I wrote a song after that. Things like that do you the world of good when you need it.

Glenn A. Baker: It must be a nice feeling to have written a real standard, not just like any old Pop song but a thing that will probably be being recorded in twenty years time.

Tommy Evans: Well, it's a good feeling of longevity. It gives yourself the impression when you're in self-doubt that you can write songs, because it still goes on. People play it on the radio still. You get the local radio here. They have people's all-time top six, and the average housewife will ring in, and that will be amongst them. And you think, "Well, somebody likes it, and let's carry it on, you know."

Tommy's recording plans for 1983 (Goodfinger)

Glenn A. Baker: So, what's in the future for Tommy Evans?

Tommy Evans: Well, I'm just going over to America now to Minneapolis to record with a guy called Don Powell, who just phoned me up last week. We did a tour just before Christmas. It had Donnie Dacus on guitar, Reed Kailing, who used to be in Grass Roots and a band called, Player, and Mike, and Bob Jackson, who was in that Cheetah tour as the keyboard player. He did one album that we made on Warner Brothers that wasn't released. Bob played on it. So, it got quite a lot of note, the tour, 'cos we did it professionally and seriously. This Powell guy had heard throught the grapevine that the band was happening, so much so that he flew over here to investigate. I played him songs that I've had for two years now. Just been sitting writing, no getting any outlet for them. He said, "let's do it." So, I'm going over there to do it.

Glenn A. Baker: Well, that's good news. Who know? Maybe there's another "Without You" amongst it.

Tommy Evans: There could be. I've been writing with Frankie Miller, as well. We wrote a good song together. He's doing an album right now, as well, and he's gonna do three of the ones we wrote. And I've got a couple of songs for Joe Cocker too. I'm approaching it from the songwriter's idea for a change.

Glenn A. Baker: Songwriters make more money than anybody else.

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