• I'll Have Some Of That!

    I’ll Have Some Of That
    The Babys
    Label: Skyrocket Entertainment/All In Time Records
    Release Date: June 24, 2014
    Review Date: June 22, 2014

    Some of the best music to come out of the late seventies was from The Babys. Formed in London in 1974, The Babys were signed to Chrysalis Records on the basis of a four-song video, which predated the MTV era by seven years. Combining the muscular rock ‘n’ roll grit of Free and Humble Pie with a winning commercial accessibility, The Babys released five albums between 1977-1980 (The Babys, Broken Heart, Head First, Union Jacks and On the Edge). During that time, the group toured with the likes of Journey, Alice Cooper and Cheap Trick and built a loyal following based on their spectacular songs and explosive live performances.

    Sadly, the band disbanded thirty-five years ago but their music still lived on through regular air play and CD sales to still-loyal fans. Former members John Waite, Jonathan Cain and Ricky Phillips have all given their blessings to the newest incarnation of the band. Waite continues on as a solo act (read the Boomerocity with Waite here), while Cain is now a member of Journey, having penned a string of hit singles including “Don’t Stop Believing,” the most downloaded song in history (see the Boomerocity interview with Cain here). Phillips is a longtime bass player for Styx.

     Now, after a three-decade absence, The Babys have reformed with original lead guitarist Wally Stocker and drummer Tony Brock to release a new album, I’ll Have Some of That, which is available now on iTunes. With a sound that is both familiar as well as new, Babys fans are going to be thrilled with what they hear and are going to want to hear more.

    “The whole premise is to keep The Babys alive and have a good time doing it," said Stocker about the reformed group, which also includes new recruits, lead vocalist/ bassist John Bisaha and veteran rhythm guitarist Joey Sykes. The band is joined in concert by keyboardist Francesco Saglietti and the Babettes.

    Brock raves about the new members of the group: "John Bisaha is an incredible singer. When we held auditions, we had singers lined up around the block to join the band and John was head and shoulders above the rest." Stocker is equally enthused about his new axe mate: "Joey Sykes adds a whole new dimension to the band and has a style that works well in tandem with me."

    “In recording this new album, we discussed the fact that the songs had to have the flavor of what we were known for,” says Stocker. “It was just a magical process,” adds Brock. “By the time we finished, I knew we had the goods.”

    The randomly chosen three Boomerocity favorites are:

    Every Side of You: The opening song, it grabs the listener by the ears and doesn’t let go until it’s finished, thank you very much. Bisaha’s vocals are of the rails and the guitar work buts me in mind of some memorable riffs by Pete Townshend.  What a great entre to an incredible album!

    All I Wanna Do:  The second song on the album, it’s a beautiful, soulful love song and it just begged to have the repeat button slapped on my player repeatedly over the course of several days.  The lyrics, vocals and guitar work on this tune sinks their hooks into your cranium and stays there forever.

    You Saved My Life: This rocker gets down to the basics of the genre.  If you’re looking for great, captivating, good time rock and roll, this is your song – and from The Babys, at that!

    Watch for the Boomerocity interview with Wally Stocker any day now!


    Facebook: https://www.facebook.com/pages/The-Babys/496421990415013#
    Website: www.theBabysOfficial.com
    iTunes: https://itunes.apple.com/us/album/ill-have-some-of-that/id867887118?uo=4&at=1l3v3ao


  • John Waite

    Posted May, 2012

    johnwaite1If you’ve been listening to rock and roll since the late seventies, then John Waite is no stranger to you. He was the face and voice of The Babys with whom he enjoyed Top 20 successes with their hits, Isn’t It Time and Every Time I Think of You.

    Since those days, John has gone on to a successfully satisfying solo career that last year launched his tenth studio album (on top of two live and two compilation albums). That tenth album, entitled Rough and Tumble, is enjoying radio and, for the last year and continuing, is being supported by a world-wide tour.  Because that tour is bringing Waite to my area of the world (Dallas, Texas, May 8th, Poor David’s Pub), I had the good fortunate to be able to have a phone interview with Waite arranged for me by the promoter.

    Waite called me from his home in Southern California at what I thought would be awfully early for a rock and roller in his time zone. He quickly let me know otherwise.  “No!  No! No! No!  That’s a myth!  I leap out of bed when the sun comes up!  I do!”

    We cut right to the chase by talking about John’s Rough and Tumble tour.  He said of the tour, “It’s been great! We’ve been on it for a year. We’ve been all over Europe and all over America. For the first half of it we were joined by Matchbox 20’s guitar player, Kyle Cook. We have a number one single on radio with Rough and Tumble and the response in Europe is very pleasing. We played in my home town, which was incredible. It was a whole different ballgame than playing anywhere else.

    “But, it’s been great. We enjoy what we do. We’ve been taking off a couple of weeks here and there and then going back out for a couple of weeks and looking at the summer. The summer is going to be interesting because we might go overseas again like Australia and Japan. We just might tour through America. There’s just so much up in the air right now. It’s hard to say.”

    I have listened to “Rough and Tumble” several times and I have to say with all sincerity – it’s great!  My personal favorites are If You Ever Get Lonely, Skyward and Further the Sky.  I asked John if he had a sense as to which song is the audience’s favorite.

    “I think If You Ever Get Lonely – people have been cutting it. I think it’s coming out on a couple of different records. It’s interesting to see that. Basically, it’s a beautiful song. It’s a little dark but sincere, you know?”

    While sharing with me what the response has been like to the album, Waite said, “Well, like I said, we have a number one single but the music business is absolutely upside down. I don’t know if it’s going to be one of those things where we keep putting records out to give you an excuse to tour. I don’t think since everybody’s downloading music now – and quite a lot of it’s for free – it isn’t substantial. You put a record out – like I said, it went number one on the radio and we sold big numbers. It’s like all the fans have it and then you’re there playing all the hits which you have to do as well.

    “So I don’t know which end of the music business I’m in other than I’m looking forward to playing! It’s a good thing to make a successful record and it’s a great thing to be able to sing with people that play well and make a life as a musician. Apart from that the music business is completely out of its head at the moment.”

    Because Waite lamented the state of the music business, I asked him what he would do to fix it if he were appointed its czar.

    “I love that!  ‘Czar’.  I do!  I like that. Good choice of words!  I like it!  Um, what would I do? Well, I think it’s sort of being done. Twenty years ago people were signed to record contracts and they gave you an advance to make a record. Then you went in and made the record and then they paid you 14 points of the profit. They kept eighty-five percent and they charged you back for everything!  Manufacturing, photography, promotion, dinners, backhanders, bribes, drugs, whatever. They charged you back for everything. It was very unfair.

    “Now, with the internet and iTunes, you can make a record and you can put it up there. If you’re a small band in a small town you can actually achieve a world wide release by doing it yourself. What I do is make a record – and I make it at a pretty high standard because that’s what I do – but I license it to record companies and they distribute it around the world or different territories. But the fact that anybody can go online now and download music, a record of that is kept so iTunes has to pay the artists. It bypasses a lot of the record companies. I don’t think it’s as dishonest of a business as it was because people have more of a voice. Surely that’s what it must be about!

    “Some guy chomping on a cigar, sitting behind a desk, telling you that he doesn’t hear a single doesn’t really work for me. It never did. So, I’m quite happy that I have the freedom I’ve got now. I never needed a big record company to make big records. And you actually get paid now. The record company’s job was not to pay the artists. They would give you the advance and you might as well say, ‘Thanks for the memories’ and then disappear because, apart from the publishing checks and the air play checks, they’re not going to pay you if they can help it. It was just the way the record business was run. It was a ridiculous thing that people could be that dishonest but it’s the truth and it’s how it worked.”

    With over 30 years in the rough and tumble world of the music business and a lot of albums under his belt, I asked John how was working on Rough and Tumble different – as well as the same – as compared to his other recordings.

    “Well, the fact that you can record digital and not cut two inch tape with a razor blade at three in the morning. It’s very primitive to do that. Digital recording has come so far now – just so far! It’s almost impossible to tell the difference whereas fifteen years ago everything that was digital sounded incredibly ‘tinny’ and had less aspects of sound – sonic frequency – in the music. It just didn’t have it. It was a more limited rendition of sound.

    “During the first half of Rough and Tumble, we met in a songwriting room in Nashville with David Thoener – the co-producer and he’s a very, very good engineer/producer – and he helped me and Kyle navigate through working in broom closets and storage rooms and singing live in the room to save money. But we did go into a studio called Treasure Island and knocked out the drums and bass. In and out very quick . . . and that was done in analog, I think.

    “The second half of the record was made in four days. I cut seven tracks in four days in this small studio in Thousand Oaks in California – just hell-for-leather! It was kind of like, ‘I’m just going to finish this thing if it kills me.’ I went into the studio the day before. We wrote Rough and Tumble ­ - the track itself. I pulled in a couple of old songs and rearranged them. Did a Tina Turner song and, hey!  Presto! I almost gave myself a nervous breakdown and wore myself out.

    “But the difference now is if you really want an album quickly and you’re focused, you can do it almost as quickly as you think to the end product. It’s just so fast!  That means to me that you can capture a lot of emotion and live performance without having to deal with, again, two inch tape and a very primitive set-up.

    “When  you look back at what The Babys went through in the studio, trying to capture things on two inch tape and mixing down all the time and transferring performances to virgin tape so that it wouldn’t get worn out by being rolled over a recording head. I mean, it’s gigantic work! While being in the studio, you should be in free-fall. You just feel like doing it. You record it, thank you and good night!

    “And, besides, not to whine on about this, but the analog sound is a precious thing and it’s very much about a certain period. We live in a digital world now and the music of the digital world is cut digitally. And to keep going back – and it’s an anachronistic kind of view of, like, maybe it’s going to sound like yesterday, why? It was great yesterday. It’s been done. You can go and buy those records and it sounds wonderful!  But I feel that the problem might be here is to sound like we’re in the present day and still be authentic! That’s exactly what I’m trying to say with my music. I’m trying to sound authentic in the present day without having to be referred as being from a different period.”

    At the risk of sounding as though I was patronizing him, I offered to John that I strongly believed that the music buying public is hungry for something “present day” that is built on a classic rock foundation much like he’s done with Rough and Tumble.

    “If I could hear that from somebody, then I know that I’ve done it successfully.  I mean, that’s exactly what I was trying to do. I was not trying to become something else to be successful. I’ve seen people do that in their careers. They go off and be ‘disco’ for five minutes. But I wanted to do something that was like Evil is almost like Miss You by the Stones . . . it sounds like somebody’s really out of their mind and he’s sexy because of that. He’s very seventies and very Studio 54.

    “Peace of Mind is like this song that’s based on Hermann Hesse’s Steppenwolf and he has a monologue in it where I’m talking and telling a story as the song begins. That’s heavy stuff, you know, when you have other bands that are doing the same old stuff from thirty years ago and trying to sound like 30 years ago.

    “My job as a musician – as a writer – is to try and push out into different areas. I think that this album did it. Some of it is very produced like Peace of Mind because that’s what was needed for this song to rock but the track is cut live.  I used all I could in the studio to be clever with that, capture the live sound but keep it like a movie. Rough and Tumble is just a three piece band and a singer and that’s what I really love the most, I suppose.”

    Earlier, Waite had alluded that his hometown crowd was a different kind of experience. I reached back to that comment and I asked him if he found that crowds in different parts of the U.S. or the globe react differently.

    “No, the European audiences are extremely different. The Dutch and the Germans stand there and check you out and you better throw down!  They know every syllable. They know where you’re coming from. They have all the old records. They have the new records. They have records that you didn’t think did too well. They know what you’re doing up there. There’s nowhere to hide.

    “A couple of years ago on stage in London, I was in Camden at the Underworld and I was singing Isn’t It Time and I was thinking, ‘Well, this is all very nice but I’ve got so much more to offer than a song book.’ I mean, it’s beautiful to go out there and do a song that makes the audience erupt. There’s nothing quite like it because you’ve earned it. It’s one of your songs. What do you want to do, not play it?

    But the idea is to do half of the songs that the people expect and the other half – that’s going to be anything I can think of before I go on stage to shake things up. That’s what all the great bands used to do. I remember when I went to go see The Who and the Small Faces and Free and Family at Lancaster University when I was about sixteen. Imagine seeing The Who! Imagine it and being that impressionable and you’re just dabbling in psychedelics and finding your feet as a young man and there’s The Who! And that is enough to blow your hair back and your mind right out of the room. That’s what we all came for.

    “I feel that there has to be a part of a performance where you’re flying by the seat of your pants and if that isn’t in the performance . . .” At that point, Waite interrupted himself and opened the curtains of today’s rock and roll Oz by saying, “Unfortunately, a lot of the bands – the arena rock bands – play along to tapes. They just do it. They do it because they ain’t got what it used to be. They come out with all the keyboards and all the harmonies and sometimes a lot of the lead vocals, it’s just pre-recorded. You stand there and you watch these bands lip-sync. I can’t imagine anything more dishonest or dreadful. They think so little of the audience that they would do that but they do.”

    I mentioned that legendary singer, Mitch Ryder, told me the same thing about German audiences. Waite excitedly commented about Ryder.

    “I saw him play in Michigan last year and he was something else! He was every bit as good as he used to be!  It was like, ‘HELLO!’ It was really a throw down! I was thinking that it was going to be on the edge but it wasn’t.  He was totally in control.”

    I asked John if he knew – from his side of the microphone – which songs from Rough and Tumble the crowds seem to enjoy the most at his shows.

    “As I expected, maybe, Rough and Tumble because it got so much air play and knocked everybody out of the way to get to number one. So, they know it. They know it in Europe and they know it in America.  The one that seems to bring everyone to a grand stop is If You Ever Get Lonely. I think it’s because the song is that good. But from the moment we start to play it the place tends to go quiet. I don’t know if it’s because they’ve heard it before or because it’s that kind of song but those two songs just really seem to kill people”

    After listening to Rough and Tumble a few times, I would argue that tunes like If You Ever Get Lonely, Skyward, and Hanging Tree would be great candidates for the air play on country radio.  I asked Waite about that possibility.

    “I don’t differentiate between whatever is country – or classic country – or rock and roll. There was a time that it was all the same thing. That’s what I like the best. I have a lot of country influence – especially western songs as a kid – country and western but the western end of it. So, yeah, it’s in the consciousness. I worked with Alison Krauss a few years ago and spent a great deal of time in Nashville and got to meet a lot of very serious country people. I sat down and talked to Dolly Parton and hung out with Vince Gill and Larry Sparks and the Del McCoury Band. It’s (country music) very authentic. Rock and roll? You can’t tell anymore.”

    Some artists who have enjoyed a long, successful and distinguished career as John enjoys often feel that there’s something else they still need to accomplish that they haven’t already. When I asked Mr. Waite if there was anything he’s yet to accomplish, his reply revealed a man who is both comfortable in his own skin and has an understandable pride in the work he’s already accomplished.

    “I’m afraid that I’ve done everything that I thought I was going to do. I think I’ve been number one a couple of times in two different entities – when I was in The Babys which was kind of a cutting edge band – certainly the first version. I made a few mistakes. But I’ve basically succeeded. Missing You was number one around the world and was regarded as a piece of art. I didn’t sell out. I still make music. I think I’m pretty happy.”

    John Waite has worked with many talented people, from the likes of Alison Krauss to Ringo Starr.  I asked him who he would like to work with that he hasn’t worked with already.

    “Well, not many.  Maybe some people from bluegrass. I really like bluegrass music and that kind of poetry. That’s the magic of song: it’s all inter-connected. But things happen naturally with me. I don’t go after things like career moves. People come to me and say, ‘Hey, do you want to sing this song with me or do you want to do this session or can I play with you on this gig?’ It all works out. I’m not a business man.”

    On the subject of a follow-up to Rough and Tumble, Waite said, “We usually travel for two and a half or three years after a record. There is talk of doing a live album towards the end of the year with special guests showing up. There’s a location that we’re checking out now. It’s wide open. I’m sure that we’re going to have a very, very busy year playing live and it would be nice to record towards the end because we’ll probably be firing on all cylinders by then.”

    What can fans expect from one of Waite’s shows during this tour - especially here in Dallas at Poor David’s Pub?

    “You have the boundaries of a three piece band. It’s pretty rockin’. We touch on all the songs you might expect. We do try to make things interesting and bring nearly all the new stuff. The people that show up to hear the music seem to know it so it’s pretty loose. We may change direction right in the middle of a set. It’s a pretty good time!”

    John Waite undoubtedly has many, many more years of music left in him to create.  That said, I asked him if he has any thoughts about what he hopes his legacy will be and how he’ll be remembered when he’s no longer on this planet rocking the world stages.

    “Well, I feel that would be ego-trippin’ to start talking about how you want to be remembered. It’s like having a gravestone . . . though I’ll probably have a gravestone. It’s the whole idea of being buried. But I think that if I have moved somebody or made somebody pick up the guitar themselves or become a writer of some sort, I’ve passed it along to somebody and I think that’s important. I think that to inspire somebody else is the highest thing that you can bring to a life.

    “People inspired my life since I was a kid – from country singers to western singers to blues singers to rock n’ roll singers, songwriters, writers of literature, political people, people that made a difference in the world and actually really changed people or elevate people – if only for a brief moment.”

    Then, with obvious and sincere humility, he added, “I’m just, at the end of the day, a singer/songwriter. If I could’ve lifted somebody up with a song during my time here, I think that’s pretty good!”

  • Jonathan Cain

    Posted February/March, 2011

    1cainathomePhoto Courtesy of Jonathan CainIf you are into rock music at all, then, in all likelihood, you’re more than aware of the incredible musical legacy of Journey.  How many school dances in the late 70’s and throughout the 80’s played such great slow dance songs as Faithfully and Open Arms?

    In their concerts, these songs and many, many others are greeted with squeals of approval and delight at the very opening piano riffs on those songs as well as on Who’s Crying Now.  The closest that I came to ever experiencing anything close to that reaction was the shrieks of horror during my piano recital performances.

    But that’s a whole story of its own.

    Always a huge Journey fan, my daughter bought me the Journey: Live In Houston 1981 Escape Tour DVD this past Christmas.  I smiled as I enjoyed the performances and remembered all the thoughts and memories their treasure chest of musical gems brought to mind.  Gems that drove worldwide sales of their albums to over 75 million. What also came to mind is the idea of chatting with one of the boys in the band.

    I tracked down Journey keyboardist and co-writer of many of the band’s hits, Jonathan Cain.  He was gracious enough to grant me a phone interview. I was especially flattered that he would spend a considerable amount of time on the phone immediately after spending an hour in the dentist’s chair near his home in the Nashville, Tennessee, area.

    After living in California for 30 years, Jonathan, his wife, Liz, and his three children, Madison, Weston and Liza, moved to Nashville late last year.  I go to the Bay Area a couple of times a year on business and, while I do find that part of the country absolutely beautiful and vibrant, I must confess that I left my heart in Nashville long ago.    I started our chat about what prompted his move to God’s favorite city.

     “Well, you know, I’ve been coming here since 2000 – writing with different people and we made a lot of friends in the last 10 years.  My daughter’s doing a recording down here.  We have this friend that was writing and I heard her (his daughter) sing country and I said, ‘My god, you’ve gotta sing country!’ because she’s got a great voice.  She was messing around with different styles and I heard her sing Redneck Woman and it was like, ‘Girl! This is your deal!’

    “I wanted to get her in the studio right away so we did. She cut a couple of sides and we kept coming. Then, I got her into the songwriting room.  Now, she’s seventeen.  She auditioned for Capitol records a couple of days ago, so it’s pretty serious. We’ve got a couple of other labels and some other people interested in her.  She’s got a Carrie Underwood kind of thing going on.  She’s into the progressive country – kind of ‘crossover’ country.  She has a very strong voice and she writes some good songs.  She’s been fortunate enough to get into some songwriting sessions.  I’m getting a few licks in myself.”

    Bringing the subject back around to why he moved to Nashville, Cain said, “I started in Nashville back in ’69 with Buddy Killen (the late, legendary producer and publisher). He signed me to Dial Records. I just had a singles deal down here. I kind of come full circle by coming back here.  Plus, I guess we kind of wore out our welcome in the Bay Area. It used to be such a vibrant, musical community and I think it’s kind of missing there.”

    However, there was more than just the change in the music scene that compelled Cain to move his family to the Volunteer State.

    “The whole school thing there (in the Bay Area) wasn’t so good and we knew that the schools are great here. You just know when it’s time. I just wrote a song about it – about leaving a place and just knowing that it’s time to go. I’d been there 30 years so my kids were all excited about meeting some new friends and getting the heck out of where they were. I guess we needed a life change and now we’re getting snowed on!”  With a laugh he adds, “They say that an ice age is coming and I believe them!  That’s what everybody’s saying – it’s not global warming – it’s the ice age!”

    As a die-hard Nashville fan myself, I’ve been to the town several times and found how “celebrity friendly” it is compared to, say, Los Angeles, where there seems to be paparazzi behind every bush . . . or Bentley, so to speak.  Cain’s response reflected a refreshing matter-of-fact humility that permeated the rest of our chat.

    “It is cool. I don’t have to worry about that, being a keyboard player. It’s a different way of life. I find people here are accountable citizens for people who live here.  It’s like a welcoming spirit – more than ever. It used to be, ‘Californian’s, go home!’ but I think they see that the changes are cool. The town really has a lot of culture and it has a conscience. I love the writers that are here and to get the opportunity to sit down and to sing with these great songwriters.

    “I did a show on (satellite radio) XM with Jonathan Singleton, who wrote Red Light for David Nail. The opportunities you get are just incredible. I did a show with J.D. Souther and Brett James at Tin Pan South last year. So, it’s pretty cool to kind of sit in. My daughter (Madison) and I will do gigs. I’ll sit in at Puckett’s or the Blue Bird with her. Just the other day, she was asked to sing on a David Nail record.  That will be her first background on a big time record. So, yeah, you just get opportunities here that you never have in California.

    “We got to go to the CMA awards together. My daughter has a website (www.madisoncain.com) and she’s tweeting all the time. She got to go down the red carpet at the CMA’s and she drug me along. She actually had a little feature on the E! Channel. It was ‘Rock Dads and Their Daughters’. They interviewed me, her and the family. It was a pretty good little blurb for her.”

    One thing that many Journey fans may not be aware of is that Cain is quite the wine expert.  My pre-interview research uncovered the fact that Jonathan moved from an expert wine connoisseur to a successful entrepreneur of higher end wine.  Cain explained his venture to me.

    “I’m sort of a wine savant. I go out and find the best grapes I can and make really high quality juice. We get a lot of money for it - $50 to $60 a bottle. I really like great wine. The wine I make is not for everybody. You have to have a palette to spend that kind of money on wine.

    “I’m a ‘virtual winer’.  I don’t really have my own vineyard, per se. I get grapes from cool places and make the wine. I only do a couple of hundred cases a year. I do business here in Nashville and am trying to break out in Atlanta with it.  I’m trying to get into Chicago. I partnered with Horizon Wine and Spirits here. But that’s it. We have fun.  I like wine making and I think they’re (Horizon) awesome people. We have a lot in common.”

    One of the tragedies in Chicago history took place on December 1, 1958.  A fire broke out at Our Lady of the Angels grade school, killing 3 nuns and 92 children.  From the research I conducted on the sad tragedy, families moved away, divorces destroyed several marriages of the parents of the victims, and emotional scars remained on all who were touched by the fire.

    One of the children who was at school that day was Jonathan Cain.  The fire obviously had a tremendous impact on young Jonathan and was instrumental in leading him to immerse himself into music.  It’s against that backdrop that Cain uses to write a book.  I asked Jonathan about the yet-to-be published tome.

    “It’s a memoir.  I end the book where I’m about thirteen years old. It’s about nine years of my life that I spent in Chicago. The new consensus is to finish the story and tell everybody how I got into Journey.  I don’t know. I’m going to give it a shot in the next couple of months. It’s called Mixed Blessings. I’m probably going to self-publish. It’s been a labor of love. I’ve been at it for four or five years. I’ve got some interest. I’ve got to keep going at it. The book business is in bad shape right now. It’s not good. So, the audio books are a good way to go. There are some more meetings we’re going to have next month. So, we’ll see. At this stage of the game it’s just a neat thing to be able to say you did.”

     “I was in a school fire back in ’58 where a hundred kids were killed and three nuns.  It’s telling the story of that neighborhood and how music really saved my life – from going insane. It helped me out a lot. I’m an old accordion player. We didn’t get any grief counseling or anything like that. I think that getting that squeeze box helped me get my mind straight. It’s really about the love affair I have with music.”

    Cain continued, explaining how he got into songwriting.

    “It was challenging. I wrote my first song in 8th grade. I had a piano teacher who saw something in me and challenged me. She was actually the music teacher at school – she taught choir. I wanted to get off the accordion and start playing the piano. So, she came to the house and gave me lessons. She said, ‘You have a good imagination with your music. You should try to write a song.

    “So, we had this school play – an 8th grade play – so she said, ‘I want to leave a spot in that play for your song.’ So, I was on the spot to write the song. I wrote the song about a little girl that I had a crush on. I got up there and sang it and played it. It was copyrighted and the whole deal. That was the beginning. But it wasn’t easy. I was going to school and I was interested in the writing part – and my dad thought I could do it – so I kept writing, trying to get songs done.

    “Then, when I was playing in clubs, we had a little slush fund that we saved money for studio time.  After about a year and a half or two years, we had enough money to go into the studio so that drove me to come up with ten songs. We went into a studio down in Pekin, Illinois, and recorded these songs I had written. I had been going downtown to see this guy, Bill Trout, from RCA. He would see me at the end of the day and listen to my songs and critique them and help me. I kind of had a mentor there. I was really fortunate to have him because he was big time – for Chicago, anyway. He was a producer and had his own production company.

    “So, we made this little demo. The studio owner was sending tapes around to different people. He was quite a cool dude. He sent my demo to Buddy Killen – a big time producer and publisher – and that’s why I came here (to Nashville) in ’69 and did two or three sides with him.  We had about three years together, coming down here and doing that.

    “That was my first plane flight. I got on an airplane to Nashville from Chicago and signed a record deal. My dad was with me. He was kind of my Svengali. Dad was always believing that good things were on the horizon with me. He pretty much was my cheerleader in rock for me.

    “I always tell kids when I give seminars that you have to have a ‘vision keeper’. Somebody that buys into your plan and believe in what you want to do.  He (Jonathan’s dad) was that for me. I was blessed to have a vision keeper who was my own father.  In his mind, I was always going to be a success no matter what happened. No matter how dark or shadowy the thing got – and it certainly got like that a few times.  We thought we were off to a roaring start, getting signed at 19.  Then, it was just harder than hell after that.

    “We slugged it out. Ended up on American Bandstand – went to L.A.  It was funny.  I had a friend who had seen the band. He liked our songs and liked what I was writing. He said, ‘You should come to L.A.’ It turned out that his partner was managing Wolfman Jack and they signed me as a solo artist. So, I moved to L.A. and slugged around there for awhile – hung out with Wolfman.  We got a little indie to sign us and had a Top 40 record in L.A. called Until It’s Time To Say Goodbye.  Then, I got on Dick Clark. Wolfman knew him and Dick Clark wanted somebody different. I was on the show with Natalie Cole – 1976. It was a pretty big break for me but it didn’t matter much having a single out in L.A. on the L.A. charts didn’t mean much so I still ended up doing gigs. That kind of went by the wayside. I kept going out with my band and playing different places and continuing to right a little more rock stuff.

    “We were seen by Albert Grossman, who was Bob Dylan’s manager and Janis Joplin and Albert signed me to Bearsville in ’76 or ’77. I made an album in Bearsville called Windy City Breakdown. That didn’t go so good. Everything went wrong that could go wrong. Albert said, ‘Oh, come to Bearsville.’ And, I said, ‘Why can’t we just do it here? It would be so much easier.’ We had several studios we could have done it at.  We could have done it for nothing, you know?  But he was insistent that we go all the way up to Woodstock and record this thing.

    “We went there and the studio was in shambles. Nothing worked.  The air conditioning was out and it was the dead of summer, out in the middle of forests. The place was haunted.  We were like, ‘What the hell?’  Everything that could possibly go wrong went wrong.  Tape machines breaking. Counts were going out. Not having enough tape. So, we would make little trips to New York City and party, trying to make the best of it. We were far from focused. You take city boys and bring them out into the woods and they go nuts.

    “He (Grossman) got me to the Chateau Marmont and he said, ‘You made a piece of crap album.’ First he got me stoned – good and high – and then he told me that he didn’t like my record and he wasn’t going to put it out. So, I stormed out, telling him, basically, to stick it you-know-where. I got my lawyer and said, ‘I want the album coming out.’”

    “We printed five thousand of them and made them put it out. And, nothing happened. Then, I got dropped from that shortly after.  I got to make a demo that was fun – with some of the Toto guys.  I got close to getting some interest but they didn’t want to know about it.”

    While Cain was one of the few people to successfully flex his muscle against the notorious manager, the experience left him disillusioned about the music business.

    “I quit the business for about two years and sold stereos in L.A. I just kind of had it. My dad was, like, ‘Well, you gotta do what you gotta do.’ I remember I had Manpower gigs where I would stack beer – Budweiser. I would do anything to get my mind off of show business. I continued to write songs in my apartment there.

    “Then, I got a phone call from some guy that found me that wanted to write with me. I said, ‘Well, sure.’ I went over to his house. He had been writing with Fleetwood Mac. His name is Robbie Patton. We wrote a couple of cool songs. He was telling me about this audition for this band called The Baby’s. He said, ‘You know, you’re a rocker. You should really go there.’ I go, ‘I don’t know. Maybe.’  He said, ‘Well, show up for the audition and see what happens.’

    “So, I did. It was a song I had written, really, that I think got me the gig. It was called Stick To Your Guns. I wrote it for my dad because that was his war cry.  When I would call him up and borrow money from him, that was the last thing he would always say to me, ‘Stick to your guns.’

    “The audition went well but it was the song that stuck in their head.  So, I was the Stick To Your Guns guy. They had auditioned 40 people.  These guys (The Baby’s) were completely in debt.  It was just John (Waite), Wally (Stocker) and Tony (Brock).  They had been through it already in L.A.  They had a manager that just completely buried them.  They did a 99 city tour and he let them live like rock stars. They had roadies from England and rental cars.  After a year or two of that, you’re buried in red.

    “I got the gig.  They called me a month later. I must have went back about six times and jammed with them and played with them.  The next thing I know, I was flying off to Amsterdam to do TV shows with them because they had just released Head First. Hanging out with John and those guys was really cool because they were really the rock and roll that I always wanted to know about. John had that voice. I wished that I could sing like John. He had a swagger about him that he taught me. I learned a lot him and those guys real quick – how to be a pro and how to act like a pro; how to do an interview.”

    After the proper grooming, Cain’s education into the rough and tumble world of rock and roll went to the next level.  While the lessons learned were invaluable, the expected big payoff didn’t happen.

    “We went on tour with Alice Cooper. That was an awesome tour, meeting Alice and his wife. He flew us around on his plane and pretty much treated us gold plated. Being around him is an honor because he’s a legend. It was the Welcome To My Nightmare tour. So it was me up there opening up with The Baby’s and Alice.  The Baby’s had been doing a bunch of Midnight Specials for (Burt) Sugerman back in L.A. We were almost like the house band for Wolfman. He was so proud of me because he had seen me kick around in L.A. When he found out I got the gig, he always had us on it seemed like. God bless Wolfman!

    “It was cool.  We were just kind of bubbling under but we just couldn’t seem to get over the hump – so in debt and selling records but not really getting air play to sell enough to go platinum – you know, break the big one. I guess Midnight Rendezvous was the biggest record we had after those ballads that they had out and they didn’t even write them.  These two guys wrote them – (Jack) Conrad and Raymond Kennedy – these two songwriters from L.A.  They had worked with (Ron) Nevison, so we branched away from that Nevison thing and worked with Keith Olsen. So, we made a new album with Keith called Union Jacks.

    “Then Chrysalis (The Baby’s label) wanted my publishing. I’m like, ‘No, you can’t have my publishing. I’m only making $250 a week.’ So, I had to get a lawyer to slug it out with Chrysalis and we won and I kept it.  I was fortunate – not unfortunate as with John, who they had a lien on. They had John’s publishing. It was one of those deals like with The Police. I felt bad for John because, even when he left us and went to EMI, Chrysalis was there attaching his new deal.

    “Anyway, we had some success with Union Jacks. Union Jacks was what got me into Journey.  Journey always was kind of progressive. They heard the Union Jacks album and loved it so they wanted us to open for them. So, we showed up in San Diego and began a tour with them – 50 cities or so. I’d get to watch them every night. I started hanging out, watching the band because I was kind of curious as to what their deal was. I really liked the pieces. I liked Steve Perry voice. I liked Neal’s guitar playing. The fans were just unbelievable. They just loved that band.

    “We used to open every night. We’d do our little 40 minute set and they’d get up there and figure out how to follow us.  So, they kept changing their set around. And, finally, they hit on this much more Spartan rock and roll set than what they were doing. They really started tearing it up.

    “After the shows, Neal and I would go out drinking and jamming. John Waite would go out with us on some nights and Ricky Phillips, our bass player. Sometimes, Steve Perry would show up. We’d stick him on the drums and then we’d do all these old Motown/Wilson Pickett songs – all this old stuff and just have a good ol’ time.  Neal and I got going with each other and he would go, ‘Wow, I didn’t know you knew all those chords!’ and we’d get pretty out there and start fusing.

    Taking the conversation off course just a bit, I asked Jonathan what he feels is the most positive change in the record business that has taken place.

    “I guess digital downloads, really. The internet is somewhat honest now. You still have the sharing sites that you can’t stop – the Limelighters and stuff. I think iTunes and the iPhone have really revolutionized music in the way it’s played. The fact that Don’t Stop Believing is number two in the most downloaded songs is still outrageous to me.  We get compensated for the downloads. ASCAP and BMI are looking after us.  It’s all worked out. It’s a far cry from when our album was ripped off back in 2000. Napster got hold of it and people were getting it for free. I hate to see people giving away music. I think it’s disturbing. These young bands have to stop that or they’re not going to get anywhere.”

    I asked what Cain what he thought it’s going to take to fix all that’s wrong with the music business.  Again, his shrewd business sense kicks back into high gear.

    “The biggest problem is sustainability. You have to have a sustainable product. That means when you sign an act, they have to have a place to play. You have to get the fans out to see them. You have to make sure that the fans are kept up to date, all that stuff. That’s a whole look at how we’re going to continue the process. If you sign an act that you think is great, you have to make sure that the garden is tended to and that it will continue to flourish. It’s a brand.

    “Back in the old days, we had an army of people doing that on behalf of Journey. Today, they put a band out there and unless they have a shrewd manager and a team behind them, they just get lost in the shuffle. I think that’s a big issue. And I think that the places to play are sort of vanishing and clubs are dying. It’s not good.

    “I talked to Bill Graham about this before he died. We need a sort of circuit that you can count on. A record company’s music people need to look at making sure that these places stay open. Maybe getting creative and doing things with the malls or something. If there’s no place to play for these acts to grow then how are they ever going to get anywhere?  How are they going to get seasoned? It’s a problem – the performing venues that are available. They’re far and few between. It all takes money but it can still happen.  You have the live streaming stuff that can happen. I just don’t think that the labels are thinking progressively enough.  If they’re going to feature a band and do a live feed somewhere and get the stream on the internet and let them have their shows and let the people see what they’re going to be buying. Show them what they’re doing. There’s just too much of this cloak and dagger thing going on right now.

    “Rock and roll is dying because of exactly what I said, the sustainability, the places to play, the crowd’s interest is moving away from rock because there’s Lady Gaga and Katy Perry and all this other junk. Kids are listening to rap, grunge. The alternatives are dark. Rock has gotten a black eye for being depressing, gothic and dark. Heavy metal fans have taken over the rock and roll venue and that’s fine. There’s other music out there that’s not getting heard and not getting signed and that’s unfortunate.”

    Obviously aware of the numbers side of the business, Cain adds, “Rap takes its place. It’s far more lucrative. They sell far more units than rock does. Rock is kind of out right now. It’s passé. It’s not the flavor of the month any more. These rappers have really honed in and taken MTV away from rock. I don’t think it’s going to change because they’re real avid buyers and they know what works. It’s all money driven in the end.

    “But, again, I go back to where can you play? If there’s no place to play, I don’t know where you play rock and roll unless you’re a big time band. You’ll have to play in some little dive club. So, yeah, I feel bad for the young musicians trying to make it. Kings of Leon did it. They managed to slug it out. I don’t know their story but you certainly see enough of them, I know that.

    “Now they’re talking about closing down the Hard Rock’s. They’re in trouble. The casino’s are keeping the old fogies alive and that’s good but it’s a tricky time. I think the whole business is up for grabs. I think whoever’s smart and can survive can do it. There’s sort of an upheaval going on.”

    Who IS commanding Cain’s attention these days as far as the newer talent is concerned?

    “You know, I’ve looked at a few different people. I thought that Carrie Underwood has done a nice job with her career. I’ve seen her show and it’s pretty darn good. I’ve never seen a bad show from her. As far as rock is concerned, there isn’t a whole lot out there that I even like.  I was kind of into Coldplay for awhile. I thought they were cool but they’re not really rock.

    “Probably the neatest thing that’s come down the pike is Kings of Leon, I think. They’re pure cool rock and roll – that sounds like something.  It’s got that vintage thing to it which maybe appeals to me. I like Switchfoot. I like a lot of that stuff. I like some of the Nickelback stuff. They’re a successful group that has done well with their brand. They’ve done a really good job with branding their thing. I just think they play too loud.” He concludes with a chuckle. “They’re still a good brand. They’ve done a good job staying alive in this market which says a lot about them. They’ve written some cool songs. They’re good. Young guys, but smart. I got to meet them a couple of months ago – the two brothers, Chad and Mike. They’ve done a really good job. So, that’s about it, really.”

    Wrapping up my chat with this legendary artist, I asked Cain what his plans were after Journey wrapped up its tour.

    “Chilling. If all goes right and I don’t get cold feet, I’ll go ahead and finish up my studio. I’ve got grand plans for it. I’d like to get it to the point that it’s a facility and I can go in there and try some things. Maybe do some producing and help my daughter down the road. That’s what I’m hoping to do – make a little noise here in Nashville.”

    Keep up with Journey at www.journeymusic.com.

  • Wally Stocker

    Posted June, 2014

    WallyStockerBWIf you were a teen in the seventies or early eighties, music from The Babys most definitely occupied significant real estate on the soundtrack from those days.  The band unleashed five albums between 1977-1980 (The Babys, Broken Heart, Head First, Union Jacks and On the Edge) and toured with huge acts such as Alice Cooper, Journey, and Cheap Trick, building a loyal following based on their spectacular songs and explosive live performances.

    The band broke up in December, 1980, but their music still lives on through regular air play and CD sales to still-loyal fans. Now, after a three-decade absence, The Babys have reformed with original lead guitarist Wally Stocker and drummer Tony Brock to release a new album, I’ll Have Some of That, which is available now on iTunes (read the Boomerocity review of it here). With a sound that is both familiar as well as new, Babys fans are going to be thrilled with what they hear and are going to want to hear more.

    I recently had the privilege of chatting with founding member of (and guitarist for) The Babys, Wally Stocker. He called me from his home in southern California and was very excited to talk about the new album (he and I, both, refer to new CDs as albums and records. Gotta love it!). Right off the bat, we discussed what the pre-release buzz was like for the album.

    “A lot of people like the new record and like the fact that we’re back and like the new lineup. We’re excited, too. We’re pumped and ready to go! We released a single recently –‘I See You There’ - which is really the second single we released because we had ‘Not Ready To Say Good-bye’ late last year but this is kind of the official from the new album, if you like, and so far it’s been tremendous. Great feedback. A lot of people like the song. Just all around good things are happening right now.”

    If you don’t count the anthology, demo and live albums that were released after the band broke up, this album is the first album – especially of new material – in almost thirty-five years.  I asked Stocker how has making this record been different from both the first and last Babys albums.

    “Wow! That’s a good question! It was just as enjoyable. Less frantic, I would say. As the years went on with those earlier albums, we went through some line-up changes and a different approach, somewhat in the songwriting once Jonathan (Cain) came in. I wanted to get back to basics with this album. Obviously, we wanted to make sure that we captured the sound that we’re known for. That was high on the priority list as far as not losing the sound that people identify us with. You know, the big drums, guitars but lots of melody – mixing it up a bit between lighter songs and moving on to more rock type tunes.

    “But we had a lot of fun making this one – probably the most fun I’ve ever had making a record in a long time. There was no tension there. I got to record with Tony (Brock) again, who did a wonderful job producing this record at his Silver Stream Studios. We’ve got two new members on board. They’ve been really inspiring. John Bisaha showed us what he could do. He’s really a first class singer. It took us a while to find him but out of the dozens of people we auditioned but I think we made the right choice with John Bisaha.

    “And, of course, with Joey Sykes in the mix, as well, I get to bounce guitar ideas with him. This all made it exciting and a pleasure to actually go in and cut songs. Some of them we had for a while – just some musical ideas, if you like – but it took the whole band to really to put all the pieces in place. I’m very pleased with the result with this new record.”

    When asked what has been the best improvements in recording and did The Babys utilize those improvements, Wally’s answer revealed an approach that other great artists such as Joe Walsh, Boston and Rick Derringer used in recent recordings.
    “As far as improvements in recording, everything’s gone digital now with ProTools. We decided to try and recapture some of the sound that we had back then. We actually moved in an analog twenty-four track mixing board into Tony’s studio so that we could get that warmth of the analog sound that we used to get, you know? Although he’s all set up with ProTools, we tried to stay away from that with this record so that we could get more of a natural sound on instruments. Tony was looking for that analog sound from his drums and we managed to capture that. Rather than going too high tech, we wanted to take it back to the way it was and get that warmth out of an analog recording.
    “Of course, the music business has changed so much since we made ‘On The Edge’ and those five albums. It’s a whole different thing now. Record companies aren’t the way they used to be. In fact, we have our own record label with this album simply because that’s the way to go now with the lack of record stores and CD outlets. People are either downloading an entire album or a favorite song. That’s the way things have shaped up through the years. I, alone, can’t change the way it’s going. I just have to try and fit in somehow.”

    Continuing on the subject, Stocker added, “Yeah, it’s all too easy now with ProTools. You can record a part and just cut and paste and put it in there and, if there’s a wrong note here or there, you can just go into the computer and fix it. That’s all well and good but there’s nothing better than the band standing there in the studio and just going for it and just playing as a band – cutting a track together. And, if somebody messes up, well, you start it again as opposed to, ‘We’ll fix that later on the computer. Don’t worry about it.’ You kind of lose the vibe a little bit.”
    “I’ll Have Some Of That!” is an outstanding album with every cut a favorite of mine.  I asked Wally if he were to point to just one song from the disc to use as a calling card to entice people to buy the album, which song would it be.

    “Wow! Well, there’s quite a mixture of songs on there. Hopefully, they all incorporate our sound and playing styles. I don’t know. If I could pick one favorite, I do like the title cut, ‘I’ll Have Some Of That’. That’s kind of exciting to listen to and a little bit different for us but still stands within that boundary of The Babys. I love the new single, ‘I See You There’. I also love, ‘After Midnight’. It’s the fourth track on the album. If I were to describe the feel of that, it’s kind of bluesy, mysterious. I like that song a lot. Tony and I have  had that track for a while. We dusted off the cassette, gave it a listen and we cut it with this record.”

    Wally continues, “But, then there’s, “Grass Is Greener”, which I really enjoy. I don’t know that I could pick one favorite. Those are examples of a few that I get off on. Then you have tracks like, ‘All I Wanna Do’, which is kind of a softer, ballad type of thing – kind of an R&B - sort of soul love song. We tried to mix it up and, hopefully, there’s enough there for everybody’s taste, you know?”

    When I mentioned that I thought there was also a bit of a Black Crowes sound to the album in addition to the classic Babys sound, the Babys guitarist said, “We were going for more of a vibe or a feel on the songs rather than technically getting it perfect. I know my favorite artists when I was young and growing up – The Who, the Stones and even the Beatles – you would hear mistakes all over their records. It’s the feel and the vibe of the song that you really look at and listening to. That’s how we tried to record this record – ‘Just get it to feel right. Let’s not worry about the technical side of things’. Like you said, just down and dirty. The Black Crowes are like that. They’re a very loose band but they capture that vibe and that feel in their songs. Just like the Stones and just like the Faces used to be. A little untidy but you can forgive them for that because they had such great songs.”

    On the subject of a tour to promote the record, Wally replied, “Yes, we are. We don’t have anything solid right now. That’s all being worked on and arranged right now. We’re just looking forward to getting this record out. In the meantime, this is the time for the people who work for us to do their stuff and start getting things arranged. I’m hoping that we can get some festivals under our belt before the summer’s over. If it were down to me, I’d love to get out on a decent tour with somebody and get back to the way we used to do things where we had a chance of going out and open up for a bigger act and bigger venues. Then, when that tour was over, we’d go off and do smaller venues and form our own tour around that. That would be ideal for us right now.

    “We did a handful of shows late last year just to re-introduce the band and get our feet wet. The response was overwhelming. Itbabysgroupphotoreduced was so humbling to see all the fans singing along to every lyric and just having a good time. It really sort of hit home at that point that we haven’t been forgotten and that our fans are so loyal after all this time. They still came back in droves and enjoyed every minute of it. I think that’s what inspired us even more – to make sure that we’re organized as a band.

    “We’re enjoying it because and you project that off the stage. Of course if your fans see you enjoying it, they enjoy it even more as opposed to being up there and going through the motions of playing the old songs. There’s much more than that. That’s why we decided before we go out and do the circuit again that we really wanted to get something new out there in the way of a new record to promote rather than going out and doing the old catalog. Plus, with a new record to promote, hopefully, we can find ourselves on a decent tour and get to play to a lot of people each night as opposed to playing in smaller places and trying to promote it that way.

    “So, yeah, nothing in stone, yet, but certainly in the next two to three weeks I think we’re going to have some sort of idea of what the next step is.”
    Prior to my call with Wally Stocker, I solicited question suggestions from you, the fans. A fan who lives in Breckenridge, Colorado, and is from Chicago asked if Wally remembered opening for Molly Hatchet in Chicago at the Rosemont Horizon around 1979 where everyone attending was given a 45rpm record of “Every Time I Think of You”.

    “You know, I DO remember that show. I think we had to leave the stage early. Not only was Molly Hatchet there, we were sandwiched in between Molly Hatchet and .38 Special. That really wasn’t the right sort of crowd for us. I’m not sure who opened the show. I know we were in the middle. Maybe Molly Hatchet opened the show and then it was it was us and then it was .38 Special. I really don’t remember but I do remember that, after about four songs, we literally had to leave the stage. I mean, they just didn’t want to know about us. It was such a bad ‘fill in’ – mashed in between Molly Hatchet and .38 Special and here we are giving out 45’s and there I am, ducking Jack Daniels bottles being thrown at me. If it wasn’t nailed down, they would throw it at us. I think after about four songs, I was ankle deep in debris. We looked at each other and said, ‘Maybe we should get off the stage now before somebody gets hurt’.

    “Yeah, if that was the show, then I do remember that. Fortunately, that’s the only time that really happened to me. It was a strange bill with .38 Special and Molly Hatchet with The Babys stuck in the middle of it.”

    Another reader wanted to know how many guitars Stocker owns and is there one he considers to be the “holy grail”.

    “I have a small collection now. Through the years, I’ve had anywhere from twenty-five to thirty guitars – all either Gibson’s or Fender’s, mainly Gibson’s. My favorite has always been the Les Paul. I’ve had that since the very beginning. But I’ve had Strat’s and Telecasters and 335’s. I’ve never really gone past that as far as other guitars. In some cases, guitar companies will offer me their guitars but I really didn’t want to endorse them because my heart was really with Gibson, you know? I knew that I could get the sound I wanted from a Les Paul so I just stuck with that.

    “As far as a holy grail, well, Gibson did release limited Paul Kossoff Les Paul model I would love to get my hands on one those but, I like I said, it was a limited run and I think only collectors own those now. But right now I’ve got a nice Gary Moore Les Paul and I’m enjoying that. But, yeah, I usually stick to the Fender’s and Gibson’s. Like I said, my collection isn’t as large as it used to be for various reasons. It’s starting to build up again now and, hopefully, there’s more to come but, yeah, I would say that my favorite is the Gibson Les Paul.”

    Another reader asked, “Thinking back, what would you do differently in and with the Babys back in the seventies?”

    “Oh, wow! I don’t know. Obviously, we had our ups and downs through the years. I’m sure most bands do. At the time you think you’re doing the right thing, giving a hundred percent. I don’t know what I would’ve changed. Some days were better than others. What was keeping us going, I think, was just the music itself and the enjoyment of being a band and pursuing onward.

    “Sometimes, you get left in the hands of the record company and management and sometimes you can get led astray. Maybe things like that may have happened to us along the way but you try to pull out of the nosedive and keep it level and do as much as you can do, personally. Sometimes, you’re not really in the position to change things around you because, being a group, it’s not like you’re an individual solo artist where you can say, ‘No, I don’t want to do that’ or, ‘I’m not doing that’. It has to be a group decision or a management decision or a record company decision. Sometimes you feel like you’re under the thumb of the record company. If you don’t stay in line with them, there’s always this fear of them saying, ‘Well, you know, if you’re not going to do it our way then you can be on your way’ kind of thing.

    “So, I don’t know that I would’ve done differently. Every day was a learning experience. Of course, nowadays, the experiences from being younger carryover to where we are now. I know there are certain things that we wouldn’t do again but, at the time, I was really in no position to really change anything like that.”
    After our call ended, I thought back over the hour long conversation and my perceptions of this legendary guitarist. Wally Stocker struck me as a man who still gets it: It’s all about the music and the fans who buy it and still has an experienced but enthusiasm about both.

    Visit thebabysofficial.com to keep up with the latest with The Babys and when they’ll be appearing in your town.