YouSaid · the spoken record

Steve Miller

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2016-09-18
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2016-09-18
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  1. “And I can't audit anything. I have a half a billion streams a year and I get paid something like, you know, $37,000 for it. And I'm always in the wrong program. It's like the old ASCAP game. Like, oh, gee, you're in the wrong songwriters program if you'd been in this one, we would have paid you the same as Frank Sinatra, but you're not. It's always a shell game for musicians, and it's always the artists are always the last to wake up and understand what's going on. So, you know, the guys who were running all of these streaming companies, they're screwing people like me.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  2. “Real, the only way to get out is, I mean, the tech companies are so far ahead of the government and regulation and law, and they've stolen so much Just because it's so easy”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  3. “Well, the first thing is you got to write yourself out of this ghetto. You know, we just had this discussion about legal problems that people have and the Grubmans of the world and the corporations of the world that use the Grubmans of the world to develop these contracts. And so we're in a situation now where Very few people can actually make a living writing music or performing it. And we're, you know, we're kind of in a circle. Right now, if you're not an actor and a dancer and a video star and all of these things and groomed by maybe Disney from the time you're four years old, you're kind of going to have a hard time. It's always been kind of like that. There's always been those kind of entertainers, but.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  4. “You know, so that aside, you know, he needs to be removed, Grubman, those contracts, the stuff they give the inductees, that needs to be completely thrown out and made simple and clear and honest and transparent. Their business is cloudy, deliberately murky. They don't want any input. They don't want to have to waste any time with you sticky artists. They're worse than any record company I ever worked with”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  5. “All glass, and they've built these dark tunnels. So, look, I mean, it starts right at the bottom. And it starts at the top and it filters down. And right now, like these guys need to retire. They need to be given a little badge and a little party and a pat in the back. And let's give them a big round of applause. And they need to be put out to pasture. And this needs to be taken away from Jan Winner, who uses it as a tabloid. You know, he uses it to drive tabloid sales. That's what he does. That's his trick. Hey, the black keys don't like you. Let's print their article in your response. What do you say, Steve? You know, and you just go, Jan, I'm not helping you sell anything.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  6. “You go in there and they have all this great stuff. But you know, you can't see it, you can't, you know, it's a museum design problem, you know. And I mean, they're in conflict with what the building is. The building's all light.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  7. “They don't know what they're doing, you know, the people running it are tired, they're weak, they're worn out, they need, they did a good job. They got a museum built. They inducted the people they cared about. Now the gene pool needs to really be enlarged. There's a lot that that museum can do. And my tour this year started in Cleveland. I booked it in Cleveland. I went right to the museum and went over and went through the whole museum and looked at it all and looked at what they were doing. And, you know, they need a lot of help at that museum. They have an incredible building. And they're trying, you know, they got some new kids in who are trying to run it right now, but they don't have any money, their displays are terribly executed. The light leaks in the black tunnels, it's cheap, it's dumb.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  8. “Well, you know, somebody came in, some woman came in and said, all right, that's enough. We're going to shut this down right now. And that's when I said, you need to sit down and learn something. Because they're just kids.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  9. “And then were inducted, then went up on the stage and did my little acceptance speech, then went over and played three songs, then back down to watch the rest of the show, then back up for the completely phony jam session at the end that was just noise. And then into the back where it was like, hey, they didn't induct you for 23 years. How's that make you feel? You know, some punk kid, you know. I just went, well, you know, here's how I feel. And you told.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  10. “Had a hired handler. Hi, my name's Cindy and I'm from Celebrity Services and I'm going to be your handler. Come on over here and sit down in this little cement room with these two metal chairs, you and your wife. We need you to stay here for about an hour and then we'll call you for your sound check. Go do the sound check. Then back to the little room. There was like a cocktail party for 30 minutes that we went to and then left. And then it was like, there's your table over there. And we were taken to a table, sat down at a table with people we didn't even know.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  11. “But that's what I need. Nothing looks like. I thought this is going to be great. So, what I found out was everybody was leaned on and pressured and treated poorly. We were never introduced. I never even met the black keys. When I walked in and went through security to get in the building, the rock and roll of fame was a sound check.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  12. “Everybody gets to meet each other This was the cheapest, crudest, ugliest, nastiest group of people I've ever worked with. And the great thing about it, the odd thing about it was somehow they make the television show look like everybody's having the best time. The guys who made that television show from HBO, they get my vote. I want them to shoot my next concert because they could make anything look good.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  13. “Period. So if I was running the rock and roll Hall of Fame, there would be a dinner for inductees and inductors and the board of the rock and roll of fame the night before. And I would present to the inductees the programs that the rock and roll of fame is actually working on. And I would say, you know, now that you're going to be inducted tomorrow night, we'd really like to have your help. You can join us. Steve, we know you know about, you know, publishing rights and stuff. Can you help us develop this? Could you teach a music class? Would you be willing to go to Cleveland and do all of that? None of that. There was no, nothing. You know, we didn't see each other. The inductees were never even introduced to each other.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  14. “Well, there are $10,000 apiece, you know, and so, I mean, it was just absurd. And then the contract commitments were just absurd. Nobody would sign it. Anybody with any kind of Care about themselves wouldn't sign anything like this. They didn't want to have to spend any time listening to what I wanted to do. It was like, we don't want to hear any of your ideas, any of your opinions. We don't have time to fool with you. We're making a television show. Your sound check is next Wednesday at 3 o'clock in the afternoon.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  15. “So, you know, all of that's all obvious, obviously true. But, I mean, just when I saw it, it always looked like a party. It always looked to me like Paul McCartney was having a great time with Elton John, who was having a great time with, you know, whoever was there, you know, with Chuck Berry, with whoever's ever on the stage. They're all there. It's all this great evening, you know. What it was for my class this year of 2016 was a legal argument where they started off going, no, you can't only have two tickets. We want your band to come and play. You have to come and play, but we're not giving you band tickets.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  16. “Yeah, I mean, but when you watch the rock and roll Hall of Fame, I mean, when you see it on television, what do you think?”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  17. “Tiny little budgets who have a beautiful building and they don't really have any leadership or any direction. So it's just sitting there just spinning its wheels. So what do you think the rock and roll hall of fame? What do you think it was like?”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  18. “It's much bigger than his vision. And it has a much more important mission. We're talking about it now. People really care about it all over the world. And they're really missing an opportunity to spread music education and to, you know, basically make it a better organization. And right now, the board, all the people that operate and run the rock and roll hall of fame, what you have is you have New York, which is disruptive, snarky, and out of touch and living in a bubble in Long Island and thinking they know everything there is to know about the world. And you have these underpaid people running the museum in Cleveland who are scared to death, who are afraid they're going to lose their jobs, who have these.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  19. “What's the feedback like? Everybody I've talked to from people who've been on the nominating board to musicians who've been inducted have said the same thing. They just say it's just awful. And people on the nominating board have said, you know, we'd go have these meetings. We'd talk about groups and then Jan Winner and a few people go into another room and they'd come out and tell us what had happened. One guy talked to quit after two years. He just said this is a waste of time. So what's happened is the rock and roll of fame is a whole lot bigger than Jan.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  20. “I'm not doing that. I'm not signing this. I'm not giving you lifetime rights to that. I'm not going to provide this until you provide their contract work was so. Goofy, it was just Silly”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  21. “We had a 90 day argument. It never has been totally resolved, completely unreasonable We had all of these problems, and so what you have when the leadership is snarky and legally incorrect, you have a situation where most artists that I saw were kind of going, I don't care, I'll sign anything. I'm in the Hall of Fame, man. It's just like when you're the kid who's written the songs and I bring you to my office, take you out for dinner, then I take you over to the recording studio, then I bring you back to my office with the Platinum Records in the Wall, I hand you a 30-page contract, and you sign it, and I give you a check for $10,000, and now I own everything you've ever do for the rest of your life. That's exactly the way they operated. And I just looked at it and said, you're nuts.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  22. “And Jan Winner runs snarky little tabloid magazines. That's the way he plays artist. So you have a situation where you have just horrible legal requirements for people who are inducted. Absolutely the worst.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  23. “We know it's not a tourist trap in Cleveland. It's a beautiful museum in Cleveland and a beautiful site And it is a cultural institution and a lot of great work has been laid down and put in place. And the current leadership is exhausted Don't have a vision and basically is just running it to Gather funds for the future. And what they're doing right now is very flimsy. You know, they've set up a lot of stuff, but they're not following through very well. So the rock and roll of fame, you know, when Ahmed Erd Put it together, and Jan Winner was his little henchman, and Alan Grubman was their lawyer. You basically had a combination of three egos and the communicator was Ahmed Erdogan.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  24. “That's right. It was always the first take is the one that has the magic. So if you're not really paying attention, you kind of go, oh, wait a minute, I want to do that again. It's not going to be as good. And then I can make that better than it just goes down the level of inspiration or presence gets duller and duller and duller. But when you walk in and lay it down, you're done.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  25. “I mean, it was recorded the week before it was out in the next three days. And I mean, it was like totally different than America where they go, all right, you finished the album. Now next January 27th, we're going to release it.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  26. “Yeah, and they, I mean, it was an unbelievable lesson, 40 songs. They were ahead of the game, 40 songs. Everybody else was like, well, the boys are working on the album and they've got a tour right now and it'll probably be two years until they come out with another record. What was the name of the band? And these guys were so far ahead of the game that they did a couple of things and they just pulled like eight other songs and they threw an album out. I went to Paris to go play a gig. And when I came back three days later, that song and record was number one in Europe.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  27. “It was like work. They got to the studio 10 30 morning, they were done at 3:30 in the afternoon. They had their tea break and they went home and they recorded four songs. And if they needed something else, he wrote, hey, Jude, that night and they'd come in the next day and do it. It was like that. What I found out, even that was even more interesting was when I was there, I saw them record get back And Come together, I think, was the other one. And they had 40 songs in the can.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  28. “Did you hear that? It was just that good, you know, and their conversation back and forth and stuff. And I just went, ah, I really am in the presence of, you know, Rogers and Hammerstein or something. I mean, unbelievable writers. And I have limitations. These guys don't. And I don't have, I can't be as great as they are. And then I found out that they just.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  29. “It is an astonishing catalog, all done under incredible pressure, horrible situations of just, you know, being followed by the press. If we were the Beatles in 1969 and we were doing this interview, there'd be 50 people right outside that window going, Steve just or Paul just scratched his head, or he just stood up. You know, I mean, they'd used to be reporting on everything these guys did and how they were creative. I don't know. What I found out was they had a language. Paul and John communicated at a level that was so funny and so witty and so clever. I mean, Paul Walk didn't to the studio and said, good morning, everybody. And you kind of went, wasn't that great? Did you get that on tape?”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  30. “You know, it's so great. You know, they just were so in the moment. And so incredibly talented. If we had the book of the 400 songs that the Beatles recorded and we went through it, you and I would both be going, oh my God, I forgot about those. I forgot about, oh my God, look, look, look, look. It's an astonishing.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  31. “You know, later in 1969, I got to meet the Beatles. And they were working their last album. And Glenn was the engineer. And I recorded with Paul and I was hanging out with these guys for a few days. You know, it was so hard as a writer and a guitar player to have rubber soul come out, you know, and you get to go, oh,”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  32. “Period of sessions, and we ended up making, I think, the first four albums were actually, you know, Wally Hyders in San Francisco and then back to Olympic to mix and back and forth. Nikki Hopkins was playing with us. And we were just in the middle of this world international scene. It was much better than being in LA. And engineering was much hipper. And there was a guy there named Dick Sweetenham who invented a lot of the digital equipment we all use today. He was one of the inventors of it. I mean, he was talking about the coming digital world and we were going, what? It's going to be on crystals. There's not going to be any tape. What? You know, we didn't know 1967. And so that's how it all started. It was really exciting.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  33. “We land there, and as soon as we started playing, it was like we had brought mana from heaven. We were the most juicy livest, greatest sounding band in London at that particular time. Everybody else sounded real stiff and working real hard to make pop records and stuff. And they just loved it. So we had this great, great.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  34. “Yeah, and I must go, no, no, no, no, no, just way too much. So I worked with Glenn Johns. Glenn was an engineer. So we pack up everything, board the USS United States in January. make an Atlantic crossing that was I was seasick for five days just oh my god what are we doing get to London go over to Olympic Studios set up and Pro call harems there. Peter Frampton's there. The Rolling Stones are there. The Who just left. You know, I mean, just Jimi Hendrix has been to town. Everything's going on, you know, and we're right in the middle of it.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  35. “So I started looking around in London and we found out about Olympic studios, talked to George Martin, who's a producer of Beatles. Sure. He was willing to do it, but he wanted 5% or something, and I wouldn't give it to him.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  36. “Because I had all of this control, I then started looking around for different studios. And I realized that these guys in LA didn't like me and they weren't going to help me. They were going to sabotage me and that this new deal I just made with Capital Records where I thought I was going to get all his help, I was one of like 200 bands fighting for limited resources with razor blade men, you know, and management and stuff. I mean, I just jumped into a world that was like, I was so naive about the politics of the record company and the corporate world.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  37. “It was the craziest, goofiest, overly feather bedded. Second night, I've had it. So I call up my executive producer at Capital Records, John Paladino, an ex-Marine, by the way. He was a great guy. I loved him. And I said, John, you can have the money back. You can have your contract back. Nuts to you guys. I'm done. Oh, no, no, no, no, no. God, no, no, Steve. No, no, no, no, no, no, no, no. I'm going, you know, listen, this just isn't. And so.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  38. “So we. Moved it to studio A, got ready to record, and the engineering staff walked out. They didn't like us. They thought we were hippies. They thought we were anti war demonstrating bad people. They really did not like. And these were a bunch of crew cutted ex Vietnam veteran kind of union studio guys. And this was a situation where as a musician, I was not allowed to touch a microphone or the console. And there was a guy from the musicians union who sat in the control booth to make sure nobody did it.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  39. “And we start to do a session. It's like four in the morning, and I just say, I can't do anymore. I mean, I can't sing. I'm exhausted. Got to go to bed. So they said, all right, we'll come back tomorrow at midnight. I come back the next night at midnight. And they say, you got to move all your equipment out of studio B and put it in studio A. And I said, well, we just set it up. What's going on here? And they said, got somebody else coming in with a studio? You're going to have to move it.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  40. “Well, what happened was we were San Francisco group and there's a big dichotomy between LA and San Francisco. And LA was like this horrible commercial group of sharks. Right. And San Francisco as this hippie peace love and happiness kind of community where all the bands shared information and everything. So Alan Livingston, the president of Capitol Records, was the guy who negotiated with me for nine months and finally said, okay, we'll give you the contract you want. We really want to sign you. So we load up all our gear and we go down to LA to do our first recording session. And I'm thinking, I just signed with Capitol Records, less Paul's label, my godfather's label. I can't believe this. This is so cool. And now I've got all these great resources and it's going to be, you know, I'm going to make this great album. They said, well, we don't have any studio time open until midnight midnight. And they said, yeah, we're just booked. They said, but we've got you booked at midnight. So I come in at midnight and we spend a couple hours unloading all our gear. We just drove down from San Francisco setting it up.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  41. “This built in theft, they're going to want to do this, this, this, and what I need is complete 100% artistic control. I need to own my publishing and my songwriting. And I need enough money to make five albums. It's going to take that long. And as long as they're here, I'm not signing a deal until I get those things. And everybody went, well, that's unheard of. And basically it was just common sense. It wasn't anything. Sometimes big ideas like that just seem so simple, like Les Paul was a genius, but all the stuff he invented was really simple and straightforward. And you think about it later, 40 years later, what he achieved. And, you know, this multiple track tape recorder, your engineer's fooling with, you know, is a direct result of Les Paul's ideas in the 40s.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  42. “Only three of them were important. The rest of them were all fly by night, independent small, big promises, no delivery kind of guys. And I had a friend who is a prosecuting attorney. And I went to him and I said, these guys are thieves”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  43. “Well, you know, it's funny. You know, like all I did was just common sense. And I did a couple of things. I knew a couple of things. And one was I needed to own my publishing and I had had this little taste of recording in Chicago with Barry for epic records, I think, or Mercury. I can't remember what it was. And we had a little run. We were on hullablue at the Supremes and the four tops. And then it was all over. And I learned that I didn't want anybody coming in and telling me what to play or record like, hey, kid, you need to move more and, you know, you ought to change those trousers, you know. There was a lot of that. And I didn't want anyone to own any of my songwriting. So when I got to San Francisco, I was in the middle of a feeding frenzy. I had 14 record companies trying to sign me.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  44. “Blues band at a place called Big John's. And he had a record contract. And I went, Record contract. Hey, I could do this. Maybe I could make a living doing this. And so I moved to Chicago, immediately put a band together with a guy named Barry Goldberg, a great keyboard player and writer We immediately got our record contract, had the worst manager in the world, and I learned all the things not to do very quickly, got out of that, and then ended up in San Francisco and had to reset and was able to get my own contract and do my own business.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  45. “Well, I didn't really think I could make a living in this music until about 1963 after I'd gone to the University of Wisconsin for four years in the University of Copenhagen for a year. I never really thought I'd be a professional musician because I came from this very middle class like, hey, you're going to have to get a job, pal. Right. And as much as everybody loved musicians, there weren't any good gigs being a musician wasn't a good gig. It's a tough life. Yeah, working in a nightclub, you know, basically with drug dealers and hookers and cops and mafia people.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  46. “Yeah, or he records faster and it's got a baseline when he plays it back at normal speed. And that Mary's singing multiple parts. Well, you know, 30, 25 years later or whatever it was, that's how I started making my living was playing multiple parts on guitars and doing multiple vocal tracks.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  47. “Your family, and my mother is a great singer. Yeah. And so during the Depression, all my relatives went to medical school and became doctors. So my dad was a doctor. He was a pathologist. This was all hobby stuff for them. I got my uncle's guitar, Les Paul shows up at the house, shows me my first three chords. I'm in love with Mary Ford. She's the most beautiful woman in the world. Unknowingly, I understand that he's like speeding this tape recorder that we have up and down. He's making his guitar solo sound faster. And, you know, he's recording.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  48. “Way off Broadway. Yeah. And, you know, a little sidetracked and close to where Les was born and where his mother lived and stuff like that. So we're watching Les Paul and Mary Ford perform. And my father's recording it. And so Les Paul's coming over to the house and listening to it. And pretty soon Les and Mary and Sonny and Bert, my mom and dad, were really good friends. A lot of drinking, smoking, carousing, listening to music. And pretty soon, you know, Charles Mingus and Tal Farlow and Red Nervo and all these people were hanging out at the house. And I was like, going, yeah, boy, this looks like fun. You know, this playing music is really great. I already had a guitar. My uncle was a musician. Another uncle who played in the Paul Whiteman Orchestra, who's a hot jazz violinist.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  49. “And started taking me into the nightclub. And I was watching Les Paul and Mary Ford. And what they were doing was they were rehearsing. They were playing in front of an audience at a nightclub in Milwaukee off the beaten path, right? Putting their show together for their television show where they were going to come to New York and do this television show.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source

  50. “My dad had a magna corder, which was one of the first professional tape recorders in the United States. It was like German technology stolen during World War II. And now America had tape instead of wire recorders. And the old man was really, you know, he had a magna corder. And he went around the corner and introduced himself to Les Paul and said, I got a magna corder and I'd like to come in and record you. And Les said, that'd be great. Come on down. My father started taking me to a place called Jimmy Fazio's Supper Club. I swear this was.”

    2016-09-18 · Masters in Business · Interview With Steve Miller: Masters in Business (Audio) · IDENTIFIED FROM THE TRANSCRIPT · source