Ep. 76 Today's Peep Features Legendary TV Game Show Announcer Randy West who Shares Behind the Scenes Stories From Hollywood Squares to Bob Barker, Dick Clark, Gene Rayburn and Golden Moments of Game Show Lore, and We'll "Stir It Up" with today's Record S

Episode Transcript
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Speaker 1 (00:00):
Okay, yeah.

Speaker 2 (00:06):
Hey, welcome.
I'm going to put a littleapplause in there this morning.
I never do that.
Welcome, my friends to the Backto Pat's Peeps.
That's right.
That's right, pat's Peeps Todaywe're at number 76.
I can't believe it.
Last week of Pat's Peeps beforeI head back to Italy where I do
plan on continuing the Pat'sPeeps podcast.

(00:29):
But I'm just really proud thatwe're at number 76 already.
And here we are.
This is now the second day ofApril 2024.
And as I look out the studiowindow here, out to the
foothills of Northern California, it's absolutely gorgeous.
Thank you, we have somesunshine today.
Like I always say, it's goodfor the soul.

(00:50):
I'm going to go out and get alittle vitamin D today through
the sunshine and have a greatday.
But you know what?
We're going to have a great dayhere on podcast Pat's Peeps
podcast number 76, because wehave a guest.
I'm just going to bring ourguest right in to the podcast.
Please welcome right here tothe Pat's Peeps podcast, randy
West, legendary announcer.

(01:12):
Randy, welcome to my podcast.
How are you, randy?

Speaker 1 (01:17):
Pat, I'm honored to be 76, because that's the spirit
of 76.
It feels good to be with you,pat, and I love your energy.
This is great.
We're going to have a lot offun here.
I need one more coffee to catchup to you, but it's going to be
a good time.
I feel the sunshine too downhere in Southern California, but
the problem is everyone nowwho's listening?
Where there's a tornado, whenapparently there are some

(01:38):
somewhere in the country, isgoing to be running to
California.
Well, listen, folks, thefreeways are already crowded.
So, just put that idea aside.

Speaker 2 (01:47):
Stay away.
Please stay away.
I'm enjoying my coffee, right.

Speaker 1 (01:53):
I do have a good cup of coffee right here.

Speaker 2 (01:56):
I'm a big coffee guy, Randy.
I like to grind my own beansthere, do a little pour over and
make it really nice.
You are a barrister.

Speaker 1 (02:09):
I'll tell you how much I love coffee.
I don't make any of it at home,but I have a gold card from
Starbucks.
At one point they said you'veearned the gold status.
I had no idea.
I had no idea there was a goldcard.
And if you buy a coffee, listento this.
It's freaking out.
This is going to kill me.
My heart will be beating for aweek after I'm dead, because if

(02:30):
you have a gold card, allrefills are free.
So you go in, you order acoffee and let me get one more
coffee.
It's free.
You just keep refilling and youget the same store.
You know you can't be going allover town.
Sit there and drink all daylong until your, you know, your,

(02:51):
your, your anus are vibratingand then it's like probably time
to leave.

Speaker 2 (02:53):
They always look at me funny.
You know I'm, I'm.
I don't have a gold card, randy.
I, I'm the guy that barely.
I rarely go there and and and.
When I rarely go there.
And when I do go there I'mlooking up at the sign or I'm
looking at the.
You know, someone will give mea gift card is the reason I'll
go in there.
I'll look at the sign.
I'll go.
The grande latte, frappuccino,whatever I'm like, I don't even

(03:13):
know.
Just give me a French roast,I'll get up to the counter, I go
.
Yeah, can you guys just do aFrench roast?

Speaker 1 (03:25):
And they look at you like you're some kind of an
alien, like do what now?
You want what you want coffee.
You don't want the creamycaramel frappuccino, whatever
you know.
I said I just want some coffee.

Speaker 2 (03:31):
I want some strong coffee, but, um, yeah, this, um,
yeah, you know, randy, it'sgreat to talk to you again.
You know, rand, you've been onmy radio show.
I'm also the host of the patwall show on radio, but but we
talked, randy, uh, right afterwe lost Bob Barker, which we'll
get into that.
But you know one of the guysI'm curious about something
before we really kind of get so,randy West, let's, I mean, if

(03:54):
we give you some backgroundabout the gentleman I'm talking
to right now.
I admire this guy because thisguy you are a, I mean geez.
You've been an announcer, oneof the top announcers in the
country for years and years.
You've worked with people thatI respect.
You know Bob Barker, I mean,the list goes on and on.
I would love at some point wehave to talk about Chuck Woolery

(04:16):
, because I know I think youspent a little time working with
Chuck Woolery back in two andtwo.
You know the guy.
I always loved that guy, butyou started in radio.
I wouldn't mind talking aboutthat.
Randy was the voice of thePrice is Right, and, as I
understand it, you really and Iwant to get into this a little
bit, but you kind of you know,when Johnny Olsen, you met
Johnny Olsen, he kind of didn't,he kind of take you under his

(04:38):
wing and you kind of learnedfrom him.
Or how did that go with JohnnyOlsen?
Because everyone knows JohnnyOlsen and everyone knows you.
I mean, tell us how that kindof works.

Speaker 1 (04:46):
Well, I wouldn't go that far.
I was 14 years old.
I used to cut classes in NewYork and go down to 30
Rockefeller Plaza and watchthese TV shows tape and there
was this hysterically funny guydoing the audience warm-up and
that fantastic announce you know, the price is right, come on
down.
He had all that energy in hisvoice and he encouraged me to
get into the business and I gotinto radio, which was the entry

(05:08):
point for most of us, and lo andbehold, a 40-year journey.
But later I'm standing in hisfootsteps at the Price is Right.
At the show he was most famousfor working with Bob Barker and
that's just like it's a TwilightZone episode.
But yes, it was the thrill ofall thrills to be able to do
what I saw that guy doing when Iwas 14 years old.

(05:30):
And as far as being a guy on aPrice is Right, just to satisfy
this, now the show's been on theair for 52 years, so I'm one of
those guys.
There's a half a dozen, so youknow, just don't put it all on
me.
Well, listen you.
We respect, obviously.
You know, just don't put it allon me.

Speaker 2 (05:43):
Well, listen, you we respect.
Obviously you've had thisincredible career.
I mean geez.
I mean, look at all the stuffthat you've done.
There's some shows in therethat I look at, like Supermarket
Sweep, and some of these showsI'm like geez, you know, I
remembered all of this stuff.
People like Gene Rayburn on theMatch Game, which was one of my

(06:05):
favorite shows, you know youtalked about tom kennedy we were
talking off air tom kennedy,who was a great, uh, you know, a
bill colin.
Talk about, like some, what aresome of the great you know game
show hosts that you worked with, randy?

Speaker 1 (06:20):
well, oh my god, the list is incredible.
Yeah, I mean, if you loiter inshow business long enough, your
paths will cross with prettymuch everybody else, because it
kind of is a small, small littletown in the sense that people
want to hire and work withpeople who are established.
You know, you know them, youknow they're reliable and
they're going to be good andthey're not going to cause a
second take or going to keep thecrew there longer into overtime

(06:42):
, so you can work with the samefolks over and over.
So for me and I'm working offthe top of my head I should
probably put a list down.
But Dick Clark, chuck Woolery,gene Rayburn, bob Eubanks, wade
Martindale and I have done ahalf a dozen shows together over
the years.
And now you know, now that I'mhalfway down this road, I'm
going to start forgetting orleaving people out of the thing,

(07:03):
but if it's somebody thatyou've seen on as a game show
host at one time or another, Ipretty much work with.
I worked with Alex Trebek doinguh, not jeopardy, but uh, he
used to co-host with uh, my, my,my, my sitcom actress.
Uh, oh it, we'll get back to itFrom the Brady Bunch.
What was her name?
Oh, my goodness.

Speaker 2 (07:25):
Florence Henderson.
Oh, Florence Henderson.

Speaker 1 (07:27):
Yeah, yeah, alex and Florence used to co-host the
Daytime Emmy Awards and I wasthe announcer.
Ladies and gentlemen, pleasewelcome three-time Emmy winners.
So-and-so and so-and-so for theyou know whatever, and I would
do that.
You know backstage voice of youknow introducing.
So we used to share dressingroom suite, so to speak.
It was like one big room withthree little you know closets

(07:49):
off of it and we spend the daythere because there's rehearsal
and crew walkthroughs and stufflike that.
So you know, even though Ididn't necessarily work, these
people like in Alex Trebek'scase, their signature show, you
know spent the day with them onseveral occasions working all
these various different thingsthat come across.
So, if you can, you know Inever worked with Bill Cullen.

(08:09):
I mean, he was a generationolder than I was.
So there's some of the namesthat may come to mind that I
didn't work with.
But most of the other folksthat you've seen doing this
stuff I was thrilled to have anopportunity with, and just magic
Monty Hall, I mean, I keepthinking names will come flying
from the back of my cerebellumhere, but there's a lot of
people.

Speaker 2 (08:30):
Togo and Randy West, longtime announcer of TV.
I mean just so many platforms,so many things.
I'm really honored to talk toyou.
You know, gene Rayburn, Iremember Match Game like Match
Game, 75.
Gene Rayburn, it would be likeFanny Flagg and Charles Nelson
Riley what's the guy I can'tthink of the guy, brett Summers.

(08:51):
Brett Summers, richard Dawson,of course.
Right, gene Rayburn, he hadthat long, skinny microphone.
It was this long, thinmicrophone.
He always seemed like this wasmy impression of him like he's
one of my all-time favorites,like maybe in between, maybe

(09:12):
went, had a martini or somethingtuned up a little bit, came out
, oh yeah, and he was having funman.

Speaker 1 (09:17):
He was having fun he was a kind of a pecs.
Bad boy is an old expression,but you know he was a rascal
might be a better word for it.
You know he would like to getthe press press the edges of.
You know what the boss wants,like a good disc jockey.
You know the program directorwants to keep them, you know, in
format and a good disc jockeywill be creative and kind of

(09:38):
stretch the rules a little bitand Gene loved to do that when
they started doing the matchgame.
Originally, mark Woodson, whoproduced the show, wanted him to
stand behind a podium like mostgame show hosts.
Do you know you stand at yourpodium and he said no, I like to
walk around.
Mark Goodson didn't like theidea but you had to admire the
way he would talk to thecontestants and he'd walk across
and talk to the panel of sixcelebrities.

(10:00):
It worked so beautifully but itwas not the way it was first
envisioned.
He made the show his own andgot grief in some cases for Mark
Goodson who used to leave himmemos saying now listen, this is
a show with six professionalfunny people that I'm paying to
be funny.
We don't need a host to befunny.

(10:26):
Celebrated his 98th birthday twoor three days ago, still in
great health.
He came through COVID in his90s and is doing spectacularly
at 98.
He just comes to mind becauseMark Goodson referred to Peter
Marshall.
Now here's a guy who's straightman to nine celebrities.
Peter Marshall on the HollywoodSquares for all those years
really never said anything funny.
You know, he was just acatalyst and a straight man and

(10:46):
kept the game moving forward.
And Mark Goodson's idea was thatGene Rayburn shouldn't be
getting laughs because that'swhat these professional funny
people are for.
And of course that idea wentright out the window because
Gene was hysterical, so he waskind of a bad boy, rascal kind
of thing.
But oh, he was so smart, soquick and so so funny.
And when television started hewas among the very first people

(11:10):
to move from radio intotelevision and you know, and
made himself a home at it.
And I'll tell you a sad storyabout Gene.
You know we all get to acertain age when you know you're
no longer telegenic or theresearch among the audience, oh,
he's too old, or the viewerswon't relate to him because he's

(11:32):
at a certain age.
Well, gene Rayburn spent hiswhole life on television, from
when the TV camera first blinkedon and he was very hurt when
they brought the match game backin 1990 and didn't ask him to
do it Now.
Gina and I had the same agent.
So the agent called the Goodsonpeople and said well, you don't
understand.
He's so associated with theshow, you want to at least have

(11:54):
him on the panel.
For goodness sakes.
If you don't want him to host,all right, have him on the panel
.
He's funny, he's quick, heknows this game.
It'll be great and people whoremember the match game will
love to see him again.
No, well, let him come on tothe first episode.
At least hand the tall, skinnymicrophone to the new host, and
that way there'll be somecontinuity.
And you know no.

(12:14):
So it really broke his heartand I had closed its front door
to his ability to walk in andwave and say hello and feel at
home and it really crushed himand there was a lesson for me
there.

Speaker 2 (12:35):
Was that based, as you said, how you appear on
television?
He was advanced age.
Was it that just disrespectful?
That disrespectful to this manwho wanted to be on television?
He wanted to do this and yetthey disrespected him in my
opinion, whereas a guy like DickClark God bless Dick Clark, um,
you know, who went on to do therockin New Year's Eve after

(12:55):
he'd had a stroke and everything, and I felt bad for him, um,
and I even felt worse for anyonewho made and poked fun at him,
because anyone who did that umshould be taking a look at
themselves in the mirror.
Because in my estimation, I'mkind of kind of getting away
from gene for a second, but Idon't mean to, because I think
gene rayburn is the guy thestraw that stirred the drink in
match game with him standingbehind a podium, would have been

(13:18):
not even close to what he didon that show.
To made that, because he's theguy that made it a little party,
a little half-hour party.
Sure, it was a game show, butthere was an underlying feeling
of a little bit of a party, likea relationship between him and
the people that were on there.
They knew each other reallywell.
Peter Marshall is a guy youbrought up, peter Marshall.

(13:38):
I'd love to have Peter Marshallon my show.
You know Peter Marshall was aguy.
He on my show.
You know Peter Marshall was aguy he might.
He was sitting there HollywoodSquares.
He wasn't necessarily trying tobe the funny guy, but yet Peter
Marshall had a way about him,randy, that what he was very
pleasant in the way he handledthat show and he could be very
funny.

(13:58):
Just I mean he wasn't reallytrying to be funny, but he could
be very funny.

Speaker 1 (14:03):
He.
First of all, he's theclassiest guy you would ever
want to meet on or off the air,a gentleman, and always seems to
have the right thing to say andput people at ease.
But he is a very funny guy.
He was part of a comedy teamBefore we knew him as a game
show host or a Broadway actor.
His beginning of show businesswas half of a comedy team.
He was the straight manactually, so it was sort of like

(14:25):
Dean Martin and Jerry Lewis.
He had a Jerry Lewis type, youknow, kind of crazy, and he was
a straight man to a guy namedTommy Noonan who was his partner
.
So there was a lot of comedy inPeter's background.
But the job, you know, you gotall these people with prepared

(14:46):
jokes and now you're going totry to top them, or, you know?
Just let it be simple.
You know, here's your question.
They tell the celebrity, telltheir joke, you repeat, you
laugh and then you repeat thequestion.
The celebrity gives an answer,not a joke, and then the
contestant agrees or disagrees.
Period, end of story.

(15:06):
Rinse, rather repeat.
And that's the television show.
Because if you spent you knowthree minutes with any of these
players trying to win the square, you know, and out-joking each
other and stuff like that, youlose the flow of the game and
suddenly the tic-tac-toe elementto it goes away and you're lost
in a bunch of silliness.
And that's frankly why peoplelike Milton Berle wasn't invited

(15:32):
back the one week that he didthe original Hollywood Squares.

Speaker 2 (15:35):
Milton Berle did the original.

Speaker 1 (15:38):
Hollywood Squares.
Well, pretty much everybody,and the show was on for over a
dozen years.
Well, pretty much everybody,and the show was on for over a
dozen years.
It was like everybody had ashot there, but some were not
invited back because they, youknow, like I said, they tell the
joke, everybody laughs, givethe answer, they disagree or
agree, and then it's, you know.
But milton wants to do, you know, a half an hour, because that's

(16:00):
who milton is, and it's funnyif you're seeing him in concert
or on television.
But it didn't work there, youknow.
So a game show seemed to bevery loosey, goosey, whatever
happens happens, kind of thing.
But really, behind it allthere's a great deal of science,
you know, and I don't mean it'slike brain surgery, you know,
but things that work work andthings that don't don't, and

(16:21):
producers are constantly tryingto hone the uh presentation,
let's say it should be mostpleasing to the audience.
Because it's a, it's a battle,you know.
You think, if you're in acompetitive situation in a radio
market, you know, you got, yougot your morning show and
someone else is doing anothershow and oh my god, you know
we're battling for the ratingsevery time the book comes out.
Well, that's true.
But in television, justsupersize that, because the

(16:45):
advertising rates are so high,the production value is so high.
Radio guys, we go in a studio,we push a couple of buttons,
maybe we have a sidekick, andthat's it.
So what does that cost toproduce?
You know?
$100?
Sure.
But if you've got a crew of 100people, you know.
And the production value isn'tjust audio, you know, you've got
all this equipment and thestudio rental is so much more

(17:05):
than a guy with a microphone andtwo turntables, you know.
So the stakes are so high thatthere's a lot of thought and
consideration, because it's bigbusiness, you know.
And show business is not showbusiness, it's the business of
show, if you know what I'msaying, the business part of it.
There are great people who arehysterical, wonderfully talented

(17:30):
, go on and on and on and on.
But it's not about the show,it's about the business.
Is it dollars and cents or isit taking, you know, a gain or a
loss, profit or a losingproposition?

Speaker 2 (17:38):
Talking with Randy West, legendary announcer in my
book.
So many, so many shows, so manythings you've done.
I'm so.
I've got so many questions,randy, that I probably won't
even get to them.
But uh, just, I just kind ofwant to follow up too.
On the Hollywood Squares, youknow, when you're Peter Marshall
or whoever you're trying to be,even Milton Berle, which, like
you said, that doesn't work.
It's not, it's not the MiltonBerle show, but, um, it's kind

(18:01):
of hard to out funny as someonelike Paul Lynn.
You know, you got the centersquare, you got Paul Lynn, who
is one of the greatest comics ofour time.
And then here's some of theother memories that I have of
that show.
Wally Cox was always on thatshow.
Wally Cox was like the voice ofUnderdog.
I remember he was on there andthere was a guy and maybe you

(18:25):
could tell me, because this hasalways been a mystery to me.
You're gonna ask about charlieweaver.
How did you?

Speaker 1 (18:32):
know it was like the bottom left square.

Speaker 2 (18:35):
He was like how did you know I was gonna ask about
charlie weaver, my only thingabout charlie weaver is that I
saw him on the show and thereused to be, when I was a little
kid, randy, there was like thislittle, what would you say like
a toy, and it was like abartender thing and I think he
kind of wound it up and helooked just like Charlie Weaver.

(18:57):
Maybe he was Charlie Weaver, Idon't know.
But I'm like, who is CharlieWeaver?
Who is this?

Speaker 1 (19:02):
dude.
Yeah, that's so funny.
I'm coughing because he's hadme laughing.

Speaker 2 (19:06):
I can't believe.
You asked me to say CharlieWeaver.
Oh my God.

Speaker 1 (19:10):
Yeah, well, you know who is this guy after all.
I mean, he's a guy with a funnyhat.
He goes by a.
He's Charlie Weaver, but he'salso Cliff Arquette.
I mean, which are you?
You know he was more of avaudeville act.
You know it predated all of uskids who were watching that show
.
But he, you know he had a acareer before uh hollywood
squares, as did rose marie andsome, and wally cox and wally

(19:32):
was doing underdog, as you say.
But he was on a very earlytelevision sitcom that, mr
peepers and uh was verysuccessful, you know.
So some of these folks, theirmoment had come and gone, the
height of their popularity, butthey found, uh you, a great
chemistry in that, you knowsquare grid, if you will, of
nine squares.
It was a wonderful show andeveryone who worked it had the

(19:55):
ball there.
Rose Marie and I were friends.
Before she passed away.
There was, incidentally, theperson with the longest show
business career ever.
She was on radio at age threewith a baby Rosemary show.
She was a radio star at agethree.
She was in movies at age fiveand she passed away well into
her nineties.
And one of the people whoproduces uh cartoons out here

(20:19):
cast her at age 97.
I think it was in a oh gosh,what was it in a I'm forgetting
the cartoons that he did, butyou know one of a series of a
character that we know and casther just to see you know if she
still had it.
And she did.
So she, her career, from agethree to something like 97 is

(20:41):
the longest career that everexisted.
But Rose would talk about goingin there on a Saturday and they
would do their five shows.
And, as you said a few minutesago about the party atmosphere
on Match Game, it was true forall these shows, because when
you do five a day, well, youbreak for lunch.
Of course.
I mean, nobody's going to.
You know you've got to have alunch.
Sure, and lunch was cateredbecause they didn't want people

(21:04):
leaving the set, leaving thebuilding, going to some
restaurant and coming back late.
And we could talk about that ina minute, that's another story.
So they would cater in thesemeals and, you know, just keep
everybody there.
So when the hour is up, thecrew needs an hour break or
whatever the number of minutesis.
You know, let's get back towork.
You know people are out atrestaurants, the service is slow

(21:24):
or whatever you know.
So there was always wine atboth the Hollywood Squares and
Match Game, and you could alwaystell the Thursday and Friday
show from the Monday, tuesdayand Wednesday show.

Speaker 2 (21:37):
A little looser, a little looser.

Speaker 1 (21:40):
Absolutely.
Brett Summers would be all overthe place.
He'd be outspoken and carryingon.
Absolutely Brett Summers wouldbe all over the place.
She'd be outspoken and carryingon.
And Paul Lynn would be muchlooser because he, frankly, was
a drinker whether he was tapingor not.

Speaker 2 (21:50):
Fanny Flagg trying to start trouble and fights right
there.
Look at her, fanny Flagg.

Speaker 1 (22:11):
That's right.
Rose said these were the finestdays of anyone's career because
you go in there, you're withfriends, there's no, there's no
lines to memorize.
You know, there's nothing to do, to sit there and be, you know,
be charming, and uh, you know Idon't mean to ruin anyone's uh
uh concept here, but those jokesin hollywood squares were
prepared and, uh, you know,delivered by a professional.
It all seemed very ad lib andit worked beautifully.

Speaker 2 (22:23):
Which is really remarkable, because it's not
easy to do and come off thatfunny when you already have
prepared material that you haveto read off of a card.
If it comes naturally andspontaneous, it's one thing.
So it really takes a giftedperson to be able to come off of
that card or that line that wascreated for you and delivered
the way they did.

(22:43):
And you talked about Rosemarie,my gosh, rose marie from, uh,
the dick van dyke show.
Right, as most most peopleremember her from the dick van
dyke show.
I love how a lot of thesepeople started in radio.
You know one thing, one we'retalking with randy west, one
person I want to talk about thatI learned something.
This person was one of myall-time favorites and because
you you mentioned him, I want toask you about this guy.

(23:05):
But I thought he had a greatsense of humor.
I think he's still with us.
There's another guy I'd love totalk to, but Bobby Eubanks.
I'm watching the newlywed game.
There was something about BobbyEubanks that my read on him
when I was a kid watching thisshow.

(23:25):
I'm just a kid, you know, andwe're just kids and we're
watching it, you know.
But again, just like um, justlike with Gene Rayburn, there
was underlying feeling and, um,I felt like Bob Eubanks was very
I don't know, hip is the rightword.
If you're using the word hip,you're not hip, but I'm using it
anyhow.
But he had an underlyingcoolness and hipness to it, if

(23:47):
you will, great sense of humor,and I don't know if this is true
, but recently, randy, one thingI heard about Bob Eubanks is
that he wasn't just this talkshow, I mean this game show host
, magnificent as he was, but isit true that he also managed
musicians like Dolly Parton,barbara Mandrell, marty Robbins?

(24:12):
Bob Eubanks is the only personMerle Haggard to have promoted
the Beatles concerts for threeyears that they toured America.

Speaker 1 (24:20):
Right, where can I start with you?
You're absolutely right.
He was as hip as could be.
He was a disc jockey at KRLARadio top 40.
Right, that's amazing.
With the ABC executives and hewas just hired to come in and

(24:43):
run the show and the executivesbought the show based on that
run through and he said great,where do you meet the host?
Chuck Barris says he says well,no, this guy, we want this guy.
He said, well, this guy's justa disc jockey, he's never been
on television.
He's never been on television,you don't want him, you want the
guy.
He says said no, we want him.
And and and and you want tosell the show, we want him.

(25:06):
So it turned out that this washis first television gig.
Bob tells the story that chuckwent up to him during the first
commercial break of the firstepisode.
He said bob, you're, you'vedone something.
I've never seen anothertelevision host ever do watch
that.
He says you just did sixminutes and you didn't blink
once.
He was like a deer in theheadlights.

(25:28):
Deer in the headlights Becausehe'd never been on TV.
But you're right, he was hip,he was a disc jockey and he was
the youngest game show host everat that time.
So he was as hip as they comeand very, very glib and, yes, he
came from country music andloved that world and more than

(25:49):
anything else, he was abusinessman.
When concerts were going townto town, they were usually, you
know, a promotion company andyour city to, you know,
so-and-so productions presents,you know, and it would be just
one or two bookers who wouldpromote concerts in these
various cities and the Beatleswere unheard of, unheard of by

(26:10):
the establishment people.
But Bob knew of the Beatlesbecause he was a disc jockey and
they were just becoming popular, just breaking.
Beatlemania was just about toexplode.
So when the Beatles becameavailable, none of the two
bookers, neither of them, wantedto be like I don't know what to
do with that.
How popular are they?
Have they sold other ticketsand other venues?

(26:32):
I don't want to take a chanceon that.
So Bob says yes, I will takethe Beatles.
And he had a couple of rentalproperties with a partner, a
business partner, and theymortgaged the rental property
and put his house up to get theloan to book the Beatles.
And he bought the HollywoodBowl because Brian Epstein said

(26:54):
if Brian Epstein said theBeatles told me, if they play
Los Angeles if they play,because no one was buying them
at the moment.
They really want to do theHollywood Bowl because it's such
a famous venue.
And Bob said yeah, fine, okay,whatever.
Because Bob knew he could fillthe place and they did.
But what Bob didn't know as afirst-time promoter he'd never
done any of this before was thatyou just don't buy the group.

(27:16):
You have to buy security.
You have to buy all manner ofthings in addition to just
putting down money to get thegroup there.
All manner of things inaddition to just putting down
money to get the group.
There is all manner of fees andcosts and expenses and
percentages.
They go to all sorts of layersof people.

(27:38):
When it all got over, you know,he came in one day ready to do
the show, early, I should say,in the morning of the day that
the Beatles were going to playthe Hollywood Bowl for the first
time, and there's all thesecops there.
He says well, what are you alldoing here?
Was there a problem?
He says no, we're.
We're here to be here for theday.
He says really.
He says yeah, because theBeatles are, you know,
potentially going to be aproblematic, because the
neighbors are concerned becauseit's a rock and roll group and

(28:00):
this is the Hollywood bowl,which is normally classical
music.
So the neighbors are all upset.
So they demanded the policepresence and Bob said well,
that's interesting, who's paying?
You guys, you are.
Every word of this is true,every word is true.
So when Bob got through thefirst year doing the Beatles at

(28:22):
the Hollywood Bowl, he madeabout $4.
I mean, that's his joke, but hemade very little in profit.
He barely met his expenses,which was not what was
anticipated.
But he learned what it meant tobe a concert promoter.
And the next year he had themback at the Bowl and then the
year after he had them inanother venue in LA.
And of course in those dates hemade money because he knew what

(28:43):
he was up against.
But and of course in thosedates he made money because he
knew what he was up against.
But it's fascinating.
So then he started managingthese country people and he
tells the story of beingbackstage with Dolly Parton, who
sang with, who was her partner.

Speaker 2 (28:58):
Oh, gosh, she was not Porter Wagner.
No, no, no, yes, porter Wagner.
Thank you, yes, yeah.

Speaker 1 (29:03):
Porter Wagner hired Dolly to be part of his act.
The two of them worked togetherand while Porter was on alone
on stage, dolly said hey, I knowyou do, merle Hager, you manage
.
Merle, will you get me out ofthis thing with Porter?
I'll get killed.
She said no, I'm responsiblefor it, I will leave him, I will
tell him I'm gone, I will beresponsible for any contractual

(29:25):
thing that he and I have, andbut I want to come.
If I do that, I want to be ableto come to you.
So he said, if you can clearyourself at Porter and not get
me killed for you know, stealingyou, so to speak, yeah, I would
love to manage you.
So that's how that came to be.
With that, he managed the Dollyamong other great concert acts,
and he's a big fan of countrymusic and he's a hell of a guy.

(29:46):
He's just done so many thingsin his life.

Speaker 2 (29:50):
She wanted to get away from Porter Wagner as her
manager.
I guess Is that what he wasdoing Well, managing and onstage
partner.

Speaker 1 (30:00):
Yeah, I mean because he kind of owned her, you know,
discovered her quote unquote,we're all discovered.
My mother discovered me I don'tknow who gets discovered, you
know but in a sense that he hadmade her a viable act or
something, so felt that thereshould be more loyalty.
But she reached the point whereshe felt that she stagnated.
You know, it's not for me tospeak about her, you know, but

(30:22):
she felt she wanted to go out onher own and Bob said yeah, if
you can do it cleanly, where I'mnot.
The guy that came in and, youknow, convinced you to leave,
yeah, sure.
So he goes back with a lot ofthese folks and Bob and I are
going to be May, the lastweekend in May I think it's May
30th and 31st at a thing calledGame Show I'm sorry, quiz Show

(30:43):
Expo in Burbank, california,you're going to be with Bob
Eubanks.
Well, I'm with him all the time.
Yes, I'll be with him again inMay, the end of May.
Yeah, we see each other oftenat various different functions
and I work with him.

Speaker 2 (30:55):
Oh my gosh, he's one of my TV.

Speaker 1 (30:58):
I love the guy Well get on a plane and get out here
at the end of may to burbank,california, and I will introduce
you to all these jabonisjabonis is just the funny word.

Speaker 2 (31:09):
I'll be there.
I'll be there, okay.
I mean, I don't even know whata jabonis is.

Speaker 1 (31:12):
We're not going to go , we're not going to dinner with
all of them, but you know, Iwas going to introduce you to
all these people, sure, sure?

Speaker 2 (31:18):
I'll just ask him to dinner once you grab a pizza or
something you know talking about.
I'm just going to go a coupleof more of, uh, of these hosts.
They come to mind when I gotinto the business, when I got
into radio and I've done some tv.
I'm just a guy that I preferradio.
I like, I love the flexibilityof radio, I like audio.
That's just the way I am when Iwas.

(31:39):
You know, like anyone else, youhave a, you have nerves as
you're getting into the business, and there was one person who
was I was getting into thebusiness of radio that I looked
at and I admired so much becauseof the their ability to stay so
perfectly calm and so naturaland wonderful.

(32:01):
And to this day I look up toDick Clark, whether it was
American Bandstand, butparticularly like if you look at
the what was it?
The $25,000 pyramid, then itwent to like the $100,000
pyramid or whatever, and so Iwould look at Dick Clark.
This man would be over thereand and so the contestants would

(32:22):
go in the middle circle thereand they would be trying to
guess what's up on the board onthe pyramid and like at the end
of it, dick clark would justcasually walk up to the couch,
the little chair, he'd put hisarm up there and he'd he'd just
start naming a couple of clues.
It's just so calm and relaxed.
He was never jittery, he wasnever hyper.

(32:44):
He was so calm and so naturalthat I thought this is the man
that I want to.
Whether or not I'm scaredinside, whether or not I have
the nerves I want to treatbecause I'm sure he does, even
though he's been doing it a longtime, I'm sure they're still
there at times I want to.
I want to be like thisgentleman and try to handle
myself the way that he, thatDick Clark, did.

Speaker 1 (33:07):
He was so perfect in so many ways when that camera
ran.
How could I begin to start?
First of all, he understoodthat white bread is the best
selling bread in the world.
It's not pumpernickel and ryeand the sourdough white bread.
And if you get the analogy I'mmaking for you here, it's.
It's not about being wild andcrazy and an interesting

(33:29):
character, necessarily.
He was white bread.
He was plain, always reliableand down the middle.
You didn't never knew hispolitics.
You never saw him try to behysterically funny.
You never saw.
You know, it was just.
He knew how to be a constant anda warm, friendly person and he
could walk.

(33:49):
How can I say this?
You know you're looking into acamera.
It's a lot of cold stainlesssteel equipment and wires and
lights and people standingaround.
But when he looked at you athome it went right through all
of that mechanism, no-transcript.

(34:13):
You know you felt like he wastalking directly to you and
that's, as you know as a radioperson, a true art.
And within television it's eventougher because there's all
this other stuff going on.
He had that one-to-one thingbeautifully.
He was calm.
He never got as you say, nevergot rumbled and shuffled.
You never heard him stammeringand stuttering and he had the
most amazing thing, which is aclock in his head.

(34:33):
He had the most amazing thing,which is a clock in his head.
Now, between episodes or at theend of a tape day of shows, a
host will often be doing promosfor the stations that carry the
show.
If you're on a network orsyndicated to many individual
stations, you will often hearthese things.
Hi, this is Dick Clark.
Join me tonight on Channel 6after the 5 o'clock news, and

(34:55):
we'll be playing the Pyramid.
It's not fun without you, sojoin us here on channel 29.
You know, you've heard thosekinds of things, absolutely.
He would be able to mill thoseout.
He knew what 10 seconds feltlike without a clock, nobody
counting with their fingers forhim, which is most people use.
You know he would just standthere and tick talk in the back

(35:15):
of head and everything came outin nine and a half seconds.
It was just never long and ifit was short he'd just sit there
for that extra beat, thatlittle heartbeat, he'd just be
smiling.
So it was just beautiful and hecould go through these things.
They would hold up cards.
I mean, nobody has all this intheir head, so it was written on

(35:35):
cards.
But occasionally he would saythat's not KCAL, they call it
KCAL, let's do it as KCAL.
Put a hyphen between the K andthe C-A-L.
Oh, okay, how did he know that?
Or sometimes it would be likeafter the 5 o'clock news he
would add after the 5 o'clocknews with Jim Hart of 5 o'clock

(35:56):
news with Jim Hart.
Huh, what, how?

Speaker 2 (35:58):
do you know?
Wow, wow.
He gave me that personal touch.
He did his homework.
Kcal News KCAL, let's not goK-C-A-L, it's not K-C-A-L, it's
KCAL, let's do it the way.
I mean.
That is just attention todetail, brilliant.

Speaker 1 (36:17):
He produced a lot of the show not Pyramid, but he
produced most of the otherthings he appeared on.
That's why he appeared on theNew Year's Eve thing after his
stroke, because it was hisdecision.
He owned the show.
He created it and owned it andsold it and ran it.
So that was his decision and hetook heat for that because some
people thought it was I don'tknow uncomfortable of other

(36:41):
people to walk around spendtheir whole lives having after
having a stroke.
So you know this is part of ourculture and society.
So I pass no judgment.
But you know it was.
He was there because it was hisdecision.
If gene rayburn got too old, hewas gone because he didn't own
the show right.
You know it's a different kindof a different, different
element there.
But yes, dick Clark wasmasterful Now off air he was not
necessarily the same guy yousaw on camera.
I can attest to that because Iworked with him and he was

(37:05):
multitasking.
He was often got 17 thingsgoing on in his head and trying
to balance everything because heproduced these shows.
He's responsible for payrolland deadlines and all the things
that a producer is responsiblefor.
So he would approach thingsdifferently when the camera was
off, because he's looking atthis, he's looking at that, and
I used to do the audience warmup.

(37:25):
Hi everybody, how y'all doing,ready to have a good time today?
Oh, we got a big show for you.
You know, you welcome thepeople in to get them all
cheered up and excited, and thatwas my job on a Dick Clark show
.
And, uh, you know, some days hedidn't like something I said,
cause he was the production, hewas the guy, you know, uh, so I
would get a word afterwards.
Now, you know, randy, when yousaid that, uh, dick wasn't very

(37:47):
high, oh, okay, cause he's notjust a talent, he's, he's a boss
also.
So he was responsible for a lotof stuff.
So when the camera was off, youknow, his mind was taken away
as the owner of the company, soto speak.
You know, and uh, what, whatyou saw on camera?
He was flawless and seamless inhis ability to be charming and

(38:09):
warm, and he did one other thingother than those promos that
impressed the hell out ofeverybody, which is he's the
only person ever in the historyof game shows to be able to do
10 episodes in a day.
He did 10 pyramids in a day.
Then, as was Saturday, he cameback and did five on Sunday.
He would have done 10, but hehad to catch an early plane to

(38:30):
go back East.
So 10 on Saturday, five onSunday, the plane, and he was
gone for a few weeks and thenhe'd come back and repeat that
and you could watch thosepyramid shows and nobody can
tell you whether it's show onein the morning or show 10.
After a long 10-hour day he'sstill as fresh as out of all of

(38:51):
them.
It's amazing, wow, it's funny.
Consummate broadcaster.

Speaker 2 (38:56):
It's really interesting behind the scenes,
the way you imagine things andyou know, because of his persona
, we see the persona that he'salways going to be calm and cool
and collective, but yet he's aboss and you know, there's
certain things that are verysurprising because, you're right
, I've never noticed adifference in any of the shows.
They all seem, like you say,fresh and new, and it's

(39:17):
remarkable.
That is a hard work ethic interms of being able to do it a
couple of days and then, ofcourse, taking some time to go
do whatever else you're doing.
But just because you're not onthe show doesn't mean you're.
Of course you're still runningthings and you know you're still
working the business.
Can I want to?
Um, I want to also bring upchuck woolery, you know.
Just going back to the newlywedgame, the thing that always
cracked me up, brandy, is at theend they'd go couple.

(39:39):
Number two you are our winnersand they would go.
You're getting a brand.
It was cracking me up becausethey'd go a brand new, all new,
and I'm like, well, of courseit's new, they're not going to
get our used refrigerator here.
What are you going to do?
Used refrigerator here.
What are you going to?

Speaker 1 (39:56):
do Go.
Number two you received a usedrefrigerator.

Speaker 2 (40:02):
We plucked off the green badges after the penny
saver.
It's always brand new.

Speaker 1 (40:05):
Well, the other cool thing about it.
I know I'm interrupting you,but I just got to tell you this.
If you remember the line, itwas like a grand prize selected
especially for you.
Do you remember that line?
I asked Bob so these peoplewant a trip, these people want a
refrigerator.
How do you know who's going towin?
Because it's a prize selectedespecially for them.

(40:27):
You know what are you?
Are you changing the prize?
He's no, you idiot.
You would get four people thatwant to wash her and dry her and
put them on the same show.

Speaker 2 (40:36):
All right, see, okay, that's so funny because I
always wondered that.
Here's what I always in factI've said this a number of times
, like when they I.
It's so funny you brought thisup because I always thought that
like somehow they had, oh, thisis, I am so ignorant.
Okay, ignorance is bliss, asthey say.

(40:57):
I'm figuring they got like fourlittle things on our track or
something and when they go, andthe long opening line of couple
numbers this especially for yougave them time to push you know
the recliner out in front fromDunhill and move the washer
dryer in the back.
It's so funny, oh my God.

Speaker 1 (41:16):
We put four people to want the same.
They want a living room set,they want a sofa.
All right, we give four peoplea living room set, you know,
this one wants a sofa, that onewants a massage chair.
All right, they all want aliving room, you know.
So they could just group ittogether and that was it.
I mean, how many things arethere, his appliances, furniture
or a trip Name anything?
I mean, they're not giving awaycars at that show, so that's it

(41:38):
.
It was pretty easy to do, butit was so funny.
Grand prize was selectedespecially for you.
Oh, wow.

Speaker 2 (41:44):
That's wonderful.
Hey, I'm going to ask you acouple more guys, if you don't
mind.
I'm just having so fun.
You know, talking to Randy West.
Randy, I just I love tell, andyou know, if you're listening
right now which I definitelyappreciate, everyone who's
listening but, randy, you shouldtell us also about your website
, because you've got a greatwebsite.

(42:04):
You know you're doing all kindsof really cool stuff.
Tell us some of the things thatyou're up to right now before I
move on to a couple of otherpeople I'd like to ask you about
.

Speaker 1 (42:18):
Well, the biggest thing that's going on for me now
is Johnny Olson was the mentorto brought me into the business
and he left a lot of notes thatI inherited because I was his
mentee I guess is the word and Iwrote a book about Johnny Olson
and it sold and it's been quitea success for people who were
interested in how game showscame to be, because Johnny was
there at the birth of televisionand worked all these great game
shows.

(42:38):
Price is Right.
What's my Line?
To Tell the Truth, I've Got aSeeker.
Go on and on and on.
He did all those.
I wrote this book and the nextthing I know is the publisher
calls me.
It says write another book.
And I'm like I'm not a writer.
He says, yes, you are.
So I am currently havingtremendous success with a book
called TV Inside Out Flukes,flakes, feuds, felonies.

(43:02):
So this is a 500 page book thatis the culmination of decades
that I've spent in this business, with the stories that we're
telling here and a few more thatare a little more risque.
Let us say you know of peoplethat you're talking about here
and others who are verywell-known stars, who have been
in our living rooms, and theseare the backstage stories that

(43:25):
nobody has ever talked about andthey are even more fascinating
than the stuff I'm giving youhere now, because this is a
rated G audience and it's notmeaning that I'm telling people.
You know the sexual exploits,but this stuff that I'm telling
people, you know the sexualexploits, but this stuff that
goes on, that's, you know, alittle more controversial and
that's within this book flukes,flakes, huge felonies, and the

(43:46):
book is called TV inside out.
Tremendously successful for methere as a surprise, because I
don't consider myself a writer,but it's unbelievable.
It's selling like crazy, youknow, like four and
three-quarter stars or whatever,on Amazon, and the bottom line
on this is if you get it from me, I can inscribe it to you.
Oh nice, I can send it to you.

(44:08):
You know, or thanks forlistening, or thanks for
watching, or hey, I know you'rea big fan, so am I.
Best of luck, have a good life.
Whatever you want, said FedRandy West, I can send it to you
.
It's been a thrill for a lot ofpeople.
It's a perfect gift, not justfor other people on their
birthdays Folks who love TV, youget this book, you freak out

(44:28):
but even for themselves I'm a TVfan and this book has stories
that I will never hear anywhereelse.
This is the great gift formyself, in addition to other
folks who love TV.
So that's the big pitch.
It's available atTVRandyWestcom TVRandyWest one
word, tvrandywestcom and thebook is TV Inside Out.

(44:50):
And there you go, and that's themost significant thing I'm
doing now.
I mean, I still do voices fortelevision and radio commercials
and imaging and all that stuff,but to me this is a thrill
because it's a whole new worldfor me and more people are
fascinated by what goes onbehind the scenes in television
than anything else in the world,it seems.
You know, our conversationtoday is full of things like oh

(45:14):
wow, I never knew that.
And most people have that samethirst, that same thirst for the
backstage stories.
So that's TV Inside Out andthat's what I'm very, very proud
of at the moment.
Thank you for asking.

Speaker 2 (45:24):
Are you enjoying being a writer?

Speaker 1 (45:28):
Yeah, you know, it's like.
I was with a professionalwriter last night at an event
and I said he said when are youwriting the next book?
I said, said when you'rewriting the next book?
I said, oh god, the next book?
I said it's like giving a birth.
It's like giving birth.
It's like it's it's you knowbecause I?
I said I'm not a writer.
She says, yes, you are.
I've read your book.

(45:48):
It's fantastic.
I said, but you're a realwriter.
He's wrote uh, six milliondollar man and love, bow down.
Lots of television, lots andlots of television.
He says you know what it's likegiving birth to me too.
And he also said something it'slike cleaning up after your dog
.
Your hands smell at the end ofit.
You don't want to.
You see it.
You look at it in the, you lookat it in the carpet in the
living room and you don't wantto clean it up.

(46:09):
He says that's how I feelsometimes, going to the computer
to write.
I says you too, you've beendoing it for half a century,
this older guy who's beenwriting all this great TV.
He says, yes, nobody likes towrite.
So yeah, it's like giving birthto me, because you know you're
squeezing out the words andtrying to get them the way you
want it to sound.

(46:29):
You know it's like a jigsawputting a sentence or a
paragraph together.
Sort of like a jigsaw puzzle intwo ways.
One you want it to be fun forthe reader.
You want it to be revelatory.
When they get to the kickerpart of the story, oh wow.
You want an oh wow at the end.
So the way you arrange thesentences and the words are
significant and it's a jigsawpuzzle.

(46:50):
So you're not supposed to knowthat as a reader.
It flows so gently and easilyand calmly, like we're talking
about a good professional oncamera or on radio.
It just seems to floweffortlessly.
But in reality, putting wordstogether in a way that really
reaches somebody and has them go, oh wow, I want to read that
paragraph again.

(47:11):
Wow, did I hear that right?
You know it's an art and I'mnew at it, but when I'm looking
at the end of the second chapterI'm like damn, that's good, I
impressed myself.
So, it's it's.
It's a new experience for me,but apparently it's appreciated
by a lot of readers, so I'llleave it at that.

(47:31):
Tv Inside Out at TV Randy Westdot com.

Speaker 2 (47:34):
So, not to steal anything from the book, I'm
going to lead into this bysaying if you can, no pressure.
If you don't, that's fine, Iget it.
Give me an oh wow about one ofmy favorite guys to do a, and I
don't even know what you call it, because it really isn't a game
show, it isn't a talk show, itisn't a variety show.

(47:56):
It isn't a talk show.
It isn't a variety show, it's amatchmaking show.
We'll be back in two and two.
Chuck Woolery, oh wow.

Speaker 1 (48:03):
Chuck Woolery.
I worked with Chuck on severalshows.
He had a talk show for 13 weeks, 65 episodes.
It didn't really go so well asfar as ratings, but he was fun
to work with.
We also did the Price is Rightlive together.
Now, when I did the Price isRight in 2003, 2004, like that,
they started a live travelingversion of the Price is Right.

(48:27):
We played Vegas, atlantic City,and they're still going now
today, 20-plus years later, andChuck came on the road with us
to, you know, host a week or two, because the hosts come in and
out, you know when we've had alot of big names doing it.
So Chuck and I got really,really friendly.
You know he's a sweet, open,warm guy.
He'll tell you about his family, he'll tell you about his

(48:50):
marriages, he'll tell you abouthis kids.
He'll tell you about everything.
Then he starts telling youabout his politics and that's
when you want to shut up.
He's very opinionated.
I'm not going to go either way.
You and I are not having apolitical talk, but he's very
fervent in his belief inpolitics and how the country

(49:11):
should be run.
So he's not the totally gentle,easygoing guy that we see.
He is very opinionated and hashis ideas of a lot of different
things, you know, on issues like, you know, women's rights and
you know go down the whole listof public political things.

(49:33):
But if you're not talking aboutthat, he is such a charmer and
so open and so generous and youknow what you see is what you
get.
He's just marvelous.
And the greatest skill Chuck has, first of all, he's very
empathetic.
I mean, you get along with himso well.
He feels you know, he knowswhat it is you're doing in your
job and he respects that.
You know what I mean.

(49:53):
We talk about these hosts and,wow, you know, dick Clark is so
good at that and Gene Rayburn'sso good at that and Chuck
Willery's so good at what hedoes.
But he also looks back theother direction and says, randy,
you know the way you did.
That was interesting.
I don't think I could have donethat.
You know different things.
So that's very warm andwonderful to work with somebody
who appreciates you know whatsomeone else is doing, even

(50:19):
though he's the star, so tospeak.
He appreciates those who arecontributing, which is wonderful
.
But oh gosh, you know he's justsuch an open book.
But on the other hand also he'sa naive country boy.
You know he came to televisionas a singer.
He was growing up in you knowcountry music area there,
memphis and Nashville, and hehad a guitar and he was looking

(50:39):
to get into show business as asinger.
He came to Los Angeles and itwas Jonathan Winters comedian
Jonathan Winters who first sawhim perform at a party.
Chuck was on the party circuitbecause he's such an easygoing,
warm, wonderful guy as I wassaying a moment ago so open and
friendly and easy to talk with,so he was invited to a whole

(51:00):
bunch of Hollywood parties.
Jonathan Winters saw him at aparty.
He said you know he was playingguitar, that's another reason
to invite him because you knowit's entertainment.
And Winters said I'll get JohnMerv Griffin because you're that
good, you're that good, you'reso funny, you're great.
So put him on Merv Griffin.
And the next thing you know Mervis calling him to run through a

(51:21):
game show that he's developingwhere you solve word puzzles and
buy prizes, and it was calledShopper's Bazaar.
Shopper's Bazaar that was theoriginal name of Wheel of
Fortune.
And Chuck did the run throughswhen they were still honing the
format of the show.
And Chuck did the run-throughswhen they were still honing the
format of the show.
And Chuck said you know, merv,I think I could do this on air.
And Merv said yeah, I think sotoo.

(51:42):
And that's how Chuck got hisfirst television game show.
It was Wheel of Fortune at itsbirth, which is now well 50
years ago, and you know, he wasgreat and kept with the show for
a long time.
But you know, underneath it all,as skillful and as warm and
wonderful as he is, his twogreat talents are his ability to

(52:04):
laugh at himself he's not thebrightest light bulb in the
store and he will often in aformat go is it your turn now?
I'm so confused and his abilityto make fun of himself.
And you know, I don't know howI got this job, I'm so confused.
You know he would be able toput himself down and that's
something so wonderful aboutsomebody who doesn't take

(52:24):
themselves so seriously and he'smarvelous.
That's his great skill.
And the other thing is well,this is the kind of thing that's
in the book, the stories thatdon't get told, and I'll share
with you here, since you'retalking about Chuck.
Chuck felt one day that whenWheel of Fortune had become so
manically profitable andsuccessful and high-rated, he

(52:45):
was doing an NBC show and thankGod we had the number one show
in the time period, blah, blah,blah.
And he found out what peoplelike Dick Dawson, richard Dawson
, was making over a family feud.
And he found out what BobBarker was making at Price is
Right.
And he went to Merv Griffin,his boss, and demanded a raise.
So Merv gave him a few bucks.
And then he's at a party withNBC executives and he starts to

(53:09):
talk about his salary.
Now, you don't do that, okay,but Chuck is just an open, open
guy.
So he says you know, I knowthat Dawson's making this and
Barker's making that and I'monly making this.
And I brought it up to Merv andMerv gave me this much more.
But it really isn't parody.
It isn't, you know, equal towhat these guys are making.
So these NBC executives.

(53:29):
Here's the guy who's hosting thebig, big-ass show and he's
talking about money.
So the network says well, we'llgive you more money.
You know, what are you going todo?
Piss the guy off.
You know he's bothering to talkabout it.
You must figure it's botheringhim, you know.
So, yeah, well, no problem atall, we'll get you more money.
So Merv finds out that Chuckwent behind his back.

(53:49):
In Merv's opinion, it's behindhis back.
See, chuck is just a simple guy.
He's just talking at a party tothe guys you know, hey, no big
deal.
But to Merv is a businessman.
So wait a minute, wait.
You took our private moneyconcerns and brought it to the
network.
Let me tell you something.
If there's something to be saidto the network, I'm the one

(54:10):
that talks to the network.
I sold the show to the network.
This is my show, and you dondon't own it, you don't have a
piece of it and you don't get totalk to the network.
I sold it.
If there's more money to be hadfrom this network, you know who
should get it Me.
And if I want to send some ofit to you, great.
And if not, that's good too.
That's my choice.
How dare you go around me?

(54:31):
And the two of them got into afight about it and Chuck Woolery
was fired because he refused tosay I'm sorry or, let me put it
this way, didn't see how he wasat fault.
Let's put it that way To Merv,and you can understand both
sides of this To Merv wait aminute.
You went to the buyer of theshow.
Who's paying?
I'm the one who negotiates thatfee and I'm the one who should

(54:51):
benefit from the higher rating,and that's my position.
You don't go talking to thenetwork, especially since the
network's afraid of the whole.
Oh my God, is he going to walk?
You know you don't playhardball, so yeah.
So if there's more money to be,who the hell are you to be
taking more money?
And the other side, of course,is equally understandable.
Well, you know, I'm the guydoing that and I'm concerned.
And Merv gave me more money.

(55:12):
I'm just talking, we're havinga drink at a party and I'm
making small talk.
So there's two ways to look atthat and neither of them looked
at it the other ways, the otherguy's way.
And that was the falling down.
And that's where Chuck lostWheel of Fortune and then enter
Pat Sajak.
Pat Sajak was a localweatherman and NBC didn't want
to hire him because he's quoteunquote a local act.

(55:35):
He was in LA only and NBC saidno, if you want to get rid of
Chuck, that's your prerogative,but we want to have approval of
the host and we don't approve ofuh, of a passage act.
Who the hell was past?
A Jack?
And Merv said because he hadthis number one massive hit show
.
He says well, I know who he is,and the folks at CBS and ABC

(55:56):
know who he is.
So if you want to have Wheel ofFortune, this is who's going to
be hosting it, and if you don'twant to have that, that's fine.
That's your prerogative.
You run the network.
So he threatened basicallyabout taking the show elsewhere,
and that's how Pat Sajak gothis job.
And Pat Sajak, on Friday, threedays from now, is taping his
last of 41 years of Wheel ofFortune and I'll be there on

(56:20):
Friday for the goodbye party.

Speaker 2 (56:23):
You're going to be there for 41 years, so he's
going away.

Speaker 1 (56:25):
Yeah, final show.

Speaker 2 (56:26):
Wow.

Speaker 1 (56:27):
He's retiring.
He wanted to retire earlier,frankly, but they kept backing
up the money truck to his home.
But now he's done and done anddone.
I mean after 41 years it'senough.
So the Friday's his last tapingof his last show.
It'll run sometime in the day.

Speaker 2 (56:44):
Is that the longest tenure for a game show host?
You think 41 years?

Speaker 1 (56:48):
Sure is, it has to be Because Barker had only 35 on
the Price is Right.
So yeah, this is the longesttenure for a single host.

Speaker 2 (56:57):
Hey, we're talking with Randy West, great,
legendary announcer, all of this.
I'm loving the stories.
I just before we get to BobBarker, because I know you
worked with him and I reallywant to talk about him for a
couple of minutes here as well.
You know what just came to mindBecause, let me, oh God, I had
another question I was going tobring up, but you just reminded
me of this and you might havelooked up to this guy.

(57:19):
Maybe you knew him, maybe youdidn't look up to him, maybe you
didn't know him, whatever.
But you know, I'm thinkingabout the show Jeopardy.
Okay, alex Trebek, but I'mthinking about when I was a kid.
Jeopardy used to be Art Flemingwas the host, art Fleming.
Art Fleming was the host, artFleming, art Fleming, and you're
doing Don Pardo, because DonPardo is one of the great

(57:41):
announcers.
He went from Jeopardy this isin my mind.
He goes from Jeopardy and, likeyou said, art Fleming, and the
next thing you know he's on NBCSaturday night when that show
first came out, and then nowhe's a household name.
And what about Don Pardo andJeopardy and all that stuff?

Speaker 1 (58:00):
Don Pardo was a staff announcer.
He was employed full-time byNBC and they would send him
whatever they needed doing.
Do a commercial here, go dothat show there, sit in the
newsroom and read this.
You know that was what thestaff announcer did.
When you're on salary, do astation break.
This is NBC.

(58:21):
That's all you said.
And then you had 28 and a halfminutes to do nothing.

Speaker 2 (58:23):
You know what a job, what a wonderful job yeah, it
doesn't exist anymore, that'sfor sure.

Speaker 1 (58:28):
But when they started to phase that out, don was one
of the handful of people who gota lifetime contract, meaning,
through the networks you're ableto fire this large staff of
people, but you're going to haveto keep a few people who have
seniority than that where theunion said so yes, ok, the times
are changing, we'll allow youto not have staff announcers

(58:49):
everywhere all time, 24-7.
But these guys with seniorityneed to stay until they die or
retire.
And that was how it was.
So Don was one of a handful ofpeople and his wife wanted him
to leave at one point becauseMark Goodson offered him a lot
of money to go to ABC.
He said he and his wife didn'tagree on that for the longest

(59:09):
time.
His wife thought he should gowhere the bigger money was.
But in reality he stayedbecause he knew he could be
there for life.
And it turned out he was rightbecause he got sent to Saturday
Night Live and suddenly he's astar and everyone knows his name
now.
But when he was doing Jeopardy,it was just another of a bunch
of game shows that he wasannouncing that came and went
over time.

(59:29):
He would do his little audiencewarm-up thing.
Hi, I'd like you all for coming.
That sign over there that saysapplesauce, no, it says applause
.
We're going to have a good time.
Today when I introduced ArtFleming, everybody a big
applause.
It was kind of that style oftalking.
It's the kind of way he was.
It was a kind of formalthrowback to a different era.

(59:52):
Now, as we're in the studio,today's contestants, mrs and Mrs
Pat Walls from Cleveland Ohio.
These three people will competefor cash prizes today on
Jeopardy.
And here's the star of Jeopardy, art Levin.
You know he had this bigboisterous delivery.

Speaker 2 (01:00:11):
Gosh, I just went on a trip back to 1970.
Wow.

Speaker 1 (01:00:18):
Well for the younger people in the audience.
For the younger people in theaudience, saturday Night Live
musical guest Sheryl Crow, andthey're not ready for primetime
players.
Yeah.

Speaker 2 (01:00:31):
Oh man, you're so good, randy, you are so good man
.
I'm telling you you do a greatDon Pardo.
I love that.
You know it's funny because,don Pardo, you say it's that
old-fashioned kind of a stylebut yet, for whatever reason,
that old-fashioned style was soperfect.
I mean, you know, you have theold-fashioned like.

(01:00:53):
You know football, I'm thegridiron, you know those old
times.
But Don Pardo was somewhere inthe middle and his voice could
be used A for Jeopardy, whichyou took him seriously.
But also there was a sense ofhumor in his voice and I even
remember him.
Boy, you did a great SNL rightthere.

(01:01:14):
Well, nbc Saturday, Saturdaynight.
I still like to call when.
It was actually funny in myopinion, but you did a great
there.
But I, I really honestlyremember him as you did that
Jeopardy.
That just really really broughtme back.
How about a guy that manypeople maybe, if they're not
outside of a certain, if you'reoutside of a certain market,
maybe you don't know this person, but I'm going to ask you about

(01:01:34):
him anyway, because if itweren't for this man, randy, who
happens to be a very goodfriend of both of ours, as I
understand it, maybe you'll tellme no, he's not.
Please don't ever call that guymy friend.
Again, tony Cox introduced us.
Tony Cox, who was a longtimeradio guy, you know Sacramento
radio guy, went to Chicago, wason KRY the station.

(01:01:55):
How do you know, tony, what'syour?

Speaker 1 (01:01:57):
relationship with Tony.
You know we're justacquaintances, we're, you know,
pals, because it's one smallbusiness, as you know, we all go
from station to station tostation in the radio days and
you end up meeting or workingwith somebody that you know you
later find is over there.
Or, if you didn't work withthem, your best buddy now worked
with them when they were atKROI or whatever.

(01:02:18):
So it's a small littlecommunity and some folks you
don't even meet you know of andthen you end up talking on the
phone with them.
You may remember Big RonO'Brien.
Big Ron O'Brien was one of thegreat jocks of, let's say, the
80s and 90s, I think.
I think that was his heydayworked every frigging major
radio station Americans, youknow CFL, wrko, uh, uh, out here

(01:02:42):
, uh, kiss FM, and I startednaming major call letters.
The guy was everywhere.
Well, he was just the sweetestguy.
Before I ever met him we usedto just talk on the radio.
I'd be on the air and he'd beon the air and we'd have an open
telephone.
Yeah, radio, I'd be on the airand he'd be on the air and we'd
have an open telephone yeah holdon a minute, I gotta do this
record, and you know.
And then you pick up the phoneagain.
Hey, how you doing all right,it's off for a couple of minutes

(01:03:03):
and his record is ending andit's like a yeah, hold on, randy
, and he come back on the phone.
I've been there.

Speaker 2 (01:03:17):
That's so great man.
A radio guy would know that.
You know, a radio guy knowsthat situation very well.
I'm going to ask you about BobBarker you worked with for a
long time but you know, who I'mgoing to ask you about.
first.
I'm going to ask you aboutRandy West.
Randy West, you talk about allof these people.
You're such a good storyteller.
You bring all these greatdetails and all these.

(01:03:38):
I just love listening to youtalk about Randy West.
What about this guy?
What about this guy who grew upand and in this, like I always
say, people who are living theirdream?
I mean, some people are doingthat and you are doing that.
You started out radio and thentell us about you and I just
want to know about you for aminute here, randy I knew what I

(01:03:59):
wanted to do with my life fromage three, although I didn't
dare to dream about it.

Speaker 1 (01:04:02):
I was watching a, an nbc broadcast of mary martin in
peter pan.
It was a big popular livebroadcast way back in the day
and I was maybe three years old.
And peter pan, you know flies.
I'm flying, look at me.
And they, you know all that.
And the show ended, they rolledthe credits and I jumped off
the chair and tried to fly.

(01:04:22):
It seems so real to me.
And that box in the living room, that TV with the screen and
the glass.
Everybody on the other side ofthe glass was happy.
Now think about it.
Jugglers, singers, dancers,comedians, game show hosts
everybody's happy.
Kids don't watch soaps, youknow.
So everybody's freaking happy.
And I want to be in that happyland.

(01:04:43):
And what's behind that glass?
Even as an infant, I want to bein there.
That's a great place.
Wait a minute.
There is a place behind theglass and it's the studio where
they shoot these things and it'sa subway ride away.
I grew up in New York.
I get from 20 to 15 cents.
I get on the subway, I can godown and watch these shows.

(01:05:04):
They're hungry for audience,you know people work it all day
long.
You know who the hell is goingto watch, who's going to sit in
the audience.
I could go down there anytimeand this guy, johnny Olsen, used
to do this great warm-up.
You know people would sit inthere.
They'd be standing in line foran hour to get in and he'd come
out and start telling jokesDirty car wheels Now, excuse me,

(01:05:25):
he'd be hysterical.
So funny.
Bottom line is he encouraged me.
You know I'd watch him whilehe's reading his copy and I must
have been drooling or something, because there was just
something wonderful about him.
And I would sit there and comeback the next week or a few days
later and see him again.
So he'd give me his old copy,go home and read this into a
microphone and bring me the tape.
I brought him some tapes.

(01:05:46):
I don't think he ever listened,it doesn't matter.
He encouraged me.
He had no kids of his own andhe was like, yeah, you could do
this.
Now I'm 14, I'm 14, I'm 16, I'mstill coming back at 18.
I'm in college now and he saysgo to find a college radio
station.
Every college has one.
Go get yourself on the air atthe college radio station.
That's how you do what you know, lay the foundation for what it
is I do here and you can do it.

(01:06:07):
I did it, everybody's done it.
You start in radio.
So he made it seem like it wasan accessible thing for me and,
lo and behold, I watched him dohis warmup.
Now he came in 1972 from NewYork to Los Angeles to announce
the prices.
Right, I didn't come to LosAngeles in radio.
You know, you work this city,you work that city, you go
wherever the job is.
But I eventually got a job inLA, on the radio in Los Angeles,

(01:06:30):
the place where Johnny Olsen'sbeen for seven years.
So I go down to CBS to say hi,remember me.
And he remembered me.
Oh, wow.
So now we're going to lunch.
This famous announcer who's hada tremendous career.
Long before game shows, he wasa major star in radio.
Seriously, he was a big namejust before we knew of him.

(01:06:50):
He had a whole life.
So we're going to lunch andhe's telling me yeah, you
remember when I do that and Isay this.
Well, you know, that's why I'mdoing it.
See, I call the people in theaudience cousin, here's cousin,
bob, where are you from, cousin?
I call them that because I wantthem to feel like they're all
family, so subtle, silly thingslike that.
But it worked for him and hewould tell me why he says what

(01:07:11):
he says and and how to take abunch of strangers and make them
feel like a family.
If you go to a movie theaterand you're seeing a funny movie,
you may be with somebody andyou go ha ha ha, you see that
that's great and you don't wantto talk too loud because people
are in the theater, right.
But if you watch that samemovie at home with your friends
and family, you'll go ha, ha, ha, ha, ha, ha, ha ha, each other

(01:07:33):
on the back, okay.
So when you're with people youfeel comfortable with, you react
differently and the idea for anaudience warm-up is to get the
audience to be exuberant,laughing, applauding, happy, so
he makes these strangers feellike family and that breaks down
the inhibitions.
So that's like you know, oneminute of hours and hours and

(01:07:53):
hours of stuff.
He told me, okay, one minute ofhours, hours and hours and
hours of stuff.
He told me, okay.
So I never did, I never saidanything.
He said because by the time Igot the chance to do this, it
was, you know many years later,so I never said what he said,
but I understood what made itwork, if you follow me.
So I got to doing warmup.
I was pretty good at it, notbecause I'm particularly
talented or anything, but Iunderstood the job and how to

(01:08:16):
wrangle a bunch of people youknow like like you're a cowboy
and a bunch of livestock youknow you're hurting over here,
you're hurting over there,getting them to applaud when you
want them to and getting bottomlines to have them like you and
feel a connection with you andum and with the people they're
with.
So it came easily for me.
The announcing on these shows.
I was a disc jockey.
I mean, I know how to do thatstuff and you do too.

(01:08:37):
So I was able to put the twotalents together and had a
tremendous career that openeddoors for me and the highlight
of it was when I got to standwhere Johnny Olsen stood years
earlier so he's dead in 1985.
And in 2003, many years later, Ifinally worked myself into a

(01:08:57):
position where I apply for a jobat the price is right, when a
guy named rod roddy was ill andpassing away and I filled in for
rod and um.
I mean I'll never forget it,the reason of the show roger
dalkin, which says send me atape.
Now you know from radio send mea tape is the great.
You know from radio, send me atape is the great you know, BS
answer of all yeah, it sure is.

Speaker 2 (01:09:18):
Goes in the bottom drawer of their desk.
They don't even listen to thething.

Speaker 1 (01:09:21):
Yeah, exactly.
So when he said to me, send mea tape, I was like, oh, I'd be
happy to, and I'm like, does hereally want me to send him a
tape?
So at the end of the day, so Isaw him, we discussed, we talked
, send me a tape.
And then I stayed and watchedthe show, because I'm there
anyway, at the end of the daythe show's over.
It's been hours since he toldme send me a tape and I say, hey
, thank you, roger.
Great talk, we could see himtoday.

(01:09:42):
Thanks for having me.
I don't forget to send me thattape Now, wait a minute.
The guy said it a second timeGeez, I better make, we'll make
a tape.
I send it down there.
And four or five days later Iget a phone call Hi, this is
Roger Duff.
Which is the price is right, ohJesus, wow, right.
He says you know, bob, and Iwere listening to your tape and

(01:10:03):
I want you to know that I'm inmy mind.
I'm going Bob, I need anyonenamed Bob.
Who's Bob?
Who's this guy Bobby's talkingabout?
And I'm like Bob, bob, and he'sstill talking, you know, and
I'm trying to catch up with him.
You know Bob, bob, and I go BobBarker.
He must be talking about BobBarker and I tuned back into the
conversation.
You know he's been talking.
Hey, bob, and I listened toyour tape and we were very

(01:10:25):
impressed with this.
I don't know what the hell hesaid, but the next thing I know
he's saying we want you to comedown and do a week.
I was like Jesus Christ, it's atryout.
You're not going to do the.
It's a tryout and I don't wantto give you a day because that's
not fair to anybody.
So come in and do five showsand we'll talk about what's
going to be.
You're not going to embarrassme.
I've heard you do.
You've got all these othershows in your resume.

(01:10:48):
It's obviously not going to beembarrassing, but we'll see if
you're the right guy for it, howyou get along with Parker and
how you get along with everybodyhere.
So I go down there and I'm on atryout and I want this gig.
So I do the first show.
I'm out there doing theaudience warm up the way Johnny
Olsen taught me.
Now they've been working withJohnny down there for 13 years,

(01:11:08):
saying they know his act and howhe works and what he does.
So I go out there not knowinganything about them.
I just go down and do whatJohnny taught me to do, right,
that's what got me to where I amnow.
So I'm doing my thing and Iturn around, over my shoulder I
have 22 minutes.
Barker starts the show at thetop of the hour like you know,
the minute and second hand andhit the 12.
He steps out, you know.

(01:11:29):
So I've got 22 minutes thattime.
You understand that to get tothe top of the hour.
So I'm talking with theaudience.
I'm down there doing a littledance with the people and doing
the stuff that I do.
I turn around and there's RogerDalkovich looking at me from
the stage.
Oh, that's good.
He's watching me.
That's great.
I want the job.
He's evaluating me Great.
I talk and do a little more,tell him my stuff, and I turn

(01:11:49):
around and there's two peoplewith him.
Oh, that's interesting.
I'm now 15 minutes into 22 andthere's six, seven people
standing with him.
They're all looking at me andI'm like, holy Jesus, what did I
say?
Because when you're doing 22minutes of warm up with
strangers, you're talkingextemporaneously, you're
ad-libbing, like I'm doing withyou now.
You're just saying what comesto mind.
That seems to make sense forthe moment.

(01:12:09):
Now we all have our loose lips.
What might I have said fourminutes ago that might've been
considered inappropriate?
I don't know.
You know you're just going byyour wits.
What might I have said?
It's wrong, cause they're alllooking at me and I went up to
nine people looking at me and Iwant to stop.
I want to stop everything, togo over to say what the hell is
going on here.

(01:12:29):
But of course I can.
I've got an audience and thestage manager says one minute
and I start to slowly work myover to the microphone.
You know, and I'm still talkingand coming down to 30, I'm
getting a hand cue and now it'stime to slate the show.
This is prices right.
Show number eight four onethree.
D tape date you know, october12, 19 whatever the hell, it is
the end of 2026 and take one theair date to be announced.

(01:12:54):
Now there's 15 seconds of roll.
Now, if I just shut up at thatpoint, the audience will shut up
at that point and we'll come tothe show with dead silence.
So there's 15 seconds that needto be filled there.
So I'm still doing stuff theway Johnny taught me Just keep
talking to the audience, don'tlet them get cold.
You've worked so hard for 22minutes, pump them up, don't let
it go for 22 minutes.

(01:13:15):
I'll pump them up, don't let itgo, you know.
So I'm like hey, you're alllooking good.
Now I want you to be excitedwhen Bob comes out here.
You know you have kittens, babyI.
This is the big moment for us.
I want you to look good oncamera.
Now we're down to about 11, 10seconds.
Fix your hair, adjust youreyebrows, ladies, make that
adjustment.
You know guys, leave that thingalone, but put it where it
needs to be now.
Six, five, lick your lips.

(01:13:38):
Four, lick your own lips, sir.
Three, two.
Here.
It comes from the Bob ParkerStudio and you're right into the
show at the top.
The audience is wild becauseyou just had them laughing.
They're all excited and that'sthe way you want to start a show
, with the people at their best.
And the way to do that is theback time you're at, so you go

(01:14:00):
out on the joke when the secondhand hits.
One second to go.
So I'm now so self-conscious inthe back of my mind I'm reading
all this.
You know the announcer on thePrice is Right does more talking
than the host because all theseprize descriptions.
It's a big back book every day.
That's true, every day, that'strue.
You've got more of that showthan Barker does and he respects
that.
He knows that Barker's no idiot.

(01:14:25):
And so now, it's now going tohour and 20 minutes since these
people have been looking at me.
All right, go back to thatmindset.
Now I'm working and I'm beingevaluated.
Do I have this job or not?
And all these people arestaring at me, so I go at the
end of the show.
These people are staring at me,so I go at the end of the show.
Thank you all for coming to theaudio.
Go home straight, I mean, gostraight home, and thanks for
being here, you know.
And I go over to Roger Dopplerand say, roger, this was the
thrill of a lifetime for me andit was.
I'm working with Bob Barkerdoing the show.

(01:14:46):
I always you know magic, it'smagic.
Everyone loves the show.
This was the moment of my lifeand career, thank you.
But I must ask you, everybodywas looking at me and I don't
know what I might've said or ifI owe you an apology.
I mean, I was a little nervousand uncertain and perhaps he's.
No, no, don't make any excuses.
He said you don't understand.

(01:15:07):
We were all up here looking atyou and we said to each other
you know what he's channeling,johnny, he's channeling Johnny.
I almost cried.
You get it.
You get it.
I mean, they were just amazed.
I said what do you mean?
He says well, the whole thingyou did was the way Johnny did
it.
Nothing that he said.
But you know, rod Roddy used todo the show from up on the

(01:15:29):
stage and you went down in tothe pit and and was with the
audience members and when youdid this, it reminded us of that
and you were channeling Johnny.
This was the most amazing thingwe'd ever seen.
And I said, well, I didn't copyit, just Johnny explained to me
what he's.
I get it, I get it.
You know, you've studied underhim, we knew that and, yes, it

(01:15:50):
shows.
And it was wonderful to havethat energy and that style and
that mindset back here again.
And they hired you.

Speaker 2 (01:15:57):
You'll be back tomorrow.

Speaker 1 (01:15:58):
Oh, I finished the week, yeah, right, but pretty
much so.
I mean I was locked in at thatpoint.

Speaker 2 (01:16:04):
It was a great moment .
I just want to say that storyof you and Johnny Olson sending
him, you know, telling you to goto the radio station, a college
radio station, which is thesame exact advice I give to
anyone who wants to be in radio.
The fact that this man took youto lunch because of that

(01:16:27):
relationship that you haddeveloped with him, the fact
that you then replaced him onthe show not that anyone can
replace the man doing your ownthing in in that job and doing
it so well, um, and rod roddy,who did it so well, um, that is
an incredible story.
And then I was I'm listening toyou talk about, because this is

(01:16:47):
this, this is like the dreamcome true fantasy.
To get that phone call to hear,hey, is this, uh, you know, uh,
you know, is this Randy, isthis Pat?
Listen, we're listening to yourstuff and it's dynamite and we
like what you're doing.
That is absolutely, um, just adream come true.
And you know it's funny whenyou were talking about looking
at the TV as a kid and you'reseeing, you know, geez, look,

(01:17:10):
how cool it is to be on thatside inside that TV and what
they're doing, um, doing on, um,just to just that made me think
of the fact that it was verysimilar to me, uh, in that I
would watch wkrp in cincinnati,you know, venus flydrab and
johnny fever, and these guys,and I used to think, geez, what
a great environment that wouldbe to work in, and that's kind

(01:17:31):
of what it's sort of catapultedme, uh, into radio, being
interested, which I did.
Go to the radio stations, thecollege radio stations, and I, I
did everything that I was toldto do, and and, and so I'm, you
know, honored to be talking toyou.
You know, let's go back toprepping that audience and, and
I know we're on here for quite awhile and I thank you for your
time, randy, but I don't knowwho was doing this, but I do

(01:17:59):
have this memory growing up.
Whoever, I don't know what onearth was happening, speaking of
bob barker, the first show Iremember bob barker on is truth
or consequences, and every timethis show would come on if
anyone remembers this, beforethe price is right, the audience
would be just in stitches.
They all look like farsightedcharacters to me, with appointed

(01:18:20):
glasses.
They all be clapping oh, myplaid jackets and all of that,
and they were laughing atsomething randy that I don't
know what was happening, butsomeone was lighting them up
before the show there was a guywho invented truth or
consequences.

Speaker 1 (01:18:33):
It was ralph edwards invented this is your life.
Yes, okay, yeah well, there wasa guy who invented Truth or
Consequences.

Speaker 2 (01:18:37):
His name was Ralph Edwards.
I remember Ralph.

Speaker 1 (01:18:38):
Edwards.
He invented this Is your Life.
Yes, okay, you're older than Ithought.
Then I remember, and Ralph isthe guy who hired Bob Barker to
replace himself at Truth orConsequences.
So Ralph invented it and hostedit and then hired Barker
because he had other shows to bedoing at the same time,
including this Is your Life, andthe show had started on radio

(01:18:58):
even before television, and whenit was on radio.
Now we're going back almost ahundred years now Can you
imagine?
They did a thing before the showwent on the air that got the
audience laughing hystericallyand it worked almost a hundred
years ago and it worked all theway through the shows that you
saw and I saw and America saw.

(01:19:19):
They came on the air with theaudience hysterical and you know
what?
I'm not going to tell you whatit was.
Oh, how's that?
Because it took me 20 years tofind out from somebody who
worked the show.
You didn't want anyone elsedoing it.
You know it was a piece ofcomedy.
You know some psych comedy.
Some people were doing thingsthat you and I weren't seeing

(01:19:42):
off camera, but the audience waslooking at them and it was very
funny.
Okay, so that's what they werelaughing at pointing and
laughing at these two people whoare doing something.
That's just stupid.
It's really stupid.
But I I I had a respect forRalph Edwards.
I just you, edwards.
He wanted to be a secret withinthe industry, of course,
nothing remains a secret but itwas very hard for me to find out

(01:20:04):
because everyone respected hiswishes on that.
So, out of respect not denyingyou I'll talk to you all day and
tell you anything you want toknow, but I feel like that's
Ralph's business.

Speaker 2 (01:20:14):
This is beautiful.
I'm so glad you just said that.
Really I'm glad.
I don't even want to know all Iknow.
Okay, it's kind of like carlysimon you're so vain.
No one knows who the hell shewas talking about.

Speaker 1 (01:20:24):
We don't know that secret's never going to be
revealed every week.

Speaker 2 (01:20:27):
It's like carly simon she finally reveals who's no
she.
Didn't you just want me to she?
never did right she's not gonnado that and it makes it better.
I don't need to know what wasgoing on.
Ralph edwards, god bless him.
Whatever he was doing, itabsolutely worked.
It worked so well, yeah, thatit stuck in my mind, you know,
because?
And then they would have like amarine that you know hadn't

(01:20:50):
seen his wife in a couple ofyears.
He'd been serving in themilitary, maybe in vietnam or,
and then somehow they'd fit himinto a skit and the next thing
you know, she'd realize, oh myGod, it's my husband in the
Marine Corps.
You know, it was an awesomeshow.

Speaker 1 (01:21:03):
That's the skit.
What you just said is what gavebirth to this Is your Life.
Those reunions, unexpectedreunions, worked so well on
Truth and Consequencesconsequences.
That's what was behind.
This is your life.
Let's bring in people that youknow but you haven't seen and
you're shocked and surprised tosee them.
That's what that was.
It came from truth ofconsequences.

(01:21:24):
It was a direct spin off of whatyou just said.
How do we bring a bunch ofpeople this person never saw?
Well, we'll tell their lifestory and all these people will
come on stage and so that whatyou just described about the
Marines, you know, that'sexactly what gave birth to this
is your life.
That's the direct spin off fromexactly what you said.
I'll tell you about Barker,since you love hearing about
Barker.
Barker did that show.

(01:21:45):
Barker, it was a low budgetshow, it was a syndicated show
and it was not.
You know, prizes were not big,production values weren't great.
You know, it wasn't like a bigdancing girl thing, you know.
It was a bunch of people onstage doing silly stuff or
flying in a Marine, you knowwhatever.
So Barker used to do he was theproducer of the show, meaning he

(01:22:08):
would go out before the showand introduce himself to the
audience and start making smalltalk one-on-one.
Hi, that's a lovely dress.
Where are you from?
Oh, really, what does yourhusband do?
Uh-huh, interesting, I knowyou've lived in town a long time
.
Oh, that's great.
It seems to me you might havehad a career before you got
married.
What were you doing?
And he would talk to a bunch ofpeople, knowing in the back of
his mind that he needs peoplewho would be interested or this,

(01:22:31):
because that's what we're goingto do in 10 minutes and that
was what we're going to do in 20minutes, you know, during the
show.
So he'd go out and talk to 15,20, 30 people until in his mind
he had cast the show from thepeople who were available in the
audience that day, and that'show that show came to be.

(01:22:52):
It wasn't a producer'sinterviewing people, it wasn't
people being.
Wasn't people being interviewedweeks in advance?
He'd go out there.
These are the people here.
Let's see, you know, if I havewhat I need to make this work.
And what was amazing aboutBarker many things, but working
with Barker was he could takethree people up on stage and say
, hi, what's your name?
And he already heard it.

(01:23:13):
But you know, you don'tremember when you talk to 30
people.
So she'd say I'm Mary Smithfrom Pomona oh, that's great.
And you, I'm Jesse Schmorg fromVom to the Bull, and you're a
vacuum from Ashtabula Well,that's great.
Now, an Ashtabula is verysimilar to what I've seen now at
Cleveland.
Now, cleveland, you have thatdowntown statue, don't you?

(01:23:34):
Oh, yes, we do.
And an Cleveland, you have thatdowntown statue, don't you?
Oh, yes, we do.
And then Ashtabula I understandwho's the statue in Ashtabula.
So he would like makeconnections with these people.
Johnny did this too,incidentally.
It's not something that, youknow, barker created, but he was
the best at it because he couldremember these people's name.
So now he's got these threepeople, he's interviewed and we
understand as an audience whothey are.

(01:23:54):
Oh, that's interesting.
She was a school teacher.
Now she's married to a marine.
Oh, that's fascinating.
And this guy here, he's from,uh, ashley b.
I knew someone there, okay, sowe.
That's why they do all theseintroductions.
She's a homemaker and motherfrom cleveland.
You know.
They do that because the homeaudience likes to feel some
affinity or some connection witha contestant who's on a
television show.
But bark would do that interviewand remember everything that

(01:24:15):
was said.
They're not wearing name tags.
He would call her now you know,mary Jo, is that how you do it?
Back in Shreveport, and he'dremember all this in his head.
It's unbelievable, it's a magictrick.
Now you know there are peoplewho can do that.
You know, meet a hundred peopleand tell you who their names
were.
It's a, it's a, it's a.
You know, it's a variety act.

(01:24:36):
That used to.
You know, people can do.
I can't.
I can't remember your name, pat.
I wrote it down before.

Speaker 2 (01:24:42):
Thank you.

Speaker 1 (01:24:42):
That's how stupid I am.
That's how stupid I am, butwatching him do that was
phenomenal.
The man is brilliant at what hedoes.
And his wife said you know thishosting of this truth of
consequences, this is the bestthing you've ever done.
And he said, really.
And she said well, don't get aswelled head.
I didn't say you were good atit, I just said it's the best
thing you ever did.

Speaker 2 (01:25:02):
Beats the hell out of that last thing you tried to do
in there.
Bob, my God, you embarrassed me.
I want you to lift the barthere a little bit.
You know, and I remember youknow I talked before and again,
just like Dick Clark and justlike you know Merv Griffin.

(01:25:23):
You know we see the persona ofthese folks and they're beloved
people, they're television icons.
But you had mentioned to mejust kind of in passing and
initially when we spoke, thatyou know Bob Barker, he was also
.
You know he was a boss.
He took it pretty seriously offthere, right.

Speaker 1 (01:25:37):
Oh God, yeah, I mean, if you weren't doing the job.
You know he was a boss, he tookit pretty seriously off there,
right.
Oh God, yeah, I mean, if youweren't doing the job, you were
gone and I moved to Burbank.
Everyone sort of knows Burbank,california, but I used to live
in a community that was furtheraway, 20 miles away, and I would
have to leave two and a halfhours because traffic is bad and
you never know what traffic isgoing to be.
I'd leave two and a half hoursto get down to CBS because, god
forbid, somebody has to tell BobBarker, oh, the announcer is

(01:26:00):
not here yet.
I mean, jesus, that'd be theend of my career.
You know.
You just don't.
You know.
I'm telling you that the guy, asyou say, is responsible for the
show.
He doesn't want to be sittingaround waiting for some idiot,
you know.
So it's business, and I saidthis an hour ago.
It's not show business, it'sthe business of show.
So it's all about havingbusiness acumen.

(01:26:20):
When it's time, when the lightgoes on and you've got your
microphone, the camera's on,it's happy time.
But behind it all it's abusiness.
And if I were dicking around Iwouldn't be in it, you know, and
if I never understood that, I'dnever be where, where I got,
and uh.
So yes, your question was aboutBarker.
Yes, he's a businessman andit's business and his time is

(01:26:41):
valuable to him and you knowyou're expected to be able to
read that copy without making abunch of mistakes and you're
expected to be able to answerthe question, like you just
described the car, the 2024Taurus, you know whatever.
And then the contestant sayswell, what kind of car is it?
And Barker turns to you andsays Randy, what kind of car is

(01:27:01):
that?
And if you can't say it's the2024 Taurus with V6 engine or
whatever, the hell, if you'renot there for that, that's not
good.

Speaker 2 (01:27:11):
It's business.

Speaker 1 (01:27:13):
So, yes, so, barker, you know I felt as a viewer that
this is just the coolest guy onearth, like we all did.
But when I got down there, acouple of people made it clear
to me that you know, don'tdisappoint Bob.
You know this is serious andhe's got a low threshold for you
know the stupidity, for lack ofa better term you know or?

(01:27:34):
unprofessionalism, if you like,that you know.
So I, I was certainly aware ofthat and he's some people didn't
get along with him as well andI'll point to something.
This is in the book, so I'llyou know, and the kind of story
I don't necessarily tell.
But you know there were a lotof lawsuits on that show, the
model suing him and encountersuing and all that stuff that

(01:27:55):
was going on.
It's a pretty nasty bunch ofthings that were happening and
the director was fired and otherpeople were let go and there
were wrongful termination suits.
So it's not necessarily thehappiest place on earth when the
cameras aren't on, but the manis certainly a Barker's right.
I mean, it's a business andit's got his name on it.
So he, there are expectationsthere.

(01:28:16):
So I was warned that hey, youknow it's not all fun and games
and I kind of knew that.
But I was happy, to happy tohear that just the same.
And I was always aware that youknow the guy could be crossed.
You know it wasn't a cruel man.
So I want to be careful not todo that.
And I got to tell you I neverexperienced anybody warmer or

(01:28:38):
nicer to me than this guy whohad with some people a
reputation.
You know, I never saw it.
I never saw it.
And he would invite me into thedressing room, his room, just
to.
You know, shoot the crap.
You know, spend a little timemaking small talk and I was
thrilled by that.
You know, one day he comes outon stage and he says, you know,

(01:28:58):
to the audience we go to thefirst commercial, okay.
So he says we've just been sixminutes to the show.
Did anyone notice?
Am I limping?
And the audience, no, no.
He says well, my foot hurtsterribly.
I have something called plantor something or other, and I
don't even have a garden and Idon't understand it.
It's not true.

(01:29:19):
So he's talking to me and Idon't understand.
I don't understand.
Bob, I think might have saidyou have plantar fasciitis, yeah
, yeah, yeah, that's it, that'sit, yeah, plantar.
I said, yeah, bob, I had that.
It's terribly painful.

(01:29:39):
Hey, folks, if he's got that,the fact that he's walking and
smiling is amazing.
He said Randy, you've got tocome tell me about what you know
about it.
So at the end of the episode heinvites me to the dressing room.
He says take your shoes off,let me see what you.
You know, and we were comparingfeet.
And every morning, when I gotup in the morning, you know, I

(01:30:00):
stand on the stairs.
Picture this.
He said I stand on the stairs,facing upstairs, if you will,
and I don't put my whole foot onthe stair, on the step, I put
just my toes and then I do likepushups.
He's got his toes and he'sraising and lowering his body on
his toes.
I said, well, that's how you gotplantar fasciitis, because

(01:30:21):
that's the wrong thing.
That's exactly what you don'twant to be doing.
He said well, what do you do?
And I showed him the exercisethat I was taught when I had the
same malady and he said oh myGod, I never would have thought
of that.
And then he started doing that,you know, and the next five
shows were taping.
Randy, thank you, you saved mylife, you know, I had no idea.
Any doctor could have told youthat in 12 seconds, you know.

(01:30:43):
So there was affinity betweenus.
I think he liked me.
A because I respected the hellout of him.
B, because I'm sort of in thesame business.
I'm not the same league, but wetalk for a living.
There's an affinity with what Ido and with what he does, not
that I'm doing what he does, butI think you get what I'm saying
.
There's a commonality to that.

(01:31:05):
I'll tell you the other way.
That bottom line was he was sosweet and so kind to me when I
got the job full time.
They said before we take today'sshow, we want to reset all the
audio for you.
Equalization, limiting,compression, all the audio.
Uh, you know terminology thatlock in our settings, so to
speak, for me.

(01:31:25):
So we uh stand at themicrophone, randy, and give us
your full volume, which is kindof stupid.
You're in an empty room andthere's six people standing
around scratching themselves andyou're going here I come.
It's sort of stupid.
It's like, randy, you've got togive us performance energy.

(01:31:46):
I'm like, alright, it seemssilly because I'm screaming here
, because when the audience isin there, that 320 people are
loud.
They're all yelling andscreaming.
It's a very loud show and,frankly, you can't hear Bob and
Bob can't hear you.
I mean, it's more about facialcues to each other.
When you get through readingthe copy, you look at Bob or you
point to him so he knows you'redone.

(01:32:07):
He can't hear.
It's too freaking loud.
People are applauding andcarrying on.
There's a lot to be said aboutthat.

Speaker 2 (01:32:13):
I mean the visual signals, the visual cues.
For anyone who knows, that's abig way to communicate between a
couple of people.
It's very important.
It's also important in radio.
People don't ever see that.
They don't see it in TV either.

Speaker 1 (01:32:29):
Listen, I've had you for an hour and a half here.

Speaker 2 (01:32:31):
Randy, I don't want to take up your entire day,
although I I could, because Icould just sit here and talk to
you all day long because I'mloving this.
Can we do like a little rapidfire round here just to kind of
get your reactions to a coupleof things?
Would that be okay?
absolutely all right, let's.
Let's do this.
Number one I would love to.
Now, I'm not here, I am puttingyou on the spot, and if I say

(01:32:52):
well, I don't intend to put youon the spot.
The reason I can say that,folks, is because Randy's a
professional, and if somebodywould put me on the spot in this
way, I could do it.
So I'm just curious, if youwant to, I'd love to hear does
there a prize that you rememberdescribing?

Speaker 1 (01:33:07):
Can you describe a prize for us.
Sure, lee Presson nails.
Beautiful, high-active hands,instantly with Lee Presson nails
, worried about loose ventures.
Orifix holds them tight day andnight.
Orifix, that'll fix them.
How about a new car?
You know, and I don't havenecessarily all the copy in
front of me, but you get theidea.

Speaker 2 (01:33:23):
Randy, as you just said that, not even the new car.
The other part, the sponsors,oh my God, you are listen, man,
that just boy that takes me to acertain place in my life.
You know, at the end peoplewill always say you know, I'm
excited.
It used to be, they would getthe home version of the game

(01:33:47):
show and then you would get likeand I don't know if this is
true or not, but maybe it's justlegendary you know, the
runner-ups get, you know, turtlewax and rice-a-roni.
Is that a farce, or do people?
Do they really give turtle wax,rice-a-roni and all that stuff
right?

Speaker 1 (01:34:03):
Yeah, I'll tell you why.
And it's not that we're soconcerned that you're eating
enough rice in your diet.
The idea is that every time youdescribe one of those, the
company makes money.
Sure, see, those are soldsponsorships.
So we describe something, so wegive it away, and in addition
to that, so why would you bedescribing a reviewer?
Why the hell are you talkingabout rice?
I don't understand.
Why are they talking about rice?

(01:34:24):
You sold a commercial for riceto make money, so why don't we
give them rice?
And that will make sense.
Then it's not just out ofcontext.
We're talking about rice.
Why are you talking about rice?
Well, we're giving them rice,oh, oh, oh, well, that makes
sense.
Sure, yeah, so they get allthat.
They get $25 worth of whateverthe hell it is you're describing
, but the company gets a coupleof grand or whatever, depending
on the viewership, you know.

(01:34:44):
So it's paid advertising.
So, yeah, you know, rice-a-roniyou know or you know whatever,
there's a thousand of thesebanging around in my head.
I love those, so that's whyyeah they do get those prizes,
they do get that crap.

Speaker 2 (01:35:00):
You know we're talking about announcers.
I'm going to ask you about thisguy because I have fond
memories of we talked about DonPardo.
We've talked about a fewannouncers.

Speaker 1 (01:35:19):
What about this?
Going back to laughing becauseyou brought up Burbank, I'm Gary
Owens.
What you beautiful, how sillyof you.
How silly of you to talk about.
How about silly, silly talkingabout Gary Owens from beautiful
downtown Burbank?
Gary was the sweetest, funniest.
Every day with Gary was like aa cocktail party.
You'd see him at an auditionplace or coming out of wherever
you know in one of the studios.
Hey, randy, you don't?

(01:35:39):
I got a little cold.
I guess I'm battling ouroverused throat.
Thank, thank frankly.
Yeah so so I pardon me for thecoffee.
Gary would remember everybodyin town by face He'd remember,
but then he'd also rememberwhere he saw you last, who you

(01:35:59):
were with and what you talkabout.
It was an amazing gift.
So you say, oh, randy, how areyou Haven't seen you since you
and Tom Chauvin were together.
We met at NBC.
Yes, we were talking about thetime you did you ever get that
job you were discussing?
So he would remember all thisstuff.
He was a parody of himself.
You know how silly of you totalk about me.

(01:36:21):
And then he would name drop,name drop.
You know I was with Bob andDolores Hope the other night.
They wanted to put my ear incement.
You know the way they do thefootsteps they want to have my
ear in cement in their frontyard.
And I said no, bob.

Speaker 2 (01:36:44):
I can see him holding the hand over his earphone on
the one side.
I am going to put you on thespot because I know you have
other things to do than to sitand talk with me all doggone day
.
I'm going to put you on thespot.
Could you do it?
Because I never had anyone do agreat liner for my Pat's Peeps.
It seems like we're enjoyingthe conversation.
Is there anything you couldconjure up with a Pat's Peeps

(01:37:05):
liner?
Or maybe you know for those ofyou who didn't listen, you know
any of these prizes that you'llget for listening home version
anything?

Speaker 1 (01:37:14):
you can come up with Gotcha, gotcha, three, two, all
listeners of the Pats.
Tell me the name of the showagain Pats, pats Peeps Podcast.
See, it's a tongue twister.
Obviously I know it is PatsPeeps Podcast.
Yes, sir, you'll be able tohear Pats Peeps Podcast.

Speaker 2 (01:37:33):
See, I'm putting him on the spot, people, even though
he's a professional.

Speaker 1 (01:37:39):
No, I should be able to get this.
I just need a moment to lock itin.
Absolutely.
Pat's Peeps podcast.
Okay, listeners to Pat's Peepspodcast.
Wow, listeners to Pat's Peepspodcast.
All receive Lee Press On Nails.
Beautify active and insistentlywith Lee Press on Nails.
Beautify active and insistentlywith Lee Press on Nails.
And thank you for listening toPat's Peeps Podcast.

(01:38:00):
Yay, hi, this is Randy West.
Go ahead, go ahead, keeprolling.
Hi, this is Randy West.
Join me and everyone else thatyou ever wanted to talk to.
We all end up on Pat's PeepsPodcast.
So join us right here.
Wherever you are, if you'relistening to the radio, if
you're listening to yourcomputer, or if you're listening
on the toaster or the microwave, we're here.
Thanks for joining us, godbless you, randy West.

Speaker 2 (01:38:24):
You're the best Pat.

Speaker 1 (01:38:26):
Great time talking with you, man.

Speaker 2 (01:38:28):
I really have enjoyed it so much.
Randy, I will stay in touchwith you and I will take you up
on your offer.
I'll come down there in May.
I would love to meet you.
I'll take you up on that offer,but as of today, sir, I really,
really tremendously appreciateyour time and, on behalf of all
the listeners to Pat's Peepspodcast, we all appreciate you,

(01:38:51):
your wonderful career and yourtime here today and I thank you.

Speaker 1 (01:38:55):
I thank you and if any of the stories I'm telling
you are of an interest, youreally ought to get the book.
I mean, if this is stuff thatinterests you, if it doesn't,
that's fine.

Speaker 2 (01:39:04):
Change the channel.
Tell us about the book again.
It's the stuff.

Speaker 1 (01:39:07):
I'm talking about here.
Tell us about the book TVInside Out.
Tv Inside Out Flukes, flakes,feuds, felonies TV InsideOut
available at TVRandyWestcom.
And if you don't like anychapter, you rip it out, mail it
to me and I'll eat it on camerafor you.

Speaker 2 (01:39:30):
How's that, randy?
Thank you from the bottom of myheart for being a guest,
wonderful guest, on my Pat'sPeeps.
Thank you, randy, we'll talksoon, okay.

Speaker 1 (01:39:38):
Thank you, buddy, bottom of my heart for being a
guest, wonderful guest on myPat's Peeps.
Thank you, randy, we'll talksoon, okay?
Thank you, buddy, great talkingwith you, appreciate it.
Pat, have a great day.

Speaker 2 (01:39:43):
All right, randy, be good.
Randy West oh my gosh, Wow,fantastic, fantastic.
I could talk to him for anothertwo hours.
This is our longest podcast andI could go for another two
hours easily with him.
I have all these questions, butyou know what.

(01:40:05):
We're going to leave it at thatand I hope you've enjoyed Randy
and our conversation today.
Pat's Peeps number 76, ourlongest so far.
We're at an hour and 40.
We're going to take a couple ofmore minutes here because I
have my record to play.
As I pull a record I shouldhave.
Next time I'll ask Randy aboutmusic because I know he's into
music as well.
So I pulled it up.

(01:40:25):
I mean, I pulled out a recordfrom my 45 collection and this
is a very upbeat song whichreally fits my mood today, with
the sunshine and having RandyWest on and all of that
Absolutely wonderful.
So I'm looking at this which Ijust dropped.
It Hold on.
I hate to drop my rare recordsIn this particular record.

(01:40:49):
There's actually two of them inthere.
This is one.
Like I say, I have duplicateson a lot of these records.
This is in mint condition.
This is an orange label.
It is on Epic Records.
I remember this song, again,very positive.
It was a song composed by BobMarley in 1967.
First recorded by Bob Marleyand the Wailers that year,

(01:41:13):
issued as a single, latercovered by this artist on his
1972 album, and you'll get it.
As soon as I say this name,because this was another great
song, top 40 hit, top 10 hit bythis artist, I can see clearly.
Now, the following year, bobMarley and the Wailers

(01:41:33):
re-recorded the song for theiralbum Catch Fire, but this was
recorded in 1971, released inMarch of 72, went to number 15
in the US, did really well,number seven in Canada, even
went to AC, went to number fourin Canada, number 13 in the UK,

(01:41:55):
number 12 overall in the USBillboard Hot 100.
This guy also sang the theme toHercules.
Hercules, remember that thecartoon.
Johnny Nash is the artist.
It's a song called Steer it Up,let's go.

(01:42:40):
Yeah, yeah, yeah, steer it up.
Little darling, it's been along, long time since I had you
on my mind.

Speaker 1 (01:42:56):
Now you are here.
It's so very clear.
There's so much we could do,just me and you.

Speaker 2 (01:43:01):
Come on, steer it up, little darling, steer it up.
This song was the first Marleywritten song to be successful
outside of Jamaica.
Another tune written by BobMarley I Shot the Sheriff, of
course, covered by Eric Claptonon the album 461 Ocean Boulevard

(01:43:22):
, july 74.
But great song, johnny Nash.
Of course I can see clearly now, another great song by Johnny.
Perhaps we'll get up to thatrecord at some point someday.
But hey, thank you to you forlistening.
Thank you to Randy West, ourgreat guest today.
And here we are, pat's Peepspodcast, number 76, number 77

(01:43:44):
tomorrow.
We'll see you then.
See you on the radio tonight onthe Pat Walsh Show.
Oh yeah, steer it up, littledarling.

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