NUMBER THREE
the delays in waiting to hear back from michael jackson's camp were due to the fact that they double booked the job, and never bothered to call and tell me they were rehearsing with sonny emory. the only way i found out was through marsha burns, a woman who was my agent in l.a. at the time. later on, that summer, i got a call from phillip bailey,
inquiring as to whether or not i might be interested in playing with
earth, wind and fire, since sonny was playing with michael jackson.
but, the whole thing backfired. as far as i know, sonny went back to
EWF, and i went back to work with paul westerberg. later on, the
jackson camp called back. i never returned the call..

NUMBER FOUR
any gig that involves me playing music i have no prior involvement with is more, or less, a "desk job". it's primarily regurgitating
information. i think most people involved in the music industry on my
level, on my side of it, probably feel the same way. most gigs are just
a means of survival. luckily, at least you're getting to play music.
but, it's still fulfilling a finite function, usually. even working with prince, for the first year and a half, as much fun as it was, sometimes still felt like i was playing in a really great cover band. it wasn't until we started developing a sound as a band, and recording new material, that i felt ownership or a part of the process..

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