Pete:
The others will be here shortly.
The smaller the hall, the better we sound. I prefer to play to about 5000 people or less, but this tour
( in arenas of larger size )is just to get to as many people as possible. It wouldn´t be so bad
if they could have gotten a good piano adapter . . to be used to amplify a regular pianp and still
get good tone.

Well, George was in New York and he rang us up and presented the idea; six hours later I was on a
flight to New York. The whole thing was put together very quickly, but it came off really well.
Again, it was just because George had this idea and it was his show; we just helped him out and
were glad to be there. George just wanted to keep it simple, so he just told me he used a capo on it
and what changes were important. Then I went back to the hotel and listened to the Abbey Road
tape; we never really rehearsed it - no time.

Question:
Was it true that Badfinger´s Mike Gibbins had left?

Pete:
Yes, actually. We were five weeks away from this tour and we had no drummer. Although we had
several auditions, none seemed to work. Finally in Detroit we met Rob (Stowinsky), a native of Detroit
and that was it. We did a lot of rehearsing.

Both ( Baby Blue and Day After Day ) were written for the same girl, a girlfriend of mine in Witchita,
Kansas. I wrote Baby Blue after not seeing her for a few months. I thought she was angry for not
writing or calling. But by the time the song was completed, we had already gotten back together. I kept
the song anyway, ´cause it could apply to a lot of people.

Some numbers like Suitcase can go on for fifteen minutes.

He ( McCartney ) kind of set the directionand helped us get the sound we wanted, but at first he was
very much in control. He was the pro; we were the beginners.

He ( Rundgren ) is a little too domineering; he´s too accustomed to working with things his way.
We´s like to get a very good engineer and do the actual producing ourselves. Since we won´t be
recording until fall, I´m sure we´ll get along okay.