“I had done a live album with them before this, but Bobo was a lot of fun because it was a blues covers record. Everybody in the band loves the blues, so we had a great time.
“We Johnnie Johnson to come in and play on it. He had been Chuck Berry’s keyboard player. He made it pretty clear that he was doing it for the money, and he did not want to talk to us white boys at all. [Laughs] He just thought we were bullshit white guys trying to play the blues – and moneyed white guys on top of it.
“What Johnnie didn’t know was that I had played bass in Chuck’s band in the ‘60s. There were pictures of me with Chuck, and what we did was, we had one blown up huge. We put it up on the wall so that when Johnnie came in, he’d have to see it. He came in, took a look at it, and when we told him the story that it was me playing with Chuck, well, that broke the ice like you wouldn’t believe. After that, we were fine. Johnnie passed away not too long after that, so we were lucky to get him.
“We threw songs into the hat and really dug in – blues and old rock ‘n’ roll. We did the ultimate version of Louie, Louie with everybody sharing the same amp in Joe Perry’s garage. Guitars and vocals were all plugged into one amp. It sounded hilarious.
“We took the budget for the record and built Pandora’s Box Studio in Massachusetts, but we didn’t get to use it till the end because the fire marshals had their hands out to get the clearances. It turned out to be a great room too.”