Cowboy Mach Bell interviewed by Robert von Bernewitz
New England area rocker Cowboy Mach Bell, best known as lead singer of The Joe Perry Project and Thundertrain, has just released a new book about his life on the road in the rock and roll theater titled “Once a Rocker Always a Rocker.” Mach explains his early days in rock and roll “People started calling me “Rock Star” even though I was just this skinny, broke kid. Only because I was acting like I knew exactly what I was talking about.” After a few trips hitch hiking to Los Angeles California, Mach did start to know what he was talking about. Joe Perry’s management took notice and invited Cowboy to audition for the Project. He passed the try-out and went on a two year high voltage rock and roll journey that is highlighted in his new book. At this point in his career, Mach states “My rock’n’roll dream was resurrected. But on a whole new level… more professional production… bigger venues.” I recently talked with Mach about his musical career and the process of writing the book.
R.V.B. - Hey Mach… How’s things up there in New England?
M.B. - Not bad, this week. We had a big storm last week that took down a couple of big trees on my property. It’s a little hard to get around right now.
R.V.B. – We had basically the same thing here. I saw the thing spinning out in the ocean and it looked like the rain and wind bands were stronger up there. These storms seem to be getting more frequent.
M.B. – It’s true. We take a pretty good beating on the coast. Hopefully I won’t get blown away next. (Haha)
R.V.B. – Congratulations on your new book. You’re living a fascinating rock and roll life. How did you get into this rock and roll world?
M.B. – I was raised in a music-filled household. I played cello as a kid. I was lucky to be born at just the right time. I turned 13 in 1966… when the fuzz-tone got invented. Hearing the Stones’ I Can’t Get No Satisfaction and Heart Full of Soul by the Yardbirds… the fuzz tone totally set me on fire. I ditched my cello and saved up for an electric guitar, and a fuzz box, and started rockin’.
R.V.B. – What kind of guitar did you get at first?
M.B. – I got a guitar up at Mammoth Mart for $27.99. I think it was a Zim Gar. It was just a little white surf board with one little pickup on it.
R.V.B. – it was one of those Japanese specials?
M.B. – Definitely.
R.V.B. – You managed to struggle through the high action? (Haha)
M.B. – Yeah! I didn’t know any better… none of us did. It came with high action and whatever heavy gauge strings were on it. I had come from the cello which has even higher action. At least my little $27 guitar had frets on it. Cellos don’t have those. That seemed like a step up. (Haha) It took awhile, but I began figuring out the chords, with the other 13 year old rockers on my block.
R.V.B. - The 60s had so much rock and roll to offer: The Beatles, Hendrix, Cream, and you were right in the heart of it.
M.B. – …and right in my own backyard I had a kid who played guitar… another kid who played the drums. We could put together a whole band just from the neighborhood kids… back in those days.
R.V.B. – I guess that’s how “The Mechanical Onions” came to be.
M.B. – (Haha) Right… The Mechanical Onions… and later the Cynics… Black Sun… on and on it went. Sometimes I’d have three or four bands in just one summer. In those days the summer just went on and on and on.
R.V.B. – When did you get your first real guitar?
M.B. – I guess it was in ’68. I got 150 bucks together and I bought a Gibson Firebird, at Devines, the Framingham music store. It had no case…and it was hard to find a case that fit a Firebird. I ended up with a Fender case and just cut a hole in the top of it, so the headstock could stick out a bit. (Hahaha) At least the case covered most of the guitar. I didn’t have a lot of cash at the time.
R.V.B. - So as you progress through your teens, there are other factors to playing the guitar, namely girls!
M.B. – Well yeah… That kind of took me by surprise. Some guys were ahead of me on that. They thought “I’m gonna get a guitar to get girls.” I hadn’t anticipated that part of it. I was so enthralled by my fuzz pedal and staring at my guitar. All of a sudden I had this pretty girl calling me. I never would’ve been able to pull that off on my own. Rock music is kind of a magnetic thing.
R.V.B. – What was one of your first real gigs, where maybe you earned a few bucks?
M.B. – The first huge gig for me was the 7th grade battle of the bands. I think I had an Aria guitar at that point. I was the guitarist in The Effective and we even had a lead singer. He claimed to be a singer anyway. Our big song was “When I Was Young” by Eric Burdon and The Animals. It’s kind of funny thinking back on a bunch of little 13 year olds wailing When I was Young. The lyrics are full of angst and we were full-on into it. (Haha) We also played Wipe Out because our drummer actually knew how to play for real. We won the battle and got the $10 grand prize. My first taste of success. It was held in the Flagg School cafeteria in Holliston MA… the town I grew up in.
R.V.B. – You must have been the bomb walking around the halls the next day.
M.B. – (Haha) Our science teacher… Mr. Tosti… was the band’s manager. We thought we were pretty cool.
R.V.B. – As you gained more experience, you made a choice to pursue this in a professional level?
M.B. – A few years later a big change happened. I was playing my guitar at a local gig when I was around 19 years old. By this time, there were plenty of guys much more proficient than me playing the electric guitar. But I had a show business streak inside me. I liked putting on a big show even though I really didn’t have the best chops. Once again, my lead singer of the week didn’t show up. I had the hardest time finding a ballsy singer to front my bands… somebody who knew how to work a crowd. I wasn’t just looking for a guy who just warbled, like some American Idol guy… I was looking for a rock frontman… a Rod Stewart, Mick Jagger type of guy. Anyway, my singer didn’t show up, so I’m stuck singing lead while playing my guitar. Afterwards, this kid named Bobby Edwards, comes up and says “Hey, I want you to come and sing with my band. Leave the guitar home. I already have a great guitarist. You’ve got the thing we’re looking for.” This kind of blew me away because I never really thought of myself as a frontman singer. But I hooked up with this band Biggy Ratt and we took off. This was just as the drinking age dropped down to 18. We suddenly went from playing youth centers and high school dances to rocking packed bars. Almost overnight every dive bar wanted a kick-ass band… they needed Biggy Ratt. So now I’m singing to older kids. Bobby (the drummer) and I got scouted to join this band being put together called Thundertrain. It was to become a really hot act here in the Boston area for the next five or six years. We worked out of “The Rat” in Kenmore Square. Thundertrain would go out and play New York clubs, upstate and in the City… go out to the Agora in Cleveland… play all over New England… colleges. Making our own records.
R.V.B. – At this stage did you open for anyone noteworthy?
M.B. – Sure. Mink Deville… we played with The Runaways… the Fleshtones opened for us at Max’s, Alex Chilton, the Romantics, the Dictators, we jammed with Thin Lizzy one night at the Rat… we played with The Cars. Actually The Cars opened for us.
R.V.B. – So you were really making a name for yourself.
M.B. – Yeah, definitely. We had our own album out. We were also on the “Live at the Rat” double album. It was Boston’s answer to “Live at CBGB’s.” That was 1977. We also played a lot with The Dead Boys. We did a dozen shows with them in New York City and Boston. We were making a name for ourselves here and in the UK. The underground press helped us a lot and Rock Scene magazine ran pictures of Thundertrain. My photo was in 16 Magazine. Danny Fields (The Ramones manager) was editor at 16. Thundertrain even got a mention in Time magazine that year.
R.V.B. – that’s a good way to get your name out there.
M.B. – It was a constant DIY networking thing. Besides gigging five nights a week we did college radio interviews and mailed postcards and letters. Our monthly Thundertrain Photo-Mag newsletters went out by the hundreds. If I wasn’t singing at a club or a theatre, I’d be seeing other bands… dancing and talking to everyone I met. The kind of promotion where you physically need to be out there. Like running for mayor.
R.V.B. – Word of mouth was the way to do it. You build your following. Today it’s by how many hits you get on line. Is this around the time you went out to L.A.?
M.B. – The L.A. thing was in a minute between Biggy Ratt and Thundertrain. We’re talking the spring of 1974. I went out to Hollywood to become a drive-in movie star. I hitchhiked out and got to the Sunset Strip, where I found this incredible scene sizzling. The Roxy had just opened and they had the Rocky Horror Picture Show live onstage. Playing every night, this was a year before the movie was made. Rodney Bingenheimer – The Mayor of the Strip – had his club going. It was full of people like Sable Starr, Pamela Des Barres, David Bowie and The Runaways. All these dolled-up kids were hanging around at Rodney’s club. I didn’t have enough money to get in every night. But you didn’t even have to be inside the clubs… You could just hang out on the Strip and all these flamboyant young characters were everywhere. I soaked it all in… the fashion and the decadent vibe that was going on. I took a lot of that swagger back home with me to Boston after I got a call from Ric Provost, a bassist who was putting together Thundertrain.
I returned with my head buzzing from the Sunset Strip. On my platform shoes… glittering… all glammed out. Soon we were all wearing tinsel and nail polish, 24 hours a day… stopping traffic… really weird looking. People started calling me “Rock Star” even though I was just this skinny, broke kid. Only because I was acting like I knew exactly what I was talking about. I knew that an exciting underground music scene was about to sweep across our region.
R.V.B. – That was a good move for you musically.
M.B. – Yeah… definitely. The L.A. trip boosted my confidence. I got a lot of pointers hanging out with those people. It was so different from the New England scene where we grew up playing Young Rascals covers. I was 21 years old, a nobody, but I believed that I could fit in with Iggy, David Johansen and Michael Des Barres - all of those cats strutting around the Strip – I was pretty full of myself… and you need that kind of bravado and attitude to make it as a rock’n’roll frontman. Listen, I’m as self conscious as the next guy, but somehow I was able to suspend my own disbelief and pump myself up into this fearless, rock singer.
R.V.B. - Did you have any apprehension hitchhiking out there? Did you get rides regularly?
M.B. – Rides were getting harder to come by in ‘74. I had started hitching cross country back when I was 16, so this was like my third time out to the West. Each year it got harder. When I started back in ’69… it was the Woodstock days of the VW busses with the flower stickers on them. Hippies were stopping for anybody groovy looking and you could easily get a ride. In just a couple of years, a lot of things changed. Charlie Manson happened, drivers were getting a little nervous about people with long hair on the side of the road. But still, if you managed to get picked up on the interstate - let’s say I70 in Pennsylvania - there was a pretty good chance that the ride could bring you all the way to Ohio or maybe even Colorado… a nice long ride. What I learned to do, was to ask the driver “Before you exit the highway, please drop me off at the last HoJo’s or truck stop plaza on the Interstate.” In those places, I could work the road-tripping crowd. Look around and try to find someone who might help me out with a ride. I’d introduce myself politely, chat and ask about a lift. I could help out with the driving too. That tactic worked pretty well. Still though, I could spend hours and hours before the right person came along. Much better being stuck in a truck stop than being out on the dark highway w/my thumb out. I never had any serious problems on any of those journeys. I used to tell all my hitching stories to Joe Perry when we were traveling around the country in our van. He was curious about hitchhiking - so we ended up trying it together at one point down in southern California. I tell the horrible story in my book. It didn’t work out so well! (Hahahaha)
R.V.B. – Was Thundertrain still going when you got the call from Joe?
M.B. – Thundertrain had come to an end after five years. There was a breakdown between the lead guitarist and the rest of us. He had left, and the other four of us had continued on for a while. That petered out. Then after John Lennon got shot in 1980, drummer Bobby and I needed a
change of scenery and we went out West. My big rock’n’roll aspirations were fading. We took a cross-country Trailways bus for $99. Bobby and I ended up joining a three ring circus… Circus Vargas out in Phoenix, Arizona. We traveled with them for a few months, working under the big top. What do you do after your rock band breaks up??? You join the Circus! (Hahaha)
R.V.B. – (Hahaha)
M.B. – We did that in 80/81, and then came back to Massachusetts. I took my first 9 to 5 job, working for my old man. That’s when I got the call to audition for Joe Perry… the very beginning of 1982.
R.V.B. – When you got this call, what kind of preparations did you have to do? Did he give you a list of songs, that he wanted you to sing?
M.B. – My pointers for anyone who gets a chance to audition for Aerosmith or Joe Perry or any cool band are in my book… I got the call and I actually turned the job down. I just didn’t want to get my hopes up again. I’d already been through the rock’n’roll meat grinder, recording demos, doing showcases and getting rejected. Over and over again. It hurt a lot, having my dreams crushed. So I said “No thanks. I don’t want to do it.” As soon as I hung up the phone I started kicking myself. “What did I just do? Why would anyone say no to a chance to join the Joe Perry Project ? Touring with Joe? It’s gotta be friggen incredible!” The phone rang again – lucky for me – and they said “We’re not going to let you off the hook that easy.” They gave me six songs to learn. Five were Joe Perry Project tunes. The Project had already released two albums on Columbia before I joined the band… with two different singers. They threw in an Aerosmith song as well. So I studied those six songs with a Sony Walkman clamped to my head. I had about 72 hours to prepare for the audition.
R.V.B. – I gather there was a bunch of other guys that were auditioning as well?
M.B. – Not really. When I showed up for the audition, I met Danny Hargrove outside the room. He’s a bass player and he’d just auditioned the day before me. Danny’s a good singer too. I think they had scouted out Hargrove as a guy who could fit in fast. Sure enough, he’d been called-back. Joe’s new manager Tim Collins’ had this associate, Earthquake Morton, who helped guide me with Thundertrain. They both thought that I could fit in quickly and figured “Let’s try out Bell and see what happens with him.” So there was nobody else auditioning except me, but I was still nervous. Because when I arrived I could hear a second guitarist playing in the rehearsal room. They told me to bring along my guitar. You know my friend Charlie Farren - he was the Project’s lead singer before me – Charlie sang and played rhythm guitar. I didn’t really want to be hired as a singing guitarist. I brought along a guitar but I hadn’t studied the guitar parts much. I wanted to wow em’ with my stage presence and vocal ability. That’s my thing. I mean, Mick Jagger can play guitar too, if he wants… But Mick doesn’t really have to do that. Let Ronnie and Keith take care of the riffs. Not to compare myself to the great Mick Jagger… Anyway, when I got there this other guitar was playing and I thought “Damn, there’s another guy trying out for my position.” But when I went inside it turned out to be Brad Whitford… who had also left Aerosmith by then. Brad was joining up with Joe to do a bunch of dates with the Project. So when I tried out, it was with both Whitford and Perry on guitars. How intense is that? It was a totally far out jam.
R.V.B. – So you got the gig and now you’re back out there on the road. Now you’re doing it all over again!
M.B. – I fell back into it pretty quickly. My rock’n’roll dream was resurrected. But on a whole new level… more professional production… bigger venues. The size and excitement level of the crowds was way beyond anything I’d seen with Thundertrain…that group had enjoyed a lot of exciting nights, but let’s face it, the electricity of being in a band alongside Joe Perry and Brad Whitford was off the charts. Those guys were still young in ‘82… in their prime. It was super exciting, although, as my diary reveals, Joe wasn’t in top physical or mental condition when I joined the Project. His hands were trembling and his color wasn’t good. We were fortunate to have Brad on board, he’s a brilliant player. After the first dozen gigs, Whitford got a good offer in L.A., and had to leave us. It got pretty dodgy’ there for a while. Unfortunately, it was right when we were set to begin our first national tour. Only six dates in, that trip was aborted… in a pretty dreadful way when Joe collapsed in front of a full house in North Carolina. The Project retreated to the sidelines for a two months while Joe went through some rehab and re-building. Strangely, it was during that rough stretch that I grew much closer to Joe. I also got to know his wife Elyssa a bit better. It turned out for the good because when Joe came back to the Project, he emerged strong and in control. No longer needing a second guitarist. Perry was playing like he did when he started the Project a few years earlier. Experimental and really exciting to listen to. Now he was at his best, not only physically, but his music was really flowing. Joe was bold in his choices, mixing psychedelic blues with heavy metal and pivoting into rootsy’ rock. He’d walk on stage with new ideas about what he wanted to create sonically each night. He’d be performing his songs in totally different ways, from town to town. A wild ride for his bandmates for sure.
R.V.B. – You toured internationally as well. How did you enjoy that experience?
M.B. – It was incredible and bizarre. A recent review of my book called my description of performing in Caracas Venezuela “surrealistic.” That’s a good word for it, because it was one step beyond. We were treated like the second coming of Beatlemania down there. The radio was playing Joe Perry music 24/7 and we each had our own personal driver and luxury sedan. In contrast, a few nights before, back in the States, we were playing some roadhouse in the middle of nowhere and riding home in our dusty Dodge van. Now, in South America, we were being chauffeured to a 20,000 seat arena that we’d sold out for two nights in a row. Those folks were starving for Joe Perry. A mind-bending trip. We loved playing up in Canada too. The kids up there are laid back and different. It always felt like we were going back in time to the “good old days” every time the Project or Thundertrain crossed into Canada. Non-stop partying, good vibes - and rock music hadn’t been taken over by synth’s and drum machines up there so much. Kids were funneling Molson beers while listening to bands like Mahogany Rush and Mountain. It was the perfect landscape for the Joe Perry Project. Not to forget the USA, where we found our crowd just about everywhere. From Detroit… to the West Coast… to Texas… to Florida… everybody wanted to see Joe Perry. Best were the working class, not too fancy areas. Upstate New York was always a great place for the Joe Perry Project… Rochester… Albany… Poughkeepsie… Buffalo. Towns that always welcomed the Project warmly.
R.V.B. – What are you proud about on your contribution on the album?
M.B. – When we started out, when Joe wasn’t in good shape, he was being hounded by the law, the last thing he was probably thinking about was sitting down and penning songs. But he was still creating these great riffs. The basis for great songs, were flowing out of him. The first time we rehearsed I heard Perry playing these two riffs. A funky one and a twangy one. He kept circling back to them. So I went home and wrote lyrics that would fit on top of that funky sounding riff. Next rehearsal, when he started playing that funk riff again I began singing my song over it. The next thing you know the whole band kicks in. We got to a stopping point and I sang what I thought the chorus should be, and Joe lays down a cool riff under that. And without even saying a word…we never said anything, we just played and that’s a great way to make music, the song Once a Rocker Always a Rocker came to be. The next day at rehearsal Joe brought in a notebook. He handed it to me and said “Cowboy… see if there’s anything in here.” I brought the notebook home. That’s where I found “I love the way they look, I love the way they feel.” At the next rehearsal I began singing those words over the twangy riff Joe had been working on almost every day. After I finished singing Joe looks up and says “Hey Cowboy, that’s good.” I shot back “I know it is Joe, and you wrote it.” He’s like, “What?” “Yeah Joe. All those lyrics were in your notebook.” Besides writing good songs like Once a Rocker Always a Rocker and Black Velvet Pants, I like to think that I was helping Joe regain some mojo – I realize that it sounds ridiculous that me, the unknown Cowboy Mach Bell, could be helping out Joe Perry, the man who’d written Walk this Way and Back in the Saddle, and all these other classics, but Joe was going through a rough patch at that point. I think our budding musical collaboration put some wind into his sails when he needed it. As the months passed, I like to think that Steven Tyler, and what was left of Aerosmith, might have been thinking “Damn… Look at Joe, back on his feet, playing great, writing new material. He’s got a new band together and they’re on the road all the time.” After more than a year, the Project eventually landed a record deal with MCA, we cut an album full of original songs written by Joe and me. Not long after the record was released, Joe and Aerosmith decided to pull their old band back together. I believe that what Perry achieved with the last line-up of the Project played a part in helping spark the Aerosmith reunion.
R.V.B. – Lighting a fire.
M.B. – A different bunch of guys could of just come in and said “Let’s all get high, party our asses off, and roll with this thing as far as it goes. Just play the old songs and who cares anyway.” Without Tim Collins and our band things could have gone a different way for Joe. Danny Hargrove and Joe Pet and I were looking to create new stuff and to move the JPP forward. We weren’t there to just get messed up. It was definitely not about money. We wanted to play aggressive, fun rock’n’roll with Joe Perry and put on memorable concerts.
R.V.B. – You certainly did because the album is solid and you had a lot of great shows. M.B. – We got a lot done in two and a half years. The album, an MTV video, over two hundred concert dates. The Project was in the middle of the action, meeting so many great kids and working with many of our rock idols. We were working towards a tour of Japan, when the big iceberg suddenly appeared and sunk us. (((Aerosmith reunited))) The rest of the rock world cheered, but for Danny Hargrove and I, it wasn’t such great news. I was in the middle of writing the lyrics for the next album and ready to do our next video, but it wasn’t to be.
R.V.B. – Were you able to overcome this and continue with music?
M.B. – I continued to sing in rock bands for many years afterwards. The last time I did a big rock show was last year (2018), with Thundertrain. Bobby – the drummer who discovered me – has sadly passed away. But the other three original members and myself played Jet Blue Park in Fort Myers Florida. A stadium gig, opening for a Red Sox vs. Twins game during spring training. The Sox went on to win the World Series that year. I also run a music room for homeschool kids at a place called the Macomber Center, in Framingham Mass. I sing and play music with kids every day. There’s nothing like playing rock music with teenagers.
R.V.B. – It sounds like you’re doing some nice work there.
M.B. – I lead a very full life. Writing the book was a new challenge and it’s been very exciting to try such a different kind of thing.
R.V.B. – How long was the process of writing it?
M.B. – I kept a daily diary while I was on the road with the Project and my new book is based on that diary. “Once a Rocker Always a Rocker: A Diary” has all the bones of my original diary but with with a lot of extra meat added to it. Over the years I have talked to interviewers and reporters, like you Rob. When asked a specific question in a written interview, I would often write a short story about a particular gig or whatever. So, over the years I kept some of those essays archived. But only maybe 5% of what was needed for a book. Last year Geoff Edgers mentioned my rock diary while promoting his Aerosmith book “Walk This Way” on Sirius radio. His mention led to me being invited onto a music podcast appearance where interviewer Michael Butler urged me “Mach, you have to publish your diary.” Then I started getting emails from lots of people I didn’t know, Butler’s podcast fans, saying stuff like “I’m not even a big fan of Aerosmith but I still want to hear more of your stories and read your diary.” Encouraged, I started putting it together last February (2019). Last summer I went into my home office and locked the door. I basically missed the whole summer. I wanted to have my diary turned into a real book before Macomber Center began the fall semester.
R.V.B. – Hard work usually pays off and I’m sure a lot of Aerosmith/Joe Perry fans are happy about it. Have you ever played with Joe ever again or worked with other noteworthy musicians in the Boston area?
M.B. – My book is receiving wonderful feedback from Aerosmith and Joe Perry fans, I’m overjoyed by that. But no, I never played with Joe Perry again. Our last gigs were in May 1984. There’s a little cliffhanger at the end of the book, where Joe tells me that we will play together again - someday. It hasn’t happened yet, lucky we’re still young. Post-Project, Danny Hargrove and I toured as “The Wild Bunch.” Our drummer was Hirsh Gardner from the band New England (Never Wanna Lose Ya). I recently played with Andy Pratt (Avenging Annie). I played drums for Andy. I’m a multi-instrumentalist. I’ve had numerous people ask me to be a lead singer again. I think I’m done with that. It’s a hard job man… (Hahaha) being an iron-lunged lead singer.
R.V.B. – You have to be in good shape. A performance is like a workout in itself.
M.B. – It’s a huge, whole body workout. I’ve played drums and I think lead singing is ten times harder. The Green Day drummer… I get it… he’s pretty physical. But I’d put a real hard rock singer up against him… as far as a workout. Singing is a mental workout too. Remembering all those lyrics… which gets a lot harder as you get a little older. Plus you have to engage the crowd and every crowd is different. You can’t just go out there and spew the same lines every night and expect the audience that loved you the night before to dig what you’re saying tonight. A singer has to be on top of the room… it’s an improv. Almost like a standup comedian’s job. It’s a lion taming act, going out in front of a fresh crowd. I can’t just rest on my laurels and my catalog of famous hits. Hi. I’m Cowboy Mach Bell… what do you think of that? Who the hell is Mach Bell? Nobody knows who I am!
R.V.B. – (Hahahaha).
M.B. – I’ve got to go out and prove myself all over again every night.
R.V.B. – How did you get the nickname cowboy?
M.B. – It’s kind of embarrassing. It has nothing to do with cowboy boots or Roy Rogers. It’s a whole different thing. You’ll have to read for yourself… I started out as Mark Bell… as did the drummer of Dust who later joined The Ramones. That’s when that other Mark Bell changed his name to Marky Ramone. I had already changed my name to Mach because I didn’t want to be the second Mark Bell. Mach is how you say Mark with a Boston accent. Stiv Bators, from the Dead Boys and I both changed our names together on the same night at the Rat. He was Steve and I was Mark and by the end of the night he was Stiv and I was Mach.
R.V.B. – Down here on Long Island its Mauk (Hahaha)
M.B. – (Hahaha)
R.V.B. - Thank you very much for taking this time with me. Good luck with your book. Congratulations on your career… you’ve accomplished a lot.
M.B. – Thanks Rob. I believe that everyone who becomes involved in rock music benefits one way or another. I’m thankful that I got to be part of not just one, but two noteworthy bands… Thundertrain and the Joe Perry Project. I was fortunate. I’m no Elton John, but I did all right.
Interview conducted by Robert von Bernewitz
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For more about Cowboy Mach Bell, his book and his music: https://oncearocker.com/ https://www.facebook.com/MachBell
Mach Bell will be a Special Guest at Aerosmith History Days III. Sat Aug 15 and Sun Aug 16, 2020 The Livery at Lake Sunapee Harbor, New Hampshire. Cowboy will meet & greet and be autographing copies of his book.
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