I started playing guitar at the age of 14. My father, Glenn Yeazel was a Pentecostal preacher. I was raised around gospel music since the womb. I started playing in the church band and practiced eight hours a day. My first summer as a guitar enthusiast went something like this:
Two hours classical
Two hours finger picking
Two hours jazz
Two hours of rock.
I actually wanted to be the greatest guitarist on earth until I discovered something I liked even more; songwriting. I joined my first band at the age of 15 and started playing professionally, no longer playing in the church. This alienated my family pretty bad.
Bob's graduation picture. Click the picture to see his 25th class reunion write-up.
I played locally all over Colorado until the age of 19 when a friend of mine, Ron Morgan, who eventually became the original guitarist of Three Dog Night, took me out to Hollywood to join the West Coast Pop Art Experimental Band. This is where I first met band mate and longtime friend Jimmy Greenspoon, who went on to become the original keyboard player in Three Dog Night and still plays with them today.
We played the Teenage Fair of 1967 and I was in the middle of the "I am the Lizard King" Los Angeles music scene of the late '60s . We opened for The Byrds, The Association, Iron Butterfly, The Nitty Gritty Dirt Band, The Yardbirds (with Jimmy Page on guitar), Moby Grape, The Music Machine, etc.
Jimmy, Ron and I left the 'Pop Art Band' and came back to Denver and formed a band called Superband. We recorded my first record called “Acid Indigestion.” We hung around for about a year and then Jimmy and Ron went back to L.A. I stayed here and became a founding member of The Beast.
Bob practicing during the Beast era.
The Beast recorded two albums and did pretty well touring Midwest states from Canada to Texas. We opened for, then backed up Chuck Berry, which was a thrill. Also we opened for The Who, James Cotton, Eric Burdon and War, Vanilla Fudge, and many more that I can't remember. While in The Beast I had an opportunity to work with Norman Petty, producer of all of Buddy Holly’s work, and Jimmy Gilmer of the Fireballs fame.
After approximately two years in The Beast, I decided to leave. I was sitting around writing songs when Jerry Corbetta asked me to join Sugarloaf. They were unknown nationally but making good money locally without a record. They had just been signed to a record deal on United Artists and needed a songwriter.
When Sugarloaf's first album came out, one song that barely got on the record became a huge hit. The song was called “Green-Eyed Lady.” I didn't sing, write or play on that album because the record company wanted to release the demo tape as finished product. The band's name was "Chocolate Hair" at the time, but the record company thought it was racially incorrect so the name was changed to Sugarloaf.
We didn't get much airplay locally, but in Portland, Oregon a disc jockey played it, people called in requesting it, and the record slowly became a hit in the Northwest area. Eventually the song became a huge hit nationally peaking at Number 3 on Billboard, and as a result we toured with and opened for many great acts.
After two years, I became disillusioned with the direction of Sugarloaf, moved back to Denver, and started a recording studio called Warthog Productions.
I briefly played in a couple of obscure short-lived projects and then joined The Freddi-Henchi Band. That's when I learned that I am really black. I played, toured, partied, and funked out for eight years with them. Then I got burnt out and got out of music for about eight years.
I spent that time getting my head together and trying to get my own style. But music was in my heart and blood and began gnawing at my soul. I had started my own glass company and had a warehouse that was perfect for jamming out in the middle of the night without fear of complaining neighbors. I got together with some old friends and started playing anonymously in a sleazy biker bar in Commerce City, Colorado. We called the band 2D Max, and we ended up recording a cassette and having a lot of fun.
At this point I knew my days of devoting myself to the glass business were over. Next, with my renewed vigor and confidence growing, I started a project called Bob Yeazel and the Nightcrawlers. We recorded quite a bit and toured Asia, playing in Korea, Japan, Okinawa, and Guam, with a stop over in Hawaii.
I am now currently working on publishing and have been writing and recording a lot of music. Some I've had in my bag for years, others are brand new. I am trying to market my tunes to other artists and get my music out to a larger audience. It's a lot of work but it's doing what I love--making music.
I love playing, singing, and writing now more than ever and all I ask is money, fame, and beautiful women who want to be my sex slave. Is that asking too much?
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