Paul Miles presents
Chronological Crue
Motley Crue's
latest and greatest





















Motley Crue The End
Motley Crue The End - Live in Los Angeles

CR�EW�RDS – The Ultimate M�tley Cr�e Crossword Puzzle Book
CRÜEWÖRDS Crosswords

Funko POP! Rocks collectible figures
Funko POP! Rocks collectible figures

Buy Prayers For The Blessed Vol 2 by Sixx:A.M.
Prayers for the Blessed Vol.2 by Sixx: A.M.

Motley Crue's
Saints of Los Angeles album

Tattoos & Tequila by Vince Neil

Motley Crue Greatest Hits
Motley Crue's Greatest Hits CD


Motley Crue's Carnival of Sins Live concert DVD
Motley Crue's Carnival of Sins
Live concert DVD

 Tommy Lee's Methods of Mayhem
Tommy Lee's latest album from
Methods of Mayhem

 Buy Motley Crue Greatest Video Hits with discount
Motley Crue
Greatest Video Hits DVD

Buy Motley Crue - The Dirt with discount, cheap
Motley Crue - The Dirt

What percent of the Crüe did he own? Who was the guy with the blonde and blue hair? How does Jesus fit into all this? Why did he hold the gun to his head? When did he try and get it back?

On the 1st of June 1997, a Sunday morning at 7:40 am my time, I caught up with Bill Larson via telephone to Los Angeles California. Chronological Crue is proud to bring you this amazing interview.

Chronological Crue: What's your involvement with Mötley Crüe in the early days? How did it all begin?

Bill Larson: You want the complete story from beginning to end I take it?

CC: I guess so. Chronological Crue is about the complete story of Mötley Crüe and that's what the Crüeheads like to read.

BL: Of course. Well at least from my perspective it was short lived, but there was still some bits 'n' pieces there that probably are intriguing. It's been such an enormously long time since I even thought about all this stuff.

CC: Sure.

BL: It started back in... I think it was '82 or something like that, pretty close to that. Anyway I think it was during the summer or early spring of... When was it that, ahhh...

CC: Well it was '81 that they actually formed, and it was in April of '81 they actually started recording a demo tape and that's when Allan Coffman's first involvement came into play.

BL: You're gonna know the dates a little better than I do.

CC: That's fine.

BL: You're gonna have to fill in the blanks.

CC: Yeah, no that's fine.

BL: I'm vague on that, because like I said, it's been a long time.

CC: Sure.

BL: I think it was just after the album itself had been released on Leathür Records.

CC: Ahhh, OK.

BL: I'm not exactly sure when that was. Pretty soon after Greenworld had distributed the Leathür Records Too Fast For Love, the original one.

CC: Right. So we're looking around about Christmas time in 1981 / early 1982.

BL: That sounds about right, but more going into '82. So it was towards Christmas time, winter time more or less of 1981, that a friend of mine... I was in radio at the time. I was Assistant Promotions Director for a radio station in Michigan and I was doing Concert Production work out of Detroit with a Production Company at the time... and a friend of mine who worked as the distributor for the local regions of record stores around there, brought me a copy of the Leathür Records Too Fast For Love saying, "You gotta hear this. This is the greatest thing I've heard." And I took one listen to it and completely fell in love with it. The look. The sound, was something that I'd never heard before and I just became a huge huge Mötley Crüe fan right then and there once I heard it. Kind of like when I first heard Kiss for the first time.

CC: Yeah, know the feeling.

BL: Hmmm... it's like you hear it once and then that's it, that's the greatest band you ever heard.

CC: Yep.

BL: I ended up falling so much in love with it, that I knew that I wanted to do something with them, and like I said, at the time I was doing Concert Production out of Detroit, and at the same time Mötley had just started their tour up in Canada. That little tour where they were getting bomb and death threats.

CC: That's it. Crüesing Through Canada.

BL: Yeah, the very first Canadian tour which was kind of like a disaster.

CC: Correct.

BL: I ended up contacting Allan Coffman. I think it was that summer. Was it the summer of '82?

CC: That's right.

BL: OK. Summer of '82. I got a hold of Allan for the first time and the idea was that I was going to... When they came down out of Canada after finishing the Canadian tour, they were going to wind up in Toronto and come across the border into Detroit from Toronto after playing the last date in Canada, and I was going to do the very first, you know, Welcome Back To The US concert performance.


BL: At a little small club in Detroit. You gotta keep in mind back in that point in time, their biggest following was entirely in Los Angeles, California.

CC: Right.

BL: Nobody... Nobody knew who Mötley Crüe was outside of California back in that point in time. But I was willing to take a chance at 'em and I had set up everything for the club date and everything.

CC: Do you remember the name of the club?

BL: I'm trying to remember... like I said, this is such an enormously long time ago.

CC: Sure.

BL: I wouldn't venture a guess. Club names are so old. There was four or five clubs that I dealt with down there anyway, so I don't remember exactly which one out of the clubs down there.

CC: Sure.

BL: All this stuff has been buried as information for such a long time now. OK. Anyway, I was going to do the show in Detroit when they came down out of Canada, but of course, as you know, that tour got cancelled because of all the trouble that they were running into up there.

CC: And that they were causing themselves.

BL: Yeah. Halfway through the tour they called it quits and decided not to do it anymore, but during the course of time that you know, prior to the set up of that show, Allan and I had been discussing a little bit of everything, and at the time he was... I think it was right at the time when Elektra Records and all the other record companies were starting to vie for Mötley Crüe, so far as signing them to a major label.

CC: That's right, yeah.

BL: And everybody was coming in with offers. Virgin was coming in with offers, Elektra obviously, and a few others were bidding for them at that point in time, and Allan, who was a General Contractor to start with. He wasn't exactly a Music Manager by any stretch of the imagination.

CC: That's right. He actually came into it... He was a friend of Mick's mate Stick, I believe.

BL: Yeah. I think it was Stick. Yeh. Precisely. Allan was in Construction basically, up in Grass Valley in Northern California. He knew at the time he needed help with the next level. He was just at that point where they were just getting signed to Elektra Records and he knew that he needed some kind of help to more or less take the band to the next level. The two stages that he really lacked in. He knew that he didn't know anything about radio, and he didn't know much about the concert or touring end of things.

CC: Right.

BL: And my having been in radio, and also concert production, I knew enough about those two sides of the ball game so that I could actually help him take care of radio promotions... Anything to do with radio, also to act as more or less the Tour Manager and the Tour Co-ordinator on his behalf when dealing with all the concert production stuff... Touring and stuff like that, that he needed. And he knew that he needed help desperately, plus he was also running out of money at that time. He had mortgaged his house. This is something that I have never seen in any of the articles written about what happened before. It was never really discussed, because Nikki of course made a big brouhaha about that they weren't making any money towards that Christmas and they didn't even have money for Christmas trees, etc. etc.

CC: Yeah, that's right.

BL: But, one of the things he failed to mention was the fact that their old manager Allan had mortgaged his house three times to pay for everything to get them to that level.

CC: Right...

BL: It's not like it was really super cheap to bring them to the point where they could actually get signed. A lot of the shows and stuff that they put on were very expensive, 'cause they always went out and did big production little shows in these little clubs around California.

CC: Well they used to hire a lot of equipment from S.I.R. to make the stage and the impact look much larger...

BL: ...than it actually was. And of course all that took money, which came out of Allan's pockets. Allan made sure he wasn't paying the band directly a lot of the time. He gave them a little allowance which he...

CC: $20 it started off at.

BL: I think they weren't too appreciative of that, but they also didn't take into account that sometimes the stage props would cost a few thousand dollars for those individual shows that they wanted to do.

CC: Yeah.

BL: You know, they didn't think in those terms. They just saw that it had come around Christmas of '82, they were pretty well broke and they couldn't afford to buy Christmas trees and of course there were other problems on top of that.

CC: Sure.

BL: At least from what I was seeing. I'm more or less pretty neutral to the whole thing nowadays. I couldn't care less.

CC: Yeah sure.

BL: You know, enough time has passed at this point in time that Mötley Crüe is such a non entity in my life. It affected me pretty heavily back then... But anyway, I'm getting ahead of myself.

CC: Sure.

BL: So, ummm... Lemme see. Where were we?

CC: Well, we're looking at where Allan Coffman is actually feeling himself that he needs some help to take the band to the next level.

BL: He knew that he needed help and the record company itself. Elektra was going, "OK, you're a construction person, you're a general contractor and you need help yourself. So why don't you give the band to a major management company?" Elektra wanted them to, more or less, hand the band over to one of the majors.

CC: Right.

BL: So far as management was concerned.

CC: So he was getting pressured there as well.

BL: He was getting pressured all the way around and he felt that he could carry it on to the next level. Allan had his problems too, I came to learn later on. Allan was no saint in this matter by any stretch of the imagination. He was making a lot of mistakes right and left. One of the things that caused problems between the label and a lot of other places, so far as Allan was concerned, was that he kind of came across and acted like a little 'Mafioso' kind of guy from Grass Valley. He came in and tried to play this muscle game and push his weight around a little bit and it kind of back fired on him in a big way because people were just trying to get rid of him after a period of time. He let his ego get in the way a bit, and on the same token, he also pretended he had a lot more money than he actually did. He actually didn't have a lot of money at that point in time... like I said, he'd mortgaged his house three times so he was pretty well to the point of being broke. And he also wanted money at that point in time. He didn't want to give up all the interest in the band and he wanted to continue on, having some degree of control over it. He had Power of Attorney in his contracts to more or less do the kind of deal that he did with me, which is... What he did was assign a third of his managerial interest in Mötley Crüe, which was... He owned 15% and he sold me 5% of his 15. It wasn't an extra 5% out of the band's pocket. It was out of his.

CC: Out of his share.

BL: Yeah. It was one third of his actual share with the band. I think the band never really realised that. When things fell apart they thought that Allan was, like, ripping them off for another 5% for me but that wasn't the case at all. They just needed some kind of an excuse to get rid of him at the time.

CC: Right.

BL: But again, I'm getting ahead of myself.

CC: Well, we're only looking... sort of November '82.

BL: This is all October and November '82 that this is coming down. So Allan sold me 5% of HIS interest for $25,000 which was pretty close to my parents' life savings. My Dad was a school professor... Retired school professor. My Mom was a housewife. So it's not like they had tons and tons of money, but they believed, like I believed, that this was my opportunity to get out of Michigan and actually get involved in the music industry in a big way.

CC: So you saw it as quite a big break for yourself.

BL: It was a break. It was a chance for me to get into the real mainstream, big league music industry, because you can't do it when you're living in a little town in Michigan.

CC: That's right.

BL: It doesn't quite work that way. Actually, I lived in Davison Michigan, which is like ten miles outside of Flint which makes it an even smaller town. Anyway, at that point in time I didn't have an Attorney in Michigan. I had just a standard Attorney review the contracts, not an Entertainment Attorney, so of course he didn't know what those contracts really meant. He just basically look at them and said, "Well everything looks in order you know." So anyway, Allan sold me the interest and I moved out practically immediately. I packed up everything that I had and drove out. It was actually in November of '82.

CC: Yep.

BL: I drove out and I met with Allan up in Grass Valley... stayed a couple of days with him in his house. Grass Valley is kind of like, to the North East... about an hour or two north east of San Francisco.

CC: Right. Allan's with his wife Barbara at the time?

BL: With his wife Barbara at the time, and he had two daughters.

CC: Right.

BL: And I stayed up there with him for a few days and he kind of brought me up to speed with everything that was going on. And then we both came down to L.A. He came down with me to L.A. and that's where I was going to meet the band and meet all the record company people and stuff like that. I came down, got situated and found myself an apartment right away in the Valley, and we just started going around meeting people, having lunches. It was pretty wild, having lunch with major agents from William Morris Agency and various other places... record company execs... like at the Beverly Hills Polo Lounge and other really extravagant places and here I am, basically I was I think 22 or 21 at the time.

CC: Wow.

BL: Yeah, I'm pretty sure I'm like 21. I was really young in those days. Green as hell. I didn't know what the hell I was doing there. I was this newbie, fresh out of College, just thrown in to the big, very elaborate world that I knew nothing about whatsoever, but I'm having lunches at the Polo Lounge with these real big heavy weight players and being driven around in limousines... And I of course, adapted to the game real quickly. I learned real quick to have that poker face, which is where you sit there and look like you're bored silly, 'cause everyone else around you looks like they're bored silly and inside I'm going like, "Oh my God, that's Tom Selleck sitting at the next table. Oh God!" You know, all these TV stars and stuff, and inside I'm like doing cartwheels not believing that I'm at this place or doing this.

CC: Wow.

BL: On the outside I'm looking like I'm bored silly. You know, it's pretty funny. It was pretty funny at the time actually, 'cause I didn't know. I had no idea what was actually going on and I actually knew nothing about all the real true behind the scenes stuff that was going on. There was lots of warning signals that there was trouble in paradise, so to speak, but I didn't know. I was too young and I didn't have the hindsight or the... you know, enough knowledge of the business of people to really be able to pick up on any of the clues myself while I was there.

CC: Yeah.

BL: I met Mötley for the very first time at S.I.R. studios. He [Allan] took me over there, and I should have known something was funky to begin with. The way that very first day he took me there to introduce me to them in the studio, because the second we got there he makes a beeline for the bathroom and doesn't introduce me, and I'm just kind of like standing there wondering, "OK, what's gonna happen." Then Nikki came in with… and at the time he was dating, Lita Ford. Lita Ford was with him, and I just decided OK... What the heck. I'm just gonna go up and introduce myself. So I did. Of course I didn't think enough to introduce myself as one of their new managers. I just introduced myself as myself, Bill Larson, you know, and they were kind of like, were looking at me like, "Ahhh Well. OK. Well, who are you?" They're thinking, "Well, who is this guy? I don't know who this guy is." Then Allan comes out of the bathroom after I'd already introduced myself to everybody, and he doesn't make any mention of the fact that I was his new partner, in any way, shape or form.

CC: Ahhh.

BL: So you know, like I said, there's a lot of little tell tale warning signs that I look back now and they were like flashing neon signs all over the place.

CC: That's right, but that only comes with experience and hindsight.

BL: Exactly! I view the $25,000 as my tuition into the music industry. It's like, welcome to the industry, pay the price and bang, you're doomed. That bad! Anyway, as time progressed we went to a couple of shows. The last one of which I went to was at the Pasadena Civic Center where Vince Neil did the chain sawing of the mannequin.

CC: Right, yep.

BL: You heard the story about... he got a mannequin. He did the mannequin up to look like Wendy O'Williams from The Plasmatics and he took a chainsaw and basically chain sawed the head off during the show and that entire little stint cost about two grand.

CC: Wow.

BL: The props for that night alone ended up costing two grand 'cause they had to go buy the chainsaw, the mannequin, and all the other pyro and goodies for that one show, and I knew for a fact 'cause I saw the paper work and the accounting later on. Out of the $25,000 that I had sent to Allan, about half of the money went to Allan himself personally. He ended up paying some of his own bills and various other things... and the other half went to Mötley Crüe for various things, including all the expenses of that night's show, which was about $2,000 and there was other expenses on top of that too. So half of my money actually went to Mötley Crüe, and the other half went into Allan's pocket personally, because he was broke, you know.

CC: Sure.

BL: At that point in time, he was living a smoke and mirrors type of existence trying to pretend like he still had lots of money and he was doing really well, when he was actually flat f*cking broke.

CC: Yeah, yep.

BL: And just living on a shoestring. So anyway, things progressed and I met some more people. I met a weaselly little guy, who was the merchandise person for the band at the time. He was doing all the T-shirts and stuff, and he was the only person in L.A. that I actually kind of, became friends with. The guy turned out to be a complete sleazebag beyond all words. He was ripping off the band for money... he was just a snake in the grass beyond all belief. He got arrested and ended up spending time in jail for Statutory Rape of a teenage boy. You know, it's like YUK and I hung around with this creep. I was in a very bad place.

CC: Yeah right.

BL: You know I had no family. I had no friends. I knew absolutely no-one when I came to L.A. All my relatives were in either Flint or back in Michigan, or back in Sweden 'cause my Mom is Swedish.

CC: Right OK.

BL: I was completely thrown into this environment all by myself without anybody. No safety net whatsoever. As to what was going to happen... No friends or anybody I could actually talk or relate to in anyway, so I ended up spending time with this little sleazebag merchandiser. He was the only one. Obviously he was sleazy, so he latched on to me on a big level, being the new manager, and he didn't even realise I was Allan Coffman's new partner to any degree.

CC: Right OK.

BL: You see, like, nobody really knew. The Pasadena show was full of little tell tale sign there was trouble too. Allan was doing an awful lot of things wrong, but on the same token, he was doing a few things right. He firmly didn't want the band to have anything to do with drugs at the time. Unfortunately, the band really wanted to do drugs at the time.

CC: Yep. Yep.

BL: And you know, various record industry people were throwing cocaine up their noses at an incredible rate. Allan was like real vehemently against that and also at the time it was kind of like a transition in time between when they wanted a change of image so to speak. The band had always been kind of a fun and party band with a fun party, you know, image that wasn't too serious, almost a little cartoonish to a degree.

CC: Sure.

BL: And Nikki and the rest of the band decided that they... Mostly Nikki. From what I was told by Allan, Nikki ran the show all the time. Nikki IS Mötley Crüe for all intensive purposes so far as direction and anything else. Whatever Nikki said, is what 's gonna get done. And Nikki wanted to go into the Shout At The Devil type of routine at that time. That's the direction in which Nikki was focussing in on.

CC: Right.

BL: And Allan was vehemently against them changing that image... into changing that way 'cause a lot of fans at that time really liked the cute image, the fun image that Mötley had and they were getting letters saying please don't change in this direction. We don't want you to go in that way. So there was controversy there. From what I understood, the record company was also encouraging them behind Allan's back to go in that direction also.

CC: Ahhh OK.

BL: So at the Pasadena show, he almost.... Which is really funny. Here I am at that time, I had really super long hair. One side was a kind of bleached blonde streak which I had dyed blue in certain places. So I had this really long hair and he wanted me to show up in like a 3 piece suit and look real managerial which was ridiculous. It was utterly stupid of me to do that, but of course I did. I didn't want to rock any boats or anything. I didn't know anything about what was going on anyway... So anyway, I show up as his little sidekick and act. I think he wanted to present this image that here's this mysterious person out of the blue coming to his side. The band of course didn't know what was going on. I was walking around the theatre and I went up to the balcony area and I looked down on stage during sound check time and all four of the band members are standing there on stage, and I could tell without hearing them that they were talking about me 'cause they kept looking up at me on the balcony and in hindsight again, I can just hear them going, "Who the f*ck is this guy? Where did he come from? What is his relationship with Allan?" They didn't know. They had no idea. Allan had just nonchalantly forgotten to tell them. They knew that he was negotiating with somebody about the management situation but at the time they didn't realise that Allan had actually gone ahead and done it.

CC: Right. OK.

BL: So... Here I was. Thrown into the really awkward position of them not knowing who I was and my not knowing anything about what the hell I was doing myself. And you know, it got weirder, and weirder and eventually I told the little sleaze bag merchandising guy the entire story. And he was like... His jaw dropped when he found out that I was actually legally one of Mötley Crüe's partners 'cause he had been asked by the band to find out who I was 'cause they didn't have a clue.

CC: Hahaha. OK.

BL: So I made copies of all my contracts because I really felt that the band should know all this stuff, you know. I wanted to come clean with the band 'cause I was there on behalf of the band in the first place and to realise that the band didn't even know that I was Allan's partner in that capacity... I thought that they should've known that. So I made copies of all my contracts and handed them to this sleaze ball and he took off one evening with them, and you know, to make sure that they knew he took all the contracts to Nikki and Mick Mars. Now, that was all it took! That was the proverbial straw that broke the camel's back as far as Mötley was concerned! I still think it went over their heads that I bought into Allan's percentage. I still think that they viewed it as another thing Allan was doing to rip them off because that was right at Christmas time. It was actually one week prior to Christmas 1982.

CC: '82.

BL: That scene I remember specifically. That's something you can't forget you know?

CC: Yeah sure.

BL: There I was. My first Christmas away from home and away from family and friends and everybody under the sun, and this diaster was about to happen.

CC: Wow.

BL: Yeah. I gave everything to the sleaze ball. He took it to the band and the very next day... Allan Coffman had got a phone call from the attorneys. I don't know whether it was Elektra's attorneys or Mötley Crüe's attorneys, telling him to Cease and Desist as their Manager. Basically he was fired right then and there.

CC: Right. OK.

BL: And when he got fired, I went out the door too because my agreements were with him.

CC: And not Mötley Crüe.

BL: Yep. Bingo!

CC: And that's it! Wow!

BL: But the funny thing is, he did have the Power of Attorney to go into that agreement, and there was a specific clause in the contract that stated he had the right if he needed to, to assign a portion of his interest to someone else to help with those managerial services. So everything that he did so far as I was concerned was legitimate.

CC: Sure.

BL: But unfortunately it was, considering I didn't have any agreements with Mötley themselves. It was kind of like... It was null and void.

CC: Which probably wouldn't have stuck anyway because they didn't even know who you were.

BL: Precisely. So a week prior to Christmas '82, the whole world fell out from underneath my feet so to speak.

CC: Sure.

BL: And they totally devastated Allan. Even though Allan had gotten a little egotistical and arrogant, and he had done some wrong things, he certainly didn't deserve to get completely blown apart like he did because he did put belief in the band. He did put up all of his money. I think it was like a total of $300,000 over the course of the couple of years he was involved with the band. Without all that money, they wouldn't have been able to do those kind of shows and create that kind of image that ended up getting them the deal they got.

CC: Yeah sure. The story normally is sort of read, where the Crüe can't figure out where all the money has gone that they've been earning from shows and gigs that have been sold out, and from a record company advance.

BL: I saw all those books by the way and for the $300,000 that Allan put into it, they obviously owed him all that money back. So yeah, from record sales and shows and stuff like that, a lot of that money had to go to Allan as kind of like re-imbursement, but he ended up putting the money back into other expenses.

CC: So they probably didn't realise that Allan was putting in so much money himself, and they figured that he was just pocketing it rather than a re-imbursement type situation.

BL: Precisely, and from what it seemed, they were doing so much drugs at that point in time already, that they weren't exactly clear minded. They just wanted to do drugs, get women and do whatever the hell they wanted pretty much. And considering the record company at that point in time wanted them to have different management anyway, it's not like the record company was really gonna side with Allan Coffman in any way shape or form either.

CC: Yeah, sure.

BL: So Allan kind of got railroaded to a great degree. He ended up losing his house; his wife left him; his daughters can't stand him. They hate him tremendously now, all these years later. A few days after the firing had happened, I called up and his wife Barbara answered the phone and she had just gotten home like an hour earlier and found Allan pacing around in the backyard with a gun in his hand.

CC: Oh wow.

BL: You know, he was that close to... like, killing himself.

CC: Yeah?

BL: So it devastated Allan completely 'cause he felt like he had developed, no matter what, this kind of family feeling between he and the band. So, you know, you get that kind of feeling sometimes between management and clients and stuff like that. This came as such a shock to him that they would do this to him. Now I know there's holes in the story that I don't fully know all the way around, and at this point in time I couldn't care less, but back then there was all these pieces of the puzzle I couldn't figure out and didn't know. But I persevered none the less.

CC: Yeah sure.

BL: I'm still around. I could've easily ended up... I was like clinically depressed for a couple of years after that had happened because during that summer, the next summer of '83, my Dad passed away. He had a heart attack and died, and I went back to the funeral and I found out he'd never had heart problems before, but he was completely and totally obsessed with worry over what was gonna happen to me. How I was gonna make a living. What was gonna happen to the $25,000 which was basically their life savings that was completely lost, you know. So he was completely devastated and ended up dying because of it.

CC: Oh gee.

BL: For quite a while I blamed myself and I blamed Mötley Crüe for that also. That was a real horror story in that little aspect of the story. It was pretty hard for me.

CC: And this would've been at the time too, when Mötley were actually still building momentum. You know, they would've just played the US Festival and had the Shout At The Devil release not long after that... September '83.

BL: It was when they were first starting to break open and I was a part of it before any of that really took place in a big way. But I guess I persevered. I ended up getting into radio promotion several years later.

CC: Still in L.A.? You didn't move back to Detroit after your father passed away?

BL: No. I didn't move back to Michigan 'cause there was really no future for me there, you know. I could go into concert production and stuff like that, but I felt like my place was out here in California.

CC: Right.

BL: And since my Dad had died, there was no real point in going back to Michigan and going BACK. Going back to Michigan would've been like taking several steps back rather than forward. But after a couple of years I made a grand discovery that record companies and management companies would actually pay people to talk to radio stations to get records played on radio stations.

CC: Right.

BL: I did that back when Judas Priest had Point Of Entry, back in 1981, you know. So it's like... Since I had a relationship through the years with all these radio station people, I just started making radio station calls on behalf of records and got 'em played on radio stations and that was right when the beginning of the metal surge first started out in the early '80's. I've been a record promoter now for 10 years. I have my own company, so I persevered pretty well. Over the past 5 years... I hooked up with Tracy Barnes who at the time was Program Director of ZROCK networks for ABC and he had just left ZROCK. He was initially intending on taking and selling his format to another satellite syndication network and I kind of like told him, "Hey. Why do that? Why sell out to Westwood One syndicators when you can... If you can possibly go out, put together a business plan, go find investors and become the next Westwood One."

CC: Sure.

BL: It was like, "Oh that's a good idea!" So we developed the business plan, and we were originally going to do a satellite broadcast company for hard rock, similar to the ZROCK thing, but then the Internet came along so Tracy decided we should take it to the Internet and that's where HardRadio exists today and I'm sure you're aware of what HardRadio is?

CC: Definitely.

BL: We finally found finance for it, and we've been on the air now for about a year and a half.

CC: Excellent. So you actually met Tracy through this other radio station and you decided not long after that you were going to do something there?

BL: Yeah. I used to call Tracy all the time, trying to get him to play records for clients I was representing, so I developed a relationship with him from that end of the table and it just worked out that him and I became partners on HardRadio.

CC: So you would've heard the Crüe's music and come across them over the years, sort of once we get into the couple of years after your father passed away. Like '85, right through Girls, Girls, Girls '87 tours, and the huge Dr. Feelgood in '89/'90.

BL: Yeah, I followed all that. I ended up filing a lawsuit against them obviously. It was an attempt. I had to try. That lasted for a few years. They ended up getting it thrown out of court on a technicality, but you know, that was almost to be expected in the first place.

CC: What sort of year is this we're talking about?

BL: Oh God, this went on... it was around the time of Dr. Feelgood. I'm not 100% sure.

CC: Yeah.

BL: I ended up filing a suit with an Attorney out of Boston and he went in and put an injunction on one of their shows. So the Federal Marshals came and seized all their funds from one of the shows they did in Boston, which pissed them off big time.

CC: Yeah sure.

BL: Didn't make 'em happy. It didn't make the managers happy or anything like that, so I'm sure they're not exactly too happy with my name at least. But the reason I did that entirely was... I would've settled entirely if they... If I had just of gotten my original $25,000 back. That's all I ever really wanted, you know. I didn't want millions of dollars or anything like that. I would've been more interested in... I came out 'cause I was a fan. I wanted to work with them primarily I mean, you know. I would've been glad to settle for at least my original money back; at least half of the original $25,000 that I knew physically went into the band and was used on behalf of Mötley Crüe.

CC: Right.

BL: And I would've settled for that, and a chance to work radio promotions for them. That's all I ever really wanted but it just didn't quite work out that way.

CC: It didn't happen.

BL: You know. Some things just aren't meant to be, but I think I mentioned before that I view it as $25,000 tuition and entry fee to get into the business.

CC: Yeah. Yep. Well there's a lot of experiences along the way.

BL: I learned all about contracts real quickly after that - that's for sure!

CC: I bet you did.

BL: Spent a lot of time reading management contracts and other contracts and learning all about the legalities of what it was that actually ended up happening. But you know, Allan made a lot of mistakes, but the band wasn't very righteous by any stretch of the imagination either.

CC: Sure. Can you give me a summary of the band members?

BL: At the time I saw Nikki as a real asshole and still to this day as kind of an asshole. Since I'm not part of the band's "inner circle" all I can do is state an opinion based on a variety of sources and from the stories I've been told, he's the one who was responsible for firing Vince Neil and kicking him out of the band. Anything and everything that ever has happened with the band, Nikki has been responsible for. Mick Mars is real... pretty mellow. He just goes with the flow and does whatever he wants to. Tommy... my opinion of Tommy is that he's just a rock'n'roll kid who wants to play drums, party, and f*ck every woman that is gorgeous. Whether he's married or not is beside the point but I'm sure you're aware of that too.

CC: And Vince?

BL: Vince himself is just also a rock'n'roll kid. Nikki, I think I would have problems with. Everything I've heard makes me think Nikki's just a f*ckin' jerk. He's proven that the way he's interacted with other people and some of the things he's done. His kicking out Vince out of the band and the way he did that was really bogus. Not having any compassion for all the money Allan Coffman did put into it. Not really caring about anything other than himself. You know, he got married to Brandi Brandt and now he's no longer with her and they've got kids together and everything else, and now he's hooked up with another Baywatch babe. The real truth however, is that I don't really know them personally, and I'm just stating a biased opinion. I wouldn't be surprised if by some chance I were to actually meet Nikki and spend some time with him, that he may turn out to be a great guy. I just don't know.

CC: Right OK. That's interesting.

BL: I'm curious to see how far this new album goes.

CC: You've heard it all?

BL: Actually, I was at something called the Concrete F-Fest. Concrete Marketing always puts on this convention every year, and they just had it here. I think it was last month.... No wait a minute it was this month.

CC: It was a couple of weeks ago.

BL: Yeah. It was like 3 weeks ago. They just had that, and they had a Listening Party for everybody of the brand new Generation Swine, and Mötley Crüe was there. All the members were there. All four of them were at this Listening Party where they played the entire album and they came out and they signed autographs, got down in the crowd, you know, and everybody was there trying to hand them their old records and other stuff for them to sign and shit like that. I was just there 'cause I wanted to hear it more or less, not out of rank curiosity, 'cause it was part of the Convention anyway. And by chance, not by my trying by any chance of the imagination, I ended up like being five feet away from Nikki. Nikki was like standing there completely swamped five feet away from me signing autographs. It was a very weird feeling. It's like, this is the closest I've been to them since '82.

CC: Wow. And did he recognise you? Probably not.

BL: I could've walked right up to him and said, "Hello. Hi Nikki. How ya doing?" He probably would've gone, "Oh, Hi dude."

CC: Yeah sure.

BL: Not that I would ever walk up to him and state who I was by any stretch of the imagination. And even if I were to meet him on that level, I don't think he'd really care at this point in time.

CC: Yeah sure.

BL: So much time has gone by and it's like... It's such water under the bridge from such a long time ago, and the fact that I sued them; I don't think he gives a shit. They get sued so many times by so many people it's sick. When you're big stars like that, you get sued all the time.

CC: That's right. People always want to try cut down the tall poppies and try and ride... and make a buck off them. Bit different in your story where you were trying to get BACK what you'd already put in.

BL: Yeh, what I originally put into it. There's, like I said, sides to every story. All I ever wanted to do was actually work for them and at least get my money back after everything happened. But it just wasn't meant to be. You learn from it and you move on. You can't live in the past. I haven't thought about any of this Mötley stuff for so long, it's not even funny. I tried.

CC: I'd like to include an old picture on Chronological Crue.

BL: I have no pictures of me with Mötley Crüe at all. None. None. None. I was legally their manager for one month. Hahaha.

CC: Hahaha.

BL: You know, it's not like we were hanging out and doing stuff. There's sideline stories that I always heard and saw... that Allan had a fun time trying to keep Tommy out of jail 'cause Tommy was always assaulting his girlfriends; beating the crap out of his girlfriends. That was an issue. I myself personally saw Nikki go off on a total innocent stranger out in front of the Troubadour one night. I was out the front of the Troubadour and Nikki with his best friend Blackie Lawless from...

CC: Yeah W.A.S.P.

BL: And they were both out the front of the Troubadour and there's this restaurant right next door to the Troubadour, kind of like an Italian Restaurant. I'm standing like a few feet away from Nikki and Blackie and this... just a regular guy. There was a party of like four other people that came out of the restaurant and apparently one of the guys in that group said something like, you know, "look at the freak show" or something like that 'cause Nikki looked pretty outrageous back then.

CC: Sure.

BL: He said something about Nikki that Nikki overheard him say to his friends and Nikki just flew on the guy. He started pounding the poor guy like crazy. Blackie had to like physically drag Nikki off him and quickly... A couple of Nikki's road crew guys and Blackie quickly dragged him away and rushed him across the street before the Police could be called and have Nikki arrested.

CC: Sure.

BL: So you know, there were violent outbursts all the time. Plus the drugs and everything that was going on at the time. I don't think Nikki would've remembered it the very next day.

CC: Late in '82 they did a photo shoot for a porn magazine OUI...

BL: Yeah OUI. There was a picture of him... that was Allan Coffman in that.

CC: What does Allan look like?

BL: He was a straight looking guy, wearing a regular white shirt.

CC: So he's, what? A short guy? Tall? Long hair?

BL: He was pretty tall. Had short hair. In the picture that was in the back of the magazine, he's kind of like standing in the back, looking real straight and bored and uneventful. Whereas the rest of the band is there and a couple of the road crew people are in the picture too and they're acting silly. The road crew guys were like acting crazy, you know, with the naked chicks that were in the picture. Allan's kind of like, just standing there, looking like a manager!

CC: So you were around at that time?

BL: Ah ha. Sure was. I never had any pictures taken with the band cause' I hadn't moved to L.A. yet. I wasn't involved with them long enough. Hahaha. It's not like I could walk up to them now and go, "Oh by the way, I'd like a picture with you guys."

CC: Sure.

BL: I don't think so. The only thing I ever got out of it... Elektra Records didn't want me to sue THEM. They gave me a platinum record for Shout At The Devil. It's like, "Here! We'll give you a platinum record if you promise not to sue us." Hahaha.

CC: So you still have that today?

BL: Oh yeah. I got it hanging on my wall here in the office.

CC: Excellent!

BL: Gotta have that!

CC: What's Allan Coffman up to these days?

BL: A few years back, right prior to my starting the lawsuit against the Crüe, I got a hold of... I tracked him down. His ex-wife, the original Barbara... And she gave me his new phone number and everything like that. She was completely disgusted with him obviously. Allan and Barbara had quite a few old antiques and stuff like that. So they not only lost the house, they lost all their possessions 'cause of the Mötley Crüe thing. So they got hurt really bad. His two daughters won't even speak to Allan. They won't have anything to do with him. They think that he's a complete fruitcake. And I ended up calling him and talking to him a little bit myself and he has completely gone off the deep end. He's... well, I don't know if you call it good or bad, it all depends on your point of view. He's become a Born Again Christian.

CC: God. OK.

BL: Which is, in my book, sometimes the same thing as becoming a lunatic. You know, he prays to Jesus and turned his whole life over to Jesus. He's back to doing General Contracting. He obviously had to file Bankruptcy 'cause he lost everything but he's got back into General Contracting work. He's doing construction again. He's remarried and his new wife's name is also Barbara, which I thought was kind of interesting. He goes from one Barbara to another Barbara. He sold all his old Mötley Crüe stuff, memorabilia... stuff like that, because he didn't want to have that 'Satanic' influence in his life, or in his house any longer.

CC: Wow!

BL: And you know, he said that he prays everyday for their souls. That they will come to see the light of their evil ways. He said he would pray for me that I would survive here in Los Angeles and not be caught up with the evil of the music industry. So basically, Allan Coffman has become a nutcase.

CC: Hahaha.

BL: He got destroyed. You know, Mötley destroyed him. Sometimes things like that will cause people to go to one extreme or another. They get into alcohol, or go into other kinds of psychosis's, or they become Born Again Christians.

CC: Which can be another kind of drug.

BL: Just as bad. It is. God can be viewed as a drug too for some people. They get so slaughtered they need something to hold on to. They latch on to that.

CC: That's right.

BL: That's where Allan Coffman is nowadays.

CC: Yeah, God. That's amazing. Amazing. So he's not in L.A?

BL: No he's back up in Grass Valley. Remarried and living the Christian lifestyle, and I have no reason to think he would've changed since then. At last sighting, that's where Allan Coffman was at!

CC: All right Bill. I think we'll call it a day at that. That's excellent. Thanks for your time.

BL: We've covered quite a bit of ground I think. I can't think of anything else there. It was just an interesting experience, that it worked out the way it did. I think I pretty well covered the entire history of my involvement with the band.

CC: Excellent.

BL: And you know what, you're the only one that has this history. There isn't anybody else I've given interviews on this regard. It's a story I haven't told to very many people, and after this long period of time, I don't think anyone else will ever get it. So you've kind of an exclusive there for whatever it's worth.

CC: Yeah. People are going to spin out at the things you've had to say.

BL: Sure. It's all just another perspective. Some more little pieces of the puzzle. I view Mötley Crüe the same as I would any other band nowadays. I don't hold any emotional charge to them whatsoever. Enough time has gone by and I'm completely OK with everything that did happen. There's no reason to carry any grudges or anything. I'm not bothered by it anymore.

CC: Thank YOU!

William H. Larson
12/9/60 - 9/12/04

Mötley Crüe original co-manager.
Owner Blue Viking Promotions, an independent record promotion company.
Co-founder of

Bill died of cancer in Van Nuys, California.


Want more ?? Click to see the complete listing of Chronological Crue interviews.

Choose the year:
The Eighties: pre-'81 / '81 / '82 / '83 / '84 / 85 / '86 / '87 / '88 / '89
The Nineties: '90 / '91 / '92 / '93 / '94 / '95 / '96 / '97 / '98 / '99
The Naughties: '00 / '01 / '02 / '03 / '04 / '05 / '06 / '07 / '08 / '09
The Onesies: '10 / '11 / '12 / '13 /
'14 / '15 /
'16 / '17 / Home / Site Map

(c) 2021-1995 Paul Miles. All rights reserved.
Chronological Crue is the intellectual property of Paul Miles. No part of this site may be used or reproduced in any part whatsoever without written authorisation, except in the context of a review with an appropriate credit reference.