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I had spent some time there already — we had played Convention Hall on a bill with Ian Hunter. So we just started playing the Fast Lane because that’s where they would book bands that had albums out. The Pony was still mostly local guys. But we became really good friends with the people who owned the Fast Lane, so it was just a win-win for us. Asbury was a town that historically speaking was really welcoming to out-of-town artists who made it a second home.

Garland Jeffreys, Norman Nardini, John Cafferty: all of you became regulars. Why do you think that was? Well, Asbury, there’s a rich musical history there. They had a lot of roots-driven artists, that was the popular thing there — you know, nothing New Wave — so there was a connection to our music, and it just seemed very accepting. It just seemed like a natural fit. I’m sure if you talked to those other guys, they’d say the same thing.

Plus it was just a great place to play — there’s no ocean in Pittsburgh! And the Iron City Houserockers, when we first started playing, we were more bluesy: Chicago blues, Muddy Waters and all that stuff. Geils and the Stones, and of course Bruce and Southside. So one of the great thrills about playing Asbury was getting to meet a lot of folks from my record collection! Southside, John Cafferty, Garland, Bruce, Steven, the horns — you know, the guys from the Jukes. I first saw you at the old Decade, in 1986 or so, when John Eddie was promoting his first record. That would have been a whole different band than the Iron City Houserockers.

For a couple years there in the ’80s, I struggled to get a group of musicians together that had that same magic that the Iron City Houserockers did. I’ve finally achieved it — I think that the band I’m in now is better than any of those bands. It’s been almost 30 years now since that 1995-96 tour supporting American Babylon, and Cleveland International released an expanded 25th anniversary edition of the album last year. Does anything stand out for you as a highlight from that era? I mean, nothing but fond memories of it.

Bruce and I, we’re friends, and I think he would say the same thing — we had a really good time making that record. And then him coming out and playing with us was icing on the cake. That was a time when I had been really contemplating my career decisions, and my wife said, “Why don’t you call Bruce? You guys have been pretty good friends over the years, maybe he’ll play on a song. And it went from just a single phone call, and Jon Landau’s office and maybe doing one song, to us establishing a rapport and a partnership that we still have to this day.