Last Days Here, directed by Don Argott and Demian Fenton, opens with a frazzled, fifty-four-year-old Bobby Liebling on the sofa, living in his parent’s sub-basement, tugging on bandages that wrap open sores, and reflecting on the only things he knows how to do: rock-n-roll and drugs. Liebling’s band, Pentagram, had been in the early seventies an even grittier, American answer to the likes of Black Sabbath, but botched auditions, ever-evolving line-ups, and Liebling’s drug-abuse had derailed Pentagram’s career. Enter fan Sean “Pellet” Pelletier to nudge Liebling toward sobriety and back onto stage for a Pentagram revival. There are moves, a girlfriend, prison, Fig Newtons, deals, paisley shirts, and marvels beyond the fact that Liebling has made it to fifty-four. But mostly there’s the music. I recently asked Pelletier about Last Days Here, Liebling, and life after the documentary’s release.