1
00:00:00,200 --> 00:00:02,160
Speaker 1: It's the dv E Morning Show, Randy Bauman.

2
00:00:02,279 --> 00:00:04,920
Speaker 2: And you know, every so often we get lucky enough

3
00:00:04,960 --> 00:00:06,960
Speaker 2: to be graced by Rock and Roll Royalty.

4
00:00:07,080 --> 00:00:09,960
Speaker 1: Our next guest has worked with try to catch.

5
00:00:09,800 --> 00:00:13,119
Speaker 2: Up with me here the Stones, Bob Dylan, Brian Wilson,

6
00:00:13,119 --> 00:00:17,639
Speaker 2: Aaron Neville, Elton, John Chris Christofferson, Waylon Jennings, David Crosby,

7
00:00:17,920 --> 00:00:21,239
Speaker 2: Greg Allman, Willie Nelson, Jackson Brown, Bonnie Rate and most

8
00:00:21,360 --> 00:00:25,239
Speaker 2: notably recently, musical director of the Wolf Brothers. In just

9
00:00:25,280 --> 00:00:27,720
Speaker 2: about every all star tribute show I saw at the

10
00:00:27,760 --> 00:00:30,800
Speaker 2: Sanger Theater over the last fifteen years. A jazz fest

11
00:00:30,840 --> 00:00:33,800
Speaker 2: down in New Orleans. It's the one and only Don Wahse.

12
00:00:33,840 --> 00:00:37,360
Speaker 2: Ladies and gentlemen, dog, good morning man, how are you hey, Randy.

13
00:00:37,400 --> 00:00:38,400
Speaker 3: Good to speak with you, man.

14
00:00:38,560 --> 00:00:39,160
Speaker 1: Yeah.

15
00:00:39,320 --> 00:00:42,000
Speaker 2: Likewise, a real honor, and I'm very excited for tonight's

16
00:00:42,000 --> 00:00:46,040
Speaker 2: show with the Pan Detroit Ensemble at the Thunderbird, celebrating

17
00:00:46,560 --> 00:00:49,960
Speaker 2: your record groove in the face of adversity, also delving

18
00:00:49,960 --> 00:00:51,080
Speaker 2: into a little blues for all.

19
00:00:51,120 --> 00:00:52,360
Speaker 1: I will get to that in a second.

20
00:00:53,120 --> 00:00:56,200
Speaker 2: I think so interesting how you came at the Cannon

21
00:00:56,280 --> 00:01:00,200
Speaker 2: of the Dead kind of from the outside in and

22
00:01:00,200 --> 00:01:04,399
Speaker 2: with Bobby. Yeah, Bobby's passing this week. It's you know,

23
00:01:05,000 --> 00:01:08,320
Speaker 2: for me, The Wolf Brothers has been my soundtrack this week.

24
00:01:08,560 --> 00:01:12,200
Speaker 2: This has been the way I have most appreciated Bob.

25
00:01:12,360 --> 00:01:14,800
Speaker 2: But what did you discover about Bob that made him

26
00:01:14,920 --> 00:01:17,640
Speaker 2: unique coming at the music the way that you did.

27
00:01:18,800 --> 00:01:19,959
Speaker 3: Well, I'll tell you a story.

28
00:01:20,000 --> 00:01:21,600
Speaker 1: Man.

29
00:01:22,319 --> 00:01:25,240
Speaker 3: When he called me, I've known him since the nineties,

30
00:01:25,400 --> 00:01:29,119
Speaker 3: but we played together a few times. But he called

31
00:01:29,160 --> 00:01:31,920
Speaker 3: me in twenty eighteen and he said, you know, I

32
00:01:31,959 --> 00:01:34,520
Speaker 3: had a dream last night that Rob Wasserman, who was

33
00:01:34,560 --> 00:01:37,000
Speaker 3: the bass player in his group Rat Dog, who passed

34
00:01:37,000 --> 00:01:40,360
Speaker 3: away in twenty sixteen and was the guy who introduced us.

35
00:01:40,720 --> 00:01:44,679
Speaker 3: He in the stream. Rob came to him and said

36
00:01:45,080 --> 00:01:47,440
Speaker 3: the reason he introduced us in the nineties was that

37
00:01:47,520 --> 00:01:51,120
Speaker 3: I was supposed to take his place when Rob was gone.

38
00:01:51,400 --> 00:01:57,360
Speaker 3: And so Bobby said, so I have in the dream

39
00:01:58,040 --> 00:02:00,320
Speaker 3: the name the Wolf Brothers came to me for you,

40
00:02:00,520 --> 00:02:03,120
Speaker 3: me and Jay Lane. You want to start a band.

41
00:02:04,360 --> 00:02:07,200
Speaker 3: I was like, yeah, of course, man, you know, I said,

42
00:02:07,200 --> 00:02:09,120
Speaker 3: but do me a favor. If we're going to get

43
00:02:09,160 --> 00:02:12,239
Speaker 3: together and play, tell me, you know, single out some songs.

44
00:02:12,240 --> 00:02:15,520
Speaker 3: Because I'd gone up with John Mayer too when he

45
00:02:15,680 --> 00:02:18,040
Speaker 3: went up to play for Dead and Company and they

46
00:02:18,080 --> 00:02:20,640
Speaker 3: had to choose from a lot of material, right, I said,

47
00:02:20,680 --> 00:02:23,040
Speaker 3: just just pick six and then we can see what

48
00:02:23,480 --> 00:02:26,120
Speaker 3: it's like. So he gave me a list of six songs,

49
00:02:26,680 --> 00:02:29,520
Speaker 3: and I locked myself in the Bowery Hotel in New

50
00:02:29,600 --> 00:02:33,280
Speaker 3: York for ten days and rented a string bass, and

51
00:02:33,280 --> 00:02:36,560
Speaker 3: I did nothing to practice those songs. I flew to

52
00:02:36,600 --> 00:02:40,840
Speaker 3: San Francisco. We started playing, and of course he didn't

53
00:02:40,840 --> 00:02:45,320
Speaker 3: call any of the six songs, of course not. We

54
00:02:45,400 --> 00:02:47,720
Speaker 3: just started. He just started playing an a minor chord

55
00:02:47,760 --> 00:02:50,480
Speaker 3: and we vamped on it for about ten or fifteen minutes,

56
00:02:50,800 --> 00:02:53,799
Speaker 3: and he said, okay, this feels great, and he got

57
00:02:53,800 --> 00:02:56,320
Speaker 3: on the phone, called the manager on the cell phone

58
00:02:56,800 --> 00:03:00,919
Speaker 3: and said book a tour, and we were off cleracis Man.

59
00:03:01,240 --> 00:03:03,440
Speaker 3: And what it taught me was that this is a

60
00:03:03,480 --> 00:03:08,079
Speaker 3: guy who was absolutely fearless about believe it in a dream.

61
00:03:09,000 --> 00:03:14,880
Speaker 3: Yeah and yeah, literally a dream and literally a dream.

62
00:03:15,240 --> 00:03:18,480
Speaker 3: And and we toured right up until last show we

63
00:03:18,480 --> 00:03:20,840
Speaker 3: played was at Royal Albert Hall last summer.

64
00:03:21,280 --> 00:03:23,239
Speaker 1: I mean, that's just amazing, you know.

65
00:03:23,280 --> 00:03:25,400
Speaker 2: When I listened to the Wolf Brothers and again, like

66
00:03:25,440 --> 00:03:28,280
Speaker 2: I said, that's been my soundtrack since Saturday Night. The

67
00:03:28,440 --> 00:03:31,400
Speaker 2: arrangements of the songs of the Dead that you guys do,

68
00:03:31,480 --> 00:03:35,160
Speaker 2: the net effect of there not being a like lead

69
00:03:35,200 --> 00:03:38,119
Speaker 2: guitarist in the traditional sense, seems to be that Bobby's

70
00:03:38,200 --> 00:03:40,800
Speaker 2: rhythm was pushed to the forefront, which of course we

71
00:03:40,840 --> 00:03:44,520
Speaker 2: all know that was his, that his signature was his

72
00:03:44,840 --> 00:03:48,600
Speaker 2: very unique approached rhythm guitar. Was that the intent or

73
00:03:48,720 --> 00:03:51,360
Speaker 2: was it just because of the simplicity of the original

74
00:03:51,360 --> 00:03:53,520
Speaker 2: lineup that you talked about with he and Jay Lane

75
00:03:53,520 --> 00:03:55,640
Speaker 2: and you just a three piece that that is just

76
00:03:55,680 --> 00:03:56,520
Speaker 2: how it evolved.

77
00:03:57,600 --> 00:04:03,320
Speaker 3: The intent of the Wolf Brothers was to allow Bobby

78
00:04:03,560 --> 00:04:08,320
Speaker 3: to sing these songs and inhabit the characters in each

79
00:04:08,360 --> 00:04:13,600
Speaker 3: song without everybody getting in his way. So instead of

80
00:04:13,680 --> 00:04:17,440
Speaker 3: thinking about two guitars weaving together, my job was to

81
00:04:17,600 --> 00:04:21,000
Speaker 3: weave with his vocal and kind of answer his vocal

82
00:04:21,240 --> 00:04:23,440
Speaker 3: and stay out of the way so that he could

83
00:04:23,440 --> 00:04:26,480
Speaker 3: tell the story on encumbered. That was really what was

84
00:04:26,520 --> 00:04:29,480
Speaker 3: at the core of it. But what you pointed out

85
00:04:29,920 --> 00:04:35,520
Speaker 3: is quite observant and right on the money, man, Because

86
00:04:35,560 --> 00:04:37,800
Speaker 3: of the stripped down nature of it, you got to

87
00:04:37,880 --> 00:04:42,960
Speaker 3: really hear what Bobby was doing. And it's he was

88
00:04:43,000 --> 00:04:47,360
Speaker 3: one of the wildest guitar players I ever encountered, always

89
00:04:47,400 --> 00:04:51,159
Speaker 3: full of surprises. He's in one second he could be

90
00:04:51,240 --> 00:04:55,280
Speaker 3: as raw as John Lee Hooker, but then in the

91
00:04:55,320 --> 00:04:58,240
Speaker 3: next couple of buyers he'd do something that only Segovia

92
00:04:58,440 --> 00:04:59,200
Speaker 3: would pull off.

93
00:05:01,600 --> 00:05:04,800
Speaker 2: See that's what always fascinated me about with the Wolf Brothers,

94
00:05:04,800 --> 00:05:08,040
Speaker 2: because the bigger the ensemble became, the more that his

95
00:05:08,240 --> 00:05:12,480
Speaker 2: high wire act had a trickle down effect. So was

96
00:05:12,800 --> 00:05:17,120
Speaker 2: that difficult to react to Bob's given interpretation each night,

97
00:05:17,440 --> 00:05:19,640
Speaker 2: because you guys weren't just setting up sheet music and

98
00:05:19,680 --> 00:05:21,320
Speaker 2: firing off the same stuff.

99
00:05:21,320 --> 00:05:22,599
Speaker 1: I'm sure there were sections where.

100
00:05:22,560 --> 00:05:24,440
Speaker 2: You know, I know you guys did Terrapin and did

101
00:05:24,680 --> 00:05:27,240
Speaker 2: the Lady Fan and you know every part of it.

102
00:05:27,320 --> 00:05:28,920
Speaker 1: But that had to.

103
00:05:28,880 --> 00:05:33,039
Speaker 2: Be a special, unique challenge for you guys with that

104
00:05:33,120 --> 00:05:36,480
Speaker 2: big of an ensemble to follow his whim each night.

105
00:05:37,640 --> 00:05:42,080
Speaker 3: Well, I wouldn't send it as a challenge, man. That

106
00:05:42,279 --> 00:05:44,360
Speaker 3: was the fun of it, man, that was the adventure,

107
00:05:44,600 --> 00:05:47,400
Speaker 3: you know, Bobby said, Man, we got to keep the

108
00:05:47,440 --> 00:05:50,800
Speaker 3: sport in this thing and the beauty of it, the

109
00:05:57,880 --> 00:06:02,320
Speaker 3: approaching it as a new adventure with the beginner's mind.

110
00:06:02,440 --> 00:06:06,080
Speaker 3: Every night was the only way you could play those

111
00:06:06,120 --> 00:06:09,080
Speaker 3: songs for sixty years and still be fresh with it.

112
00:06:09,520 --> 00:06:13,160
Speaker 3: But each each night was something new. In fact, if

113
00:06:13,200 --> 00:06:16,800
Speaker 3: there were any rules in the band, it was don't

114
00:06:16,800 --> 00:06:19,039
Speaker 3: play whatever you played last night, because no one else

115
00:06:19,120 --> 00:06:21,960
Speaker 3: is going to be there, you know, start fresh and listen.

116
00:06:22,200 --> 00:06:25,960
Speaker 3: And you know you were at the shows. If you

117
00:06:26,680 --> 00:06:28,760
Speaker 3: at the beginning of the song, maybe we would just

118
00:06:28,839 --> 00:06:33,320
Speaker 3: vamp on one chord for thirty seconds, maybe for a minute,

119
00:06:33,560 --> 00:06:37,080
Speaker 3: until we found the groove of the night that yeah,

120
00:06:37,120 --> 00:06:40,120
Speaker 3: felt good, and then we'd launch into it and anything

121
00:06:40,160 --> 00:06:43,080
Speaker 3: could happen at any point. You know that as written

122
00:06:43,120 --> 00:06:46,479
Speaker 3: there might be four bars between the first chorus and

123
00:06:46,520 --> 00:06:49,680
Speaker 3: the second verse, but if it was feeling good, that

124
00:06:49,720 --> 00:06:51,120
Speaker 3: could turn into twenty minutes.

125
00:06:51,640 --> 00:06:53,120
Speaker 1: Yeah, was it true?

126
00:06:54,160 --> 00:06:57,800
Speaker 2: Were you originally thought to be like maybe you would

127
00:06:57,839 --> 00:07:00,320
Speaker 2: be the Dead and Company bass player.

128
00:07:00,440 --> 00:07:03,360
Speaker 3: Well, in my wildest dreams, it was. You know, I

129
00:07:03,680 --> 00:07:09,200
Speaker 3: introduced John to Bobby and Mickey in my office and uh,

130
00:07:09,480 --> 00:07:13,360
Speaker 3: and time was hatched to go up and play some music. Now,

131
00:07:13,560 --> 00:07:16,040
Speaker 3: Mike Gordon from Fish was there and he was the

132
00:07:16,040 --> 00:07:20,400
Speaker 3: bass player. But h but one day there was no

133
00:07:20,480 --> 00:07:26,120
Speaker 3: bass player, so I played and you know, John to

134
00:07:26,320 --> 00:07:29,400
Speaker 3: his credit. Man, when he knew that there was going

135
00:07:29,480 --> 00:07:35,640
Speaker 3: to be a you know, a session that they were

136
00:07:35,680 --> 00:07:38,440
Speaker 3: going to play together three months down the line, he

137
00:07:38,600 --> 00:07:41,120
Speaker 3: stopped the record he was making and he went home,

138
00:07:41,560 --> 00:07:45,280
Speaker 3: and he did nothing but practice dead songs and really

139
00:07:45,600 --> 00:07:49,680
Speaker 3: get inside of them and internalize the music. So when

140
00:07:49,720 --> 00:07:52,640
Speaker 3: he showed up there, he was ready. And I didn't

141
00:07:52,640 --> 00:07:57,320
Speaker 3: do that, and I made, uh I made Bobby and

142
00:07:57,400 --> 00:08:01,240
Speaker 3: Mickey and Billy sound like a band had grateful dead

143
00:08:01,240 --> 00:08:02,000
Speaker 3: cover band, but.

144
00:08:03,840 --> 00:08:04,920
Speaker 1: I doubt that.

145
00:08:05,480 --> 00:08:09,560
Speaker 3: Yeah, well, I dragged it down. But when he called

146
00:08:09,640 --> 00:08:12,440
Speaker 3: me for Wolf Brothers, I learned lesson that the John

147
00:08:12,640 --> 00:08:16,200
Speaker 3: showed me and uh I checked into that hotel and

148
00:08:16,360 --> 00:08:17,560
Speaker 3: wood shed at that stuff.

149
00:08:17,920 --> 00:08:21,120
Speaker 2: Yeah, uh well, I mean the Wolf Brothers was a

150
00:08:21,160 --> 00:08:24,320
Speaker 2: really special chapter I think in Bob's career. And thanks

151
00:08:24,320 --> 00:08:26,120
Speaker 2: for all you did, for for all the people who

152
00:08:26,120 --> 00:08:29,280
Speaker 2: appreciate that music like I do, because it really gave

153
00:08:29,360 --> 00:08:32,280
Speaker 2: us a new window to a lot of what made

154
00:08:32,320 --> 00:08:34,240
Speaker 2: Bobby special, you know, because I think he had this

155
00:08:34,320 --> 00:08:37,320
Speaker 2: little brother syndrome for so long, and then he had

156
00:08:37,360 --> 00:08:40,400
Speaker 2: he had to carry the torch after Jerry died, and

157
00:08:40,440 --> 00:08:42,840
Speaker 2: he's it seems like he's the one that you know,

158
00:08:42,880 --> 00:08:45,320
Speaker 2: by hook or by crook, he was pulling everybody with him,

159
00:08:45,320 --> 00:08:48,040
Speaker 2: whether they wanted to go or not, he was going

160
00:08:48,120 --> 00:08:52,160
Speaker 2: there and it ended up being you know, arguably more

161
00:08:52,200 --> 00:08:55,920
Speaker 2: people saw Grateful Dead music after Jerry died than than

162
00:08:57,400 --> 00:08:57,559
Speaker 2: you know.

163
00:08:58,440 --> 00:09:02,840
Speaker 3: That's really true. He was he was on a mission man.

164
00:09:02,960 --> 00:09:07,120
Speaker 3: First of all, he understood something and this is something

165
00:09:07,160 --> 00:09:11,160
Speaker 3: I learned from them, which was that grateful That audience,

166
00:09:11,200 --> 00:09:14,600
Speaker 3: a very special audience, are very tuned into to the music.

167
00:09:15,160 --> 00:09:19,600
Speaker 3: And when you when you play some notes and you

168
00:09:19,679 --> 00:09:22,800
Speaker 3: see them and feel them react to it, it comes

169
00:09:22,880 --> 00:09:26,880
Speaker 3: back to the stage and it impacts the next notes

170
00:09:26,960 --> 00:09:29,920
Speaker 3: you play. So really the audience is a member of

171
00:09:29,960 --> 00:09:33,560
Speaker 3: the band. They are participating and they are affecting the

172
00:09:33,559 --> 00:09:37,480
Speaker 3: way the music comes out. And if you get that

173
00:09:37,760 --> 00:09:41,200
Speaker 3: kind of circular motion going where you have a conversation

174
00:09:41,679 --> 00:09:44,800
Speaker 3: musical conversation with the audience as well as with the

175
00:09:44,840 --> 00:09:50,959
Speaker 3: members and the band, that's a powerful and intoxicating feeling

176
00:09:51,559 --> 00:09:54,600
Speaker 3: and you've become addicted to it. So there was there

177
00:09:54,679 --> 00:09:56,640
Speaker 3: was nothing that was going to stand in the way

178
00:09:56,840 --> 00:10:00,680
Speaker 3: of Bobby going out and playing. He couldn't He couldn't

179
00:10:00,679 --> 00:10:02,440
Speaker 3: take a break for very long.

180
00:10:02,880 --> 00:10:03,760
Speaker 1: Isn't that feeling.

181
00:10:03,800 --> 00:10:07,400
Speaker 2: You just described the exact reason why Jay radd Dead

182
00:10:07,440 --> 00:10:11,520
Speaker 2: and Company, that Darkstar Orchestra, all of the bands that

183
00:10:11,559 --> 00:10:13,760
Speaker 2: play the music of the Grateful Dead and people who

184
00:10:13,920 --> 00:10:16,320
Speaker 2: you know, Merl Saunders never stopped playing it, Melvin Seal's

185
00:10:16,320 --> 00:10:19,320
Speaker 2: never stopped playing Jerry Band stuff. It's because that's the

186
00:10:19,360 --> 00:10:23,400
Speaker 2: addictive relationship, is the music and the people, and that

187
00:10:23,480 --> 00:10:25,760
Speaker 2: give that that relationship you're talking about is the thing.

188
00:10:25,840 --> 00:10:27,080
Speaker 1: You just don't get it everywhere.

189
00:10:27,960 --> 00:10:31,040
Speaker 3: You don't get it everywhere, And it's something about these

190
00:10:31,080 --> 00:10:37,119
Speaker 3: songs really promotes that. I think they're beautifully written. The poetry,

191
00:10:37,200 --> 00:10:42,640
Speaker 3: the lyrics are impression just impressionistic enough so that everybody

192
00:10:43,280 --> 00:10:47,360
Speaker 3: can pin their own unique inner emotional lives on some

193
00:10:48,200 --> 00:10:52,280
Speaker 3: parts of of of every song. You know. I could

194
00:10:52,280 --> 00:10:55,360
Speaker 3: see it Truck when we would play Ripple maybe every

195
00:10:55,480 --> 00:10:58,760
Speaker 3: fourth night as an encore, and I see people in

196
00:10:58,800 --> 00:11:02,160
Speaker 3: the audience hug each other and cry, and they got

197
00:11:02,200 --> 00:11:07,040
Speaker 3: me choked up every single night, And I knew that

198
00:11:07,880 --> 00:11:11,040
Speaker 3: Ripple means something different to everybody else. I can tell

199
00:11:11,040 --> 00:11:14,239
Speaker 3: you what I think it's about, but it's so beautifully

200
00:11:14,280 --> 00:11:23,040
Speaker 3: constructed as poetry that it speaks to massive amounts of people,

201
00:11:23,160 --> 00:11:28,960
Speaker 3: you know, about their own unique emotions, not to mention

202
00:11:29,080 --> 00:11:32,760
Speaker 3: that actual music, which is so much fun to explore,

203
00:11:33,040 --> 00:11:36,880
Speaker 3: you know, I likeing it to. I live in Los Angeles.

204
00:11:36,920 --> 00:11:39,240
Speaker 3: I ride a bicycle around and I like to I

205
00:11:39,240 --> 00:11:41,480
Speaker 3: don't ride the same streets all the time. I like

206
00:11:41,559 --> 00:11:44,559
Speaker 3: to go exploring and I'll go back behind a building

207
00:11:44,640 --> 00:11:47,160
Speaker 3: and see what the parking lot is like and what's

208
00:11:47,200 --> 00:11:50,400
Speaker 3: back there. And you could do that with these songs.

209
00:11:50,480 --> 00:11:53,600
Speaker 3: You can take a different route into these songs every

210
00:11:53,720 --> 00:11:58,200
Speaker 3: single time. They're beautifully constructed and there's so much fun

211
00:11:58,240 --> 00:12:02,000
Speaker 3: to play. So yes, that's why everybody's still after playing.

212
00:12:02,200 --> 00:12:06,280
Speaker 3: That's why I'm out playing. Yeah, playing those songs too.

213
00:12:06,600 --> 00:12:10,480
Speaker 2: And tonight at the Thunderbird in Lawrenceville, the Pandatroy Ensemble

214
00:12:10,559 --> 00:12:13,520
Speaker 2: that that relationship between audience and artists is going to

215
00:12:13,559 --> 00:12:16,240
Speaker 2: be on full display, playing selections from the album Groove

216
00:12:16,240 --> 00:12:19,320
Speaker 2: in the Face of Adversity, but also a tribute to

217
00:12:19,559 --> 00:12:21,200
Speaker 2: The Dead's Blues for All a record.

218
00:12:21,240 --> 00:12:26,000
Speaker 3: Why that record, Well, it was fairly arbitrary. We got

219
00:12:26,000 --> 00:12:30,280
Speaker 3: booked to play a Grateful Dead festival called the Golden

220
00:12:30,360 --> 00:12:34,240
Speaker 3: Road Festival in October, and this is the fiftieth anniversary

221
00:12:34,320 --> 00:12:36,640
Speaker 3: of blues for all us. So they said, you know,

222
00:12:36,679 --> 00:12:39,840
Speaker 3: why don't you learn blues for Alla in its entirety,

223
00:12:39,880 --> 00:12:44,240
Speaker 3: which seemed like a real good challenge because there's some

224
00:12:44,280 --> 00:12:47,480
Speaker 3: classics that everybody knows and I used to play with Bobby,

225
00:12:48,120 --> 00:12:53,120
Speaker 3: but there's some songs like King Solomon's Marbles that nobody played.

226
00:12:53,600 --> 00:12:57,160
Speaker 1: Now they never really play. But you guys approach it

227
00:12:57,160 --> 00:12:58,480
Speaker 1: a little differently, right.

228
00:12:59,080 --> 00:13:02,800
Speaker 3: Well, we you know, we're from Detroit, all of us,

229
00:13:02,800 --> 00:13:05,800
Speaker 3: the nine piece band, and there's a sound to the

230
00:13:05,880 --> 00:13:09,000
Speaker 3: music of Detroit, and there's a field to it, and

231
00:13:10,280 --> 00:13:14,520
Speaker 3: you have to play these songs true unto yourself. You know,

232
00:13:14,760 --> 00:13:18,000
Speaker 3: if any of these bands went out there and did

233
00:13:18,160 --> 00:13:22,400
Speaker 3: karaoke grateful Dead, that's about the most ungrateful dead like

234
00:13:22,760 --> 00:13:26,040
Speaker 3: thing that you can do. You have to be yourself

235
00:13:26,120 --> 00:13:28,800
Speaker 3: and express yourself honestly. So we had to find our

236
00:13:28,840 --> 00:13:32,840
Speaker 3: own way into these songs. And some of them, you know,

237
00:13:33,160 --> 00:13:35,480
Speaker 3: it didn't take Help on the Way is help on

238
00:13:35,520 --> 00:13:38,680
Speaker 3: the Way? Man? You know, Oh yeah, everybody can play that.

239
00:13:39,040 --> 00:13:42,800
Speaker 3: But King Solomon's Marbles. Man, we had to Detroit to

240
00:13:42,880 --> 00:13:43,880
Speaker 3: size it a little bit.

241
00:13:44,120 --> 00:13:50,400
Speaker 2: Yeah, yeah, because I know that there's some Motown influence

242
00:13:50,440 --> 00:13:51,880
Speaker 2: in what you guys are doing, no doubt.

243
00:13:51,960 --> 00:13:53,520
Speaker 1: I'm really looking forward to this tonight.

244
00:13:53,720 --> 00:13:55,200
Speaker 2: The last thing I want to leave you with before

245
00:13:55,240 --> 00:13:57,400
Speaker 2: I say I can't wait for that show tonight one

246
00:13:57,400 --> 00:14:01,720
Speaker 2: more time is can you ever talk Keith into doing

247
00:14:01,760 --> 00:14:04,040
Speaker 2: something a little more stripped down like the Wolf Brothers?

248
00:14:06,120 --> 00:14:13,280
Speaker 3: Did you say, Keith? Yeah, Keith Richards, Yes, yeah, I

249
00:14:13,800 --> 00:14:14,640
Speaker 3: think you.

250
00:14:14,600 --> 00:14:15,800
Speaker 1: Could talk me into that, right.

251
00:14:17,400 --> 00:14:17,559
Speaker 3: Yeah.

252
00:14:18,040 --> 00:14:20,920
Speaker 2: He's the same sort of rhythmic guy as Bobby, right Like,

253
00:14:21,280 --> 00:14:23,280
Speaker 2: it's the same kind of idea.

254
00:14:24,520 --> 00:14:28,640
Speaker 3: They both blurred the line between lead and rhythm guitar

255
00:14:28,920 --> 00:14:34,840
Speaker 3: in very different ways, but they're tremendous similarities. And also

256
00:14:36,320 --> 00:14:39,600
Speaker 3: just in the fact that they were so so creative

257
00:14:40,280 --> 00:14:45,560
Speaker 3: and uh just so right brain instinctive, all about feel

258
00:14:46,440 --> 00:14:50,680
Speaker 3: not not interested in playing, you know, a million notes

259
00:14:50,720 --> 00:14:55,160
Speaker 3: in every bar, but being soulful and and they're they're

260
00:14:55,160 --> 00:14:58,920
Speaker 3: both very soulful cats. So I know it works. I mean,

261
00:14:58,960 --> 00:15:01,760
Speaker 3: I've done it like that with him, you know, in

262
00:15:01,800 --> 00:15:05,440
Speaker 3: a room, and it's fantastic to hear a like that.

263
00:15:05,360 --> 00:15:07,280
Speaker 1: I would imagine, stripped down Keith Richards.

264
00:15:07,320 --> 00:15:10,800
Speaker 2: There's a whole lot to to to enjoy about just

265
00:15:11,080 --> 00:15:16,360
Speaker 2: being able to hear that in its you know, completeness.

266
00:15:17,200 --> 00:15:18,640
Speaker 3: When we hang up, i'll give him a call.

267
00:15:18,800 --> 00:15:23,160
Speaker 1: Thanks man, I appreciate it. If you ton I'll see

268
00:15:23,200 --> 00:15:24,479
Speaker 1: you tonight in the Thunderbird.

269
00:15:24,720 --> 00:15:27,120
Speaker 2: And thanks for all the music he helped create through

270
00:15:27,160 --> 00:15:30,160
Speaker 2: the years and uh you know uh, and thanks for

271
00:15:30,480 --> 00:15:31,520
Speaker 2: keeping this music alive.

272
00:15:32,800 --> 00:15:34,640
Speaker 3: Very kind to you, man, Thank you. I'll see you tonight.

273
00:15:34,720 --> 00:15:36,680
Speaker 1: All right, brother, I appreciate you a lot. I'll see it.

274
00:15:36,680 --> 00:15:37,040
Speaker 1: Take care,