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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Hey what's

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Speaker 1: up y'all? March is Women's History Month. As we celebrate

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Speaker 1: at LS, we're going to look back at this classic

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Speaker 1: episode from twenty twenty two with Bonnie Raid discussing her

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Speaker 1: journey and passion for helping blues legends benefit from their

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Speaker 1: trail blazing.

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Speaker 2: You look gorgeous.

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Speaker 3: Oh thank you. You guys are be colorful and I

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Speaker 3: was going to do the green and purple and red

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Speaker 3: hair saying hello working for you.

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Speaker 1: Yes, absolutely, ladies and gentlemen, this is Quest Love Supreme.

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Speaker 1: My name, of course, it is Quest Love Jenkins. We

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Speaker 1: are joined by the almighty Team Supreme members starting a

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Speaker 1: power forward. My main man, unpaid Bill, How are you, sir?

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Speaker 4: Fantastic power forward. I like it Number four, I'll take you.

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Speaker 1: I'm proud to say that I've gotten unpaid Bill off

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Speaker 1: the ledge and I think I made him watch his

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Speaker 1: first episode of Euphouri last night to hold me. I'm

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Speaker 1: on it, oh man.

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Speaker 4: I had a full on panic attack and that turned

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Speaker 4: it off.

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Speaker 1: You four year is the new uh uh, it's to me.

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Speaker 1: It's the new contraception, It's.

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Speaker 3: The new don't do drugs.

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Speaker 1: You have the new don't have daughter? Yeah, it's it's you.

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Speaker 1: Four is the new do not have kids? Yes? Exactly.

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Speaker 1: Laiah up next, she's our center.

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Speaker 2: How are you on the boys and girls? I did?

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Speaker 1: How did you know that? Yes? I just took a while. Guest,

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Speaker 1: how are you this? Uh? This lovely evening.

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Speaker 2: I'm trying not to embarrass y'all and break into tears

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Speaker 2: as I am in the presence of a queen. So

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Speaker 2: just just just bear with me because this is it's

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Speaker 2: a lot.

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Speaker 1: Okay. So our our power forward is sugar Steve.

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Speaker 5: You got to stop with the sports now, that's just

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Speaker 5: your go to Steve. Like I'm a small for Yeah,

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Speaker 5: I could shoot the three so it just passes me

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Speaker 5: outside and uh oh okay. They used to call me

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Speaker 5: downtown Stevie Brown.

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Speaker 1: So all right, well I made you my power forward

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Speaker 1: still Steve, of course, my my my shooting guard right

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Speaker 1: here it Spawnico, Yes, indeed his own. How are you

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Speaker 1: the shooters and the shooters only, I'm good man, I'm

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Speaker 1: good man. I'm happy to be here.

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Speaker 6: This, this, this interview, this is this is gonna be

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Speaker 6: a lot of fun because I remember looking in the

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Speaker 6: paper as a kid and the Lucky to Draw album

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Speaker 6: was always on the charts.

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Speaker 3: Oh my god, exactly.

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Speaker 1: Well, that's a ladies and gentlemen, I will say, I'll

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Speaker 1: try not to show over the intro too long, but

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Speaker 1: I gotta, I gotta pull out the commermative one for this.

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Speaker 1: I'll say that our guest tonight probably the most truest

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Speaker 1: sense of the word is an artist, and the truest

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Speaker 1: sense of the word of artist that the industry has

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Speaker 1: ever known. I think for the last five decades she's

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Speaker 1: held the torch super high for I mean, just the

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Speaker 1: lost art of sheer authentic blues madness. In addition to

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Speaker 1: other genres of music. She's a supreme songwriter, bullseye vocalist,

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Speaker 1: hands down all star level delta blues guitar mastery. And

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Speaker 1: I'm not even gonna I'm not gonna frame it like

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Speaker 1: she can hang with the greats. As far as I'm concerned,

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Speaker 1: the greats are trying to hang with her. Oh and

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Speaker 1: after oh no, it gets even better. So after yeah,

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Speaker 1: two decades, after a twenty year run of Critical Claim.

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Speaker 1: At the Critical Claim release, I will that nineteen eighty

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Speaker 1: nine the stars aligned when after nine or ten attempts

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Speaker 1: I believe. I think it's your tenth album. The world

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Speaker 1: finally caught up to her level of soulful rock and

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Speaker 1: blues magic with a little bitty album called Nick of Time,

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Speaker 1: which in my opinion is one of the most well

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Speaker 1: deserved comeback stories. But you know, I know most artists

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Speaker 1: like I never left. You know. It's not like an

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Speaker 1: overnight success thing. It garnered her album of the Year accolades,

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Speaker 1: platinum glory, a whole new fan base that resonated and

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Speaker 1: related to her outlook of a generation getting mature in

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Speaker 1: a new decade, which you know, the nineties were upon

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Speaker 1: us by that point. Remember the nineties people years ago? Yes, exactly.

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Speaker 1: Not to be outdone, I'll say that her follow up

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Speaker 1: album luck of the draw with the immortal classic I

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Speaker 1: Can't Make You Love Me? Is it even bigger? Monster? Wait,

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Speaker 1: it's just hit me right now that my third book

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Speaker 1: might be named after a Bonnie rait Saw. I definitely

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Speaker 1: remember one of the last conversations Rich and I having

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Speaker 1: about naming something the food about, and I remember him,

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Speaker 1: Bonnie raid So one of my last conversations with my

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Speaker 1: manager before he passed. It's just hitting me right now.

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Speaker 1: Her legend status of course, came full circle in two thousand,

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Speaker 1: I believe, when she was inducted into the Rock and

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Speaker 1: Ball Hall of Fame. I can say for myself personally

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Speaker 1: that her actual story, her entire story, has been an

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Speaker 1: inspiration for me as a kind of blueprint in terms

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Speaker 1: of artists that are trying to stay true to their

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Speaker 1: integrity without and trying to find a space to also

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Speaker 1: make a living and connect with their fan base. Of course,

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Speaker 1: this upcoming summer, she'll be conducting a tour with another

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Speaker 1: great Nava Staples. I can go on and on and on,

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Speaker 1: but please let's just get to it, ladies and gentlemen.

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Speaker 1: Please welcome to QLs ten time Grammy winner, Master Musician, singer, songwriter,

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Speaker 1: overall legend, Bonnie Raey.

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Speaker 3: Thank you indeed, yes in the paint with my butts here,

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Speaker 3: thank you?

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Speaker 1: Yes, absolutely yeah. Indeed where are you talking to us

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Speaker 1: right now? From where are you at?

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Speaker 3: I'm out in Marin County about fifteen minutes north at

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Speaker 3: Golden Gate Bridge in San Francisco, where it is truly

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Speaker 3: beautiful and we got some much needed rain for a

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Speaker 3: minute last night.

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Speaker 1: Wholl I never heard of California and actually welcome rain.

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Speaker 1: Normally it's the opposite where I hear them always complaining

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Speaker 1: about rain.

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Speaker 3: We need it. We're in a serious drought. Man, we've

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Speaker 3: got You saw those terrible wildfires.

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Speaker 1: On the fire in the west.

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Speaker 3: Yeah, okay, we need some water.

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Speaker 2: Season wins coming, all right?

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Speaker 1: SONI have you how long have you lived lived out

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Speaker 1: in that area?

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Speaker 3: Well? I go back and forth to La, where I

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Speaker 3: was raised. But I got too much traffic, too much

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Speaker 3: show business. And once I got sober, about thirty five

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Speaker 3: years ago, I went I was up in the daytime

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Speaker 3: and I went, Man, this place, this is not beautiful.

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Speaker 3: And I had been there so many years. I always

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Speaker 3: wanted to move to where the redwoods were and where

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Speaker 3: I could hike and breathe the clean air and be

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Speaker 3: near the ocean. So I've been here like maybe a

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Speaker 3: little over thirty years, and I go back and forth.

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Speaker 3: When I rehearse and go into the show business world,

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Speaker 3: I go down to LA and then up here I'm

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Speaker 3: in the chill in the redwoods kind of.

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Speaker 1: I love it to go to La, get your money,

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Speaker 1: and then go back home. I love it. You got

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Speaker 1: that right, So you're recommending that if I were to

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Speaker 1: choose a place to live in California because I mean,

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Speaker 1: I'll admit to you, I'm probably one of the few

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Speaker 1: people that I might pretend to be. You know, everyone

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Speaker 1: pretends that they're so jaded with LA, Like I can't

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Speaker 1: stand it's so fake, so phony. Whatever I'm not because

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Speaker 1: I don't live there, I still like look forward to

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Speaker 1: always coming to La Like it's still there's still a

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Speaker 1: little bit of magic luster to me.

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Speaker 3: But you're feel the same way because I don't live

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Speaker 3: there anymore. So when I go there, I get a

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Speaker 3: kick out of it, and it's it's it's really there's

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Speaker 3: a very There's some really cool stuff in La. There's

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Speaker 3: a lot of stuff, but it's really crowded and at

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Speaker 3: some point when you're on the roads as much as

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Speaker 3: I am, and in a hotel downtown, you know, sometimes you

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Speaker 3: just want nature and you want some quiet, peace and quiet.

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Speaker 3: But so are you going to ask where I would recommend? Yes, Well,

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Speaker 3: I'll tell you what, if I didn't have some success

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Speaker 3: with nick of time, I probably couldn't afford to have

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Speaker 3: moved here. So that was one thing. And you know,

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Speaker 3: there's some communities that are affordable in California that are

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Speaker 3: also beautiful, but man, that you have to go a

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Speaker 3: long way to get there. So if you want to

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Speaker 3: be near an airport and hospital, and I don't know,

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Speaker 3: I think Marin County, Sonoma County, Napa County, those are

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Speaker 3: all great. But you got to be worried about the fires.

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Speaker 3: And you know, on the East Coast you get worried

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Speaker 3: about flooding and some extreme weather that you guys have

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Speaker 3: been having. But uh, I don't know. I just love

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Speaker 3: I love all the parts of California for lots of

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Speaker 3: different reasons, the same way I love all parts of

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Speaker 3: this country. I just when people ask me, what's your favorite,

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Speaker 3: I go, Man, the Northwest. No, it's New Orleans. No, No,

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Speaker 3: it's Texas, No it's but northern California is where I

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Speaker 3: choose to live because the weather's really nice. You can

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Speaker 3: go outside every day, and you know, it's kind of

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Speaker 3: in in the vicinity of some cool cultural scenes in

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Speaker 3: Oakland and Berkeley and San Francisco. And yet I got

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Speaker 3: the mountains and can have the solace of being in nature.

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Speaker 1: Roger, Okay, so we're all moving next th to you

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Speaker 1: right now, we can.

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Speaker 2: Right That means Razis is coming, because man, that's the

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Speaker 2: second highest place, you know, most expensively in the country.

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Speaker 3: When I moved here, you know, I just on the

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Speaker 3: tail end of where I thought was going to be

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Speaker 3: a bunch of you know, hippies and drug dealers and

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Speaker 3: shrinks and stuff and just but man, it got soccer

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Speaker 3: mom pretty fast.

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Speaker 1: I see, I see. So I start off every episode

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Speaker 1: with the same question. So you're no exception to the rule.

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Speaker 1: Could you please give me your very first musical memory.

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Speaker 4: Oh?

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Speaker 3: I think my dad, who was a Broadway leading man,

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Speaker 3: singing the songs from his show, with my mom warming

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Speaker 3: him up on the panel. She was his musical director

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Speaker 3: and rehearsal pianist. And I remember being really little and

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Speaker 3: hearing this big, old booming voice singing these great Rogers

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Speaker 3: and Hammerstein songs. So I'd have to say, my folks

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Speaker 3: playing in the house.

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Speaker 1: Were you? What was your siblings situation? How many were you?

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Speaker 3: Two brothers, two brothers on either side, two years old

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Speaker 3: or two years younger. I'm the only girl.

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Speaker 1: Oh wow, So okay, you were you were? What was

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Speaker 1: that like for you, like in terms of trying to

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Speaker 1: find in space? Oh?

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Speaker 3: You know, I just ighlized my older brother and I

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Speaker 3: went I was a serious tomboy. I got the I

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Speaker 3: got the right after I stopped playing with dolls and stuff.

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Speaker 3: I I scuffed up and just was got real good

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Speaker 3: at sports and cut my hair just like my older brother.

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Speaker 3: And uh, I just got the picture early on that

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Speaker 3: women had to do all this stupid stuff to make

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Speaker 3: themselves pretty and liked. And I just didn't dig it,

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Speaker 3: you know. So I just sort of stayed with that

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Speaker 3: one of the guys thing for a long time. And

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Speaker 3: look how I ended up. I'm one of the guys

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Speaker 3: in my band.

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Speaker 2: Does that mean you can really fight Bonnie?

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Speaker 3: We well, we were Quakers, so we did. That's right,

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Speaker 3: That's right. I punched my little I got my little

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Speaker 3: brother pretty bad some one time. But no, I just

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Speaker 3: I think I love being the only girl in between

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Speaker 3: my brothers. But you know when when you hit twelve

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Speaker 3: and your brother ditches you because he's you know when

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Speaker 3: when I'm ten and he's twelve and eleven thirteen, you know,

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Speaker 3: they just sort of reject you, and then you're just

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Speaker 3: left to going, oh my god, what's this puberty thing?

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Speaker 2: You know?

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Speaker 3: Oh yeah, so all bets were off. I had to

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Speaker 3: become a girl after all.

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Speaker 1: Okay, so I'm actually glad you said that, because I'm

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Speaker 1: currently dating a Quaker right now, get out of here.

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Speaker 1: And this and this is one of those things that

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Speaker 1: you know, like when someone's so obvious and you're afraid

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Speaker 1: to ask questions because you feel like you should know

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Speaker 1: it already. What exactly differentiates a Quaker from a civilian

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Speaker 1: if you will, oh.

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Speaker 3: Well, the short version of it for lay people is,

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Speaker 3: my folks were both raised Scotch Presbyterian for my dad

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Speaker 3: and my mom was the daughter of a Methodist minister,

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Speaker 3: and they both after the Second World War they decided

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Speaker 3: to become Quakers because they were really the it's not

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Speaker 3: an anti religion, but there's no altar, there's no minister,

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Speaker 3: there's no people sit in a circle and you just

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Speaker 3: get Wyatt and anybody that's moved to stand up and

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Speaker 3: speak can speak. There's a pacifist a belief in pacifism

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Speaker 3: because there's that of God and every person, and if

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Speaker 3: you love the divine then you don't want to kill somebody.

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Speaker 3: The idea is to appeal to that of God and

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Speaker 3: another person and reach a conflict resolution and treat like

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Speaker 3: Jesus would you know, just see that of God and

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Speaker 3: the other person and turn the other cheek and try

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Speaker 3: to find a way to get along. So that's the

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Speaker 3: short skim the stone across the lake version.

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Speaker 1: But the.

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Speaker 3: Social version of Quakers is they're the ones on the

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Speaker 3: ponchos on the peace March that helped ban the bomb.

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Speaker 3: They stood up for social justice, they stood up for

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Speaker 3: humanitarian They go all around the world and are accepted

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Speaker 3: in perias of conflict because they don't take sides.

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Speaker 2: Always slavery.

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Speaker 3: Quakers had a belief that everybody was equal and that

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Speaker 3: nobody was above anyone else, and they got persecuted from

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Speaker 3: it and shoved out of England because they wouldn't take

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Speaker 3: their hat off to the king, and they were thrashed

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Speaker 3: and flogged in public. So I like their kind of

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Speaker 3: rebel spirit, and I like their the teachings of real

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Speaker 3: nonviolence and love thy neighbor come to come to roost

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Speaker 3: and the Quakers really well, so you're.

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Speaker 1: Proud, Okay, you're okay, now, I get get it.

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Speaker 2: Sounds so badass like Quakers.

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Speaker 1: Oh, Gracie's trying to turn me into a Quaker. I

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Speaker 1: get it now.

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Speaker 3: Well, you don't have to listen to a boring sermon.

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Speaker 3: That's for sure, but I'll tell you what I missed

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Speaker 3: the music because there, you know, I listened to gospel

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Speaker 3: music in la I turned on a black gospel station

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Speaker 3: on Sunday mornings and go, man, that's I dig the

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Speaker 3: Quakers and all that. But when you're when you're eight,

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Speaker 3: you don't want to hold still for an hour, you know.

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Speaker 1: So there was absolutely no musical worship, not none whatsoever.

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Speaker 3: No none, none of that. But we, you know, we

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Speaker 3: sure made up for it. I just remember playing a

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Speaker 3: lot of ping pong in Sunday school.

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Speaker 2: Really, she's about to turn a lit people.

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Speaker 3: Well, well you know that your parents, you know, a

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Speaker 3: Quaker meeting, you're really quiet. It's like meditation, a group meditation,

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Speaker 3: and kids are squirmy, you know, so you're you're probably

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Speaker 3: too squamy to be a Quaker.

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Speaker 1: You This explains everything I didn't realize. This is where

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Speaker 1: if my wife is headed.

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Speaker 3: Yes, you could do worse. You could do worse. You know,

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Speaker 3: Quakers are really cool there. They stand up for their beliefs. There,

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Speaker 3: they go to jail and conscientious objectors and you know,

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Speaker 3: they got a great history fighting slavery and being on

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Speaker 3: the right side. And now Richard Nixon was a Quaker.

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Speaker 3: But that's a different way, different different branch or Quakers

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Speaker 3: that had a minister. And you know, they also are

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Speaker 3: really simple. They don't believe in, you know, buying stuff

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Speaker 3: and adorning themselves with things that you don't need. It's

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Speaker 3: not as severe as the Shakers who don't even use buttons.

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Speaker 3: Remember that Witness movie with Yes, I love that, I

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Speaker 3: love that. But Ivan Neville was in my band for

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Speaker 3: a long time and he said our expression was Alexander

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Speaker 3: good Enough played the boyfriend that was pissed off that

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Speaker 3: Kelly McGillis was harboring Harrison forties. He comes out wearing

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Speaker 3: her ex husband, her dead husband's clothes and are way

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Speaker 3: too small from and good Enough looks looks at him,

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Speaker 3: goes very plain, very plain. So that's what I haven't said.

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Speaker 3: I haven't said the rest of his time with us,

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Speaker 3: I said, how you doing? He's going small?

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Speaker 1: A small, little little quest of supreme tidbit trivia in

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Speaker 1: nineteen eighty four. So for those I mean, for the

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Speaker 1: three of you who listen to the show that don't

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Speaker 1: realize my beginnings, I'm My father was a notable oldies

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Speaker 1: duop singer back in the fifties. You know, kind of

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Speaker 1: made a living in the in the seventies and eighties

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Speaker 1: on the on the you know, on the on the

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Speaker 1: duop circuit. As you know, you get up in age,

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Speaker 1: like around your forties and your fifties, so does your

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Speaker 1: fan base. And of course, like the way that my

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Speaker 1: life is now, where you know, all the CEOs of

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Speaker 1: all these companies or whatever like went to college back

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Speaker 1: when the roots were first starting. Uh. My dad was

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Speaker 1: actually offered the role of Danny Glover in Witness.

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Speaker 3: Whoa Man.

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Speaker 1: It's one of my big regrets when like some guy

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Speaker 1: walked up to him like Lee, and he came to

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Speaker 1: a show and was like, Lee, I'm such a fan

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Speaker 1: of yours. And there's a script. They'd sent a script

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Speaker 1: to Witness to the House, and I was like, so

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Speaker 1: small you could do it. But you know, my my

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Speaker 1: father was very insecure about his reading and talked himself

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Speaker 1: out of Oh, like he what I call he manifuct it.

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Speaker 1: He's said he was chicken. Yeah.

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Speaker 3: I got offered a role by in a Day becomes

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Speaker 3: Her There's a bartender. They ended up writing it out,

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Speaker 3: but Tracy Ullman did it, but I was too chicken man.

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Speaker 3: I mean, I'm pretty ballsy on stage. You know, I

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Speaker 3: got one personality. But in my real life, you know,

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Speaker 3: acting is like, oh, turn the cameras on. I get nervous.

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Speaker 3: So but I you know, there's I understand that getting

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Speaker 3: too chicken when it comes down to being on a film.

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Speaker 1: That reminds me that I'm currently reading a book right

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Speaker 1: now that is sort of my bible. I gifted it

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Speaker 1: to about two hundred of my friends for Christmas. It's

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Speaker 1: written by an author called Gay Hendricks, and it's called

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Speaker 1: The Good Friend of Mine. Yes four. Chapter four is

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Speaker 1: about your story and it's just in me. I didn't

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Speaker 1: even make the connection that I'm actually talking to you

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Speaker 1: right now.

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Speaker 3: But wow, I didn't even know he put me in

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Speaker 3: a book. I hope it was all good, stuffy.

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Speaker 2: It's about me.

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Speaker 1: It was the chapter the Big The Big Leap is basically,

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Speaker 1: you know, as I as I've a explain if there

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Speaker 1: was ever a story that I wish that I could

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Speaker 1: give to people, that I give the story to people

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Speaker 1: that I feel that are on the rise to another plateau,

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Speaker 1: because basically, Gay Hendrick says that we are psychologically programmed

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Speaker 1: to not enjoy happiness for more than thirty seconds before.

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Speaker 1: We instantly like I gotta have a moment right now

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Speaker 1: where it's like, yo, I'm so excited to talk to

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Speaker 1: Bonnie right right now. But then in the back of

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Speaker 1: my mind, I'll say, oh shit, I forgot to turn

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Speaker 1: the oven off, or is my mom okay? You stay

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Speaker 1: in the moment, right And so it's it's because I

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Speaker 1: know so many artists that are sort of subconscious self saboteurs. Yeah,

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Speaker 1: but he talks y. So he talks about how you

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Speaker 1: made a decision to leave your comfort zone, and he

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Speaker 1: says that, uh, we all have something called the upper

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Speaker 1: limit problem, which is exactly you get to a you

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Speaker 1: get to a sky's a limit place where you're just

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Speaker 1: like I'm comfortable here, I'm comfortable doing my podcast, I'm

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Speaker 1: comfortable doing this, and I don't want to do anything else.

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Speaker 1: And how you made an active decision to uh move

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Speaker 1: into uncomfortable spaces and he basically said that you manifested

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Speaker 1: your nick of time moment like literally you you you

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Speaker 1: you saw yourself getting on stage accepting the award.

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Speaker 3: I did well, I did. There was a cassette when

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Speaker 3: I first got sober, I got a Lazarus you know

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Speaker 3: some channel guy. Somebody gave me these cassettes and this

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Speaker 3: guy was channeling this person who doesn't talk anything like

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Speaker 3: this other guy. I don't know if you guys have

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Speaker 3: ever heard anybody the channels someone from another realm and

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Speaker 3: you don't even know what they care about.

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Speaker 1: I do this all the time, Yes, I mean that

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Speaker 1: was what's so cool?

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Speaker 3: And I and I remember doing this thing like it said, concentrate.

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Speaker 3: You know, picture yourself doing something that you really really

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Speaker 3: would like, like either be married with kids and playing

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Speaker 3: with them on the carpet, or something that is just

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Speaker 3: out of the realm of possibility, but you wish what happened.

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Speaker 3: And I said, oh, this is crazy. And you know,

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Speaker 3: I had been dropped by my label. I hadn't made

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Speaker 3: the album with nikked Times signed a new contract yet,

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Speaker 3: and I just had this beautiful rebirth of being sober.

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Speaker 3: I just took to it really well. And Mi I

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Speaker 3: was healthy, I'd lost a bunch of weight, and I

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Speaker 3: was just so grateful and I picture I said, Okay,

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Speaker 3: I'll pick the wackiest thing I can think of. I'm

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Speaker 3: standing on the stage at the Grammys in this gold

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Speaker 3: jacket and I'm thanking people at the podium at the

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Speaker 3: Shrine auditorium, and they said, now picture yourself and go

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Speaker 3: up about thirty degrees and hold that image from the

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Speaker 3: back as if you're looking down from another plane. And

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Speaker 3: hold that for about thirty seconds, you know, a few

403
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Speaker 3: times a day, and see what happens. So I did it,

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Speaker 3: you know, just for a goof and then forgot all

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Speaker 3: about it. And then it wasn't until luck of the

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Speaker 3: draw that I turned to Don was and I said,

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Speaker 3: oh my god. He said something about, you know, manifesting,

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Speaker 3: and I went get out of here because I had

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Speaker 3: totally forgotten that I had really just made that leap.

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Speaker 3: And I remember Gay saying how. I asked him how

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Speaker 3: he was doing, and Gay said, I'm really happy. I

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Speaker 3: made a decision to be happy. He said, all you

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Speaker 3: have to do is make a decision to overcome that

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Speaker 3: self doubt in the back of your mind. And your dad,

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Speaker 3: your dad could have been a movie star.

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Speaker 1: Yeah, well, I'm literally that. I'll say that that book.

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Speaker 1: There's about ten books I recommend, but of all, I'll

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Speaker 1: say the forty books I've read in the last two years,

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Speaker 1: basically since like March of twenty twenty, when the pandemic started.

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Speaker 1: This is the book that I feel has resonated with

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Speaker 1: my community, Like this morning, I gave it to Janelle James,

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Speaker 1: you know, like the second, like the second that I

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Speaker 1: hear any artists do a self doubt thing, Like we

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Speaker 1: have a friend named j Nel James who's like excellent

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Speaker 1: stand up comedian and she's now pivoting into uh comedic

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Speaker 1: actress on a show called Abbot Elementary killing. It is

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Speaker 1: killing that ship is the lead?

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Speaker 3: Is she the lead of it? She is?

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Speaker 2: She's really funny, She's like the.

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Speaker 1: Cramer, right, And so I told her, like, you're so

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Speaker 1: good that I will. I mean, I don't know why

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Speaker 1: with with with the television Academy, I haven't been as

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Speaker 1: vigilant as I've been with the Tony's and the Oscars

434
00:23:47,000 --> 00:23:49,959
Speaker 1: and the Grammys. But I told her, I'm actually going

435
00:23:50,040 --> 00:23:52,240
Speaker 1: to send it in my form so that I can

436
00:23:52,320 --> 00:23:57,320
Speaker 1: vote for you to be Best Supporting Actress. But she

437
00:23:57,440 --> 00:23:59,280
Speaker 1: kind of like duck and dies like oh no, you

438
00:23:59,320 --> 00:24:02,600
Speaker 1: know whatever, And this that triggers me, And instantly I

439
00:24:02,640 --> 00:24:04,280
Speaker 1: was like, nope, I'm giving you this book right now.

440
00:24:04,440 --> 00:24:08,720
Speaker 1: Like nothing triggers more than self doubting people.

441
00:24:08,880 --> 00:24:12,000
Speaker 2: So it's called The Big Lead to everybody listening, and

442
00:24:12,080 --> 00:24:15,040
Speaker 2: it is available on iBooks and I'm buying it and

443
00:24:15,040 --> 00:24:17,280
Speaker 2: not waiting to be the two hundredth and ten friend

444
00:24:17,359 --> 00:24:17,920
Speaker 2: to get it.

445
00:24:18,280 --> 00:24:19,560
Speaker 1: I will buy it before you.

446
00:24:20,320 --> 00:24:24,600
Speaker 2: It's okay, well I got fifteen dollars, Come on, man, Okay, yeah.

447
00:24:24,520 --> 00:24:27,119
Speaker 1: Get no, seriously, it's it's a short book. It's I

448
00:24:27,160 --> 00:24:31,160
Speaker 1: get an audio book. You'll be finished in two days.

449
00:24:31,440 --> 00:24:36,000
Speaker 1: But it's probably the most crucial book. And literally the

450
00:24:36,280 --> 00:24:40,840
Speaker 1: Bonnie Rate chapter is what I'm using right now. Cool

451
00:24:41,040 --> 00:24:44,200
Speaker 1: for my situation in four weeks.

452
00:24:44,520 --> 00:24:46,359
Speaker 4: So I like that Bonnie Rate didn't even know that

453
00:24:46,359 --> 00:24:47,520
Speaker 4: there was a chapter about them.

454
00:24:47,520 --> 00:24:50,840
Speaker 1: Me too, Yeah, I like that I didn't even make

455
00:24:50,920 --> 00:24:54,119
Speaker 1: the correlation that the person that made me do my

456
00:24:54,240 --> 00:24:58,159
Speaker 1: morning mirror exercise is. I'm talking to it and I

457
00:24:58,200 --> 00:24:59,920
Speaker 1: totally forgot that it's good.

458
00:25:00,480 --> 00:25:01,919
Speaker 2: And so what's this?

459
00:25:01,920 --> 00:25:05,880
Speaker 3: This synchronicity of this stuff is pretty amazing, isn't it.

460
00:25:06,080 --> 00:25:08,760
Speaker 3: Clearly you guys have your pastor over there in the corner.

461
00:25:11,320 --> 00:25:12,720
Speaker 2: But wait, so, Bonnie, do you do more?

462
00:25:12,800 --> 00:25:13,000
Speaker 1: Now?

463
00:25:13,040 --> 00:25:14,840
Speaker 2: Do you do more manifesting? Do you do more?

464
00:25:15,040 --> 00:25:18,959
Speaker 3: Kind of like you know, I try to try. I

465
00:25:19,040 --> 00:25:20,960
Speaker 3: know that, I mean I can't really say I ever

466
00:25:21,080 --> 00:25:24,480
Speaker 3: did that. I've told people about the miracle of that

467
00:25:24,560 --> 00:25:27,359
Speaker 3: because I just because especially because I forgot about it

468
00:25:27,400 --> 00:25:30,840
Speaker 3: and then that exact thing happened. But I think if

469
00:25:30,880 --> 00:25:34,840
Speaker 3: you imagine something that you really want, Like when I

470
00:25:34,880 --> 00:25:37,720
Speaker 3: have friends that are ill, I picture them up and

471
00:25:37,760 --> 00:25:40,800
Speaker 3: about and recovered, and I picture that really hard and

472
00:25:41,160 --> 00:25:43,879
Speaker 3: that trick about this not from Gay Hendrix, but the

473
00:25:44,920 --> 00:25:50,560
Speaker 3: channeling Blizaarrest that's standing above and looking down at the

474
00:25:50,760 --> 00:25:54,000
Speaker 3: you know, burning that into your mind that here's my

475
00:25:54,200 --> 00:25:56,400
Speaker 3: friend who's ill. Not only is he out of bed,

476
00:25:56,440 --> 00:25:59,119
Speaker 3: but he's walking around taking a you know, we're taking

477
00:25:59,119 --> 00:26:00,879
Speaker 3: a walk in the park. I'm gonna go get some

478
00:26:01,480 --> 00:26:04,080
Speaker 3: get a salad someplace, you know, and just imagine that.

479
00:26:04,280 --> 00:26:06,520
Speaker 3: Just picture us and just picture it pictured. I think

480
00:26:06,560 --> 00:26:07,920
Speaker 3: there's really great point.

481
00:26:08,640 --> 00:26:10,280
Speaker 2: I'm doing it like I think a lot of people

482
00:26:10,280 --> 00:26:13,680
Speaker 2: who are listening me play. When I get this kind

483
00:26:13,680 --> 00:26:15,879
Speaker 2: of information music, I'm not.

484
00:26:16,119 --> 00:26:18,760
Speaker 1: I'm chuckling because it's just hit me that this might

485
00:26:18,840 --> 00:26:24,320
Speaker 1: be the six quest Love Supreme in a row that

486
00:26:24,320 --> 00:26:27,800
Speaker 1: that has been more about self improvement, and like like

487
00:26:27,840 --> 00:26:30,240
Speaker 1: we're about to be lifestyle improvement instead of music.

488
00:26:30,880 --> 00:26:34,680
Speaker 3: Yeah, you know what you gotta fix. You gotta fix

489
00:26:34,720 --> 00:26:37,000
Speaker 3: the inner, the inner to get the outer. You know

490
00:26:37,040 --> 00:26:38,960
Speaker 3: what I mean, music comes to all comes from the

491
00:26:38,960 --> 00:26:43,240
Speaker 3: same source. If you got, as Robert Johnson said, stones

492
00:26:43,280 --> 00:26:45,440
Speaker 3: in my pathway, you know you got to move them

493
00:26:45,440 --> 00:26:48,119
Speaker 3: out of the way and let that, let that flow happen.

494
00:26:49,119 --> 00:26:50,760
Speaker 1: Absolutely I agree with you.

495
00:26:51,400 --> 00:26:54,480
Speaker 3: I mean, self self doubt. Self doubt is an interesting

496
00:26:54,560 --> 00:26:57,800
Speaker 3: source of songs. I mean, I wrote a funk jazzy

497
00:26:57,840 --> 00:26:59,840
Speaker 3: song on my new record call waiting for you to

498
00:27:00,000 --> 00:27:02,080
Speaker 3: oh about the little Devil on your shoulder, just going

499
00:27:02,720 --> 00:27:05,080
Speaker 3: come on, I just I know you're gonna mess up.

500
00:27:05,160 --> 00:27:07,640
Speaker 3: Come on, have another piece of pie, you know, stay

501
00:27:07,720 --> 00:27:10,840
Speaker 3: up late, forget lie about returning those emails. You know,

502
00:27:10,960 --> 00:27:13,640
Speaker 3: oh I meant I did send them. You know, all

503
00:27:13,680 --> 00:27:16,440
Speaker 3: that ways that you you flirt with the dark side,

504
00:27:16,440 --> 00:27:19,159
Speaker 3: and you know that's just part of being human and

505
00:27:19,160 --> 00:27:22,560
Speaker 3: then you forgive yourself and pay attention and move on.

506
00:27:22,720 --> 00:27:24,000
Speaker 3: But you know, you got to pay attention.

507
00:27:28,600 --> 00:27:31,000
Speaker 7: I was excious to know Bonnie about your sobriety. You say,

508
00:27:31,040 --> 00:27:32,280
Speaker 7: you know it spent thirty five years.

509
00:27:32,920 --> 00:27:33,240
Speaker 3: Yeah.

510
00:27:33,520 --> 00:27:37,000
Speaker 7: Sobriety is something that it's tough in any aspect, but

511
00:27:37,160 --> 00:27:39,720
Speaker 7: particularly in the context of the music business, I imagine

512
00:27:39,720 --> 00:27:41,200
Speaker 7: it's you know, even crazier.

513
00:27:41,280 --> 00:27:43,000
Speaker 1: How have you say sober all these years?

514
00:27:43,520 --> 00:27:48,000
Speaker 3: Well, for starters, that the inspiration of seeing how many

515
00:27:48,040 --> 00:27:51,480
Speaker 3: people didn't make it, you know, losing friend after friend

516
00:27:51,520 --> 00:27:55,359
Speaker 3: to either deliberate or accidental or just lifestyle caught up

517
00:27:55,359 --> 00:27:58,600
Speaker 3: with them. And that doesn't even have to be you know,

518
00:27:58,720 --> 00:28:02,760
Speaker 3: drugs and alcohol. It can be workaholism or you know,

519
00:28:03,000 --> 00:28:06,000
Speaker 3: gambling or food or whatever. You know, the ways that

520
00:28:06,040 --> 00:28:09,080
Speaker 3: you're just kind of filling that hole. And once you

521
00:28:09,160 --> 00:28:13,159
Speaker 3: understand about the addictive personality that and you know a

522
00:28:13,160 --> 00:28:15,720
Speaker 3: lot of us just developed an allergy to drugs and

523
00:28:15,760 --> 00:28:18,400
Speaker 3: alcohol as we got in our For me, a lot

524
00:28:18,440 --> 00:28:20,479
Speaker 3: of us in our late thirties couldn't get away with

525
00:28:20,480 --> 00:28:22,919
Speaker 3: what we got away with for those first twenty years.

526
00:28:23,640 --> 00:28:25,720
Speaker 3: And it just didn't look good. You know, I got fat,

527
00:28:25,760 --> 00:28:28,120
Speaker 3: I got I mean, I wasn't messing up my shows.

528
00:28:28,200 --> 00:28:32,159
Speaker 3: I mean, audiences love blues singers that are heavy, you know,

529
00:28:32,160 --> 00:28:34,600
Speaker 3: and have man problems. Oh look at.

530
00:28:34,600 --> 00:28:36,679
Speaker 1: Her, you know that's part of it. I mean, ye,

531
00:28:36,960 --> 00:28:40,240
Speaker 1: that's the Mary J. Blige syndrome. We seemed only like

532
00:28:40,280 --> 00:28:43,520
Speaker 1: her when she's depressed. What She's said, you know.

533
00:28:43,640 --> 00:28:45,680
Speaker 3: What, you know, Eda lost a lot of weight. She said,

534
00:28:45,680 --> 00:28:47,160
Speaker 3: I wonder if people are still gonna want to come

535
00:28:47,200 --> 00:28:50,400
Speaker 3: see me, you know, I said to the girl. So anyway,

536
00:28:50,720 --> 00:28:55,160
Speaker 3: how I stay sober? I's it wasn't. I was really

537
00:28:55,280 --> 00:28:57,600
Speaker 3: lucky and really blessed because there's a whole lot of

538
00:28:57,640 --> 00:29:00,400
Speaker 3: people in our industry who had to stop. And I'm

539
00:29:00,440 --> 00:29:03,280
Speaker 3: one of the people that needed to stop. It worked

540
00:29:03,320 --> 00:29:06,400
Speaker 3: better for me right away. And because of those people

541
00:29:06,400 --> 00:29:10,480
Speaker 3: in those rooms, in those meetings, there are professional partiers,

542
00:29:10,480 --> 00:29:13,280
Speaker 3: so their stories are better, they're funnier, they're you know,

543
00:29:13,320 --> 00:29:15,280
Speaker 3: we all help each other, so it's not something you

544
00:29:15,360 --> 00:29:20,040
Speaker 3: do alone. But it's really the community. I know anywhere

545
00:29:20,080 --> 00:29:22,520
Speaker 3: in the world when I have issues, I can go

546
00:29:22,600 --> 00:29:26,440
Speaker 3: to any meeting, either virtually or in any town. I've

547
00:29:26,440 --> 00:29:29,760
Speaker 3: been in meetings in Russia and Australia with like pirates

548
00:29:29,800 --> 00:29:32,000
Speaker 3: down by the docks, you know, guys that look like

549
00:29:32,040 --> 00:29:34,680
Speaker 3: Popeye with no teeth, with one hundred and fifty tattoos,

550
00:29:35,680 --> 00:29:37,960
Speaker 3: you know, like, and you hear those stories about how

551
00:29:37,960 --> 00:29:41,240
Speaker 3: they stay sober. You know, it's kind of a cool fellowship.

552
00:29:41,280 --> 00:29:44,760
Speaker 3: So it was. It was an unexpected, non cult kind

553
00:29:44,800 --> 00:29:46,280
Speaker 3: of a thing I thought. I thought it was going

554
00:29:46,320 --> 00:29:48,280
Speaker 3: to be a bunch of moonies talking about Jesus all

555
00:29:48,280 --> 00:29:48,600
Speaker 3: the time.

556
00:29:49,280 --> 00:29:53,320
Speaker 1: So it's not. I always wondered about that because there

557
00:29:53,440 --> 00:29:56,240
Speaker 1: been a few times where I thought that I too

558
00:29:56,320 --> 00:30:02,320
Speaker 1: would have to sort of flirt with circles of meetings

559
00:30:02,360 --> 00:30:05,239
Speaker 1: and whatnot. And then I always taught myself out of it,

560
00:30:05,320 --> 00:30:10,120
Speaker 1: because you know, I felt like post social media age,

561
00:30:10,560 --> 00:30:14,240
Speaker 1: like there's no such thing as being anonymous. But there

562
00:30:14,280 --> 00:30:19,040
Speaker 1: was never there was never any trepidation of like, you know,

563
00:30:19,240 --> 00:30:21,239
Speaker 1: oh my god, it's fucking violent rate sitting here in

564
00:30:21,240 --> 00:30:23,240
Speaker 1: our circle with you know, that sort of thing.

565
00:30:23,600 --> 00:30:27,360
Speaker 3: Or I was really nervous about it, which is why

566
00:30:27,520 --> 00:30:29,880
Speaker 3: in my case and a lot of my other friends,

567
00:30:31,080 --> 00:30:33,920
Speaker 3: there was a musicians meeting. You know, I know there's

568
00:30:34,040 --> 00:30:36,760
Speaker 3: lawyers ones, there's doctors ones, because doctors are afraid they're

569
00:30:36,760 --> 00:30:38,760
Speaker 3: going to run into their patients, right, you know what

570
00:30:38,800 --> 00:30:42,440
Speaker 3: I'm saying. That's my mom And it didn't go well.

571
00:30:42,520 --> 00:30:44,920
Speaker 3: You know now, I know why. You know, in the laws,

572
00:30:46,080 --> 00:30:49,240
Speaker 3: I never thought about it. I mean, imagine going to

573
00:30:49,280 --> 00:30:52,360
Speaker 3: an AA meeting and senior the judge that sent you

574
00:30:52,360 --> 00:30:55,280
Speaker 3: your other away, you know what I mean. So I

575
00:30:55,320 --> 00:30:59,160
Speaker 3: could dig why people go to a community industry in

576
00:30:59,200 --> 00:31:03,560
Speaker 3: our industry. So I've been doing a zoom meeting with

577
00:31:03,760 --> 00:31:06,880
Speaker 3: people that are in the industry, and people are really

578
00:31:07,160 --> 00:31:10,720
Speaker 3: respectful and we all need the same thing. So the

579
00:31:10,800 --> 00:31:14,120
Speaker 3: musicians meeting really gave me the confidence in the anonymity

580
00:31:14,160 --> 00:31:18,320
Speaker 3: and took the pressure off. But then I just wear

581
00:31:18,320 --> 00:31:21,600
Speaker 3: a hat and I don't even People don't know it's

582
00:31:21,640 --> 00:31:23,040
Speaker 3: me when I go on the road. If I go

583
00:31:23,080 --> 00:31:25,040
Speaker 3: to a meeting, you know, they just don't. They're only

584
00:31:25,040 --> 00:31:27,840
Speaker 3: interested in your first name and your story. So but

585
00:31:27,960 --> 00:31:30,600
Speaker 3: you know, if I've walked down Fifth Avenue with Whoopy Goldberg,

586
00:31:30,640 --> 00:31:34,160
Speaker 3: I don't think she could ever disguise herself. So, you know,

587
00:31:35,080 --> 00:31:38,480
Speaker 3: Ques Love, you might have a hard time being anonymous,

588
00:31:38,520 --> 00:31:40,440
Speaker 3: but I think if you just pick and you get

589
00:31:40,520 --> 00:31:43,480
Speaker 3: used to it, it's after about the second meeting, you

590
00:31:43,480 --> 00:31:44,480
Speaker 3: don't even think about it.

591
00:31:44,800 --> 00:31:50,720
Speaker 1: Okay, No, No, I've gotten away with many a non

592
00:31:50,800 --> 00:31:58,640
Speaker 1: crime crime in terms of his hat game. Sarcastic, I'm surious.

593
00:31:59,160 --> 00:32:01,800
Speaker 3: Yeah, it's all bad hats, and for me, it's covering

594
00:32:01,880 --> 00:32:07,400
Speaker 3: up this little skunk streak. I want the only real

595
00:32:07,440 --> 00:32:12,520
Speaker 3: color I have on my head. But the and if

596
00:32:12,560 --> 00:32:13,680
Speaker 3: I don't wear I make up.

597
00:32:13,760 --> 00:32:13,960
Speaker 1: Man.

598
00:32:14,040 --> 00:32:16,800
Speaker 3: People do not get it. But when I check in

599
00:32:16,880 --> 00:32:19,880
Speaker 3: my luggage outdoors on the cat and the curb at

600
00:32:19,920 --> 00:32:22,800
Speaker 3: the airport, guy's going give them something to talk about.

601
00:32:23,240 --> 00:32:29,040
Speaker 3: The porters always skycaps, always know it's me. Now we

602
00:32:29,160 --> 00:32:32,120
Speaker 3: just check in, check in with a you know, kiosk.

603
00:32:32,200 --> 00:32:36,200
Speaker 1: But can you tell me do you remember the first

604
00:32:36,560 --> 00:32:38,360
Speaker 1: record that you ever purchased?

605
00:32:39,400 --> 00:32:43,520
Speaker 3: Yeah, it was Odetta Wow Getta. It was like I

606
00:32:43,560 --> 00:32:45,080
Speaker 3: didn't have a lot of money, but I spent my

607
00:32:45,120 --> 00:32:47,480
Speaker 3: allowance on a record store where we could go into

608
00:32:47,480 --> 00:32:50,600
Speaker 3: Wallack's Music City and put the headphones on, and I

609
00:32:50,640 --> 00:32:52,920
Speaker 3: went to summer camp while my dad was on tour

610
00:32:53,040 --> 00:32:56,800
Speaker 3: doing Broadway shows in regional theaters and summer stock.

611
00:32:57,240 --> 00:32:59,680
Speaker 1: John Reid, we should also mention that your father's the

612
00:32:59,760 --> 00:33:02,400
Speaker 1: legend Daria John Raye, theater actor.

613
00:33:02,160 --> 00:33:06,480
Speaker 3: And Broadway music leading man. Yeah, from Carousel and Pajama

614
00:33:06,520 --> 00:33:09,240
Speaker 3: Game and Oklahoma. So he made his living touring three

615
00:33:09,240 --> 00:33:12,719
Speaker 3: months every summer. And their friends had a Quaker friends

616
00:33:12,760 --> 00:33:16,120
Speaker 3: had a camp with all counselors from all around the

617
00:33:16,160 --> 00:33:21,120
Speaker 3: world and un kids. You know, just every every stripe,

618
00:33:21,200 --> 00:33:26,520
Speaker 3: every possible permutation of religion and color and background, and

619
00:33:26,560 --> 00:33:28,800
Speaker 3: we all went to this camp, and our counselors were

620
00:33:28,880 --> 00:33:32,000
Speaker 3: mad for folk music, so that's how I got way

621
00:33:32,040 --> 00:33:34,720
Speaker 3: into it, and I idolized my counselor, and she turned

622
00:33:34,720 --> 00:33:38,160
Speaker 3: me onto Odetta and Joan Baez, and I went home

623
00:33:38,200 --> 00:33:40,520
Speaker 3: and begged for a guitar for Christmas and just sat

624
00:33:40,520 --> 00:33:42,960
Speaker 3: there and taught myself to play till my little fingers

625
00:33:42,960 --> 00:33:47,920
Speaker 3: were bleeding. And that was that Odetta record. She continued

626
00:33:47,920 --> 00:33:49,840
Speaker 3: to be an inspiration to me, but that was I

627
00:33:49,960 --> 00:33:51,760
Speaker 3: never heard a voice like that in my life.

628
00:33:52,480 --> 00:33:54,280
Speaker 1: So you were self taught or did you have any

629
00:33:54,400 --> 00:33:55,520
Speaker 1: lessons at all?

630
00:33:55,560 --> 00:33:58,600
Speaker 3: I had piano lessons for five years, but the teacher

631
00:33:58,600 --> 00:34:01,040
Speaker 3: didn't want to let me learn. Back then, they didn't

632
00:34:01,120 --> 00:34:04,960
Speaker 3: let you learn pop music, so I switched. I had

633
00:34:05,000 --> 00:34:07,680
Speaker 3: gotten pretty good on the guitar, taught myself to fingerpick,

634
00:34:07,960 --> 00:34:10,400
Speaker 3: but I never had any lessons, so I do positions

635
00:34:10,440 --> 00:34:12,440
Speaker 3: of the chords and the slide guitar. I play on

636
00:34:12,480 --> 00:34:15,319
Speaker 3: the wrong finger because I taught myself entirely in my

637
00:34:15,480 --> 00:34:18,680
Speaker 3: room without anybody showing me, and I played by ears.

638
00:34:18,680 --> 00:34:21,200
Speaker 3: So by the time I was around other guitar players

639
00:34:21,800 --> 00:34:23,880
Speaker 3: and saw that you'd play e in this position, and

640
00:34:23,880 --> 00:34:25,799
Speaker 3: you're supposed to use your fingers for this for that

641
00:34:25,920 --> 00:34:28,480
Speaker 3: chord too late. I already was doing it.

642
00:34:29,600 --> 00:34:34,120
Speaker 1: So you know, every time I've heard you speak about

643
00:34:34,200 --> 00:34:38,959
Speaker 1: music either, you know, like you'll do these shows where

644
00:34:38,960 --> 00:34:41,759
Speaker 1: you'll tell stories and whatnot, Like I always felt like

645
00:34:42,520 --> 00:34:46,120
Speaker 1: you were a serious musician and a serious advocate for

646
00:34:46,239 --> 00:34:50,160
Speaker 1: like all these blues grates that you know that aren't

647
00:34:50,360 --> 00:34:53,680
Speaker 1: really championed by like the mainstream press and whatnot. But

648
00:34:53,719 --> 00:34:56,560
Speaker 1: I always wanted to know, because I mean, you're coming,

649
00:34:57,360 --> 00:35:01,320
Speaker 1: you're coming of age when the bridg this invasion starting

650
00:35:02,080 --> 00:35:04,360
Speaker 1: and all these things, like in your teen years, like

651
00:35:04,480 --> 00:35:09,040
Speaker 1: you just didn't listen to like the Archies, Yummy Yummy yummy,

652
00:35:09,160 --> 00:35:14,000
Speaker 1: or just like just like pop music.

653
00:35:14,640 --> 00:35:16,600
Speaker 3: You know, LA was all that. When I was in

654
00:35:16,680 --> 00:35:20,120
Speaker 3: junior high school, it was a super fad for the

655
00:35:20,160 --> 00:35:23,120
Speaker 3: beach boys, and surfing came in, so all the guys

656
00:35:23,680 --> 00:35:26,720
Speaker 3: had their hair like Dennis Wilson and bleached to blonde,

657
00:35:26,800 --> 00:35:30,520
Speaker 3: and you know, it just was too plastic instead of

658
00:35:31,239 --> 00:35:33,439
Speaker 3: At the time, I wanted to be a beatnik and

659
00:35:33,680 --> 00:35:35,920
Speaker 3: a jazzer, and I was. I was a member of

660
00:35:37,080 --> 00:35:39,920
Speaker 3: Core and Snick and you know, because we were Quaker

661
00:35:39,960 --> 00:35:41,440
Speaker 3: I just couldn't wait to get old enough to go

662
00:35:41,480 --> 00:35:48,000
Speaker 3: to Dantas Village and yeah, come back, and I was

663
00:35:48,040 --> 00:35:51,799
Speaker 3: like reading sing Out magazine and I just wanted I

664
00:35:51,800 --> 00:35:53,759
Speaker 3: went to camping that yeah, in the East Coast with

665
00:35:53,840 --> 00:36:00,000
Speaker 3: all these liberal, lefty international counselors and campers, and I

666
00:36:00,040 --> 00:36:04,799
Speaker 3: and La just seemed really plastic. So I loved when

667
00:36:04,800 --> 00:36:06,640
Speaker 3: people have asked me, how did you get into R

668
00:36:06,680 --> 00:36:09,120
Speaker 3: and B and blues? And I said, you know, early on,

669
00:36:09,320 --> 00:36:12,760
Speaker 3: I knew the difference between Bill Haley and Little Richard

670
00:36:13,080 --> 00:36:18,680
Speaker 3: and Pat Boone. And you know, Fats Domino was like

671
00:36:18,719 --> 00:36:21,279
Speaker 3: a god to me. You know, Chuck Barry, come on,

672
00:36:21,480 --> 00:36:24,239
Speaker 3: Chuck Berry was like the most gorgeous guy I'd ever seen,

673
00:36:24,320 --> 00:36:26,880
Speaker 3: and he played the hell out of the guitar. His

674
00:36:27,000 --> 00:36:32,000
Speaker 3: grooves were hilacious. So Fats. You know, Lloyd Price, oh

675
00:36:32,040 --> 00:36:34,440
Speaker 3: my god, I mean. And then somebody gave me when

676
00:36:34,440 --> 00:36:38,120
Speaker 3: I was twelve, a guy who sold Channel Master TV

677
00:36:38,200 --> 00:36:42,319
Speaker 3: Antennas gave rca own the channel Master and he said, hey,

678
00:36:42,320 --> 00:36:44,279
Speaker 3: Bonnie likes music, and he gave me a box of

679
00:36:44,400 --> 00:36:48,720
Speaker 3: twelve Ray Charles albums that I you know, at that age,

680
00:36:48,719 --> 00:36:50,680
Speaker 3: at twelve, I would have never been able to afford

681
00:36:50,760 --> 00:36:53,160
Speaker 3: or even knowing about. So I got Genius plus soul

682
00:36:53,239 --> 00:36:56,719
Speaker 3: equals jazz. I got Ray Charles and Betty Carter, the

683
00:36:56,840 --> 00:37:00,359
Speaker 3: album dedicated dedicated to you, you know, all the yeah

684
00:37:00,680 --> 00:37:03,600
Speaker 3: named after the cities. I mean, you talk about learning

685
00:37:03,640 --> 00:37:06,560
Speaker 3: how to sing? That was between listening to gospel on

686
00:37:06,640 --> 00:37:09,960
Speaker 3: Sunday on the radio and all of the R and

687
00:37:10,000 --> 00:37:12,680
Speaker 3: B records that I just mentioned, you know, Major Lance,

688
00:37:12,800 --> 00:37:15,319
Speaker 3: and then Motown came in. That was it. I was

689
00:37:15,400 --> 00:37:19,080
Speaker 3: just the Motown until Loretha Franklin and Stacks and Sam

690
00:37:19,120 --> 00:37:23,600
Speaker 3: and Dave. Total soul music hound. But I didn't hear

691
00:37:23,640 --> 00:37:27,440
Speaker 3: about electric blues until the Rolling Stones played Little Red

692
00:37:27,480 --> 00:37:29,880
Speaker 3: Rooster and Holland Wolf and Muddy Waters, and then I

693
00:37:29,920 --> 00:37:31,759
Speaker 3: got I think, like a lot of kids in the

694
00:37:31,800 --> 00:37:35,600
Speaker 3: mid sixties, we got turned onto our own musical heritage

695
00:37:36,040 --> 00:37:40,600
Speaker 3: by the Brits. So I was just a total blues hound.

696
00:37:40,840 --> 00:37:44,560
Speaker 1: Okay, I was going to stay that. I worked with

697
00:37:45,360 --> 00:37:49,960
Speaker 1: Marshall Chess a few times, you know, in the early Arts,

698
00:37:50,120 --> 00:37:53,240
Speaker 1: and he was telling me stories about trying to convince

699
00:37:53,280 --> 00:37:55,320
Speaker 1: his dad and a lot of the older blues artists

700
00:37:55,320 --> 00:37:58,279
Speaker 1: on that label to sort of loosen up and get

701
00:37:58,320 --> 00:38:01,879
Speaker 1: with the times of like Black Psychedelic Rocket and all

702
00:38:01,880 --> 00:38:06,279
Speaker 1: these things, Like especially with the Muddy Waters record. What

703
00:38:06,440 --> 00:38:09,279
Speaker 1: was the wait, Steve, didn't you engineer that project? But

704
00:38:09,400 --> 00:38:14,960
Speaker 1: uh we did, like it was Electric Mud, Yeah, the

705
00:38:15,000 --> 00:38:18,560
Speaker 1: Electric Mond stuff. So when I mean I didn't, I

706
00:38:18,600 --> 00:38:21,600
Speaker 1: didn't engineer the original Electric.

707
00:38:21,280 --> 00:38:27,960
Speaker 3: Mud I'm not, no, no, but yeah, that was one

708
00:38:28,000 --> 00:38:31,160
Speaker 3: of the greatest fold out album cover pictures of all time.

709
00:38:31,200 --> 00:38:34,319
Speaker 3: That in Isaac Cayes, the fold out picture that turned

710
00:38:34,320 --> 00:38:36,720
Speaker 3: into a poster. I had him in my house, Isaac

711
00:38:36,760 --> 00:38:42,560
Speaker 3: and Muddy like hello, really only no, no, I was out.

712
00:38:42,640 --> 00:38:45,800
Speaker 3: I was out the house by then, Okay, okay, yeah.

713
00:38:45,120 --> 00:38:48,400
Speaker 1: So what I wanted to know was okay, so as

714
00:38:48,719 --> 00:38:52,319
Speaker 1: a true fan of the blues, like I know that

715
00:38:52,600 --> 00:38:58,040
Speaker 1: older blues fans, some of them scoffed that, like yo yourself,

716
00:38:58,160 --> 00:39:02,480
Speaker 1: like similar to to Dylan getting some pushback from going Electric,

717
00:39:02,880 --> 00:39:05,560
Speaker 1: that there were some authentic blues fans that felt like,

718
00:39:06,640 --> 00:39:09,439
Speaker 1: you know, like, now these guys are trying to sell

719
00:39:09,480 --> 00:39:13,439
Speaker 1: out to get a younger, to get the hippies, and

720
00:39:13,800 --> 00:39:16,080
Speaker 1: you know, to get a wider audience and all those things.

721
00:39:16,480 --> 00:39:20,960
Speaker 1: But did those particular Now from my standpoint, I loved

722
00:39:21,280 --> 00:39:25,600
Speaker 1: Electric Mud, Like half the first Cipercillo album is from

723
00:39:26,280 --> 00:39:29,080
Speaker 1: you know, the Electric Mud record and what's the other title,

724
00:39:29,760 --> 00:39:34,840
Speaker 1: what's his name? Hates? Well, no, no, there the titles.

725
00:39:34,880 --> 00:39:39,040
Speaker 1: Really he hates this album. It was like a sarcastic

726
00:39:39,080 --> 00:39:41,919
Speaker 1: album title, like Muddy Waters hates his second album more.

727
00:39:42,080 --> 00:39:44,560
Speaker 3: Oh god, I don't know. I just didn't. I didn't

728
00:39:44,600 --> 00:39:45,920
Speaker 3: relate to those records, so.

729
00:39:46,719 --> 00:39:49,480
Speaker 1: Right, no, no, no, But I meant like for you to

730
00:39:49,600 --> 00:39:53,600
Speaker 1: hear at least. I mean, never think that you released

731
00:39:53,640 --> 00:39:57,719
Speaker 1: in your early teens when that came out, did you. Well?

732
00:39:57,800 --> 00:40:00,360
Speaker 3: I was in the middle teens, and I didn't dig it.

733
00:40:00,440 --> 00:40:00,600
Speaker 2: You know.

734
00:40:00,640 --> 00:40:02,960
Speaker 3: I love those early Muddy Waters records, I mean as

735
00:40:03,000 --> 00:40:06,520
Speaker 3: some of the greatest playing of any band ever, Hallan Wolf,

736
00:40:06,600 --> 00:40:12,879
Speaker 3: Muddy Waters, Johnny Hooker's original records, Oh geez, Electric Mind. Yeah,

737
00:40:13,160 --> 00:40:16,080
Speaker 3: I'm not a big psychedelic I didn't like I got

738
00:40:16,080 --> 00:40:18,240
Speaker 3: the playing on some I didn't. I haven't heard Electric

739
00:40:18,280 --> 00:40:20,600
Speaker 3: Mond in a long time. I did buy it, but

740
00:40:20,800 --> 00:40:22,440
Speaker 3: I haven't heard it in a long time. But I

741
00:40:22,480 --> 00:40:26,680
Speaker 3: did have that the album in the robes, I mean,

742
00:40:26,800 --> 00:40:30,480
Speaker 3: and his hair come on it was and then I

743
00:40:30,520 --> 00:40:32,520
Speaker 3: had no idea I'd be like, really good friends with

744
00:40:32,600 --> 00:40:35,040
Speaker 3: Muddy all those years later, so you know, we we

745
00:40:36,000 --> 00:40:39,040
Speaker 3: I wanted to have an open mind about the sessions

746
00:40:39,040 --> 00:40:41,440
Speaker 3: that they did with you know, English guys, and I

747
00:40:41,480 --> 00:40:44,280
Speaker 3: just didn't think it sounded as good as the originals.

748
00:40:44,680 --> 00:40:46,200
Speaker 1: I was.

749
00:40:46,280 --> 00:40:48,600
Speaker 3: I was prejudiced the other way, you know, as.

750
00:40:48,920 --> 00:40:53,840
Speaker 1: Or because even now with hip hop, like there's a

751
00:40:53,880 --> 00:40:58,359
Speaker 1: lot of our greats that you don't have decisions to make,

752
00:40:58,440 --> 00:41:03,719
Speaker 1: like should they readjust their like For example, Nas is

753
00:41:03,719 --> 00:41:06,759
Speaker 1: a great example of that. Like right now, Nas is

754
00:41:06,920 --> 00:41:13,759
Speaker 1: about to see probably some of his best success sort

755
00:41:13,800 --> 00:41:17,080
Speaker 1: of getting a little younger with who's producing this record

756
00:41:17,160 --> 00:41:20,480
Speaker 1: hit boy with hip Boy, which of course, you know,

757
00:41:20,520 --> 00:41:22,560
Speaker 1: his older fans are like, you know the album that

758
00:41:22,800 --> 00:41:26,279
Speaker 1: Na's made twenty five years ago is like, you know,

759
00:41:26,360 --> 00:41:31,000
Speaker 1: that's their north star. And you know, I'm happy for success.

760
00:41:31,120 --> 00:41:34,880
Speaker 1: I'm happy for success now, but you know, but I

761
00:41:34,880 --> 00:41:39,240
Speaker 1: also feel like maybe that's us also secretly just saying

762
00:41:39,239 --> 00:41:42,040
Speaker 1: that we wish that time would stand still. That's exactly

763
00:41:42,120 --> 00:41:44,800
Speaker 1: what it is. You can never compete with nobody's nostalge.

764
00:41:44,480 --> 00:41:47,799
Speaker 3: Bro like you know ears, don't you know if your

765
00:41:47,800 --> 00:41:50,440
Speaker 3: ears don't dig something. I mean, everybody's got the right

766
00:41:50,480 --> 00:41:52,520
Speaker 3: to do whatever they do in their musical path, and

767
00:41:52,600 --> 00:41:56,840
Speaker 3: nobody wants to get stuck or boor And people have

768
00:41:56,920 --> 00:41:59,359
Speaker 3: the right to go more commercial if that if they're

769
00:41:59,400 --> 00:42:01,440
Speaker 3: sick of being a obscure, it's you know, but you

770
00:42:01,560 --> 00:42:03,640
Speaker 3: got to really dig it. You got to love what

771
00:42:03,680 --> 00:42:08,160
Speaker 3: you're the combination of your new collaboration and being put

772
00:42:08,200 --> 00:42:10,560
Speaker 3: through the new producers. You gotta love it and not

773
00:42:10,600 --> 00:42:14,520
Speaker 3: do it for commercial reasons, in my opinion, is because you're.

774
00:42:14,360 --> 00:42:16,320
Speaker 1: Not guarantegued to have that commercial success.

775
00:42:16,400 --> 00:42:18,239
Speaker 3: Yeah, and if your fans don't dig it, you know,

776
00:42:19,560 --> 00:42:21,600
Speaker 3: that's you know, it's their choice to stick with the

777
00:42:21,640 --> 00:42:23,880
Speaker 3: older stuff, you know, but.

778
00:42:25,239 --> 00:42:26,840
Speaker 2: Be rate of it, right, Like that's what you were

779
00:42:26,840 --> 00:42:29,040
Speaker 2: talking about earlier about what's special about your music in

780
00:42:29,080 --> 00:42:31,520
Speaker 2: a way is because when and that's what Amir was saying,

781
00:42:31,520 --> 00:42:34,160
Speaker 2: when you can stay true to yourself and still reach

782
00:42:34,239 --> 00:42:37,000
Speaker 2: these levels of success and you know, crossover, but you're

783
00:42:37,040 --> 00:42:38,879
Speaker 2: not changing who you are.

784
00:42:39,040 --> 00:42:40,920
Speaker 3: Well, that was a lot of things happened at that

785
00:42:41,000 --> 00:42:44,800
Speaker 3: particular time where my my guild, you know, the Recording

786
00:42:44,880 --> 00:42:50,160
Speaker 3: Academy gave me some props at a time when the

787
00:42:50,200 --> 00:42:52,840
Speaker 3: public at largic I've never been nominated for a People's

788
00:42:52,960 --> 00:42:55,680
Speaker 3: Choice or American Musical ord or any of that kind

789
00:42:55,680 --> 00:42:58,160
Speaker 3: of stuff. So it was really five thousand people were

790
00:42:58,239 --> 00:43:01,440
Speaker 3: voting for Grammys, and I think Don and Tom Petty

791
00:43:01,480 --> 00:43:03,360
Speaker 3: probably canceled each other out and I just kind of

792
00:43:03,360 --> 00:43:05,640
Speaker 3: eked by by a few, you know, got me out

793
00:43:05,800 --> 00:43:08,759
Speaker 3: a year. I mean it sold a million before.

794
00:43:08,640 --> 00:43:10,840
Speaker 2: You're the people's champ.

795
00:43:11,480 --> 00:43:13,759
Speaker 3: No, I like being a cult artist. And after that

796
00:43:13,920 --> 00:43:16,640
Speaker 3: initial first two albums with Nick of Time and look

797
00:43:16,680 --> 00:43:19,360
Speaker 3: at the draw, and then all of the regime that

798
00:43:19,480 --> 00:43:23,120
Speaker 3: promoted me got fired at Capital and I had eight

799
00:43:23,239 --> 00:43:26,840
Speaker 3: presidents in the fifteen years that I was on that label.

800
00:43:27,040 --> 00:43:28,759
Speaker 3: I don't even think I was on there that long.

801
00:43:29,480 --> 00:43:31,759
Speaker 3: And every time you make a relationship with radio and

802
00:43:31,800 --> 00:43:33,800
Speaker 3: they come to your shows after the show on tour,

803
00:43:34,320 --> 00:43:38,120
Speaker 3: and you have these relationships with the promotion people, and

804
00:43:38,160 --> 00:43:40,560
Speaker 3: then they fire everybody and bring in new people that

805
00:43:40,640 --> 00:43:44,319
Speaker 3: have no relationships. My third album that should have done

806
00:43:44,360 --> 00:43:46,520
Speaker 3: just as well, would Love Sneaking Up on You on it,

807
00:43:47,239 --> 00:43:49,960
Speaker 3: you know, went from seven million records to two million

808
00:43:50,040 --> 00:43:52,160
Speaker 3: because there was nobody coming to the shows. It was

809
00:43:52,200 --> 00:43:54,799
Speaker 3: no relationship. I didn't go to the radio stations. They

810
00:43:54,800 --> 00:43:56,640
Speaker 3: didn't have any free tickets for me to say low

811
00:43:56,719 --> 00:43:59,600
Speaker 3: to them afterwards, and you know, it just petered out.

812
00:44:00,280 --> 00:44:02,920
Speaker 3: And then frankly, the agism and the music business. You know,

813
00:44:02,960 --> 00:44:07,239
Speaker 3: at forty five, almost every woman especially gets booted off,

814
00:44:07,280 --> 00:44:11,400
Speaker 3: even VH one, so you become the legacy artist. But

815
00:44:11,480 --> 00:44:13,480
Speaker 3: you know, I'm happy selling three thousand seats at the

816
00:44:13,520 --> 00:44:16,439
Speaker 3: Beacon Theater two nights at the Beacon. That's a hell

817
00:44:16,480 --> 00:44:18,439
Speaker 3: of a crowd, you know.

818
00:44:18,400 --> 00:44:18,680
Speaker 1: For me.

819
00:44:19,600 --> 00:44:24,000
Speaker 3: So I'm grateful to have no pressure. I never wanted

820
00:44:24,000 --> 00:44:26,279
Speaker 3: the pressure of having to follow up another record with

821
00:44:26,360 --> 00:44:30,080
Speaker 3: it be compared to how successful this one was. I

822
00:44:30,120 --> 00:44:33,759
Speaker 3: just want to artistically keep getting good reviews and having

823
00:44:33,760 --> 00:44:36,120
Speaker 3: people go, she did it again. There she goes, she

824
00:44:36,160 --> 00:44:39,279
Speaker 3: did it again. But you know, like everybody else, I

825
00:44:39,280 --> 00:44:42,399
Speaker 3: have my favorite albums of my favorite artists. And while

826
00:44:42,400 --> 00:44:46,160
Speaker 3: I'm on that, I just have to say this show

827
00:44:46,239 --> 00:44:49,560
Speaker 3: has had some of the most incredible conversations with people

828
00:44:49,600 --> 00:44:52,200
Speaker 3: that I love and goes so deep. The one with

829
00:44:52,280 --> 00:44:56,680
Speaker 3: Bruce Hornsby just slayed me. Oh man, Oh wow, that's

830
00:44:56,719 --> 00:44:58,560
Speaker 3: my jam. If I can have one, If I can

831
00:44:58,600 --> 00:45:01,480
Speaker 3: only have one artist on a desert island for the

832
00:45:01,520 --> 00:45:03,880
Speaker 3: rest of all life, it would be Bruce Hornsby, Why

833
00:45:03,960 --> 00:45:07,520
Speaker 3: Bruce does just listen to the introduction of I Can't

834
00:45:07,520 --> 00:45:12,239
Speaker 3: Make You Love Me? Or the end of Innocence Mandolin Rain.

835
00:45:14,840 --> 00:45:21,080
Speaker 3: Oh my god, Oh my god, that's the one for me.

836
00:45:21,920 --> 00:45:24,359
Speaker 3: Shaka and you guys talked about that on the show.

837
00:45:24,400 --> 00:45:26,560
Speaker 3: I learned a whole lot on the show was great.

838
00:45:26,920 --> 00:45:28,719
Speaker 1: Wow, thank you. I'm glad.

839
00:45:33,480 --> 00:45:35,920
Speaker 3: You talk about basketball. There was a lot of basketball

840
00:45:35,960 --> 00:45:36,719
Speaker 3: in that show too.

841
00:45:37,080 --> 00:45:40,320
Speaker 1: Yeah, right, thank you a basketball player.

842
00:45:40,520 --> 00:45:42,120
Speaker 4: I feel like we should end this interview right now.

843
00:45:42,160 --> 00:45:43,600
Speaker 4: That's a pretty good exactly.

844
00:45:48,239 --> 00:45:54,200
Speaker 1: So can you tell me what led to your signing

845
00:45:54,239 --> 00:45:58,439
Speaker 1: to Warner Brothers in seventy one? In the beginning, yeah,

846
00:45:58,840 --> 00:45:59,840
Speaker 1: what the process was?

847
00:46:00,920 --> 00:46:03,880
Speaker 3: Well, because I wasn't expecting to do this for a living,

848
00:46:04,040 --> 00:46:07,760
Speaker 3: and I just happened to be dating the Dick Waterman

849
00:46:07,840 --> 00:46:11,399
Speaker 3: who managed Son House and Mississippi, Fred McDowell, and had

850
00:46:11,520 --> 00:46:16,439
Speaker 3: helped rediscover Son the father of Delta Blues, and brought

851
00:46:16,480 --> 00:46:18,480
Speaker 3: him out and put a lot of the blues artists

852
00:46:18,520 --> 00:46:22,560
Speaker 3: under one agency so that these club owners couldn't say, Hey,

853
00:46:22,640 --> 00:46:24,960
Speaker 3: we've already had our older black guy this month, why

854
00:46:24,960 --> 00:46:26,680
Speaker 3: should we pay you guy eight hundred bucks? And we

855
00:46:26,719 --> 00:46:29,560
Speaker 3: got him for five hundred you know, excuse me. So

856
00:46:29,640 --> 00:46:33,200
Speaker 3: he consolidated him in kind of a guild of badass

857
00:46:33,840 --> 00:46:36,960
Speaker 3: and Ray kept their prices up and didn't didn't get

858
00:46:37,000 --> 00:46:41,120
Speaker 3: them these young blues fans that were managing these guys,

859
00:46:41,480 --> 00:46:43,720
Speaker 3: was running them ragged. They were like in their sixties

860
00:46:43,719 --> 00:46:46,040
Speaker 3: and making him play three shows a night and taking

861
00:46:46,080 --> 00:46:48,680
Speaker 3: half their money. And anyway, it's a sordid story, but

862
00:46:49,239 --> 00:46:52,279
Speaker 3: Dick Waterman was really instrumental in bringing Buddy Guy and

863
00:46:52,360 --> 00:46:55,279
Speaker 3: Junior Wells out of Chicago. Big Barthur crued up. He

864
00:46:55,360 --> 00:47:00,840
Speaker 3: got the royalty, finally got royalty reform in Elvis Presley. Finally,

865
00:47:00,920 --> 00:47:05,520
Speaker 3: after after Arthur died, they settled the estate with Elvis

866
00:47:05,520 --> 00:47:08,400
Speaker 3: Presley and they finally got some money for That's all right, mama,

867
00:47:08,800 --> 00:47:12,960
Speaker 3: I mean just the man was so I had I

868
00:47:13,000 --> 00:47:17,120
Speaker 3: had access to opening the shows for my heroes. I didn't.

869
00:47:17,160 --> 00:47:20,000
Speaker 3: I wasn't threatening. I was cheap. I played my own guitar,

870
00:47:20,160 --> 00:47:21,920
Speaker 3: you know, I carried my own guitar. I didn't need

871
00:47:21,920 --> 00:47:25,279
Speaker 3: a band, and I got my foot in the door

872
00:47:25,400 --> 00:47:32,239
Speaker 3: just opening for my heroes. And somebody, Dick's lawyer, Nat Weiss, well,

873
00:47:32,440 --> 00:47:35,320
Speaker 3: it was the lawyer that was handling. He was Brian

874
00:47:35,360 --> 00:47:39,840
Speaker 3: Epstein's partner in the States, and he George Harrison wanted

875
00:47:39,840 --> 00:47:43,400
Speaker 3: Buddy Guy on Apple and Eric Clapton wanted him on

876
00:47:43,560 --> 00:47:47,080
Speaker 3: rso so they were they they brought Dick and I

877
00:47:47,120 --> 00:47:49,680
Speaker 3: went to the meeting when when and Nat wise said no,

878
00:47:49,760 --> 00:47:53,040
Speaker 3: I think you should sign with Atlantic. And meanwhile we

879
00:47:53,160 --> 00:47:55,680
Speaker 3: became friends, and I was playing the gas Light opening

880
00:47:55,719 --> 00:47:58,799
Speaker 3: for Fred McDowell and Nat came down and he went, oh, man,

881
00:47:58,880 --> 00:48:02,120
Speaker 3: you got you got something there. And so he called

882
00:48:02,160 --> 00:48:04,959
Speaker 3: all these record labels and had them send scouts down.

883
00:48:05,600 --> 00:48:07,960
Speaker 3: And the other scouts saw the other scout and they went,

884
00:48:08,000 --> 00:48:10,600
Speaker 3: what did this guy know? You know? So he drummed

885
00:48:10,680 --> 00:48:15,840
Speaker 3: up this interest in me. But I always knew I

886
00:48:15,880 --> 00:48:17,680
Speaker 3: wanted to go with Warners because they had Ry Cooter

887
00:48:17,760 --> 00:48:22,439
Speaker 3: and Randy Newman and James Taylor. And I went out

888
00:48:22,440 --> 00:48:25,280
Speaker 3: to La on Capitol's Dime and played at the Troubadour

889
00:48:25,320 --> 00:48:28,280
Speaker 3: and did a showcase. But in the afternoon I snuck

890
00:48:28,320 --> 00:48:30,399
Speaker 3: over to Warner Brothers and said, I want to come

891
00:48:30,440 --> 00:48:34,640
Speaker 3: on your label. So I asked, I asked for a

892
00:48:34,800 --> 00:48:38,400
Speaker 3: hundred I asked for one hundred percent total artistic control.

893
00:48:38,480 --> 00:48:40,800
Speaker 3: I said, don't give me. I'll just give me the budget.

894
00:48:41,680 --> 00:48:45,600
Speaker 3: I'll make the record, no advance. If I save anything

895
00:48:45,640 --> 00:48:48,520
Speaker 3: after making the record, I'll buy myself a new Volvo

896
00:48:48,640 --> 00:48:51,440
Speaker 3: or something. And I said, just get don't tell me

897
00:48:51,480 --> 00:48:54,719
Speaker 3: when to play record with, who to work, what to sing,

898
00:48:54,880 --> 00:48:57,359
Speaker 3: and how to look. And I work my ass off

899
00:48:57,360 --> 00:48:59,920
Speaker 3: for you. And they went for it at twenty one.

900
00:49:00,640 --> 00:49:04,040
Speaker 1: So wait a minute, you're saying that you were out

901
00:49:04,080 --> 00:49:07,000
Speaker 1: there to to talk to Capital.

902
00:49:07,840 --> 00:49:08,960
Speaker 3: They paid for the trip.

903
00:49:09,040 --> 00:49:12,600
Speaker 1: Yeah, right, and instead you Wow.

904
00:49:12,440 --> 00:49:15,080
Speaker 3: Well, I mean I was open. I was open to it,

905
00:49:15,160 --> 00:49:18,880
Speaker 3: but in my heart if I could get Warner Brothers interested,

906
00:49:19,560 --> 00:49:22,480
Speaker 3: Randy Newman and Right Cooter were like, you know, Apollo

907
00:49:22,560 --> 00:49:24,480
Speaker 3: and Zeus to me, you know, that was just it

908
00:49:25,120 --> 00:49:27,560
Speaker 3: and the and Warner Brothers that said, we make our

909
00:49:27,600 --> 00:49:30,839
Speaker 3: money from Black Sabbath and Deep Purple. We don't care

910
00:49:30,880 --> 00:49:33,280
Speaker 3: if you're not a hit record. You can do whatever

911
00:49:33,320 --> 00:49:36,080
Speaker 3: you want. Wow, you know, little they had Little movie,

912
00:49:36,160 --> 00:49:39,200
Speaker 3: you know they gave we believe in you. You're not

913
00:49:39,239 --> 00:49:41,719
Speaker 3: a singles artist. We have the grateful debt. We'll make

914
00:49:41,760 --> 00:49:43,880
Speaker 3: our money from these other guys. So I thought that

915
00:49:44,000 --> 00:49:45,000
Speaker 3: was so righteous.

916
00:49:45,440 --> 00:49:47,480
Speaker 1: Who was the CEO of a Warner at that.

917
00:49:47,480 --> 00:49:53,480
Speaker 3: Time, well, Mo Austin and Joe Smith were the Raprise

918
00:49:53,600 --> 00:49:58,080
Speaker 3: and Warner Brothers to pairs in the same funky old

919
00:49:58,120 --> 00:50:02,400
Speaker 3: building that no longer exis, So they were a family

920
00:50:02,520 --> 00:50:03,640
Speaker 3: kind of a joint, you know.

921
00:50:04,120 --> 00:50:08,200
Speaker 1: It was like, so, yeah, can you also this is

922
00:50:08,280 --> 00:50:11,920
Speaker 1: what I always wanted to know. I don't know. I

923
00:50:12,000 --> 00:50:17,080
Speaker 1: think one trip to Japan, I think I've ran across

924
00:50:17,120 --> 00:50:21,840
Speaker 1: like a Warner Brothers e b K. Where not since

925
00:50:21,920 --> 00:50:24,439
Speaker 1: the days of Motown did I see this thing where

926
00:50:24,520 --> 00:50:28,319
Speaker 1: like all the Warner Brothers artists would travel together, Like

927
00:50:29,480 --> 00:50:31,359
Speaker 1: I think I was looking looking up like old Graham

928
00:50:31,400 --> 00:50:34,480
Speaker 1: Central Station footage, but it was like the Doobie Brothers,

929
00:50:34,520 --> 00:50:39,520
Speaker 1: Bonnie Ray Graham Central Station. It was like, was it

930
00:50:39,640 --> 00:50:43,640
Speaker 1: always like that where there was a Warner Brothers touring

931
00:50:43,680 --> 00:50:45,239
Speaker 1: season where they Well, I.

932
00:50:45,160 --> 00:50:48,080
Speaker 3: Didn't get to go. I had so many I worked.

933
00:50:48,280 --> 00:50:50,480
Speaker 3: I was booked like six months in advance for the

934
00:50:50,560 --> 00:50:53,439
Speaker 3: ten months of the next year. And I made six

935
00:50:53,480 --> 00:50:55,480
Speaker 3: albums in seven years and stayed on the road to

936
00:50:55,520 --> 00:50:57,560
Speaker 3: hold my old twenties. I don't know how I did it.

937
00:50:57,640 --> 00:51:00,360
Speaker 3: But the Warner Brothers Music Show I didn't get to

938
00:51:00,360 --> 00:51:02,040
Speaker 3: go on. They went to Europe. I don't know. They

939
00:51:02,120 --> 00:51:03,680
Speaker 3: must well, you must have known if they went to

940
00:51:03,760 --> 00:51:07,640
Speaker 3: Japan together. But it was little feet mantros to doobies.

941
00:51:08,239 --> 00:51:10,439
Speaker 3: It was just like, yeah, and they had that thing

942
00:51:10,480 --> 00:51:14,080
Speaker 3: where Team A would play this city with this set

943
00:51:14,080 --> 00:51:16,640
Speaker 3: of equipment and then Team B would they'd leave the

944
00:51:16,719 --> 00:51:19,680
Speaker 3: sound system and then swap it and take the train

945
00:51:19,760 --> 00:51:22,880
Speaker 3: and go over. But I didn't I never heard of

946
00:51:22,920 --> 00:51:26,600
Speaker 3: another label doing that. There was such a hip idea.

947
00:51:26,719 --> 00:51:29,799
Speaker 1: Okay, so they were really they were really like a

948
00:51:29,840 --> 00:51:31,160
Speaker 1: family based.

949
00:51:31,160 --> 00:51:36,000
Speaker 3: Absolutely, And then it was way before Warners was at

950
00:51:36,000 --> 00:51:39,640
Speaker 3: the end of the seventies, Warners, Electra and Atlantic formed.

951
00:51:39,680 --> 00:51:43,920
Speaker 3: We had a big, shiant corporate building and you know,

952
00:51:44,120 --> 00:51:48,840
Speaker 3: Thriller and Rumors sold twelve million copies and Thriller was huge,

953
00:51:48,840 --> 00:51:54,399
Speaker 3: and Miami sound Miami Vice soundtrack records just went were

954
00:51:54,520 --> 00:51:58,680
Speaker 3: billions sellings. So then when I renegotiated my deal when

955
00:51:58,680 --> 00:52:01,319
Speaker 3: I was up for resign, Walter Yettnikov tried to get

956
00:52:01,360 --> 00:52:03,880
Speaker 3: me to come over to CBS. When he turned James Taylor,

957
00:52:04,239 --> 00:52:06,560
Speaker 3: who had been languishing it Warner's, they made me. He

958
00:52:06,680 --> 00:52:08,840
Speaker 3: was a big hit because and he said, I'll do

959
00:52:08,960 --> 00:52:13,120
Speaker 3: for you what I did for James Taylor and Warners

960
00:52:13,200 --> 00:52:17,759
Speaker 3: was so pissed they matched his offer and then they

961
00:52:17,800 --> 00:52:20,160
Speaker 3: penalized me for it because it wasn't bringing in the

962
00:52:20,160 --> 00:52:23,040
Speaker 3: big bucks. You know, I was going to say, it

963
00:52:23,080 --> 00:52:25,120
Speaker 3: was all about it was all about money after that,

964
00:52:25,239 --> 00:52:26,080
Speaker 3: you know, I.

965
00:52:26,080 --> 00:52:30,080
Speaker 1: Was going to say, during that initial period, when you know,

966
00:52:30,200 --> 00:52:32,160
Speaker 1: you had the you had the buzz, you had the

967
00:52:32,200 --> 00:52:36,120
Speaker 1: critical claim. Shit, you even got the cover of Rolling

968
00:52:36,200 --> 00:52:44,360
Speaker 1: Stone for you, did you were you personally like? Because

969
00:52:44,680 --> 00:52:48,440
Speaker 1: oftentimes would like I have the same situation. Well not

970
00:52:48,480 --> 00:52:52,080
Speaker 1: even I like both Fonte and I kind of came

971
00:52:52,080 --> 00:52:56,040
Speaker 1: from situations where like, we have massive critical claims with

972
00:52:56,120 --> 00:52:59,359
Speaker 1: our product, and oftentimes I think people would just come

973
00:52:59,440 --> 00:53:02,080
Speaker 1: up to me like, yeah, but you guys don't care

974
00:53:02,120 --> 00:53:04,000
Speaker 1: about that, because you guys are real artists. You don't

975
00:53:04,040 --> 00:53:06,480
Speaker 1: need to grow a real artist.

976
00:53:07,680 --> 00:53:10,120
Speaker 3: No, I would have liked to. I would have liked

977
00:53:10,160 --> 00:53:12,279
Speaker 3: to given my band a raise, you know what I mean?

978
00:53:12,640 --> 00:53:13,080
Speaker 1: Right? Yeah?

979
00:53:13,120 --> 00:53:16,759
Speaker 3: And run Away my version of Del Shannon's Runaway, kind

980
00:53:16,760 --> 00:53:18,520
Speaker 3: of like Love and Happiness. I did this kind of

981
00:53:18,880 --> 00:53:22,880
Speaker 3: al green thing and had Michael, and you know, I

982
00:53:22,880 --> 00:53:25,640
Speaker 3: thought it was a hip idea. It started one of

983
00:53:25,719 --> 00:53:28,839
Speaker 3: many covers that I like to rearrange, and they in it,

984
00:53:28,920 --> 00:53:30,879
Speaker 3: and it got up to number twenty, and then they

985
00:53:30,920 --> 00:53:32,799
Speaker 3: just didn't put the damn records in the stores. You know,

986
00:53:32,840 --> 00:53:35,240
Speaker 3: I wasn't a priority, and so that pissed me off.

987
00:53:35,320 --> 00:53:37,640
Speaker 3: You know, it pissed me off that I was doing

988
00:53:37,719 --> 00:53:40,960
Speaker 3: harder work than my record company wasn't following through all

989
00:53:41,000 --> 00:53:43,440
Speaker 3: they needed to do. If I sold three thousand seats,

990
00:53:43,440 --> 00:53:45,440
Speaker 3: there should be at least three thousand records in that

991
00:53:45,760 --> 00:53:49,120
Speaker 3: town that people could go by after they see the show. So,

992
00:53:50,080 --> 00:53:53,640
Speaker 3: you know, everybody bitches about being miss not promoted, but

993
00:53:53,960 --> 00:53:56,239
Speaker 3: you know, I thought they didn't do as great a

994
00:53:56,360 --> 00:53:59,680
Speaker 3: job as what I was hoping. But I agree that

995
00:53:59,760 --> 00:54:03,279
Speaker 3: my music isn't that commercial and I don't look like

996
00:54:03,320 --> 00:54:05,560
Speaker 3: Stevie Necks, you know what I mean. I mean, I

997
00:54:05,600 --> 00:54:08,520
Speaker 3: didn't have that. I didn't have that thang that makes

998
00:54:08,560 --> 00:54:13,640
Speaker 3: you go from a respected artist to you know, you know,

999
00:54:13,880 --> 00:54:16,000
Speaker 3: like my other female compatriots.

1000
00:54:16,160 --> 00:54:18,520
Speaker 2: I was sitting here trying to think who who were

1001
00:54:18,520 --> 00:54:20,600
Speaker 2: buying these peers at the time, because you were talking

1002
00:54:20,600 --> 00:54:22,640
Speaker 2: about being on tours as you were twenty something. I

1003
00:54:22,680 --> 00:54:27,719
Speaker 2: heard all these male names and I'm like, well.

1004
00:54:26,000 --> 00:54:33,160
Speaker 3: Linda Ronstadt, Emmy Lou Harris, Phoebe Snow. You know, yeah,

1005
00:54:33,200 --> 00:54:35,240
Speaker 3: we were all we were all on tour all together.

1006
00:54:35,320 --> 00:54:35,560
Speaker 1: I was.

1007
00:54:37,360 --> 00:54:39,160
Speaker 2: Okay, good, That's what I want to ask you. Did

1008
00:54:39,239 --> 00:54:40,360
Speaker 2: you get to tour with these ladies.

1009
00:54:41,280 --> 00:54:43,200
Speaker 3: No, we just went to each other's show because we

1010
00:54:43,520 --> 00:54:45,440
Speaker 3: had our own band and crew to pay for so

1011
00:54:45,600 --> 00:54:48,040
Speaker 3: we There wasn't until the Lilith Fair that we that

1012
00:54:48,320 --> 00:54:50,520
Speaker 3: they finally had women on the same bill.

1013
00:54:51,160 --> 00:54:52,680
Speaker 1: That didn't happen to Lilith Fair.

1014
00:54:53,000 --> 00:54:54,920
Speaker 3: But I mean I could have I could have done

1015
00:54:55,080 --> 00:54:57,359
Speaker 3: another woman, but it was made made for a better

1016
00:54:57,400 --> 00:54:59,560
Speaker 3: show if you had a little bit of a dis

1017
00:54:59,760 --> 00:55:02,000
Speaker 3: you know. Well, at first I was playing with Muddy,

1018
00:55:02,080 --> 00:55:04,880
Speaker 3: you know, I had Mos Allison, and I had Sippy

1019
00:55:04,960 --> 00:55:07,000
Speaker 3: Open and Ruth Brown and Charles Brown. So I had

1020
00:55:07,320 --> 00:55:10,279
Speaker 3: I had some debts to pay and showcase people that,

1021
00:55:10,560 --> 00:55:12,640
Speaker 3: you know, I wanted to showcase. But I had a

1022
00:55:12,640 --> 00:55:15,400
Speaker 3: lot of singer songwriters that that wrote the songs that

1023
00:55:15,520 --> 00:55:17,279
Speaker 3: I put on my records, and I owed it to

1024
00:55:17,400 --> 00:55:20,440
Speaker 3: them to give them as I build up my following.

1025
00:55:20,480 --> 00:55:22,400
Speaker 3: I love to be able to showcase Chris Smith.

1026
00:55:22,520 --> 00:55:24,360
Speaker 2: But the piece that you that was interesting that you

1027
00:55:24,440 --> 00:55:26,239
Speaker 2: said was since you toured, when you were twenty one.

1028
00:55:26,280 --> 00:55:27,759
Speaker 2: I was just curious because you were one of the

1029
00:55:27,840 --> 00:55:30,800
Speaker 2: only females on tour at that time, and you touring

1030
00:55:30,880 --> 00:55:31,040
Speaker 2: with you.

1031
00:55:31,160 --> 00:55:34,120
Speaker 3: Oh no, Emmy, Lou and Linda and Maria. We know

1032
00:55:34,239 --> 00:55:36,760
Speaker 3: there was lots of women touring and I'm sure country

1033
00:55:36,760 --> 00:55:38,680
Speaker 3: I don't follow country music much, but I think they

1034
00:55:38,719 --> 00:55:43,439
Speaker 3: were all touring, but not with you. No, no, wed Wow.

1035
00:55:43,520 --> 00:55:45,400
Speaker 2: So that's what I was saying, Like back in the day,

1036
00:55:45,440 --> 00:55:47,320
Speaker 2: it seemed like you were on tour. You know, it

1037
00:55:47,400 --> 00:55:48,600
Speaker 2: was a lot of fellas, a lot of folks that

1038
00:55:48,640 --> 00:55:49,920
Speaker 2: you looked up to. But that must have been an

1039
00:55:49,960 --> 00:55:52,879
Speaker 2: experience in itself and lessons that you learned in that way.

1040
00:55:53,120 --> 00:55:55,719
Speaker 3: Oh yeah, because you know, if you're if you're the

1041
00:55:55,800 --> 00:55:58,160
Speaker 3: only girl in the entourage, you look pretty good at

1042
00:55:58,160 --> 00:56:03,880
Speaker 3: two in the morning. I'm getting no, but I mean,

1043
00:56:04,080 --> 00:56:06,920
Speaker 3: I'm not, I'm not. I'm just saying that sometimes you

1044
00:56:07,080 --> 00:56:11,600
Speaker 3: date within the which which you have to be careful

1045
00:56:11,640 --> 00:56:14,080
Speaker 3: because you're still on that bus together for another ten

1046
00:56:14,120 --> 00:56:17,120
Speaker 3: months if it doesn't work out, awkward.

1047
00:56:17,680 --> 00:56:21,560
Speaker 1: You know, I'm one of those people that can sort

1048
00:56:21,600 --> 00:56:25,440
Speaker 1: of attest to you know, I've been really careful on

1049
00:56:26,400 --> 00:56:32,640
Speaker 1: meeting my heroes. Some of them have been magical. Some

1050
00:56:32,840 --> 00:56:39,719
Speaker 1: of them have been not magical. Okay, yeah somewhere assholes.

1051
00:56:40,719 --> 00:56:46,640
Speaker 1: I know that because you're such a champion for like

1052
00:56:46,960 --> 00:56:51,440
Speaker 1: all these authentic blues artists, of them all, like who

1053
00:56:51,719 --> 00:56:55,239
Speaker 1: of that legendary circle that you grew up listening to

1054
00:56:56,840 --> 00:57:03,200
Speaker 1: from your childhood did you really bond with personally in

1055
00:57:03,280 --> 00:57:07,000
Speaker 1: your first time not post Nick of Time John Lee

1056
00:57:07,080 --> 00:57:09,399
Speaker 1: Hooker era, but like in your initial.

1057
00:57:09,160 --> 00:57:13,040
Speaker 3: Era and initially Mississippi. Fred mcdoll and I got to

1058
00:57:13,160 --> 00:57:15,800
Speaker 3: be very very close. He's one of my favorite of

1059
00:57:15,880 --> 00:57:17,880
Speaker 3: the Delta blues men and one of the only ones

1060
00:57:17,920 --> 00:57:20,760
Speaker 3: that was alive that I had access to, and we

1061
00:57:21,000 --> 00:57:24,440
Speaker 3: just clicked as I later in the nineties when I

1062
00:57:24,480 --> 00:57:26,760
Speaker 3: got to know him better and played a lot of

1063
00:57:26,760 --> 00:57:28,960
Speaker 3: shows together and did a duet, Johnley Hooker and I

1064
00:57:29,080 --> 00:57:31,640
Speaker 3: became really close, as did Ruth Brown and Charles Brown

1065
00:57:31,720 --> 00:57:34,520
Speaker 3: and I in the middle of the nineties, we all

1066
00:57:34,800 --> 00:57:38,240
Speaker 3: toured a lot together, but early on Fred mcdollan and

1067
00:57:38,360 --> 00:57:42,400
Speaker 3: Sippy Wallace and I toured together. Sippy came out of

1068
00:57:42,480 --> 00:57:45,040
Speaker 3: retirement in nineteen seventy two at the Annarbor Blues and

1069
00:57:45,200 --> 00:57:47,880
Speaker 3: Jazz Festival. I didn't even know she was alive. I

1070
00:57:47,960 --> 00:57:50,640
Speaker 3: cut three of her songs before I found out, looking

1071
00:57:50,680 --> 00:57:53,800
Speaker 3: to where to send the checks, and she came out

1072
00:57:53,880 --> 00:57:55,960
Speaker 3: on stage and was only going to do a gospel song,

1073
00:57:56,080 --> 00:57:59,520
Speaker 3: but she's she heard us rehearsing Women Be Wise her

1074
00:57:59,640 --> 00:58:02,000
Speaker 3: song in the trailer, and she said, oh, maybe I'll

1075
00:58:02,080 --> 00:58:04,560
Speaker 3: just had a soprano player come right up to her

1076
00:58:04,600 --> 00:58:09,080
Speaker 3: ear and she probably had sung it in thirty years

1077
00:58:09,120 --> 00:58:10,880
Speaker 3: and she said, well, I'll just do that one song,

1078
00:58:11,440 --> 00:58:15,200
Speaker 3: and then people went ape shit. And then she toured

1079
00:58:15,320 --> 00:58:18,600
Speaker 3: for the next fifteen years, including us together. And there's

1080
00:58:18,640 --> 00:58:23,240
Speaker 3: a classic David Letterman clip with Sippy Wallace and I

1081
00:58:23,440 --> 00:58:26,400
Speaker 3: singing Women Be Wise with Doctor John on the keyboards

1082
00:58:26,440 --> 00:58:30,080
Speaker 3: that you got to check out. It's like nineteen eighty

1083
00:58:30,280 --> 00:58:34,920
Speaker 3: one maybe or seventy nine, okay, but anyway, Mississippi from McDowall.

1084
00:58:35,040 --> 00:58:37,520
Speaker 3: He passed away when I was twenty one, like only

1085
00:58:38,080 --> 00:58:41,000
Speaker 3: a couple of a couple of years after I started

1086
00:58:41,040 --> 00:58:43,880
Speaker 3: being close friends with him and we toured together. It

1087
00:58:44,000 --> 00:58:47,400
Speaker 3: was a heartbreaking. I ended up losing a lot of

1088
00:58:47,480 --> 00:58:51,120
Speaker 3: the older semi grandparent figures in my life that I

1089
00:58:51,200 --> 00:58:53,800
Speaker 3: got close to. And you know, I was very close

1090
00:58:53,840 --> 00:58:56,840
Speaker 3: to Muddy Waters and he passed away. And thank goodness

1091
00:58:56,960 --> 00:58:59,520
Speaker 3: for John Lee and Ruth Brown and Charles Brown who

1092
00:58:59,560 --> 00:59:04,160
Speaker 3: I got to celebrate and have deep relationships with so

1093
00:59:04,400 --> 00:59:05,160
Speaker 3: my heroes.

1094
00:59:05,360 --> 00:59:07,280
Speaker 2: You know, I got to be friends with There's a

1095
00:59:07,320 --> 00:59:08,360
Speaker 2: lot of history that you know.

1096
00:59:08,600 --> 00:59:09,040
Speaker 1: Got Lee.

1097
00:59:09,600 --> 00:59:13,880
Speaker 7: Yeah, I was gonna ask your history and your relationship

1098
00:59:14,240 --> 00:59:16,280
Speaker 7: with another get tar god, Stevie Rayvaughn.

1099
00:59:16,840 --> 00:59:19,240
Speaker 3: Oh my god, I'm gonna have to put lipsic on

1100
00:59:19,320 --> 00:59:19,520
Speaker 3: for that.

1101
00:59:21,680 --> 00:59:24,200
Speaker 7: Get your Would you like to know what was your

1102
00:59:24,720 --> 00:59:27,920
Speaker 7: relationship like working with him? What was your guys friendship like?

1103
00:59:28,760 --> 00:59:31,480
Speaker 3: We were mutual fans of each other. We got to

1104
00:59:31,560 --> 00:59:33,840
Speaker 3: be friends in Austin, Texas when I would come through

1105
00:59:33,920 --> 00:59:37,800
Speaker 3: and play, you know, one of my favorite hangouts and

1106
00:59:37,960 --> 00:59:40,960
Speaker 3: places to play where the music in New Orleans and

1107
00:59:41,040 --> 00:59:45,080
Speaker 3: Minneapolis and Austin, the black and white music scene was

1108
00:59:45,160 --> 00:59:48,360
Speaker 3: not so segregated. It was really a lot of interplay,

1109
00:59:48,960 --> 00:59:50,959
Speaker 3: not just in blues, but in all kinds of music.

1110
00:59:51,040 --> 00:59:51,160
Speaker 2: You know.

1111
00:59:51,320 --> 00:59:53,120
Speaker 3: That's one of the reasons when I met Prince and

1112
00:59:53,200 --> 00:59:55,400
Speaker 3: he said, oh, I've always dug your music, you know,

1113
00:59:55,480 --> 00:59:57,120
Speaker 3: And I said, well, how did you hear about that?

1114
00:59:57,240 --> 00:59:59,800
Speaker 3: And you know, he said, what, you know, how did

1115
00:59:59,840 --> 01:00:03,320
Speaker 3: you anyway, It's one of those things where the fabulous

1116
01:00:03,360 --> 01:00:05,680
Speaker 3: Thunderbirds and I did a lot of touring together. But

1117
01:00:05,800 --> 01:00:08,760
Speaker 3: I first met them in Texas with the at Anton's

1118
01:00:08,840 --> 01:00:11,960
Speaker 3: Legendary Blues Club, and the word went out about Stevie

1119
01:00:12,080 --> 01:00:15,320
Speaker 3: Ray Vaughan, about the Vaughn Brothers, and his first album

1120
01:00:15,400 --> 01:00:18,040
Speaker 3: came out, and you know, if you're a blues guitarist

1121
01:00:18,480 --> 01:00:23,400
Speaker 3: and a fan, the word of Stevie Ray got blasted

1122
01:00:23,440 --> 01:00:26,480
Speaker 3: out into the stratosphere when he played guitar and Let's

1123
01:00:26,560 --> 01:00:29,240
Speaker 3: Dance by David Bowie. I mean, that's one of the

1124
01:00:29,400 --> 01:00:34,000
Speaker 3: baddest ass solos are performances. And then I met him,

1125
01:00:34,480 --> 01:00:39,640
Speaker 3: I saw him play. We toured together, we were party mates,

1126
01:00:39,680 --> 01:00:43,000
Speaker 3: and we were sober mates. You know, he got sober

1127
01:00:43,040 --> 01:00:46,560
Speaker 3: a few months before I did. Not long after our

1128
01:00:46,640 --> 01:00:50,920
Speaker 3: tour together, by the way, and I saw him come.

1129
01:00:51,120 --> 01:00:52,800
Speaker 3: He came out on stage and played the night he

1130
01:00:52,880 --> 01:00:55,080
Speaker 3: came out of rehab, and he just he was worried

1131
01:00:55,120 --> 01:00:57,040
Speaker 3: that he wasn't going to have the same edge, and

1132
01:00:57,160 --> 01:01:00,240
Speaker 3: he played. He burned a hole in the sun that night.

1133
01:01:00,280 --> 01:01:02,080
Speaker 3: It was incredible, as Mom was sitting right there on

1134
01:01:02,160 --> 01:01:04,440
Speaker 3: the side, just going and I said, Okay, that's it.

1135
01:01:05,000 --> 01:01:08,160
Speaker 3: That's all bets are off. This guy's on a comet.

1136
01:01:08,360 --> 01:01:10,680
Speaker 3: You know, the greatest guitar player in my lifetime that

1137
01:01:10,760 --> 01:01:11,360
Speaker 3: I've ever heard.

1138
01:01:12,240 --> 01:01:18,920
Speaker 1: When you're interacting with these with these blues grates, is

1139
01:01:19,000 --> 01:01:24,000
Speaker 1: it dismaying to them? Number one? Is it dismaying to

1140
01:01:24,160 --> 01:01:34,280
Speaker 1: them that they're not receiving more support from a black

1141
01:01:34,360 --> 01:01:37,880
Speaker 1: or fan base? I can. I can. That's sort of

1142
01:01:37,920 --> 01:01:41,080
Speaker 1: parallel to my situation, where like there was definitely a

1143
01:01:41,160 --> 01:01:44,320
Speaker 1: period where it's just like, you know, the first seven

1144
01:01:44,400 --> 01:01:47,840
Speaker 1: years of my career, I was just like, wait, I

1145
01:01:48,040 --> 01:01:52,160
Speaker 1: guess the music that we're doing really isn't attracting the

1146
01:01:52,720 --> 01:01:56,400
Speaker 1: fan base that looks like I do. And so is

1147
01:01:56,440 --> 01:01:59,720
Speaker 1: it mind blowing to them that this, like this white

1148
01:01:59,760 --> 01:02:04,880
Speaker 1: woman from from California is doing more of the knowledge

1149
01:02:05,000 --> 01:02:08,800
Speaker 1: than you know then other black people.

1150
01:02:09,000 --> 01:02:10,560
Speaker 3: But we talk about it.

1151
01:02:11,920 --> 01:02:15,760
Speaker 1: But my other thing is, and I really wish and

1152
01:02:15,880 --> 01:02:19,400
Speaker 1: I guess I have to also do the work because

1153
01:02:19,440 --> 01:02:22,760
Speaker 1: I'll say that the blues is probably the one area

1154
01:02:23,080 --> 01:02:28,040
Speaker 1: of music that I've really really haven't you know, sunk

1155
01:02:28,120 --> 01:02:33,840
Speaker 1: my teeth into what is what is the criteria in

1156
01:02:33,960 --> 01:02:40,439
Speaker 1: your mind for what makes a great blues man? Blues woman,

1157
01:02:40,560 --> 01:02:45,000
Speaker 1: a blues player, like are you listening for tone? Are

1158
01:02:45,040 --> 01:02:47,600
Speaker 1: you listening for dexterity?

1159
01:02:47,720 --> 01:02:50,960
Speaker 3: Like it just yeah, you know, it's it's that it's

1160
01:02:51,080 --> 01:02:54,480
Speaker 3: so ineffable. It's really hard to explain because when people

1161
01:02:54,560 --> 01:02:55,880
Speaker 3: say to you, you know, I want to send you

1162
01:02:55,960 --> 01:02:58,640
Speaker 3: on some songs, what are you looking for? I'm going well,

1163
01:02:58,840 --> 01:03:01,600
Speaker 3: And then people send me identical copies of something to

1164
01:03:01,640 --> 01:03:03,120
Speaker 3: talk about or I can't make you love me, and

1165
01:03:03,160 --> 01:03:04,640
Speaker 3: I go, you know, I already did that. I don't know.

1166
01:03:04,720 --> 01:03:08,000
Speaker 3: I gotta find something new. And what makes me go

1167
01:03:08,200 --> 01:03:11,760
Speaker 3: crazy for the people like liking Lightning Hopkins or Johnley

1168
01:03:11,800 --> 01:03:16,760
Speaker 3: Hooker's Crawling King Snake Blues or Mississippi Fred McDowell, it's

1169
01:03:16,920 --> 01:03:22,720
Speaker 3: the soul and the intensity of what is revealed in

1170
01:03:22,800 --> 01:03:25,640
Speaker 3: their vocal and their body language and their marriage. If

1171
01:03:25,640 --> 01:03:29,600
Speaker 3: they're a guitar player or a piano player. The it's

1172
01:03:29,760 --> 01:03:32,720
Speaker 3: one thing, you know, Memphis Slim was just you can't

1173
01:03:32,760 --> 01:03:35,960
Speaker 3: separate his body movements from his voice from his piano

1174
01:03:36,040 --> 01:03:39,840
Speaker 3: plan Fred McDowell, the same thing Johnley Hooker, Oh my god,

1175
01:03:39,960 --> 01:03:44,720
Speaker 3: you know it's the darkest haunting. I don't want to

1176
01:03:44,720 --> 01:03:48,480
Speaker 3: say it's the blues is only about the hurtful things

1177
01:03:48,680 --> 01:03:50,920
Speaker 3: or the pain that's so deep, because it's.

1178
01:03:50,840 --> 01:03:57,600
Speaker 2: So that like one of the reasons black people might

1179
01:03:57,640 --> 01:03:59,400
Speaker 2: not be just running to it is because we've been

1180
01:03:59,440 --> 01:04:00,600
Speaker 2: going through it and we made it.

1181
01:04:02,040 --> 01:04:03,680
Speaker 1: I was going to say that it's too much of

1182
01:04:03,720 --> 01:04:05,800
Speaker 1: a minder for me personally, but.

1183
01:04:06,320 --> 01:04:09,440
Speaker 3: Yeah, but I mean it's it's the way that it

1184
01:04:09,600 --> 01:04:12,200
Speaker 3: came up when and when I started out was what

1185
01:04:12,840 --> 01:04:15,160
Speaker 3: right do you have to sing the blues? You're a

1186
01:04:15,160 --> 01:04:19,160
Speaker 3: white girl from California, daughter of a Broadway singer. For

1187
01:04:19,240 --> 01:04:20,200
Speaker 3: God's sake, how come you?

1188
01:04:20,400 --> 01:04:20,560
Speaker 1: You know?

1189
01:04:20,640 --> 01:04:22,440
Speaker 3: I said, you know, I didn't even think about it.

1190
01:04:22,440 --> 01:04:24,720
Speaker 3: I just liked the music and I needed to teach

1191
01:04:24,760 --> 01:04:27,120
Speaker 3: myself how to play it to entertain myself in my room.

1192
01:04:27,400 --> 01:04:29,840
Speaker 3: I didn't ask to this. I didn't say I was great.

1193
01:04:30,240 --> 01:04:31,760
Speaker 3: I didn't say I had the right to do this.

1194
01:04:32,120 --> 01:04:33,600
Speaker 3: If you don't like the way I sing it, don't

1195
01:04:33,640 --> 01:04:35,920
Speaker 3: come to my gig, you know. But I'm not trying

1196
01:04:35,960 --> 01:04:39,880
Speaker 3: to be black. I'm not trying to usurp income. If anything,

1197
01:04:40,080 --> 01:04:43,000
Speaker 3: I was, I was made to be on the earth

1198
01:04:43,520 --> 01:04:48,200
Speaker 3: to showcase why artists of that generation never got royalties

1199
01:04:48,240 --> 01:04:51,080
Speaker 3: and why they rhythm and blues pioneers that line our

1200
01:04:51,160 --> 01:04:55,520
Speaker 3: record shelves never saw a penny because they're still in

1201
01:04:55,640 --> 01:05:00,320
Speaker 3: these oppressive, exploitive record contracts that they I didn't know

1202
01:05:00,400 --> 01:05:04,600
Speaker 3: any better, didn't have access to legal fee, lawyers advices.

1203
01:05:04,640 --> 01:05:06,680
Speaker 3: They just were not cutting people in more than two

1204
01:05:06,760 --> 01:05:09,120
Speaker 3: percent of royalties, and out of that they had to

1205
01:05:09,160 --> 01:05:13,440
Speaker 3: pay for everything. So, you know, in the early days

1206
01:05:13,920 --> 01:05:16,760
Speaker 3: when people would say, I would go up and ask

1207
01:05:16,920 --> 01:05:19,560
Speaker 3: Sippy and Fred and Muddy like, how do you feel

1208
01:05:19,640 --> 01:05:21,959
Speaker 3: when they look out there and see all those white people?

1209
01:05:22,400 --> 01:05:25,280
Speaker 3: And he goes, you know, I wasn't expecting to be

1210
01:05:25,440 --> 01:05:28,280
Speaker 3: invited to go to England or to go to invite

1211
01:05:28,320 --> 01:05:31,080
Speaker 3: it to the Newport Folk Festival. I didn't expect for

1212
01:05:31,240 --> 01:05:33,280
Speaker 3: CBS to offer me a record deal, you know, for

1213
01:05:33,480 --> 01:05:35,760
Speaker 3: Sunhouse and all this. A lot of these people were

1214
01:05:35,800 --> 01:05:38,520
Speaker 3: retired for twenty five years and they were rediscovered by

1215
01:05:38,640 --> 01:05:42,640
Speaker 3: young white blues fans and they they were delighted. He said,

1216
01:05:42,720 --> 01:05:46,520
Speaker 3: I love playing these colleges. All these girls like laying

1217
01:05:46,600 --> 01:05:49,200
Speaker 3: on my feet in the hotel room afterwards when I'm

1218
01:05:49,200 --> 01:05:52,040
Speaker 3: playing the blues all night long, and these guys are

1219
01:05:52,280 --> 01:05:54,560
Speaker 3: they're you know, treated me like I'm the second coming,

1220
01:05:54,640 --> 01:05:56,040
Speaker 3: you know, he said, you know what it's like to

1221
01:05:56,120 --> 01:05:59,200
Speaker 3: be ignored for all those years and not get to play,

1222
01:05:59,800 --> 01:06:04,200
Speaker 3: and then be celebrated and appreciated. He said, I don't

1223
01:06:04,200 --> 01:06:06,400
Speaker 3: care what color they are. I'm just glad they dig it,

1224
01:06:06,520 --> 01:06:09,920
Speaker 3: you know. But Muddy didn't have a problem with Stevie

1225
01:06:10,080 --> 01:06:13,200
Speaker 3: Ray or Liel George or Mike Bloomfield or me or anybody.

1226
01:06:13,240 --> 01:06:16,520
Speaker 3: If if somebody could play, they that's the thing. If

1227
01:06:16,560 --> 01:06:19,640
Speaker 3: you could sing and play and impress them, they were in.

1228
01:06:19,880 --> 01:06:23,080
Speaker 2: You were in that club, you better play.

1229
01:06:28,040 --> 01:06:32,840
Speaker 1: So without without me being really controversial with this next question, good,

1230
01:06:33,000 --> 01:06:36,880
Speaker 1: good problem here you go, No, no, no, no, because

1231
01:06:37,080 --> 01:06:38,680
Speaker 1: this is I think this is my one chance to

1232
01:06:38,720 --> 01:06:44,600
Speaker 1: ask this question. Okay, so back in nineteen ninety ninety one,

1233
01:06:45,400 --> 01:06:48,360
Speaker 1: when you know, my mind is getting more open to

1234
01:06:48,720 --> 01:06:52,800
Speaker 1: all types of music or whatever. So a guy like

1235
01:06:53,000 --> 01:07:00,440
Speaker 1: me will buy a copy of Physical Graffiti buys Zeppelin,

1236
01:07:01,720 --> 01:07:07,040
Speaker 1: and you know, and I think when you're a teenager,

1237
01:07:07,160 --> 01:07:11,600
Speaker 1: like between twelve and twenty two, your mind is just

1238
01:07:11,800 --> 01:07:14,240
Speaker 1: open to everything, especially if your music fan. Like if

1239
01:07:14,280 --> 01:07:17,560
Speaker 1: you look at my record collection from twelve to twenty two,

1240
01:07:17,880 --> 01:07:22,440
Speaker 1: it'd be somewhere between the Ohio players and Debbie Gibson

1241
01:07:23,600 --> 01:07:28,320
Speaker 1: and no, but just like Lightning Hopkins, like I was

1242
01:07:28,360 --> 01:07:32,920
Speaker 1: just open to everything. So my oh yes, exactly. So

1243
01:07:33,240 --> 01:07:38,880
Speaker 1: my whole thing is, you know, I I can't divorce

1244
01:07:39,000 --> 01:07:43,520
Speaker 1: myself from really being in love with like Jimmy Page's

1245
01:07:44,040 --> 01:07:47,600
Speaker 1: guitar work on the Zeppelin records. And it's only when

1246
01:07:47,640 --> 01:07:49,600
Speaker 1: I got older when I started like going back and

1247
01:07:49,680 --> 01:07:52,520
Speaker 1: reading old reviews, like of course we're revisioning his history,

1248
01:07:52,640 --> 01:07:55,240
Speaker 1: like Rolling Stone will say, you know, Rolling Stones will

1249
01:07:55,280 --> 01:08:00,240
Speaker 1: do complete issues dedicated to Zeppelin, but back then, just

1250
01:08:01,320 --> 01:08:04,040
Speaker 1: how much of a like this is fraud? Like in

1251
01:08:04,080 --> 01:08:07,280
Speaker 1: the same way where hip hop heads might call out

1252
01:08:07,440 --> 01:08:11,800
Speaker 1: an MC who isn't really of the ilk of the

1253
01:08:11,880 --> 01:08:17,240
Speaker 1: culture that you know got more success and whatnot, you know,

1254
01:08:17,360 --> 01:08:23,639
Speaker 1: got so. But the thing is is that even now

1255
01:08:23,760 --> 01:08:27,000
Speaker 1: when I still listen to Zeppelin, like I can't and

1256
01:08:27,080 --> 01:08:29,720
Speaker 1: there's still older cats are just like, man, fuck that shit,

1257
01:08:29,760 --> 01:08:32,760
Speaker 1: that's fake blues like listening to the real shit. But

1258
01:08:33,320 --> 01:08:38,320
Speaker 1: it's like, am I wrong in thinking that? And I'm

1259
01:08:38,400 --> 01:08:40,439
Speaker 1: using like in My Time of Dying as an example

1260
01:08:40,479 --> 01:08:45,880
Speaker 1: where they're doing like Bottleneck Blue Slides and all those things. Yeah,

1261
01:08:46,040 --> 01:08:50,800
Speaker 1: like is where critics just hard and guarding the gate

1262
01:08:51,120 --> 01:08:54,720
Speaker 1: or was that a problem with a lot of the

1263
01:08:55,160 --> 01:08:58,719
Speaker 1: English blues guys. And I'm talking about Clapton, I'm talking

1264
01:08:58,760 --> 01:09:04,080
Speaker 1: about age, Like, what are your feelings on those like on?

1265
01:09:05,240 --> 01:09:08,320
Speaker 3: You know, Jeff Beck and Eric Clapton and Keith Richards

1266
01:09:08,400 --> 01:09:11,560
Speaker 3: are just I mean, when people fall in love with

1267
01:09:11,760 --> 01:09:15,439
Speaker 3: music and they adopt a style that's not comes from

1268
01:09:15,720 --> 01:09:19,439
Speaker 3: where they grew up. Somehow, the whole culture got the

1269
01:09:19,560 --> 01:09:24,320
Speaker 3: blues somewhere in the mid sixties, we all got discovered

1270
01:09:24,439 --> 01:09:28,400
Speaker 3: and everybody was just nuts for it. And so it's

1271
01:09:28,520 --> 01:09:33,519
Speaker 3: a question of what you do with that appropriate you know,

1272
01:09:33,600 --> 01:09:37,519
Speaker 3: it could be appropriation or it could be just absolute passion.

1273
01:09:37,600 --> 01:09:39,519
Speaker 3: But I think it's a good idea to try to

1274
01:09:39,600 --> 01:09:42,879
Speaker 3: give it back and share the stage and pay props

1275
01:09:42,920 --> 01:09:46,480
Speaker 3: to the people that originated the music. In your interviews

1276
01:09:46,560 --> 01:09:49,560
Speaker 3: and in your songwriting credits, you don't take credit for

1277
01:09:49,640 --> 01:09:54,439
Speaker 3: a song that Willie Dixon wrote only settled thirty years later.

1278
01:09:55,520 --> 01:09:58,240
Speaker 3: So you know, there's just basic shit like don't steal

1279
01:09:58,360 --> 01:10:01,840
Speaker 3: people's stuff. You know, I'm not saying I'm not saying

1280
01:10:01,880 --> 01:10:04,519
Speaker 3: they did. I'm just saying I'm okay. So, but I'm

1281
01:10:04,600 --> 01:10:07,040
Speaker 3: just saying how did I feel about the do I did?

1282
01:10:07,080 --> 01:10:07,920
Speaker 3: I like the way they.

1283
01:10:07,920 --> 01:10:11,439
Speaker 1: Played, like his musicianship, like and when you're.

1284
01:10:11,560 --> 01:10:16,000
Speaker 3: Jimmy Page is unbelievable, unbelievable. Yeah, yeah, no, and Eric

1285
01:10:16,080 --> 01:10:19,800
Speaker 3: clapped in unbelievable Stevie way, Jimmy Hendrix. You know I didn't.

1286
01:10:19,960 --> 01:10:22,040
Speaker 3: I didn't look at it as colors. I didn't look

1287
01:10:22,040 --> 01:10:25,160
Speaker 3: at his gender. I just went this guy's a badass,

1288
01:10:25,240 --> 01:10:27,920
Speaker 3: you know that kind of thing. So, but in terms

1289
01:10:27,960 --> 01:10:32,840
Speaker 3: of the debt that white artists, oh black artists, these

1290
01:10:33,000 --> 01:10:36,280
Speaker 3: music they are making money from, you better start sharing.

1291
01:10:36,439 --> 01:10:39,320
Speaker 3: You take a knee financially as well.

1292
01:10:39,920 --> 01:10:44,080
Speaker 1: Right, But you created that always, Yeah, I just always

1293
01:10:44,120 --> 01:10:48,120
Speaker 1: wanted to know, like, were they authentic in their presentation?

1294
01:10:49,320 --> 01:10:51,679
Speaker 1: In addition to I think.

1295
01:10:51,520 --> 01:10:55,639
Speaker 3: They I think they built on they built something completely different,

1296
01:10:56,400 --> 01:10:59,360
Speaker 3: you know, like when the Stones do you Gotta Move?

1297
01:10:59,439 --> 01:11:01,639
Speaker 3: I mean they're not doing it exactly. They can't sound

1298
01:11:01,720 --> 01:11:06,360
Speaker 3: exactly like some older guy. But you just do the interpretation.

1299
01:11:06,520 --> 01:11:10,720
Speaker 3: And if you don't like hearing, you know, it's just

1300
01:11:10,880 --> 01:11:13,080
Speaker 3: up to the listener whether they think it's authentic, if

1301
01:11:13,120 --> 01:11:15,240
Speaker 3: it moves you or not, if they mean it. I

1302
01:11:15,320 --> 01:11:18,320
Speaker 3: think that's got it's got a valid, a valid reason

1303
01:11:18,400 --> 01:11:21,800
Speaker 3: to to exist. And you know, brilliance is brilliance no

1304
01:11:21,920 --> 01:11:26,519
Speaker 3: matter what genre comes stems out of you know, So

1305
01:11:26,760 --> 01:11:29,000
Speaker 3: I may not be I may not be answering that

1306
01:11:29,120 --> 01:11:30,040
Speaker 3: breat no.

1307
01:11:30,080 --> 01:11:32,439
Speaker 1: No, no, I get it. I got to get it.

1308
01:11:33,120 --> 01:11:37,800
Speaker 1: So okay, as many people know what the show, I

1309
01:11:38,240 --> 01:11:42,240
Speaker 1: bleed Purple. And you know, one of the very first

1310
01:11:42,280 --> 01:11:44,559
Speaker 1: times that I've heard about you in my teen years

1311
01:11:45,840 --> 01:11:48,920
Speaker 1: was when Prince was going to sign you to Paisley Park.

1312
01:11:50,479 --> 01:11:52,880
Speaker 1: And I've heard those demos, I've heard I need a man.

1313
01:11:52,960 --> 01:11:56,160
Speaker 1: I've heard at least four or five of the songs

1314
01:11:56,240 --> 01:11:58,519
Speaker 1: he was going to submit to you. Can you talk

1315
01:11:58,560 --> 01:12:01,560
Speaker 1: about that? What was what was that whole period like

1316
01:12:01,840 --> 01:12:04,400
Speaker 1: when you were about to sign the Paisley Park.

1317
01:12:05,360 --> 01:12:05,600
Speaker 2: Well, it.

1318
01:12:07,160 --> 01:12:09,599
Speaker 3: It never got that far. I mean I had been

1319
01:12:09,680 --> 01:12:11,720
Speaker 3: dropped by Warners right when I was getting ready to

1320
01:12:11,760 --> 01:12:14,040
Speaker 3: go on tour with Stevie Ray Vaughan, and you know,

1321
01:12:14,120 --> 01:12:16,720
Speaker 3: we had six months of band and crew work and

1322
01:12:16,840 --> 01:12:19,320
Speaker 3: I had to pull out because without any promotion or

1323
01:12:19,360 --> 01:12:21,240
Speaker 3: any album to sell, we just weren't going to be

1324
01:12:21,280 --> 01:12:23,080
Speaker 3: able to promoter didn't want to take an act that

1325
01:12:23,160 --> 01:12:25,880
Speaker 3: didn't have support from a record company. So he pulled

1326
01:12:25,920 --> 01:12:28,800
Speaker 3: the rug out of me and twenty five people, and

1327
01:12:29,120 --> 01:12:31,280
Speaker 3: I had to go on tour just as a duo

1328
01:12:31,479 --> 01:12:34,519
Speaker 3: with a bass player and try to make a living

1329
01:12:34,600 --> 01:12:36,840
Speaker 3: and pay my bills. But everybody else was out of work,

1330
01:12:36,960 --> 01:12:40,519
Speaker 3: and we were normally touring all the time. We didn't

1331
01:12:40,520 --> 01:12:43,519
Speaker 3: sell records. We just made our living touring. So somewhere

1332
01:12:43,520 --> 01:12:45,960
Speaker 3: in a couple of years in Prince called and said, man,

1333
01:12:46,000 --> 01:12:48,479
Speaker 3: you got a raw deal. Why don't you come on

1334
01:12:48,600 --> 01:12:52,000
Speaker 3: over to Paisley Park and warners will have to take

1335
01:12:52,040 --> 01:12:55,439
Speaker 3: a little lesson on how to treat somebody. So we

1336
01:12:55,600 --> 01:12:57,960
Speaker 3: talked about it. I said, I don't want to go

1337
01:12:58,120 --> 01:13:01,040
Speaker 3: do a whole prints record, and I know you don't

1338
01:13:01,080 --> 01:13:04,080
Speaker 3: want to come over in my wheelhouse. So if we

1339
01:13:04,160 --> 01:13:06,560
Speaker 3: can really meet in the middle and come up with

1340
01:13:06,680 --> 01:13:11,679
Speaker 3: something that's equally mine in yours, that would be great.

1341
01:13:11,880 --> 01:13:14,400
Speaker 3: And you know, we had some couple of wonderful evenings

1342
01:13:14,400 --> 01:13:18,560
Speaker 3: together playing music and watching slicestone and staple singers and

1343
01:13:19,120 --> 01:13:21,200
Speaker 3: screens that were the size of the wall, you know,

1344
01:13:21,280 --> 01:13:22,880
Speaker 3: And I got to go in his closet and see

1345
01:13:22,920 --> 01:13:25,599
Speaker 3: his clothes and see just you know, it was really

1346
01:13:25,680 --> 01:13:27,400
Speaker 3: fun to get to know each other and we had

1347
01:13:27,400 --> 01:13:30,080
Speaker 3: a lot of music that we loved in common, and

1348
01:13:31,040 --> 01:13:35,280
Speaker 3: so I had a solo acoustic, a duo gig and

1349
01:13:35,439 --> 01:13:39,160
Speaker 3: Colorado playing ballrooms and ski resorts, which I could make

1350
01:13:39,200 --> 01:13:40,840
Speaker 3: good money because I didn't have to pay for the band,

1351
01:13:41,240 --> 01:13:43,040
Speaker 3: so my fans got to see me up close and

1352
01:13:43,120 --> 01:13:46,400
Speaker 3: do acoustic versions of my songs. So I was doing

1353
01:13:46,479 --> 01:13:48,479
Speaker 3: really well. But I went on a ski. It took

1354
01:13:48,520 --> 01:13:52,639
Speaker 3: a ski lesson and fell on the skis and broke

1355
01:13:52,760 --> 01:13:56,719
Speaker 3: my landed on my thumb with my weight of my body,

1356
01:13:56,800 --> 01:14:00,360
Speaker 3: and I pulled my thumb off ligament and I could play.

1357
01:14:00,400 --> 01:14:02,920
Speaker 3: So I called Prince and said we got a postpone it.

1358
01:14:03,560 --> 01:14:05,120
Speaker 3: But you know what I did. It turned out to

1359
01:14:05,160 --> 01:14:08,719
Speaker 3: be a blessing in disguise. And because I was heavy

1360
01:14:09,040 --> 01:14:11,320
Speaker 3: and I wanted to I said, Man, if this works out,

1361
01:14:11,360 --> 01:14:13,600
Speaker 3: I got to make a video with this guy. And

1362
01:14:13,800 --> 01:14:16,600
Speaker 3: I'm like thirty forty pounds overweight, and I'm going to

1363
01:14:16,680 --> 01:14:20,080
Speaker 3: take this opportunity while I got this cast on to

1364
01:14:20,280 --> 01:14:22,960
Speaker 3: go to get to the musicians meeting and hang out

1365
01:14:23,000 --> 01:14:24,640
Speaker 3: with my old buddies that I used to party with,

1366
01:14:24,760 --> 01:14:26,880
Speaker 3: but just be sober with them and I'll, you know,

1367
01:14:27,040 --> 01:14:28,880
Speaker 3: ride my bike and lose some weight and by the

1368
01:14:28,920 --> 01:14:30,960
Speaker 3: time I see Prince, I'll be ready to be filmed,

1369
01:14:31,200 --> 01:14:34,879
Speaker 3: or at least more ready. So that was a blessing.

1370
01:14:35,040 --> 01:14:37,240
Speaker 3: And then I went to Minneapolis and he had already

1371
01:14:38,000 --> 01:14:41,799
Speaker 3: cut the songs and you know, did all the tracks

1372
01:14:41,880 --> 01:14:44,200
Speaker 3: but in the wrong key, so they weren't in my key,

1373
01:14:45,160 --> 01:14:47,120
Speaker 3: and there wasn't any place for me to add any

1374
01:14:47,240 --> 01:14:50,200
Speaker 3: musical ideas except just to play some slide on a

1375
01:14:50,280 --> 01:14:53,280
Speaker 3: couple of things right. But there was one of the

1376
01:14:53,360 --> 01:14:56,360
Speaker 3: sets of lyrics with something I would never You know, honey,

1377
01:14:56,400 --> 01:14:58,280
Speaker 3: you can mess around all over town, but we're still

1378
01:14:58,360 --> 01:15:00,719
Speaker 3: cool because there's something I like about be in your fool,

1379
01:15:06,080 --> 01:15:09,120
Speaker 3: But you know, I need a a n real man.

1380
01:15:09,240 --> 01:15:12,519
Speaker 3: I mean, it was funky ass Minia. I mean, you know,

1381
01:15:12,680 --> 01:15:15,639
Speaker 3: he's just We could have done some really cool stuff together.

1382
01:15:15,800 --> 01:15:17,960
Speaker 3: And he went off on tour in the summer. We

1383
01:15:18,080 --> 01:15:21,560
Speaker 3: made plans. I canceled my tour with my band and

1384
01:15:21,800 --> 01:15:24,400
Speaker 3: went to called my brother in Minneapolis. I said I'm

1385
01:15:24,479 --> 01:15:28,120
Speaker 3: on my way, and he said for what. Prince extended

1386
01:15:28,160 --> 01:15:30,880
Speaker 3: his tour and never called me. So I put my

1387
01:15:30,960 --> 01:15:33,040
Speaker 3: guys out of work to make the record with him,

1388
01:15:34,320 --> 01:15:36,599
Speaker 3: and he never called me. And just stayed over in Europe.

1389
01:15:36,720 --> 01:15:40,280
Speaker 3: So it was not it was not a happy ending,

1390
01:15:41,600 --> 01:15:45,160
Speaker 3: but still great artists, great artist did a lot of

1391
01:15:45,200 --> 01:15:47,240
Speaker 3: wonderful things for women guitar players.

1392
01:15:48,200 --> 01:15:49,960
Speaker 4: Honnie, when did you pick up the slide? When did

1393
01:15:50,040 --> 01:15:52,360
Speaker 4: that become a thing in your arsenal? I have a theory.

1394
01:15:52,760 --> 01:15:55,519
Speaker 4: You were talking about matching guitars with voices. I feel

1395
01:15:55,560 --> 01:15:59,880
Speaker 4: like for some in some way the side stunk your voice.

1396
01:16:00,320 --> 01:16:03,040
Speaker 3: Yeah, that's thank you. That's how I feel about it.

1397
01:16:03,360 --> 01:16:06,400
Speaker 3: And I like the tone that I pick is because

1398
01:16:06,400 --> 01:16:11,720
Speaker 3: it's how I hear. It picks up where I leave off.

1399
01:16:11,840 --> 01:16:14,120
Speaker 3: You know, so I and Lowell George from Little Feet

1400
01:16:14,200 --> 01:16:15,720
Speaker 3: is the one who gave me a compressor so I

1401
01:16:15,800 --> 01:16:19,040
Speaker 3: could hang the note longer because I asked him, I said,

1402
01:16:19,080 --> 01:16:22,320
Speaker 3: how are you holding that note? Because Fred mcdalla shouldn't

1403
01:16:22,360 --> 01:16:24,519
Speaker 3: do that? And you know Ry Coooter and Lowell George

1404
01:16:24,560 --> 01:16:26,679
Speaker 3: are the masters. And then now we got Derek Truck.

1405
01:16:26,800 --> 01:16:31,240
Speaker 3: So just but anyway, I heard I heard slide guitar

1406
01:16:31,320 --> 01:16:33,320
Speaker 3: when I was about fourteen, when I got some country

1407
01:16:33,360 --> 01:16:37,599
Speaker 3: blues records and I taught myself to play. I tuned

1408
01:16:37,600 --> 01:16:40,360
Speaker 3: to an open tuning and I soaked the label off

1409
01:16:40,400 --> 01:16:42,920
Speaker 3: a chorus seat and cold bottle, and I put on

1410
01:16:43,000 --> 01:16:45,719
Speaker 3: my middle finger and I just I played. I didn't

1411
01:16:45,720 --> 01:16:48,439
Speaker 3: have any lessons, but I hadn't seen anybody do it,

1412
01:16:48,520 --> 01:16:51,680
Speaker 3: but I imagined it was like my grandpa had a

1413
01:16:51,760 --> 01:16:54,040
Speaker 3: lap steel that he'd played hymns on where he drew

1414
01:16:54,160 --> 01:16:57,920
Speaker 3: the bar across the neck of the guitar. So I

1415
01:16:58,080 --> 01:17:00,960
Speaker 3: just pretended that that was it and just listened to

1416
01:17:00,960 --> 01:17:04,080
Speaker 3: that record and went quite and I taught myself to

1417
01:17:04,120 --> 01:17:07,160
Speaker 3: play from those records and then just honed it down.

1418
01:17:07,360 --> 01:17:07,479
Speaker 1: You know.

1419
01:17:07,560 --> 01:17:10,519
Speaker 3: Eventually I had to go to electric because a lot

1420
01:17:10,560 --> 01:17:12,559
Speaker 3: of the keys of the blues that I like are

1421
01:17:14,760 --> 01:17:17,120
Speaker 3: my voice is five keys up and if I put

1422
01:17:17,160 --> 01:17:19,080
Speaker 3: the KPO halfway up the neck, I can't get the

1423
01:17:19,120 --> 01:17:21,240
Speaker 3: octave without on a longer neck. So that's why I

1424
01:17:21,280 --> 01:17:21,919
Speaker 3: went electric.

1425
01:17:23,840 --> 01:17:28,680
Speaker 1: You of course, Uh, well, I'm safer end of the

1426
01:17:28,720 --> 01:17:32,160
Speaker 1: show because he hasn't done a show yet. But Steve

1427
01:17:32,240 --> 01:17:36,000
Speaker 1: and I worked with our with our good friend Don

1428
01:17:36,320 --> 01:17:39,080
Speaker 1: was could you talk about the relationship with Don and.

1429
01:17:40,560 --> 01:17:43,439
Speaker 3: Hal Willner blessed rest in Peace the Great?

1430
01:17:43,560 --> 01:17:45,679
Speaker 1: Yeah? Yeah.

1431
01:17:45,720 --> 01:17:49,720
Speaker 3: He called Don up and said I would love to

1432
01:17:49,840 --> 01:17:53,240
Speaker 3: have you and Bonnie rates saying baby mine from Dumbo

1433
01:17:53,400 --> 01:17:56,800
Speaker 3: for this Disney tribute I'm doing, and he called me

1434
01:17:56,920 --> 01:17:59,320
Speaker 3: and said the same thing. He said, I don't know. Meanwhile,

1435
01:17:59,400 --> 01:18:03,040
Speaker 3: I'm like a complete was not was Hound, you know

1436
01:18:03,280 --> 01:18:06,599
Speaker 3: that's right. That is my jam. Those guys, those lyrics

1437
01:18:06,840 --> 01:18:11,599
Speaker 3: with that singer, those singers and the music. I went

1438
01:18:11,720 --> 01:18:15,320
Speaker 3: nuts for them, and so on the session it went

1439
01:18:15,600 --> 01:18:18,479
Speaker 3: so beautifully. It's one of my favorite tracks I've ever cut,

1440
01:18:18,600 --> 01:18:24,240
Speaker 3: This beautiful Disney tribute Little One Close. Ah. We did

1441
01:18:24,360 --> 01:18:34,320
Speaker 3: like a baby oh mine, you know right now?

1442
01:18:36,479 --> 01:18:39,840
Speaker 1: That did it too?

1443
01:18:40,680 --> 01:18:43,920
Speaker 3: Oh, thank you. I never thought Don would turn out.

1444
01:18:44,000 --> 01:18:46,360
Speaker 3: He was a big fan of my early records, and

1445
01:18:46,520 --> 01:18:48,559
Speaker 3: he couldn't believe that I was a fan. I could

1446
01:18:48,600 --> 01:18:51,120
Speaker 3: like quote every Dad I'm in jail, you know, I

1447
01:18:51,200 --> 01:18:53,200
Speaker 3: could quote all these was not was songs.

1448
01:18:53,520 --> 01:18:54,120
Speaker 4: So we were.

1449
01:18:54,240 --> 01:18:57,400
Speaker 3: It was a love affair, you know, and we just

1450
01:18:57,640 --> 01:19:01,200
Speaker 3: he came to my acoustic show outside of l We

1451
01:19:01,280 --> 01:19:02,960
Speaker 3: were playing this club called the Coach House, and I

1452
01:19:03,000 --> 01:19:05,880
Speaker 3: think he came to that and he saw me just

1453
01:19:06,040 --> 01:19:08,280
Speaker 3: playing my stuff with just in the guitar like I

1454
01:19:08,360 --> 01:19:10,519
Speaker 3: did the first four years of my career before I

1455
01:19:10,560 --> 01:19:13,679
Speaker 3: could afford a band, and he said, you know, let's

1456
01:19:13,760 --> 01:19:15,280
Speaker 3: make and I said, would you want to do a

1457
01:19:15,360 --> 01:19:17,360
Speaker 3: record together, and he said, yeah, but I want to

1458
01:19:17,439 --> 01:19:20,400
Speaker 3: do a record where let's base it on if you

1459
01:19:20,479 --> 01:19:22,759
Speaker 3: could sing the song on the guitar or the piano

1460
01:19:23,400 --> 01:19:26,000
Speaker 3: and make me know that it's a Bonnie Ray song,

1461
01:19:26,880 --> 01:19:29,640
Speaker 3: then forget that, forget the who's in the band, just

1462
01:19:29,840 --> 01:19:32,760
Speaker 3: start with what you Let's pick the songs that work,

1463
01:19:32,880 --> 01:19:35,960
Speaker 3: just by yourself. Even though we used a band, that's

1464
01:19:36,040 --> 01:19:37,680
Speaker 3: how we made Nick of time. We didn't have a

1465
01:19:37,720 --> 01:19:42,160
Speaker 3: big budget. And I suggested my drummer, Rookie Fetar and

1466
01:19:42,479 --> 01:19:47,120
Speaker 3: you know Hutch Hutchinson, and we had benmont Tench, and

1467
01:19:47,240 --> 01:19:49,800
Speaker 3: we had Mark Goldenberg and you know, we just had

1468
01:19:49,840 --> 01:19:54,000
Speaker 3: a stellar group of players, including Randy Jacobs. But he

1469
01:19:54,080 --> 01:19:56,360
Speaker 3: might have been unlucky the draw from what was not

1470
01:19:56,640 --> 01:20:00,400
Speaker 3: was So I told him he didn't know about Ed Journey,

1471
01:20:00,439 --> 01:20:02,599
Speaker 3: and I said, man, there's this engineer that does ry

1472
01:20:02,680 --> 01:20:07,040
Speaker 3: Cooter and David Linley lreo X Records. We got to

1473
01:20:07,080 --> 01:20:09,160
Speaker 3: see if he would do this, because you know he

1474
01:20:09,320 --> 01:20:11,640
Speaker 3: did get Rhythm by Rykooter. That album is one of

1475
01:20:11,720 --> 01:20:15,960
Speaker 3: my favorites. And so we met ed and the three

1476
01:20:16,000 --> 01:20:17,560
Speaker 3: of us just hit it off and we went in

1477
01:20:17,600 --> 01:20:21,120
Speaker 3: the studio together and we just we love each other.

1478
01:20:22,720 --> 01:20:23,719
Speaker 1: It showed up in the music.

1479
01:20:23,880 --> 01:20:25,160
Speaker 2: It show did I was just thinking that.

1480
01:20:27,280 --> 01:20:31,200
Speaker 1: In making that record for you, the temptation to go

1481
01:20:31,520 --> 01:20:35,920
Speaker 1: to your sweet spot, which is the authentic blues, that

1482
01:20:36,080 --> 01:20:40,720
Speaker 1: the that authentic raw sound. At any point did you

1483
01:20:41,360 --> 01:20:45,599
Speaker 1: were you nervous about kind of And I'm not saying

1484
01:20:45,640 --> 01:20:50,160
Speaker 1: cleaning it up as in, you know, compromise, but there's

1485
01:20:50,240 --> 01:20:56,280
Speaker 1: definitely a noticeable sonic difference in that record and your

1486
01:20:56,400 --> 01:21:01,880
Speaker 1: previous albums, So the like, what can you from hitting

1487
01:21:01,960 --> 01:21:03,200
Speaker 1: your upper limit in.

1488
01:21:03,280 --> 01:21:05,160
Speaker 3: Terms of oh, I see what you're saying.

1489
01:21:05,560 --> 01:21:07,800
Speaker 1: What what like you know, like this is too clean?

1490
01:21:07,960 --> 01:21:09,160
Speaker 1: Like this not bluesy enough.

1491
01:21:09,720 --> 01:21:11,960
Speaker 3: Well, I mean I don't do only blue songs, so

1492
01:21:12,120 --> 01:21:14,960
Speaker 3: you know, I always have a there's a Jackson Brown

1493
01:21:15,040 --> 01:21:18,240
Speaker 3: and Eric cat Love has No Pride and Angel from Montgomery.

1494
01:21:18,240 --> 01:21:21,360
Speaker 3: I mean, there's there's a breadth of R and B

1495
01:21:21,600 --> 01:21:24,360
Speaker 3: and rock and roll like n RBQ songs and you know,

1496
01:21:24,920 --> 01:21:28,519
Speaker 3: fabulous Thunderbirds and Chuck Berry kind of thing, and then

1497
01:21:28,600 --> 01:21:32,559
Speaker 3: there's funk tunes and there's a lot of the ballads

1498
01:21:32,600 --> 01:21:35,800
Speaker 3: are very stripped down, you know, the ones that I

1499
01:21:35,880 --> 01:21:39,320
Speaker 3: did on the Glow, and almost every record has some

1500
01:21:39,560 --> 01:21:41,920
Speaker 3: kind of heartbreak song that's stripped down to just guitar,

1501
01:21:42,120 --> 01:21:46,280
Speaker 3: piano and bass. And so for me that the way

1502
01:21:46,400 --> 01:21:49,160
Speaker 3: we approached Nick of Time wasn't that different than some

1503
01:21:49,280 --> 01:21:51,040
Speaker 3: of the other records that I've done. And it's just

1504
01:21:51,360 --> 01:21:55,200
Speaker 3: song driven, you know, whatever the song needs. And in

1505
01:21:55,360 --> 01:21:59,320
Speaker 3: terms of the sound of it, that's ed Cherney is

1506
01:21:59,520 --> 01:22:03,000
Speaker 3: really know, he knows we want to really organic sound

1507
01:22:03,240 --> 01:22:04,920
Speaker 3: and you get the right players and I don't know

1508
01:22:04,920 --> 01:22:07,400
Speaker 3: if it works for you guys, but if you get

1509
01:22:07,439 --> 01:22:09,280
Speaker 3: the right song and the right players in the room,

1510
01:22:09,320 --> 01:22:10,960
Speaker 3: and you get an engineer that knows where to put

1511
01:22:10,960 --> 01:22:14,160
Speaker 3: the mics and which mics to use on which instruments,

1512
01:22:14,680 --> 01:22:15,880
Speaker 3: and you just let it happen.

1513
01:22:16,000 --> 01:22:16,120
Speaker 1: You know.

1514
01:22:16,240 --> 01:22:18,920
Speaker 3: You don't rehearse, you don't open the oven door and

1515
01:22:19,000 --> 01:22:22,240
Speaker 3: try to mine, you know, you just set the stage

1516
01:22:22,280 --> 01:22:22,800
Speaker 3: and let it go.

1517
01:22:23,080 --> 01:22:23,240
Speaker 1: You know.

1518
01:22:23,320 --> 01:22:26,519
Speaker 3: That's how That's how I'd been making records for since

1519
01:22:26,680 --> 01:22:30,439
Speaker 3: the green Light album and later the you know, earlier

1520
01:22:30,520 --> 01:22:32,719
Speaker 3: the Glow, I did a record with Peter Asher, who's

1521
01:22:32,760 --> 01:22:35,240
Speaker 3: known to be, you know, a pretty slick producer. But

1522
01:22:35,360 --> 01:22:37,360
Speaker 3: I just said I want to do everything live, so

1523
01:22:38,439 --> 01:22:41,760
Speaker 3: anyway that I didn't. I mean the bluesy thing. The

1524
01:22:41,840 --> 01:22:44,960
Speaker 3: only blues song on that record is the Road's My

1525
01:22:45,040 --> 01:22:46,439
Speaker 3: middle Name. And I wanted to do that with the

1526
01:22:46,520 --> 01:22:49,960
Speaker 3: fabulous Underbirds in Texas, so we went down there and

1527
01:22:50,040 --> 01:22:54,280
Speaker 3: did that. But that Jerry Williams song, real man, man,

1528
01:22:54,360 --> 01:22:56,800
Speaker 3: that's just that's right, and that's that's my I could

1529
01:22:56,840 --> 01:22:58,559
Speaker 3: have done that song at any point in my career.

1530
01:22:58,800 --> 01:23:01,560
Speaker 3: And similarly with thought Ain't Gonna Let You Break My

1531
01:23:01,640 --> 01:23:05,639
Speaker 3: Heart Again? With Herbie. Oh, you know, we just got

1532
01:23:05,760 --> 01:23:08,640
Speaker 3: really lucky with both those lucky the drawing nick of

1533
01:23:08,720 --> 01:23:12,519
Speaker 3: time and you know, the subsequent records. We great songs,

1534
01:23:12,640 --> 01:23:16,559
Speaker 3: great players, and I find the songs and bring them

1535
01:23:16,600 --> 01:23:20,080
Speaker 3: and I and we had the terrific core band, So

1536
01:23:20,200 --> 01:23:22,760
Speaker 3: I don't want to I gotta pay props. People don't

1537
01:23:22,760 --> 01:23:25,599
Speaker 3: pay enough props to the band because that's what those

1538
01:23:25,760 --> 01:23:27,559
Speaker 3: That's why that music is so special too.

1539
01:23:28,439 --> 01:23:30,720
Speaker 7: So how does your how did your life change like

1540
01:23:30,960 --> 01:23:33,559
Speaker 7: to take us through, you know, from going just from

1541
01:23:33,640 --> 01:23:35,640
Speaker 7: you know, all those years going from Warner and just

1542
01:23:35,840 --> 01:23:37,880
Speaker 7: going through that journey to finally getting paid dirt?

1543
01:23:38,479 --> 01:23:39,000
Speaker 1: What does that mean?

1544
01:23:39,200 --> 01:23:43,080
Speaker 3: Right? Well, I got a lot less free time, because

1545
01:23:43,280 --> 01:23:46,000
Speaker 3: when when you're a political activist that use your your

1546
01:23:46,120 --> 01:23:50,320
Speaker 3: voice and your money and ability to fundraise. When I

1547
01:23:50,400 --> 01:23:53,479
Speaker 3: didn't mean so much, I didn't get so many tribes

1548
01:23:53,560 --> 01:23:58,880
Speaker 3: calling me for Native American justice benefits and planned. You know,

1549
01:23:59,000 --> 01:24:01,240
Speaker 3: when I when I was a bigger deal, I could

1550
01:24:01,360 --> 01:24:04,040
Speaker 3: when I go on I'd got invited on the Tonight Show,

1551
01:24:04,040 --> 01:24:07,240
Speaker 3: and I got invited on Good Morning America, and I

1552
01:24:07,360 --> 01:24:10,280
Speaker 3: could we had just formed the Rhythm and Blues Foundation

1553
01:24:10,360 --> 01:24:13,160
Speaker 3: in nineteen eighty eight, and I could go on every

1554
01:24:13,240 --> 01:24:15,960
Speaker 3: TV show and talk about how those artists that we

1555
01:24:16,080 --> 01:24:18,960
Speaker 3: owe everything too never got paid, and let's make a

1556
01:24:19,040 --> 01:24:22,160
Speaker 3: donation and do the benefit for you know, health, get

1557
01:24:22,200 --> 01:24:24,680
Speaker 3: some health insurance for some of these icons that we

1558
01:24:24,800 --> 01:24:27,080
Speaker 3: all love so much. And I make my living doing

1559
01:24:27,160 --> 01:24:31,360
Speaker 3: the songs of so Anyway, the biggest difference was lifestyle.

1560
01:24:31,479 --> 01:24:33,800
Speaker 3: You know, I could have some financial security, I could

1561
01:24:33,840 --> 01:24:37,519
Speaker 3: move up to Northern California, I could pay my band better.

1562
01:24:37,640 --> 01:24:41,559
Speaker 3: I could really raise money and attention for the causes

1563
01:24:41,600 --> 01:24:45,679
Speaker 3: that I love. But I got really busy and in demand.

1564
01:24:45,880 --> 01:24:49,760
Speaker 3: And that's sometimes I look back at being more care

1565
01:24:49,920 --> 01:24:51,760
Speaker 3: free when I was less of a big deal, and

1566
01:24:51,840 --> 01:24:55,439
Speaker 3: I wish sometimes I could go back to that that

1567
01:24:55,640 --> 01:24:58,080
Speaker 3: easier time, but it's not. I don't spend a lot

1568
01:24:58,080 --> 01:24:59,080
Speaker 3: of time looking back.

1569
01:25:03,800 --> 01:25:07,840
Speaker 1: At the highlight what was like the highest of highs

1570
01:25:08,000 --> 01:25:10,160
Speaker 1: in terms of well, I mean, I would imagine that

1571
01:25:11,040 --> 01:25:14,920
Speaker 1: being a critical favorite and a favorite of the industry,

1572
01:25:15,840 --> 01:25:20,200
Speaker 1: that you pretty much met your peers, But just like,

1573
01:25:20,800 --> 01:25:24,320
Speaker 1: was there someone that you finally got to work with

1574
01:25:24,680 --> 01:25:28,640
Speaker 1: or at least become friends with that you're otherwise pre

1575
01:25:28,880 --> 01:25:33,960
Speaker 1: nineteen eighty nine life couldn't imagine, you know, were you

1576
01:25:34,240 --> 01:25:36,760
Speaker 1: Oh that's a good thing, buddies, or you know, I'm

1577
01:25:36,800 --> 01:25:37,839
Speaker 1: playing like yeah.

1578
01:25:37,680 --> 01:25:40,000
Speaker 3: Yeah, no, I hear what you're saying. Well, I was

1579
01:25:40,120 --> 01:25:42,560
Speaker 3: blessed with being respected by so many musicians that I

1580
01:25:42,640 --> 01:25:44,360
Speaker 3: wanted to work with it. I really did. If you

1581
01:25:44,400 --> 01:25:47,080
Speaker 3: look at my guest discography, you know, there's like a

1582
01:25:47,200 --> 01:25:50,040
Speaker 3: lot of people who I wished I could have signed

1583
01:25:50,080 --> 01:25:53,320
Speaker 3: with that I you know, Willie Nelson and all kinds

1584
01:25:53,320 --> 01:25:55,479
Speaker 3: of blues artists and R and B artists. So I

1585
01:25:55,600 --> 01:25:58,120
Speaker 3: did get to record with a lot of people already

1586
01:25:58,320 --> 01:26:02,280
Speaker 3: be even before that, but afterwards making a record with

1587
01:26:02,439 --> 01:26:04,719
Speaker 3: my dad and getting them a record deal on Angel

1588
01:26:04,760 --> 01:26:06,800
Speaker 3: Records in the middle of the nineties and singing Hey

1589
01:26:06,880 --> 01:26:10,200
Speaker 3: there with a forty two piece orchestra. That was some heavy,

1590
01:26:10,520 --> 01:26:13,280
Speaker 3: beautiful stuff because I you know, here I am helping

1591
01:26:13,920 --> 01:26:16,920
Speaker 3: Ruth Brown and Charles Brown, and I would say that

1592
01:26:17,520 --> 01:26:21,439
Speaker 3: singing Merry Christmas Baby with Charles Brown and we got

1593
01:26:21,560 --> 01:26:23,519
Speaker 3: to move to the outskirts of town with Ruth Brown

1594
01:26:23,920 --> 01:26:26,800
Speaker 3: two of the great highlights of my life. To be

1595
01:26:26,920 --> 01:26:30,519
Speaker 3: able to showcase and take on the road Ruth Brown

1596
01:26:30,600 --> 01:26:34,040
Speaker 3: and Charles Brown. Put them in hotels they deserve to

1597
01:26:34,080 --> 01:26:36,080
Speaker 3: stay in the whole time, give them a tour bus

1598
01:26:36,200 --> 01:26:39,200
Speaker 3: that they couldn't even believe they were in. And at

1599
01:26:39,240 --> 01:26:40,920
Speaker 3: that point in their life. For me to be able

1600
01:26:40,960 --> 01:26:42,920
Speaker 3: to turn around and do something for some people that

1601
01:26:43,080 --> 01:26:45,559
Speaker 3: mean so much to me, that was the high point

1602
01:26:45,760 --> 01:26:48,960
Speaker 3: of that success. And singing with my dad and Ruth

1603
01:26:49,000 --> 01:26:53,240
Speaker 3: and Charles and okay, John Lee, you can It's just

1604
01:26:53,520 --> 01:26:56,240
Speaker 3: it was deep. It was deep and still deep. And Tuts,

1605
01:26:56,640 --> 01:27:00,720
Speaker 3: Oh my god, the house.

1606
01:27:00,960 --> 01:27:03,960
Speaker 1: That's right, You're part of the other. How won the project? Right?

1607
01:27:05,040 --> 01:27:08,120
Speaker 1: How's always putting weird albums together? Yeah?

1608
01:27:08,200 --> 01:27:10,360
Speaker 3: Well I had. I had cut True Love Is Hard

1609
01:27:10,400 --> 01:27:15,559
Speaker 3: to Find on nine Lives in eighty five, Yeah, eighty six,

1610
01:27:16,080 --> 01:27:18,120
Speaker 3: and then Tuts and I did it and then and

1611
01:27:18,240 --> 01:27:20,160
Speaker 3: you want to gram me on that album Reggae, you know,

1612
01:27:20,280 --> 01:27:23,400
Speaker 3: True Love, which is all duets, you know, to have

1613
01:27:24,120 --> 01:27:28,559
Speaker 3: John Prine and Toots Gone, I mean, and how yeah.

1614
01:27:29,479 --> 01:27:31,360
Speaker 3: I wrote a song on my new album called Living

1615
01:27:31,439 --> 01:27:35,679
Speaker 3: for the Ones who didn't make it. It's all about that, honey.

1616
01:27:35,720 --> 01:27:37,320
Speaker 2: What is your dad? I want to ask you this

1617
01:27:37,400 --> 01:27:38,720
Speaker 2: earlier on is your dad and your mom?

1618
01:27:38,800 --> 01:27:38,840
Speaker 1: Like?

1619
01:27:38,920 --> 01:27:42,080
Speaker 2: What did they think about where your music went? Since

1620
01:27:42,240 --> 01:27:44,320
Speaker 2: he came from them? You know what I mean?

1621
01:27:44,320 --> 01:27:47,080
Speaker 3: You know when I started doing I'm Built for Comfort

1622
01:27:47,120 --> 01:27:49,200
Speaker 3: and Not for Speed, you know Willie Dipson song that

1623
01:27:49,280 --> 01:27:51,120
Speaker 3: Wolf did, and they were they were in the audience

1624
01:27:51,160 --> 01:27:53,920
Speaker 3: at the Second Fret, you know, in Philadelphia off a

1625
01:27:53,960 --> 01:27:56,040
Speaker 3: Rittenhouse Square, and they came to my first gig and

1626
01:27:56,120 --> 01:27:58,880
Speaker 3: I wasn't going to do Spider in the Fly by

1627
01:27:58,920 --> 01:28:03,360
Speaker 3: the Rolling Stones, but I ended up singing built built

1628
01:28:03,400 --> 01:28:05,880
Speaker 3: for Comfort, not for speed, just me and acoustic guitar

1629
01:28:06,120 --> 01:28:09,040
Speaker 3: and a bass. I think that embarrassed my dad a

1630
01:28:09,080 --> 01:28:11,960
Speaker 3: little bit. So I think here's how they felt. They

1631
01:28:12,000 --> 01:28:16,120
Speaker 3: were delighted that the world thought I was talented. They

1632
01:28:16,520 --> 01:28:19,120
Speaker 3: were dismayed I didn't finish college, but then they could

1633
01:28:19,120 --> 01:28:23,600
Speaker 3: tell that it was I got lucky and that the

1634
01:28:23,720 --> 01:28:26,840
Speaker 3: lifestyle I was living, partying a lot. And I don't

1635
01:28:26,840 --> 01:28:28,439
Speaker 3: think they I don't think they dug that too much.

1636
01:28:28,520 --> 01:28:30,240
Speaker 3: So my dad always said, if you want to sing

1637
01:28:31,200 --> 01:28:34,000
Speaker 3: better and not worry about losing your voice or catching

1638
01:28:34,080 --> 01:28:36,320
Speaker 3: colds on the road, just take a little bit better

1639
01:28:36,400 --> 01:28:39,479
Speaker 3: care of yourself. And they were really happy when I

1640
01:28:40,120 --> 01:28:42,960
Speaker 3: quit trashing myself, which wasn't all the time, but after

1641
01:28:43,080 --> 01:28:46,640
Speaker 3: the shows, you know, right, yeah, after the shows. I

1642
01:28:46,760 --> 01:28:48,360
Speaker 3: never let anything get in the way of my show

1643
01:28:48,439 --> 01:28:50,519
Speaker 3: because I didn't sell records, so I you.

1644
01:28:50,560 --> 01:28:52,439
Speaker 1: Know, that show was everything.

1645
01:28:53,479 --> 01:28:55,519
Speaker 3: I had to be really good every damn show. And

1646
01:28:55,560 --> 01:28:57,840
Speaker 3: that's what my dad taught me. Every night is opening night.

1647
01:28:58,360 --> 01:29:01,080
Speaker 2: And why it should be mentioned didn't graduate. You did

1648
01:29:01,240 --> 01:29:04,479
Speaker 2: go to some really amazing colleges, right.

1649
01:29:04,720 --> 01:29:07,479
Speaker 3: So I did go to Harvard for a couple of years.

1650
01:29:07,560 --> 01:29:10,560
Speaker 3: But man, this college of Johnny Hooker and being on

1651
01:29:10,640 --> 01:29:13,960
Speaker 3: the road with Mississippi Fred McDowall was a better college

1652
01:29:14,040 --> 01:29:18,120
Speaker 3: than any you know, And and I yeah, and I

1653
01:29:18,280 --> 01:29:23,560
Speaker 3: wish and they all wish that Blues was not a

1654
01:29:23,800 --> 01:29:27,000
Speaker 3: bad experience for most black people. They would have been

1655
01:29:27,040 --> 01:29:30,120
Speaker 3: great if their grand niece and grandchildren wanted to go

1656
01:29:30,240 --> 01:29:33,080
Speaker 3: into it. You know what I mean, it's an institutional

1657
01:29:33,240 --> 01:29:37,560
Speaker 3: racism that in the community where blues people should be

1658
01:29:37,680 --> 01:29:41,160
Speaker 3: on stamps and taught in the schools, and blues artists

1659
01:29:41,160 --> 01:29:45,639
Speaker 3: should be revered and paid and treated like that jazz

1660
01:29:46,040 --> 01:29:47,840
Speaker 3: is treated in Europe, you know what I mean. It

1661
01:29:47,880 --> 01:29:50,560
Speaker 3: should we should just be lifting up roots music of

1662
01:29:50,640 --> 01:29:55,000
Speaker 3: all kinds, not just blues, and the people who it

1663
01:29:55,040 --> 01:29:57,880
Speaker 3: should be taught so that little kids can really appreciate

1664
01:29:58,080 --> 01:30:01,439
Speaker 3: their own heritage and you know, and dig BB King

1665
01:30:01,520 --> 01:30:03,880
Speaker 3: and actually go see him, you know. So you have

1666
01:30:04,000 --> 01:30:06,040
Speaker 3: to be just being me and Eric Clapton talking about

1667
01:30:06,080 --> 01:30:06,639
Speaker 3: BB King.

1668
01:30:07,160 --> 01:30:09,120
Speaker 2: Now you want to add more to the curriculum the

1669
01:30:09,320 --> 01:30:10,720
Speaker 2: critical race theory, no, no boon?

1670
01:30:11,160 --> 01:30:17,280
Speaker 1: Yeah yeah, okay. A question always wanted to know in

1671
01:30:17,479 --> 01:30:22,280
Speaker 1: your post nineteen ninety one life. Is there any concert

1672
01:30:22,400 --> 01:30:27,479
Speaker 1: that you've ever given in which your fan base is

1673
01:30:27,600 --> 01:30:31,840
Speaker 1: fine if you don't do I can't make you love me? Oh,

1674
01:30:32,520 --> 01:30:35,360
Speaker 1: He's always wanted to know. With signature songs, you know,

1675
01:30:35,400 --> 01:30:37,960
Speaker 1: there's a point where Nirvana just stopped doing smells like

1676
01:30:38,000 --> 01:30:43,240
Speaker 1: teen Spirit, and sometimes artists will shy away from doing

1677
01:30:43,320 --> 01:30:47,680
Speaker 1: their signature song all the time. But for you, how

1678
01:30:47,720 --> 01:30:49,680
Speaker 1: do you feel about that song of all of.

1679
01:30:49,720 --> 01:30:53,080
Speaker 3: Your Oh, I would not do a show without Angel

1680
01:30:53,080 --> 01:30:55,000
Speaker 3: from Montgomery or I Can't Make You Love Me because

1681
01:30:55,000 --> 01:30:57,080
Speaker 3: those people, a lot of them haven't seen me in

1682
01:30:57,200 --> 01:30:57,960
Speaker 3: a long time.

1683
01:30:58,880 --> 01:30:59,000
Speaker 7: You know.

1684
01:30:59,160 --> 01:31:02,439
Speaker 3: Some people didn't see me last time through, and maybe

1685
01:31:02,479 --> 01:31:04,360
Speaker 3: they haven't seen me in six or seven years, and

1686
01:31:04,479 --> 01:31:06,600
Speaker 3: they love that song. And so I got to do

1687
01:31:06,680 --> 01:31:09,200
Speaker 3: it for the people that you know, and I try to.

1688
01:31:09,360 --> 01:31:12,880
Speaker 3: I try to be as real and new every single night,

1689
01:31:13,160 --> 01:31:15,400
Speaker 3: every song. I don't ever post.

1690
01:31:16,320 --> 01:31:19,000
Speaker 1: You have to, Yeah, you have to. It's the opening

1691
01:31:19,080 --> 01:31:20,600
Speaker 1: night every night. Yeah, someone is I mean.

1692
01:31:20,960 --> 01:31:24,479
Speaker 3: And I remember I remember being on both sides of

1693
01:31:24,520 --> 01:31:26,600
Speaker 3: that I can't make you Love me, I haven't it,

1694
01:31:27,439 --> 01:31:30,160
Speaker 3: you know where somebody said I had to tell them

1695
01:31:30,160 --> 01:31:34,479
Speaker 3: I didn't love him that way anymore, and and they

1696
01:31:34,640 --> 01:31:37,760
Speaker 3: and they said, could you just could you still stay

1697
01:31:37,840 --> 01:31:41,960
Speaker 3: through Christmas? Oh man, that was some you know what

1698
01:31:42,120 --> 01:31:44,360
Speaker 3: past the piece and you're looking at the person's mom

1699
01:31:44,479 --> 01:31:49,800
Speaker 3: and you just you just you just broke their heart.

1700
01:31:49,880 --> 01:31:51,920
Speaker 3: And then I've been on the side where my heart

1701
01:31:52,040 --> 01:31:53,840
Speaker 3: was broken, where someone said, you know, I love you,

1702
01:31:53,960 --> 01:31:56,080
Speaker 3: but not that way anymore. It's just not working out,

1703
01:31:56,200 --> 01:32:00,840
Speaker 3: you know, somebody that can stay home and cook for me, right,

1704
01:32:01,439 --> 01:32:03,040
Speaker 3: you know, we can't even talk about that song.

1705
01:32:03,120 --> 01:32:05,920
Speaker 2: Like literally, I was sitting in my living room with

1706
01:32:06,080 --> 01:32:08,120
Speaker 2: my seventy one year old mother her seven year old friend,

1707
01:32:08,160 --> 01:32:10,560
Speaker 2: and we were talking about your music, and she was

1708
01:32:10,600 --> 01:32:13,560
Speaker 2: like that one song. She's like, don't I'm about to

1709
01:32:13,640 --> 01:32:16,760
Speaker 2: go it is and bring a tear song? Do you

1710
01:32:16,880 --> 01:32:18,320
Speaker 2: know this is the blue I do?

1711
01:32:18,560 --> 01:32:21,640
Speaker 3: And I know how many men cry when they hear

1712
01:32:21,760 --> 01:32:25,280
Speaker 3: that song because I get the letters saying I've never

1713
01:32:25,400 --> 01:32:27,920
Speaker 3: seen my husband cry. And when I turned and looked

1714
01:32:27,960 --> 01:32:30,760
Speaker 3: at him and there were tears, you know that, she

1715
01:32:30,840 --> 01:32:33,559
Speaker 3: said it repaired a whole lot of hurt that we had.

1716
01:32:34,240 --> 01:32:37,160
Speaker 2: Ya, I mean, I mean it makes sense. It makes sense.

1717
01:32:37,760 --> 01:32:39,760
Speaker 3: And you know who wrote that song is a guy

1718
01:32:39,800 --> 01:32:42,760
Speaker 3: who used to be in the Cincinnati Bengals. What was

1719
01:32:42,800 --> 01:32:48,000
Speaker 3: a professional so what that was written by? Mike Read

1720
01:32:48,320 --> 01:32:54,280
Speaker 3: was a Cincinnati Bengal and Alan Shamblin wrote the words.

1721
01:32:54,360 --> 01:32:58,240
Speaker 3: And those two guys and and Mike Read wrote a

1722
01:32:58,280 --> 01:33:00,640
Speaker 3: song on nick of Time called too Soon Toll but

1723
01:33:03,040 --> 01:33:04,680
Speaker 3: no of course, because he wrote I can't make you

1724
01:33:04,760 --> 01:33:09,920
Speaker 3: love me too? And he's like this big bear of

1725
01:33:10,040 --> 01:33:12,320
Speaker 3: a guy. Oh, I love it, and he writes this

1726
01:33:12,479 --> 01:33:15,639
Speaker 3: and he has a voice break your heart like Michael McDonald.

1727
01:33:19,040 --> 01:33:21,880
Speaker 3: I know, Michael McDonald, excuse me. I'm right with you, Leah.

1728
01:33:21,920 --> 01:33:28,559
Speaker 1: I'll tell you that I love even though I love,

1729
01:33:28,720 --> 01:33:30,880
Speaker 1: I can't make you love me for me too soon

1730
01:33:31,000 --> 01:33:33,200
Speaker 1: to tell is my favorite song of yours.

1731
01:33:34,080 --> 01:33:34,439
Speaker 2: Thank you.

1732
01:33:34,600 --> 01:33:38,280
Speaker 3: I love that song. And wait till you way do

1733
01:33:38,560 --> 01:33:40,640
Speaker 3: you got to call Mike Read and tell him how

1734
01:33:40,760 --> 01:33:42,000
Speaker 3: much you love those songs?

1735
01:33:42,400 --> 01:33:45,680
Speaker 1: He now knows it because we just said it. That

1736
01:33:45,880 --> 01:33:50,000
Speaker 1: that that is mind That is mind blowing to me.

1737
01:33:50,880 --> 01:33:53,679
Speaker 3: I mean it's yeah, because you know, six foot four

1738
01:33:53,800 --> 01:33:57,360
Speaker 3: football player does not normally sit down and write. But

1739
01:33:57,439 --> 01:33:58,320
Speaker 3: then look at Hornsby.

1740
01:33:58,400 --> 01:34:01,519
Speaker 1: You know what I'm saying, Yeah, big people have heart.

1741
01:34:05,840 --> 01:34:06,640
Speaker 4: I'm saying.

1742
01:34:09,320 --> 01:34:16,160
Speaker 1: A big club, Bill, get out of here. I thought

1743
01:34:16,200 --> 01:34:17,000
Speaker 1: Bill was trying to say.

1744
01:34:17,040 --> 01:34:20,680
Speaker 3: I'm saying like he's like, my guys, you guys, I

1745
01:34:20,720 --> 01:34:22,640
Speaker 3: should just I'm just gonna sit back and let you

1746
01:34:22,720 --> 01:34:25,799
Speaker 3: guys clown because this is too good terrible.

1747
01:34:26,680 --> 01:34:27,200
Speaker 5: Are you all?

1748
01:34:27,479 --> 01:34:29,000
Speaker 3: Are you all in the same city?

1749
01:34:30,160 --> 01:34:34,760
Speaker 1: No, some people are like three people are I'm in

1750
01:34:34,880 --> 01:34:37,759
Speaker 1: New York right now, I'm in Raleigh, North Carolina.

1751
01:34:38,439 --> 01:34:45,080
Speaker 2: Oh, I love Carolina Park. Yes, I'm in the Park.

1752
01:34:45,080 --> 01:34:48,920
Speaker 1: I'm gonna wrap this up surdly, but I definitely have

1753
01:34:49,040 --> 01:34:52,360
Speaker 1: to ask, how did you feel when you got inducted?

1754
01:34:54,080 --> 01:34:55,679
Speaker 1: It's like, how do you think she felt? A mirror?

1755
01:34:56,160 --> 01:35:01,479
Speaker 1: But how did for you to be inducted in the

1756
01:35:01,520 --> 01:35:02,479
Speaker 1: Rock and Roll Hall of Fame?

1757
01:35:03,520 --> 01:35:06,360
Speaker 3: It was outrageous, And you know, I don't know if

1758
01:35:06,400 --> 01:35:08,360
Speaker 3: I really deserve to be in, but I knew that

1759
01:35:08,439 --> 01:35:10,640
Speaker 3: I had lasted a long enough time to qualify and

1760
01:35:10,720 --> 01:35:14,040
Speaker 3: they didn't have enough women yet. And as a woman

1761
01:35:14,160 --> 01:35:18,560
Speaker 3: lead guitar player, as a champion of unpaid royalties and

1762
01:35:18,680 --> 01:35:21,639
Speaker 3: debts to artists that didn't get their props, it just thought,

1763
01:35:21,680 --> 01:35:26,120
Speaker 3: why that damn museum is there? And the organization so

1764
01:35:26,280 --> 01:35:29,759
Speaker 3: a role model for activism and guitar play and leading

1765
01:35:29,800 --> 01:35:33,200
Speaker 3: a band. I'll take it because I want to inspire

1766
01:35:34,000 --> 01:35:38,679
Speaker 3: the next generations of women musicians and activists and righteous

1767
01:35:38,720 --> 01:35:42,080
Speaker 3: people trying to get that royalty reform and get the

1768
01:35:42,160 --> 01:35:45,200
Speaker 3: songwriters paid by the streaming service directly and not go

1769
01:35:45,360 --> 01:35:48,040
Speaker 3: through the record labels. Come on, I mean, there's all

1770
01:35:48,080 --> 01:35:51,000
Speaker 3: these people that wrote the songs that I made my

1771
01:35:51,120 --> 01:35:54,400
Speaker 3: career on that haven't seen a penny from all those streams,

1772
01:35:55,080 --> 01:35:57,439
Speaker 3: so you know, I'm not going to shut up about it.

1773
01:35:57,560 --> 01:36:01,799
Speaker 3: So anyway, I was happy to be in there because

1774
01:36:02,400 --> 01:36:04,560
Speaker 3: I didn't read a lot of negative press about she

1775
01:36:04,760 --> 01:36:07,080
Speaker 3: doesn't deserve it, So that was I was worried about that.

1776
01:36:07,280 --> 01:36:09,719
Speaker 3: And you know, we all get worried about social media

1777
01:36:09,720 --> 01:36:11,960
Speaker 3: because my feelings get hurt. So I don't look at

1778
01:36:12,479 --> 01:36:14,240
Speaker 3: I don't look at a lot of the responses in

1779
01:36:14,360 --> 01:36:16,719
Speaker 3: case people saying I wish you'd just shut up about

1780
01:36:16,840 --> 01:36:19,040
Speaker 3: Native Americans, you know, pipelines, you.

1781
01:36:19,080 --> 01:36:21,080
Speaker 2: Know, listen. Meanwhile, I was about to ask you what

1782
01:36:21,200 --> 01:36:22,760
Speaker 2: causes are closest to your heart? Right now?

1783
01:36:22,880 --> 01:36:28,760
Speaker 3: We need to know election protection, okay, okay, okay, Democracy

1784
01:36:28,840 --> 01:36:31,240
Speaker 3: is a good one. Democracy is nice when that works.

1785
01:36:32,000 --> 01:36:37,400
Speaker 3: So election protection, the climate climate you know, fiasco, and

1786
01:36:37,760 --> 01:36:41,800
Speaker 3: and the fact that food and access to health care

1787
01:36:41,840 --> 01:36:46,120
Speaker 3: and education, the inequities and income and opportunity are just

1788
01:36:46,240 --> 01:36:48,200
Speaker 3: number one. You know, we just got to get there's

1789
01:36:48,360 --> 01:36:52,800
Speaker 3: just too many justice, equal pay for everybody, but you know,

1790
01:36:52,960 --> 01:36:55,960
Speaker 3: the health care system what you name it, but food

1791
01:36:56,080 --> 01:37:01,720
Speaker 3: equity and health care equity and education equal a equal opportunity.

1792
01:37:02,439 --> 01:37:08,040
Speaker 3: Climate change, but man, the democratic hijacking of democracy in

1793
01:37:08,120 --> 01:37:10,640
Speaker 3: this country by the right wing is just you know,

1794
01:37:10,720 --> 01:37:13,640
Speaker 3: we got fascism on our door right here, you know,

1795
01:37:13,800 --> 01:37:17,280
Speaker 3: knowing kids yourself did that. We got to get everybody

1796
01:37:17,360 --> 01:37:19,200
Speaker 3: out to the polls Purple.

1797
01:37:19,400 --> 01:37:20,040
Speaker 2: That's where we live.

1798
01:37:20,560 --> 01:37:25,640
Speaker 1: It is it is weird that just the basic, just

1799
01:37:25,840 --> 01:37:32,400
Speaker 1: basic human needs are now seen as justice causes. It's crazy.

1800
01:37:33,320 --> 01:37:34,760
Speaker 3: It is crazy for you.

1801
01:37:35,320 --> 01:37:40,920
Speaker 1: For you now, is there anything in your career that

1802
01:37:41,200 --> 01:37:45,000
Speaker 1: you have yet to bucket list that you you wish

1803
01:37:45,120 --> 01:37:48,160
Speaker 1: to to achieve?

1804
01:37:49,240 --> 01:37:51,640
Speaker 3: Oh, I've never been asked that.

1805
01:37:52,880 --> 01:37:56,200
Speaker 1: I love your passive aggressive way. I'm here of asking you.

1806
01:37:56,520 --> 01:38:01,240
Speaker 1: At with Bonnie Rae, we did.

1807
01:38:01,160 --> 01:38:02,920
Speaker 3: Get to play They backed me up on Used to

1808
01:38:03,000 --> 01:38:05,120
Speaker 3: Rule the World. It was a badass version too. It

1809
01:38:05,240 --> 01:38:12,320
Speaker 3: was really great. I would love to work with Keith.

1810
01:38:13,560 --> 01:38:19,519
Speaker 3: I would love to. I would really love to re

1811
01:38:19,920 --> 01:38:24,960
Speaker 3: up the Womad Festival where there is an unbelievable collaborations

1812
01:38:25,000 --> 01:38:29,519
Speaker 3: of like Paul Brady, Habib Corte from Molly, Paul Brady

1813
01:38:29,560 --> 01:38:35,880
Speaker 3: from Ireland, Liz Wright, you know, Esperanza, me a Mere

1814
01:38:36,840 --> 01:38:40,080
Speaker 3: you know reggae guys. I would have put bolts in there,

1815
01:38:40,120 --> 01:38:43,400
Speaker 3: but you know what I'm saying, Like a touring womad

1816
01:38:44,479 --> 01:38:48,439
Speaker 3: across pollination of fertilization of music, that it doesn't matter

1817
01:38:48,520 --> 01:38:51,840
Speaker 3: what genre it is. It's just great where we can

1818
01:38:51,920 --> 01:38:55,599
Speaker 3: hear each other every night. I mean Jackson Brown, Sean Colvin,

1819
01:38:55,640 --> 01:38:58,320
Speaker 3: Bruce Hornsby and myself with David Linley went on tour

1820
01:38:58,360 --> 01:39:03,440
Speaker 3: as a supergroup in nineteen ninety. It was just fantastic.

1821
01:39:03,520 --> 01:39:05,120
Speaker 3: In the summer, we just had a little window of

1822
01:39:05,240 --> 01:39:07,240
Speaker 3: time and we all got to sing and play on

1823
01:39:07,320 --> 01:39:10,120
Speaker 3: each other's songs. And I'd like to do that again.

1824
01:39:10,800 --> 01:39:13,000
Speaker 3: I don't know. That was probably too amorphous an answer,

1825
01:39:13,120 --> 01:39:16,320
Speaker 3: but do you guys know what what womad was. It

1826
01:39:16,479 --> 01:39:17,320
Speaker 3: was fantastic.

1827
01:39:17,920 --> 01:39:19,800
Speaker 1: When you say Keith who what Keith?

1828
01:39:20,200 --> 01:39:31,240
Speaker 3: Keith Richard's you know, I forgot, I forgot where I was. No, No,

1829
01:39:31,720 --> 01:39:33,599
Speaker 3: I you know, I was just thinking on the top

1830
01:39:33,600 --> 01:39:35,120
Speaker 3: of my head. I said, Keith. But you know, in

1831
01:39:35,240 --> 01:39:38,360
Speaker 3: my world there's one Keith, but there's more Keith Sweat.

1832
01:39:38,400 --> 01:39:40,200
Speaker 3: You're right, Keith Urban.

1833
01:39:41,040 --> 01:39:43,839
Speaker 1: I was thinking Keith Thomas as well, the producer.

1834
01:39:45,560 --> 01:39:47,640
Speaker 3: Oh my gosh, thank you for remind give me a

1835
01:39:47,680 --> 01:39:51,160
Speaker 3: reality check. No, I mean that guy who together we

1836
01:39:51,200 --> 01:39:55,000
Speaker 3: will stand there and be weathered together. You know, I

1837
01:39:55,040 --> 01:39:57,760
Speaker 3: don't know if you. He loves playing the piano and

1838
01:39:57,840 --> 01:40:01,160
Speaker 3: singing almost Hogy Carmichael kind of stand and he's really

1839
01:40:01,200 --> 01:40:03,200
Speaker 3: good and I love the versions of that he does

1840
01:40:03,280 --> 01:40:04,840
Speaker 3: of those songs. It would be really fun to do

1841
01:40:05,479 --> 01:40:06,559
Speaker 3: to do something with him.

1842
01:40:07,760 --> 01:40:12,320
Speaker 1: Well, we we now know that you have manifest magic, so.

1843
01:40:12,680 --> 01:40:15,720
Speaker 3: You can make that wal Mad festival. But we have

1844
01:40:15,840 --> 01:40:17,920
Speaker 3: to keep COVID under control so we can go across

1845
01:40:18,080 --> 01:40:19,200
Speaker 3: borders and be safe.

1846
01:40:19,400 --> 01:40:23,720
Speaker 1: Yeah, I say by May that it'll I'm saying right now,

1847
01:40:24,000 --> 01:40:27,920
Speaker 1: I am you're manifesting. I'm manifested by May, mainly so

1848
01:40:28,040 --> 01:40:29,880
Speaker 1: we can get Fante at the house in time for

1849
01:40:29,960 --> 01:40:30,679
Speaker 1: the roots picnicking.

1850
01:40:31,280 --> 01:40:34,760
Speaker 7: Talk about it, and we was all thinking, it's out there,

1851
01:40:34,880 --> 01:40:37,360
Speaker 7: it's outside, man, it's outside, it's cool.

1852
01:40:37,640 --> 01:40:41,439
Speaker 1: But yeah, yeah, I don't do end of If it's outside,

1853
01:40:41,520 --> 01:40:44,120
Speaker 1: it's it's cool. Now, I will say this COVID and

1854
01:40:44,200 --> 01:40:47,280
Speaker 1: no COVID two days don't Yeah, I don't know. I'm cool,

1855
01:40:47,439 --> 01:40:50,360
Speaker 1: but not two days two day. Oh No, I've been

1856
01:40:50,400 --> 01:40:53,360
Speaker 1: having the time my life. By ray, there you go.

1857
01:40:55,840 --> 01:40:56,040
Speaker 2: There.

1858
01:40:57,000 --> 01:40:59,240
Speaker 3: I could go to so many places right now, but

1859
01:40:59,360 --> 01:41:01,120
Speaker 3: I just met so I'm not going to go there.

1860
01:41:01,200 --> 01:41:03,720
Speaker 3: But in my mind I have got I'm going in

1861
01:41:03,840 --> 01:41:05,320
Speaker 3: my mind about what you've been up to.

1862
01:41:07,000 --> 01:41:09,720
Speaker 1: Ben's been self work, just working on myself. You know.

1863
01:41:09,880 --> 01:41:12,320
Speaker 1: It gave me time just to slow down. I dropped

1864
01:41:12,360 --> 01:41:15,720
Speaker 1: like forty pounds and spend more time with my family. Like, yeah,

1865
01:41:15,760 --> 01:41:16,679
Speaker 1: I'm cooling.

1866
01:41:17,360 --> 01:41:19,800
Speaker 3: There's been some good stuff about it. For sure. I

1867
01:41:19,920 --> 01:41:23,360
Speaker 3: made a record surprise, and I'm probably I probably would

1868
01:41:23,360 --> 01:41:25,360
Speaker 3: have made a different kind of a record, but you know,

1869
01:41:25,680 --> 01:41:29,360
Speaker 3: it's been nice to have. But I missed touring, Oh

1870
01:41:29,479 --> 01:41:33,519
Speaker 3: my god, I miss playing live. Yeah, And I just

1871
01:41:33,600 --> 01:41:37,000
Speaker 3: got to say, I tape your show every night and

1872
01:41:37,160 --> 01:41:39,679
Speaker 3: watch it the next day, and I love you guys.

1873
01:41:39,720 --> 01:41:42,800
Speaker 3: I wish I could have a whole separate series of

1874
01:41:42,960 --> 01:41:46,120
Speaker 3: when you guys play on the you know with Jimmy

1875
01:41:46,680 --> 01:41:49,240
Speaker 3: the show. I wish we could hear you're playing all

1876
01:41:49,280 --> 01:41:52,840
Speaker 3: the way through. John Baptiste too, those guys, you do

1877
01:41:52,920 --> 01:41:54,759
Speaker 3: all that work and those tunes.

1878
01:41:54,880 --> 01:41:57,519
Speaker 2: Yeah, absolutely, we had him on the show too. It

1879
01:41:57,600 --> 01:41:58,400
Speaker 2: was a really good show.

1880
01:41:58,640 --> 01:42:01,080
Speaker 1: Yes We're good boy.

1881
01:42:01,120 --> 01:42:04,560
Speaker 3: That that that video for Freedom and the videos on

1882
01:42:04,640 --> 01:42:06,720
Speaker 3: his record he was. I mean, I wish to just

1883
01:42:06,800 --> 01:42:09,000
Speaker 3: let him dance around for a while and make me happy.

1884
01:42:09,600 --> 01:42:11,960
Speaker 1: I hope this is his. I hope this is his

1885
01:42:12,120 --> 01:42:13,559
Speaker 1: nick of time year for the Grammys.

1886
01:42:13,840 --> 01:42:15,080
Speaker 3: Wow, I hope so too.

1887
01:42:15,200 --> 01:42:16,880
Speaker 1: I'm going there nomination, so.

1888
01:42:17,120 --> 01:42:19,960
Speaker 3: You know, I know, Okay, No, he's gonna. Oh and

1889
01:42:20,240 --> 01:42:22,120
Speaker 3: can I just thank you for Summer Soul.

1890
01:42:23,200 --> 01:42:24,920
Speaker 1: Oh, thank you, thank you.

1891
01:42:25,040 --> 01:42:26,559
Speaker 3: And I know you're gonna this is gonna be your

1892
01:42:26,640 --> 01:42:27,880
Speaker 3: nick of time at the Oscar.

1893
01:42:28,560 --> 01:42:32,280
Speaker 1: Yes, talk about it, come.

1894
01:42:34,120 --> 01:42:34,880
Speaker 3: Up top now.

1895
01:42:37,080 --> 01:42:38,840
Speaker 1: Anyway, thank you very much.

1896
01:42:42,160 --> 01:42:43,920
Speaker 3: I just have to ask you, did you have to

1897
01:42:44,040 --> 01:42:47,360
Speaker 3: tune in with Sly and all those guys that much

1898
01:42:47,400 --> 01:42:51,360
Speaker 3: in tune on every damn note. You don't have to answer.

1899
01:42:55,479 --> 01:42:58,280
Speaker 1: Here's the fun I'm so glad you only because you

1900
01:42:58,439 --> 01:43:02,600
Speaker 1: asked that question. All right, I'm gonnadmit one cheat that

1901
01:43:02,760 --> 01:43:05,960
Speaker 1: I did once. I did only two cheats on the

1902
01:43:06,120 --> 01:43:11,439
Speaker 1: on the movie because uh, sing a simple song was

1903
01:43:11,520 --> 01:43:17,720
Speaker 1: an e. I cheated the intro drone that they did

1904
01:43:19,120 --> 01:43:21,880
Speaker 1: to that key and the cat because they did it

1905
01:43:22,640 --> 01:43:25,439
Speaker 1: that the drone was in another key and they went

1906
01:43:25,520 --> 01:43:28,479
Speaker 1: too then they went to sing a simple song.

1907
01:43:28,560 --> 01:43:31,280
Speaker 3: But no, no, no, I mean very cool, very cool.

1908
01:43:32,000 --> 01:43:35,120
Speaker 1: But for the most part, I will say that everything

1909
01:43:35,200 --> 01:43:41,360
Speaker 1: that you heard was this one from the soundboard in

1910
01:43:41,880 --> 01:43:46,280
Speaker 1: nineteen sixty nine. Like literally, damn, he did maybe zero

1911
01:43:46,280 --> 01:43:51,200
Speaker 1: point one percent of mixing, like we we barely touched

1912
01:43:51,479 --> 01:43:52,439
Speaker 1: touched the board man.

1913
01:43:53,160 --> 01:43:55,479
Speaker 3: Now does that guy does the guy who mixed that

1914
01:43:55,960 --> 01:43:57,920
Speaker 3: and recorded that, did he get a little taste?

1915
01:43:58,400 --> 01:44:01,360
Speaker 1: Yeah, give the engineer.

1916
01:44:01,560 --> 01:44:07,120
Speaker 3: So here you go, my big baby, Yeah.

1917
01:44:07,960 --> 01:44:11,519
Speaker 1: Gi me, the legendary jim Jimmy Douglas. He did. He

1918
01:44:11,600 --> 01:44:15,479
Speaker 1: did amazing grace for me, the Franklin like Jimmy Douglass

1919
01:44:15,479 --> 01:44:17,840
Speaker 1: has been all the timberlands like early stuff. Yeah, like

1920
01:44:17,960 --> 01:44:20,479
Speaker 1: he's been for fifty years, like the man. So yes,

1921
01:44:20,600 --> 01:44:21,600
Speaker 1: he he was my.

1922
01:44:21,720 --> 01:44:27,400
Speaker 3: Engineer, the original guy, the original origin.

1923
01:44:28,520 --> 01:44:32,200
Speaker 1: Believe it or not. That was a rough mix, Like,

1924
01:44:32,840 --> 01:44:39,720
Speaker 1: gives me a rough paycheck. Then dude, he's dead. He

1925
01:44:39,760 --> 01:44:40,160
Speaker 1: got well.

1926
01:44:40,320 --> 01:44:42,680
Speaker 3: I gotta say that was a really great Yes, he

1927
01:44:42,760 --> 01:44:45,479
Speaker 3: does have family. That was a great mix.

1928
01:44:45,880 --> 01:44:46,439
Speaker 1: And thank you.

1929
01:44:46,640 --> 01:44:49,640
Speaker 3: Some of the baddest singing live I've ever heard in

1930
01:44:49,720 --> 01:44:50,200
Speaker 3: my life.

1931
01:44:50,680 --> 01:44:52,400
Speaker 1: Thank you, Oh my god.

1932
01:44:53,439 --> 01:44:56,400
Speaker 3: We really are so grateful. And when you say there's

1933
01:44:56,439 --> 01:44:57,560
Speaker 3: more footage.

1934
01:44:57,240 --> 01:45:02,120
Speaker 1: I get, yes, there's more, and we'll I can make

1935
01:45:02,120 --> 01:45:06,040
Speaker 1: an announcement and like may for after after the oscars,

1936
01:45:06,040 --> 01:45:06,519
Speaker 1: I'll make.

1937
01:45:06,479 --> 01:45:09,960
Speaker 3: I'm manifesting that right, now now I will take you.

1938
01:45:10,160 --> 01:45:11,800
Speaker 1: Yes, I will take all your infestations.

1939
01:45:13,360 --> 01:45:14,760
Speaker 3: Come and see us with We're going to be with

1940
01:45:14,880 --> 01:45:16,600
Speaker 3: Lucinda in New York, but then we're going to be

1941
01:45:16,680 --> 01:45:18,560
Speaker 3: with Mavis on the road, and you'll probably still be

1942
01:45:19,040 --> 01:45:21,600
Speaker 3: to be You'll be you'll be having to be in

1943
01:45:21,680 --> 01:45:23,439
Speaker 3: New York doing your nightly gig.

1944
01:45:23,960 --> 01:45:26,599
Speaker 1: No, I will come to see and to my area.

1945
01:45:26,800 --> 01:45:30,439
Speaker 1: I will see this because I'm all about flowers. To

1946
01:45:30,760 --> 01:45:33,280
Speaker 1: to our to our great.

1947
01:45:33,120 --> 01:45:36,639
Speaker 3: Said you want to, oh sake you. I was thinking Mayvis,

1948
01:45:36,680 --> 01:45:39,920
Speaker 3: would you know, but I thank you for considering that.

1949
01:45:40,040 --> 01:45:43,040
Speaker 3: I'm that, I'm all the things that you said the intro.

1950
01:45:43,760 --> 01:45:46,840
Speaker 3: I'm really very very very tight.

1951
01:45:47,720 --> 01:45:50,240
Speaker 1: I do not not anybody gets on the show, you know,

1952
01:45:50,800 --> 01:45:55,120
Speaker 1: like we we have to love you. And well Bill

1953
01:45:55,160 --> 01:45:56,840
Speaker 1: Sherman was our first guest. So there you.

1954
01:45:58,520 --> 01:46:04,439
Speaker 2: And there you go. And get the new album too.

1955
01:46:04,439 --> 01:46:05,640
Speaker 2: I was just gonna mention the new album. I was

1956
01:46:05,680 --> 01:46:09,320
Speaker 2: playing ahead just like that. Just make sure you go

1957
01:46:09,439 --> 01:46:09,880
Speaker 2: get the new.

1958
01:46:09,760 --> 01:46:10,479
Speaker 1: Bonnie Ray album.

1959
01:46:10,680 --> 01:46:11,600
Speaker 3: Oh I hope you dig it.

1960
01:46:12,080 --> 01:46:14,960
Speaker 2: I do it delivers. I will say this, it delivers.

1961
01:46:15,160 --> 01:46:17,240
Speaker 2: It definitely does. I was like, Bonnie has given us

1962
01:46:17,280 --> 01:46:17,720
Speaker 2: what we need.

1963
01:46:18,320 --> 01:46:20,519
Speaker 3: There's a great soul ballad on there called Blame It

1964
01:46:20,600 --> 01:46:23,800
Speaker 3: on Me. That's there's a funk tune that I wrote

1965
01:46:23,840 --> 01:46:28,400
Speaker 3: that mixes Eddie Harris Lesmacann with the Commodores, So you

1966
01:46:28,520 --> 01:46:30,800
Speaker 3: gotta check it out called Waiting for You to Blow.

1967
01:46:31,400 --> 01:46:33,240
Speaker 3: And I'm really proud of it because I wrote every

1968
01:46:33,320 --> 01:46:36,280
Speaker 3: little drum part and every keyboard part, every little horn part.

1969
01:46:37,080 --> 01:46:38,280
Speaker 3: So anyway, blame on me?

1970
01:46:38,479 --> 01:46:41,160
Speaker 1: Who? What were you? Did you write? Blame it on me?

1971
01:46:41,360 --> 01:46:41,479
Speaker 1: Is that?

1972
01:46:41,640 --> 01:46:41,680
Speaker 2: No?

1973
01:46:41,920 --> 01:46:45,120
Speaker 3: I didn't. A guy who wrote it sang it on

1974
01:46:45,240 --> 01:46:47,880
Speaker 3: the two guys wrote it and sang it on a

1975
01:46:47,920 --> 01:46:50,880
Speaker 3: Facebook performance and they sent me the link and I went,

1976
01:46:51,680 --> 01:46:55,639
Speaker 3: what wow? Yeah, And you know what's really fun about

1977
01:46:55,680 --> 01:46:57,040
Speaker 3: this week? And I know we got to go, but

1978
01:46:58,200 --> 01:46:59,920
Speaker 3: this is the week as the record comes out and

1979
01:47:00,000 --> 01:47:01,960
Speaker 3: the middle of April and the single hits this week,

1980
01:47:02,840 --> 01:47:05,680
Speaker 3: I could call because the streaming services are going to

1981
01:47:05,720 --> 01:47:09,320
Speaker 3: start listening listing the tracks. So I got to call

1982
01:47:09,479 --> 01:47:13,200
Speaker 3: the songwriters that didn't know I cut their song. And

1983
01:47:13,600 --> 01:47:16,960
Speaker 3: I've chad since last June. I knew I was gonna

1984
01:47:17,320 --> 01:47:18,880
Speaker 3: Did I cut it right? So I had to sit

1985
01:47:19,000 --> 01:47:21,960
Speaker 3: on it and I got to make that call on Hi,

1986
01:47:22,080 --> 01:47:24,720
Speaker 3: It's Bonnie I know, you know, we don't know each other,

1987
01:47:24,840 --> 01:47:26,800
Speaker 3: but I really loved that song that I heard back

1988
01:47:26,840 --> 01:47:29,439
Speaker 3: in nineteen, you know, two thousand and nine, and I

1989
01:47:29,520 --> 01:47:32,160
Speaker 3: ended up cutting it, and this guy's just flipping out.

1990
01:47:32,360 --> 01:47:37,480
Speaker 1: Man, that's life changing, that billy.

1991
01:47:39,120 --> 01:47:42,080
Speaker 7: Now, Bonnie, I just want to say, I just you know,

1992
01:47:42,200 --> 01:47:45,960
Speaker 7: I just remember I just got up on your early

1993
01:47:46,080 --> 01:47:49,479
Speaker 7: ketog maybe probably like ten years ago. And you know

1994
01:47:49,560 --> 01:47:51,720
Speaker 7: it was a good buddy, a guitar player friend of mine,

1995
01:47:51,800 --> 01:47:54,120
Speaker 7: Chris Berner. He put me up on like your early

1996
01:47:54,200 --> 01:47:57,160
Speaker 7: records and just for me, just a part of my childhood.

1997
01:47:57,280 --> 01:48:00,439
Speaker 7: Just again, luck of draw, luckily Draw Nickel time. Those

1998
01:48:00,520 --> 01:48:03,439
Speaker 7: records were everywhere. You couldn't escape them. And so you're

1999
01:48:03,520 --> 01:48:06,240
Speaker 7: just definitely someone when I talked to younger artists, I

2000
01:48:06,320 --> 01:48:08,519
Speaker 7: definitely mentioned you was just you know, an example of

2001
01:48:08,600 --> 01:48:11,400
Speaker 7: perseverance and how just staying in the game. You just

2002
01:48:11,560 --> 01:48:14,360
Speaker 7: never know, like I had no idea. I mean, I was,

2003
01:48:14,479 --> 01:48:16,920
Speaker 7: you know, ten when Nikko Time came out. I thought

2004
01:48:17,000 --> 01:48:19,760
Speaker 7: you were a new artist. I had no idea, you

2005
01:48:19,840 --> 01:48:20,400
Speaker 7: know what I'm saying.

2006
01:48:20,800 --> 01:48:23,680
Speaker 3: And so just to see yeah, and you know it

2007
01:48:23,800 --> 01:48:25,680
Speaker 3: wasn't I lucky to be forty when I got it,

2008
01:48:25,680 --> 01:48:27,679
Speaker 3: because I would have fucked myself up if I don't

2009
01:48:27,680 --> 01:48:30,560
Speaker 3: know if you can say that, Oh no, say that,

2010
01:48:30,880 --> 01:48:34,280
Speaker 3: but I'm saying that. You know, the people that can,

2011
01:48:34,439 --> 01:48:37,880
Speaker 3: like Taylor Swift and Nora. I mean, a bunch of

2012
01:48:37,920 --> 01:48:41,519
Speaker 3: people have gotten really famous early. They're handling themselves much

2013
01:48:41,560 --> 01:48:44,280
Speaker 3: better than my generation would have done. And if I

2014
01:48:44,400 --> 01:48:45,080
Speaker 3: had hit it big.

2015
01:48:45,280 --> 01:48:46,800
Speaker 2: Y'all didn't have social media.

2016
01:48:46,600 --> 01:48:47,240
Speaker 3: I'd be dead.

2017
01:48:47,600 --> 01:48:49,120
Speaker 1: Yeah, yeah for real.

2018
01:48:49,840 --> 01:48:50,080
Speaker 2: Yeah.

2019
01:48:50,200 --> 01:48:52,280
Speaker 1: Well but you know, we thank you very much for

2020
01:48:52,360 --> 01:48:54,960
Speaker 1: your artistry and this is definitely an island having you on, Michelle.

2021
01:48:55,280 --> 01:48:57,400
Speaker 1: Thank you for ladies and gentlemen on behalf of of

2022
01:48:57,479 --> 01:49:02,479
Speaker 1: course Love Supreme, fant Ticcolo, you Unpaid Bill and Sugar, Steve,

2023
01:49:02,880 --> 01:49:05,639
Speaker 1: the Great Bonnie Radio. My name is Questlove. We will

2024
01:49:05,640 --> 01:49:07,920
Speaker 1: see you on the next Goverent welcome.

2025
01:49:07,960 --> 01:49:10,160
Speaker 3: All right, you guys, God, bless day, safe.

2026
01:49:17,960 --> 01:49:24,439
Speaker 1: M's Love Supreme is a production of iheartnet Radio. For

2027
01:49:24,600 --> 01:49:27,639
Speaker 1: more podcasts from iHeart Radio, visit the iHeart Radio app,

2028
01:49:27,880 --> 01:49:30,920
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.