1 00:00:00,720 --> 00:00:01,480 Speaker 1: Taking a Walk. 2 00:00:01,680 --> 00:00:06,400 Speaker 2: I think videos messed music up because when we're listening 3 00:00:06,440 --> 00:00:10,280 Speaker 2: to the music or we're reading the book, that video 4 00:00:10,400 --> 00:00:14,400 Speaker 2: is going we have our own video. You know, we're 5 00:00:14,400 --> 00:00:20,600 Speaker 2: thinking in word pictures, and without that exercise of imagination, 6 00:00:21,400 --> 00:00:22,360 Speaker 2: you can get stifled. 7 00:00:22,400 --> 00:00:26,120 Speaker 1: Welcome to the Taking a Walk podcast hosted by Buzznight. 8 00:00:26,640 --> 00:00:30,000 Speaker 1: Buzz speaks with legendary figures in the music business, and 9 00:00:30,080 --> 00:00:34,000 Speaker 1: today there's no exception. Mark Farner is the man behind 10 00:00:34,080 --> 00:00:37,880 Speaker 1: Grand Funk Railroad and he's releasing Closer to Home with 11 00:00:38,040 --> 00:00:41,440 Speaker 1: an updated version of the classic I'm Your Captain. Here's 12 00:00:41,520 --> 00:00:44,680 Speaker 1: Buzz Now with Mark Farner on Taking a Walk. 13 00:00:46,000 --> 00:00:49,640 Speaker 3: It's an honor, Mark Farner to have you on Taking 14 00:00:49,680 --> 00:00:51,559 Speaker 3: a Walk, sir, Nice to meet you. 15 00:00:52,520 --> 00:00:54,640 Speaker 4: Nice to meet you. Let's take a walk, brother. 16 00:00:55,320 --> 00:00:57,520 Speaker 5: Oh right now. Yeah, So we got a lot to 17 00:00:57,560 --> 00:00:58,000 Speaker 5: talk about. 18 00:00:58,040 --> 00:01:01,440 Speaker 3: We're going to talk about the new version of the 19 00:01:01,640 --> 00:01:05,679 Speaker 3: iconic song I'm Your Captain, your project also Closer to 20 00:01:05,800 --> 00:01:09,440 Speaker 3: Home coming out. We'll talk to collectibles and the tour 21 00:01:09,520 --> 00:01:12,080 Speaker 3: a bit. But I do want to ask if you 22 00:01:12,120 --> 00:01:17,320 Speaker 3: could take us back to the creation, first time around 23 00:01:17,640 --> 00:01:20,840 Speaker 3: of that song that to this day is part of 24 00:01:20,880 --> 00:01:24,800 Speaker 3: the soundtrack of our life. Closer to home. I'm your captain. 25 00:01:25,120 --> 00:01:27,520 Speaker 3: Do you what do you remember about the creation of it? 26 00:01:28,160 --> 00:01:30,800 Speaker 2: Well, I'll be glad to go back there with your 27 00:01:30,800 --> 00:01:37,600 Speaker 2: brother Buzz, because it was a spiritual inspiration. 28 00:01:38,480 --> 00:01:42,040 Speaker 4: You know. I say my prayers. I pray during the day. 29 00:01:42,120 --> 00:01:44,000 Speaker 2: It doesn't have to be you know, first thing, when 30 00:01:44,000 --> 00:01:45,920 Speaker 2: you get up, for last thing, when you you know, 31 00:01:46,640 --> 00:01:50,000 Speaker 2: before you go to sleep. It's a state of mind. 32 00:01:50,600 --> 00:01:56,160 Speaker 2: It is a belief system, you know, we pray believing. 33 00:01:56,600 --> 00:02:02,080 Speaker 2: So it said my prayer down and then Parshallville, Michigan, 34 00:02:03,360 --> 00:02:05,280 Speaker 2: and I was at the farm. 35 00:02:06,800 --> 00:02:09,920 Speaker 4: It was a beautiful. 36 00:02:09,240 --> 00:02:12,360 Speaker 2: Day I had. I'd been out, you know, on a 37 00:02:12,480 --> 00:02:14,840 Speaker 2: tractor doing some stuff. It was a wonderful day. I 38 00:02:14,880 --> 00:02:18,359 Speaker 2: felt good and I was thanking God for everything for 39 00:02:18,520 --> 00:02:21,080 Speaker 2: my life and blessing everybody. And after I blessed all 40 00:02:21,120 --> 00:02:25,800 Speaker 2: the cousins and you know, relatives and sisters and brothers, 41 00:02:26,160 --> 00:02:28,840 Speaker 2: I put a little ps on my prayer and I said, God, 42 00:02:28,880 --> 00:02:32,920 Speaker 2: would you please give me a song that would reach 43 00:02:33,120 --> 00:02:35,800 Speaker 2: and touch the hearts of those you want to get to. 44 00:02:37,000 --> 00:02:40,640 Speaker 2: And when I went to bed, I calmed out. I 45 00:02:40,639 --> 00:02:43,480 Speaker 2: mean I was I was out until about three three 46 00:02:43,600 --> 00:02:44,320 Speaker 2: thirty in the morning. 47 00:02:44,320 --> 00:02:45,079 Speaker 4: And I woke up. 48 00:02:45,720 --> 00:02:51,040 Speaker 2: I was half awake, I was not fully consciously awake, 49 00:02:51,360 --> 00:02:55,240 Speaker 2: but I was awake enough to grab my stenelpad that 50 00:02:55,320 --> 00:02:59,919 Speaker 2: I leave alongside my bed because I've lost so many inspirations, 51 00:03:00,360 --> 00:03:02,720 Speaker 2: thinking oh, I'll just remember that in the morning, and 52 00:03:02,760 --> 00:03:06,160 Speaker 2: I never have remembered one of them the following morning. 53 00:03:06,240 --> 00:03:11,480 Speaker 2: So I have a pad and I they're not necessarily songs, 54 00:03:11,680 --> 00:03:14,480 Speaker 2: there's just writings that I have, things that come to 55 00:03:14,480 --> 00:03:16,160 Speaker 2: me and I need to get them out of my head. 56 00:03:17,000 --> 00:03:20,120 Speaker 2: So I grabbed my sentyl pad and I start writing 57 00:03:20,200 --> 00:03:24,640 Speaker 2: buzz and you know, songwriters will we'll go back to 58 00:03:24,720 --> 00:03:26,359 Speaker 2: the first verst or we'll go to the top of 59 00:03:26,400 --> 00:03:28,840 Speaker 2: the verse. We'll start reading down through it to get 60 00:03:28,880 --> 00:03:31,639 Speaker 2: the next line. We want to get a nice flow. 61 00:03:31,680 --> 00:03:34,640 Speaker 2: We want it, we want it to be, you know, conductive, 62 00:03:35,080 --> 00:03:39,880 Speaker 2: a thought process to be conductive. And I knew I 63 00:03:39,960 --> 00:03:44,240 Speaker 2: better not do that. For some reason, I just had 64 00:03:44,240 --> 00:03:45,760 Speaker 2: to stay focused on. 65 00:03:45,720 --> 00:03:46,640 Speaker 4: The next line. 66 00:03:47,280 --> 00:03:50,960 Speaker 2: They were coming so fast, and I knew if I 67 00:03:51,000 --> 00:03:52,640 Speaker 2: went back to the top that I was going to 68 00:03:52,720 --> 00:03:55,920 Speaker 2: lose where I was at, that I was going to 69 00:03:56,040 --> 00:03:59,960 Speaker 2: lose that plugged in connection I had that was somewhere 70 00:04:00,240 --> 00:04:01,560 Speaker 2: between heaven and earth. 71 00:04:03,200 --> 00:04:06,760 Speaker 4: It was divine. It was a divine appointment. 72 00:04:08,000 --> 00:04:13,200 Speaker 2: And I believe we are all capable of having this 73 00:04:13,320 --> 00:04:18,479 Speaker 2: kind of experience if we believe, if we trust in 74 00:04:18,560 --> 00:04:26,560 Speaker 2: the Creator, and I definitely do that. That prayer brought 75 00:04:26,920 --> 00:04:30,279 Speaker 2: the song I'm Your Captain. When I was done writing 76 00:04:30,320 --> 00:04:36,000 Speaker 2: this the last word on the stenopad, I was spent. 77 00:04:36,640 --> 00:04:39,080 Speaker 2: I put that thing back on the nightstand and I 78 00:04:39,160 --> 00:04:42,320 Speaker 2: rolled back under the sheet. I was gone, man, I 79 00:04:42,560 --> 00:04:46,560 Speaker 2: was out. And I got up in the morning and 80 00:04:46,600 --> 00:04:49,000 Speaker 2: I made coffee and I'm sitting there in the kitchen 81 00:04:49,040 --> 00:04:55,520 Speaker 2: and I grabbed my George Washburn guitar and start playing 82 00:04:57,680 --> 00:05:00,920 Speaker 2: do I said, oh, that's a nice little eddie right there, 83 00:05:01,520 --> 00:05:05,120 Speaker 2: and started. You know, I hit a chord that it 84 00:05:05,200 --> 00:05:08,760 Speaker 2: had a nice ring to it. It had these harmonics 85 00:05:08,760 --> 00:05:10,919 Speaker 2: that I had never heard in this inversion. And I 86 00:05:11,000 --> 00:05:14,200 Speaker 2: looked at my hand and I was trying to figure out, Wow, 87 00:05:14,480 --> 00:05:17,320 Speaker 2: that's that's a great chord right there. And as I'm 88 00:05:17,600 --> 00:05:20,520 Speaker 2: looking at my hand, it was just like the thought 89 00:05:20,640 --> 00:05:24,800 Speaker 2: came to me, get those words, get those words. 90 00:05:25,240 --> 00:05:27,200 Speaker 4: So I go and I get the words. 91 00:05:27,600 --> 00:05:31,360 Speaker 2: I put them on the kitchen table and I had 92 00:05:31,400 --> 00:05:34,560 Speaker 2: a cassette recorder because that was you know, that was 93 00:05:34,600 --> 00:05:39,520 Speaker 2: state of the art cassette recorder. Man, I pushed the button, 94 00:05:40,360 --> 00:05:44,520 Speaker 2: I hit the red button, and I started playing and 95 00:05:44,560 --> 00:05:48,400 Speaker 2: the song came out. As I'm singing the words, the 96 00:05:48,480 --> 00:05:51,960 Speaker 2: chord shage changes came and it was just as natural 97 00:05:52,080 --> 00:05:55,640 Speaker 2: as something somebody had taught me. That song, it just 98 00:05:55,839 --> 00:06:00,000 Speaker 2: all flowed right out. And when I took it to reheard, 99 00:06:00,160 --> 00:06:04,960 Speaker 2: so we worked it out and uh, it's it's a 100 00:06:05,000 --> 00:06:07,839 Speaker 2: big hit, you know, I mean, Dona mel knew then 101 00:06:07,920 --> 00:06:11,120 Speaker 2: they said, finer, man, this, this song's a hit. This 102 00:06:11,240 --> 00:06:15,400 Speaker 2: song is really hit. So God bless them. Uh, they 103 00:06:15,440 --> 00:06:18,680 Speaker 2: were the first ones to tell me that. And uh, 104 00:06:19,360 --> 00:06:23,200 Speaker 2: you know, the world has has had it. The Vietnam 105 00:06:23,320 --> 00:06:28,039 Speaker 2: veterans have had it in their hearts. Many of the 106 00:06:28,120 --> 00:06:33,159 Speaker 2: Vietnam veterans told me that that's they played that song 107 00:06:33,320 --> 00:06:38,080 Speaker 2: over and over and over on their way back, on 108 00:06:38,120 --> 00:06:42,080 Speaker 2: their way back, and guys just crying telling me this, 109 00:06:42,160 --> 00:06:46,599 Speaker 2: And you know, you have this happen and it gets 110 00:06:46,640 --> 00:06:50,760 Speaker 2: on you and you're just so grateful and so thankful 111 00:06:51,200 --> 00:06:56,599 Speaker 2: to have been used in such a way that it 112 00:06:56,760 --> 00:07:00,680 Speaker 2: influenced people that it that it had its spiritual effect 113 00:07:00,720 --> 00:07:05,000 Speaker 2: on their life. There's no video. Back then, there weren't videos. 114 00:07:05,279 --> 00:07:05,560 Speaker 4: You know. 115 00:07:06,040 --> 00:07:12,160 Speaker 2: I think videos messed music up buzz because I was 116 00:07:12,200 --> 00:07:15,760 Speaker 2: talking to a jacket WNW, New York City, and he 117 00:07:15,960 --> 00:07:19,920 Speaker 2: told me they did a thing where they had one 118 00:07:20,000 --> 00:07:26,960 Speaker 2: hundred people give their definition, their personal definition of the 119 00:07:27,000 --> 00:07:31,440 Speaker 2: song by Simon and Garfunkel called Bridge over Troubled Water. 120 00:07:32,640 --> 00:07:33,520 Speaker 4: He said, Fiarrener. 121 00:07:33,600 --> 00:07:41,120 Speaker 2: We got a hundred diversely different interpretations, and not any 122 00:07:41,160 --> 00:07:48,920 Speaker 2: two were even close. And that is so inspiring to me, 123 00:07:50,560 --> 00:07:54,520 Speaker 2: because we when we're listening to the music or we're 124 00:07:54,600 --> 00:07:58,520 Speaker 2: reading the book that video is going, we have our 125 00:07:58,640 --> 00:08:03,640 Speaker 2: own video. You know, we're thinking in word pictures. The 126 00:08:03,680 --> 00:08:06,120 Speaker 2: words come and the pictures come, and they appear to 127 00:08:06,200 --> 00:08:11,840 Speaker 2: us in our imagination. And without that exercise of imagination, 128 00:08:13,400 --> 00:08:14,400 Speaker 2: you can get stifled. 129 00:08:15,480 --> 00:08:19,160 Speaker 4: You know. You can get yourself in a ditch, in. 130 00:08:19,200 --> 00:08:22,720 Speaker 2: The bottom of a ditch someplace, and you fighting to 131 00:08:22,720 --> 00:08:25,760 Speaker 2: get out and can't think of why you're even there. 132 00:08:26,480 --> 00:08:30,520 Speaker 2: You're struggling in life and don't even know why. I 133 00:08:30,600 --> 00:08:33,080 Speaker 2: think our imaginations need some exercise. 134 00:08:33,160 --> 00:08:36,800 Speaker 5: Brother, Yeah, well put okay. 135 00:08:36,840 --> 00:08:40,200 Speaker 3: So I have to ask you, that's an amazing story, 136 00:08:40,400 --> 00:08:42,800 Speaker 3: and thank you for sharing the story there. 137 00:08:42,840 --> 00:08:45,800 Speaker 5: I have chills from it. In so many ways. 138 00:08:46,920 --> 00:08:52,840 Speaker 3: Did that same scenario where you felt the divine inspiration 139 00:08:53,160 --> 00:08:57,360 Speaker 3: that you describe occur with some of the other great 140 00:08:57,440 --> 00:08:59,960 Speaker 3: catalog hits from Grand Funk Railroad. 141 00:09:01,360 --> 00:09:04,160 Speaker 4: Nothing not like that. 142 00:09:04,160 --> 00:09:04,840 Speaker 5: That was different. 143 00:09:04,920 --> 00:09:05,439 Speaker 1: That was it. 144 00:09:06,120 --> 00:09:10,200 Speaker 2: That was the That was the one. And I so 145 00:09:10,520 --> 00:09:13,560 Speaker 2: I have I mean, don't mean to interrupt you. I 146 00:09:13,720 --> 00:09:18,600 Speaker 2: have said, Lord, hey, have you got anything else? Send 147 00:09:18,920 --> 00:09:23,200 Speaker 2: bring it down, send it here. 148 00:09:26,440 --> 00:09:30,280 Speaker 3: So in the remaking of the song and thinking about 149 00:09:30,840 --> 00:09:34,920 Speaker 3: the world today and thinking about your description as well 150 00:09:34,960 --> 00:09:39,760 Speaker 3: of how many soldiers coming back from Vietnam, you know, 151 00:09:39,960 --> 00:09:43,480 Speaker 3: we're really touched and that song got them through that 152 00:09:43,480 --> 00:09:49,439 Speaker 3: that journey. When you were redoing the song, did you 153 00:09:49,480 --> 00:09:51,680 Speaker 3: get different feelings or were they the sort of the 154 00:09:51,679 --> 00:09:54,200 Speaker 3: same feelings as when you first created it. 155 00:09:54,520 --> 00:09:57,640 Speaker 4: No, I definitely got different feelings. Buzz it was. 156 00:09:59,320 --> 00:10:05,720 Speaker 2: It was remin of the of the process of you know, 157 00:10:06,760 --> 00:10:10,040 Speaker 2: we got to lay this out. The first thing we 158 00:10:10,080 --> 00:10:17,000 Speaker 2: did was Mark Slaughter, who produced the album, called his 159 00:10:17,240 --> 00:10:23,360 Speaker 2: buddy Josh Egan, who was a drummer, and Josh is 160 00:10:23,400 --> 00:10:29,040 Speaker 2: a great drummer, and Josh made a tempo map of 161 00:10:29,120 --> 00:10:33,560 Speaker 2: the original version because back When we cut this song, 162 00:10:33,640 --> 00:10:38,319 Speaker 2: there was no such thing as a click track, and 163 00:10:38,400 --> 00:10:42,280 Speaker 2: now everything you hear is recorded to a click track. 164 00:10:43,480 --> 00:10:45,640 Speaker 2: In case they got to put something in, they have 165 00:10:45,720 --> 00:10:50,439 Speaker 2: to have a code for that something to associate to 166 00:10:50,760 --> 00:10:53,280 Speaker 2: and follow so that it can be in time with 167 00:10:53,400 --> 00:10:57,440 Speaker 2: the track. The drummer was the click track back in 168 00:10:57,480 --> 00:11:01,960 Speaker 2: those days, and it was human and feel. But I 169 00:11:01,960 --> 00:11:06,640 Speaker 2: don't think any of those songs were lacking for human 170 00:11:06,720 --> 00:11:12,400 Speaker 2: feel myself, and I think click tracks are. You know, 171 00:11:12,440 --> 00:11:15,920 Speaker 2: they're a stumbling block. Seriously, if you got a lock 172 00:11:16,000 --> 00:11:21,880 Speaker 2: to something that's artificial, then there is a chance that 173 00:11:22,000 --> 00:11:24,120 Speaker 2: whatever you're doing is going to have a little of 174 00:11:24,200 --> 00:11:28,720 Speaker 2: a bat artificial you know, inspiration sticking out of it. 175 00:11:29,080 --> 00:11:30,960 Speaker 4: And I want I want this song. 176 00:11:31,320 --> 00:11:34,079 Speaker 2: You know, Back when we cut it, it was looking 177 00:11:34,120 --> 00:11:36,079 Speaker 2: at Brewer, and of course when he. 178 00:11:36,040 --> 00:11:38,480 Speaker 4: Would get excited, he'd rush a little. 179 00:11:38,240 --> 00:11:40,839 Speaker 2: Bit, and then the song had settled back down the 180 00:11:41,240 --> 00:11:45,240 Speaker 2: temple map. If you could see it, dude, it was 181 00:11:45,320 --> 00:11:47,960 Speaker 2: like it's like this Brewer was all over the place. 182 00:11:48,960 --> 00:11:54,440 Speaker 2: But Josh followed that temple map and he laid down 183 00:11:54,800 --> 00:11:58,840 Speaker 2: Ludwig drums, the same type of drums that Brewer used 184 00:11:58,880 --> 00:12:02,560 Speaker 2: on the first recording and laid it in the temple 185 00:12:02,679 --> 00:12:06,280 Speaker 2: map right where it's supposed to be, and the guy 186 00:12:06,400 --> 00:12:10,280 Speaker 2: is man, he was spot on, just locked right into it. 187 00:12:10,960 --> 00:12:15,560 Speaker 2: I played bass on this version and a lot of 188 00:12:15,559 --> 00:12:20,080 Speaker 2: the bass lines. Mel asked me, what are you hearing there? 189 00:12:20,320 --> 00:12:22,920 Speaker 2: And I went, well, I'm hearing like about out the 190 00:12:23,320 --> 00:12:28,840 Speaker 2: bump bumpout out on and yeah, okay, and that dog 191 00:12:28,960 --> 00:12:35,200 Speaker 2: on bom bom bomb bom bomb bom. You know that's 192 00:12:35,280 --> 00:12:38,600 Speaker 2: my line that came from me in the first place. 193 00:12:38,679 --> 00:12:43,120 Speaker 2: Mel Shocker is great. He is a great bass player. 194 00:12:43,200 --> 00:12:47,880 Speaker 2: He's got feel dripping off of him. But and and 195 00:12:48,000 --> 00:12:50,960 Speaker 2: I didn't play it like Mel played it. I played it, 196 00:12:51,640 --> 00:12:55,800 Speaker 2: you know, like I played it on a different type 197 00:12:55,800 --> 00:12:58,560 Speaker 2: of bass. Mel had a peep bass with a humbucker, 198 00:12:59,160 --> 00:13:02,440 Speaker 2: and I played it on a Lakeland bass that was plecked, 199 00:13:03,280 --> 00:13:06,400 Speaker 2: And so it was easier for this guitar player to 200 00:13:06,480 --> 00:13:10,200 Speaker 2: play that bass on this track. But we were playing 201 00:13:10,760 --> 00:13:15,480 Speaker 2: in a different signature. The time signature was the same. 202 00:13:15,920 --> 00:13:20,200 Speaker 2: The key signature was not a four forty. 203 00:13:21,120 --> 00:13:23,360 Speaker 4: The original version was cut in. 204 00:13:23,480 --> 00:13:27,840 Speaker 2: A four forty because a four forty is the American 205 00:13:28,000 --> 00:13:33,480 Speaker 2: tuning standard since nineteen fifty three. That's when it was 206 00:13:33,640 --> 00:13:37,080 Speaker 2: established here in the United States. But it went from 207 00:13:37,200 --> 00:13:42,120 Speaker 2: four to three two, counting backwards from four four. 208 00:13:41,960 --> 00:13:45,160 Speaker 4: To three two to four forty. 209 00:13:46,120 --> 00:13:51,440 Speaker 2: And I don't know why, because four forty is an agitation. 210 00:13:52,000 --> 00:13:58,240 Speaker 2: That frequency is an agitation to natural things such as water, 211 00:13:58,760 --> 00:14:02,120 Speaker 2: a body of water. You play four forty, you play 212 00:14:02,200 --> 00:14:07,000 Speaker 2: a two on a scale uh in four forty tuning 213 00:14:07,640 --> 00:14:10,040 Speaker 2: at one hundred and twenty five decipels, and you'll put 214 00:14:10,160 --> 00:14:13,160 Speaker 2: chop on that water. It'll it'll be like an ocean 215 00:14:13,760 --> 00:14:19,200 Speaker 2: that is experiencing a storm, frothing and everything. You play 216 00:14:19,320 --> 00:14:23,880 Speaker 2: that same note in the tuning standard of a four 217 00:14:24,000 --> 00:14:29,000 Speaker 2: three two, And it is a piece of glass because 218 00:14:29,040 --> 00:14:30,040 Speaker 2: it's not adjective. 219 00:14:30,160 --> 00:14:34,880 Speaker 4: It's blending in with the natural that is here. And 220 00:14:35,240 --> 00:14:37,800 Speaker 4: you and I are made of how much water? Brother? 221 00:14:38,000 --> 00:14:40,600 Speaker 4: And we're a lot, a lot of water? So the 222 00:14:40,720 --> 00:14:42,880 Speaker 4: four have Oh I love this. 223 00:14:43,640 --> 00:14:46,640 Speaker 5: Have you ever had a conversation with Skunk Baxter like this? 224 00:14:46,840 --> 00:14:46,960 Speaker 2: No? 225 00:14:47,800 --> 00:14:50,560 Speaker 5: Oh you should. He was on this podcast. 226 00:14:50,720 --> 00:14:52,440 Speaker 4: Oh yeah, and he gave his. 227 00:14:54,000 --> 00:14:58,520 Speaker 3: Own version of the description of you know, the depth 228 00:14:58,600 --> 00:15:02,720 Speaker 3: of music and the sonic, you know, composition of it, 229 00:15:02,840 --> 00:15:07,720 Speaker 3: and and you guys could talk about frequency and really 230 00:15:07,720 --> 00:15:08,400 Speaker 3: go crazy. 231 00:15:09,800 --> 00:15:10,680 Speaker 4: I love Skunk. 232 00:15:11,040 --> 00:15:14,480 Speaker 2: I played done some gigs with him and he's he 233 00:15:14,640 --> 00:15:16,320 Speaker 2: is a wonderful character. 234 00:15:16,840 --> 00:15:19,000 Speaker 1: Will be right back with more of the Taking a 235 00:15:19,040 --> 00:15:27,240 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 236 00:15:27,720 --> 00:15:30,560 Speaker 3: Who are some of the other folks that have you know, 237 00:15:30,640 --> 00:15:34,920 Speaker 3: other musicians over your career that have you know, had 238 00:15:34,960 --> 00:15:37,520 Speaker 3: an impact on you, had an influence on you. 239 00:15:38,760 --> 00:15:43,200 Speaker 2: Freddie King? When Freddy King was opening for Grand Funk, 240 00:15:43,960 --> 00:15:47,880 Speaker 2: it was a blessing. Deacon Jones was his keyboard player, 241 00:15:49,000 --> 00:15:53,920 Speaker 2: and those guys every night, those guys were playing poker. 242 00:15:53,960 --> 00:16:00,080 Speaker 4: After the gig, Freddy had pay him. Then he he 243 00:16:00,240 --> 00:16:01,240 Speaker 4: went back when. 244 00:16:06,400 --> 00:16:09,040 Speaker 2: And we sat in on some of the poker games 245 00:16:09,320 --> 00:16:12,720 Speaker 2: and it was so funny this one time. 246 00:16:12,800 --> 00:16:13,080 Speaker 4: Man. 247 00:16:14,120 --> 00:16:17,680 Speaker 2: It was like Freddy had lost two or three hands in. 248 00:16:17,640 --> 00:16:19,760 Speaker 4: A row and this is like unheard of, you know, 249 00:16:19,880 --> 00:16:22,200 Speaker 4: and everybody's like going, all right, all right. 250 00:16:22,680 --> 00:16:26,320 Speaker 2: Freddy reaches in his pocket and he slams a thirty 251 00:16:26,320 --> 00:16:30,240 Speaker 2: eight special Saturday Night Special down on the table. 252 00:16:30,280 --> 00:16:35,720 Speaker 4: He says, Okay, that's enough of that crap. We all 253 00:16:35,760 --> 00:16:39,720 Speaker 4: about died laughing. Dude. Oh my god, what a character. 254 00:16:40,240 --> 00:16:42,000 Speaker 4: I miss Oh I miss him. 255 00:16:42,960 --> 00:16:45,200 Speaker 5: Oh what a great story. 256 00:16:45,320 --> 00:16:50,000 Speaker 2: Conspiration in my life. A great musician. He played with 257 00:16:50,160 --> 00:16:54,000 Speaker 2: a wound g string. That boy had some strength in 258 00:16:54,040 --> 00:16:57,960 Speaker 2: his hands. I saw him snap the headstock off a 259 00:16:58,040 --> 00:17:03,560 Speaker 2: less Paul Junior one night on stage, just bam gone. 260 00:17:04,240 --> 00:17:06,119 Speaker 2: You just put that wow pressure on it. 261 00:17:06,200 --> 00:17:12,640 Speaker 5: Yeah, I love it. Mark. Why do bands ultimately break up? 262 00:17:13,240 --> 00:17:17,800 Speaker 2: Well, I think it's, uh, you know, the estimation that 263 00:17:17,800 --> 00:17:21,800 Speaker 2: the ego gets in there and I want to I 264 00:17:21,920 --> 00:17:24,320 Speaker 2: want to be the one other I wanted to do it. 265 00:17:24,560 --> 00:17:27,280 Speaker 4: You know, it can't be all you. It's got to 266 00:17:27,320 --> 00:17:29,720 Speaker 4: be you know, that goes. 267 00:17:29,560 --> 00:17:35,080 Speaker 2: On a lot. I think that goes on so much 268 00:17:35,119 --> 00:17:37,239 Speaker 2: that it break spans up. And I've heard about this. 269 00:17:37,359 --> 00:17:42,000 Speaker 2: I mean I've talked to other players, and most of 270 00:17:42,040 --> 00:17:45,199 Speaker 2: the time they tell me it's the ego gets in 271 00:17:45,240 --> 00:17:49,320 Speaker 2: the way. Somebody, a band member don't feel like they're 272 00:17:49,400 --> 00:17:54,080 Speaker 2: they're getting enough recognition, so they you know, they throw 273 00:17:54,119 --> 00:17:55,600 Speaker 2: a hissy fit. 274 00:17:57,520 --> 00:18:00,119 Speaker 5: Isn't that true of everything in life? Ego gets in 275 00:18:00,160 --> 00:18:03,600 Speaker 5: the way of everything. Really, Isn't that the bottom line problem? 276 00:18:03,720 --> 00:18:07,280 Speaker 2: Yeah, bus man, that's you know, the pride of you know, 277 00:18:07,840 --> 00:18:10,959 Speaker 2: the ego can be a good thing, it really, I mean, 278 00:18:11,000 --> 00:18:14,480 Speaker 2: we need to have some ego but it needs to 279 00:18:14,520 --> 00:18:19,520 Speaker 2: be under your controller. It needs to submit to you. 280 00:18:19,520 --> 00:18:23,800 Speaker 2: You can't submit to ego because things will go crazy. 281 00:18:25,200 --> 00:18:28,800 Speaker 5: Mark, there's a lot of bands out there that are 282 00:18:28,840 --> 00:18:32,080 Speaker 5: touring that aren't the bands. 283 00:18:32,520 --> 00:18:33,639 Speaker 4: Yeah they aren't. 284 00:18:33,680 --> 00:18:35,439 Speaker 5: They are. Do you have a thought on that? 285 00:18:36,359 --> 00:18:42,000 Speaker 2: Yeah, there are many bands that don't. They don't even 286 00:18:42,040 --> 00:18:46,760 Speaker 2: have the original members, and they're calling it the name 287 00:18:46,760 --> 00:18:47,240 Speaker 2: of the band. 288 00:18:47,320 --> 00:18:48,360 Speaker 4: You know what the band? 289 00:18:48,880 --> 00:18:53,360 Speaker 2: The original trademark of that band, and it's the same thing. 290 00:18:53,560 --> 00:18:57,479 Speaker 2: I believe it's wrong with the entire world, and that 291 00:18:57,720 --> 00:19:04,000 Speaker 2: is corporations because in a corporate structure, once you're in 292 00:19:04,040 --> 00:19:10,280 Speaker 2: that corporate structure, you are manipulated by the majority rule, 293 00:19:12,119 --> 00:19:16,160 Speaker 2: and if there's three people and two or against you, 294 00:19:16,640 --> 00:19:20,640 Speaker 2: I don't care what your status was prior to that, 295 00:19:21,160 --> 00:19:25,280 Speaker 2: it's going to be whatever they want. If there's four people, 296 00:19:25,320 --> 00:19:27,879 Speaker 2: I mean, you know, that's what it is. Corporation and 297 00:19:28,040 --> 00:19:34,080 Speaker 2: whoever's controlling the trademark. I was talking to he was 298 00:19:34,119 --> 00:19:38,680 Speaker 2: on in Cleveland doing a It was a Gunner Nelson 299 00:19:39,119 --> 00:19:42,800 Speaker 2: and he says, Barnard, do you know that there's one 300 00:19:42,880 --> 00:19:49,240 Speaker 2: hundred and twenty six versions of this band that goes 301 00:19:49,359 --> 00:19:54,760 Speaker 2: out of its old time rock and roll, And there's 302 00:19:54,840 --> 00:20:00,440 Speaker 2: one guy that controls the trademark and he licenses the 303 00:20:00,600 --> 00:20:03,919 Speaker 2: use of the trademark to each one of these one 304 00:20:04,000 --> 00:20:09,600 Speaker 2: hundred and twenty six bands, and people don't know. They're 305 00:20:09,640 --> 00:20:14,720 Speaker 2: just going to hear the music. I said, bingo, that's it. 306 00:20:14,840 --> 00:20:19,360 Speaker 2: And whoever has the use of the trademark, it doesn't matter. 307 00:20:19,440 --> 00:20:23,080 Speaker 2: You know, it can be legal because it's a corporate thing, 308 00:20:24,040 --> 00:20:26,120 Speaker 2: and that's a legal thing to do. 309 00:20:27,040 --> 00:20:31,040 Speaker 4: But how honest is that? How honest is it? 310 00:20:31,480 --> 00:20:34,000 Speaker 2: If honesty has no bearing on your life and you 311 00:20:34,040 --> 00:20:36,880 Speaker 2: don't really give a rip, then you can go ahead 312 00:20:36,920 --> 00:20:37,880 Speaker 2: and do stuff like that. 313 00:20:37,920 --> 00:20:39,080 Speaker 4: But I think people. 314 00:20:40,280 --> 00:20:45,960 Speaker 2: Need to know and be honest about things, and that 315 00:20:46,600 --> 00:20:51,000 Speaker 2: is very unlikely in the current situation. I mean, you 316 00:20:51,160 --> 00:20:55,800 Speaker 2: think about in nineteen ninety six and the deregulation of 317 00:20:55,840 --> 00:21:00,920 Speaker 2: the FCC put the ownership of all these radio stations 318 00:21:00,920 --> 00:21:04,080 Speaker 2: and television stations in the hands. 319 00:21:04,240 --> 00:21:05,399 Speaker 4: Of just a few people. 320 00:21:05,800 --> 00:21:08,480 Speaker 2: It used to be owned by moms and dads, grandpa's 321 00:21:08,520 --> 00:21:11,400 Speaker 2: and grandma's. There was you could own seven AM seven 322 00:21:11,560 --> 00:21:14,560 Speaker 2: FM seven television station. It was a seven seven seven rule, 323 00:21:14,600 --> 00:21:18,320 Speaker 2: the FCC seven seven seven rule. And when they abolished 324 00:21:18,320 --> 00:21:20,119 Speaker 2: that rule, you know it was set in place to 325 00:21:20,240 --> 00:21:23,280 Speaker 2: prevent a monopoly, but when they abolished it, guess what 326 00:21:23,440 --> 00:21:27,760 Speaker 2: happened And now we're suffering under that monopoly. 327 00:21:28,840 --> 00:21:32,400 Speaker 3: Very well stated, sir, really well stated. So let's talk 328 00:21:32,440 --> 00:21:34,679 Speaker 3: about Okay, you're going to be hitting the road with 329 00:21:34,800 --> 00:21:39,200 Speaker 3: the band right to promote the new project. 330 00:21:40,520 --> 00:21:42,160 Speaker 4: And you've got. 331 00:21:41,960 --> 00:21:45,399 Speaker 3: The single out obviously of Your Captain, and then the 332 00:21:45,400 --> 00:21:50,480 Speaker 3: full album coming out in November. There's also a bonus 333 00:21:50,560 --> 00:21:53,119 Speaker 3: track I want to talk about there as well that 334 00:21:53,640 --> 00:21:58,240 Speaker 3: you have on there. Talk about the Friends Forever track 335 00:21:58,440 --> 00:22:00,000 Speaker 3: and who's involved with it. 336 00:22:00,840 --> 00:22:05,879 Speaker 2: Yeah, Jim Peterrick from the IDEs of March and I 337 00:22:05,920 --> 00:22:11,360 Speaker 2: got together at his studio and we recorded the vocal 338 00:22:11,560 --> 00:22:14,280 Speaker 2: and we recorded it was just like a you know, 339 00:22:14,359 --> 00:22:16,200 Speaker 2: you do a scratch track. 340 00:22:17,480 --> 00:22:19,600 Speaker 4: It was to be. 341 00:22:21,440 --> 00:22:24,159 Speaker 2: I eventually ended up playing bass on it because I 342 00:22:24,160 --> 00:22:26,480 Speaker 2: could hear some different things to make it, just to 343 00:22:26,560 --> 00:22:30,800 Speaker 2: make it move, you know, a little differently. And I'm 344 00:22:30,920 --> 00:22:34,960 Speaker 2: a motown, R and. 345 00:22:34,920 --> 00:22:36,119 Speaker 4: B kind of guy. 346 00:22:37,200 --> 00:22:39,639 Speaker 2: I was raised on that and it's in me, so 347 00:22:39,720 --> 00:22:44,119 Speaker 2: I hear things that way, and I could hear it 348 00:22:44,720 --> 00:22:47,240 Speaker 2: that way as I was singing and doing it down 349 00:22:47,240 --> 00:22:47,960 Speaker 2: in the studio. 350 00:22:48,840 --> 00:22:49,960 Speaker 4: I heard it that way. 351 00:22:50,040 --> 00:22:55,160 Speaker 2: And when Mark Slaughter and I were recording my album 352 00:22:55,600 --> 00:22:58,560 Speaker 2: Closer to My Home, I said, you know, we got 353 00:22:58,560 --> 00:23:02,600 Speaker 2: this song that Peter and I wrote, and we could 354 00:23:02,640 --> 00:23:05,760 Speaker 2: we could get those tracks and I could play the 355 00:23:05,800 --> 00:23:07,360 Speaker 2: bass on it because I'm here here. 356 00:23:07,400 --> 00:23:09,680 Speaker 4: I told him. I said, I've just so bent on 357 00:23:09,720 --> 00:23:11,920 Speaker 4: this bass that's in my head. I said. 358 00:23:12,040 --> 00:23:14,840 Speaker 2: He said, well, let's get it. Let's see how it sounds. 359 00:23:15,200 --> 00:23:17,440 Speaker 2: And so when he put it up and I played 360 00:23:17,440 --> 00:23:20,399 Speaker 2: the bass on it, then it made sense to me. 361 00:23:21,000 --> 00:23:23,720 Speaker 2: It gave me the feeling that I could sing to 362 00:23:25,119 --> 00:23:30,800 Speaker 2: I had already done the track with jim and round 363 00:23:30,840 --> 00:23:35,639 Speaker 2: Chicago there where he lives, and but I altered it 364 00:23:35,680 --> 00:23:39,840 Speaker 2: when we got to Mark slaughter studio. I sang some 365 00:23:40,000 --> 00:23:44,600 Speaker 2: different parts and uh just made it, you know, more 366 00:23:44,760 --> 00:23:47,560 Speaker 2: me because at the time I was just like, okay, 367 00:23:47,600 --> 00:23:49,960 Speaker 2: I'm reading these words off a piece of paper and 368 00:23:49,960 --> 00:23:52,840 Speaker 2: and I put my I said, what about this? You know, 369 00:23:53,960 --> 00:23:57,439 Speaker 2: family reunited at the heart and it was like Jimbo 370 00:23:57,600 --> 00:24:02,200 Speaker 2: was going, yeah, dude, and you know some other contributions 371 00:24:02,280 --> 00:24:06,280 Speaker 2: that I felt were important to say, but to say 372 00:24:06,359 --> 00:24:11,600 Speaker 2: humbly and keep the song, you know, thank you to people. 373 00:24:11,960 --> 00:24:14,800 Speaker 2: This is a this is like, thank you everybody for 374 00:24:15,520 --> 00:24:18,800 Speaker 2: you know, making our lives and thank you for being 375 00:24:19,600 --> 00:24:24,040 Speaker 2: the ones who kept us going and inspired us and 376 00:24:24,160 --> 00:24:30,040 Speaker 2: encouraged us to continue with the talents that God gave us. 377 00:24:30,880 --> 00:24:34,560 Speaker 3: What a great message. That's so wonderful. Well, I do 378 00:24:34,640 --> 00:24:37,879 Speaker 3: want to close with this mark. It kind of feeds 379 00:24:37,960 --> 00:24:41,200 Speaker 3: right into I think a really important take. I want 380 00:24:41,240 --> 00:24:46,760 Speaker 3: you to leave us with you have amazing characteristics of resilience. 381 00:24:48,000 --> 00:24:49,800 Speaker 5: What can you tell us about. 382 00:24:51,080 --> 00:24:55,959 Speaker 3: Resilience where you sort of you know, learned it and strengthened, 383 00:24:56,119 --> 00:24:59,320 Speaker 3: where it comes from, and what others can take away 384 00:24:59,359 --> 00:24:59,680 Speaker 3: from that? 385 00:25:00,680 --> 00:25:05,520 Speaker 2: Well, I think, buzz, I think that you know, when 386 00:25:05,600 --> 00:25:09,120 Speaker 2: my dad died, I was nine years old and. 387 00:25:10,520 --> 00:25:14,240 Speaker 4: It was life changing experience. 388 00:25:14,440 --> 00:25:19,960 Speaker 2: Prior to my father dying, I had uncle Garland died 389 00:25:20,800 --> 00:25:24,359 Speaker 2: and that changed our family. I mean because we all 390 00:25:24,400 --> 00:25:28,880 Speaker 2: got together on Sunday. Every Sunday, the whole family got 391 00:25:28,920 --> 00:25:30,400 Speaker 2: together and did music. 392 00:25:31,400 --> 00:25:31,639 Speaker 4: You know. 393 00:25:31,680 --> 00:25:34,560 Speaker 2: There was fiddles and banjos and guitars, and my dad 394 00:25:34,600 --> 00:25:38,080 Speaker 2: blew saxophone and all the women sang and it was 395 00:25:38,160 --> 00:25:42,320 Speaker 2: like listening to angels sing. Brother Family harmony is a 396 00:25:42,359 --> 00:25:49,800 Speaker 2: beautiful thing. But when I lost my dad, I watched 397 00:25:51,280 --> 00:25:55,680 Speaker 2: this the whole family kind of break up. 398 00:25:56,600 --> 00:25:58,919 Speaker 4: We stopped having the jam sessions. 399 00:26:00,320 --> 00:26:07,640 Speaker 2: We went into this morning and my mother, God rest 400 00:26:07,720 --> 00:26:08,160 Speaker 2: her soul. 401 00:26:09,040 --> 00:26:11,480 Speaker 4: She was hurting. She was hurting for a long time. 402 00:26:11,520 --> 00:26:16,200 Speaker 4: And I walked out of the dining room one day. 403 00:26:16,880 --> 00:26:19,159 Speaker 2: It was shortly after my dad had passed, and there 404 00:26:19,200 --> 00:26:22,480 Speaker 2: were a lot of people over trying to comfort my mother. 405 00:26:23,720 --> 00:26:25,840 Speaker 2: And I walked out of the dining room and I 406 00:26:25,880 --> 00:26:29,320 Speaker 2: went into the living room of the eleven room farmhouse 407 00:26:29,359 --> 00:26:33,239 Speaker 2: that we lived in that my great grandfather built. And 408 00:26:33,440 --> 00:26:38,719 Speaker 2: my dad, before he passed, he had just purchased a 409 00:26:38,800 --> 00:26:42,639 Speaker 2: television set. We didn't have one till. We used to 410 00:26:43,119 --> 00:26:45,879 Speaker 2: listen to a radio, this great, big wooden radio, and 411 00:26:46,000 --> 00:26:48,919 Speaker 2: we'd pop popcorn, and all the cousins and you know, 412 00:26:49,240 --> 00:26:53,800 Speaker 2: everybody sit around and listen to Flash Gordon and listen to, 413 00:26:54,000 --> 00:26:57,199 Speaker 2: you know, all of these things on the radio. The 414 00:26:57,280 --> 00:27:02,199 Speaker 2: creaking door, and but we had the TV. It was 415 00:27:02,200 --> 00:27:05,280 Speaker 2: black and white. And I walked in there and it 416 00:27:05,440 --> 00:27:08,600 Speaker 2: was on. It had been on, and my mother kind 417 00:27:08,600 --> 00:27:11,439 Speaker 2: of had it on as just as a background noise, 418 00:27:11,840 --> 00:27:16,320 Speaker 2: just to you know, keep her mind from wandering too deep. 419 00:27:16,359 --> 00:27:19,280 Speaker 2: I think that was part of the ploy. Anyways, I 420 00:27:19,359 --> 00:27:23,119 Speaker 2: walk in and Billy Graham's on the television and he says, 421 00:27:24,480 --> 00:27:28,200 Speaker 2: are you hurting? And I looked over. I'm nine years old. 422 00:27:28,960 --> 00:27:31,600 Speaker 2: I'm looking at this guy and I'm thinking, can. 423 00:27:31,400 --> 00:27:35,040 Speaker 4: He see me? Do you need a touch from God? 424 00:27:35,600 --> 00:27:38,880 Speaker 2: And I'm one. I look around. I'm the only one 425 00:27:38,880 --> 00:27:43,040 Speaker 2: in the living room. He's talking to me. I said, 426 00:27:43,600 --> 00:27:45,920 Speaker 2: I said, yes, I need a touch from God. He said, 427 00:27:45,960 --> 00:27:48,320 Speaker 2: come over and put your hand on the television set. 428 00:27:48,920 --> 00:27:52,159 Speaker 2: And I put my hand on that television set. Bus 429 00:27:53,359 --> 00:27:56,040 Speaker 2: I tell you when I prayed with him, and I 430 00:27:56,080 --> 00:27:59,680 Speaker 2: prayed to have Jesus come into my heart, come into 431 00:27:59,720 --> 00:28:04,399 Speaker 2: my life life, and to comfort me and give me 432 00:28:04,440 --> 00:28:05,560 Speaker 2: that comfort that I needed. 433 00:28:06,040 --> 00:28:09,399 Speaker 4: I got it. Nine years old. I got it. I 434 00:28:09,600 --> 00:28:13,280 Speaker 4: believed as a child in what I was doing. 435 00:28:14,320 --> 00:28:20,600 Speaker 2: I believed, and that belief, the understanding of that belief 436 00:28:21,960 --> 00:28:28,560 Speaker 2: has given me a resilience that has stayed with me, 437 00:28:29,240 --> 00:28:34,880 Speaker 2: and it has gathered momentum like a snowball rolling down 438 00:28:35,359 --> 00:28:41,520 Speaker 2: a steep hill, gathering momentum, getting bigger. Keeping that intact. 439 00:28:41,680 --> 00:28:44,120 Speaker 2: There's so much that wants to eat away at it. 440 00:28:44,200 --> 00:28:48,560 Speaker 2: There's so many other things that you could get your 441 00:28:48,640 --> 00:28:56,160 Speaker 2: mind confused by. But I thank God for that faith 442 00:28:56,200 --> 00:29:00,560 Speaker 2: that I have. It's because faith is the abstance of 443 00:29:00,640 --> 00:29:04,800 Speaker 2: things hoped for and the evidence of things unseen. We 444 00:29:04,880 --> 00:29:08,600 Speaker 2: have to when we pray, we pray believing. So that 445 00:29:08,800 --> 00:29:12,000 Speaker 2: belief and that prayer that I prayed with Billy Graham 446 00:29:12,960 --> 00:29:17,400 Speaker 2: gave me something that I have kept in my heart 447 00:29:18,160 --> 00:29:20,640 Speaker 2: to this day. I'll be seventy six on the twenty 448 00:29:20,720 --> 00:29:24,480 Speaker 2: ninth of this month, brother, and my faith is increasing 449 00:29:25,920 --> 00:29:30,720 Speaker 2: the more I take dominion over this temple and the 450 00:29:30,720 --> 00:29:35,080 Speaker 2: more I tell the evil one take a hike. 451 00:29:37,400 --> 00:29:38,600 Speaker 4: I belong to love. 452 00:29:38,760 --> 00:29:43,719 Speaker 3: Man, what a great time talking to you. You're an 453 00:29:43,920 --> 00:29:47,640 Speaker 3: iconic figure in music history and you're still at it, 454 00:29:47,680 --> 00:29:50,400 Speaker 3: and you're still spreading the good word of music and 455 00:29:50,480 --> 00:29:54,160 Speaker 3: the good word from your heart. Mark Farner, congrats on 456 00:29:54,200 --> 00:29:58,240 Speaker 3: the new releases and good luck on the tour, and 457 00:29:58,720 --> 00:30:00,000 Speaker 3: thanks for being untaken a whayle. 458 00:30:00,200 --> 00:30:00,400 Speaker 5: Brother. 459 00:30:01,000 --> 00:30:02,600 Speaker 4: It has been my pleasure. 460 00:30:03,160 --> 00:30:03,400 Speaker 1: Buzz. 461 00:30:03,480 --> 00:30:07,160 Speaker 2: It's great to hear your heart as well. I wish 462 00:30:07,240 --> 00:30:10,280 Speaker 2: you the best and God bless you. And if I 463 00:30:10,320 --> 00:30:13,000 Speaker 2: don't see in the future, I see in the pasture. 464 00:30:14,440 --> 00:30:16,880 Speaker 1: Thanks for listening to this episode of the Taking a 465 00:30:16,920 --> 00:30:20,840 Speaker 1: Walk podcast. Share this and other episodes with your friends 466 00:30:20,920 --> 00:30:24,400 Speaker 1: and follow us so you never miss an episode. Taking 467 00:30:24,440 --> 00:30:28,320 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 468 00:30:28,560 --> 00:30:30,840 Speaker 1: and wherever you get your podcasts.