1 00:00:00,760 --> 00:00:01,480 Speaker 1: Taking a Walk. 2 00:00:01,680 --> 00:00:04,080 Speaker 2: Welcome to Taking a Walk on Buzz Night. Now, this week, 3 00:00:04,120 --> 00:00:07,000 Speaker 2: we're going to be celebrating Valentine's Week with a special 4 00:00:07,080 --> 00:00:11,399 Speaker 2: theme we call love Songs and Heartbreak Stories. All week long, 5 00:00:11,520 --> 00:00:15,000 Speaker 2: we're revisiting some of our most memorable episodes that explore 6 00:00:15,600 --> 00:00:18,400 Speaker 2: the romantic side of music, the songs that make us 7 00:00:18,440 --> 00:00:21,520 Speaker 2: fall in love, the ones that help us heal broken hearts, 8 00:00:21,800 --> 00:00:25,440 Speaker 2: and the stories behind the melodies that have soundtracked our 9 00:00:25,440 --> 00:00:28,680 Speaker 2: most intimate moments. And what better way to kick off 10 00:00:28,680 --> 00:00:31,360 Speaker 2: this celebration than with a legend who's written some of 11 00:00:31,400 --> 00:00:36,479 Speaker 2: the most unforgettable love songs and pop music history, John Oates. 12 00:00:36,920 --> 00:00:39,920 Speaker 2: As one half of the iconic duo Hall and Oates, 13 00:00:40,400 --> 00:00:44,600 Speaker 2: John helped create the soundtrack to Countless Relationships. Sarah smile, 14 00:00:44,800 --> 00:00:47,880 Speaker 2: I can't go for that. You make my dreams come true. 15 00:00:48,560 --> 00:00:51,680 Speaker 2: Those weren't just hits. They're the songs that people have 16 00:00:51,760 --> 00:00:54,640 Speaker 2: fallen and loved to, danced to at weddings, and yes, 17 00:00:54,960 --> 00:00:57,440 Speaker 2: nursed broken hearts with for decades. 18 00:00:57,880 --> 00:00:58,080 Speaker 3: Now. 19 00:00:58,080 --> 00:01:01,120 Speaker 2: In this conversation, we're talking to John Oates about his 20 00:01:01,200 --> 00:01:05,200 Speaker 2: solo work. John opens up about the personal experiences and 21 00:01:05,319 --> 00:01:10,480 Speaker 2: emotions behind a song called Reunion off of that solo album, 22 00:01:10,520 --> 00:01:13,720 Speaker 2: a heartfelt song that's a tribute to his late father 23 00:01:13,880 --> 00:01:17,400 Speaker 2: that reminds us that love songs aren't only about romance, 24 00:01:17,480 --> 00:01:21,479 Speaker 2: but about the connections that shape our lives. So, whether 25 00:01:21,520 --> 00:01:25,720 Speaker 2: you're celebrating love this Valentine's Week, remembering a romance, or 26 00:01:25,800 --> 00:01:30,200 Speaker 2: just appreciating great songwriting, settle in for this special episode, 27 00:01:30,800 --> 00:01:33,360 Speaker 2: We're going to take a walk with the incomparable John 28 00:01:33,440 --> 00:01:34,800 Speaker 2: Oates next. 29 00:01:38,680 --> 00:01:42,000 Speaker 4: Taking a Walk, Well, John Oates, it is a terrific 30 00:01:42,040 --> 00:01:44,720 Speaker 4: honor to have you on this virtual edition of Taking 31 00:01:44,720 --> 00:01:46,440 Speaker 4: a Walk. We're going to take a walk down memory 32 00:01:46,560 --> 00:01:49,480 Speaker 4: lane a bit. We're going to talk about your new project, Reunion. 33 00:01:49,560 --> 00:01:51,440 Speaker 4: But I'm grateful to have you on. 34 00:01:52,160 --> 00:01:53,640 Speaker 3: Thanks, Thanks, nice to be here. 35 00:01:54,560 --> 00:02:00,240 Speaker 4: So Reunion is the new project. The singles out want 36 00:02:00,240 --> 00:02:03,200 Speaker 4: to get into a lot about that project, but can 37 00:02:03,240 --> 00:02:07,120 Speaker 4: you just talk about how the creative process worked for 38 00:02:07,200 --> 00:02:11,560 Speaker 4: you for this new Reunion project and any differences in 39 00:02:11,560 --> 00:02:14,800 Speaker 4: the creative project to the way you've done it in 40 00:02:14,800 --> 00:02:15,280 Speaker 4: the past. 41 00:02:16,200 --> 00:02:19,000 Speaker 3: Well, this, this this particular project, I think is in 42 00:02:19,040 --> 00:02:23,280 Speaker 3: a sense a culmination of my Nashville experience moving here, 43 00:02:23,840 --> 00:02:29,280 Speaker 3: being embraced in participating in a lot of the Americana music, 44 00:02:30,600 --> 00:02:34,880 Speaker 3: you know, communities not only in terms of musical relationship, 45 00:02:34,919 --> 00:02:37,040 Speaker 3: but friendships and all sorts of things like that. So 46 00:02:37,760 --> 00:02:40,200 Speaker 3: in a way, I think this record really kind of 47 00:02:40,639 --> 00:02:45,200 Speaker 3: crystallizes on all those things. There's there's many many of 48 00:02:45,240 --> 00:02:49,679 Speaker 3: my amazing musicians who have become my good friends over 49 00:02:49,720 --> 00:02:53,680 Speaker 3: the years, who we've recorded and toured together with. You know, 50 00:02:54,040 --> 00:02:57,960 Speaker 3: people like Sam Bush, Jerry Douglas, Baili Fleck, Jim Lauderdale, 51 00:02:58,639 --> 00:03:02,680 Speaker 3: you know some great amazing also players like Guthrie Trapped, 52 00:03:02,720 --> 00:03:06,760 Speaker 3: Tom Bukavac. So it's really chock full of of this 53 00:03:06,840 --> 00:03:10,320 Speaker 3: kind of all star cast, Sierra Hall on mandolin, just 54 00:03:10,400 --> 00:03:14,440 Speaker 3: more recently, Russ Paul, you know, people like that. I 55 00:03:14,480 --> 00:03:17,600 Speaker 3: could go on and on, but it's really and and 56 00:03:17,680 --> 00:03:19,920 Speaker 3: a lot of I think what makes this record unique 57 00:03:19,919 --> 00:03:22,400 Speaker 3: too is there's songs on this record that are that 58 00:03:22,440 --> 00:03:24,880 Speaker 3: were written a long long time ago, some some as 59 00:03:24,880 --> 00:03:29,480 Speaker 3: early as the early nineties and on up to songs 60 00:03:29,480 --> 00:03:32,200 Speaker 3: that I knew that someday would see the light of day, 61 00:03:32,360 --> 00:03:35,560 Speaker 3: but I didn't have a project that they seemed to fit. 62 00:03:36,080 --> 00:03:38,880 Speaker 3: And finally I had this body of work that seemed 63 00:03:38,880 --> 00:03:42,280 Speaker 3: to embrace some of these other songs that have just 64 00:03:42,320 --> 00:03:46,480 Speaker 3: been sitting around in the in the archives. So really 65 00:03:46,520 --> 00:03:48,320 Speaker 3: it's it's I think in a way, it's a little 66 00:03:48,320 --> 00:03:52,160 Speaker 3: bit of a retrospective on my on my singer songwriter side, 67 00:03:53,040 --> 00:03:57,400 Speaker 3: on my folk acoustic side, all of which are very 68 00:03:57,400 --> 00:04:02,680 Speaker 3: important in my in my background, in my musical DNA. 69 00:04:03,120 --> 00:04:06,240 Speaker 4: And back here you can't quite see it, but there's 70 00:04:06,320 --> 00:04:10,120 Speaker 4: a photo of the great John Prime back there from 71 00:04:10,160 --> 00:04:15,400 Speaker 4: an album cover, and you do an absolutely beautiful, beautiful 72 00:04:15,440 --> 00:04:20,480 Speaker 4: rendition of the song long Monday. Congratulations on that. Tell 73 00:04:20,520 --> 00:04:24,240 Speaker 4: me about what John Prime, that song and his music 74 00:04:24,600 --> 00:04:25,080 Speaker 4: means to you. 75 00:04:25,800 --> 00:04:28,120 Speaker 3: Well, I think there's a you know, probably you know 76 00:04:28,800 --> 00:04:33,320 Speaker 3: a fact, a hidden unknown fact that John was doing, 77 00:04:34,120 --> 00:04:36,360 Speaker 3: if not his first album, one of his first albums 78 00:04:36,720 --> 00:04:41,000 Speaker 3: at Atlantic Records, Atlantic Recording Studios in New York City 79 00:04:41,520 --> 00:04:45,880 Speaker 3: in the early seventies with the producer Areef Martin, at 80 00:04:45,920 --> 00:04:48,200 Speaker 3: the exact same time that Darryl and I were doing 81 00:04:48,240 --> 00:04:51,600 Speaker 3: our first albums in the same studio with the same producer. 82 00:04:52,080 --> 00:04:56,080 Speaker 3: So there's a lot of synergy there in terms of, 83 00:04:56,160 --> 00:04:58,240 Speaker 3: you know, we'd be passing each other in the hallways 84 00:04:59,080 --> 00:05:01,520 Speaker 3: as you know, him going to his session or coming 85 00:05:01,560 --> 00:05:05,080 Speaker 3: out and vice versa. So, you know, even though I 86 00:05:05,160 --> 00:05:07,920 Speaker 3: wasn't super close with John in the later years, we 87 00:05:07,960 --> 00:05:13,279 Speaker 3: did play together once or twice, just casually. And I've 88 00:05:13,320 --> 00:05:14,920 Speaker 3: just been a huge fan, you know, one of the 89 00:05:14,920 --> 00:05:18,760 Speaker 3: great American songwriters. And when I was asked to celebrate 90 00:05:18,839 --> 00:05:21,599 Speaker 3: to his birthday at the Rymann Auditorium in Nashville a 91 00:05:21,640 --> 00:05:24,760 Speaker 3: few months ago, they asked me if I would participate, 92 00:05:24,800 --> 00:05:26,880 Speaker 3: and I said, of course, and you know, I picked 93 00:05:26,920 --> 00:05:29,359 Speaker 3: long Monday. And then I thought about it, you know, 94 00:05:29,360 --> 00:05:31,599 Speaker 3: and I thought, well, here's a challenge, you know, because 95 00:05:32,040 --> 00:05:34,680 Speaker 3: I have a great respect for songwriters, so I wouldn't 96 00:05:34,680 --> 00:05:37,680 Speaker 3: want to mess with the beauty of his lyrics and 97 00:05:37,720 --> 00:05:40,359 Speaker 3: his melody for that matter. So I thought, well, the 98 00:05:40,400 --> 00:05:42,200 Speaker 3: only way I can make this my own is by 99 00:05:42,680 --> 00:05:44,960 Speaker 3: in terms of the arrangement. So I dug into the 100 00:05:45,080 --> 00:05:47,240 Speaker 3: arrangement and I tried to make the arrangement a little 101 00:05:47,279 --> 00:05:49,640 Speaker 3: bit more personal and a little bit more comfortable for me. 102 00:05:50,640 --> 00:05:53,080 Speaker 3: And then when I played it live on stage, everyone 103 00:05:53,080 --> 00:05:55,120 Speaker 3: seemed to really like it. Then I said, well, I 104 00:05:55,120 --> 00:05:57,080 Speaker 3: guess I should record it, so I did, and of 105 00:05:57,120 --> 00:05:57,520 Speaker 3: course I. 106 00:05:57,480 --> 00:06:00,360 Speaker 5: Included it on the album It really is you utiful? 107 00:06:01,120 --> 00:06:05,719 Speaker 4: Thanks Yeah, Tell me about collaborating with the AJ Croachy. 108 00:06:06,480 --> 00:06:11,000 Speaker 3: Well, it's a perfect segue because I met AJ Croachy 109 00:06:11,160 --> 00:06:15,040 Speaker 3: at that exact John Prime event at the Ryman Auditorium. 110 00:06:15,440 --> 00:06:17,200 Speaker 3: We were put into the same we were assigned the 111 00:06:17,200 --> 00:06:20,080 Speaker 3: same dressing room, and of course I knew I knew 112 00:06:20,080 --> 00:06:22,119 Speaker 3: of him, but I had never we had never met, 113 00:06:22,360 --> 00:06:24,400 Speaker 3: and we hit it off immediately. He's just got a 114 00:06:24,600 --> 00:06:28,680 Speaker 3: very very He's a really warm, engaging guy, and and 115 00:06:28,720 --> 00:06:31,640 Speaker 3: I could tell from immediately that we there was there 116 00:06:31,680 --> 00:06:34,280 Speaker 3: was something going on. We had a reel, you know, 117 00:06:34,760 --> 00:06:38,159 Speaker 3: it was very compatible, and I could just sense that 118 00:06:38,240 --> 00:06:40,040 Speaker 3: we could do something together. I didn't know what that 119 00:06:40,120 --> 00:06:43,039 Speaker 3: was going to be, but we did talk about, you know, 120 00:06:43,040 --> 00:06:45,240 Speaker 3: getting together to write. And when we did, I had 121 00:06:45,240 --> 00:06:49,040 Speaker 3: this idea for a reunion. I had the concept. I 122 00:06:49,080 --> 00:06:52,359 Speaker 3: had the part of the chorus, uh and and I 123 00:06:52,400 --> 00:06:56,000 Speaker 3: had a key line the lights at the party burned bright, 124 00:06:56,040 --> 00:06:58,520 Speaker 3: but I'm leaving early tonight, And to me that that 125 00:06:58,600 --> 00:07:02,239 Speaker 3: kind of symbolizes that the spirit of the whole song. 126 00:07:02,680 --> 00:07:04,599 Speaker 3: We talked about it. I told him about my one 127 00:07:04,640 --> 00:07:07,520 Speaker 3: hundred year old father who gave me the inspiration for 128 00:07:07,560 --> 00:07:10,280 Speaker 3: this song. We start discussing, you know what it's like 129 00:07:10,360 --> 00:07:13,880 Speaker 3: to really find the essence of yourself. And of course 130 00:07:14,200 --> 00:07:16,200 Speaker 3: he related I think in a lot of ways. Due 131 00:07:16,240 --> 00:07:18,360 Speaker 3: to the fact that his father was such a famous 132 00:07:18,400 --> 00:07:21,960 Speaker 3: and well known songwriter and he was in the midst 133 00:07:22,000 --> 00:07:24,640 Speaker 3: of doing a tour Croachy Sings Crochy, there was a 134 00:07:24,640 --> 00:07:27,960 Speaker 3: lot going on that really we were both able to 135 00:07:28,000 --> 00:07:31,600 Speaker 3: relate to the idea of the song in our own 136 00:07:31,640 --> 00:07:37,680 Speaker 3: personal way, and really it was beautiful. It flowed really quickly. 137 00:07:37,720 --> 00:07:39,440 Speaker 3: I think we wrote the song in a few hours. 138 00:07:39,800 --> 00:07:42,480 Speaker 5: Had you encountered his father through your career. 139 00:07:42,920 --> 00:07:45,280 Speaker 3: No, not personally, no, but of course I was a fan. 140 00:07:45,760 --> 00:07:47,440 Speaker 5: What a legacy, right, my god? 141 00:07:48,040 --> 00:07:51,760 Speaker 4: Yeah, I think really in a way, it's sad, but 142 00:07:51,840 --> 00:07:56,320 Speaker 4: many times people's legacy is more appreciated after they pass away, 143 00:07:56,440 --> 00:07:58,960 Speaker 4: and it feels like that was the case with his father. 144 00:08:00,000 --> 00:08:02,280 Speaker 3: You know, I think he was also appreciated, you know, 145 00:08:02,320 --> 00:08:05,160 Speaker 3: in his own time. You know, he had big hits. 146 00:08:05,400 --> 00:08:08,080 Speaker 3: He had big hits with a very kind of acoustic, 147 00:08:08,160 --> 00:08:12,720 Speaker 3: folky kind of recording style and which was unusual for 148 00:08:12,800 --> 00:08:14,840 Speaker 3: the time, which was great. It made him stand out 149 00:08:14,880 --> 00:08:15,280 Speaker 3: for sure. 150 00:08:16,040 --> 00:08:18,560 Speaker 4: So I'll put you on the spot here and ask 151 00:08:18,640 --> 00:08:23,200 Speaker 4: you maybe five quintessential albums that have really mattered to 152 00:08:23,360 --> 00:08:25,760 Speaker 4: you and had an influence on you. 153 00:08:26,760 --> 00:08:31,520 Speaker 3: Well, I don't know where to begin. Sure, I would say, 154 00:08:31,600 --> 00:08:35,880 Speaker 3: you know, going back, the first, the first long playing 155 00:08:35,960 --> 00:08:39,920 Speaker 3: album LP that I ever heard, other than early rock 156 00:08:39,920 --> 00:08:43,840 Speaker 3: and roll single forty five's, was Ray Charles, Ray Charles's 157 00:08:43,840 --> 00:08:48,679 Speaker 3: greatest hits. And I did not have a long playing 158 00:08:50,320 --> 00:08:52,560 Speaker 3: record player at home. I only had a little forty 159 00:08:52,559 --> 00:08:57,040 Speaker 3: five record player, and this was probably late fifties. And 160 00:08:57,160 --> 00:09:00,160 Speaker 3: I remember a friend of mine's parents had a console 161 00:09:01,040 --> 00:09:05,440 Speaker 3: record player and they had this Rach Charles record and 162 00:09:05,480 --> 00:09:08,720 Speaker 3: I just absorbed it. You know, it had what I say, 163 00:09:08,800 --> 00:09:11,360 Speaker 3: and it had you know, you know, all some of 164 00:09:11,400 --> 00:09:14,280 Speaker 3: his early classics, and it was just it just grabbed 165 00:09:14,280 --> 00:09:16,800 Speaker 3: me immediately. So I would definitely say Ray Charles was 166 00:09:16,800 --> 00:09:19,559 Speaker 3: a huge influence on me. And then, you know, when 167 00:09:19,559 --> 00:09:23,040 Speaker 3: the folk movement, the folk revival hit in the early sixties, 168 00:09:23,120 --> 00:09:26,880 Speaker 3: I was exposed to music that I had never heard from, 169 00:09:27,480 --> 00:09:31,640 Speaker 3: never heard before, roots music that was being rediscovered and 170 00:09:32,440 --> 00:09:35,880 Speaker 3: spread around the college campuses in the early sixties. So 171 00:09:35,960 --> 00:09:39,120 Speaker 3: I would say Dave Van Ronk, who was a big, 172 00:09:39,200 --> 00:09:42,960 Speaker 3: big influence on me because I loved his voice. It 173 00:09:43,040 --> 00:09:47,480 Speaker 3: was so gritty, and he had this powerful personality. Also, 174 00:09:47,520 --> 00:09:53,679 Speaker 3: the first Doc Watson record on Vanguard was a real 175 00:09:53,720 --> 00:09:56,040 Speaker 3: touchdown for me because it was the first time I 176 00:09:56,080 --> 00:10:01,199 Speaker 3: heard virtuosic acoustic guitar playing. So I absorbed that record. 177 00:10:01,240 --> 00:10:03,800 Speaker 3: I try to learn, as you know. Eventually over the years, 178 00:10:03,800 --> 00:10:06,600 Speaker 3: I learned all the songs on the record, but you know, 179 00:10:06,679 --> 00:10:09,480 Speaker 3: that was a challenge and a real inspiration for me. 180 00:10:10,440 --> 00:10:12,640 Speaker 3: And then you know, you know, there's so many more. 181 00:10:14,240 --> 00:10:17,600 Speaker 3: The Temptations, they had a particular live album that was 182 00:10:17,640 --> 00:10:21,720 Speaker 3: incredible that they recorded at a club somewhere, which was amazing. 183 00:10:22,160 --> 00:10:24,600 Speaker 3: And then of course the classic James Brown Live at 184 00:10:24,600 --> 00:10:28,559 Speaker 3: the Apollo, which was probably the most kinetic and exciting 185 00:10:29,160 --> 00:10:32,000 Speaker 3: recording that I'd ever heard. The tempos were all jacked up. 186 00:10:32,240 --> 00:10:35,320 Speaker 3: It was just as just James Brown at his best 187 00:10:35,320 --> 00:10:38,600 Speaker 3: at the Apollo Theater. And then moving on later on 188 00:10:38,679 --> 00:10:40,880 Speaker 3: in the sixties, you know, the band. The band was 189 00:10:40,880 --> 00:10:43,600 Speaker 3: a big influence on me and I, you know, and 190 00:10:44,200 --> 00:10:46,160 Speaker 3: I just thought that it was music that I had 191 00:10:46,200 --> 00:10:48,760 Speaker 3: never heard before. It was a style of music, but 192 00:10:48,840 --> 00:10:51,760 Speaker 3: I understood the roots of it, I understood where the 193 00:10:51,760 --> 00:10:56,840 Speaker 3: influences were. But their unique take on it and their unique, well, 194 00:10:56,880 --> 00:10:59,400 Speaker 3: not only the songwriting, but they're playing and singing was 195 00:10:59,480 --> 00:11:02,360 Speaker 3: so unique. There was no one that ever sounded like them. 196 00:11:02,640 --> 00:11:05,320 Speaker 3: So that was highly influential to me. And then the 197 00:11:05,400 --> 00:11:07,880 Speaker 3: record that I consider the classic of all time is 198 00:11:07,920 --> 00:11:11,440 Speaker 3: Blue by Joni Mitchell. I think that's the perfect album. 199 00:11:11,559 --> 00:11:14,960 Speaker 3: I think every on every level, there's nothing I've never 200 00:11:15,000 --> 00:11:20,240 Speaker 3: heard anything better. Her singing, her playing, the production, the engineering, 201 00:11:20,559 --> 00:11:24,160 Speaker 3: the songs themselves, even down to the album cover. It's 202 00:11:24,200 --> 00:11:34,960 Speaker 3: the perfect the perfect combination of sensitivity, sensibility, music, lyrics, creativity, 203 00:11:35,080 --> 00:11:38,160 Speaker 3: all wrapped into one perfect album. 204 00:11:38,600 --> 00:11:40,400 Speaker 5: Brilliant list, brilliant list. 205 00:11:41,040 --> 00:11:45,280 Speaker 4: How did you feel watching Joni at that Newport Folk 206 00:11:45,400 --> 00:11:46,240 Speaker 4: Festival event? 207 00:11:47,040 --> 00:11:47,880 Speaker 5: Wasn't it beautiful? 208 00:11:48,160 --> 00:11:49,120 Speaker 3: You mean most recently? 209 00:11:49,679 --> 00:11:50,040 Speaker 5: Yes? 210 00:11:50,360 --> 00:11:53,920 Speaker 3: Yeah, Well, you know, congrats to her, kudos to her. 211 00:11:54,840 --> 00:11:58,200 Speaker 3: I'm really you know, I'm just glad that she left 212 00:11:58,200 --> 00:12:01,520 Speaker 3: her house and decided to make that step. You know, 213 00:12:02,120 --> 00:12:03,960 Speaker 3: a very good friend of mine who was my guitar 214 00:12:04,040 --> 00:12:08,120 Speaker 3: tech during the eighties and also who's current currently the 215 00:12:08,160 --> 00:12:12,040 Speaker 3: guitar tech for the Edge and you two, he was 216 00:12:12,120 --> 00:12:15,320 Speaker 3: asked to go to her house and help her with 217 00:12:15,360 --> 00:12:18,280 Speaker 3: her acoustic guitars and help her kind of prepare for 218 00:12:18,320 --> 00:12:20,520 Speaker 3: that show, So he gave me a lot of inside 219 00:12:20,559 --> 00:12:23,599 Speaker 3: scoop on what she was like and the and the 220 00:12:23,920 --> 00:12:26,760 Speaker 3: you know, I'm sure they you know, she was concerned, 221 00:12:26,840 --> 00:12:30,320 Speaker 3: and I'm sure she had a lot of trepidation about 222 00:12:30,640 --> 00:12:32,040 Speaker 3: what she was going to do and how she was 223 00:12:32,080 --> 00:12:34,760 Speaker 3: going to do it. As you age, you have certain 224 00:12:34,800 --> 00:12:38,160 Speaker 3: limitations to your to your skill set, whether that be 225 00:12:38,240 --> 00:12:42,320 Speaker 3: vocally or instrumentally. And I think, you know, she was concerned, 226 00:12:42,640 --> 00:12:45,280 Speaker 3: but she had an amazing group of people to support her, 227 00:12:45,760 --> 00:12:50,080 Speaker 3: and it was great to see her honored and appreciated 228 00:12:50,080 --> 00:12:51,080 Speaker 3: by a newer generation. 229 00:12:52,000 --> 00:12:55,960 Speaker 4: Yeah, it was a magical moment for sure. Speaking of 230 00:12:56,000 --> 00:13:01,600 Speaker 4: magical moments, first concert that you experience as a fan, 231 00:13:02,360 --> 00:13:05,080 Speaker 4: what was it? 232 00:13:05,320 --> 00:13:08,959 Speaker 3: When I was four years old? It was Bill Helly 233 00:13:09,000 --> 00:13:11,920 Speaker 3: in the Comets. I saw them play at Willa Grove 234 00:13:11,960 --> 00:13:16,560 Speaker 3: Amusement Park in Pennsylvania in a bandshell and I had 235 00:13:16,600 --> 00:13:19,000 Speaker 3: just my family had just moved us from New York 236 00:13:19,040 --> 00:13:21,600 Speaker 3: City to Pennsylvania, and it was one of my first 237 00:13:21,600 --> 00:13:25,160 Speaker 3: memories of Pennsylvania to go to the amusement park and 238 00:13:25,320 --> 00:13:29,600 Speaker 3: hear this band. I had never heard live music before. Well, 239 00:13:29,600 --> 00:13:31,360 Speaker 3: of course I was four years old, four or five, 240 00:13:31,760 --> 00:13:35,319 Speaker 3: maybe four and a half and I remember running down 241 00:13:35,360 --> 00:13:39,920 Speaker 3: to the bandshell, down to the stage, and the stage 242 00:13:39,960 --> 00:13:43,240 Speaker 3: was probably only two feet high, so I was even 243 00:13:43,320 --> 00:13:45,280 Speaker 3: as a little kid, I was able to stand there. 244 00:13:45,480 --> 00:13:47,760 Speaker 3: And I remember standing right in front of the upright 245 00:13:47,800 --> 00:13:50,320 Speaker 3: bass player. And then when at a certain point in 246 00:13:50,360 --> 00:13:52,680 Speaker 3: the show, which was a kind of a rockabilly tradition, 247 00:13:52,720 --> 00:13:55,040 Speaker 3: which of course I didn't know at the time, you know, 248 00:13:55,520 --> 00:13:57,240 Speaker 3: he put it on its side and rode it like 249 00:13:57,280 --> 00:13:59,080 Speaker 3: a horse while he was playing. And of course, to 250 00:13:59,120 --> 00:14:02,720 Speaker 3: a four year old, that big that was. That was 251 00:14:02,400 --> 00:14:05,360 Speaker 3: that was the the apagee of a show business there 252 00:14:05,440 --> 00:14:05,840 Speaker 3: right there? 253 00:14:06,160 --> 00:14:09,040 Speaker 5: Did that cement you for life that you'd be a musician. 254 00:14:10,679 --> 00:14:13,280 Speaker 3: I was already a musician, believe it or not. I 255 00:14:13,360 --> 00:14:15,959 Speaker 3: have recordings of me at four years old singing songs 256 00:14:16,920 --> 00:14:19,320 Speaker 3: that we did at the Coney Island Amusement Park in 257 00:14:19,360 --> 00:14:21,880 Speaker 3: the little booth, in the record booth where you put 258 00:14:21,880 --> 00:14:23,960 Speaker 3: a coin in and you'd go in and sing. So 259 00:14:24,600 --> 00:14:26,880 Speaker 3: for some reason, I just had this ability to sing. 260 00:14:27,400 --> 00:14:30,880 Speaker 3: And my my parents, my mother in particular, was you know, 261 00:14:30,960 --> 00:14:33,320 Speaker 3: she really pushed me and supported me about that. 262 00:14:33,480 --> 00:14:38,840 Speaker 4: So do those recordings still exist, I've got them, yep. Wow, 263 00:14:39,720 --> 00:14:40,560 Speaker 4: that's amazing. 264 00:14:40,920 --> 00:14:43,240 Speaker 3: First one first, The first one was here Comes Peter 265 00:14:43,320 --> 00:14:47,760 Speaker 3: Cottontail when I was about three or four, and then 266 00:14:47,840 --> 00:14:50,600 Speaker 3: the second one was later a few years later. 267 00:14:50,720 --> 00:14:55,880 Speaker 4: It was all shook up by Elvis tremendous. Who were 268 00:14:55,920 --> 00:14:59,320 Speaker 4: some of the mentors in your career that have really 269 00:14:59,720 --> 00:15:00,480 Speaker 4: met to you? 270 00:15:01,360 --> 00:15:06,160 Speaker 3: Well a few. I I had an English teacher in 271 00:15:06,280 --> 00:15:12,040 Speaker 3: seventh grade who gave us an assignment to write a poem. 272 00:15:12,840 --> 00:15:16,280 Speaker 3: And it was at the time of the Cuban missile crisis, 273 00:15:17,160 --> 00:15:21,880 Speaker 3: and I I was kind of aware of the the 274 00:15:22,200 --> 00:15:25,200 Speaker 3: the kind of the early days of the protest song 275 00:15:25,400 --> 00:15:28,800 Speaker 3: movement with phil Oakes, people like that, Bob Dylan Phillips. 276 00:15:29,320 --> 00:15:31,680 Speaker 3: So I wrote this poem about the Cuban missile crisis, 277 00:15:31,680 --> 00:15:35,480 Speaker 3: and the teacher knew that I played guitar and said, 278 00:15:35,520 --> 00:15:39,080 Speaker 3: you know, you should put this to music. And I 279 00:15:39,280 --> 00:15:42,040 Speaker 3: never I'd never thought of the idea that I could 280 00:15:42,080 --> 00:15:45,160 Speaker 3: write a song, and that was the that was kind 281 00:15:45,160 --> 00:15:48,240 Speaker 3: of an you know, that was an incentive to try it. 282 00:15:49,120 --> 00:15:51,800 Speaker 3: So I would have to count that English teacher as 283 00:15:51,840 --> 00:15:55,640 Speaker 3: as an early mentor. But my real mentor was a 284 00:15:55,640 --> 00:16:01,280 Speaker 3: guy named Jerry Rix, who I met in Philadelphia in 285 00:16:01,360 --> 00:16:07,000 Speaker 3: nineteen sixty seven, he or sixty six. I can't spride 286 00:16:07,040 --> 00:16:12,080 Speaker 3: sixty six. I had my first year of college. I 287 00:16:12,280 --> 00:16:15,760 Speaker 3: was I needed a job. I needed a part time job. 288 00:16:15,840 --> 00:16:19,440 Speaker 3: Of course, I'm too lazy to work. So I went 289 00:16:19,480 --> 00:16:23,200 Speaker 3: to a place called Esther Halpern's Folk Music School in Philadelphia, 290 00:16:23,880 --> 00:16:26,960 Speaker 3: and I applied for a job as a guitar teacher. 291 00:16:27,760 --> 00:16:30,760 Speaker 3: And she auditioned me, and I played her a few things, 292 00:16:30,800 --> 00:16:33,400 Speaker 3: and she said, okay, you'll be good to teach like 293 00:16:33,400 --> 00:16:35,800 Speaker 3: the beginners in the intermediates. And I said, okay, fine, 294 00:16:35,920 --> 00:16:38,400 Speaker 3: I just needed a job. The guy who was teaching 295 00:16:38,400 --> 00:16:42,640 Speaker 3: the advanced lessons was a guy named Jerry Rix, and 296 00:16:41,440 --> 00:16:47,280 Speaker 3: he was unbelievable. And he also had been involved with 297 00:16:47,680 --> 00:16:51,320 Speaker 3: helping a guy named Dick Waterman. Dick Waterman was the 298 00:16:51,440 --> 00:16:55,000 Speaker 3: manager to a lot of the early blues men, people 299 00:16:55,120 --> 00:17:02,239 Speaker 3: like Sunhouse, Sonny Terry Brownie McGee, Robert Pete Williams, Mississippi 300 00:17:02,320 --> 00:17:06,399 Speaker 3: John Hurt, Doc Watson, people like that kind of helping 301 00:17:06,440 --> 00:17:11,200 Speaker 3: them because when a lot of these performers, rural performers 302 00:17:11,240 --> 00:17:13,800 Speaker 3: came to the big cities and were performing for the 303 00:17:13,840 --> 00:17:16,640 Speaker 3: first time at these folk festivals and things, they had 304 00:17:16,680 --> 00:17:18,840 Speaker 3: no clue on what to do. They had no money, 305 00:17:18,880 --> 00:17:20,920 Speaker 3: they couldn't stay in a hotel, so they would stay 306 00:17:20,920 --> 00:17:23,680 Speaker 3: at Jerry's house because Jerry lived right across the street 307 00:17:23,720 --> 00:17:28,240 Speaker 3: from Dick Waterman. And a little fun fact sidebar, Bonnie 308 00:17:28,320 --> 00:17:31,480 Speaker 3: Ray was Dick Waterman's girlfriend. So if anyone ever wonders 309 00:17:31,480 --> 00:17:34,080 Speaker 3: why Bonnie Raid is so good and why she's so authentic, 310 00:17:34,240 --> 00:17:36,399 Speaker 3: it's because she sat in the living room with some 311 00:17:36,440 --> 00:17:40,919 Speaker 3: of these great authentic performers and learned directly from them. 312 00:17:41,160 --> 00:17:44,880 Speaker 3: But anyway, and actually, one day Bonnie and I had 313 00:17:44,880 --> 00:17:47,480 Speaker 3: to drag Robert Williams out of a bar in South 314 00:17:47,520 --> 00:17:50,520 Speaker 3: Philly and bring him back because no one could find him. 315 00:17:51,119 --> 00:17:54,240 Speaker 3: These guys didn't know it. They did tend to like 316 00:17:54,280 --> 00:17:59,480 Speaker 3: to drink. But anyway, Jerry became my Initially, when I 317 00:17:59,520 --> 00:18:01,679 Speaker 3: realized how good he was, I asked him if he 318 00:18:01,680 --> 00:18:04,560 Speaker 3: could teach me some things. So I became his guitar student, 319 00:18:04,800 --> 00:18:08,320 Speaker 3: and eventually we played together. In fact, Jerry is playing 320 00:18:08,359 --> 00:18:10,119 Speaker 3: Jerry Rix is playing on the first two Hall of 321 00:18:10,160 --> 00:18:13,240 Speaker 3: Oats albums with me on acoustic guitar on some of 322 00:18:13,240 --> 00:18:18,639 Speaker 3: those songs. And interestingly enough, here's another sidebar. After Mississippi 323 00:18:18,680 --> 00:18:21,520 Speaker 3: John Hurt died hit his guitar that he played at 324 00:18:21,520 --> 00:18:24,480 Speaker 3: Newport Folk Festival in sixty three was given to Jerry. 325 00:18:25,000 --> 00:18:26,920 Speaker 3: And when I asked Jerry to come to New York 326 00:18:26,920 --> 00:18:28,480 Speaker 3: in the early seventies and play on the holl of 327 00:18:28,520 --> 00:18:30,120 Speaker 3: Oas albums, he asked me, he said, do you want 328 00:18:30,160 --> 00:18:33,080 Speaker 3: me to bring Mississippi John's guitar so you can play it? 329 00:18:33,119 --> 00:18:35,919 Speaker 3: And I said absolutely so. The guitar I'm playing on 330 00:18:35,920 --> 00:18:38,120 Speaker 3: the first two Hole of Notes albums is Mississippi John 331 00:18:38,160 --> 00:18:43,080 Speaker 3: Hurts acoustic guitar, which I now own, by the way, Wow, 332 00:18:43,680 --> 00:18:46,560 Speaker 3: I know it's crazy, and it's on display at the 333 00:18:46,560 --> 00:18:52,000 Speaker 3: Phoenix Musical Instrument Museum as we speak, and I'm playing 334 00:18:52,000 --> 00:18:55,439 Speaker 3: there as well in a week or so. But so, 335 00:18:56,320 --> 00:18:58,760 Speaker 3: Jerry was incredible, and not only you know, he became 336 00:18:58,800 --> 00:19:01,720 Speaker 3: a good friend, a teare, a mentor, and I really 337 00:19:01,840 --> 00:19:05,160 Speaker 3: learned so much from him, not only about actually how 338 00:19:05,200 --> 00:19:07,520 Speaker 3: to play some of these songs and and how to 339 00:19:07,560 --> 00:19:10,879 Speaker 3: authentically finger the fingerpicking in the styles, but also just 340 00:19:10,960 --> 00:19:16,360 Speaker 3: some basic, just basic learning about musicianship and listening and 341 00:19:17,240 --> 00:19:20,919 Speaker 3: a more sophisticated way of of of He may be 342 00:19:20,960 --> 00:19:25,040 Speaker 3: a more sophisticated musician in a way. So so I 343 00:19:25,080 --> 00:19:26,920 Speaker 3: would say they're they're my real mentors. 344 00:19:27,359 --> 00:19:29,560 Speaker 1: We'll be right back with more of the Taking a 345 00:19:29,600 --> 00:19:37,480 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 346 00:19:38,320 --> 00:19:40,840 Speaker 4: Well, throughout your career, you've always had an eye on, 347 00:19:41,160 --> 00:19:44,760 Speaker 4: you know, rising talent and how to help them and 348 00:19:44,960 --> 00:19:49,480 Speaker 4: work with them. We had one of those talents on 349 00:19:49,680 --> 00:19:54,280 Speaker 4: this podcast named analy who was a delightful. 350 00:19:53,760 --> 00:19:56,640 Speaker 5: Person for us to encounter and very talented. 351 00:19:56,760 --> 00:20:00,640 Speaker 4: Tell us about how that collaboration came about with honorle. 352 00:20:01,720 --> 00:20:06,720 Speaker 3: Well, she's my niece, all right, she said, yes, she's 353 00:20:07,160 --> 00:20:12,080 Speaker 3: my wife's brother's daughter. And she was always a very 354 00:20:12,400 --> 00:20:14,040 Speaker 3: you know, I watched her grow up from the time 355 00:20:14,080 --> 00:20:17,280 Speaker 3: she was a baby. Uh. And she's always very outgoing. 356 00:20:17,400 --> 00:20:20,840 Speaker 3: She had always had a real big personality. Uh. And 357 00:20:21,160 --> 00:20:23,760 Speaker 3: she she she began to sing. And I when I 358 00:20:23,760 --> 00:20:25,639 Speaker 3: first heard her sing, I you know, I knew that 359 00:20:25,720 --> 00:20:30,760 Speaker 3: she could really sing. And I remember she came she 360 00:20:30,800 --> 00:20:33,760 Speaker 3: came to Nashville quite a while ago when she was 361 00:20:34,040 --> 00:20:36,600 Speaker 3: just out, maybe in high school or just in college, 362 00:20:36,880 --> 00:20:38,959 Speaker 3: and she really wanted to come to Nashville, and she 363 00:20:39,000 --> 00:20:40,959 Speaker 3: said she wanted to make it and all this stuff 364 00:20:40,960 --> 00:20:43,760 Speaker 3: and I remember when we went to a restaurant with 365 00:20:43,800 --> 00:20:46,880 Speaker 3: her parents and we were sitting there and I said 366 00:20:46,880 --> 00:20:49,959 Speaker 3: to her, look, I said, you see all these waitresses. 367 00:20:51,080 --> 00:20:53,439 Speaker 3: They're all trying to do exactly what you're tying to do. 368 00:20:54,080 --> 00:20:56,160 Speaker 3: I said, so, if you're gonna come here, you better 369 00:20:56,280 --> 00:21:00,080 Speaker 3: be prepared because the bar is set very high and 370 00:21:00,520 --> 00:21:03,080 Speaker 3: it is not easy. And I thought maybe she would 371 00:21:03,160 --> 00:21:06,000 Speaker 3: get scared off or maybe just lose the vibe. But 372 00:21:06,160 --> 00:21:10,800 Speaker 3: she came and she worked her butt off. She went 373 00:21:10,840 --> 00:21:13,560 Speaker 3: down on Lower Broadways, she sang in the bars, she 374 00:21:13,600 --> 00:21:17,480 Speaker 3: did all the cover songs. She really really worked hard. 375 00:21:17,920 --> 00:21:20,000 Speaker 3: I didn't help her very much, to be honest with you, 376 00:21:20,760 --> 00:21:23,040 Speaker 3: but I did help her when she needed it, and 377 00:21:23,520 --> 00:21:25,919 Speaker 3: we wrote a song together. I put her with the 378 00:21:25,920 --> 00:21:32,000 Speaker 3: great Nathan Chapman who produced Taylor Swift, and Nathan, myself 379 00:21:32,119 --> 00:21:34,560 Speaker 3: and Anna Lee. We wrote a song together, and I 380 00:21:34,560 --> 00:21:36,320 Speaker 3: think that was the first time she got a chance 381 00:21:36,320 --> 00:21:39,040 Speaker 3: to write with professional songwriters. And we wrote a really 382 00:21:39,040 --> 00:21:42,760 Speaker 3: cool song called Hey There Walls, which I believe she recorded. 383 00:21:43,560 --> 00:21:45,800 Speaker 3: So I mean, I didn't, you know, I just I've 384 00:21:45,880 --> 00:21:48,480 Speaker 3: always there for her, but didn't really want to be, 385 00:21:48,800 --> 00:21:51,560 Speaker 3: you know, like kind of pushy and it was really 386 00:21:51,600 --> 00:21:54,200 Speaker 3: her career, and I just I'm so proud of her 387 00:21:54,240 --> 00:21:57,320 Speaker 3: for really doing it herself and really finding her way. 388 00:21:57,840 --> 00:22:01,000 Speaker 3: She's making some new music now out in Calia. She's 389 00:22:01,040 --> 00:22:03,800 Speaker 3: found some producers who she's working with, and she runs 390 00:22:03,840 --> 00:22:05,679 Speaker 3: things by me. I give her my two cents, but 391 00:22:06,480 --> 00:22:08,680 Speaker 3: she knows what she's doing and she's amazing. 392 00:22:09,160 --> 00:22:12,360 Speaker 5: Is a good soul, good heel, yeah, good. Tell tell 393 00:22:12,359 --> 00:22:13,800 Speaker 5: me about the Nashville community. 394 00:22:13,840 --> 00:22:17,359 Speaker 4: You've been there a while and it is a unique 395 00:22:17,400 --> 00:22:21,080 Speaker 4: and I think special community. Talk about what it means 396 00:22:21,119 --> 00:22:24,200 Speaker 4: being part of that community in the way that you are. 397 00:22:24,920 --> 00:22:27,120 Speaker 3: Well. In the nineties, when Daryl and I weren't doing 398 00:22:27,200 --> 00:22:31,040 Speaker 3: very much, I started going to Nashville and meeting some people. 399 00:22:31,640 --> 00:22:33,880 Speaker 3: I did a few demo sessions and things like that, 400 00:22:34,320 --> 00:22:36,480 Speaker 3: and immediately the first thing that struck me was the 401 00:22:37,800 --> 00:22:42,400 Speaker 3: caliber and quality of the players, the musicians. I realized 402 00:22:42,400 --> 00:22:45,520 Speaker 3: that they were really, really good. And you know, I 403 00:22:45,560 --> 00:22:48,199 Speaker 3: had spent my whole basically my old you know, I 404 00:22:48,280 --> 00:22:51,480 Speaker 3: was in bands and playing playing by myself prior to 405 00:22:51,560 --> 00:22:54,119 Speaker 3: meeting Daryl. But once Darryl and I started, you know, 406 00:22:54,240 --> 00:22:56,359 Speaker 3: it was all Hall and Oates all the time. Twenty 407 00:22:56,359 --> 00:22:59,840 Speaker 3: four to seven for you know, for fifteen twenty years whatever. 408 00:23:00,359 --> 00:23:02,679 Speaker 3: So I was used to playing with a certain in 409 00:23:02,720 --> 00:23:05,560 Speaker 3: a certain style, with a certain band, with a certain ensemble. 410 00:23:06,040 --> 00:23:07,840 Speaker 3: So all of a sudden, I was playing with different 411 00:23:07,840 --> 00:23:11,520 Speaker 3: people in different settings, and I was really impressed. And 412 00:23:11,600 --> 00:23:15,600 Speaker 3: I also realized that that I couldn't kind of kind 413 00:23:15,640 --> 00:23:19,399 Speaker 3: of skate and kind of I couldn't make it on 414 00:23:19,440 --> 00:23:22,159 Speaker 3: my reputation. I really had to up my game. So, 415 00:23:22,280 --> 00:23:24,840 Speaker 3: to be honest with you, I started practicing really hard, 416 00:23:25,920 --> 00:23:28,240 Speaker 3: you know, in the late nineties early two thousands. I 417 00:23:28,600 --> 00:23:31,400 Speaker 3: realized that I needed to really up my game and 418 00:23:31,520 --> 00:23:35,520 Speaker 3: if I wanted to be in that caliber player. So 419 00:23:35,720 --> 00:23:38,400 Speaker 3: it's really been an incredible incentive to me to get 420 00:23:38,440 --> 00:23:42,080 Speaker 3: better and to really realize my full potential. 421 00:23:42,960 --> 00:23:46,560 Speaker 4: You know, there's a couple of historic moments in your 422 00:23:46,600 --> 00:23:51,359 Speaker 4: career that I wanted to get your memory of Live 423 00:23:51,400 --> 00:23:54,800 Speaker 4: Aid and the We Are the World sessions, those two 424 00:23:54,840 --> 00:23:59,600 Speaker 4: in particular. Any reflections you could share with us about 425 00:23:59,600 --> 00:24:01,200 Speaker 4: those two historic events. 426 00:24:01,960 --> 00:24:05,840 Speaker 3: I don't think you have enough time, But okay, where 427 00:24:05,880 --> 00:24:07,320 Speaker 3: you want to start with Live AID, I guess we 428 00:24:07,359 --> 00:24:10,520 Speaker 3: can start there. Yeah, well, you know, the American version 429 00:24:10,680 --> 00:24:13,320 Speaker 3: was going to be in Philadelphia, of course, Darrel and 430 00:24:13,320 --> 00:24:16,240 Speaker 3: I being from Philadelphia and being of course at almost 431 00:24:16,320 --> 00:24:19,399 Speaker 3: you know, at the top of our commercial you know, 432 00:24:19,760 --> 00:24:21,560 Speaker 3: we were at the top of the pop pyramid at 433 00:24:21,560 --> 00:24:26,720 Speaker 3: the time, so we were we were we were asked 434 00:24:26,760 --> 00:24:29,359 Speaker 3: to basically close the show, and we wanted to do 435 00:24:29,400 --> 00:24:32,879 Speaker 3: something really special and something you know, above and beyond. 436 00:24:33,520 --> 00:24:36,159 Speaker 3: We had just played the Apollo Theater with Eddie Kendrick 437 00:24:36,200 --> 00:24:39,240 Speaker 3: and David Ruffin who were the lead singers and the Temptations, 438 00:24:39,280 --> 00:24:43,240 Speaker 3: and we did a Temptations you know, kind of retrospective 439 00:24:43,280 --> 00:24:47,600 Speaker 3: of songs Metley and it was great. So we thought, well, 440 00:24:47,640 --> 00:24:49,560 Speaker 3: why not bring Eddie and David and we'll do some 441 00:24:49,600 --> 00:24:53,120 Speaker 3: Temptations songs in addition to our own set of course, 442 00:24:53,440 --> 00:24:56,680 Speaker 3: and then Mick Chagger reached out and he was doing 443 00:24:56,680 --> 00:24:58,840 Speaker 3: a solo album at the time and he didn't have 444 00:24:58,880 --> 00:25:01,760 Speaker 3: a band, so he asked if we if our band 445 00:25:01,800 --> 00:25:04,879 Speaker 3: would backing, So of course, you know, we said, yeah, 446 00:25:04,920 --> 00:25:08,400 Speaker 3: of course. And I remember, you know, one anecdote it's 447 00:25:08,440 --> 00:25:12,400 Speaker 3: really amazing to me, is we were rehearsing at SIR, 448 00:25:12,440 --> 00:25:15,280 Speaker 3: which was studio instrument rentals in New York City, so 449 00:25:15,440 --> 00:25:17,000 Speaker 3: you know where they have a sound stage and you 450 00:25:17,000 --> 00:25:20,639 Speaker 3: can rehearse and all that. And we had rehearsed the 451 00:25:20,720 --> 00:25:23,160 Speaker 3: songs that Mick wanted to play, and so we knew 452 00:25:23,160 --> 00:25:25,280 Speaker 3: the songs. We had learned them, and then Mick was 453 00:25:25,320 --> 00:25:27,200 Speaker 3: going to come in and just go over them with us. 454 00:25:27,760 --> 00:25:29,639 Speaker 3: And I thought, you know, well, he'll just come in 455 00:25:29,720 --> 00:25:31,920 Speaker 3: and you know, we'll go through the motions and we'll 456 00:25:31,920 --> 00:25:34,560 Speaker 3: play the songs and he'll say yes or no or 457 00:25:34,640 --> 00:25:38,160 Speaker 3: change whatever. But what I didn't expect was for him 458 00:25:38,240 --> 00:25:43,399 Speaker 3: to literally jump on stage, grab the mic and count 459 00:25:43,440 --> 00:25:46,080 Speaker 3: the song off and go into his full mic Jagger 460 00:25:46,200 --> 00:25:49,760 Speaker 3: routine in rehearsal with nobody in the room except us. 461 00:25:50,240 --> 00:25:52,840 Speaker 3: I mean, I'm talking about the full thing, the chicken wings, 462 00:25:53,200 --> 00:25:57,760 Speaker 3: you know, the jumping around doing. He did it as 463 00:25:57,800 --> 00:26:01,439 Speaker 3: if he was playing you know, Madison Square Garden. It 464 00:26:01,480 --> 00:26:05,040 Speaker 3: was unbelievable and uh you know, and it was incredible 465 00:26:05,040 --> 00:26:08,560 Speaker 3: and it was exciting, and I immediately said, okay, well 466 00:26:08,560 --> 00:26:10,280 Speaker 3: this is why, this is why this guy is who 467 00:26:10,320 --> 00:26:13,360 Speaker 3: he is. And then of course he didn't tell us. 468 00:26:13,440 --> 00:26:15,200 Speaker 3: We didn't know that he was going to bring Tina 469 00:26:15,240 --> 00:26:18,080 Speaker 3: Turner out on stage. That was a surprise, and literally 470 00:26:18,160 --> 00:26:20,119 Speaker 3: he didn't we didn't know, and when he brought her 471 00:26:20,119 --> 00:26:22,080 Speaker 3: out on stage, and then of course he ripped her 472 00:26:22,359 --> 00:26:24,919 Speaker 3: leather skirt off, which was kind of cool too. I 473 00:26:24,920 --> 00:26:27,359 Speaker 3: guess they had it all planned, but you know, but 474 00:26:27,440 --> 00:26:29,600 Speaker 3: it just made it so exciting because it was like 475 00:26:30,000 --> 00:26:33,359 Speaker 3: it was happening all, you know, for the first time. 476 00:26:33,720 --> 00:26:36,000 Speaker 3: So that was that. That was an amazing night. And 477 00:26:36,040 --> 00:26:38,200 Speaker 3: I believe that was the biggest rock concert to ever 478 00:26:38,280 --> 00:26:41,800 Speaker 3: be a simulcast around the world, you know, at the time. 479 00:26:43,280 --> 00:26:46,040 Speaker 3: And then you know, on We Are the World. That 480 00:26:46,160 --> 00:26:49,320 Speaker 3: was that was scheduled to be done after the American 481 00:26:49,400 --> 00:26:51,280 Speaker 3: Music Awards, and back in those days, you know, there 482 00:26:51,400 --> 00:26:53,840 Speaker 3: was really only the American Music Awards and the Grammys, 483 00:26:54,520 --> 00:26:57,120 Speaker 3: so everybody who was anybody in pop was pretty much 484 00:26:57,160 --> 00:27:00,640 Speaker 3: at that show. And they cart it us all over 485 00:27:00,720 --> 00:27:04,600 Speaker 3: to the studio and put us, you know, on those things. 486 00:27:04,600 --> 00:27:06,600 Speaker 3: And there I was standing next to Bob Dylan and 487 00:27:06,680 --> 00:27:09,439 Speaker 3: Ray Charles, to my heroes. So I thought, hey, this 488 00:27:09,480 --> 00:27:13,600 Speaker 3: is pretty good, pretty good spot to be, uh and yeah, 489 00:27:13,640 --> 00:27:15,440 Speaker 3: and then I went around and got everyone to sign 490 00:27:15,600 --> 00:27:19,119 Speaker 3: my manuscript, my music, the music, the lead sheet, the 491 00:27:19,160 --> 00:27:22,639 Speaker 3: sheet music which they handed us. I got everyone to 492 00:27:22,680 --> 00:27:25,080 Speaker 3: sign it, and I have that frame now. So it's 493 00:27:25,119 --> 00:27:28,719 Speaker 3: a it's a definitely one of my prize positions. Love it. 494 00:27:29,760 --> 00:27:31,720 Speaker 4: How do you think the musical Hall and Notes will 495 00:27:31,760 --> 00:27:33,359 Speaker 4: be viewed for years to come? 496 00:27:34,280 --> 00:27:35,959 Speaker 3: I think I think it will be. 497 00:27:36,119 --> 00:27:36,479 Speaker 4: Uh. 498 00:27:36,560 --> 00:27:38,840 Speaker 3: I think it's pretty timeless. So some of those songs 499 00:27:38,840 --> 00:27:44,200 Speaker 3: are have that already, you know, withstood the test of generations, 500 00:27:44,520 --> 00:27:47,440 Speaker 3: so I don't see that they're going to go away. 501 00:27:48,680 --> 00:27:54,440 Speaker 3: Great songs endure, and I'm very proud and happy to 502 00:27:55,160 --> 00:27:58,040 Speaker 3: know that I was part of something that will endure. 503 00:27:58,640 --> 00:28:01,879 Speaker 3: Uh and uh, you know, which is fabulous, and you know, 504 00:28:01,920 --> 00:28:05,320 Speaker 3: it's a it's a blessing. It's something that people, you know, 505 00:28:05,400 --> 00:28:08,400 Speaker 3: people would you know, most musicians and songwriters would hope 506 00:28:08,400 --> 00:28:10,720 Speaker 3: that they would have one much less than you know, 507 00:28:10,840 --> 00:28:15,479 Speaker 3: multiple songs that fit that description. So I'm proud of it. 508 00:28:16,040 --> 00:28:20,200 Speaker 3: At the same time, I feel like I think those 509 00:28:20,240 --> 00:28:24,119 Speaker 3: songs should be respected and heard in the in the 510 00:28:24,520 --> 00:28:28,640 Speaker 3: context of the records that were made in the seventies 511 00:28:28,640 --> 00:28:31,720 Speaker 3: and eighties, and I really don't feel like I've moved 512 00:28:31,720 --> 00:28:34,720 Speaker 3: beyond it now. I'd rather hear those songs the way 513 00:28:34,720 --> 00:28:38,160 Speaker 3: they should sound, as opposed to kind of a you know, 514 00:28:38,240 --> 00:28:41,040 Speaker 3: a live reproduction of them. At this point in my life, 515 00:28:41,080 --> 00:28:42,360 Speaker 3: I've kind of moved away from that. 516 00:28:43,400 --> 00:28:46,480 Speaker 4: You moved to Colorado to just sort of change the 517 00:28:46,520 --> 00:28:49,120 Speaker 4: pace of your life a bit and sort of go 518 00:28:49,280 --> 00:28:50,520 Speaker 4: into a different mode. 519 00:28:50,640 --> 00:28:52,320 Speaker 5: And as part of that move. 520 00:28:52,640 --> 00:28:57,360 Speaker 4: I think you did encounter the great Hunter Thompson while 521 00:28:57,360 --> 00:29:02,520 Speaker 4: you were out there. Can you share anything about an 522 00:29:02,560 --> 00:29:04,840 Speaker 4: experience with Hunter? 523 00:29:05,840 --> 00:29:11,280 Speaker 3: Many, some of which I can't tell you, but well, 524 00:29:11,520 --> 00:29:14,920 Speaker 3: you know, I had been going to Colorado since the 525 00:29:15,000 --> 00:29:17,920 Speaker 3: late sixties when I was in college, and I finally 526 00:29:18,200 --> 00:29:20,920 Speaker 3: finally moved there in the late eighties nearly nineties. I 527 00:29:20,960 --> 00:29:23,160 Speaker 3: met my future wife and we were looking for a 528 00:29:23,200 --> 00:29:26,400 Speaker 3: place to live. She she found a little piece of 529 00:29:26,480 --> 00:29:30,800 Speaker 3: land in place called Woody Creek outside of Aspen, Colorado, 530 00:29:31,280 --> 00:29:34,240 Speaker 3: and it was like a little little farm, a little ranch. 531 00:29:34,360 --> 00:29:37,680 Speaker 3: And I remember the first time we went to see 532 00:29:37,720 --> 00:29:41,520 Speaker 3: it with the real estate agent. We're standing there on 533 00:29:41,560 --> 00:29:43,760 Speaker 3: this kind of there was only a horse barn and 534 00:29:43,800 --> 00:29:47,280 Speaker 3: a little log cabin, and we're standing there and all 535 00:29:47,280 --> 00:29:49,760 Speaker 3: of a sudden we heard, you know, boom boom, and 536 00:29:49,800 --> 00:29:53,000 Speaker 3: then we heard shotgun pellets all on the metal roof 537 00:29:53,080 --> 00:29:56,880 Speaker 3: of this little barn, like you know, and I was like, WHOA, 538 00:29:56,920 --> 00:29:59,800 Speaker 3: what's that, and then real estate agent was like, Oh, 539 00:29:59,800 --> 00:30:03,200 Speaker 3: that's your neighbor. That's that's hunter, that's your neighbor. And 540 00:30:03,240 --> 00:30:05,400 Speaker 3: I said, well, is this something we should be concerned about? 541 00:30:05,840 --> 00:30:08,200 Speaker 3: And he said no, No, he said he's fine, he's fine. 542 00:30:08,240 --> 00:30:11,800 Speaker 3: He's just sending a warning shot, you know. So I 543 00:30:12,160 --> 00:30:14,400 Speaker 3: thought to myself, well, this is either really good or 544 00:30:14,440 --> 00:30:17,320 Speaker 3: really terrible. As it turned out, it was really good 545 00:30:17,440 --> 00:30:20,600 Speaker 3: because he slept during the day and worked at night. 546 00:30:20,720 --> 00:30:23,480 Speaker 3: I did. I worked during the day and slept at night, 547 00:30:23,800 --> 00:30:26,320 Speaker 3: so that worked out pretty well. The interesting thing that 548 00:30:26,440 --> 00:30:29,600 Speaker 3: I noticed immediately in the little log cabin there was 549 00:30:29,640 --> 00:30:32,080 Speaker 3: the big There was a big red convertible which was 550 00:30:32,120 --> 00:30:34,760 Speaker 3: that land shark that he used in fear and loathing. 551 00:30:34,840 --> 00:30:38,080 Speaker 3: His his car because no one had been on the 552 00:30:38,080 --> 00:30:40,800 Speaker 3: property for years, so he even though he didn't own 553 00:30:40,800 --> 00:30:42,880 Speaker 3: the property, he just put his car in the cabin 554 00:30:43,200 --> 00:30:47,000 Speaker 3: and put a padlock on the door. And I said, 555 00:30:47,240 --> 00:30:48,840 Speaker 3: what are we going to do with this guy's car? 556 00:30:49,280 --> 00:30:51,480 Speaker 3: Because we wanted to turn the cabin into a into 557 00:30:51,520 --> 00:30:55,320 Speaker 3: a little apartment where we could live while we built 558 00:30:55,360 --> 00:30:57,560 Speaker 3: the rest of our house. So I would go and 559 00:30:57,640 --> 00:31:00,400 Speaker 3: knock on his door and he never answered. Then I 560 00:31:00,560 --> 00:31:03,840 Speaker 3: go again. I'm not. I'dn't even note because I because 561 00:31:04,160 --> 00:31:07,120 Speaker 3: we wanted to, you know, we wanted to have the 562 00:31:07,680 --> 00:31:11,280 Speaker 3: carpenters come in and start rebuilding this cabin. So the 563 00:31:11,320 --> 00:31:13,520 Speaker 3: keys were in it. I jump started it, I backed 564 00:31:13,560 --> 00:31:15,840 Speaker 3: it out, I drove it up on his lawn. I 565 00:31:15,880 --> 00:31:18,320 Speaker 3: put it directly in front of his door, and I 566 00:31:18,400 --> 00:31:21,720 Speaker 3: just left it there. And I knew him for twenty 567 00:31:21,760 --> 00:31:23,200 Speaker 3: five years, and he never said a word to me 568 00:31:23,240 --> 00:31:25,960 Speaker 3: about it. I guess he just thought the car just 569 00:31:26,000 --> 00:31:29,320 Speaker 3: appeared one day, you know. So we went to his 570 00:31:29,360 --> 00:31:32,240 Speaker 3: funeral that Johnny Depp organized and it was amazing. We 571 00:31:32,320 --> 00:31:35,560 Speaker 3: played at his funeral with Lyle Loved and Johnny Depp, 572 00:31:35,640 --> 00:31:38,320 Speaker 3: and it was just absolutely amazing. He was an amazing 573 00:31:38,360 --> 00:31:42,320 Speaker 3: guy and one of the great, you know, a classic journalists, 574 00:31:42,320 --> 00:31:45,719 Speaker 3: you know, who invented a style of journalism. Really, you know, 575 00:31:46,360 --> 00:31:49,640 Speaker 3: he loved being Hunter Thompson. He loved the image of himself. 576 00:31:49,720 --> 00:31:51,760 Speaker 3: And I think what happened when he broke his hip 577 00:31:51,760 --> 00:31:54,920 Speaker 3: in his leg and he couldn't really be that guy anymore, 578 00:31:54,960 --> 00:31:58,320 Speaker 3: I don't. I think that's when he decided to pack 579 00:31:58,360 --> 00:32:01,360 Speaker 3: it all in. But he we used to go up 580 00:32:01,360 --> 00:32:03,640 Speaker 3: there and watch Monday night football with the sheriff and 581 00:32:03,680 --> 00:32:06,680 Speaker 3: we like, it's just kind of crazy. 582 00:32:08,440 --> 00:32:09,920 Speaker 5: Let's come back to reunion here. 583 00:32:09,960 --> 00:32:12,720 Speaker 4: I want to get your take on a couple of 584 00:32:12,800 --> 00:32:16,440 Speaker 4: the specific songs here. We've already touched on Long Monday 585 00:32:16,600 --> 00:32:20,600 Speaker 4: and Reunion. I want to talk about Sonny Terry and 586 00:32:20,640 --> 00:32:24,840 Speaker 4: Brownie McGee, who you mentioned earlier in the conversation, So 587 00:32:25,000 --> 00:32:27,720 Speaker 4: talk about them and that song. 588 00:32:28,240 --> 00:32:30,240 Speaker 3: That song was written during the pandemic when I was 589 00:32:30,240 --> 00:32:33,000 Speaker 3: out in Colorado. I'm spending more time in Colorado during 590 00:32:33,000 --> 00:32:35,360 Speaker 3: the pandemic, just to get out of the city, breathe 591 00:32:35,400 --> 00:32:39,280 Speaker 3: some fresh air and all that. And I ran into 592 00:32:39,320 --> 00:32:42,720 Speaker 3: a guy who was neighbor who I knew for years 593 00:32:42,720 --> 00:32:45,040 Speaker 3: and years but we never did anything together. Is a 594 00:32:45,080 --> 00:32:48,320 Speaker 3: guy named Joe Henry who has written lyrics. He's an author, 595 00:32:48,640 --> 00:32:53,080 Speaker 3: he's written books. And we were just shooting the breeze 596 00:32:53,080 --> 00:32:55,880 Speaker 3: and he said, you know, we should write a song, 597 00:32:56,360 --> 00:32:58,640 Speaker 3: and I said, yeah, we should. And so he came 598 00:32:58,720 --> 00:33:01,720 Speaker 3: up to my little cabin and the cabin where that 599 00:33:01,760 --> 00:33:06,920 Speaker 3: car was by the way, and we'd start talking about, 600 00:33:06,960 --> 00:33:09,800 Speaker 3: you know, ideas for songs, and he told me he 601 00:33:09,840 --> 00:33:12,480 Speaker 3: related this story about Sunny Arry and Brownie McGee. How 602 00:33:12,800 --> 00:33:16,200 Speaker 3: as time went on in their career, they were together 603 00:33:16,240 --> 00:33:19,160 Speaker 3: for over forty years, they began to really dislike each 604 00:33:19,200 --> 00:33:21,600 Speaker 3: other and they didn't want to play together anymore. So 605 00:33:21,800 --> 00:33:24,160 Speaker 3: obviously there was something going on that resonated with me. 606 00:33:26,320 --> 00:33:28,640 Speaker 3: But he said that the interesting part was that one 607 00:33:28,680 --> 00:33:31,280 Speaker 3: of them lost his ability to see and the other 608 00:33:31,320 --> 00:33:35,000 Speaker 3: one lost his ability to walk, and it brought them 609 00:33:35,040 --> 00:33:37,840 Speaker 3: together in a way, and they needed each other to 610 00:33:37,880 --> 00:33:40,520 Speaker 3: get on stage. And when I thought about it, I said, well, 611 00:33:40,560 --> 00:33:45,000 Speaker 3: you know, we could write about them specifically, or we 612 00:33:45,040 --> 00:33:48,680 Speaker 3: could use their story and their experience as a metaphor 613 00:33:48,800 --> 00:33:52,000 Speaker 3: for kindness and lending a helping hand and helping your 614 00:33:52,000 --> 00:33:54,440 Speaker 3: fellow man so speaking. I thought that was a more 615 00:33:54,520 --> 00:33:58,360 Speaker 3: broad subject. So in the end, Sunny Arry and browniemcgee 616 00:33:58,360 --> 00:34:01,800 Speaker 3: became more of a metaphor for the meaning of the song. 617 00:34:02,520 --> 00:34:06,160 Speaker 5: How about the song All I Am that you co 618 00:34:06,240 --> 00:34:07,360 Speaker 5: wrote with Adam Ezra. 619 00:34:08,239 --> 00:34:11,239 Speaker 3: Yeah, Adam's great. He and I just did a song 620 00:34:11,320 --> 00:34:13,759 Speaker 3: that we just played together in New York just a 621 00:34:13,800 --> 00:34:18,000 Speaker 3: couple of weeks ago. He's great. He's from the Boston area, 622 00:34:18,360 --> 00:34:23,879 Speaker 3: a really good soul, talented guy, and we played We've 623 00:34:23,880 --> 00:34:26,960 Speaker 3: done shows together over the years, we've written a few 624 00:34:26,960 --> 00:34:29,160 Speaker 3: songs together, and All I Am is probably my favorite 625 00:34:29,200 --> 00:34:31,480 Speaker 3: of the ones we've written. It's just a song. He 626 00:34:31,520 --> 00:34:35,920 Speaker 3: came to Nashville, we sat down and we wrote it. 627 00:34:34,520 --> 00:34:38,040 Speaker 3: It just worked, and I love that song. We played 628 00:34:38,080 --> 00:34:38,600 Speaker 3: all the time. 629 00:34:39,680 --> 00:34:42,120 Speaker 4: And how about the song that this Field Is Mine? 630 00:34:42,719 --> 00:34:45,839 Speaker 4: Which is just wonderful to talk about that one? 631 00:34:46,239 --> 00:34:48,759 Speaker 3: Thank you. That song was supposed to be included on 632 00:34:48,840 --> 00:34:52,160 Speaker 3: the Arkansas album, which came out in twenty eighteen, but 633 00:34:53,400 --> 00:34:55,520 Speaker 3: it just didn't There was something about it that I 634 00:34:56,280 --> 00:34:59,120 Speaker 3: didn't think it was right for that album, so I 635 00:34:59,160 --> 00:35:01,200 Speaker 3: held it. I knew that I was going to release 636 00:35:01,239 --> 00:35:04,480 Speaker 3: it someday. That song was inspired by my wife's family 637 00:35:04,520 --> 00:35:08,960 Speaker 3: who's there. They own a farm in southern Illinois, and 638 00:35:09,040 --> 00:35:12,719 Speaker 3: they're very, very passionate about keeping the farm as the 639 00:35:13,160 --> 00:35:19,240 Speaker 3: as the surrounding area gets developed by suburbs and housing developments. 640 00:35:19,280 --> 00:35:21,960 Speaker 3: And when I I know the passion that they have 641 00:35:22,160 --> 00:35:24,399 Speaker 3: for their land because it's a you know, it's been 642 00:35:24,400 --> 00:35:28,400 Speaker 3: in their farm family for generations. So I thought about it, 643 00:35:28,400 --> 00:35:30,960 Speaker 3: and I thought about what what that really means. I 644 00:35:31,000 --> 00:35:33,440 Speaker 3: thought about what owning a piece of land, Do you 645 00:35:33,520 --> 00:35:35,640 Speaker 3: really really own it or you're just the caretaker for 646 00:35:35,680 --> 00:35:38,920 Speaker 3: a while, you know, And so that was the impetus 647 00:35:38,920 --> 00:35:42,560 Speaker 3: for it, and I I ran the idea by Sam 648 00:35:42,600 --> 00:35:47,040 Speaker 3: Bush and the great Jeff Black, who's an incredible Nashville songwriter. Uh, 649 00:35:47,080 --> 00:35:49,359 Speaker 3: and we wanted to try to write something together. So 650 00:35:49,440 --> 00:35:51,600 Speaker 3: the three of us got together and we wrote that 651 00:35:51,680 --> 00:35:54,960 Speaker 3: song together. Yeah. So that was that was That was 652 00:35:55,000 --> 00:35:57,080 Speaker 3: really great to be able to. I had never written 653 00:35:57,120 --> 00:35:59,360 Speaker 3: anything with Sam and it was first time and I 654 00:35:59,400 --> 00:36:01,080 Speaker 3: think we did pretty good. 655 00:36:02,200 --> 00:36:02,840 Speaker 5: That did awesome. 656 00:36:03,960 --> 00:36:09,840 Speaker 4: And closing, You've always explored diverse influences in your career 657 00:36:10,120 --> 00:36:14,880 Speaker 4: and you continue to do that. Are there some influences 658 00:36:14,920 --> 00:36:18,080 Speaker 4: that you have not explored that you'd still like to explore. 659 00:36:20,600 --> 00:36:25,160 Speaker 3: I wouldn't say there's any particular influence like style, but 660 00:36:25,239 --> 00:36:27,920 Speaker 3: I still have a lot of interest, you know. I 661 00:36:28,840 --> 00:36:31,960 Speaker 3: just wrote a song with a young artist named Devin Gilfillan, 662 00:36:33,080 --> 00:36:38,320 Speaker 3: who's fantastic. He's an R and B singer from Philadelphia 663 00:36:38,440 --> 00:36:41,360 Speaker 3: and once saw him live and he's great, and I 664 00:36:41,400 --> 00:36:44,239 Speaker 3: introduced myself and we hit it off and wrote a song. 665 00:36:44,280 --> 00:36:48,000 Speaker 3: It sounds like a vintage soul song. And so I'm 666 00:36:48,040 --> 00:36:52,000 Speaker 3: not going to be stuck in any particular style. I'm 667 00:36:52,040 --> 00:36:54,440 Speaker 3: just going to, you know, do whatever feels right at 668 00:36:54,480 --> 00:36:56,960 Speaker 3: the time. That's a song that I want to release 669 00:36:57,080 --> 00:37:00,640 Speaker 3: this coming fall, and it's a really cool song. So 670 00:37:01,160 --> 00:37:03,319 Speaker 3: and then you know, I just recently, I was on 671 00:37:03,360 --> 00:37:06,960 Speaker 3: the Joe Bonamassa Blues Cruise and I got a chance 672 00:37:07,000 --> 00:37:09,000 Speaker 3: to sit in with a band called Robert John and 673 00:37:09,040 --> 00:37:12,680 Speaker 3: the Wreck. They're a California based rock band and they're 674 00:37:12,760 --> 00:37:17,560 Speaker 3: really really good and I really like them and got 675 00:37:17,600 --> 00:37:19,399 Speaker 3: together and wrote a song just a few days ago 676 00:37:19,440 --> 00:37:23,480 Speaker 3: with them, and Dave Cobb is producing them. Hopefully it'll 677 00:37:23,480 --> 00:37:25,719 Speaker 3: make it onto the album. And so you know, I'm 678 00:37:26,440 --> 00:37:28,799 Speaker 3: I'm just open to interesting ideas. 679 00:37:29,520 --> 00:37:33,080 Speaker 4: Congratulations on reunion. I'm so grateful that you took the 680 00:37:33,160 --> 00:37:35,080 Speaker 4: time to be on Taking a Walk. I've been a 681 00:37:35,120 --> 00:37:38,200 Speaker 4: fan forever and thank you for the music that you 682 00:37:38,400 --> 00:37:39,600 Speaker 4: continued to give us. 683 00:37:39,719 --> 00:37:42,600 Speaker 3: John. Thanks, it was a good interview. I like talking 684 00:37:42,600 --> 00:37:44,080 Speaker 3: about that stuff. So thanks. 685 00:37:45,400 --> 00:37:47,840 Speaker 1: Thanks for listening to this episode of the Taking a 686 00:37:47,880 --> 00:37:51,800 Speaker 1: Walk podcast. Share this and other episodes with your friends 687 00:37:51,880 --> 00:37:55,360 Speaker 1: and follow us so you never miss an episode. Taking 688 00:37:55,400 --> 00:37:59,279 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 689 00:37:59,480 --> 00:38:01,759 Speaker 1: and wherever you get your podcasts.