1 00:00:00,480 --> 00:00:01,160 Speaker 1: Taking a Walk. 2 00:00:01,320 --> 00:00:03,040 Speaker 2: Do any sessions where you just get called and you 3 00:00:03,080 --> 00:00:05,920 Speaker 2: go down there, You just go out, listen carefully to 4 00:00:05,960 --> 00:00:09,520 Speaker 2: the song and more than once and think about what 5 00:00:09,560 --> 00:00:11,920 Speaker 2: the song is about and how you can help, how 6 00:00:12,000 --> 00:00:15,200 Speaker 2: I can come up with something that's gonna help the 7 00:00:15,280 --> 00:00:19,279 Speaker 2: record of the song that the singer, the producer, the 8 00:00:19,320 --> 00:00:20,760 Speaker 2: other cats like that. 9 00:00:20,880 --> 00:00:23,800 Speaker 1: Welcome to the Taking and Walk podcast with your host 10 00:00:23,880 --> 00:00:27,680 Speaker 1: Buzz Night. Buzz talks with musicians who continue to make 11 00:00:27,720 --> 00:00:31,240 Speaker 1: their mark on music history. Today, Buzz speaks with the 12 00:00:31,320 --> 00:00:35,839 Speaker 1: man effectually known as Cooch. Danny Kurtzmark is a titan 13 00:00:36,000 --> 00:00:39,040 Speaker 1: of the music industry known for being the secret weapon 14 00:00:39,080 --> 00:00:41,920 Speaker 1: on some of the most iconic songs in rock history. 15 00:00:42,440 --> 00:00:46,080 Speaker 1: As a session guitarist, Danny's distinctive playing can be heard 16 00:00:46,080 --> 00:00:50,240 Speaker 1: on countless hit records by artists like Don Henley, Jackson Brown, 17 00:00:50,760 --> 00:00:55,040 Speaker 1: Carol King, James Taylor, and a slew of others. Danny 18 00:00:55,120 --> 00:00:58,600 Speaker 1: is also part of the Immediate Family, the session supergroup 19 00:00:58,840 --> 00:01:02,200 Speaker 1: made up by some of the best players ever, and 20 00:01:02,240 --> 00:01:05,320 Speaker 1: he's prominently featured in the documentary of the same name, 21 00:01:05,959 --> 00:01:09,800 Speaker 1: Welcome Danny Korchmar on Taking a Walk with Buzz Night. 22 00:01:11,440 --> 00:01:13,560 Speaker 3: Well, Danny Thanks for being on taking a walk. It's 23 00:01:13,560 --> 00:01:15,800 Speaker 3: an honor to get to talk to you. 24 00:01:16,240 --> 00:01:17,959 Speaker 4: Thanks very much, Thanks for having me. 25 00:01:18,480 --> 00:01:21,760 Speaker 3: So who taught you the art of collaboration which you 26 00:01:21,800 --> 00:01:23,480 Speaker 3: are so amazing with. 27 00:01:24,520 --> 00:01:26,959 Speaker 2: Well, that's just something that came naturally to me. I've 28 00:01:27,000 --> 00:01:30,120 Speaker 2: always loved collaborating the idea of music. Music is a 29 00:01:30,120 --> 00:01:32,840 Speaker 2: collaboration unless you spend the rest of your life sitting 30 00:01:32,840 --> 00:01:36,320 Speaker 2: in a room by yourself. You know, whenever you play 31 00:01:36,400 --> 00:01:40,000 Speaker 2: with anybody, it's a collaboration. And I'm in trev Road. 32 00:01:40,160 --> 00:01:42,319 Speaker 2: I just it was not something I worked towards or 33 00:01:42,600 --> 00:01:45,360 Speaker 2: made a decision about. It's just something that came naturally 34 00:01:45,400 --> 00:01:45,640 Speaker 2: to me. 35 00:01:46,520 --> 00:01:50,000 Speaker 3: And as you sort of evolved in your career, are 36 00:01:50,000 --> 00:01:54,520 Speaker 3: there particular producers that you worked with that you can 37 00:01:54,560 --> 00:01:57,800 Speaker 3: say made a great impact and taught you further the 38 00:01:57,920 --> 00:02:00,680 Speaker 3: art of creating and collaborating. 39 00:02:01,720 --> 00:02:02,440 Speaker 4: Yeah, you bet. 40 00:02:02,920 --> 00:02:06,000 Speaker 2: The first person I was in the studio with seriously 41 00:02:06,080 --> 00:02:08,800 Speaker 2: was Carol King, and she told me a tremendous amount 42 00:02:09,240 --> 00:02:12,680 Speaker 2: about you know, how to play songs, and she would 43 00:02:12,680 --> 00:02:16,799 Speaker 2: just give me very terse simple directions. Play that same 44 00:02:16,840 --> 00:02:19,000 Speaker 2: thing he played there, played over here, lay out for 45 00:02:19,200 --> 00:02:22,320 Speaker 2: this tree bars coming again here, play a solo there, 46 00:02:22,680 --> 00:02:25,560 Speaker 2: very simple, basic stuff that you would tell me. The 47 00:02:25,880 --> 00:02:28,560 Speaker 2: other producers I worked with us was the great Peter Asher, 48 00:02:28,880 --> 00:02:31,560 Speaker 2: from whom I learned a tremendous amount. Peter's a dear, 49 00:02:31,600 --> 00:02:33,720 Speaker 2: dear friend of mine and I've know him for pretty 50 00:02:33,760 --> 00:02:38,720 Speaker 2: much my whole life, and working with him was definitely 51 00:02:40,280 --> 00:02:43,320 Speaker 2: an education in itself. And also Lou Adler, the great 52 00:02:43,360 --> 00:02:45,639 Speaker 2: Lou Abler. It was a brilliant producer, and I learned 53 00:02:45,639 --> 00:02:49,720 Speaker 2: a tremendous amount for him from him again about playing 54 00:02:50,120 --> 00:02:52,919 Speaker 2: simple parts to fit in and what he said was 55 00:02:52,960 --> 00:02:55,960 Speaker 2: that the simple, the simpler, your part more basically, your 56 00:02:56,000 --> 00:02:57,880 Speaker 2: part of the lowry can be turned up in the mix. 57 00:02:58,200 --> 00:03:01,120 Speaker 2: I went, oh, okay, because I want to be obviously 58 00:03:01,560 --> 00:03:02,920 Speaker 2: wanted to be turned up in the mix. 59 00:03:03,080 --> 00:03:04,639 Speaker 4: So an important lesson. 60 00:03:05,560 --> 00:03:09,480 Speaker 3: So what were the the bands that you started out with, 61 00:03:09,960 --> 00:03:12,680 Speaker 3: the King Bees and the Flying Machine, What were those 62 00:03:12,760 --> 00:03:13,960 Speaker 3: experiences like? 63 00:03:15,240 --> 00:03:15,400 Speaker 1: Well? 64 00:03:15,440 --> 00:03:17,680 Speaker 2: I always, I always was. I always wanted to be 65 00:03:17,680 --> 00:03:19,600 Speaker 2: in a band. Ever was you know, since the Beatles? 66 00:03:19,639 --> 00:03:21,799 Speaker 2: Like everyone else, I wanted to be in a rock 67 00:03:21,840 --> 00:03:24,839 Speaker 2: and roll band. So as soon as I graduated high school, 68 00:03:25,440 --> 00:03:27,359 Speaker 2: I started looking around for guys and we started the 69 00:03:27,440 --> 00:03:30,360 Speaker 2: King Bees The King Bees played all over here. This 70 00:03:30,400 --> 00:03:34,480 Speaker 2: is like mid sixties, so we played all over New 71 00:03:34,560 --> 00:03:37,960 Speaker 2: York City and up and down the East coast, and uh, 72 00:03:38,080 --> 00:03:40,960 Speaker 2: it was an elemant experience. And the next band, when 73 00:03:41,040 --> 00:03:43,119 Speaker 2: that band broke up because we just ran out of gas, 74 00:03:43,240 --> 00:03:46,400 Speaker 2: ran out of work. I was getting frustrating. And the 75 00:03:46,440 --> 00:03:50,200 Speaker 2: next band was with my childhood friend James Taylor, which 76 00:03:50,240 --> 00:03:54,240 Speaker 2: was the Flying Machine. And we had a great time together. 77 00:03:54,280 --> 00:03:56,000 Speaker 2: I knew he was great, and I was. 78 00:03:56,320 --> 00:03:56,520 Speaker 1: You know. 79 00:03:56,640 --> 00:04:01,080 Speaker 2: He hitchhot down from Massachusetts to flop on my couch 80 00:04:01,160 --> 00:04:04,440 Speaker 2: and in New York City and we started a band. 81 00:04:04,960 --> 00:04:06,400 Speaker 2: That band was the Flying Machine. 82 00:04:07,120 --> 00:04:09,760 Speaker 3: Remember the days of hitch hiking. My god, you just 83 00:04:10,560 --> 00:04:14,080 Speaker 3: flashed upon that and it was so commonplace, right, wasn't it? 84 00:04:14,680 --> 00:04:16,839 Speaker 4: Everyone did it and now no one does it. 85 00:04:18,839 --> 00:04:19,000 Speaker 2: Now. 86 00:04:19,040 --> 00:04:21,560 Speaker 3: Did you have your site set on the West Coast 87 00:04:21,839 --> 00:04:24,440 Speaker 3: at that time or how did that come to happen? 88 00:04:25,000 --> 00:04:25,520 Speaker 4: Not really? 89 00:04:26,720 --> 00:04:28,719 Speaker 2: I mean I love New York City, you know. Bishup 90 00:04:28,920 --> 00:04:31,480 Speaker 2: was born in New York and felt very at home there. 91 00:04:31,880 --> 00:04:35,120 Speaker 2: But things were not going well. It was a dead 92 00:04:35,240 --> 00:04:37,560 Speaker 2: end for me in New York. Let me see, the 93 00:04:37,560 --> 00:04:40,240 Speaker 2: Flying Machine broke broke up. I spent some time three 94 00:04:40,320 --> 00:04:41,880 Speaker 2: or four months with the Fugs. I don't know if 95 00:04:41,920 --> 00:04:45,560 Speaker 2: you're familiar with the Fugs or not, but Ed Sanders, yeah, 96 00:04:45,680 --> 00:04:48,119 Speaker 2: I was a FuG yet I was a FuG side man, 97 00:04:48,800 --> 00:04:51,200 Speaker 2: so I spent time with them, but to me, there 98 00:04:51,240 --> 00:04:56,600 Speaker 2: were more of a kind of performance artistic performance endeavor 99 00:04:56,680 --> 00:05:02,360 Speaker 2: rather than a strictly musical endeavor. So after that, there 100 00:05:02,400 --> 00:05:04,159 Speaker 2: was a band called Clear Light that came through New 101 00:05:04,240 --> 00:05:06,920 Speaker 2: York and they had just fired or their tar player 102 00:05:06,920 --> 00:05:09,120 Speaker 2: I had quit. So I went down an audition for 103 00:05:09,200 --> 00:05:12,280 Speaker 2: them and got the gig and they they were in 104 00:05:12,480 --> 00:05:14,800 Speaker 2: LA band. So at that point I run out, I 105 00:05:14,880 --> 00:05:17,760 Speaker 2: guess in New York. New York was closed to me 106 00:05:17,800 --> 00:05:21,240 Speaker 2: in pretty much up a closed situation. The guys that 107 00:05:21,279 --> 00:05:23,560 Speaker 2: were doing the jingles, they were the same guys the 108 00:05:23,560 --> 00:05:25,919 Speaker 2: guys who were playing on albums were the same guys 109 00:05:25,920 --> 00:05:28,960 Speaker 2: that were very difficult, if not impossible, to break into 110 00:05:29,000 --> 00:05:29,640 Speaker 2: that scene. 111 00:05:29,920 --> 00:05:31,600 Speaker 4: And also I didn't want to play jingles. I wanted 112 00:05:31,600 --> 00:05:32,680 Speaker 4: to play rock and roll, you know. 113 00:05:34,160 --> 00:05:36,760 Speaker 2: So moving on to LA turned out to be fortuitous 114 00:05:36,760 --> 00:05:38,080 Speaker 2: and it turned to be a great move for me. 115 00:05:39,320 --> 00:05:41,760 Speaker 3: And who were the first people that you SYNCD up 116 00:05:41,800 --> 00:05:42,680 Speaker 3: with when you moved to. 117 00:05:42,920 --> 00:05:46,599 Speaker 2: La Well, I moved out there with my buddy Charlie 118 00:05:46,640 --> 00:05:49,640 Speaker 2: Larky who was well at the same time as Charlie, 119 00:05:49,760 --> 00:05:53,320 Speaker 2: and he was he was going out with Carol, living 120 00:05:53,360 --> 00:05:56,200 Speaker 2: with Carol at the time, so they both moved shortly 121 00:05:56,200 --> 00:05:57,080 Speaker 2: after I moved out there. 122 00:05:57,200 --> 00:05:58,960 Speaker 4: They both moved to Laurel. 123 00:05:58,720 --> 00:06:02,520 Speaker 2: Canyon, and which is where I was living. And uh, 124 00:06:03,080 --> 00:06:05,560 Speaker 2: you know, I started going walking down to her place 125 00:06:05,600 --> 00:06:08,560 Speaker 2: every day and jamming with aeron Charlie pretty much every day. 126 00:06:09,200 --> 00:06:11,240 Speaker 4: So that was one great experience that I had. 127 00:06:11,240 --> 00:06:13,720 Speaker 2: And I started running into musicians and jamming with guys 128 00:06:14,040 --> 00:06:18,119 Speaker 2: all the time in Los Angeles. It was it was great. 129 00:06:18,200 --> 00:06:21,880 Speaker 2: It was a wide open scene in Los Angeles at 130 00:06:21,880 --> 00:06:22,360 Speaker 2: that time. 131 00:06:23,640 --> 00:06:28,040 Speaker 3: Now, how did the collaboration come to happen that became 132 00:06:28,200 --> 00:06:31,240 Speaker 3: the section? I was a big fan of that. That 133 00:06:31,320 --> 00:06:36,839 Speaker 3: was a you know, precursor super group to immediate family. Really, 134 00:06:36,920 --> 00:06:37,920 Speaker 3: so how did that happen? 135 00:06:38,839 --> 00:06:40,159 Speaker 4: Well, I wouldn't. I don't know if we were a 136 00:06:40,560 --> 00:06:42,880 Speaker 4: I thought we were a supergroup, but we were. 137 00:06:42,920 --> 00:06:46,920 Speaker 2: We did, We did well great, I'll take it. We 138 00:06:46,960 --> 00:06:49,799 Speaker 2: were the backup band. We're James Taylor's backup band. James 139 00:06:49,839 --> 00:06:53,640 Speaker 2: had just started his career and was on the road 140 00:06:53,680 --> 00:06:56,839 Speaker 2: a lot. And Carol was the original piano player in 141 00:06:56,880 --> 00:06:59,200 Speaker 2: that band, but she didn't want to tour. She she 142 00:06:59,240 --> 00:07:01,440 Speaker 2: went to stay home. She had two daughter, young daughters, 143 00:07:02,000 --> 00:07:06,919 Speaker 2: and she was not a road person really. So we 144 00:07:07,000 --> 00:07:09,960 Speaker 2: hired or James hired Greig Dirty to come play keyboards. 145 00:07:10,640 --> 00:07:12,200 Speaker 2: So we get up there and we were on tour 146 00:07:12,280 --> 00:07:17,400 Speaker 2: with James back in. James up and after soundcheck, James 147 00:07:17,440 --> 00:07:19,520 Speaker 2: did a very quick soundcheck. He went up and checked 148 00:07:19,560 --> 00:07:22,240 Speaker 2: the microphone, checked the monitors and then left the stage, 149 00:07:22,920 --> 00:07:25,160 Speaker 2: and so we were still on there. We just we 150 00:07:25,320 --> 00:07:28,720 Speaker 2: just started jamming on stage before they let the crowd in, 151 00:07:29,400 --> 00:07:34,120 Speaker 2: and that was really the birth of the section. We 152 00:07:34,160 --> 00:07:36,800 Speaker 2: started playing together and playing together and jamming, having fun, 153 00:07:37,440 --> 00:07:41,160 Speaker 2: and Peter Astra one time played us a board cassette, 154 00:07:41,200 --> 00:07:43,280 Speaker 2: you know, a cassette from the front of house board 155 00:07:43,480 --> 00:07:46,000 Speaker 2: of us jamming and said, you know, this is pretty good. 156 00:07:46,000 --> 00:07:47,680 Speaker 2: You guys ought to think about doing something with this. 157 00:07:48,360 --> 00:07:51,800 Speaker 2: So at that point we said maybe we should. James 158 00:07:51,800 --> 00:07:55,760 Speaker 2: gave us the name this section, and probably due to 159 00:07:55,800 --> 00:07:58,600 Speaker 2: Peter's help, we got a little deal at Warner Brothers 160 00:07:58,800 --> 00:08:02,480 Speaker 2: and made our first album, started gigging as the section. 161 00:08:03,520 --> 00:08:06,880 Speaker 3: Well, it was an awesome sound. We were big fans 162 00:08:06,880 --> 00:08:11,320 Speaker 3: of it. I was in college then actually in Dayton, Ohio, 163 00:08:11,400 --> 00:08:14,160 Speaker 3: and we just we wore out the grooves of the section. 164 00:08:14,320 --> 00:08:14,880 Speaker 3: We loved it. 165 00:08:15,200 --> 00:08:16,760 Speaker 4: Oh so glad. 166 00:08:17,760 --> 00:08:21,680 Speaker 5: So how did you first meet Linda Ronstep Well, everyone 167 00:08:21,760 --> 00:08:25,960 Speaker 5: knew everyone in California, especially everyone that Peter Asher produced, 168 00:08:26,000 --> 00:08:29,120 Speaker 5: and so I knew I knew Linda, you know, I 169 00:08:29,160 --> 00:08:31,560 Speaker 5: met her several times, and I knew all the people 170 00:08:31,560 --> 00:08:32,120 Speaker 5: in her band. 171 00:08:32,200 --> 00:08:35,280 Speaker 2: And like I said, everybody knew everybody. This is Los 172 00:08:35,320 --> 00:08:41,040 Speaker 2: Angeles in the seventies, late sixties through the seventies, and 173 00:08:41,080 --> 00:08:44,160 Speaker 2: it was a very beautiful community in which everyone shared 174 00:08:44,200 --> 00:08:47,120 Speaker 2: songs and shared ideas and listened to records and hung 175 00:08:47,160 --> 00:08:47,680 Speaker 2: out together. 176 00:08:48,080 --> 00:08:50,760 Speaker 4: So I knew Linda. At this point, I guess Way 177 00:08:50,880 --> 00:08:51,240 Speaker 4: had left. 178 00:08:51,360 --> 00:08:54,000 Speaker 2: Watti was a guitar player for a long time on 179 00:08:54,679 --> 00:08:58,000 Speaker 2: the road, and he left the band. They needed a 180 00:08:58,000 --> 00:09:00,600 Speaker 2: guitar player to tour, and Peter called me up says, 181 00:09:00,600 --> 00:09:03,559 Speaker 2: this would be interested in playing with Linda, And then 182 00:09:03,559 --> 00:09:04,280 Speaker 2: Linda's been. 183 00:09:04,240 --> 00:09:04,800 Speaker 4: On the road. 184 00:09:05,040 --> 00:09:09,679 Speaker 2: I said, absolutely, definitely, I'm there, And so I was 185 00:09:09,800 --> 00:09:11,040 Speaker 2: thrilled to be able to play with Linda. 186 00:09:11,120 --> 00:09:12,560 Speaker 4: One of the greatest singers I ever heard of. 187 00:09:12,520 --> 00:09:17,079 Speaker 3: In all life, and the studio experience with Linda must 188 00:09:17,080 --> 00:09:19,439 Speaker 3: have been equally fantastic, right. 189 00:09:20,200 --> 00:09:22,680 Speaker 2: Well, all experience as well. The musical experiences with Linda 190 00:09:22,720 --> 00:09:24,760 Speaker 2: were fantastic because she was so brilliant. 191 00:09:25,200 --> 00:09:27,720 Speaker 4: She was just great. She get up there in the studio, 192 00:09:28,679 --> 00:09:29,560 Speaker 4: she would sing live. 193 00:09:29,720 --> 00:09:31,480 Speaker 2: We would all play live, and she would sing live, 194 00:09:32,080 --> 00:09:34,679 Speaker 2: not like now where everything's overdo and piecemeal. It was 195 00:09:34,720 --> 00:09:37,720 Speaker 2: all donet the same time. The take was the one 196 00:09:37,800 --> 00:09:40,559 Speaker 2: she sounded the best on. She sounded great on all 197 00:09:40,559 --> 00:09:43,439 Speaker 2: of them. Well, we were expected to play really good 198 00:09:43,480 --> 00:09:46,800 Speaker 2: stuff on every take, and we did. By that time 199 00:09:47,120 --> 00:09:50,199 Speaker 2: all of us, Russ, Lee and myself had gotten very 200 00:09:50,240 --> 00:09:53,000 Speaker 2: good at coming up with parts and playing on records 201 00:09:53,040 --> 00:09:55,960 Speaker 2: and coming up with good stuff for singers and producer 202 00:09:56,120 --> 00:09:59,720 Speaker 2: right away. So we jumped in there. I can't remember 203 00:09:59,720 --> 00:10:01,280 Speaker 2: who all was in the bad, but everybody was great. 204 00:10:01,360 --> 00:10:06,080 Speaker 2: Kenny Edwards, Andrew Gold Russ on drums, Billy Payne was 205 00:10:06,120 --> 00:10:08,840 Speaker 2: on key, the great Billy Payne. So as I've fallen 206 00:10:08,880 --> 00:10:11,080 Speaker 2: off a log, you know, we just we would just 207 00:10:11,160 --> 00:10:14,720 Speaker 2: hit it and it was easy and it was fun 208 00:10:14,760 --> 00:10:17,720 Speaker 2: and it was a joy and. 209 00:10:17,679 --> 00:10:22,360 Speaker 3: Other than obviously her great talents. What else about her, 210 00:10:22,760 --> 00:10:26,640 Speaker 3: her will and her passion makes her stand out in 211 00:10:26,679 --> 00:10:27,280 Speaker 3: your opinion? 212 00:10:28,160 --> 00:10:32,000 Speaker 2: Well, I think it's her her intelligence, her absolute unfailing 213 00:10:32,160 --> 00:10:34,560 Speaker 2: ability to pick the right songs for herself. She's the 214 00:10:34,559 --> 00:10:38,040 Speaker 2: one that chose the song. No one chose them for her. 215 00:10:38,520 --> 00:10:40,360 Speaker 2: You know, Peter was the producer and put all the 216 00:10:40,360 --> 00:10:43,280 Speaker 2: parts together, but she chose the material. She knew what 217 00:10:43,320 --> 00:10:45,400 Speaker 2: she could sing and what she couldn't sing. She knew 218 00:10:45,400 --> 00:10:48,320 Speaker 2: what key she would sound the best in. So she 219 00:10:48,440 --> 00:10:54,280 Speaker 2: was very, very proactive in what happened and always involving 220 00:10:54,320 --> 00:10:54,800 Speaker 2: her music. 221 00:10:56,240 --> 00:11:00,040 Speaker 3: So can you talk about your your brothers and me 222 00:11:00,440 --> 00:11:05,160 Speaker 3: family and what they do for you to make you 223 00:11:05,240 --> 00:11:09,319 Speaker 3: even better as a musician. How do they challenge you? 224 00:11:10,280 --> 00:11:12,880 Speaker 2: Well, these guys are all my best friends in an 225 00:11:12,880 --> 00:11:15,040 Speaker 2: immediate family. They're all guys that we've all known each 226 00:11:15,040 --> 00:11:18,240 Speaker 2: other for many many years. Russe and Lee and myself 227 00:11:18,320 --> 00:11:20,880 Speaker 2: been playing together for more than fifty years and various 228 00:11:20,920 --> 00:11:23,120 Speaker 2: you know combinations, so. 229 00:11:24,679 --> 00:11:25,920 Speaker 4: We knew each other really well. 230 00:11:25,960 --> 00:11:30,600 Speaker 2: Wattie, I guess forty five years and Steve Postel the 231 00:11:30,640 --> 00:11:31,199 Speaker 2: new guy. 232 00:11:31,240 --> 00:11:33,880 Speaker 4: Ten years, you know, ten fifteen years, So we all 233 00:11:33,960 --> 00:11:34,920 Speaker 4: knew each other really well. 234 00:11:35,000 --> 00:11:38,640 Speaker 2: We had an instinct about what to plan, what not 235 00:11:38,679 --> 00:11:40,200 Speaker 2: to play, and how to fit in with each other 236 00:11:40,520 --> 00:11:43,000 Speaker 2: that you can only get from playing together for many, 237 00:11:43,000 --> 00:11:47,520 Speaker 2: many years and really knowing each other's style and knowing 238 00:11:47,520 --> 00:11:48,400 Speaker 2: each other personally. 239 00:11:49,120 --> 00:11:51,679 Speaker 3: I love the documentary on What's so great about it 240 00:11:51,760 --> 00:11:54,640 Speaker 3: is you really do get the sense of the family, 241 00:11:54,760 --> 00:11:59,440 Speaker 3: the community that you gentlemen are part of. But you know, 242 00:11:59,480 --> 00:12:02,760 Speaker 3: you're all so amazingly talented. So I urge anybody who 243 00:12:02,880 --> 00:12:06,280 Speaker 3: has not seen immediate family to go see it or 244 00:12:06,360 --> 00:12:09,640 Speaker 3: watch it stream. It's it's fantastic. You must be really 245 00:12:09,679 --> 00:12:10,280 Speaker 3: proud of that. 246 00:12:11,120 --> 00:12:12,760 Speaker 4: Well, yeah, I'm very happy with it, and it's great 247 00:12:12,800 --> 00:12:13,120 Speaker 4: to see. 248 00:12:13,160 --> 00:12:15,520 Speaker 2: I mean, it's like home movies, like watching home movies 249 00:12:15,559 --> 00:12:18,960 Speaker 2: for me, you know, and it's great. We all felt 250 00:12:19,080 --> 00:12:23,920 Speaker 2: really thrilled to have our stories told on camera like that, 251 00:12:24,360 --> 00:12:26,240 Speaker 2: and also having to be done by such a brilliant 252 00:12:26,520 --> 00:12:29,840 Speaker 2: director as Denny Sidesco, who did such a fantastic job 253 00:12:29,880 --> 00:12:30,720 Speaker 2: with the Wrecking Crew. 254 00:12:31,520 --> 00:12:35,520 Speaker 3: So that was my next question. Obviously, you must have really, 255 00:12:35,920 --> 00:12:38,280 Speaker 3: you know, been a student of what the Wrecking Crew 256 00:12:38,559 --> 00:12:39,200 Speaker 3: was all about. 257 00:12:39,280 --> 00:12:43,240 Speaker 2: Right, Oh, you bet, absolutely great, great musicians all that 258 00:12:43,720 --> 00:12:46,160 Speaker 2: I got to play a few record dates in the 259 00:12:46,480 --> 00:12:48,720 Speaker 2: early seventies with some of those fellows, and they were 260 00:12:48,760 --> 00:12:52,840 Speaker 2: always great, just great, you know, so we all loved them. 261 00:12:53,240 --> 00:12:55,200 Speaker 3: Who were some of the guys from the Wrecking Crew 262 00:12:55,240 --> 00:12:56,280 Speaker 3: that you got to play with. 263 00:12:56,679 --> 00:12:59,640 Speaker 2: I just a couple of days with Ari Nektel, who 264 00:12:59,640 --> 00:13:02,400 Speaker 2: could play anything. I mean, you could play guitar, bass, piano, 265 00:13:02,480 --> 00:13:04,920 Speaker 2: great on all of them. I did one day with 266 00:13:05,600 --> 00:13:10,040 Speaker 2: Tommy Tedesco, who is the greatest guitar session musician that 267 00:13:10,160 --> 00:13:12,880 Speaker 2: ever lived, and everyone will agree with me all night 268 00:13:13,400 --> 00:13:17,560 Speaker 2: on that, the absolute greatest. And I got to play 269 00:13:17,600 --> 00:13:21,520 Speaker 2: with Leon Russell, got to play that with Hal Blame 270 00:13:21,640 --> 00:13:25,440 Speaker 2: once and Joe Osborne. So I got just a few 271 00:13:25,520 --> 00:13:27,880 Speaker 2: dates with these guys. They weren't doing that many days. 272 00:13:27,920 --> 00:13:30,600 Speaker 2: They were slowing down and we were speeding up like 273 00:13:30,640 --> 00:13:33,520 Speaker 2: the next generation of cats. Now Leland he played with 274 00:13:33,559 --> 00:13:35,920 Speaker 2: all of those guys lots way more than me. 275 00:13:36,520 --> 00:13:38,160 Speaker 4: She was doing sessions every day. 276 00:13:38,800 --> 00:13:42,040 Speaker 3: I remember I talked to Denny for Take on a 277 00:13:42,080 --> 00:13:46,000 Speaker 3: Walk podcast and I asked him the question about his 278 00:13:46,600 --> 00:13:51,160 Speaker 3: dad listening to his songs on the radio and sort 279 00:13:51,240 --> 00:13:54,680 Speaker 3: of reflecting on that, and what he said was interesting. 280 00:13:54,760 --> 00:13:58,160 Speaker 3: He said, you know, his father was so, you know, workman, like, 281 00:13:58,320 --> 00:14:01,240 Speaker 3: you know, go show up, do the work that he 282 00:14:01,360 --> 00:14:06,040 Speaker 3: really kind of then divorced himself from that music after 283 00:14:06,160 --> 00:14:09,880 Speaker 3: he did his work. Are you anything like that or 284 00:14:09,920 --> 00:14:13,000 Speaker 3: do you still sort of reflect and listen to your work, 285 00:14:13,800 --> 00:14:14,959 Speaker 3: you know, after you've done it. 286 00:14:16,160 --> 00:14:18,360 Speaker 2: I don't really go back and listen to my stuff 287 00:14:18,400 --> 00:14:21,440 Speaker 2: after I've done it. Once this done, I don't have 288 00:14:21,520 --> 00:14:23,960 Speaker 2: I don't feel compelled to go back and listen to it. 289 00:14:24,360 --> 00:14:27,080 Speaker 2: So I'm not sure about that. I do know the 290 00:14:27,160 --> 00:14:29,760 Speaker 2: guy like Denny Tedesco, we get up in the morning, 291 00:14:29,760 --> 00:14:32,760 Speaker 2: he'd do a ten to one, two to five, five 292 00:14:32,800 --> 00:14:36,000 Speaker 2: to two, whatever to eight every day all day long. 293 00:14:36,280 --> 00:14:38,560 Speaker 2: So he doesn't have the time or the energy to 294 00:14:38,600 --> 00:14:41,760 Speaker 2: sit and reflect on what he's done because he's working 295 00:14:41,880 --> 00:14:46,120 Speaker 2: every day every day. Sometimes it's a movie soundtrack, sometimes 296 00:14:46,200 --> 00:14:49,360 Speaker 2: it's a pop record, sometimes it's Frank Sinatra, sometimes it's 297 00:14:50,160 --> 00:14:52,920 Speaker 2: the astronauts, you know, doing surf music. And he did 298 00:14:52,960 --> 00:14:56,480 Speaker 2: it all and so I don't think Tommy was that 299 00:14:56,600 --> 00:14:59,600 Speaker 2: reflective of a fellow, but he certainly was a professional, 300 00:14:59,600 --> 00:15:02,560 Speaker 2: down to toes and always play the right theme whatever 301 00:15:02,600 --> 00:15:03,320 Speaker 2: the circumstance. 302 00:15:03,920 --> 00:15:06,080 Speaker 1: We'll be right back with more of the Taking a 303 00:15:06,120 --> 00:15:14,360 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 304 00:15:14,640 --> 00:15:18,520 Speaker 3: So when you're going into a session, how much prep 305 00:15:18,600 --> 00:15:21,720 Speaker 3: work do you personally do before you show up in 306 00:15:21,760 --> 00:15:25,320 Speaker 3: that session. I have to think it's intense preparation. 307 00:15:25,520 --> 00:15:27,240 Speaker 4: If it really depends on who the artist is. 308 00:15:27,560 --> 00:15:30,200 Speaker 2: When I was working with Peter Asher, he would get 309 00:15:30,240 --> 00:15:33,120 Speaker 2: us all together and rehearse, for instance, for Linda Ronstabber 310 00:15:33,160 --> 00:15:35,680 Speaker 2: or a James Taylor record. We would get together, when 311 00:15:35,720 --> 00:15:38,120 Speaker 2: we rehearse go over all the songs before we go 312 00:15:38,160 --> 00:15:41,360 Speaker 2: into the studio, so we kind of knew what was 313 00:15:41,360 --> 00:15:45,160 Speaker 2: coming up and then and you know what to do 314 00:15:45,440 --> 00:15:47,240 Speaker 2: that would be that would help the song. 315 00:15:47,880 --> 00:15:49,400 Speaker 4: So in that way we were prepared. 316 00:15:49,720 --> 00:15:51,720 Speaker 2: But in doing sessions where you just get called and 317 00:15:51,720 --> 00:15:54,560 Speaker 2: you go down there, you just go out, listen carefully 318 00:15:54,600 --> 00:15:58,320 Speaker 2: to the song more than once and think about what 319 00:15:58,320 --> 00:16:00,680 Speaker 2: the song is about and how you can help, how 320 00:16:00,760 --> 00:16:04,400 Speaker 2: I can come up with something that's gonna help the record, 321 00:16:04,560 --> 00:16:09,560 Speaker 2: the song, the singer, the producer, the other cats like that. 322 00:16:10,240 --> 00:16:14,080 Speaker 3: I'm going to talk about your work with mister Don Henley, 323 00:16:14,560 --> 00:16:20,640 Speaker 3: which is pretty amazing. What's it like collaborating with you know, 324 00:16:21,240 --> 00:16:21,920 Speaker 3: Don Henley? 325 00:16:22,480 --> 00:16:26,480 Speaker 2: Well, it was absolutely brilliant for several reasons. One was 326 00:16:26,520 --> 00:16:28,360 Speaker 2: when I first started working with him, he wanted to 327 00:16:28,360 --> 00:16:32,480 Speaker 2: make a solo album that sounded nothing like the Eagles. 328 00:16:33,080 --> 00:16:36,000 Speaker 2: He wanted to go a whole different direction to establish 329 00:16:36,040 --> 00:16:37,080 Speaker 2: his borna fides. 330 00:16:36,800 --> 00:16:38,200 Speaker 4: As a solo artist. 331 00:16:38,680 --> 00:16:41,680 Speaker 2: So he called the right guy because country rock was 332 00:16:41,720 --> 00:16:45,800 Speaker 2: not in my bloodstream and at that time I was 333 00:16:46,080 --> 00:16:49,600 Speaker 2: more into rhythm and blues, soul music and jazz and 334 00:16:49,800 --> 00:16:54,480 Speaker 2: you know, so I wasn't a big banjo banjo player 335 00:16:54,520 --> 00:16:57,840 Speaker 2: type guy. And Don he didn't want any acoustic guitars 336 00:16:57,840 --> 00:17:01,320 Speaker 2: on the record. He didn't want any you know, anything 337 00:17:01,360 --> 00:17:03,560 Speaker 2: associated with the Eagles. He wanted to stay away from. 338 00:17:04,119 --> 00:17:06,760 Speaker 2: So I was the right guy for that. And also 339 00:17:06,960 --> 00:17:10,000 Speaker 2: the thing about Dons, he found unbelievably great singer, a 340 00:17:10,080 --> 00:17:13,200 Speaker 2: soul singer, and he came up singing rhythm and blues 341 00:17:13,240 --> 00:17:15,920 Speaker 2: and R and B songs in Texas with bands, and 342 00:17:15,960 --> 00:17:18,960 Speaker 2: he really could do that stuff. He's also a very 343 00:17:19,200 --> 00:17:24,520 Speaker 2: very smart fellow and wrote brilliant lyrics, so you don't 344 00:17:24,560 --> 00:17:27,520 Speaker 2: often see those things together. Somebody that sounds like a 345 00:17:27,560 --> 00:17:30,720 Speaker 2: real badass soul singer and can also write very intelligent 346 00:17:31,119 --> 00:17:35,280 Speaker 2: and meaningful lyrics. So to me, it was a dream 347 00:17:35,320 --> 00:17:37,720 Speaker 2: come true. I would come up with I'd sit home 348 00:17:37,720 --> 00:17:38,560 Speaker 2: and come from demos. 349 00:17:38,600 --> 00:17:38,960 Speaker 4: I would be. 350 00:17:38,960 --> 00:17:42,040 Speaker 2: Writing all day long, all the time at home, and 351 00:17:42,080 --> 00:17:44,280 Speaker 2: once I had something, I played for him and he'd go, well, 352 00:17:44,440 --> 00:17:45,240 Speaker 2: I could sing to that. 353 00:17:45,560 --> 00:17:47,280 Speaker 4: We'd start recording it. We go to the studio and 354 00:17:47,320 --> 00:17:48,080 Speaker 4: start recording it. 355 00:17:48,400 --> 00:17:50,880 Speaker 2: And while we were recording it, or right after that, 356 00:17:51,160 --> 00:17:54,399 Speaker 2: he would come back with the song with the melodies 357 00:17:54,720 --> 00:17:55,800 Speaker 2: and lyrics. 358 00:17:57,400 --> 00:18:01,480 Speaker 3: What part of the work, which species particular work with 359 00:18:01,560 --> 00:18:04,040 Speaker 3: Don are you most proud of? 360 00:18:04,720 --> 00:18:07,200 Speaker 4: Well, I'm proud of all of it, you know, I'm 361 00:18:07,240 --> 00:18:07,919 Speaker 4: through it with all of it. 362 00:18:08,119 --> 00:18:10,879 Speaker 2: I'm really thrilled that I got to collaborate with him 363 00:18:10,960 --> 00:18:15,320 Speaker 2: on songs that I think really stood the test of time. 364 00:18:15,920 --> 00:18:18,160 Speaker 2: You know, we did Dirty Laundry. No one was doing 365 00:18:18,200 --> 00:18:21,399 Speaker 2: music like that, no one, not in Southern California anyway. 366 00:18:21,800 --> 00:18:25,560 Speaker 2: We're the only guys doing stuff like that. And I 367 00:18:25,640 --> 00:18:28,080 Speaker 2: was very proud of that, very proud of creating a 368 00:18:28,080 --> 00:18:31,439 Speaker 2: new direction for a guy like Don. That wasn't the 369 00:18:31,480 --> 00:18:34,520 Speaker 2: same old stuff. It wasn't la country rock, and it 370 00:18:34,560 --> 00:18:38,120 Speaker 2: was some other stuff. So naturally I was very proud 371 00:18:38,160 --> 00:18:40,560 Speaker 2: of that. How proud of all the work I do 372 00:18:40,680 --> 00:18:42,320 Speaker 2: with Henley. 373 00:18:43,080 --> 00:18:46,200 Speaker 3: And then your work with Jackson Brown has to be, 374 00:18:46,960 --> 00:18:49,560 Speaker 3: you know, just so incredible. You guys were neighbors, is 375 00:18:49,600 --> 00:18:52,320 Speaker 3: that correct in the early days. 376 00:18:52,800 --> 00:18:55,760 Speaker 2: Yeah, we both lived in Laurel Canyon. I used to 377 00:18:55,760 --> 00:18:57,440 Speaker 2: see him all the time, hanging around when he was 378 00:18:57,520 --> 00:19:01,320 Speaker 2: up nineteen or something. You know, I knew him before 379 00:19:01,320 --> 00:19:04,960 Speaker 2: I heard his his songs. And one night he played 380 00:19:04,960 --> 00:19:07,760 Speaker 2: this like late sixties or something. He played a club 381 00:19:08,800 --> 00:19:11,120 Speaker 2: in Hollywood, and me and some of the cats were 382 00:19:11,160 --> 00:19:14,480 Speaker 2: down here to hear him play. And he was so amazing, 383 00:19:15,000 --> 00:19:16,919 Speaker 2: you know, Like I said, I was mainly listening to 384 00:19:17,480 --> 00:19:20,359 Speaker 2: Otis writing and Wilson Pickett things like that. 385 00:19:20,720 --> 00:19:21,520 Speaker 4: Well, when I heard. 386 00:19:21,440 --> 00:19:25,159 Speaker 2: Him sing solo, I wanted, this guy is phenomenal. And 387 00:19:25,240 --> 00:19:27,000 Speaker 2: he was then he is now. He's one of the 388 00:19:27,040 --> 00:19:32,760 Speaker 2: great great American songwriters, without a doubt. And his songs 389 00:19:32,760 --> 00:19:36,000 Speaker 2: are moving and are powerful, and they're about something, and 390 00:19:36,040 --> 00:19:39,760 Speaker 2: they have significance in pretty much everyone that hears them, 391 00:19:40,119 --> 00:19:41,680 Speaker 2: everyone in everyone's life. 392 00:19:41,760 --> 00:19:45,640 Speaker 3: I would say, were you taken, you know, early on 393 00:19:46,359 --> 00:19:49,040 Speaker 3: by the fact that you know he was so young, 394 00:19:49,200 --> 00:19:51,960 Speaker 3: but yet you know, it felt like he was really, 395 00:19:52,160 --> 00:19:55,919 Speaker 3: you know, you know, older and wiser, even though he was, 396 00:19:56,080 --> 00:19:58,160 Speaker 3: you know, a kid at that point. 397 00:19:58,400 --> 00:20:00,760 Speaker 2: Well, yes, it was a little dauntie, but you know, 398 00:20:00,800 --> 00:20:02,480 Speaker 2: I grew up with James Taylor. It was the same 399 00:20:02,560 --> 00:20:05,240 Speaker 2: kind of thing. He started writing songs and you know 400 00:20:05,280 --> 00:20:07,240 Speaker 2: when he was sixteen and the first song you wrote 401 00:20:07,320 --> 00:20:10,679 Speaker 2: was really good, you know, very good. And with Jackson 402 00:20:10,800 --> 00:20:13,320 Speaker 2: was the same thing. So I wasn't that surprised about it. Also, 403 00:20:13,400 --> 00:20:16,440 Speaker 2: there was everyone else was young but also very smart. 404 00:20:16,680 --> 00:20:20,640 Speaker 2: You know, everyone around me was strivers and they were young, 405 00:20:20,680 --> 00:20:24,480 Speaker 2: and they wanted to make something happen, and they wanted 406 00:20:24,520 --> 00:20:26,600 Speaker 2: to change the nature of pop music. Not that that's 407 00:20:26,600 --> 00:20:29,240 Speaker 2: what was spoken about, but they wanted to write intelligent 408 00:20:29,359 --> 00:20:31,160 Speaker 2: songs that really spoke to the human condition. 409 00:20:32,200 --> 00:20:33,840 Speaker 4: And they succeeded. 410 00:20:33,880 --> 00:20:39,000 Speaker 2: And guys like Jackson, James Crosby, Stiell's, Nash Young for sure, Joni, 411 00:20:39,800 --> 00:20:41,919 Speaker 2: everyone that was on the set at that time was 412 00:20:41,960 --> 00:20:43,800 Speaker 2: really striving to create something beautiful. 413 00:20:44,800 --> 00:20:48,880 Speaker 3: When you reflect on the state of music, now, what's 414 00:20:48,920 --> 00:20:52,879 Speaker 3: your opinion of the state of the music business. 415 00:20:53,480 --> 00:20:55,560 Speaker 2: Well, we all know that the state of the music 416 00:20:55,640 --> 00:20:59,520 Speaker 2: business is pretty dire at this point. The period that 417 00:20:59,560 --> 00:21:02,200 Speaker 2: I was in, all hell was breaking loose and pop 418 00:21:02,280 --> 00:21:05,200 Speaker 2: music gotta remember, everybody was listening to the same stuff. 419 00:21:05,200 --> 00:21:08,280 Speaker 2: In other words, Crossby Still the Crossby is Still's Nash. 420 00:21:08,359 --> 00:21:12,240 Speaker 2: That album came out and everywhere you went you heard it. 421 00:21:13,119 --> 00:21:14,960 Speaker 2: You go to somebody's house, they were playing it. You 422 00:21:15,000 --> 00:21:17,199 Speaker 2: walk down the street, you'd hear coming out of people's houses, 423 00:21:17,440 --> 00:21:20,280 Speaker 2: definitely coming out of your radio. It was also in 424 00:21:20,320 --> 00:21:24,040 Speaker 2: all the restaurants, so everyone was listening to me. Now, 425 00:21:24,119 --> 00:21:26,480 Speaker 2: people only listen to what's in there on silo. They 426 00:21:26,520 --> 00:21:28,920 Speaker 2: only listen to the kind of music that appeals to them, 427 00:21:29,400 --> 00:21:31,720 Speaker 2: you know, heavy metal and headbangers, that's all they listen to. 428 00:21:33,040 --> 00:21:35,520 Speaker 4: People that like rap, they only listen to rap. 429 00:21:36,000 --> 00:21:39,520 Speaker 2: So unfortunately, we don't have the situation where people listen 430 00:21:40,000 --> 00:21:43,840 Speaker 2: where most people are hearing the same stuff. So it's 431 00:21:44,000 --> 00:21:48,160 Speaker 2: very vulcanized and not as interesting to me because of that, 432 00:21:48,400 --> 00:21:53,760 Speaker 2: you know, And obviously it's much more corporate than it 433 00:21:53,800 --> 00:21:56,320 Speaker 2: ever was. It started to get corporate in the mid 434 00:21:56,359 --> 00:21:58,560 Speaker 2: seventies and now it is totally corporate. 435 00:21:59,320 --> 00:22:02,480 Speaker 3: The impact of radio was significant, don't you think back 436 00:22:02,520 --> 00:22:04,120 Speaker 3: in that period of time. 437 00:22:05,000 --> 00:22:07,280 Speaker 2: Well, as I was saying, yeah, everybody was, you know, 438 00:22:07,359 --> 00:22:09,200 Speaker 2: listen to the same two or three stations that were 439 00:22:09,200 --> 00:22:14,280 Speaker 2: all playing, you know, great stuff, and so we were 440 00:22:14,320 --> 00:22:17,359 Speaker 2: all hearing the same kind of stuff. Everybody was listening 441 00:22:17,400 --> 00:22:20,439 Speaker 2: to the same music, so whether it was I mean, 442 00:22:20,560 --> 00:22:22,440 Speaker 2: you listen to the reader to hear on Marvin Gay tune, 443 00:22:22,480 --> 00:22:24,400 Speaker 2: then you did hear a Crosby Stills Nash tune. 444 00:22:24,440 --> 00:22:25,560 Speaker 4: Then you hear a Joney. 445 00:22:25,280 --> 00:22:28,879 Speaker 2: Tune, then you hear a Smokey of Robinson and the Miracles, 446 00:22:29,440 --> 00:22:32,199 Speaker 2: and then it was all mixed in together, and that 447 00:22:32,280 --> 00:22:33,440 Speaker 2: was a beautiful thing that way. 448 00:22:33,440 --> 00:22:36,920 Speaker 4: Everybody got exposed to all this variety. 449 00:22:38,000 --> 00:22:43,520 Speaker 3: We lost recently the great DJ Jim Ladd. I wanted 450 00:22:43,560 --> 00:22:47,760 Speaker 3: to ask you if you knew Jim and what your 451 00:22:47,800 --> 00:22:51,879 Speaker 3: experience was with Jim from his time being a DJ 452 00:22:52,000 --> 00:22:53,880 Speaker 3: in l a Well. 453 00:22:54,000 --> 00:22:56,159 Speaker 2: Jim and I was a giant, of course, as we 454 00:22:56,240 --> 00:22:59,639 Speaker 2: all know, an absolute giant, and he represented everything that 455 00:22:59,680 --> 00:23:04,120 Speaker 2: was good about popular music and rock radio. Lovely, lovely man. 456 00:23:04,440 --> 00:23:08,680 Speaker 2: We all loved, a great taste, very influential as a 457 00:23:08,760 --> 00:23:11,960 Speaker 2: DJ and as a human being. And you will be 458 00:23:12,000 --> 00:23:15,639 Speaker 2: sorely missed, naturally. Tom Petty wrote that song the Last DJ, 459 00:23:15,800 --> 00:23:18,800 Speaker 2: that's about Jim Jim Ladd, and I'm glad he was. 460 00:23:19,800 --> 00:23:23,520 Speaker 4: He was lionized in that song, that great song by Tom. 461 00:23:23,800 --> 00:23:27,960 Speaker 3: Yeah, Jim was a guy who trailblazed and certainly turned 462 00:23:28,119 --> 00:23:31,520 Speaker 3: you know, that whole LA music community on to so 463 00:23:31,640 --> 00:23:35,159 Speaker 3: much great music, and I think, yeah, he was. He 464 00:23:35,359 --> 00:23:38,880 Speaker 3: was a giant. So you've worked with so many people 465 00:23:39,200 --> 00:23:42,520 Speaker 3: in your career. Is there someone still on your list 466 00:23:42,560 --> 00:23:45,760 Speaker 3: that you haven't worked with that you you have an 467 00:23:45,800 --> 00:23:46,280 Speaker 3: itch too? 468 00:23:47,640 --> 00:23:47,920 Speaker 4: Well? 469 00:23:47,960 --> 00:23:51,080 Speaker 2: You know, boy, that's a tough one. I worked with 470 00:23:51,119 --> 00:23:54,359 Speaker 2: an awful lot of great, great people. A lot of 471 00:23:54,359 --> 00:23:55,960 Speaker 2: the people I would I would like to work with 472 00:23:56,000 --> 00:23:58,480 Speaker 2: are dead. So it's really hard, is down. I wish 473 00:23:58,520 --> 00:24:00,600 Speaker 2: I could have played with Muddy Waters, you know, I 474 00:24:00,680 --> 00:24:02,399 Speaker 2: wish I could have played I played with B b 475 00:24:02,480 --> 00:24:03,359 Speaker 2: K a couple of times. 476 00:24:04,600 --> 00:24:06,560 Speaker 4: But you know, my heroes were blues blues. 477 00:24:06,359 --> 00:24:10,280 Speaker 2: Guys, you know, generally speaking, is this you're asking me 478 00:24:10,280 --> 00:24:12,919 Speaker 2: if there's anyone alive now that I'd like to work with. 479 00:24:13,960 --> 00:24:15,520 Speaker 4: It's hard for me to say exactly. 480 00:24:15,560 --> 00:24:20,440 Speaker 2: There are some terrific singings out there, but there's nobody 481 00:24:20,440 --> 00:24:23,399 Speaker 2: that lights me up the way the people that the 482 00:24:23,560 --> 00:24:26,280 Speaker 2: musicians I grew up listening to did. 483 00:24:26,680 --> 00:24:27,040 Speaker 4: Uh. 484 00:24:27,200 --> 00:24:29,200 Speaker 2: We all love the music that we grew up with 485 00:24:29,600 --> 00:24:32,760 Speaker 2: and the music that we listened to, you know, and 486 00:24:32,800 --> 00:24:35,160 Speaker 2: it stays with us. And I'm the same as that. 487 00:24:35,720 --> 00:24:37,800 Speaker 2: You know, I don't really pay that much attention to 488 00:24:37,800 --> 00:24:40,440 Speaker 2: modern music, be honest with you. You know, if somebody 489 00:24:40,560 --> 00:24:42,320 Speaker 2: turns me on so one of my friends that I 490 00:24:42,320 --> 00:24:44,600 Speaker 2: trust is you got to hear this, I'll go listen 491 00:24:44,640 --> 00:24:46,879 Speaker 2: to it and dig it. Otherwise, what I'm seeing is 492 00:24:46,880 --> 00:24:49,119 Speaker 2: basically retreads of that which came before. 493 00:24:49,600 --> 00:24:51,000 Speaker 4: Bruno Mars is terrific. 494 00:24:51,040 --> 00:24:53,359 Speaker 2: But so you know, I grew up with James Brown 495 00:24:53,359 --> 00:24:56,399 Speaker 2: and notice reading and you know, so bruh, mark nice. 496 00:24:56,520 --> 00:24:59,080 Speaker 2: You know it's good, but you see, you see what 497 00:24:59,080 --> 00:25:02,840 Speaker 2: I'm saying, the original I grew up with the originals, 498 00:25:02,840 --> 00:25:05,399 Speaker 2: and what we're seeing now is basically people copying to 499 00:25:05,520 --> 00:25:09,760 Speaker 2: sort of do varying degrees of success the original guys 500 00:25:09,800 --> 00:25:11,840 Speaker 2: that invented soul music. 501 00:25:11,720 --> 00:25:12,440 Speaker 4: At rocket All. 502 00:25:13,280 --> 00:25:16,200 Speaker 3: Do you have a favorite guitar or sort of piece 503 00:25:16,200 --> 00:25:20,159 Speaker 3: of gear that is you've relied on through your career 504 00:25:20,320 --> 00:25:22,440 Speaker 3: and it still is there by your side? 505 00:25:22,760 --> 00:25:26,960 Speaker 2: Well, you know, I mostly played telecasters coming up. My 506 00:25:27,040 --> 00:25:31,240 Speaker 2: hero was Steve Cropper, so Steve played telecaster. So I 507 00:25:31,280 --> 00:25:34,000 Speaker 2: played a lot of telecaster, but I also needed some 508 00:25:34,040 --> 00:25:36,640 Speaker 2: guitars with the humbuckers, So occasionally I played less paw 509 00:25:37,240 --> 00:25:40,960 Speaker 2: because I needed a slightly bigger sound, but it was. 510 00:25:40,960 --> 00:25:43,239 Speaker 4: Never like heavy metal type stuff, and it was never 511 00:25:43,359 --> 00:25:43,880 Speaker 4: hard rock. 512 00:25:44,200 --> 00:25:45,920 Speaker 2: I played a less poe when I was backing up 513 00:25:46,160 --> 00:25:49,200 Speaker 2: Ronstad because I could get good rhythm sounds by turning 514 00:25:49,200 --> 00:25:51,399 Speaker 2: it down and good lead sounds by turning it up. 515 00:25:51,440 --> 00:25:54,480 Speaker 4: I have more flexibility than the telecaster. 516 00:25:54,600 --> 00:25:57,080 Speaker 2: So I'm kind of kind of a horror when it 517 00:25:57,119 --> 00:25:59,080 Speaker 2: comes to that, and you know, I'll go with the 518 00:25:59,320 --> 00:26:01,920 Speaker 2: You know, a guitar that looks putable to me, I'll want 519 00:26:01,920 --> 00:26:05,760 Speaker 2: to play it. You know, I have a Jaguar right now, 520 00:26:05,800 --> 00:26:09,720 Speaker 2: finder Jaguar that I love. I haven't you know, gives 521 00:26:09,760 --> 00:26:12,359 Speaker 2: some three hundred, yes, three hundred that I love. 522 00:26:12,920 --> 00:26:15,800 Speaker 4: I've got it. You know. I've got a Paul Reit 523 00:26:15,880 --> 00:26:16,840 Speaker 4: Smith that I love. 524 00:26:17,000 --> 00:26:21,200 Speaker 2: So it's at this point i'm you know, I guess 525 00:26:21,240 --> 00:26:24,720 Speaker 2: I'm kind of a whore because you know, I'll jump 526 00:26:24,760 --> 00:26:26,399 Speaker 2: around from guitar to guitar. 527 00:26:27,960 --> 00:26:28,720 Speaker 1: Have you ever. 528 00:26:28,800 --> 00:26:33,080 Speaker 3: Reverse engineered some of these guitars to get a certain 529 00:26:33,119 --> 00:26:35,240 Speaker 3: effect that you desire out of it? 530 00:26:35,640 --> 00:26:38,280 Speaker 2: Well, everybody mods their guitar, especially back then when I 531 00:26:38,320 --> 00:26:38,840 Speaker 2: was coming up. 532 00:26:39,200 --> 00:26:41,000 Speaker 4: Everyone was modding their guitars. 533 00:26:41,000 --> 00:26:43,720 Speaker 2: That's why it was hard to find say a fifties 534 00:26:44,000 --> 00:26:47,240 Speaker 2: telecaster that was stock, because everyone that owned one and 535 00:26:47,320 --> 00:26:50,639 Speaker 2: fifties sixties telecasters would mod them, you know, make my 536 00:26:50,720 --> 00:26:54,240 Speaker 2: modifications for instance, like putting the humbucker and near the 537 00:26:54,560 --> 00:26:56,480 Speaker 2: neck pickup on a telecaster. 538 00:26:57,359 --> 00:26:59,440 Speaker 4: Keith Richards was the first guy that did, one of 539 00:26:59,480 --> 00:27:02,520 Speaker 4: the first guys, and we all did. We all had NUMBERK. 540 00:27:03,080 --> 00:27:03,960 Speaker 4: We all did that trick. 541 00:27:04,720 --> 00:27:07,560 Speaker 2: There's a lot of mods and various things that that 542 00:27:07,680 --> 00:27:10,239 Speaker 2: I did and that everyone else did. I also I 543 00:27:10,280 --> 00:27:12,920 Speaker 2: wanted to have an out of phase switch on all 544 00:27:12,960 --> 00:27:15,000 Speaker 2: my guitars. I love the sound of out of phase 545 00:27:15,080 --> 00:27:18,000 Speaker 2: guitar because it goes really well with drums. So I 546 00:27:18,119 --> 00:27:21,399 Speaker 2: use that considerably, depending on the geek. 547 00:27:22,200 --> 00:27:27,280 Speaker 3: With all the technology now that's available for creating music, 548 00:27:27,920 --> 00:27:32,800 Speaker 3: do you think that there's I don't know, maybe a 549 00:27:33,000 --> 00:27:37,560 Speaker 3: loss of the fact that certain imperfections in music can 550 00:27:37,600 --> 00:27:38,800 Speaker 3: be part of their beauty. 551 00:27:39,560 --> 00:27:42,160 Speaker 2: Well, you know, when you go from a situation where 552 00:27:42,160 --> 00:27:44,439 Speaker 2: you have five guys in a room all playing together 553 00:27:44,480 --> 00:27:47,040 Speaker 2: at the same time and a singer singing at the 554 00:27:47,040 --> 00:27:51,320 Speaker 2: same time, to everything done piecemeal and correct it on 555 00:27:51,400 --> 00:27:53,240 Speaker 2: pro tools. You're gonna have a different animal, you know, 556 00:27:53,359 --> 00:27:56,800 Speaker 2: you just are. It's it's going to be different. You'll 557 00:27:56,800 --> 00:27:58,840 Speaker 2: gain some of stuff and you'll lose some stuff. What 558 00:27:58,920 --> 00:28:01,960 Speaker 2: will you gain You'll gain perfection. Everything will be on 559 00:28:02,160 --> 00:28:05,399 Speaker 2: the clock, it'll be exact. What you lose is that 560 00:28:05,600 --> 00:28:09,080 Speaker 2: human feel where things move around and they shift a 561 00:28:09,080 --> 00:28:12,120 Speaker 2: little bit, you know, the idea that a record might 562 00:28:12,240 --> 00:28:14,920 Speaker 2: speed up a little bit towards the towards the end 563 00:28:14,920 --> 00:28:18,320 Speaker 2: of its approaches, you know, the end of it. 564 00:28:18,400 --> 00:28:19,280 Speaker 4: Maybe that's a good thing. 565 00:28:19,520 --> 00:28:23,400 Speaker 2: Maybe it should you know not, you know, not a lot. 566 00:28:23,440 --> 00:28:25,879 Speaker 2: But with a click track, that's never gonna happen, you know, 567 00:28:26,400 --> 00:28:30,280 Speaker 2: lock to that click track. And also the way records 568 00:28:30,280 --> 00:28:32,119 Speaker 2: are being made now everything is louder than if that 569 00:28:32,240 --> 00:28:34,840 Speaker 2: used to be a joke. Make everything louder than everything else. 570 00:28:35,359 --> 00:28:38,000 Speaker 2: And now that's what it is. That that is the 571 00:28:38,760 --> 00:28:40,720 Speaker 2: that's how you have to produce records for them to 572 00:28:40,720 --> 00:28:43,640 Speaker 2: be heard on the tiny little computer speakers that most 573 00:28:43,640 --> 00:28:44,920 Speaker 2: people listen to musica. 574 00:28:45,440 --> 00:28:47,880 Speaker 3: Well, Danny and closing, I wanted to ask you, as 575 00:28:47,920 --> 00:28:54,040 Speaker 3: a fan of music, is there one concert experience that 576 00:28:54,400 --> 00:28:57,440 Speaker 3: really sticks in your head as being one of the 577 00:28:57,480 --> 00:29:01,120 Speaker 3: greatest concerts as a fan that you ever witnessed. 578 00:29:02,080 --> 00:29:04,320 Speaker 2: Oh boy, you know I've been lucky and that I've 579 00:29:04,360 --> 00:29:07,880 Speaker 2: seen a lot of great grade music. And I have 580 00:29:07,920 --> 00:29:10,080 Speaker 2: to give you a few examples rather than just one. 581 00:29:10,640 --> 00:29:12,880 Speaker 2: To start with, James Brown the James Brown Review at 582 00:29:12,880 --> 00:29:16,040 Speaker 2: the Apollo Theater in New York in the sixties. I 583 00:29:16,080 --> 00:29:18,840 Speaker 2: also got to see the original John colt Trane Quartet 584 00:29:20,040 --> 00:29:23,120 Speaker 2: in New York City in the sixties. Was is like 585 00:29:23,200 --> 00:29:27,680 Speaker 2: Disneyland for adults that that quartet, the John Coltrane Quartet 586 00:29:27,680 --> 00:29:29,800 Speaker 2: were playing at that I think the five spot Downtown. 587 00:29:30,160 --> 00:29:32,600 Speaker 4: Me and my buddies, little kids, we were like, you know, 588 00:29:32,840 --> 00:29:34,600 Speaker 4: seventy eighty years So we just walked right in. 589 00:29:34,880 --> 00:29:36,840 Speaker 2: There was no line outside, there was no We just 590 00:29:36,880 --> 00:29:40,560 Speaker 2: walked in and sat down, and you know, this is 591 00:29:40,600 --> 00:29:43,880 Speaker 2: to see one of the greatest musical groups that ever existed. 592 00:29:44,760 --> 00:29:47,200 Speaker 4: And it was like nothing to get it. To get it. 593 00:29:48,200 --> 00:29:51,080 Speaker 2: Other than that, you know, I've seen the Rolling Stones fantastic. 594 00:29:51,080 --> 00:29:55,280 Speaker 2: I've seen the Beatles like fantastic. They could really play. 595 00:29:55,320 --> 00:29:57,680 Speaker 2: I saw the Beatles at the at Carnegie Hall and 596 00:29:57,720 --> 00:30:00,920 Speaker 2: they were playing through the house pa which was just 597 00:30:00,960 --> 00:30:03,840 Speaker 2: for announcements. There was you know, and the crowd was 598 00:30:03,880 --> 00:30:05,760 Speaker 2: screaming their heads up, but I was close enough, Me 599 00:30:05,800 --> 00:30:07,600 Speaker 2: and my girlfriend were close enough to hear them. 600 00:30:07,760 --> 00:30:08,680 Speaker 4: They were great. 601 00:30:09,000 --> 00:30:12,440 Speaker 2: You could hear in spite of the din of screaming yeling, 602 00:30:12,440 --> 00:30:13,480 Speaker 2: how great they really were. 603 00:30:14,080 --> 00:30:15,560 Speaker 4: Peter Gayriels showed. 604 00:30:15,280 --> 00:30:19,200 Speaker 2: You know, from the seventies eighties, I guess after he 605 00:30:19,240 --> 00:30:22,120 Speaker 2: had his album, so he toured and we won't saw 606 00:30:22,160 --> 00:30:24,560 Speaker 2: that absolutely wonderful and brilliant, brilliant show. 607 00:30:25,640 --> 00:30:28,880 Speaker 3: God, let me see, man, that's a pretty good list. 608 00:30:28,960 --> 00:30:31,080 Speaker 2: Yeah. I got to see Ladion Hopkins at the Village 609 00:30:31,080 --> 00:30:34,000 Speaker 2: Gain in New York City, in Gritish village through in, 610 00:30:34,040 --> 00:30:37,920 Speaker 2: one of my absolute heroes. So I was alive at 611 00:30:37,960 --> 00:30:40,480 Speaker 2: the right time when there was a lot of great music, 612 00:30:40,600 --> 00:30:42,600 Speaker 2: and I was at the right place in New York 613 00:30:42,920 --> 00:30:45,320 Speaker 2: because it was every night. There was great music all 614 00:30:45,360 --> 00:30:50,239 Speaker 2: over the place in various clubs, concert halls everywhere, So 615 00:30:50,280 --> 00:30:52,600 Speaker 2: I was exposed to a lot of really, really great music. 616 00:30:52,800 --> 00:30:53,560 Speaker 4: Fortunately for me. 617 00:30:55,120 --> 00:30:58,200 Speaker 3: Well, I'm so grateful that you were on taking a walk. 618 00:30:58,240 --> 00:31:01,880 Speaker 3: I'm so grateful for the music continue to give us 619 00:31:01,920 --> 00:31:06,040 Speaker 3: and have given us through your fantastic career. And once again, 620 00:31:06,120 --> 00:31:09,560 Speaker 3: congrats on immediate family as well. It's a great doc. 621 00:31:09,680 --> 00:31:13,960 Speaker 3: Everybody should see it. Thanks for being on Taking a Walk, Danny. 622 00:31:13,680 --> 00:31:15,360 Speaker 4: All right, my pleasure. All the best to you. 623 00:31:15,440 --> 00:31:19,360 Speaker 1: Man. Thanks for listening to this episode of the Taking 624 00:31:19,400 --> 00:31:22,960 Speaker 1: a Walk podcast. Share this and other episodes with your 625 00:31:23,000 --> 00:31:26,120 Speaker 1: friends and follow us so you never miss an episode. 626 00:31:26,720 --> 00:31:30,920 Speaker 1: Taking a Walk is available on the iHeartRadio app, Apple Podcasts, 627 00:31:31,120 --> 00:31:33,440 Speaker 1: and wherever you get your podcasts.