1 00:00:00,480 --> 00:00:02,920 Speaker 1: Taking a Walk. I rarely work things out. I like 2 00:00:02,960 --> 00:00:05,080 Speaker 1: to go off the cup and try to grab things 3 00:00:05,080 --> 00:00:07,040 Speaker 1: out of the air while you're playing the song and 4 00:00:07,640 --> 00:00:10,680 Speaker 1: try to catch a little magic. It's spontaneous because I 5 00:00:10,680 --> 00:00:13,720 Speaker 1: think that the listeners can consense that you're discovering it 6 00:00:13,760 --> 00:00:14,400 Speaker 1: when they are. 7 00:00:14,400 --> 00:00:18,120 Speaker 2: Welcome to the Taking a Walk Podcast, the podcast where 8 00:00:18,120 --> 00:00:21,320 Speaker 2: your host Buzz Night delves into the stories behind the 9 00:00:21,400 --> 00:00:25,680 Speaker 2: music with the musicians who make an ABN. Today, Buzz 10 00:00:25,720 --> 00:00:29,280 Speaker 2: is joined by guitarist Mike Campbell. Mike was part of 11 00:00:29,320 --> 00:00:32,480 Speaker 2: Tom Betty and the Heartbreakers for many years. He also 12 00:00:32,600 --> 00:00:35,559 Speaker 2: composed and played on Boys of Summer and Heart of 13 00:00:35,600 --> 00:00:38,720 Speaker 2: the Matter by Don Henley and most of Stevie Nick's 14 00:00:38,720 --> 00:00:42,680 Speaker 2: solo records. He also joined Fleetwood Mac to replace Lindsey 15 00:00:42,720 --> 00:00:46,680 Speaker 2: Buckingham on the twenty eighteen and twenty nineteen tour. Now, 16 00:00:46,880 --> 00:00:49,640 Speaker 2: Mike is out on tour with his band The Dirty Knobs, 17 00:00:49,960 --> 00:00:52,120 Speaker 2: and he'll take some time to talk with Buzz about 18 00:00:52,120 --> 00:00:57,040 Speaker 2: their new release, Vagabonds, Virgins and Misfits. Mike Campbell joins 19 00:00:57,040 --> 00:00:58,720 Speaker 2: Buzz Night on Taking a Walk. 20 00:01:00,680 --> 00:01:03,720 Speaker 3: Mike Campbell, so awesome to have you on the Taking 21 00:01:03,760 --> 00:01:10,080 Speaker 3: a Walk Podcast, celebrating the release of Vagabonds, Virgins and Misfits. 22 00:01:10,120 --> 00:01:12,279 Speaker 3: Have you been hanging around Tom Waits lately? 23 00:01:13,200 --> 00:01:17,920 Speaker 1: I wish I could hang out with Tom Waits, but no, 24 00:01:18,040 --> 00:01:19,240 Speaker 1: I haven't seen Tom. 25 00:01:20,600 --> 00:01:24,360 Speaker 3: It's a great title, and I absolutely love the album. 26 00:01:24,400 --> 00:01:27,480 Speaker 3: We're going to get into talking about, certainly the work 27 00:01:27,520 --> 00:01:33,040 Speaker 3: with Lucinda Williams and Chris Stapleton and Graham Nash and 28 00:01:33,520 --> 00:01:37,880 Speaker 3: in Benmont as well, and of course the great Dirty Knobs. 29 00:01:38,640 --> 00:01:40,920 Speaker 3: Is it hard for you to comprehend that this is 30 00:01:40,959 --> 00:01:42,920 Speaker 3: the third Dirty Knobs album? 31 00:01:44,040 --> 00:01:47,080 Speaker 1: No, I can comprehend it. I did all the work. 32 00:01:47,160 --> 00:01:50,480 Speaker 1: It's pretty well comprehended. There's a lot of blood and 33 00:01:50,520 --> 00:01:56,000 Speaker 1: sweat on those tapes. But no, I'm in this groove now. 34 00:01:56,080 --> 00:01:59,080 Speaker 1: You know. I'm in the moving forward with this band 35 00:01:59,240 --> 00:02:03,240 Speaker 1: and my own right, and I can comprehend going on 36 00:02:03,560 --> 00:02:04,600 Speaker 1: even farther with this. 37 00:02:05,440 --> 00:02:08,320 Speaker 3: And you seem to be absolutely having a joyful time. 38 00:02:09,400 --> 00:02:09,760 Speaker 3: I am. 39 00:02:10,080 --> 00:02:11,920 Speaker 1: I'm very grateful to be here. I love what I 40 00:02:11,960 --> 00:02:14,760 Speaker 1: do and I'm very proud of the work that the 41 00:02:14,760 --> 00:02:15,800 Speaker 1: band has done with me. 42 00:02:16,800 --> 00:02:20,919 Speaker 3: So you were just out celebrating the fiftieth anniversary out 43 00:02:20,919 --> 00:02:25,120 Speaker 3: at the Church studio where Mud Crutch first hit the 44 00:02:25,160 --> 00:02:31,320 Speaker 3: scene back with the great Leon Russell and Shelter. Tell 45 00:02:31,360 --> 00:02:33,960 Speaker 3: me about first of all going back, how it felt, 46 00:02:34,120 --> 00:02:37,200 Speaker 3: and tell me how you remember that experience fifty years ago. 47 00:02:38,160 --> 00:02:42,040 Speaker 1: Yeah. I was very honored that Tulsa and the church 48 00:02:42,080 --> 00:02:44,639 Speaker 1: people asked me to come back and honor that place. 49 00:02:44,800 --> 00:02:48,079 Speaker 1: They've restored it really well. And so we went out 50 00:02:48,120 --> 00:02:51,519 Speaker 1: there and I had an out of body experience walking 51 00:02:51,560 --> 00:02:55,680 Speaker 1: into that room after decades where it all kind of 52 00:02:55,720 --> 00:03:00,680 Speaker 1: started with us in Cordell and Shelter records. I walked 53 00:03:00,680 --> 00:03:03,480 Speaker 1: into the room that Tom and I and Ben and 54 00:03:05,200 --> 00:03:08,240 Speaker 1: Random marsh the bridgeal Mud Crutch walked into that room 55 00:03:08,280 --> 00:03:11,440 Speaker 1: with Denny Cordellman. We didn't know how to record at all, 56 00:03:11,480 --> 00:03:14,560 Speaker 1: but I remember standing in that room and just looking 57 00:03:14,600 --> 00:03:17,519 Speaker 1: at each other and we thought we'd made the big time. 58 00:03:17,560 --> 00:03:19,440 Speaker 1: You know. We were in a church studio at Leon 59 00:03:19,520 --> 00:03:22,280 Speaker 1: Russell's town, you know, but we didn't know what we 60 00:03:22,280 --> 00:03:24,960 Speaker 1: were doing. But I did have a flashback standing there 61 00:03:25,600 --> 00:03:28,760 Speaker 1: last week. I could see my brother Tom's ghost and 62 00:03:28,880 --> 00:03:34,080 Speaker 1: feel those old feelings again. It was kind of touching, 63 00:03:34,400 --> 00:03:36,560 Speaker 1: you know, in a lot of ways, in a good way. 64 00:03:37,560 --> 00:03:40,560 Speaker 3: And when you were out initially there with Leon Russell. 65 00:03:40,920 --> 00:03:46,720 Speaker 3: Did you have a deep understanding of what an amazing 66 00:03:47,280 --> 00:03:49,360 Speaker 3: musician and career he had had. 67 00:03:50,600 --> 00:03:53,080 Speaker 1: Yeah? I love Leon Russell. I used to see him 68 00:03:53,080 --> 00:03:55,280 Speaker 1: play in Gainsville when he passed through town, and of 69 00:03:55,320 --> 00:03:59,160 Speaker 1: course I'd seen the Mad Dogs and Englishman Tour and 70 00:03:59,200 --> 00:04:01,520 Speaker 1: all that, those great players in his band. But to 71 00:04:01,560 --> 00:04:04,720 Speaker 1: be honest, Leon wasn't there. We first went through Tulsa. 72 00:04:05,160 --> 00:04:07,680 Speaker 1: We were hooked up with Denny Cornell, who was Leon's 73 00:04:07,720 --> 00:04:12,760 Speaker 1: partner and our producer. We didn't see Leon until a 74 00:04:12,800 --> 00:04:15,200 Speaker 1: while later out in La but he was not there 75 00:04:15,240 --> 00:04:17,279 Speaker 1: at the church that first time we came through town. 76 00:04:18,200 --> 00:04:22,880 Speaker 3: But that's amazing. You had this spiritual experience there that 77 00:04:22,960 --> 00:04:24,840 Speaker 3: you clearly felt right. 78 00:04:25,720 --> 00:04:27,840 Speaker 1: Yeah, Yeah, you could see it in the video where 79 00:04:27,880 --> 00:04:30,719 Speaker 1: I'm standing in that room. We did a video of 80 00:04:30,760 --> 00:04:32,680 Speaker 1: this new song there to Dream, and you can see 81 00:04:32,680 --> 00:04:36,560 Speaker 1: that I'm having a moment, you know, a positive emotional moment. 82 00:04:37,480 --> 00:04:42,520 Speaker 3: The video is amazing, and it really evokes a tremendous 83 00:04:42,560 --> 00:04:47,880 Speaker 3: feeling and a sense of some optimism that we all need, 84 00:04:47,920 --> 00:04:48,400 Speaker 3: don't you. 85 00:04:48,320 --> 00:04:54,080 Speaker 1: Think, absolutely, don't we? The world is a wicked place 86 00:04:54,279 --> 00:04:56,760 Speaker 1: these days. It seems almost more wicked than it used 87 00:04:56,760 --> 00:05:01,440 Speaker 1: to be. But yeah, I think, you know, as an 88 00:05:01,600 --> 00:05:05,560 Speaker 1: artist or songwriter, and Tom was the same way. And 89 00:05:05,800 --> 00:05:08,159 Speaker 1: I think not to compare myself to the Beatles, but 90 00:05:08,279 --> 00:05:10,320 Speaker 1: I like the thing with the Beatles always had a 91 00:05:10,400 --> 00:05:14,560 Speaker 1: positive Most of their songs were about peace and love, 92 00:05:14,680 --> 00:05:16,920 Speaker 1: you know, every now and then John Lennon would throw 93 00:05:16,960 --> 00:05:21,720 Speaker 1: in I'm a loser, But generally speaking our songs with 94 00:05:21,800 --> 00:05:26,080 Speaker 1: the Heartbreakers, we always tried to aim toward hope and redemption, 95 00:05:26,320 --> 00:05:29,360 Speaker 1: you know. And if the song maybe has a dark character, 96 00:05:29,400 --> 00:05:31,600 Speaker 1: at least by the end you hope there's some way 97 00:05:31,640 --> 00:05:34,200 Speaker 1: he's going to get out of his predicament, then life 98 00:05:34,240 --> 00:05:36,159 Speaker 1: will be better. And so if this song in some 99 00:05:36,240 --> 00:05:39,159 Speaker 1: ways makes people feel that maybe life can be better 100 00:05:39,560 --> 00:05:40,720 Speaker 1: than I've done my job. 101 00:05:42,040 --> 00:05:44,800 Speaker 3: It's a wonderful song and having Graham on it is 102 00:05:44,880 --> 00:05:50,839 Speaker 3: a super special. How did you happen upon asking Graham 103 00:05:51,040 --> 00:05:52,760 Speaker 3: to appear on this. 104 00:05:53,760 --> 00:05:56,719 Speaker 1: Well, it took a lot of courage. I had met 105 00:05:56,720 --> 00:05:59,719 Speaker 1: Graham before a few times on tour. They had opened 106 00:05:59,720 --> 00:06:02,239 Speaker 1: for us, and I had done a gig and KOHI 107 00:06:02,320 --> 00:06:05,320 Speaker 1: with him once a benefit, and he came by and 108 00:06:05,360 --> 00:06:07,760 Speaker 1: did my little radio show that I do on Tom 109 00:06:07,800 --> 00:06:10,280 Speaker 1: Petty Radio and at the end of the interview, I 110 00:06:10,360 --> 00:06:13,159 Speaker 1: kind of sheepishly said, you know, would you maybe want 111 00:06:13,200 --> 00:06:15,920 Speaker 1: to sing on one of our tracks? And said, sure, 112 00:06:15,920 --> 00:06:19,000 Speaker 1: I'll make your song better, and he did, you know, 113 00:06:19,080 --> 00:06:21,560 Speaker 1: God bless him. So I sent him the tape. And 114 00:06:21,680 --> 00:06:24,679 Speaker 1: I am a huge child of the sixties, the Hollies, 115 00:06:24,680 --> 00:06:28,680 Speaker 1: the Beatles, Animals and Stones and the Hollies. I always 116 00:06:28,720 --> 00:06:31,480 Speaker 1: just loved their vocals and Graham was a large part 117 00:06:31,520 --> 00:06:34,440 Speaker 1: of that high harmony. And so I said him the 118 00:06:34,480 --> 00:06:36,560 Speaker 1: song and I got it back and I was just 119 00:06:36,800 --> 00:06:39,160 Speaker 1: blown away that he kind of captured some of that 120 00:06:39,200 --> 00:06:44,520 Speaker 1: holly blend on the song for me. And I couldn't 121 00:06:44,560 --> 00:06:46,320 Speaker 1: have been happier, you know, to have a hero on 122 00:06:46,400 --> 00:06:50,040 Speaker 1: your song. I mean, come on, I. 123 00:06:50,040 --> 00:06:52,560 Speaker 3: Love the show on Tom Petty Radio. By the way, 124 00:06:52,600 --> 00:06:55,960 Speaker 3: you make it look very easy. How do you make 125 00:06:56,000 --> 00:06:56,880 Speaker 3: it look so easy? 126 00:06:57,680 --> 00:06:59,880 Speaker 1: Well, it's just you and me. We're just talking, you know. 127 00:07:00,040 --> 00:07:02,040 Speaker 1: I like they asked me. You know that the Tom 128 00:07:02,080 --> 00:07:06,240 Speaker 1: Petty Radio on Sirius XEM is a good station, and 129 00:07:06,400 --> 00:07:10,760 Speaker 1: Tom started it and was deeply involved with the show. 130 00:07:11,080 --> 00:07:12,960 Speaker 1: And now that he's gone, we want to keep the 131 00:07:13,000 --> 00:07:15,800 Speaker 1: show alive and keep playing his music and our music 132 00:07:16,680 --> 00:07:20,080 Speaker 1: and so they Ben Mutt does a DJ show, and 133 00:07:20,160 --> 00:07:22,720 Speaker 1: I think Stan Lynch and Steve Roni are also doing 134 00:07:22,800 --> 00:07:26,480 Speaker 1: DJ shows where they come on and talk and play songs. 135 00:07:27,040 --> 00:07:28,800 Speaker 1: And they asked me if I would want to help, 136 00:07:28,840 --> 00:07:30,320 Speaker 1: and I didn't want to do that because I don't 137 00:07:30,320 --> 00:07:33,080 Speaker 1: really feel like I'm a DJ type person. But I said, 138 00:07:33,120 --> 00:07:35,560 Speaker 1: if I can do, you know, interviews and conversations with 139 00:07:35,640 --> 00:07:38,760 Speaker 1: other people about music, then that would be interesting to me. 140 00:07:39,560 --> 00:07:41,600 Speaker 1: So that's what my show is all about. Just getting 141 00:07:41,600 --> 00:07:44,640 Speaker 1: someone that I respect, or that you know, knows about 142 00:07:44,720 --> 00:07:47,600 Speaker 1: us and just talk about music and have a conversation 143 00:07:47,720 --> 00:07:51,000 Speaker 1: like you and I are. Now that's the idea behind it. 144 00:07:51,000 --> 00:07:54,640 Speaker 3: It's excellent. I love it. So you got a guitar 145 00:07:55,080 --> 00:07:57,240 Speaker 3: at sixteen years old? Is that right? 146 00:07:57,760 --> 00:07:59,160 Speaker 1: That's about right? Yeah? 147 00:07:59,520 --> 00:08:00,960 Speaker 3: And what of guitar was this? 148 00:08:01,880 --> 00:08:04,640 Speaker 1: It was basically unplayable, but I didn't know at the time. 149 00:08:04,680 --> 00:08:08,760 Speaker 1: It was the fifteen dollars pawnsh up Harmony Archtop Acoustic, 150 00:08:09,320 --> 00:08:11,320 Speaker 1: and I begged my mom. We didn't have much money, 151 00:08:11,400 --> 00:08:14,000 Speaker 1: but I begged her for a guitar, and she scraped 152 00:08:14,080 --> 00:08:16,160 Speaker 1: up the fifteen bucks and got me this thing, and 153 00:08:16,840 --> 00:08:19,920 Speaker 1: I learned how to play on it. But it was unplayable. 154 00:08:19,960 --> 00:08:21,880 Speaker 1: Now I look back on the strings were real high 155 00:08:21,880 --> 00:08:24,520 Speaker 1: off the neck and my fingers would literally bleed. I'd 156 00:08:24,560 --> 00:08:27,320 Speaker 1: be trying so hard until I went over to her 157 00:08:27,360 --> 00:08:29,960 Speaker 1: friend's house and he had a Gibson and I pick 158 00:08:30,000 --> 00:08:31,840 Speaker 1: it up and I went, oh my god, this isn't 159 00:08:31,840 --> 00:08:34,360 Speaker 1: hard at all. It's easy. I've been struggling, you know, 160 00:08:35,080 --> 00:08:37,520 Speaker 1: But my first guitar. It taught me how to, you know, 161 00:08:37,520 --> 00:08:40,800 Speaker 1: play hard. And I was just hooked as soon as 162 00:08:40,840 --> 00:08:42,520 Speaker 1: I got the guitar, and nothing else mattered. It was 163 00:08:42,559 --> 00:08:43,360 Speaker 1: all about the guitar. 164 00:08:44,800 --> 00:08:47,840 Speaker 3: Do you remember the first solo that you learned Johnny 165 00:08:47,920 --> 00:08:48,240 Speaker 3: be Good? 166 00:08:49,120 --> 00:08:51,199 Speaker 1: I learned it off the radio. I didn't have a teacher, 167 00:08:51,280 --> 00:08:54,320 Speaker 1: I never took guitar lessons, but I heard that on 168 00:08:54,360 --> 00:08:56,480 Speaker 1: the radio, and somehow I managed. I guess I had 169 00:08:56,480 --> 00:08:58,640 Speaker 1: an affinity for the and I just figured it out 170 00:08:58,640 --> 00:09:01,400 Speaker 1: on the guitar. And I just love Chuck Berry and 171 00:09:01,400 --> 00:09:03,640 Speaker 1: that song. I connected with it, you know. I felt like, 172 00:09:03,960 --> 00:09:06,240 Speaker 1: you know, a poor boy trying to dream about making 173 00:09:06,240 --> 00:09:10,040 Speaker 1: it someday. And I just identified with the way Chuck plays. 174 00:09:10,280 --> 00:09:13,319 Speaker 1: And I still get chills from out here and play. 175 00:09:13,360 --> 00:09:15,240 Speaker 1: There's something about him and the way he plays guitar, 176 00:09:15,280 --> 00:09:18,240 Speaker 1: the double stop thing that I tried to emulate. 177 00:09:18,760 --> 00:09:20,280 Speaker 3: Did you ever perfect the duck walk? 178 00:09:21,280 --> 00:09:25,600 Speaker 1: No, I'm still working on that. Nobody can quite do 179 00:09:25,640 --> 00:09:28,319 Speaker 1: it like him. I've seen people try, but Chuck had 180 00:09:28,360 --> 00:09:32,680 Speaker 1: the way. Yeah. He was quite a performer, amazing person. 181 00:09:32,880 --> 00:09:36,199 Speaker 3: Yeah, a little bit of mojo, wouldn't you say? 182 00:09:36,760 --> 00:09:39,560 Speaker 1: Yeah, Yeah, he has some mojo and his songwriting, you know, 183 00:09:40,080 --> 00:09:43,680 Speaker 1: his character, his originality, you know, he created that thing. 184 00:09:44,160 --> 00:09:47,640 Speaker 1: There's so many of us have you know, borrowed from 185 00:09:47,720 --> 00:09:52,199 Speaker 1: over the years, and he's still my top three guitar 186 00:09:52,240 --> 00:09:53,160 Speaker 1: players of all time. 187 00:09:54,400 --> 00:09:55,960 Speaker 3: You mind listing the other two? 188 00:09:56,800 --> 00:10:01,440 Speaker 1: Well, there's more than three really, but took of course 189 00:10:01,520 --> 00:10:04,600 Speaker 1: Jimi Hendrix because he was just ridiculously out of control, 190 00:10:05,760 --> 00:10:08,760 Speaker 1: crazy good. I liked Mike Bloomfield a lot in the 191 00:10:08,800 --> 00:10:11,840 Speaker 1: early days. I had the Paul Butterfield records, and I 192 00:10:11,880 --> 00:10:14,640 Speaker 1: had that Harmony guitar and record, and I would slow 193 00:10:14,679 --> 00:10:16,800 Speaker 1: the record down, you know, to sixteen, so I could 194 00:10:16,840 --> 00:10:19,480 Speaker 1: hear what the guitar was doing. And that's how I 195 00:10:19,559 --> 00:10:21,120 Speaker 1: learned that he was bending the notes. You know, I 196 00:10:21,160 --> 00:10:22,920 Speaker 1: didn't know you could bend the notes on the guitar 197 00:10:23,760 --> 00:10:27,920 Speaker 1: and so, you know, but there's you know, Keith Richards, 198 00:10:27,960 --> 00:10:30,840 Speaker 1: George Harrison, Roger McGlenn, there's so many. That era was 199 00:10:30,920 --> 00:10:33,320 Speaker 1: just incredible for guitar players. You know. It's not like 200 00:10:33,400 --> 00:10:35,960 Speaker 1: that anymore. But I'm happy I was there to be 201 00:10:36,040 --> 00:10:38,400 Speaker 1: inspired by all that stuff when I was learning. 202 00:10:39,120 --> 00:10:41,000 Speaker 3: And you completely self taught though. 203 00:10:42,000 --> 00:10:44,200 Speaker 1: Well. Yeah, when I was a kid in school, my 204 00:10:44,280 --> 00:10:46,920 Speaker 1: parents forced me to take accordion lessons for a couple 205 00:10:46,920 --> 00:10:51,960 Speaker 1: of months, and I learned the basics of scales and 206 00:10:52,400 --> 00:10:54,959 Speaker 1: chords and things on that a little bit. But when 207 00:10:55,000 --> 00:10:57,880 Speaker 1: I got the guitar, I just taught myself off my ear. 208 00:10:57,960 --> 00:11:00,719 Speaker 3: You know, what was the first concert that you ever 209 00:11:00,760 --> 00:11:01,040 Speaker 3: went to? 210 00:11:01,720 --> 00:11:05,120 Speaker 1: Oh, the first concert would have been to Beach Boys 211 00:11:05,280 --> 00:11:11,880 Speaker 1: at the Jacksonville Coliseum. I think the bill was it 212 00:11:11,920 --> 00:11:13,600 Speaker 1: was one of those Dick Clark things. I think they 213 00:11:13,640 --> 00:11:16,000 Speaker 1: had a bunch of artists on, like Del Shannon and 214 00:11:18,240 --> 00:11:21,120 Speaker 1: Sam the Sham and the Payohs and different bands, and 215 00:11:21,120 --> 00:11:23,000 Speaker 1: then the Beach Boys came on as the headliner at 216 00:11:23,000 --> 00:11:25,280 Speaker 1: the end, and they just completely blew me away. They 217 00:11:25,280 --> 00:11:28,439 Speaker 1: sam it just like their records, you know, And I 218 00:11:28,480 --> 00:11:32,040 Speaker 1: loved that that dream, that a California dream of hope 219 00:11:32,040 --> 00:11:36,200 Speaker 1: and happiness living in you know, Jacksonville. That sounds pretty 220 00:11:36,240 --> 00:11:38,920 Speaker 1: good to me, I'm sure. 221 00:11:39,800 --> 00:11:43,839 Speaker 3: So tell me about what pawn shops mean to you 222 00:11:44,000 --> 00:11:48,120 Speaker 3: when it comes to the discovery of guitars, which mean 223 00:11:48,160 --> 00:11:49,000 Speaker 3: the world to you. 224 00:11:50,840 --> 00:11:53,079 Speaker 1: Yeah, pawn shops You're a gold mine, you know, especially 225 00:11:53,640 --> 00:11:56,520 Speaker 1: in the early days when I couldn't afford much, you 226 00:11:56,520 --> 00:11:58,320 Speaker 1: could get a good deal in a pawnshop. You know. 227 00:11:58,360 --> 00:12:01,960 Speaker 1: I got my first Firebird Gibson in a pawn shop 228 00:12:02,960 --> 00:12:06,320 Speaker 1: for I think one hundred and twenty bucks and it 229 00:12:06,400 --> 00:12:09,600 Speaker 1: was just ironic. Recently on the Pleetwood Mac tour when 230 00:12:09,600 --> 00:12:11,400 Speaker 1: I was out with them, we were in Philadelphia and 231 00:12:11,440 --> 00:12:14,120 Speaker 1: I went by a pawn shop and I found a 232 00:12:14,160 --> 00:12:18,600 Speaker 1: white Firebird and that's become my main guitar, like touring 233 00:12:18,600 --> 00:12:21,080 Speaker 1: guitar now. So I'm back to the Firebirds again. But 234 00:12:22,480 --> 00:12:24,320 Speaker 1: you know, it's hard to find deals now because the 235 00:12:24,360 --> 00:12:27,080 Speaker 1: word is out that, you know, these instruments are valuable. 236 00:12:28,080 --> 00:12:30,440 Speaker 1: But I used to always go on days off with 237 00:12:30,480 --> 00:12:34,319 Speaker 1: the Heartbreakers, Me and maybe you know, Scott Thurston or 238 00:12:34,360 --> 00:12:35,840 Speaker 1: Rohn and Blair. We go out and find a pawn 239 00:12:35,840 --> 00:12:38,720 Speaker 1: shop and try to dig up an old gym, you know, 240 00:12:39,040 --> 00:12:41,520 Speaker 1: occasionally you get something really cool. Most of my guitars 241 00:12:41,559 --> 00:12:46,720 Speaker 1: are old, vintage stuff and nowadays, though, I was lucky 242 00:12:46,760 --> 00:12:49,560 Speaker 1: to find that white Firebird because nowadays it's hard to 243 00:12:49,559 --> 00:12:50,440 Speaker 1: find deals. 244 00:12:51,160 --> 00:12:53,600 Speaker 3: Is there anything in particular you're on the lookout for? 245 00:12:54,520 --> 00:12:58,040 Speaker 1: You know, my Brodie keeps asking, sending me stuff. Do 246 00:12:58,040 --> 00:12:59,839 Speaker 1: you want this? Do you want this? I've already got 247 00:12:59,840 --> 00:13:03,520 Speaker 1: one of those I would like to get. I might 248 00:13:03,520 --> 00:13:07,760 Speaker 1: want to get an epiphone coronet. I think it's called 249 00:13:08,000 --> 00:13:11,839 Speaker 1: Real light Del Shannon had one, Real Lightweight and they 250 00:13:11,840 --> 00:13:14,559 Speaker 1: sound pretty good. Steve Marriott played one and I think 251 00:13:14,600 --> 00:13:18,280 Speaker 1: in the Small Faces. But I'm not on a hunt. 252 00:13:18,320 --> 00:13:20,600 Speaker 1: I've got too many. I need to get him away. 253 00:13:20,640 --> 00:13:24,920 Speaker 3: You know, what did the loss of Dwayne Eddie mean 254 00:13:25,000 --> 00:13:26,200 Speaker 3: to you as a guitarist. 255 00:13:26,960 --> 00:13:29,600 Speaker 1: Well, Dwayne was a huge influence. I mean he was 256 00:13:29,640 --> 00:13:32,840 Speaker 1: one of the first, if not the first, instrumental guitar player, 257 00:13:33,360 --> 00:13:37,960 Speaker 1: the rebel rouser and because they're young and moving and 258 00:13:38,000 --> 00:13:40,439 Speaker 1: grooving all those great instrumentals that were on the radio 259 00:13:40,480 --> 00:13:42,960 Speaker 1: when I was learning, and I learned those songs off 260 00:13:43,000 --> 00:13:46,400 Speaker 1: the radio too. You know, anytime an artist of that 261 00:13:46,480 --> 00:13:50,400 Speaker 1: stature leaves us, it's always a loss. You know, but 262 00:13:50,960 --> 00:13:52,960 Speaker 1: I really liked his guitar in his tone. You know, 263 00:13:52,960 --> 00:13:56,280 Speaker 1: he had that gretched tone, deep throaty, y, broad to 264 00:13:56,400 --> 00:14:02,040 Speaker 1: his tone, and he was an intervat you know, rebel Rouser. 265 00:14:03,960 --> 00:14:06,120 Speaker 3: You knew it was him when you heard him, right, Yeah, 266 00:14:06,200 --> 00:14:06,920 Speaker 3: he was. 267 00:14:06,920 --> 00:14:09,319 Speaker 1: A Yeah, he was an icon, and he was ahead 268 00:14:09,320 --> 00:14:11,199 Speaker 1: of the curve. You know, there weren't that many guitar 269 00:14:11,240 --> 00:14:14,600 Speaker 1: instrumentals out at that time, maybe Samto and Johnny and 270 00:14:14,600 --> 00:14:17,880 Speaker 1: a few others, but his was a very you know, 271 00:14:18,840 --> 00:14:23,320 Speaker 1: recognizable style and tone, and I like to try to 272 00:14:23,320 --> 00:14:25,600 Speaker 1: go for that sound sometimes. You know. 273 00:14:25,640 --> 00:14:29,240 Speaker 3: What I thought was interesting. I was talking to Steve 274 00:14:29,320 --> 00:14:33,560 Speaker 3: Howe from Yes on the podcast and even you know, 275 00:14:33,680 --> 00:14:37,720 Speaker 3: some of the great British prog rock guitarists looked up 276 00:14:37,720 --> 00:14:40,520 Speaker 3: to Dwayne Eddie in a big way. He impacted them 277 00:14:40,560 --> 00:14:41,000 Speaker 3: as well. 278 00:14:42,000 --> 00:14:47,440 Speaker 1: The twang's the thing. Have twang will travel, you know, Yeah, 279 00:14:47,760 --> 00:14:50,200 Speaker 1: and just a big He made the guitar sound so 280 00:14:50,400 --> 00:14:53,480 Speaker 1: big and full, and his songs are really cool, cool 281 00:14:53,560 --> 00:14:58,320 Speaker 1: riffs and simple, you know, not like showy, but melodic 282 00:14:58,440 --> 00:15:02,720 Speaker 1: and tough sound. And I try to play that way too, 283 00:15:03,200 --> 00:15:03,760 Speaker 1: So I. 284 00:15:03,640 --> 00:15:06,120 Speaker 3: Was hoping we could go back to I'm just going 285 00:15:06,200 --> 00:15:09,120 Speaker 3: to pick three of my favorites, which really is difficult 286 00:15:09,120 --> 00:15:12,360 Speaker 3: for me because I've got another three hundred favorites from 287 00:15:12,640 --> 00:15:17,480 Speaker 3: your work with Tom and the Heartbreakers. But can you 288 00:15:17,560 --> 00:15:21,280 Speaker 3: take us back into what you recall the creation, either 289 00:15:21,480 --> 00:15:26,560 Speaker 3: solo wise or session wise of well, first American Girl 290 00:15:26,800 --> 00:15:28,600 Speaker 3: would be the one I wanted to ask about. 291 00:15:29,600 --> 00:15:31,960 Speaker 1: Yeah, I remember cutting American Girl. It was on the 292 00:15:32,000 --> 00:15:34,680 Speaker 1: fourth of July and we were at the Shelter we 293 00:15:34,720 --> 00:15:37,480 Speaker 1: called it the Brown Room, the Shelter Studios, which had 294 00:15:38,000 --> 00:15:42,120 Speaker 1: compensated the API console from tulsaon and put it in 295 00:15:42,200 --> 00:15:44,480 Speaker 1: the office there on Hollywood Boulevard, and that's where we 296 00:15:44,520 --> 00:15:48,360 Speaker 1: did our first two records. And Tom was beginning to 297 00:15:50,000 --> 00:15:53,080 Speaker 1: blossom as a writer, and he brought in Breakdown and 298 00:15:54,280 --> 00:15:56,400 Speaker 1: Wild One Forever, and then he brought in an American 299 00:15:56,400 --> 00:15:58,880 Speaker 1: Girl one day and it was like it was a 300 00:15:58,920 --> 00:16:01,040 Speaker 1: no brainer. This is a great song, you know. And 301 00:16:01,080 --> 00:16:04,120 Speaker 1: he had the Bo Diddley chords and I wanted to 302 00:16:04,120 --> 00:16:05,840 Speaker 1: put a twelve string on it, but I couldn't have 303 00:16:05,960 --> 00:16:08,000 Speaker 1: I didn't have one. We couldn't afford a twelve string 304 00:16:08,000 --> 00:16:10,720 Speaker 1: at the time. I had a broadcaster, which is still 305 00:16:10,760 --> 00:16:13,880 Speaker 1: my main guitar. So I was trying to get a 306 00:16:13,880 --> 00:16:16,920 Speaker 1: twelve string sound with the drone octaves. Danga dang dan 307 00:16:17,240 --> 00:16:20,320 Speaker 1: dang dang. That's octaves on a sixth string, trying to 308 00:16:20,400 --> 00:16:23,880 Speaker 1: sound like a twelve string. And so that was the 309 00:16:24,000 --> 00:16:28,960 Speaker 1: genesis of that sound. And between Tom's guitar and that 310 00:16:29,120 --> 00:16:32,800 Speaker 1: high droning and the voicings of my chords going up 311 00:16:32,840 --> 00:16:35,800 Speaker 1: against his chords down low, that became the Heartbreaker's guitar 312 00:16:35,920 --> 00:16:38,840 Speaker 1: sound basically. And so when I hear that song now 313 00:16:38,840 --> 00:16:40,840 Speaker 1: I can hear the formation of the band. That was 314 00:16:40,880 --> 00:16:44,400 Speaker 1: where we found our thing, you know. And at the 315 00:16:44,520 --> 00:16:48,080 Speaker 1: end of the song, A funny story there's I was 316 00:16:48,160 --> 00:16:50,120 Speaker 1: just I make a lot of stuff up on the track. 317 00:16:50,160 --> 00:16:52,120 Speaker 1: I don't work it out too much. At the end, 318 00:16:52,120 --> 00:16:56,200 Speaker 1: I just started doing those triples because I got bored 319 00:16:56,280 --> 00:16:58,000 Speaker 1: or didn't know what to do. And I thought it 320 00:16:58,040 --> 00:17:00,400 Speaker 1: was goofy, you know, and Tom goes, oh, you gotta 321 00:17:00,400 --> 00:17:02,520 Speaker 1: double that. I said, no, it sounds too much like 322 00:17:02,720 --> 00:17:04,960 Speaker 1: something else, you know. No, he said, that's really good. 323 00:17:04,960 --> 00:17:07,560 Speaker 1: Double it. And now it's like this on the fade, 324 00:17:07,560 --> 00:17:10,840 Speaker 1: that's that signature guitar partner goes out. So he was 325 00:17:10,920 --> 00:17:11,679 Speaker 1: right about. 326 00:17:11,400 --> 00:17:15,760 Speaker 3: That and that's where you kind of it probably came 327 00:17:15,800 --> 00:17:20,800 Speaker 3: into form as your own process of improvising through sessions 328 00:17:20,840 --> 00:17:24,440 Speaker 3: and sort of the you know, continuous creation of something 329 00:17:24,560 --> 00:17:26,520 Speaker 3: till you get it right. Is that correct? 330 00:17:27,359 --> 00:17:29,720 Speaker 1: It is correct. I rarely worked things out. I like 331 00:17:29,840 --> 00:17:31,920 Speaker 1: to go off the cuff and try to grab things 332 00:17:31,920 --> 00:17:33,920 Speaker 1: out of the air while you're playing the song and 333 00:17:34,480 --> 00:17:38,240 Speaker 1: try to catch a little magic. That's it's spontaneous. That's 334 00:17:38,240 --> 00:17:40,160 Speaker 1: what I try to do, and that's what that song 335 00:17:40,280 --> 00:17:42,560 Speaker 1: was about. And just to go back, I don't want 336 00:17:42,560 --> 00:17:44,640 Speaker 1: to get through technical But you talked about Duane Eddie. 337 00:17:44,640 --> 00:17:47,040 Speaker 1: There's also Chad Atkins who was a big influence on me, 338 00:17:47,760 --> 00:17:49,880 Speaker 1: and it was because I had been teaching myself Chad 339 00:17:49,920 --> 00:17:52,920 Speaker 1: Atkins on that song American Girl at the end, that's 340 00:17:52,960 --> 00:17:55,560 Speaker 1: a fingerpicking thing. Didn't literally have to use your you know, 341 00:17:55,760 --> 00:17:58,320 Speaker 1: a couple of fingers to get that. And I got 342 00:17:58,320 --> 00:18:01,439 Speaker 1: that from Chedd Atkins, that technique, so I owe that 343 00:18:01,520 --> 00:18:04,439 Speaker 1: to him too. But yeah, I like to just go 344 00:18:04,480 --> 00:18:06,560 Speaker 1: off the cuff. Breakdown was an off the cuff. That 345 00:18:06,920 --> 00:18:11,360 Speaker 1: opening riff was something that I did on the track mindlessly, 346 00:18:11,880 --> 00:18:13,800 Speaker 1: stream of consciousness. At the end of the track, I 347 00:18:13,840 --> 00:18:17,040 Speaker 1: played that once or twice as I as it was 348 00:18:17,080 --> 00:18:19,840 Speaker 1: getting to the end of a long jam, and then 349 00:18:19,880 --> 00:18:21,600 Speaker 1: they called me up and said, you know that lucky 350 00:18:21,600 --> 00:18:22,919 Speaker 1: play at the end should be at the beginning of 351 00:18:22,920 --> 00:18:24,880 Speaker 1: the song. It'll be like a catch for the song 352 00:18:24,960 --> 00:18:27,359 Speaker 1: in a hook. So I went back down and learned 353 00:18:27,400 --> 00:18:28,840 Speaker 1: it and played it on the front of the song, 354 00:18:29,520 --> 00:18:31,240 Speaker 1: so that you know. I like to grab things out 355 00:18:31,240 --> 00:18:34,200 Speaker 1: of the air that are unexpected, because I think the 356 00:18:34,240 --> 00:18:37,080 Speaker 1: listeners can consense that you're discovering it when they are. 357 00:18:38,359 --> 00:18:42,119 Speaker 3: It's beautiful. Tell me about You Got Lucky. What you 358 00:18:42,160 --> 00:18:46,720 Speaker 3: remember about that whole process and the session and solos 359 00:18:46,800 --> 00:18:48,080 Speaker 3: and the creation of it. 360 00:18:48,760 --> 00:18:53,680 Speaker 1: You Got Lucky was written on a synthesizer. The chords, 361 00:18:55,359 --> 00:18:57,400 Speaker 1: that whole thing I had done with three fingers. I'm 362 00:18:57,400 --> 00:19:00,240 Speaker 1: not much on the keyboards, but I had a made 363 00:19:00,240 --> 00:19:02,800 Speaker 1: a drum loop which I was into at the time, 364 00:19:03,160 --> 00:19:07,000 Speaker 1: and I had that keyboard line and the chords and 365 00:19:07,040 --> 00:19:12,560 Speaker 1: we got I didn't have the sort of with a 366 00:19:12,880 --> 00:19:16,679 Speaker 1: Clint Eastwood movie Italian Western kind of solo, Eam Marconi 367 00:19:16,760 --> 00:19:18,920 Speaker 1: thing which is in the middle. That was Tom's idea, 368 00:19:18,960 --> 00:19:21,000 Speaker 1: say why don't you go play something like a James 369 00:19:21,040 --> 00:19:23,960 Speaker 1: bond thing on the middle. So I had a strate 370 00:19:24,000 --> 00:19:27,880 Speaker 1: to just come into Mayl and I went out down, down, down, down, 371 00:19:28,240 --> 00:19:30,800 Speaker 1: So that was I came up with the line. Actually, 372 00:19:30,840 --> 00:19:33,040 Speaker 1: that line was on the keyboard line at the beginning 373 00:19:33,040 --> 00:19:35,320 Speaker 1: of the song, so I just copied that on the 374 00:19:35,359 --> 00:19:39,000 Speaker 1: guitar and did it with the vibrato n that so 375 00:19:39,119 --> 00:19:43,000 Speaker 1: that Tom suggested that I do that there, and I 376 00:19:43,040 --> 00:19:44,720 Speaker 1: just think he wrote a great lyric to that. So 377 00:19:44,760 --> 00:19:46,520 Speaker 1: I was so happy every time I would give him 378 00:19:46,520 --> 00:19:48,800 Speaker 1: piece of music, if he was inspired to write words, 379 00:19:49,119 --> 00:19:53,800 Speaker 1: it was always great, you know. I was lucky that way. 380 00:19:53,920 --> 00:19:56,520 Speaker 3: And then tell me about the Waiting and the creation 381 00:19:56,680 --> 00:19:59,760 Speaker 3: of the Waiting, and in particular, is it true you've 382 00:19:59,760 --> 00:20:02,000 Speaker 3: all also played bass on the Waiting? 383 00:20:02,920 --> 00:20:06,760 Speaker 1: I did. Yeah, I played bass, no difference to Ron, 384 00:20:06,800 --> 00:20:09,440 Speaker 1: who's an incredibly a lot better bass player than I am. 385 00:20:09,800 --> 00:20:12,359 Speaker 1: But on the songs of mine that if I had 386 00:20:12,400 --> 00:20:14,280 Speaker 1: a demo, I would put a rough bass on it 387 00:20:14,359 --> 00:20:18,200 Speaker 1: just to find how it should go, and then sometimes 388 00:20:18,200 --> 00:20:20,000 Speaker 1: we would end up I'd have to play it because 389 00:20:20,000 --> 00:20:23,120 Speaker 1: that was the right vibe for the song. On the Waiting, 390 00:20:23,440 --> 00:20:27,200 Speaker 1: for some reason, Ron wasn't there that day or something, 391 00:20:27,320 --> 00:20:31,160 Speaker 1: so I ended up playing the bass. And what's interesting 392 00:20:31,200 --> 00:20:34,240 Speaker 1: about that song, which I love, one of my favorite 393 00:20:34,240 --> 00:20:38,000 Speaker 1: songs of his, it's very birdsy. At the end on 394 00:20:38,040 --> 00:20:40,919 Speaker 1: the bass, the guitar wasn't I hadn't done my guitar 395 00:20:40,960 --> 00:20:42,879 Speaker 1: part yet. On the end at the bass where it 396 00:20:42,880 --> 00:20:44,720 Speaker 1: breaks down, the bass goes do do Do Do Do 397 00:20:44,880 --> 00:20:49,119 Speaker 1: Do Do doo. That was a bass line, and so 398 00:20:49,200 --> 00:20:51,840 Speaker 1: when I went to do the guitar, I found that 399 00:20:51,920 --> 00:20:54,359 Speaker 1: once again the high octaves to sound my guitarl say 400 00:20:54,480 --> 00:20:58,720 Speaker 1: gang Gang Gang. So that came from the bass part. 401 00:20:59,600 --> 00:21:01,480 Speaker 1: So that was also just a stream of conscious this 402 00:21:01,600 --> 00:21:03,360 Speaker 1: moment where that line came in when I was doing 403 00:21:03,400 --> 00:21:06,840 Speaker 1: the base. But if you're if you're clever, and you 404 00:21:06,960 --> 00:21:11,160 Speaker 1: listen to what you're doing, you can grab little things 405 00:21:11,200 --> 00:21:13,800 Speaker 1: that you didn't expect that happen, little pieces of magic. 406 00:21:13,840 --> 00:21:16,679 Speaker 1: And if you can catch them and and you know, 407 00:21:17,040 --> 00:21:19,560 Speaker 1: mind them, I think that makes for good music. 408 00:21:20,359 --> 00:21:22,520 Speaker 2: We'll be right back with more of the Taking a 409 00:21:22,560 --> 00:21:30,800 Speaker 2: Walk Podcast. Welcome back to the Taking a Walk Podcast. 410 00:21:31,320 --> 00:21:35,240 Speaker 3: Let's talk about the magic you created on Vagabonds, Virgins 411 00:21:35,320 --> 00:21:41,400 Speaker 3: and Misfits. I just absolutely love this, uh cover to cover, 412 00:21:41,640 --> 00:21:45,000 Speaker 3: as we would say, you've got some great folks that 413 00:21:45,080 --> 00:21:49,520 Speaker 3: are helping you out here, Lucinda Williams and Chris Stapleton, 414 00:21:50,280 --> 00:21:55,000 Speaker 3: Graham Nash of course, and Benmont talk about how this 415 00:21:55,080 --> 00:21:56,159 Speaker 3: project came together. 416 00:21:57,119 --> 00:22:00,920 Speaker 1: Well, it was gonna it's a Dirty Knobs album, and 417 00:22:01,080 --> 00:22:03,879 Speaker 1: I started writing songs for the sessions, and we came in. 418 00:22:04,520 --> 00:22:06,760 Speaker 1: I like to cut live with the Dirty Knobs, much 419 00:22:06,760 --> 00:22:09,080 Speaker 1: as the Heartbreakers were doing near the end of their 420 00:22:09,119 --> 00:22:11,040 Speaker 1: career and the very beginning of our career. We always 421 00:22:11,080 --> 00:22:14,000 Speaker 1: played live in the studio, and The Dirty Knobs is 422 00:22:14,119 --> 00:22:19,280 Speaker 1: very much spontaneous solos on the fly, you know. I 423 00:22:19,359 --> 00:22:20,840 Speaker 1: tried to get it on tape before they know it 424 00:22:20,880 --> 00:22:23,600 Speaker 1: too well, so it kind of sounds a little rough 425 00:22:23,640 --> 00:22:27,439 Speaker 1: and rowdy. But so I was writing some songs for 426 00:22:27,480 --> 00:22:32,159 Speaker 1: the album and we started recording with our producer, Georgia Coolias. 427 00:22:32,160 --> 00:22:35,920 Speaker 1: We recorded about twenty five songs or more, and then 428 00:22:36,400 --> 00:22:39,960 Speaker 1: I was reassessing all the songs, trying to narrow it 429 00:22:40,040 --> 00:22:42,680 Speaker 1: down to what an album might be. And my wife 430 00:22:42,760 --> 00:22:45,600 Speaker 1: actually suggested, you should go back to your tape blocker, 431 00:22:46,040 --> 00:22:50,439 Speaker 1: because I've got closets full of two inch tape of 432 00:22:50,480 --> 00:22:53,680 Speaker 1: demos I did back twenty years ago, and I didn't 433 00:22:53,680 --> 00:22:55,440 Speaker 1: want to do that, because I don't like to go back. 434 00:22:55,600 --> 00:22:57,199 Speaker 1: I like to keep moving forward. But she said, no, 435 00:22:57,280 --> 00:22:59,440 Speaker 1: you might have overlooked something. So I went in there 436 00:23:00,040 --> 00:23:01,919 Speaker 1: started listening to those things, and I found four or 437 00:23:01,920 --> 00:23:04,199 Speaker 1: five things that ended up on this record because I 438 00:23:04,200 --> 00:23:06,080 Speaker 1: thought the songs were good and they fit into what 439 00:23:06,119 --> 00:23:08,760 Speaker 1: I was trying to do. And a few of them 440 00:23:08,800 --> 00:23:11,160 Speaker 1: we actually used those tapes and built up from them 441 00:23:11,240 --> 00:23:15,800 Speaker 1: because they had the vibe. And so half the record 442 00:23:15,880 --> 00:23:18,119 Speaker 1: is older songs, and half the record is number songs 443 00:23:18,119 --> 00:23:20,199 Speaker 1: and the other records laying on the floor for the 444 00:23:20,200 --> 00:23:20,720 Speaker 1: next record. 445 00:23:22,040 --> 00:23:24,240 Speaker 3: Well, let's talk about some of the cuts. First of all, 446 00:23:24,359 --> 00:23:27,320 Speaker 3: the greatest that is the greatest one of those that 447 00:23:27,359 --> 00:23:28,919 Speaker 3: you took off the shelf, and. 448 00:23:29,680 --> 00:23:31,320 Speaker 1: That's a new under It was one of the first 449 00:23:31,320 --> 00:23:33,960 Speaker 1: songs I wrote for the album, and I was we 450 00:23:34,000 --> 00:23:36,720 Speaker 1: had come off a great tour and I wanted to 451 00:23:36,720 --> 00:23:39,080 Speaker 1: write a song that was a thank you to the crowd, 452 00:23:39,359 --> 00:23:42,159 Speaker 1: you know that, And so that song is, you know, 453 00:23:42,280 --> 00:23:44,479 Speaker 1: you are the greatest of the audience, you know. I 454 00:23:44,520 --> 00:23:47,359 Speaker 1: just wanted to give back how much appreciation we have 455 00:23:47,480 --> 00:23:49,760 Speaker 1: for them being there, And so that song kind of 456 00:23:49,800 --> 00:23:51,720 Speaker 1: built out of that, you know, And it just became 457 00:23:51,760 --> 00:23:57,119 Speaker 1: this drone beatlesy harmony kind of I don't know what 458 00:23:57,160 --> 00:23:59,520 Speaker 1: you'd call it, kind of psychedelic in a way, but 459 00:23:59,560 --> 00:24:01,000 Speaker 1: it's a gift back to the audience. 460 00:24:01,800 --> 00:24:05,240 Speaker 3: I love it. And tell me about Angel of Mercy. 461 00:24:05,560 --> 00:24:06,520 Speaker 3: The creation of that. 462 00:24:07,280 --> 00:24:10,000 Speaker 1: Angela Mercy is an old song that was not in 463 00:24:10,040 --> 00:24:11,920 Speaker 1: the tape blocker. I had tried it on the first 464 00:24:11,960 --> 00:24:14,440 Speaker 1: two albums to cut it because I liked this song 465 00:24:15,359 --> 00:24:17,919 Speaker 1: and it goes back quite away the Dirty nam She 466 00:24:18,119 --> 00:24:20,159 Speaker 1: when we were playing bars when we first got started 467 00:24:20,200 --> 00:24:24,720 Speaker 1: around LA we played that song live. So we tried 468 00:24:24,760 --> 00:24:28,520 Speaker 1: it again for the third album and it didn't really 469 00:24:28,560 --> 00:24:31,000 Speaker 1: measure up, and so we basically had finished the record 470 00:24:31,040 --> 00:24:33,119 Speaker 1: and Georgia Trulius came in. He said, you know, I've 471 00:24:33,119 --> 00:24:35,240 Speaker 1: been listening to that song. You guys should cut it again. 472 00:24:35,520 --> 00:24:37,560 Speaker 1: Let's make it sound like a proper record, you know. 473 00:24:38,040 --> 00:24:41,879 Speaker 1: So I said, okay, And so at that point Steve 474 00:24:42,000 --> 00:24:44,800 Speaker 1: Ronnie came in because I needed a drummer, and he 475 00:24:44,840 --> 00:24:48,359 Speaker 1: played drums on that one song and it made the record. 476 00:24:49,400 --> 00:24:52,479 Speaker 3: We talked about Dare to Dream, which is the single 477 00:24:52,560 --> 00:24:55,280 Speaker 3: with Graham Nash, which is just such a you know, 478 00:24:55,760 --> 00:25:01,160 Speaker 3: fun uplifting, optimistic song. And I want to talk about 479 00:25:01,240 --> 00:25:07,120 Speaker 3: hands or tied and and that, Yeah, that guitar, what 480 00:25:07,240 --> 00:25:10,879 Speaker 3: guitar are you playing on that? That produces such a 481 00:25:11,160 --> 00:25:13,040 Speaker 3: unique sound there. 482 00:25:13,840 --> 00:25:16,919 Speaker 1: You know, I'm trying to remember. I know it's a 483 00:25:17,119 --> 00:25:20,200 Speaker 1: it's a It's got it by broad up Arm. I 484 00:25:20,240 --> 00:25:23,200 Speaker 1: think it was a gretch cranked up through a nap 485 00:25:23,200 --> 00:25:26,080 Speaker 1: because I know it's got like a Neil youngish By 486 00:25:26,119 --> 00:25:29,480 Speaker 1: brought out arm vibe on it. I think it was 487 00:25:29,560 --> 00:25:33,120 Speaker 1: a gritch clipper that I have, same guitar I used 488 00:25:33,119 --> 00:25:35,680 Speaker 1: and I won't back down. And that was an old 489 00:25:35,760 --> 00:25:38,720 Speaker 1: song that I dug up. And that's one of my 490 00:25:38,760 --> 00:25:42,760 Speaker 1: favorite songs. It's a very emotional song and it's it's 491 00:25:42,800 --> 00:25:46,520 Speaker 1: a little dark, but it's one it's you know, it's 492 00:25:46,560 --> 00:25:49,960 Speaker 1: someone's in trouble, the girl or whoever is having a 493 00:25:50,000 --> 00:25:52,080 Speaker 1: really hard time and you want to help her, you know, 494 00:25:52,280 --> 00:25:53,959 Speaker 1: and it's like whatever it is. It could be drugs, 495 00:25:53,960 --> 00:25:56,680 Speaker 1: it could be illness, whatever it is, and you know, 496 00:25:56,720 --> 00:25:58,800 Speaker 1: I want to help you. My hands are tied, you know, 497 00:25:59,200 --> 00:26:02,200 Speaker 1: I hope hope works out, you know kind of thing. So, 498 00:26:02,400 --> 00:26:04,320 Speaker 1: and it's also I like that song. It's got a 499 00:26:04,320 --> 00:26:07,160 Speaker 1: time signature change in it. It goes which I heard 500 00:26:07,160 --> 00:26:09,199 Speaker 1: I rarely do. I usually write in four four or 501 00:26:09,200 --> 00:26:12,440 Speaker 1: three four. This one has a five four section at 502 00:26:12,480 --> 00:26:16,439 Speaker 1: the top and at the end. And another thing I 503 00:26:16,520 --> 00:26:20,119 Speaker 1: like about that song is my wife is so shy, 504 00:26:20,359 --> 00:26:21,840 Speaker 1: you know, and I've always asked her over the years, 505 00:26:21,840 --> 00:26:23,640 Speaker 1: why don't you come in and sing on something. I'll 506 00:26:23,680 --> 00:26:26,040 Speaker 1: make you sound good, don't worry, you know, And she 507 00:26:26,160 --> 00:26:29,040 Speaker 1: never wanted to. And then one day on this record, 508 00:26:29,080 --> 00:26:31,040 Speaker 1: she came in, I'd like to sing on this record. 509 00:26:31,920 --> 00:26:35,000 Speaker 1: So on that song she just comes in, ah, and 510 00:26:35,080 --> 00:26:37,199 Speaker 1: we later her to make this great bed and it 511 00:26:37,240 --> 00:26:40,600 Speaker 1: really gives a song a spiritual quality. So I'm was 512 00:26:40,640 --> 00:26:41,919 Speaker 1: proud of her for doing that. 513 00:26:41,920 --> 00:26:42,440 Speaker 3: That's great. 514 00:26:42,880 --> 00:26:49,399 Speaker 1: That the guitar is is emotional and sweet, and the 515 00:26:49,480 --> 00:26:51,919 Speaker 1: words are you know, spiritual too. 516 00:26:53,320 --> 00:26:57,040 Speaker 3: You know, almost evokes sort of that town without pity 517 00:26:57,240 --> 00:26:59,920 Speaker 3: sort of sound, you know a little bit. 518 00:27:00,600 --> 00:27:03,640 Speaker 1: I also think that I didn't notice this till recently, 519 00:27:03,760 --> 00:27:10,040 Speaker 1: that the guitar, which was a stream of consciousness line, 520 00:27:10,080 --> 00:27:13,919 Speaker 1: it's kind of reminiscent of breakdown a little bit, you know. 521 00:27:14,400 --> 00:27:16,920 Speaker 1: And I think it's that same guy, whoever that guy 522 00:27:16,960 --> 00:27:20,240 Speaker 1: in me is that placed in that mode. It has 523 00:27:20,280 --> 00:27:22,760 Speaker 1: a little bit of that element in it, and then 524 00:27:22,760 --> 00:27:24,240 Speaker 1: of course at the end it goes into the old 525 00:27:24,320 --> 00:27:27,720 Speaker 1: Jimmy Hendrix kind of swirly thing. Yeah, thank you for 526 00:27:27,760 --> 00:27:29,800 Speaker 1: mentioning that song. I like that one quite a bit. 527 00:27:30,640 --> 00:27:33,840 Speaker 3: Oh, I love it. And then you have Hell or 528 00:27:34,000 --> 00:27:39,280 Speaker 3: High Water where that force of nature Lucinda Williams emerges 529 00:27:40,040 --> 00:27:46,880 Speaker 3: in that song. What a brilliant A brilliant song, brilliant collaboration. 530 00:27:48,040 --> 00:27:50,280 Speaker 3: Talk about how you collaborated with her. 531 00:27:51,320 --> 00:27:53,879 Speaker 1: Yeah, that's a new song that I wrote for the album, 532 00:27:54,600 --> 00:27:57,800 Speaker 1: and I'm very proud of that one because of it's 533 00:27:57,840 --> 00:28:02,040 Speaker 1: a lyrical workout. You know, it's a story, there's a character, 534 00:28:02,119 --> 00:28:03,760 Speaker 1: and there's a little movie and there's a lot of 535 00:28:03,840 --> 00:28:06,600 Speaker 1: wordplay in it, which I'm starting to really enjoy doing. 536 00:28:07,720 --> 00:28:11,240 Speaker 1: And so we cut it live and I sang it 537 00:28:11,320 --> 00:28:16,040 Speaker 1: most my vocal is live. And then on reflection, I thought, 538 00:28:16,080 --> 00:28:18,240 Speaker 1: you know, there's this character in the song, this girl 539 00:28:18,359 --> 00:28:20,600 Speaker 1: that this guy meets up with and goes into this 540 00:28:21,680 --> 00:28:26,119 Speaker 1: shadowy world for a moment, and I thought, wouldn't it 541 00:28:26,119 --> 00:28:27,960 Speaker 1: be great if we had a female voice in there 542 00:28:28,000 --> 00:28:31,120 Speaker 1: to come in and be that character? And I thought 543 00:28:31,160 --> 00:28:34,720 Speaker 1: of Lucinda once again. She had done my show and 544 00:28:34,760 --> 00:28:37,320 Speaker 1: I said, would you maybe consider singing on the song? 545 00:28:37,400 --> 00:28:40,040 Speaker 1: And she was real shy about it, but she came 546 00:28:40,080 --> 00:28:42,560 Speaker 1: in and she added such a depth of soul to it. 547 00:28:42,640 --> 00:28:45,760 Speaker 1: You know, God bless her. She's so good and she 548 00:28:45,840 --> 00:28:47,080 Speaker 1: really makes the song for me. 549 00:28:47,840 --> 00:28:52,160 Speaker 3: Yeah, it's so memorable, My god. Can you talk about 550 00:28:52,160 --> 00:28:57,120 Speaker 3: the song? So alive and in particular just the that grinding, 551 00:28:58,280 --> 00:29:00,880 Speaker 3: those sounds that you get out of the guitars there, 552 00:29:02,160 --> 00:29:02,840 Speaker 3: what is that? 553 00:29:04,440 --> 00:29:08,240 Speaker 1: It's live? It's uh. I think it's tuned down to D. 554 00:29:08,440 --> 00:29:12,200 Speaker 1: The low string is tuned down for a deep growl, 555 00:29:13,040 --> 00:29:15,640 Speaker 1: and it's just a burst of adrenaline. You know. It's 556 00:29:15,640 --> 00:29:17,920 Speaker 1: just like I feel so alive every time I see you. 557 00:29:17,920 --> 00:29:20,640 Speaker 1: You know, it's kind of almost corny, but the music 558 00:29:20,760 --> 00:29:23,120 Speaker 1: I think gets it some depth and it's just a 559 00:29:23,360 --> 00:29:25,760 Speaker 1: it's just a you know, dirty Noms at their best 560 00:29:25,880 --> 00:29:29,400 Speaker 1: and the solos live on the floor, you know, mistakes 561 00:29:29,400 --> 00:29:31,880 Speaker 1: and all, but it's just I just see it as 562 00:29:31,920 --> 00:29:35,080 Speaker 1: a burst of adrenaline. And we got Steve Fardy just singing, 563 00:29:35,480 --> 00:29:38,440 Speaker 1: oh oh oh there. It's hilarious. 564 00:29:39,440 --> 00:29:44,000 Speaker 3: I love it. Don't wait up with Chris Stapleton and 565 00:29:44,080 --> 00:29:50,360 Speaker 3: benmont Tench. That is another stellar collaboration. And tell me 566 00:29:50,400 --> 00:29:51,360 Speaker 3: how that came together. 567 00:29:52,240 --> 00:29:54,600 Speaker 1: That was an older song that we had played in 568 00:29:54,680 --> 00:29:59,040 Speaker 1: the bars before and I had a I discovered a 569 00:29:59,080 --> 00:30:02,240 Speaker 1: two inch tape analog version of it that was really 570 00:30:02,280 --> 00:30:06,280 Speaker 1: really good, and I tied you it up a little bit, 571 00:30:06,840 --> 00:30:11,080 Speaker 1: and Chris Stapleton was over to write one day or something, 572 00:30:11,720 --> 00:30:14,320 Speaker 1: and I begged him to sing on it, which he did. 573 00:30:14,720 --> 00:30:18,200 Speaker 1: He sang great. And Ben Mott came over one day 574 00:30:18,240 --> 00:30:20,880 Speaker 1: and we said, I have a Steinway in my living room. 575 00:30:20,880 --> 00:30:22,880 Speaker 1: He barely used it. We set up the MIC's in 576 00:30:22,920 --> 00:30:24,920 Speaker 1: there for him and he did one take of Jerry 577 00:30:25,080 --> 00:30:28,880 Speaker 1: Lewis on it. It's tremendous and it's a funny song, 578 00:30:28,960 --> 00:30:32,720 Speaker 1: you know. It's the words are kind of you know, 579 00:30:32,800 --> 00:30:34,880 Speaker 1: I Am the Walrus, a little bit like nonsense of 580 00:30:34,960 --> 00:30:37,200 Speaker 1: COVID and a weird way that kind of make sense, 581 00:30:38,000 --> 00:30:40,120 Speaker 1: and it's just kind of got a sense of humor 582 00:30:40,120 --> 00:30:42,160 Speaker 1: in it. But it's a real burst of adrenaline. You know. 583 00:30:42,320 --> 00:30:44,920 Speaker 1: The guys are really going for especially our bass player 584 00:30:44,960 --> 00:30:48,600 Speaker 1: Crawdaddy Lance Morrison. He just altered the album. He's just 585 00:30:48,640 --> 00:30:49,880 Speaker 1: pumping it. He's so good. 586 00:30:50,760 --> 00:30:54,160 Speaker 3: Yeah, talk about Lance Morrison and how you love playing 587 00:30:54,200 --> 00:30:55,920 Speaker 3: with these guys in the Dirty Knobs. 588 00:30:56,680 --> 00:31:00,479 Speaker 1: Our guitar is a guy named Chris Holt. We call 589 00:31:00,600 --> 00:31:04,400 Speaker 1: him Sidewinder. He's from Texas too, and he's all over 590 00:31:04,480 --> 00:31:07,560 Speaker 1: this new record. He is a real breath of fresh air. 591 00:31:07,640 --> 00:31:09,880 Speaker 1: He's a great singer. He can play piano. A lot 592 00:31:09,920 --> 00:31:12,520 Speaker 1: of the piano you hear is him and the guitar. 593 00:31:13,520 --> 00:31:17,360 Speaker 1: He's just incredible. And his voice sounds real good with 594 00:31:17,440 --> 00:31:18,880 Speaker 1: mine because I need a lot of help, but he 595 00:31:18,960 --> 00:31:22,280 Speaker 1: makes me sound better. And like, there's another song on 596 00:31:22,320 --> 00:31:24,320 Speaker 1: the album called Shake These Blues, which is kind of 597 00:31:24,320 --> 00:31:28,720 Speaker 1: a rave hut, and we cut the track live and 598 00:31:28,760 --> 00:31:30,640 Speaker 1: I said to Chris, I said, when we get to 599 00:31:30,640 --> 00:31:33,760 Speaker 1: to your solo, just make something up, you know. He's like, 600 00:31:33,840 --> 00:31:35,800 Speaker 1: and he did. He was right on the money. He 601 00:31:35,880 --> 00:31:38,240 Speaker 1: nailed it, you know. And he's like that I could 602 00:31:38,240 --> 00:31:39,760 Speaker 1: just look at him, I could do this and you go, 603 00:31:39,840 --> 00:31:41,760 Speaker 1: all right, you'll do it better than I thought he would. 604 00:31:42,000 --> 00:31:46,160 Speaker 1: So he's Chris Holt is a real find. And so 605 00:31:46,240 --> 00:31:48,600 Speaker 1: I'm lucky to have those guys. And now Steve Feroni 606 00:31:48,800 --> 00:31:50,280 Speaker 1: on the drums is quite a band. 607 00:31:51,160 --> 00:31:54,360 Speaker 3: I would say so speaking a sense of humor too, 608 00:31:54,840 --> 00:31:58,680 Speaker 3: my old friends. That one made me smile. 609 00:31:59,720 --> 00:32:03,960 Speaker 1: Good at this job. Well, you know, that's a I 610 00:32:04,040 --> 00:32:05,560 Speaker 1: wasn't going to put it on the record because I 611 00:32:05,560 --> 00:32:08,520 Speaker 1: thought it was a little, you know, in joke, but 612 00:32:09,520 --> 00:32:11,719 Speaker 1: Georgia Cruleier said no, it woul sound great at the end, 613 00:32:11,760 --> 00:32:13,360 Speaker 1: you know, just a little breath of fresh air at 614 00:32:13,400 --> 00:32:16,840 Speaker 1: the end, and little humor is good. And that's obviously 615 00:32:16,920 --> 00:32:19,480 Speaker 1: just me discovering how to play with words, you know. 616 00:32:19,520 --> 00:32:22,760 Speaker 1: I got this idea that there's all these alcoholic drinks 617 00:32:22,840 --> 00:32:25,560 Speaker 1: that could be people, you know, because they have names 618 00:32:25,600 --> 00:32:29,000 Speaker 1: like Don perry On or Captain Morgan. So I figured 619 00:32:29,000 --> 00:32:31,800 Speaker 1: I'll just make the drinks the characters in the song, 620 00:32:31,880 --> 00:32:34,840 Speaker 1: you know, but say goodbye to them because you can't 621 00:32:34,840 --> 00:32:38,360 Speaker 1: get sucked into that world, you know. So it's a 622 00:32:38,400 --> 00:32:41,480 Speaker 1: tongue in cheeks song, but it is fun and Chris 623 00:32:41,520 --> 00:32:44,320 Speaker 1: Stapleton actually sings harmony on it too, which is good. 624 00:32:45,400 --> 00:32:48,320 Speaker 3: And tell me about Innocent Man. Since we've covered I 625 00:32:48,320 --> 00:32:50,640 Speaker 3: think everything other than a mand the Lynn, tell me 626 00:32:50,680 --> 00:32:52,000 Speaker 3: about Innocent Man as well. 627 00:32:52,760 --> 00:32:54,719 Speaker 1: It's got that droney kind of I don't know what 628 00:32:54,800 --> 00:32:59,920 Speaker 1: to compare it to. It's kind of Appalachian or Irish Alma. 629 00:33:00,240 --> 00:33:02,280 Speaker 1: But it's got that riff in it, and it's got 630 00:33:02,440 --> 00:33:05,600 Speaker 1: another story song which I had these characters, and it's 631 00:33:05,640 --> 00:33:08,200 Speaker 1: also an old song that I used to play back 632 00:33:08,240 --> 00:33:10,960 Speaker 1: in the bars and that I pulled out and refined 633 00:33:11,000 --> 00:33:13,640 Speaker 1: it a bit. But I like it because it's like 634 00:33:13,680 --> 00:33:15,600 Speaker 1: a movie, you know, you could. There's a lot of 635 00:33:15,640 --> 00:33:21,080 Speaker 1: descriptive characters throughout the song, and it's partly autobiographical. There's 636 00:33:21,120 --> 00:33:23,320 Speaker 1: a version there where it talks about the attack training 637 00:33:23,400 --> 00:33:26,400 Speaker 1: dogs coming on the bus and snipping around for drugs, 638 00:33:26,840 --> 00:33:29,880 Speaker 1: which actually happened to the Heartbreakers. Once it's going into Canada. 639 00:33:30,760 --> 00:33:33,040 Speaker 1: We had stopped and put all our pot and stuff 640 00:33:33,080 --> 00:33:35,920 Speaker 1: and a hotel room on the American side. We'll pick 641 00:33:35,920 --> 00:33:38,080 Speaker 1: it up after we come back, you know. So we're 642 00:33:38,080 --> 00:33:39,840 Speaker 1: going across the border at four in the morning, and 643 00:33:39,880 --> 00:33:42,800 Speaker 1: they stopped the bus and the German shepherd came on 644 00:33:42,840 --> 00:33:44,960 Speaker 1: the bus and went straight for our tour manager's coat 645 00:33:45,200 --> 00:33:46,760 Speaker 1: and he had a little half of a joint that he 646 00:33:46,840 --> 00:33:50,000 Speaker 1: forgot about. So they drug us in, you know, in 647 00:33:50,040 --> 00:33:52,560 Speaker 1: the freezing cold, and made a strip search and all 648 00:33:52,560 --> 00:33:55,200 Speaker 1: that shit. So that made its way into the song. 649 00:33:55,320 --> 00:33:57,320 Speaker 1: So there's a little bit of that now. The title. 650 00:33:57,840 --> 00:34:00,440 Speaker 1: When I first wrote it, I was calling it immigrant man, 651 00:34:01,280 --> 00:34:05,040 Speaker 1: you know. And then George Coulius one day he goes, 652 00:34:05,080 --> 00:34:07,560 Speaker 1: you know, that's that's a cool idea, but you might 653 00:34:07,600 --> 00:34:12,600 Speaker 1: get a little you know, political whatever from that, And 654 00:34:12,600 --> 00:34:14,239 Speaker 1: I said, yeah, maybe, So he said, what if you 655 00:34:14,280 --> 00:34:16,360 Speaker 1: call it innocent man? He said, you know what, that's better. 656 00:34:16,560 --> 00:34:19,200 Speaker 1: It's got a wider palette. So I gave him credit 657 00:34:19,239 --> 00:34:20,279 Speaker 1: for co writing a song. 658 00:34:22,760 --> 00:34:28,279 Speaker 3: Tell me what you have learned from being around two 659 00:34:28,320 --> 00:34:36,479 Speaker 3: of the greats besides Tom obviously Don Henley and Bob Dylan. 660 00:34:37,480 --> 00:34:40,160 Speaker 1: Well, how lucky am I? You know, my life is 661 00:34:40,280 --> 00:34:42,520 Speaker 1: like that. You know, things have been throughout my life 662 00:34:43,680 --> 00:34:45,920 Speaker 1: just been charmed. Things have dropped in my lap, you know. 663 00:34:46,040 --> 00:34:49,239 Speaker 1: And the thing with Don Henley boys this summer was 664 00:34:49,280 --> 00:34:52,880 Speaker 1: just something that was a chain of events that Jimmy 665 00:34:52,920 --> 00:34:55,280 Speaker 1: I have Ben kind of spearheaded that track because Tom 666 00:34:55,320 --> 00:34:58,280 Speaker 1: didn't hear what to do with it at that time. 667 00:34:59,320 --> 00:35:01,480 Speaker 1: He later said to me, Tom said to me, you know, 668 00:35:01,480 --> 00:35:03,920 Speaker 1: I shouldn't have let that one get away. Might have 669 00:35:03,960 --> 00:35:06,040 Speaker 1: been in my presence of mind, I would have kept 670 00:35:06,040 --> 00:35:08,960 Speaker 1: that one, but it ended up. But with Don and 671 00:35:09,000 --> 00:35:11,879 Speaker 1: he did an amazing, amazing job, and I'm really proud 672 00:35:11,920 --> 00:35:14,960 Speaker 1: of that song. And Don is just you know, he's 673 00:35:15,000 --> 00:35:18,920 Speaker 1: one of the greats, you know, and he's always been 674 00:35:18,960 --> 00:35:21,560 Speaker 1: really kind to me and very generous with the songs 675 00:35:21,600 --> 00:35:25,560 Speaker 1: that we've done. And of course Bob Dylan showed up 676 00:35:26,200 --> 00:35:29,279 Speaker 1: in our lives. We did a world tour with him 677 00:35:29,280 --> 00:35:33,280 Speaker 1: with the Heartbreakers, which was very inspirational and eye opening 678 00:35:34,360 --> 00:35:39,640 Speaker 1: and just being around someone who's that special and deep. 679 00:35:40,480 --> 00:35:44,160 Speaker 1: I hope some of it rubbed off, but you know, 680 00:35:44,200 --> 00:35:46,440 Speaker 1: he was just so full of wisdom. He said to 681 00:35:46,480 --> 00:35:50,200 Speaker 1: me once, when you're writing a song, don't just write 682 00:35:50,239 --> 00:35:53,240 Speaker 1: three verses in a chorus, you know, write twenty verses, 683 00:35:54,000 --> 00:35:57,000 Speaker 1: you know, because you know, while you're in that place 684 00:35:57,600 --> 00:36:01,160 Speaker 1: you're you know, number fourteen fifteen might be great that 685 00:36:01,200 --> 00:36:02,680 Speaker 1: you would never have gotten to them. So you know, 686 00:36:02,800 --> 00:36:06,440 Speaker 1: channel and work for better lyrics, you know, And so 687 00:36:06,480 --> 00:36:08,440 Speaker 1: I try to emulate that. I've learned a lot from 688 00:36:08,520 --> 00:36:09,520 Speaker 1: him just watching them. 689 00:36:09,960 --> 00:36:12,719 Speaker 3: So tell me how much you're looking forward to being 690 00:36:12,800 --> 00:36:13,520 Speaker 3: out on the road. 691 00:36:14,440 --> 00:36:17,440 Speaker 1: Oh, I can't wait the band. You got all these 692 00:36:17,440 --> 00:36:19,160 Speaker 1: new songs to learn, you know, we have a whole 693 00:36:19,200 --> 00:36:20,919 Speaker 1: new set. We'll have to let some of the old 694 00:36:20,960 --> 00:36:24,040 Speaker 1: songs go by the wayside for a while and work 695 00:36:24,080 --> 00:36:25,239 Speaker 1: in all the I'm going to play most of the 696 00:36:25,280 --> 00:36:28,160 Speaker 1: songs off the new record, and we've got a great 697 00:36:28,200 --> 00:36:31,320 Speaker 1: opening act as girl. Shannon McNally is going to open 698 00:36:31,360 --> 00:36:35,440 Speaker 1: the tour for us, and the band is ready to go. 699 00:36:35,480 --> 00:36:38,880 Speaker 1: You know, I missed the crowds, and I missed the whole. 700 00:36:38,920 --> 00:36:41,080 Speaker 1: I like being on the road, you know, and I 701 00:36:41,200 --> 00:36:43,640 Speaker 1: like playing for people. And we've got to the stage 702 00:36:43,680 --> 00:36:46,239 Speaker 1: where we can play theaters now. You know, we're not 703 00:36:46,440 --> 00:36:50,920 Speaker 1: in the biker bars. Not there's anything wrong with biker bars, 704 00:36:50,960 --> 00:36:53,319 Speaker 1: but I like the theaters better because it sounds better 705 00:36:53,320 --> 00:36:56,360 Speaker 1: and they're a little bigger, and so we've worked up 706 00:36:56,400 --> 00:36:58,560 Speaker 1: to that stage. I mean they're small theaters, some of 707 00:36:58,560 --> 00:37:01,920 Speaker 1: them are medium size. But that'll make it a lot 708 00:37:01,960 --> 00:37:05,240 Speaker 1: more fun, you know. We'll have better venues and Steve 709 00:37:05,239 --> 00:37:07,120 Speaker 1: Feroni on the drums on this tour. He'll be a 710 00:37:07,120 --> 00:37:10,040 Speaker 1: lot of fun to play with, and the crowd loves him, 711 00:37:10,280 --> 00:37:12,120 Speaker 1: and we get to play all these new songs. I'm 712 00:37:12,160 --> 00:37:14,880 Speaker 1: just jazzed, you know. It's that's what I do. I 713 00:37:14,920 --> 00:37:16,640 Speaker 1: write songs and go play them, you know. 714 00:37:18,400 --> 00:37:22,000 Speaker 3: Will you be writing on the road, continuously move them forward. 715 00:37:22,680 --> 00:37:25,719 Speaker 1: I write all the time. I have found typically on 716 00:37:25,760 --> 00:37:30,000 Speaker 1: the road I'm so drained from the tour the gigs 717 00:37:30,040 --> 00:37:32,279 Speaker 1: that I don't write that much. I tend to write 718 00:37:32,280 --> 00:37:33,880 Speaker 1: more when I'm at home and I have you know, 719 00:37:33,960 --> 00:37:36,560 Speaker 1: free time. But every now and then I might get 720 00:37:36,560 --> 00:37:38,319 Speaker 1: a sketch of an idea and I'll put it down. 721 00:37:38,640 --> 00:37:41,320 Speaker 1: But mostly I'm focused on the gigs when I'm traveling. 722 00:37:42,200 --> 00:37:48,280 Speaker 3: So as someone who is continuously learning in your craft, 723 00:37:48,600 --> 00:37:53,799 Speaker 3: in closing, what haven't you learned that you. 724 00:37:53,800 --> 00:37:56,640 Speaker 1: Want to learn? Well, I want to learn to be 725 00:37:56,680 --> 00:38:01,320 Speaker 1: a better singer, a better writer, and a better guitar player. 726 00:38:01,360 --> 00:38:03,279 Speaker 1: And you can always get better as the beauty of 727 00:38:03,320 --> 00:38:07,239 Speaker 1: the guitar and music in general. You know, the more 728 00:38:07,280 --> 00:38:10,960 Speaker 1: you learn, the more there is to learn. I just 729 00:38:11,000 --> 00:38:13,759 Speaker 1: want to get better mostly though the guitar is kind 730 00:38:13,800 --> 00:38:16,560 Speaker 1: of I kind of just do that instinctively. I don't 731 00:38:16,560 --> 00:38:18,360 Speaker 1: have to work at it too hard. It just comes 732 00:38:18,400 --> 00:38:21,319 Speaker 1: to me. But the singing, I'm working on finding my 733 00:38:21,360 --> 00:38:27,600 Speaker 1: own voice and writing my own characters and putting songs 734 00:38:27,640 --> 00:38:30,680 Speaker 1: together that you know, hopefully will inspire people. You know, 735 00:38:31,239 --> 00:38:33,000 Speaker 1: I know I can get better at that so I'm 736 00:38:33,040 --> 00:38:34,879 Speaker 1: going to keep struggling with that to get as good 737 00:38:34,880 --> 00:38:35,399 Speaker 1: as I can. 738 00:38:36,600 --> 00:38:38,719 Speaker 3: I am so grateful that we got to spend this 739 00:38:38,840 --> 00:38:43,080 Speaker 3: time together. Mike Campbell, Vagabonds, Virgins and Misfits. Go check 740 00:38:43,120 --> 00:38:46,919 Speaker 3: it out. It is an amazing record, and Mike, thank 741 00:38:46,960 --> 00:38:49,960 Speaker 3: you for the time, but thank you for all the 742 00:38:50,000 --> 00:38:52,200 Speaker 3: great music you continue to give us. 743 00:38:52,960 --> 00:38:55,359 Speaker 1: Well. You're very welcome, and thank you bus for taking 744 00:38:55,360 --> 00:38:56,400 Speaker 1: the time from me today. 745 00:38:58,120 --> 00:39:00,600 Speaker 2: Thanks for listening to this episode of the Taking a 746 00:39:00,640 --> 00:39:04,520 Speaker 2: Walk podcast. Share this and other episodes with your friends 747 00:39:04,600 --> 00:39:08,080 Speaker 2: and follow us so you never miss an episode. Taking 748 00:39:08,120 --> 00:39:12,040 Speaker 2: a Walk is available on the iHeartRadio app, Apple Podcasts, 749 00:39:12,239 --> 00:39:15,200 Speaker 2: and wherever you get your podcasts.