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Speaker 1: Taking a Walk.

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Speaker 2: The basic connection that I had with someone that was

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Speaker 2: great coming out of the whiskey was David Crosby. David

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Speaker 2: I met David and Steven and Graham kind of around

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Speaker 2: the same time, basically through my wife Leah, who was

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Speaker 2: Cass Elliott's sister. So I was privy to being at

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Speaker 2: Cass's house and meeting lots of incredible people during that time.

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Speaker 3: Welcome to our Top five Taking a Walk podcast countdown,

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Speaker 3: the top five most downloaded episodes of Taking a Walk

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Speaker 3: for twenty twenty four.

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Speaker 4: I'm Buzznight, your host.

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Speaker 3: It's my pleasure to give you this little holiday gift,

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Speaker 3: thanking all of you for your support of Taking a

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Speaker 3: Walk and welcoming to the countdown.

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Speaker 4: Harry Jacobs from the Taking a Walk Music History Desk.

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Speaker 1: Hello, Harry, pleasure to be here and part of the

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Speaker 1: top five this week.

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Speaker 3: So yeah, so anything been a surprise for you so far?

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Speaker 3: Number five was certainly Carlos Santanna. Number four was John

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Speaker 3: Oates and any surprises to this.

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Speaker 1: Date, No, you know, no, there really isn't I mean

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Speaker 1: to me, Santana, You know really it was just one

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Speaker 1: of my one of my favorites and just a huge,

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Speaker 1: a huge get, but no, no surprises.

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Speaker 4: I'm anxious to see what's what's coming next.

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Speaker 1: And you know, I like the idea that it's a

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Speaker 1: surprise and I don't know going into it.

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Speaker 4: So yeah, I like number three.

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Speaker 3: Number three Russ Kunkle, the legendary drummer, Russ Kunkle. I

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Speaker 3: loved talking to him. What a great guy, what an

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Speaker 3: amazing legacy. Russ Kunkle has.

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Speaker 1: The artist that he's played with, you know, he just

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Speaker 1: a huge studio player. He's one of those guys that

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Speaker 1: played with everyone, Neil Young and Stevie Winwood, James Taylor,

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Speaker 1: Stephen Stills, Carly Simon, Bob Dylan, Neil Diamond, Dan Fogelberg,

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Speaker 1: Glenn Fraud.

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Speaker 4: I mean, it's like the let when.

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Speaker 1: You look at at who he's played with, and when

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Speaker 1: these guys, when you see guys like Kunkle talk about

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Speaker 1: who they've played with, it's so matter of fact because

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Speaker 1: that list you go, oh, yeah, I played you know,

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Speaker 1: I did a little something with Crosby Stills on nass Or,

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Speaker 1: I played here, I played with Bob Dylan, I did you.

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Speaker 4: Know, whatever it is.

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Speaker 1: And it's like to any other guy, it'd be like well,

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Speaker 1: here's the centerpiece. I played with Steve Winwood or I

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Speaker 1: played with Bob Dillon. That's one guy's claim to fame.

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Speaker 1: Kunkle has played with everybody, everybody, you know, even Danny Korsmar,

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Speaker 1: who you've had on Taking a Walk, was part of that,

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Speaker 1: you know, with Leland scar right, I mean he's been

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Speaker 1: a part of seventies. To me, seventies music was impacted greatly,

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Speaker 1: without question.

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Speaker 3: Yeah, yeah, well listen all of these that you mentioned,

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Speaker 3: and the one I would add too that because he's

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Speaker 3: been on as well, the podcast Waddie Walked tell all

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Speaker 3: these guys from the Immediate Family band also the Immediate

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Speaker 3: Family documentary is a great take. But they're all very

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Speaker 3: matter of fact about what they've really kind of accomplished

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Speaker 3: very much. That generation, that is an amazing generation to

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Speaker 3: sort of you know, take stock of.

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Speaker 1: Think about Running on Empty by Jackson Brown. That's ross

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Speaker 1: right right. Playing on that How Sweet It Is by

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Speaker 1: James Taylor got a great little drum roll into the

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Speaker 1: beginning of that song. He played another you know, Jackson

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Speaker 1: Brown album I Love is Holdout, you know, not one

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Speaker 1: of his most popular ones, but that's one that still

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Speaker 1: remains in my playlist today. But he you know, he

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Speaker 1: was there for that, you know, Linda Wansta, you know

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Speaker 1: the Beg's. I mean, he just like, as I look

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Speaker 1: down the I just took a quick list. Look at

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Speaker 1: the list as we're talking about this, and it's just

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Speaker 1: you know, Bob Seger. He's played with Roy Bitten from

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Speaker 1: Springsteen's band Carol King, and it's just crazy Doctor My

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Speaker 1: Eyes by Jackson Brown. He was I didn't realize he was.

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Speaker 1: He was on that. So, by the way, the other

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Speaker 1: thing about self taught the guy never took a drum

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Speaker 1: lesson Imagine.

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Speaker 4: Yeah. It's just crazy, yeah, yeah.

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Speaker 3: A very gracious man, a gentleman, and really sweet to

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Speaker 3: talk to. The number three most downloaded episode of twenty

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Speaker 3: twenty four Russell Kunkle on Taking a Walk. Well, the

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Speaker 3: great Russ Kunkle is here on the Taking a Walk podcast.

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Speaker 3: We're gonna take a walk down memory lane. Russ, thanks

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Speaker 3: for being.

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Speaker 4: Here, My pleasure, buzz. Did it all start for you

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Speaker 4: with Wipeout? No one's ever asked me that question before,

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Speaker 4: but it's pretty spot on. I mean, it's certainly a

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Speaker 4: song that.

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Speaker 2: Inspired me early on because it was such a huge hit.

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Speaker 2: I think it was a song was recorded by the Safaris,

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Speaker 2: is that correct? Yes, And it featured a very repute,

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Speaker 2: just kind of drum part in it that everybody loved

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Speaker 2: and gravitated to. Probably, I guess that must have come

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Speaker 2: out in nineteen sixty three or nineteen sixty four or

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Speaker 2: somewhere around then, because I think I was.

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Speaker 4: In high school at that time.

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Speaker 2: So yeah, and the bands, the early band that I

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Speaker 2: was in in Long Beach, California, we certainly played that

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Speaker 2: song when we were in our surf music craze, and

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Speaker 2: at the same time I was actually surfing. I started

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Speaker 2: surfing then, so wipeout has a double meaning for me.

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Speaker 2: It was the name of a song, and I actually

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Speaker 2: got wiped out many times, so I understood it.

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Speaker 3: Did you have someone teaching you and mentoring you similar

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Speaker 3: to the movie Whiplash?

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Speaker 4: No, not at all. For the most part. I'm self taught.

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Speaker 2: My brother, Gilbert Cunkle, my oldest brother who's passed on now,

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Speaker 2: was a drummer and he he sat me on his lap,

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Speaker 2: put the sticks in my hand when I was probably

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Speaker 2: about six or seven years old, and.

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Speaker 4: He introduced me to the drums.

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Speaker 2: He had a band, and his band rehearsed in our

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Speaker 2: house from time to time, and so you know, I

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Speaker 2: kind of grew up with a little bit of an

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Speaker 2: inclination of what that meant did and it was very exciting.

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Speaker 2: So I give him credit for certainly setting me off

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Speaker 2: in the right direction.

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Speaker 3: And the band that really began things in the big

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Speaker 3: way was your band Things to Come that ended up landing.

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Speaker 4: That was it.

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Speaker 3: Nineteen week run as the house band at the Whiskey?

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Speaker 4: Is that right? It was very close to that.

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Speaker 2: It was a long period of time and we were

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Speaker 2: taken under Mario and Elmer's wing, and we were just

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Speaker 2: the opening act for lots of bands that came through

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Speaker 2: at that time.

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Speaker 4: It was an eye opening experience.

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Speaker 2: I'll say that more ways than one.

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Speaker 4: I bet, yes, it definitely was.

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Speaker 2: We don't have to go into detail, but I wouldn't

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Speaker 2: trade that time for anything.

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Speaker 3: And you saw a few notorious bands come through during

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Speaker 3: that period.

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Speaker 4: Care to talk about any of those bands? Well, one

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Speaker 4: of the bands that came through was.

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Speaker 2: The Hourglass, which became the Almond Brothers, and it was

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Speaker 2: interesting to see them in that configuration. It was pretty

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Speaker 2: much the I can't be certain of this, but I

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Speaker 2: think it was the same personnel and then and of

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Speaker 2: course we know they went on to unbelievable greatness. And

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Speaker 2: another band that came through there was who had a

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Speaker 2: different name. It was DPA, which was the Chicago Transit Authority.

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Speaker 4: And I think they had a different name at that

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Speaker 4: time before they were called Chicago. Oh, I forget what

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Speaker 4: they were called.

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Speaker 2: Anyway, they had a different name at that time before

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Speaker 2: they became Chicago.

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Speaker 4: Got to see them, got to see.

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Speaker 2: The Holly's open for them, open for Cream, opened for

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Speaker 2: the Electric Flag, Paul Butterfield, Jean Clark, the Birds. Got

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Speaker 2: to see Jimmy Hendricks play there. We didn't open for him,

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Speaker 2: but he did a show at the Whiskey before going

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Speaker 2: up to the Monterey Pop Festival. Got to see that.

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Speaker 2: It was It was definitely eye opening.

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Speaker 3: And you were just in this phase certainly that I

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Speaker 3: still believe you are in, which is learning and being

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Speaker 3: a sponge for everything you were witnessing.

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Speaker 4: Is that fair to say, Yeah, I don't think I've

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Speaker 4: given that up. You know, I'm being self taught.

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Speaker 2: You know, I taught myself to play the guitar enough

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Speaker 2: to write, and a little bit of keyboard enough to write.

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Speaker 2: So and you know, kind of reinvented myself into a

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Speaker 2: bit of a songwriter and do certain I've had some

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Speaker 2: success doing both, so I'm I guess you could you

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Speaker 2: could liken it to being a sponge. I do like

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Speaker 2: to learn new things, and I practice drumming and guitar

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Speaker 2: every day, and you know, so it's a I think

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Speaker 2: it's a it's a book that you can never finish reading.

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Speaker 3: So can you describe what are the traits that go

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Speaker 3: into being such an accomplished drummer.

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Speaker 4: As you are when you start out?

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Speaker 2: I don't think you have any idea what you're going

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Speaker 2: to end up being, So to answer a question like that,

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Speaker 2: it's it's all hindsight, you know. And I just never

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Speaker 2: gave up, you know, and I wanted to.

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Speaker 4: I wanted to.

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Speaker 2: Not get fired was the main objective, and to listen

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Speaker 2: enough to find out what people wanted from me, you know,

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Speaker 2: and not not get caught up and doing something other

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Speaker 2: than that. And more than anything, I wanted to be

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Speaker 2: appreciated and hired back, you know, to repeat, you know,

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Speaker 2: I was.

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Speaker 4: Married at a young age.

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Speaker 2: When I was twenty one, I had my son, Nathaniel,

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Speaker 2: was born when I was twenty one, so I had

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Speaker 2: to make an income. You know, my wife worked at

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Speaker 2: the time too, But you know, I had to get

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Speaker 2: serious real quick, and I think in a lot of

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Speaker 2: ways that kind of kept me on the straight and

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Speaker 2: narrow when a lot of other people who didn't have

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Speaker 2: those kinds of responsibilities, you know, went down a different road.

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Speaker 4: So but you have to listen. I guess that's the

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Speaker 4: word that I'm coming around to. You have to be.

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Speaker 2: Aware of your surroundings and be very aware of what's

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Speaker 2: needed from you and really try to present it.

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Speaker 3: How do you balance the intensity of your job with

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Speaker 3: the cool, calm and collect did need to be the

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Speaker 3: glue that holds everything together.

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Speaker 2: When you walk into a situation where you're either recording

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Speaker 2: or you're playing live recording in particular, you don't necessarily

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Speaker 2: know the song. It's all brand new, so there's an

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Speaker 2: unknown factor there which can be scary or it can

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Speaker 2: be exciting, you know. I try to approach every session

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Speaker 2: that I do in a way that I try to

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Speaker 2: play things that I've never played before.

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Speaker 4: At least I make an attempt to come up with something.

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Speaker 2: That I've never done before, and if I'm lucky enough

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Speaker 2: it it suits the song and it makes everybody that

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Speaker 2: I'm working for happy. Playing live is you know, it's

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Speaker 2: about connecting with an audience and really connecting with the

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Speaker 2: people that you're playing with. It starts there, you know,

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Speaker 2: there has to be a real sympatical with the people

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Speaker 2: that you're playing for, and then that magic or that

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Speaker 2: feeling or that flow can move on out to the

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Speaker 2: audience and you can see it affect an audience one

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Speaker 2: way or the other. You can also see it affect

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Speaker 2: an audience if they're not happy with.

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Speaker 4: What they're hearing.

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Speaker 3: One of the things that came out of Things to

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Speaker 3: Come and the Whiskey experience was you got on the

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Speaker 3: radar with this great man, Peter Asher. Tell me about

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Speaker 3: that experience.

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Speaker 4: Yeah, that's true.

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Speaker 2: Actually, the Whiskey, the basic connection that I had with

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Speaker 2: someone that was great coming out of the Whiskey was

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Speaker 2: David Crosby.

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Speaker 4: David.

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Speaker 2: I met David and Steven and Graham kind of around

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Speaker 2: the same time, basically through my wife Leah, who was

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Speaker 2: Cass Elliott's sister. So I was privy to being at

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Speaker 2: Cass's house and meeting lots of incredible people during that time.

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Speaker 2: After the arstin at the Whiskey, and David took notice

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Speaker 2: of me and he produced The Things, a single for

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Speaker 2: The Things to Come. He produced a few things, and

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Speaker 2: he was a real champion of me and my band

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Speaker 2: at that time. After that, I was working for a

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Speaker 2: man named John Stewart who has replaced Dave Guard in

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Speaker 2: the Kingston Trio, and he had just had an album

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Speaker 2: put out an ALM on Capitol called California Bloodlines. And

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Speaker 2: I had met John through Henry Dilts and he asked

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Speaker 2: me to come on the road with him to promote

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Speaker 2: his album. And was rehearsing with John for some show

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Speaker 2: and Peter Asher came to town and contacted his friend Chris Darrow,

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Speaker 2: who was also playing with John as a great fiddle player,

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Speaker 2: and he told Chris that he was looking for musicians

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Speaker 2: to record with his new artist, James Taylor, and he

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Speaker 2: was specifically looking for a drummer, and Chris said, come

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Speaker 2: to our rehearsals. There's a great drummer playing with us now.

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Speaker 2: And Peter came to the rehearsal and liked what he heard,

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Speaker 2: and like you've seen the documentary, he asked me to play.

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Speaker 4: On the album.

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Speaker 2: And he doesn't really think that John ever forgave him,

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Speaker 2: but I think he kind.

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Speaker 4: Of did it.

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Speaker 3: So he is such a treasure, isn't he, Peter, Yes,

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Speaker 3: absolutely absolutely he.

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Speaker 2: Without Without Peter's kind of intervention in my life and

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Speaker 2: my career, just you know, kind of being at the

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Speaker 2: right place at the right time and a little bit

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Speaker 2: of serendipity, my career wouldn't have been anywhere like it

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Speaker 2: is today.

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Speaker 4: So he was a major factor, and so was Lou Adler.

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Speaker 3: Tell me about Lou as a producer and what you

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Speaker 3: learned from him.

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Speaker 2: Well, Lou and Peter are very much the same. They

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Speaker 2: knew to stay out of the way of the artist

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Speaker 2: and let the artists do their art, and they were

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Speaker 2: great organizers. You know, you have the great producers or cheerleaders.

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Speaker 2: You know, Jimmy I Bean falls into that category as well.

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Speaker 2: So does Jimmy Bowen, you know, Richard Perry, a lot

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Speaker 2: of the great producers that I worked with, they all

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Speaker 2: have that same quality.

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Speaker 4: They're cheerleaders and they stay out of the way of

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Speaker 4: the art.

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Speaker 3: So tell me how you remember the first sessions with

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Speaker 3: James Taylor.

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Speaker 2: Well, buzz I have to say, you know that period

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Speaker 2: of time, there was a lot of invibing going on.

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Speaker 2: So I don't remember every single bit of it, but

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Speaker 2: I remember that it was an exhilarating experience to play

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Speaker 2: those songs with James and Carol and Danny. I think

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Speaker 2: we recorded that album inside of a week.

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Speaker 4: Everything was recorded.

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Speaker 2: We recorded at Sunset Sound and it was mad, you know,

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Speaker 2: it really really was. But it's hard to recall just

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Speaker 2: exactly what you were feeling something that happened over fifty

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Speaker 2: years ago, you know. But I know I was there,

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Speaker 2: and I know I was just thankful. I mean, if

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Speaker 2: there was a word that I can use of my

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Speaker 2: dominant emotion, it was gratitude, just thankful to be there,

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Speaker 2: you know. And not until many, many years later that

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Speaker 2: I realized the impact or the significance that that music

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Speaker 2: has had, you know, on the world, and I'm eternally

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Speaker 2: grateful for that.

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Speaker 3: Then there's the first album that I ever bought and

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Speaker 3: wore the grooves off of. Is this little number called

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Speaker 3: Tapestry by Carol King. Can you talk about how magical

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Speaker 3: that was?

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Speaker 4: Very similar to recording the Sweet Baby James album, It.

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Speaker 2: Didn't take a long time to record Carol. It was

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Speaker 2: very prepared. She had she had gone over the songs

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Speaker 2: with Lou at her house and all what Lou wanted

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Speaker 2: to do, like he says in the documentaries, just recreate

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Speaker 2: what she was doing at her house, you know, playing

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Speaker 2: the piano, just adding the instruments that they deemed to

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Speaker 2: be necessary around the songs.

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Speaker 4: I didn't play on the whole album. Joel Bishop O'Brien played.

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Speaker 4: I think he actually played on more songs than I

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Speaker 4: did on Tapestry.

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Speaker 2: But but it was again, it happened very quickly, and

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Speaker 2: this was kind of the same group of people. You know,

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Speaker 2: James was there playing on some of it. Jonie was there,

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Speaker 2: you know, doing some of it. Danny was there, I

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Speaker 2: was there, she used She didn't use Leland on that.

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Speaker 2: She used Charlie Larky as the bass player, and Ralph

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Speaker 2: Shuckett played some other key board parts, and lots of

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Speaker 2: lots of other wonderful background singers and horn players from LA.

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Speaker 2: But it was very similar to Sweet Baby James. It

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Speaker 2: happened quickly, and again, you know, in hindsight when you

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Speaker 2: look back, you kind of have an oh my god

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Speaker 2: moment that you know that record was so satisfying to

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Speaker 2: so many people.

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Speaker 4: Is there.

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Speaker 3: A similar zone like athletes talk about that a musician,

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Speaker 3: a drummer gets into either in a session or in

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Speaker 3: a live performance.

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Speaker 4: Is it the zone?

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Speaker 2: I refer to it as a flow, and yeah, of course, yeah.

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Speaker 2: But you know, I try to get into that thing

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Speaker 2: in everything I do, you know, whether I'm surfing or swimming,

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Speaker 2: or working out or writing.

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Speaker 4: Or playing an playing an instrument.

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Speaker 2: Yeah, you definitely want to find that that place and

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Speaker 2: stay in it for sure.

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Speaker 3: Can you talk about the experience that happened in a

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Speaker 3: session in New York City that included the likes of

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Speaker 3: George Harrison and Bob Dylan.

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Speaker 4: I was in New York with Peter. He took me

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Speaker 4: to New York to play drums on a Tony Cossen

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Speaker 4: Act record, an artist he was producing. This was after

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Speaker 4: Sweet Baby James, after the James Taylor albums, and we

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Speaker 4: had finished recording and I was in my hotel.

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Speaker 2: We were leaving the next day and Peter called me

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Speaker 2: and said, put your put your drums in a cab

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Speaker 2: and come down two CBS studios.

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Speaker 4: I said, what happened? Were cutting more tracks?

347
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Speaker 2: He said, no, you're gonna play with Bob Dylan and

348
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Speaker 2: George Harrison. They're in the studio and they need a drummer, so.

349
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Speaker 4: They called me.

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Speaker 2: So after I composed to myself, I got my drums

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Speaker 2: down to the studio and took him inside and sat

352
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Speaker 2: them up, and I'm jamming with Bob Dylan and George Harrison.

353
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Speaker 2: Bob wanted to play Beatles songs in Elvis Presley songs,

354
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Speaker 2: and George wanted to play Dylan songs, and so they

355
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Speaker 2: kind of just traded back and forth. I think Al

356
00:20:32,440 --> 00:20:38,080
Speaker 2: Cooper was there playing Oregon. Charlie Daniels was there, I think,

357
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Speaker 2: playing bass at that time. And then that same configuration

358
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Speaker 2: of people were called back by Bruce Johnston, who was

359
00:20:47,800 --> 00:20:52,840
Speaker 2: not Bruce Bruce Johnson, Bob who produced Bob Johnson exactly,

360
00:20:52,960 --> 00:20:54,359
Speaker 2: Bruce Johnson's and the Beach Boys.

361
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Speaker 4: Is it ruling Bob, remember right exactly?

362
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Speaker 2: He called me two months later to come to New

363
00:21:00,800 --> 00:21:03,320
Speaker 2: York and play on the New Morning album with the

364
00:21:03,359 --> 00:21:09,200
Speaker 2: same group of people. You know, I had the headphones

365
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Speaker 2: on and I have George Harrison in one ear and

366
00:21:11,080 --> 00:21:14,800
Speaker 2: Bob Dylan and the other, and I you know, if

367
00:21:15,640 --> 00:21:17,720
Speaker 2: I don't know how I kept my head from exploding,

368
00:21:17,960 --> 00:21:22,640
Speaker 2: But it was a magnificent experience, to say the least.

369
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Speaker 2: And I think there's a bootleg of some of that

370
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Speaker 2: stuff that came out at some point.

371
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Speaker 4: I seem to remember hearing some of it.

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Speaker 3: I was going to ask you, because over time, Bob

373
00:21:31,840 --> 00:21:37,320
Speaker 3: has continually released, you know, treasures that were from sessions

374
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Speaker 3: and whatnot. So I have a feeling some of that

375
00:21:41,119 --> 00:21:44,440
Speaker 3: keeps popping out as well, and it really you know,

376
00:21:44,520 --> 00:21:49,240
Speaker 3: of course, it showcases his brilliance in so many ways, you.

377
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Speaker 4: Know, you know, as I as I get older, I.

378
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Speaker 2: Started to realize that I don't like things that are perfect.

379
00:21:58,920 --> 00:22:03,560
Speaker 4: I'm so much of music today is perfect.

380
00:22:03,840 --> 00:22:08,679
Speaker 2: It's absolutely in tune, absolutely in time. It's all matched

381
00:22:08,760 --> 00:22:12,600
Speaker 2: up to a grid, and I think there's something lacking

382
00:22:12,680 --> 00:22:13,439
Speaker 2: in that, you know.

383
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Speaker 4: I think, however far.

384
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Speaker 2: We've gone down that road, I hope that people jump

385
00:22:19,200 --> 00:22:25,840
Speaker 2: off of it. Bob Dylan was never that way, and

386
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Speaker 2: I think that that is part of his greatness is

387
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Speaker 2: that he didn't want anything to be perfect.

388
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Speaker 4: The only thing that I could.

389
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Speaker 2: Say that with approach being perfect are the amazing lyrics

390
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Speaker 2: that he's written. You know, what he was able to

391
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Speaker 2: do with putting words together to tell a story or

392
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Speaker 2: create an emotion or a feeling.

393
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Speaker 4: I don't know that anybody's done it any better.

394
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Speaker 2: But doing those sessions with him and playing on New

395
00:22:55,840 --> 00:23:00,159
Speaker 2: Morning and the sessions with Harrison, you only played on

396
00:23:00,240 --> 00:23:05,080
Speaker 2: one time like he would he would on the on

397
00:23:05,119 --> 00:23:08,960
Speaker 2: the New Morning sessions. We would jam something like we

398
00:23:08,960 --> 00:23:11,960
Speaker 2: would be playing a Buddy Holly song or something, and

399
00:23:12,000 --> 00:23:13,640
Speaker 2: then all of a sudden, he'd throw in a new

400
00:23:13,720 --> 00:23:16,840
Speaker 2: song like you never saw it coming. He would just

401
00:23:17,640 --> 00:23:20,520
Speaker 2: go over to the piano and he starts playing you know,

402
00:23:20,760 --> 00:23:25,159
Speaker 2: uh winter Loo, you know, and all of a sudden,

403
00:23:25,240 --> 00:23:27,240
Speaker 2: you just you jump in and hang on.

404
00:23:27,520 --> 00:23:29,640
Speaker 4: And every time he did that, I.

405
00:23:29,600 --> 00:23:32,720
Speaker 2: Would just I was going, God, if we could just

406
00:23:32,760 --> 00:23:35,720
Speaker 2: do that one more time, now, I know what I

407
00:23:35,760 --> 00:23:36,960
Speaker 2: want to play, but he doesn't.

408
00:23:37,000 --> 00:23:40,560
Speaker 4: He didn't want that, and that's I see the genius

409
00:23:40,600 --> 00:23:43,560
Speaker 4: in that now. You know. There's so many mistakes that

410
00:23:43,640 --> 00:23:46,119
Speaker 4: I think are mistakes on on what I played on

411
00:23:46,200 --> 00:23:50,320
Speaker 4: those songs on that album, but apparently no one else

412
00:23:50,320 --> 00:23:51,120
Speaker 4: thought that were So.

413
00:23:52,200 --> 00:23:55,200
Speaker 3: Did you do work on the soundtrack of Peck Garrett

414
00:23:55,240 --> 00:23:56,160
Speaker 3: and Billy the Kid.

415
00:23:57,320 --> 00:23:57,680
Speaker 4: I did.

416
00:23:57,760 --> 00:24:01,520
Speaker 2: Jim Keltner and I both played on that on a

417
00:24:01,560 --> 00:24:04,720
Speaker 2: few songs of that soundtrack. Yeah, that was pretty amazing

418
00:24:04,800 --> 00:24:05,760
Speaker 2: experience as well.

419
00:24:06,760 --> 00:24:12,000
Speaker 4: Amazing seeing Bob acting too, you know. Oh yeah, well

420
00:24:12,040 --> 00:24:19,320
Speaker 4: he's very good, you know, as his Levon for sure. Yeah.

421
00:24:19,840 --> 00:24:24,840
Speaker 3: Tell me about the Blue Session with Joni, which you know,

422
00:24:24,920 --> 00:24:28,359
Speaker 3: to this day people talk about that, you know, in

423
00:24:28,480 --> 00:24:34,280
Speaker 3: her of course, in reverence. You know, she's so amazing.

424
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Speaker 3: What do you remember about the Blue Session which you

425
00:24:37,160 --> 00:24:37,640
Speaker 3: played on.

426
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Speaker 2: Well, again, when it was going on, it was just

427
00:24:44,080 --> 00:24:47,720
Speaker 2: another day, you know. I had been working with James,

428
00:24:47,760 --> 00:24:49,360
Speaker 2: I was friends with Steven and.

429
00:24:49,359 --> 00:24:51,960
Speaker 4: David and Graham and Neil, and.

430
00:24:53,080 --> 00:24:55,240
Speaker 2: We were in and out of the same studios. And

431
00:24:55,320 --> 00:24:56,879
Speaker 2: I got a call to come down to A and

432
00:24:57,040 --> 00:25:01,560
Speaker 2: M and and I knew Joe and to come down

433
00:25:01,560 --> 00:25:04,879
Speaker 2: and play on some recordings that she that she was

434
00:25:04,920 --> 00:25:07,880
Speaker 2: doing at the time, and I overdubbed on some pre

435
00:25:08,000 --> 00:25:10,520
Speaker 2: existing things, and we played a couple of things live,

436
00:25:10,640 --> 00:25:13,600
Speaker 2: and Steven and I overdubbed together.

437
00:25:13,840 --> 00:25:16,000
Speaker 4: Steve. She had Stephen playing bass.

438
00:25:16,320 --> 00:25:18,800
Speaker 2: On on on a couple of things, and I was

439
00:25:18,800 --> 00:25:21,520
Speaker 2: playing Kunga's and percussion and I play I think I

440
00:25:21,560 --> 00:25:24,840
Speaker 2: played drums on one or two songs. But the the

441
00:25:24,880 --> 00:25:28,080
Speaker 2: percussion and the drum accompaniment on Blue is very subtle,

442
00:25:28,920 --> 00:25:32,000
Speaker 2: you know, it's it's it's mixed exactly in the right way.

443
00:25:32,080 --> 00:25:36,679
Speaker 2: And uh, again, when you when you look back on

444
00:25:36,720 --> 00:25:39,560
Speaker 2: that time, I had I had no idea that those songs.

445
00:25:40,119 --> 00:25:41,760
Speaker 2: I've worked on a little bit of Ladies of the

446
00:25:41,800 --> 00:25:43,960
Speaker 2: Canyon as well, but I had no idea that those

447
00:25:44,000 --> 00:25:47,480
Speaker 2: songs were going to the album Blue is going to

448
00:25:47,480 --> 00:25:50,359
Speaker 2: have the significance that it has, you know, And again,

449
00:25:50,600 --> 00:25:54,720
Speaker 2: just unbelievably grateful that I was there, you know, there

450
00:25:54,760 --> 00:25:56,000
Speaker 2: but for fortune.

451
00:25:56,880 --> 00:26:01,159
Speaker 3: Who are the drummers that have impacted you passed and

452
00:26:01,680 --> 00:26:07,520
Speaker 3: present and maybe particular work by them that has impacted.

453
00:26:06,960 --> 00:26:14,160
Speaker 2: You, Well, it starts with Ringo, Charlie Watts, Jim Keltner,

454
00:26:14,960 --> 00:26:21,040
Speaker 2: Jeff Pacaro, Levon Helm, huge influence, every every drummer that

455
00:26:21,119 --> 00:26:26,160
Speaker 2: you would think, you know, Philly, Joe Jones, Joe Jones,

456
00:26:26,640 --> 00:26:32,240
Speaker 2: Louis Belson, Buddy Rich, Jean Krupa, you know, for all

457
00:26:32,280 --> 00:26:34,720
Speaker 2: the reasons that you would imagine, you know, the body

458
00:26:34,760 --> 00:26:38,280
Speaker 2: of just the body of work that that Charlie and

459
00:26:38,440 --> 00:26:41,520
Speaker 2: Ringo and Jim Keltner and Jeff Pacaro have played on.

460
00:26:41,520 --> 00:26:44,120
Speaker 4: Is you know, it is enough.

461
00:26:46,040 --> 00:26:49,359
Speaker 2: You know, I'm quite fond of Dave Rohl as well.

462
00:26:49,400 --> 00:26:51,480
Speaker 2: But Dave is more than just a drummer. You know,

463
00:26:52,560 --> 00:26:55,480
Speaker 2: he's he's just a He's a great human, a great

464
00:26:55,520 --> 00:26:56,600
Speaker 2: talented individual.

465
00:26:57,760 --> 00:27:03,960
Speaker 3: You obviously observe the brilliance and the tragedy of Jim

466
00:27:04,000 --> 00:27:07,480
Speaker 3: Gordon as someone in your profession.

467
00:27:09,680 --> 00:27:11,880
Speaker 4: I should have mentioned him because he was a huge

468
00:27:11,880 --> 00:27:12,679
Speaker 4: influence on me.

469
00:27:13,600 --> 00:27:19,400
Speaker 3: Talk about his work obviously, which is pretty mind blowing.

470
00:27:20,359 --> 00:27:24,080
Speaker 2: Well, the first time I became really aware of Jim

471
00:27:24,119 --> 00:27:26,399
Speaker 2: Gordon was on Dave Mason sung Only you know and

472
00:27:26,480 --> 00:27:29,720
Speaker 2: I know, and that rolling snare drum part that he

473
00:27:29,800 --> 00:27:32,119
Speaker 2: decided to play on that no one ever did that before,

474
00:27:32,800 --> 00:27:33,000
Speaker 2: you know.

475
00:27:33,280 --> 00:27:35,760
Speaker 4: And it was that whole period of time.

476
00:27:35,560 --> 00:27:38,240
Speaker 2: Of Delaney and Bonnie and all the musicians and Leon

477
00:27:38,359 --> 00:27:41,600
Speaker 2: Russell and everybody that came in and out of that camp,

478
00:27:41,680 --> 00:27:44,840
Speaker 2: and then Delaney and Bonnie, you know, then that kind

479
00:27:44,840 --> 00:27:47,280
Speaker 2: of gave birth to mad Dogs and Englishmen and just

480
00:27:47,320 --> 00:27:52,080
Speaker 2: that whole group of musicians were incredible and I loved

481
00:27:52,119 --> 00:27:57,280
Speaker 2: every bit of it. But Jim Gordon's session work, I mean,

482
00:27:57,320 --> 00:28:00,399
Speaker 2: he's well known for his work with Clapton's like that,

483
00:28:00,480 --> 00:28:03,480
Speaker 2: but he he played on so many records. I mean,

484
00:28:03,520 --> 00:28:06,480
Speaker 2: he was in the studio kind of at the same

485
00:28:06,520 --> 00:28:08,720
Speaker 2: time that Howe was in the studio. Maybe a little

486
00:28:08,760 --> 00:28:11,680
Speaker 2: bit after that and a little bit before me before

487
00:28:11,720 --> 00:28:14,240
Speaker 2: I started working a lot in the studio, and he

488
00:28:14,280 --> 00:28:16,080
Speaker 2: had a he had a great groove. He had just

489
00:28:16,119 --> 00:28:21,119
Speaker 2: a great pocket, you know. And it's tragic what happened

490
00:28:21,160 --> 00:28:27,639
Speaker 2: to him. It almost seems like it's like it's a

491
00:28:27,720 --> 00:28:29,399
Speaker 2: movie instead of reality.

492
00:28:29,480 --> 00:28:32,360
Speaker 4: But because he seemed to be such a nice guy,

493
00:28:32,800 --> 00:28:35,960
Speaker 4: it's like a bad dream. But everyone has a gun.

494
00:28:35,960 --> 00:28:40,080
Speaker 2: Yeah, everyone, Everyone potentially can have demon so he's got the.

495
00:28:40,040 --> 00:28:44,920
Speaker 4: Best of them. Man, that was that story just chilling,

496
00:28:45,160 --> 00:28:45,360
Speaker 4: you know.

497
00:28:46,440 --> 00:28:52,240
Speaker 3: Yeah, absolutely, talk about the joy you're experiencing with immediate family.

498
00:28:52,720 --> 00:28:54,880
Speaker 4: I love the documentary also as well.

499
00:28:54,960 --> 00:28:59,520
Speaker 3: And I love what you guys are up to, the camaraderie,

500
00:28:59,560 --> 00:29:01,160
Speaker 3: the vibe, the spirit of it.

501
00:29:01,800 --> 00:29:03,000
Speaker 4: Talk about how you love it.

502
00:29:04,000 --> 00:29:07,320
Speaker 2: Well, these are guys that I've spent the better part

503
00:29:07,320 --> 00:29:10,880
Speaker 2: of my musical career with in one configuration or another.

504
00:29:11,720 --> 00:29:14,000
Speaker 2: So for us to have a chance to do something

505
00:29:14,040 --> 00:29:17,040
Speaker 2: of our own, it was really it was really great.

506
00:29:18,520 --> 00:29:22,120
Speaker 2: It kind of started right before COVID and having a

507
00:29:22,160 --> 00:29:25,600
Speaker 2: new band during COVID kind of kept us all sane,

508
00:29:25,800 --> 00:29:28,520
Speaker 2: and we recorded a lot of videos and we did

509
00:29:28,560 --> 00:29:31,400
Speaker 2: a lot of recording, kind of sending each other bits

510
00:29:31,440 --> 00:29:33,760
Speaker 2: and pieces, and we did a lot of writing during

511
00:29:33,800 --> 00:29:37,160
Speaker 2: that time, and it's it's been a fun journey. It

512
00:29:37,200 --> 00:29:41,840
Speaker 2: really really has. Being fortunate enough to have the documentary

513
00:29:42,160 --> 00:29:43,240
Speaker 2: documentary made.

514
00:29:43,040 --> 00:29:47,680
Speaker 4: About us, it's profound. I mean, how lucky are we?

515
00:29:48,120 --> 00:29:50,840
Speaker 2: You know that Denny wanted to do it, that he

516
00:29:50,920 --> 00:29:52,840
Speaker 2: felt that there that was a story that needed to

517
00:29:52,840 --> 00:29:57,520
Speaker 2: be told, And in a lot of ways, it frightened

518
00:29:57,520 --> 00:29:59,520
Speaker 2: me the first time that I saw it, because I

519
00:29:59,600 --> 00:30:02,800
Speaker 2: felt like, not only was I looking at my life,

520
00:30:03,760 --> 00:30:05,720
Speaker 2: and when you look at something that kind of spans

521
00:30:05,760 --> 00:30:08,640
Speaker 2: a period of time, especially when you get to be

522
00:30:08,760 --> 00:30:11,800
Speaker 2: my age, you're kind of you have less time to

523
00:30:11,880 --> 00:30:15,200
Speaker 2: look at than you do than you've lived. And so

524
00:30:15,520 --> 00:30:19,440
Speaker 2: it was a reminder, I guess of my mortality and

525
00:30:20,280 --> 00:30:21,800
Speaker 2: the mortality of my friends.

526
00:30:22,360 --> 00:30:23,600
Speaker 4: So that's the thing.

527
00:30:23,400 --> 00:30:25,680
Speaker 2: That hit me about it, you know, like, oh, Okay,

528
00:30:25,840 --> 00:30:28,080
Speaker 2: I'm old enough now to where somebody thought we should

529
00:30:28,080 --> 00:30:31,200
Speaker 2: make a documentary about the music that you played on.

530
00:30:32,360 --> 00:30:34,960
Speaker 2: So but yeah, it's every time we get a chance

531
00:30:35,000 --> 00:30:38,280
Speaker 2: to play it's it's really fun. We really have a

532
00:30:38,280 --> 00:30:40,600
Speaker 2: great time doing it, and I hope we get to

533
00:30:40,600 --> 00:30:41,520
Speaker 2: do more in the future.

534
00:30:42,640 --> 00:30:45,520
Speaker 4: Do they all make you a better player? Oh?

535
00:30:45,600 --> 00:30:48,360
Speaker 2: No, you can't get away with anything in the spand no,

536
00:30:48,640 --> 00:30:50,520
Speaker 2: you can't make a mistake. You don't want to make

537
00:30:50,560 --> 00:30:53,680
Speaker 2: a mistake because you're trounced on immediately.

538
00:30:55,360 --> 00:30:58,720
Speaker 4: So yes, they do. They we make each other accountable.

539
00:30:59,440 --> 00:31:04,920
Speaker 4: Who's the time, though, Well, Waddie and Danny can be

540
00:31:04,960 --> 00:31:07,760
Speaker 4: a little tough. They're they're they're particular.

541
00:31:07,360 --> 00:31:10,600
Speaker 2: In the ideas of the things that they want, you know,

542
00:31:10,760 --> 00:31:14,000
Speaker 2: So I let them. I let them rant and rave,

543
00:31:14,160 --> 00:31:15,520
Speaker 2: and then I play what I want to play.

544
00:31:15,520 --> 00:31:24,880
Speaker 3: Anyway, Any particular traits that you have taken on from

545
00:31:24,920 --> 00:31:28,400
Speaker 3: anyone in particular you've worked with in your career.

546
00:31:29,520 --> 00:31:30,880
Speaker 4: That you can highlight.

547
00:31:31,600 --> 00:31:34,120
Speaker 2: Traits, Well, I've learned a lot of stuff from a

548
00:31:34,120 --> 00:31:38,720
Speaker 2: lot of people, you know. Learned a lot from Stephen Stills,

549
00:31:39,080 --> 00:31:42,000
Speaker 2: learned a lot from David and Graham, learned a lot

550
00:31:42,040 --> 00:31:42,560
Speaker 2: from Neil.

551
00:31:44,400 --> 00:31:46,720
Speaker 4: I learned a lot from the producers that I worked with.

552
00:31:47,280 --> 00:31:50,760
Speaker 2: I've learned a lot from Jimmy Bowen, from Jimmy Ivan,

553
00:31:50,920 --> 00:31:56,120
Speaker 2: from Peter, from Lou Adler and I guess I and

554
00:31:56,160 --> 00:31:57,800
Speaker 2: I've learned a lot. I've learned a lot from my

555
00:31:57,840 --> 00:32:01,600
Speaker 2: friend Danny kortchmore about songwriting, you know. And so I

556
00:32:02,120 --> 00:32:04,400
Speaker 2: guess I've taken bits and pieces of the things that

557
00:32:04,440 --> 00:32:07,600
Speaker 2: I've learned from everyone and kind of tried to mold

558
00:32:07,640 --> 00:32:09,280
Speaker 2: them into how.

559
00:32:09,120 --> 00:32:10,920
Speaker 4: I do those things, you know.

560
00:32:11,400 --> 00:32:16,120
Speaker 2: And yeah, I definitely picked up stuff along the way.

561
00:32:17,160 --> 00:32:20,640
Speaker 4: What did you learn from xivon? What I learned from

562
00:32:20,640 --> 00:32:26,760
Speaker 4: Warren Zevon? Oh wow, genius comes in all different kinds

563
00:32:26,800 --> 00:32:30,160
Speaker 4: of colors, Bravo.

564
00:32:31,080 --> 00:32:33,959
Speaker 3: Yeah, are you going to show up in the new

565
00:32:34,000 --> 00:32:34,640
Speaker 3: spinal tap?

566
00:32:35,360 --> 00:32:40,080
Speaker 2: I don't believe so, although I did get my One

567
00:32:40,120 --> 00:32:42,520
Speaker 2: of my dear friends is C. J. Vanston, and he's

568
00:32:43,040 --> 00:32:46,640
Speaker 2: been involved with the guys for many, many years, and

569
00:32:47,880 --> 00:32:49,960
Speaker 2: he was just down in New Orleans where they were

570
00:32:50,000 --> 00:32:53,120
Speaker 2: doing some shooting, and he sent me a little video

571
00:32:53,160 --> 00:32:55,040
Speaker 2: that he made of all the guys saying hi to me.

572
00:32:55,320 --> 00:32:57,600
Speaker 2: So that was and they were all in costume. So

573
00:32:57,640 --> 00:33:01,120
Speaker 2: that was a nice thing to get. But no, I

574
00:33:01,120 --> 00:33:01,719
Speaker 2: don't believe.

575
00:33:01,760 --> 00:33:06,600
Speaker 3: So was Henry Dilts in New Orleans perchance.

576
00:33:07,840 --> 00:33:11,080
Speaker 4: While they were shooting? I'm not sure. I don't know.

577
00:33:12,400 --> 00:33:15,880
Speaker 5: I think we interviewed him for an upcoming episode. He

578
00:33:15,920 --> 00:33:18,200
Speaker 5: said he was heading down there. He wasn't quite sure

579
00:33:18,200 --> 00:33:21,560
Speaker 5: what was going to happen whether he would be on

580
00:33:21,600 --> 00:33:24,640
Speaker 5: the cutting floor or not. But needless to say, he

581
00:33:24,760 --> 00:33:28,760
Speaker 5: was just as Henry is, wild eyed and enthusiastic.

582
00:33:28,840 --> 00:33:30,120
Speaker 4: He was looking forward to it.

583
00:33:30,480 --> 00:33:34,840
Speaker 2: Henry Dilts is beautiful human being and I'm so glad

584
00:33:34,880 --> 00:33:35,800
Speaker 2: to see.

585
00:33:36,960 --> 00:33:40,400
Speaker 4: Him getting the recognition that he so deserves.

586
00:33:42,160 --> 00:33:45,200
Speaker 2: Roona Elliott just sent me a signed copy of his

587
00:33:45,400 --> 00:33:50,680
Speaker 2: CSNY the book Loved the One You're With, which is amazing,

588
00:33:52,440 --> 00:33:53,320
Speaker 2: amazing stuff.

589
00:33:54,640 --> 00:33:55,400
Speaker 4: He's a treasure.

590
00:33:55,440 --> 00:34:00,280
Speaker 3: What do you think keeps him with that wild eyed enthusiasm?

591
00:34:00,760 --> 00:34:04,160
Speaker 4: You know that he I'm sure started with his spirit.

592
00:34:04,880 --> 00:34:08,719
Speaker 4: He loves life. You know, he's he's a happy man.

593
00:34:09,719 --> 00:34:14,560
Speaker 4: You know he's he's in a good place. He's a

594
00:34:14,600 --> 00:34:18,080
Speaker 4: good man, and he definitely is in closing.

595
00:34:18,200 --> 00:34:21,920
Speaker 3: What do you want to learn that you haven't necessarily

596
00:34:22,239 --> 00:34:25,520
Speaker 3: learned at this point in career in life.

597
00:34:26,520 --> 00:34:30,239
Speaker 2: To not be afraid of the things you don't know,

598
00:34:31,960 --> 00:34:36,200
Speaker 2: you know, to to not fear fear. You know, there's

599
00:34:36,200 --> 00:34:38,560
Speaker 2: no way of there's no way of knowing what's going

600
00:34:38,640 --> 00:34:42,319
Speaker 2: to happen the next minute. So I just try to

601
00:34:42,360 --> 00:34:44,560
Speaker 2: concentrate on really enjoying the one that I'm in.

602
00:34:45,840 --> 00:34:49,920
Speaker 4: I enjoyed this moment I've been in immensely well. Thank you, boss,

603
00:34:49,960 --> 00:34:52,920
Speaker 4: thanks for wanting to do this with me. I'm just

604
00:34:53,640 --> 00:34:57,360
Speaker 4: grateful that you came on the podcast. It's my pleasure,

605
00:34:57,680 --> 00:34:58,240
Speaker 4: My pleasure.

606
00:35:00,920 --> 00:35:02,400
Speaker 3: Quick tap