1 00:00:00,520 --> 00:00:02,960 Speaker 1: Taking a Walk. I rarely work things out. I like 2 00:00:03,040 --> 00:00:05,120 Speaker 1: to go off the cup and try to grab things 3 00:00:05,120 --> 00:00:07,120 Speaker 1: out of the air while you're playing the song and 4 00:00:07,720 --> 00:00:10,720 Speaker 1: try to catch a little magic. It's spontaneous because I 5 00:00:10,720 --> 00:00:13,960 Speaker 1: think that listeners can consense that you're discovering it when 6 00:00:14,000 --> 00:00:14,440 Speaker 1: they are. 7 00:00:14,480 --> 00:00:18,160 Speaker 2: Welcome to the Taking a Walk Podcast, the podcast where 8 00:00:18,200 --> 00:00:21,400 Speaker 2: your host, Buzz Night delves into the stories behind the 9 00:00:21,480 --> 00:00:25,720 Speaker 2: music with the musicians who make an abbin. Today, Buzz 10 00:00:25,760 --> 00:00:29,360 Speaker 2: is joined by guitarist Mike Campbell. Mike was part of 11 00:00:29,360 --> 00:00:32,520 Speaker 2: Tom Betty and the Heartbreakers for many years. He also 12 00:00:32,640 --> 00:00:35,640 Speaker 2: composed and played on Boys of Summer and Heart of 13 00:00:35,640 --> 00:00:38,760 Speaker 2: the Matter by Don Henley and most of Stevie Nick's 14 00:00:38,760 --> 00:00:42,760 Speaker 2: solo records. He also joined Fleetwood Mac to replace Lindsey 15 00:00:42,760 --> 00:00:46,720 Speaker 2: Buckingham on the twenty eighteen and twenty nineteen tour. Now, 16 00:00:46,960 --> 00:00:49,720 Speaker 2: Mike is out on tour with his band The Dirty Knobs, 17 00:00:50,000 --> 00:00:52,160 Speaker 2: and he'll take some time to talk with Buzz about 18 00:00:52,159 --> 00:00:57,080 Speaker 2: their new release, Vagabonds, Virgins and Misfits. Mike Campbell joins 19 00:00:57,080 --> 00:00:58,760 Speaker 2: Buzz Night on Taking a Walk. 20 00:01:00,760 --> 00:01:03,800 Speaker 3: Mike Campbell, so awesome to have you on the Taking 21 00:01:03,840 --> 00:01:10,119 Speaker 3: a Walk Podcast, celebrating the release of Vagabonds, Virgins and Misfits. 22 00:01:10,160 --> 00:01:12,319 Speaker 4: Have you been hanging around Tom Waits lately? 23 00:01:13,240 --> 00:01:17,959 Speaker 1: I wish I could hang out with Tom Waits, but no, 24 00:01:18,120 --> 00:01:19,280 Speaker 1: I haven't seen Tom. 25 00:01:20,680 --> 00:01:24,399 Speaker 3: It's a great title, and I absolutely love the album. 26 00:01:24,440 --> 00:01:27,520 Speaker 3: We're going to get into talking about, certainly the work 27 00:01:27,600 --> 00:01:33,080 Speaker 3: with Lucinda Williams and Chris Stapleton and Graham Nash and 28 00:01:33,600 --> 00:01:36,880 Speaker 3: in Benmont as well, and of course the. 29 00:01:36,760 --> 00:01:37,920 Speaker 4: Great Dirty Knobs. 30 00:01:38,680 --> 00:01:40,959 Speaker 3: Is it hard for you to comprehend that this is 31 00:01:41,000 --> 00:01:43,000 Speaker 3: the third Dirty Knobs album? 32 00:01:44,080 --> 00:01:47,119 Speaker 1: No, I can comprehend it. I did all the work. 33 00:01:47,200 --> 00:01:50,520 Speaker 1: It's pretty well comprehended. There's a lot of blood and 34 00:01:50,560 --> 00:01:56,080 Speaker 1: sweat on those tapes. But no, I'm in this groove now. 35 00:01:56,120 --> 00:01:59,120 Speaker 1: You know. I'm in the moving forward with this band 36 00:01:59,280 --> 00:02:03,320 Speaker 1: and my own right, and I can comprehend going on 37 00:02:03,640 --> 00:02:04,640 Speaker 1: even farther with this. 38 00:02:05,480 --> 00:02:08,400 Speaker 4: And you seem to be absolutely having a joyful time. 39 00:02:09,440 --> 00:02:11,680 Speaker 1: I am. I'm very grateful to be here. I love 40 00:02:11,720 --> 00:02:14,480 Speaker 1: what I do and I'm very proud of the work 41 00:02:14,520 --> 00:02:15,840 Speaker 1: that the band has done with me. 42 00:02:16,880 --> 00:02:20,959 Speaker 3: So you were just out celebrating the fiftieth anniversary out 43 00:02:21,000 --> 00:02:25,160 Speaker 3: at the Church studio where Mud Crutch first hit the 44 00:02:25,200 --> 00:02:31,359 Speaker 3: scene back with the great Leon Russell and Shelter. Tell 45 00:02:31,400 --> 00:02:34,000 Speaker 3: me about first of all, going back, how it felt, 46 00:02:34,160 --> 00:02:37,200 Speaker 3: and tell me how you remember that experience fifty years ago. 47 00:02:38,200 --> 00:02:42,080 Speaker 1: Yeah, I was very honored at Tulsa, and the church 48 00:02:42,160 --> 00:02:44,720 Speaker 1: people asked me to come back and honor that place. 49 00:02:44,840 --> 00:02:48,120 Speaker 1: They've restored it really well. And so we went out 50 00:02:48,160 --> 00:02:51,560 Speaker 1: there and I had an out of body experience walking 51 00:02:51,600 --> 00:02:55,720 Speaker 1: into that room after decades where it all kind of 52 00:02:55,760 --> 00:03:00,720 Speaker 1: started with us in Cordell and Shelter records. I walked 53 00:03:00,720 --> 00:03:03,560 Speaker 1: into the room that Tom and I and Ben and 54 00:03:05,240 --> 00:03:08,280 Speaker 1: Random marsh the bridgeal Mud Crutch walked into that room 55 00:03:08,320 --> 00:03:11,480 Speaker 1: with Denny Cordellman. We didn't know how to record at all, 56 00:03:11,520 --> 00:03:14,639 Speaker 1: but I remember standing in that room and just looking 57 00:03:14,639 --> 00:03:17,600 Speaker 1: at each other and we thought we'd made the big time. 58 00:03:17,639 --> 00:03:19,480 Speaker 1: You know. We were in a church studio at Leon 59 00:03:19,560 --> 00:03:22,360 Speaker 1: Russell's town, you know, but we didn't know what we 60 00:03:22,360 --> 00:03:25,040 Speaker 1: were doing. But I did have a flashback standing there 61 00:03:25,639 --> 00:03:28,800 Speaker 1: last week. I could see my brother Tom's ghost and 62 00:03:28,919 --> 00:03:34,120 Speaker 1: feel those old feelings again. It was kind of touching, 63 00:03:34,440 --> 00:03:36,640 Speaker 1: you know, in a lot of ways, in a good way. 64 00:03:37,600 --> 00:03:40,600 Speaker 3: And when you were out initially there with Leon Russell, 65 00:03:40,960 --> 00:03:46,760 Speaker 3: did you have a deep understanding of what an amazing 66 00:03:47,360 --> 00:03:49,400 Speaker 3: musician and career he had had. 67 00:03:50,680 --> 00:03:53,120 Speaker 1: Yeah. I love Leon Russell. I used to see him 68 00:03:53,160 --> 00:03:55,360 Speaker 1: play in Gainsville when he passed through town, and of 69 00:03:55,360 --> 00:03:59,200 Speaker 1: course I'd seen the Mad Dogs and Englishman Tour and 70 00:03:59,240 --> 00:04:02,120 Speaker 1: all that great players in his band. But to be honest, 71 00:04:02,440 --> 00:04:05,440 Speaker 1: Leon wasn't there. We first went through Tulsa. We were 72 00:04:05,480 --> 00:04:08,440 Speaker 1: hooked up with Denny Cornell, who was Leon's partner and 73 00:04:08,560 --> 00:04:13,400 Speaker 1: our producer. We didn't see Leon until a while later 74 00:04:13,400 --> 00:04:15,440 Speaker 1: out in La but he was not there at the 75 00:04:15,520 --> 00:04:17,320 Speaker 1: church that first time we came through town. 76 00:04:18,279 --> 00:04:19,160 Speaker 4: But that's amazing. 77 00:04:19,320 --> 00:04:25,160 Speaker 3: You had this spiritual experience there that you clearly felt, right. 78 00:04:25,760 --> 00:04:27,920 Speaker 1: Yeah, yeah, you can see it in the video where 79 00:04:27,920 --> 00:04:30,760 Speaker 1: I'm standing in that room. We did a video of 80 00:04:30,800 --> 00:04:32,720 Speaker 1: this new song there to Dream, and you can see 81 00:04:32,720 --> 00:04:36,599 Speaker 1: that I'm having a moment, you know, a positive emotional moment. 82 00:04:37,520 --> 00:04:42,600 Speaker 3: The video is amazing, and it really evokes a tremendous 83 00:04:42,600 --> 00:04:47,920 Speaker 3: feeling and a sense of some optimism that we all need, 84 00:04:47,960 --> 00:04:48,400 Speaker 3: don't you. 85 00:04:48,360 --> 00:04:54,120 Speaker 1: Think, absolutely, don't we. The world is a wicked place 86 00:04:54,320 --> 00:04:56,800 Speaker 1: these days. It seems almost more wicked than it used 87 00:04:56,839 --> 00:05:01,360 Speaker 1: to be. But yeah, I think that, you know, as 88 00:05:01,400 --> 00:05:05,560 Speaker 1: an artist or songwriter. And Tom was the same way. 89 00:05:05,560 --> 00:05:08,120 Speaker 1: And I think not to compare myself to the Beatles, 90 00:05:08,120 --> 00:05:10,280 Speaker 1: but I like to think with the Beatles always had 91 00:05:10,279 --> 00:05:14,599 Speaker 1: a positive Most of their songs were about peace and love. 92 00:05:14,720 --> 00:05:16,960 Speaker 1: You know. Every now and then John Lennon would throw 93 00:05:17,000 --> 00:05:21,760 Speaker 1: and I'm a loser, But generally speaking our songs with 94 00:05:21,880 --> 00:05:26,120 Speaker 1: the Heartbreakers, we always tried to aim toward hope and redemption, 95 00:05:26,400 --> 00:05:29,359 Speaker 1: you know. And if the song maybe has a dark character, 96 00:05:29,440 --> 00:05:31,640 Speaker 1: at least by the end you hope there's some way 97 00:05:31,680 --> 00:05:34,280 Speaker 1: he's going to get out of his predicament and life 98 00:05:34,279 --> 00:05:36,240 Speaker 1: will be better. And so if this song in some 99 00:05:36,279 --> 00:05:39,200 Speaker 1: ways makes people feel that maybe life can be better 100 00:05:39,600 --> 00:05:40,719 Speaker 1: than I've done my job. 101 00:05:42,120 --> 00:05:44,920 Speaker 3: It's a wonderful song. And having Graham on it is 102 00:05:44,960 --> 00:05:50,880 Speaker 3: a super special. How did you happen upon asking Graham 103 00:05:51,120 --> 00:05:52,760 Speaker 3: to appear on this. 104 00:05:53,839 --> 00:05:56,760 Speaker 1: Well, it took a lot of courage. I had met 105 00:05:56,760 --> 00:05:59,760 Speaker 1: Graham before a few times on tour. They had opened 106 00:05:59,760 --> 00:06:02,240 Speaker 1: for us, and I had done a gig and Kahi 107 00:06:02,360 --> 00:06:05,400 Speaker 1: with him once a benefit, and he came by and 108 00:06:05,400 --> 00:06:07,800 Speaker 1: did my little radio show that I do on Tom 109 00:06:07,839 --> 00:06:10,320 Speaker 1: Petty Radio, and at the end of the interview, I 110 00:06:10,400 --> 00:06:13,200 Speaker 1: kind of sheepishly said, you know, would you maybe want 111 00:06:13,240 --> 00:06:15,960 Speaker 1: to sing on one of our tracks? And said, sure, 112 00:06:16,000 --> 00:06:19,040 Speaker 1: I'll make your song better, and he did, you know, 113 00:06:19,120 --> 00:06:21,600 Speaker 1: God bless him. So I sent him the tape. And 114 00:06:21,720 --> 00:06:24,719 Speaker 1: I am a huge child of the sixties, the Hollies, 115 00:06:24,760 --> 00:06:28,760 Speaker 1: the Beatles, Animals and Stones and the Hollies. I always 116 00:06:28,800 --> 00:06:31,560 Speaker 1: just loved their vocals and Graham was a large part 117 00:06:31,560 --> 00:06:34,520 Speaker 1: of that high harmony. And so I said him the 118 00:06:34,520 --> 00:06:36,600 Speaker 1: song and I got it back and I was just 119 00:06:36,880 --> 00:06:39,200 Speaker 1: blown away that he kind of captured some of that 120 00:06:39,279 --> 00:06:44,600 Speaker 1: holly blend on the song for me. And I couldn't 121 00:06:44,600 --> 00:06:46,359 Speaker 1: have been happier, you know, to have a hero on 122 00:06:46,440 --> 00:06:46,880 Speaker 1: your song. 123 00:06:47,000 --> 00:06:51,440 Speaker 3: I mean, come on, I love the show on Tom 124 00:06:51,480 --> 00:06:55,400 Speaker 3: Petty Radio. By the way, you make it look very easy. 125 00:06:55,440 --> 00:06:56,920 Speaker 3: How do you make it look so easy? 126 00:06:57,720 --> 00:06:59,919 Speaker 1: Well, it's just you and me. We're just talking, you know. 127 00:07:00,080 --> 00:07:02,080 Speaker 1: I like they asked me. You know that the Tom 128 00:07:02,120 --> 00:07:06,320 Speaker 1: Petty Radio on Sirius XM is a good station, and 129 00:07:06,480 --> 00:07:10,800 Speaker 1: Tom started it and was deeply involved with the show. 130 00:07:11,120 --> 00:07:13,000 Speaker 1: And now that he's gone, we want to keep the 131 00:07:13,040 --> 00:07:15,840 Speaker 1: show alive and keep playing his music and our music. 132 00:07:16,720 --> 00:07:20,160 Speaker 1: And so they ben Utt does a DJ show, and 133 00:07:20,240 --> 00:07:22,800 Speaker 1: I think Stan Lynch and Steve Roni are also doing 134 00:07:22,880 --> 00:07:26,520 Speaker 1: DJ shows where they come on and talk and play songs. 135 00:07:27,080 --> 00:07:28,880 Speaker 1: And they asked me if I would want to help, 136 00:07:28,880 --> 00:07:30,360 Speaker 1: and I didn't want to do that because I don't 137 00:07:30,400 --> 00:07:33,160 Speaker 1: really feel like I'm a DJ type person. But I said, 138 00:07:33,160 --> 00:07:35,600 Speaker 1: if I can do, you know, interviews and conversations with 139 00:07:35,680 --> 00:07:38,840 Speaker 1: other people about music, then that would be interesting to me. 140 00:07:39,640 --> 00:07:41,640 Speaker 1: So that's what my show is all about. Just getting 141 00:07:41,680 --> 00:07:44,679 Speaker 1: someone that I respect or that you know, knows about 142 00:07:44,760 --> 00:07:47,640 Speaker 1: us and just talk about music and have a conversation 143 00:07:47,800 --> 00:07:51,040 Speaker 1: like you and I are. Now that's the idea behind it. 144 00:07:51,040 --> 00:07:54,760 Speaker 4: It's excellent. I love it. So you got a guitar 145 00:07:55,120 --> 00:07:57,280 Speaker 4: at sixteen years old, is that right? 146 00:07:57,800 --> 00:07:58,560 Speaker 1: That's about right? 147 00:07:58,640 --> 00:07:59,080 Speaker 2: Yeah? 148 00:07:59,560 --> 00:08:01,000 Speaker 4: And what kind of guitar was this? 149 00:08:01,960 --> 00:08:04,680 Speaker 1: It was basically unplayable, but I didn't know at the time. 150 00:08:04,720 --> 00:08:08,800 Speaker 1: It was a fifteen dollars pawns up Harmony arch top Acoustic, 151 00:08:09,360 --> 00:08:11,440 Speaker 1: and I begged my mom. We didn't have much money, 152 00:08:11,440 --> 00:08:14,080 Speaker 1: but I begged her for a guitar, and she scraped 153 00:08:14,120 --> 00:08:16,600 Speaker 1: up the fifteen bucks and got me this thing, and 154 00:08:16,880 --> 00:08:19,320 Speaker 1: I learned how to play on it. But it was 155 00:08:19,400 --> 00:08:21,680 Speaker 1: unplayable now I look back on the strings were real 156 00:08:21,760 --> 00:08:24,360 Speaker 1: high off the neck and my fingers would literally bleed. 157 00:08:24,440 --> 00:08:27,280 Speaker 1: I'd be trying so hard until I went over to 158 00:08:27,280 --> 00:08:29,800 Speaker 1: a friend's house and he had a Gibson and I 159 00:08:29,840 --> 00:08:31,560 Speaker 1: pick it up and I went, oh my god, this 160 00:08:31,680 --> 00:08:34,400 Speaker 1: isn't hard at all. It's easy. I've been struggling, you know, 161 00:08:35,120 --> 00:08:37,560 Speaker 1: but my first guitar. It taught me how to, you know, 162 00:08:37,600 --> 00:08:40,840 Speaker 1: play hard. And I was just hooked as soon as 163 00:08:40,880 --> 00:08:42,559 Speaker 1: I got the guitar, and nothing else mattered. It was 164 00:08:42,600 --> 00:08:43,400 Speaker 1: all about the guitar. 165 00:08:44,840 --> 00:08:47,000 Speaker 4: Do you remember the first solo that you learned. 166 00:08:47,559 --> 00:08:50,280 Speaker 1: Johnny be Good? I learned it off the radio. I 167 00:08:50,280 --> 00:08:53,720 Speaker 1: didn't have a teacher, I never took guitar lessons, but 168 00:08:53,800 --> 00:08:56,000 Speaker 1: I heard that on the radio, and somehow I managed. 169 00:08:56,040 --> 00:08:58,000 Speaker 1: I guess I had an affinity for the and I 170 00:08:58,040 --> 00:09:00,440 Speaker 1: just figured it out on the guitar. And I just 171 00:09:00,520 --> 00:09:02,960 Speaker 1: love Chuck Berry and that song. I connected with it, 172 00:09:03,040 --> 00:09:04,800 Speaker 1: you know. I felt like, you know, a poor boy 173 00:09:04,840 --> 00:09:08,000 Speaker 1: trying to dream about making it someday. And I just 174 00:09:08,040 --> 00:09:12,160 Speaker 1: identified with the way Chuck plays. And I still get 175 00:09:12,280 --> 00:09:14,080 Speaker 1: chills right out of here and play. There's something about 176 00:09:14,160 --> 00:09:16,000 Speaker 1: him and the way he plays guitar, the double stop 177 00:09:16,080 --> 00:09:18,280 Speaker 1: thing that I tried to emulate. 178 00:09:18,800 --> 00:09:20,320 Speaker 4: Did you ever perfect the duck walk? 179 00:09:21,360 --> 00:09:25,640 Speaker 1: No, I'm still working on that. Nobody can quite do 180 00:09:25,720 --> 00:09:28,400 Speaker 1: it like him. I've seen people try, but Chuck had 181 00:09:28,400 --> 00:09:32,760 Speaker 1: the way. Yeah, he was quite a performer, amazing person. 182 00:09:32,920 --> 00:09:36,240 Speaker 4: Yeah, a little bit of mojo, wouldn't you say? 183 00:09:36,800 --> 00:09:39,600 Speaker 1: Yeah, Yeah, he has some mojo and his songwriting, you know, 184 00:09:40,120 --> 00:09:43,720 Speaker 1: his character, his originality, you know, he created that thing. 185 00:09:44,200 --> 00:09:47,640 Speaker 1: There's so many of us have you know, borrowed from 186 00:09:47,760 --> 00:09:52,280 Speaker 1: over the years, and he's still my top three guitar 187 00:09:52,280 --> 00:09:53,200 Speaker 1: players of all time. 188 00:09:54,440 --> 00:09:56,000 Speaker 4: You mindvo listing the other two? 189 00:09:56,840 --> 00:10:01,520 Speaker 1: Well, there's more than three really, but Chuck, of course, 190 00:10:01,600 --> 00:10:04,680 Speaker 1: Jimmy Hendrix because he was just ridiculously out of control, 191 00:10:05,800 --> 00:10:08,800 Speaker 1: crazy good. I like Mike Bloomfield a lot. In the 192 00:10:08,840 --> 00:10:11,880 Speaker 1: early days. I had the Paul Butterfield records, and I 193 00:10:11,920 --> 00:10:14,680 Speaker 1: had that Harmony guitar and record, and I would slow 194 00:10:14,720 --> 00:10:16,880 Speaker 1: the record down, you know, to sixteen, so I could 195 00:10:16,920 --> 00:10:19,560 Speaker 1: hear what the guitar was doing. And that's how I 196 00:10:19,600 --> 00:10:21,160 Speaker 1: learned that he was bending the notes. You know, I 197 00:10:21,200 --> 00:10:22,960 Speaker 1: didn't know you could bend the notes on the guitar, 198 00:10:23,800 --> 00:10:28,040 Speaker 1: and so you know, but there's you know, Keith Richards, 199 00:10:28,040 --> 00:10:30,880 Speaker 1: George Harrison, Roger McGlenn, there's so many. That era was 200 00:10:30,960 --> 00:10:33,400 Speaker 1: just incredible for guitar players. You know. It's not like 201 00:10:33,440 --> 00:10:36,000 Speaker 1: that anymore. But I'm happy I was there to be 202 00:10:36,080 --> 00:10:38,400 Speaker 1: inspired by all that stuff when I was learning. 203 00:10:39,200 --> 00:10:41,000 Speaker 4: And you completely self taught though. 204 00:10:42,080 --> 00:10:44,240 Speaker 1: Well, yeah, when I was a kid in school, my 205 00:10:44,320 --> 00:10:46,880 Speaker 1: parents forced me to take accordion lessons for a couple 206 00:10:46,960 --> 00:10:52,000 Speaker 1: of months, and I learned the basics of scales and 207 00:10:52,440 --> 00:10:55,000 Speaker 1: chords and things on that a little bit. But when 208 00:10:55,040 --> 00:10:57,920 Speaker 1: I got the guitar, I just taught myself off my ear. 209 00:10:58,000 --> 00:11:00,760 Speaker 4: You know, what was the first concert that you ever 210 00:11:00,800 --> 00:11:01,080 Speaker 4: went to? 211 00:11:01,760 --> 00:11:05,160 Speaker 1: Oh, the first concert would have been to Beach Boys 212 00:11:05,320 --> 00:11:11,880 Speaker 1: at the Jacksonville Coliseum. I think the bill was it 213 00:11:11,960 --> 00:11:13,679 Speaker 1: was one of those Dick Clark things. I think they 214 00:11:13,679 --> 00:11:16,040 Speaker 1: had a bunch of artists on, like Del Shannon and 215 00:11:18,280 --> 00:11:21,160 Speaker 1: Sam the Sham and the Fayohs and different bands, and 216 00:11:21,160 --> 00:11:23,040 Speaker 1: then the Beach Boys came on as the headliner at 217 00:11:23,080 --> 00:11:25,360 Speaker 1: the end, and they just completely blew me away. They 218 00:11:25,360 --> 00:11:28,480 Speaker 1: sam it just like their records, you know, And I 219 00:11:28,520 --> 00:11:32,079 Speaker 1: loved that that dream, that a California dream of hope 220 00:11:32,120 --> 00:11:36,280 Speaker 1: and happiness living in you know, Jacksonville. That sounds pretty 221 00:11:36,280 --> 00:11:38,960 Speaker 1: good to me, I'm sure. 222 00:11:39,840 --> 00:11:44,000 Speaker 3: So tell me about what pawn shops mean to you 223 00:11:44,040 --> 00:11:48,160 Speaker 3: when it comes to the discovery of guitars, which mean 224 00:11:48,240 --> 00:11:49,040 Speaker 3: the world to you. 225 00:11:50,880 --> 00:11:53,160 Speaker 1: Yeah, pawn shops You're a gold mine, you know, especially 226 00:11:53,679 --> 00:11:56,560 Speaker 1: in the early days when I couldn't afford much, you 227 00:11:56,600 --> 00:11:58,400 Speaker 1: could get a good deal in a pawnshop. You know. 228 00:11:58,440 --> 00:12:03,120 Speaker 1: I got my first Firebird Gibson in a pawnshop for 229 00:12:03,400 --> 00:12:06,520 Speaker 1: I think one hundred and twenty bucks and it was 230 00:12:06,559 --> 00:12:09,760 Speaker 1: just ironic. Recently on the Platewood Mac tour when I 231 00:12:09,800 --> 00:12:11,559 Speaker 1: was out with them, we were in Philadelphia and I 232 00:12:11,600 --> 00:12:14,520 Speaker 1: went by a pawn shop and I found a white 233 00:12:14,520 --> 00:12:19,280 Speaker 1: Firebird and that's become my main guitar, like touring guitar now. 234 00:12:19,360 --> 00:12:22,720 Speaker 1: So I'm back to the Firebirds again. But you know, 235 00:12:22,720 --> 00:12:24,800 Speaker 1: it's hard to find deals now because the word is 236 00:12:24,840 --> 00:12:28,680 Speaker 1: out that, you know, these instruments are valuable. But I 237 00:12:28,760 --> 00:12:31,840 Speaker 1: used to always go on days off with the Heartbreakers, 238 00:12:32,440 --> 00:12:34,800 Speaker 1: Me and maybe you know, Scott Thurston or Ron and Blair. 239 00:12:34,880 --> 00:12:36,560 Speaker 1: We go out and find a pawn shop and try 240 00:12:36,559 --> 00:12:39,680 Speaker 1: to dig up an old gym, you know. Occasionally you 241 00:12:39,800 --> 00:12:42,040 Speaker 1: get something really cool. Most of my guitars are old, 242 00:12:42,320 --> 00:12:47,160 Speaker 1: vintage stuff and nowadays, though, I was lucky to find 243 00:12:47,160 --> 00:12:50,480 Speaker 1: that white Firebird because nowadays it's hard to find deals. 244 00:12:51,240 --> 00:12:53,640 Speaker 4: Is there anything in particular you're on the lookout for? 245 00:12:54,600 --> 00:12:58,079 Speaker 1: You know, my Brodie keeps asking, sending me stuff. Do 246 00:12:58,080 --> 00:12:59,480 Speaker 1: you want this? Do you want this? You know I've 247 00:12:59,480 --> 00:13:02,440 Speaker 1: already got my of those I would like to get. 248 00:13:02,600 --> 00:13:07,199 Speaker 1: I'm trying. Might want to get an epiphone coronet. I 249 00:13:07,240 --> 00:13:09,800 Speaker 1: think it's called Real light Del Shannon had one Real 250 00:13:09,920 --> 00:13:14,199 Speaker 1: Lightweight and they sound pretty good. Steve Marriott played one, 251 00:13:14,240 --> 00:13:17,600 Speaker 1: and I think in the Small Faces. But I'm not 252 00:13:17,760 --> 00:13:20,079 Speaker 1: on a hunt. I've got too many. I need to 253 00:13:20,080 --> 00:13:20,640 Speaker 1: get him away. 254 00:13:20,720 --> 00:13:25,000 Speaker 3: You know, what did the loss of Dwayne Eddie mean 255 00:13:25,080 --> 00:13:26,280 Speaker 3: to you as a guitarist. 256 00:13:27,040 --> 00:13:29,640 Speaker 1: Well, Dwayne was a huge influence. I mean he was 257 00:13:29,679 --> 00:13:32,920 Speaker 1: one of the first, if not the first, instrumental guitar player, 258 00:13:33,400 --> 00:13:38,040 Speaker 1: the rebel rouser and because they're young and moving and 259 00:13:38,040 --> 00:13:40,480 Speaker 1: grooving all those great instrumentals that were on the radio 260 00:13:40,520 --> 00:13:43,040 Speaker 1: when I was learning, and I learned those songs off 261 00:13:43,040 --> 00:13:46,440 Speaker 1: the radio too. You know, anytime an artist of that 262 00:13:46,520 --> 00:13:50,440 Speaker 1: stature leaves us, it's always a loss, you know, but 263 00:13:51,000 --> 00:13:53,000 Speaker 1: I really liked his guitar and his tone. You know, 264 00:13:53,040 --> 00:13:56,319 Speaker 1: he had that gretch tone, deep throaty by broad to 265 00:13:56,440 --> 00:14:02,079 Speaker 1: his tone, and he was an InterVA, you know, rebel rouser. 266 00:14:04,000 --> 00:14:06,480 Speaker 4: You knew it was him when you heard him, right, Yeah. 267 00:14:06,240 --> 00:14:08,960 Speaker 1: He was a Yeah, he was an icon, and he 268 00:14:09,000 --> 00:14:10,720 Speaker 1: was ahead of the curve. You know. There weren't that 269 00:14:10,760 --> 00:14:14,079 Speaker 1: many guitar instrumentals out at that time, maybe Santo and 270 00:14:14,160 --> 00:14:17,320 Speaker 1: Johnny and a few others, but his was a very 271 00:14:17,679 --> 00:14:23,080 Speaker 1: you know, recognizable style and tone, and I like to 272 00:14:23,080 --> 00:14:24,960 Speaker 1: try to go for that sound sometimes. 273 00:14:25,480 --> 00:14:26,800 Speaker 4: You know. What I thought was interesting. 274 00:14:26,840 --> 00:14:30,760 Speaker 3: I was talking to Steve Howe from Yes on the 275 00:14:30,840 --> 00:14:35,360 Speaker 3: podcast and even you know, some of the great British 276 00:14:35,680 --> 00:14:38,920 Speaker 3: prog rock guitarists looked up to Dwayne Eddie in a 277 00:14:38,960 --> 00:14:39,440 Speaker 3: big way. 278 00:14:39,560 --> 00:14:41,080 Speaker 4: He impacted them as well. 279 00:14:42,040 --> 00:14:47,520 Speaker 1: The twang's the thing. A twang will travel, you know, Yeah, 280 00:14:47,800 --> 00:14:50,240 Speaker 1: and just a big You made the guitar sound so 281 00:14:50,440 --> 00:14:53,520 Speaker 1: big and full, and his songs are really cool, cool 282 00:14:53,600 --> 00:14:58,360 Speaker 1: riffs and simple, you know, not like showy, but melodic 283 00:14:58,480 --> 00:15:03,560 Speaker 1: and tough sound and I try to play that way too. 284 00:15:03,280 --> 00:15:05,920 Speaker 3: So I was hoping we could go back to I'm 285 00:15:05,960 --> 00:15:08,400 Speaker 3: just going to pick three of my favorites, which really 286 00:15:08,520 --> 00:15:11,360 Speaker 3: is difficult for me because I've got another three hundred 287 00:15:11,520 --> 00:15:15,560 Speaker 3: favorites from your work with Tom and the Heartbreakers. But 288 00:15:17,200 --> 00:15:20,880 Speaker 3: can you take us back into what you recall the creation, 289 00:15:21,080 --> 00:15:26,160 Speaker 3: either solo wise or session wise of well, first, American 290 00:15:26,280 --> 00:15:28,680 Speaker 3: Girl would be the one I wanted to ask about. 291 00:15:29,680 --> 00:15:32,000 Speaker 1: Yeah, I remember cutting American Girl. It was on the 292 00:15:32,040 --> 00:15:34,720 Speaker 1: fourth of July and we were at the Shelter we 293 00:15:34,800 --> 00:15:37,520 Speaker 1: called it the Brown Room, the Shelter Studios, which had 294 00:15:38,080 --> 00:15:42,160 Speaker 1: compensated the API console from Tulsa and put it in 295 00:15:42,240 --> 00:15:44,560 Speaker 1: the office there on Hollywood Boulevard, and that's where we 296 00:15:44,600 --> 00:15:48,440 Speaker 1: did our first two records. And Tom was beginning to 297 00:15:50,040 --> 00:15:53,120 Speaker 1: blossom as a writer, and he brought in Breakdown and 298 00:15:54,320 --> 00:15:56,720 Speaker 1: Wold One Forever, and then he brought in American Girl 299 00:15:56,720 --> 00:15:59,480 Speaker 1: one day and it was like it was a no bringer. 300 00:15:59,520 --> 00:16:01,440 Speaker 1: This is at eight song, you know. And he had 301 00:16:01,480 --> 00:16:04,440 Speaker 1: the Bo Diddley chords and I wanted to put a 302 00:16:04,440 --> 00:16:06,320 Speaker 1: twelve string on it, but I couldn't have I didn't 303 00:16:06,320 --> 00:16:08,520 Speaker 1: have one. We couldn't afford a twelve string at the time. 304 00:16:08,560 --> 00:16:11,640 Speaker 1: I had a broadcaster, which is still my main guitar. 305 00:16:12,640 --> 00:16:14,840 Speaker 1: So I was trying to get a twelve string sound 306 00:16:14,840 --> 00:16:18,400 Speaker 1: with the drone octaves. Danga dang dan dang dang. That's 307 00:16:18,440 --> 00:16:21,000 Speaker 1: octaves on a sixth string, trying to sound like a 308 00:16:21,040 --> 00:16:26,320 Speaker 1: twelve string. And so that was the genesis of that sound. 309 00:16:26,480 --> 00:16:30,720 Speaker 1: And between Tom's guitar and that high droning and the 310 00:16:31,200 --> 00:16:34,280 Speaker 1: voicings of my chords going up against his chords down low, 311 00:16:34,400 --> 00:16:38,000 Speaker 1: that became the Heartbreaker's guitar sound basically. And so when 312 00:16:38,000 --> 00:16:39,880 Speaker 1: I hear that song now I can hear the formation 313 00:16:40,040 --> 00:16:42,160 Speaker 1: of the band. That was where we found our thing, 314 00:16:42,400 --> 00:16:45,760 Speaker 1: you know. And at the end of the song A 315 00:16:46,040 --> 00:16:49,120 Speaker 1: funny story there's I was just I make a lot 316 00:16:49,160 --> 00:16:50,760 Speaker 1: of stuff up on the track. I don't work it 317 00:16:50,760 --> 00:16:52,960 Speaker 1: out too much. At the end, I just started doing 318 00:16:52,960 --> 00:16:56,840 Speaker 1: those triples because I got bored or didn't know what 319 00:16:56,880 --> 00:16:58,960 Speaker 1: to do. And I thought it was goofy, you know, 320 00:16:59,120 --> 00:17:01,360 Speaker 1: and Tom Good, oh, you gotta double that. I said, no, 321 00:17:01,520 --> 00:17:03,920 Speaker 1: it sounds too much like something else, you know. No, 322 00:17:04,040 --> 00:17:06,520 Speaker 1: he said, that's really good. Double it. And now it's 323 00:17:06,560 --> 00:17:09,000 Speaker 1: like this on the fade, that's that signature guitar part 324 00:17:09,040 --> 00:17:11,640 Speaker 1: that goes out. So he was right about that. 325 00:17:12,760 --> 00:17:16,119 Speaker 3: And that's where you kind of it probably came into 326 00:17:16,200 --> 00:17:21,040 Speaker 3: form as your own process of improvising through sessions and 327 00:17:21,119 --> 00:17:24,760 Speaker 3: sort of the you know, continuous creation of something till 328 00:17:24,800 --> 00:17:25,480 Speaker 3: you get it right. 329 00:17:25,640 --> 00:17:26,600 Speaker 4: Is that correct? 330 00:17:27,400 --> 00:17:29,800 Speaker 1: It is correct. I rarely worked things out. I like 331 00:17:29,880 --> 00:17:31,960 Speaker 1: to go off the cuff and try to grab things 332 00:17:31,960 --> 00:17:34,399 Speaker 1: out of the air while you're playing the song and 333 00:17:34,520 --> 00:17:38,280 Speaker 1: try to catch a little magic. That's it's spontaneous. That's 334 00:17:38,280 --> 00:17:40,240 Speaker 1: what I try to do, and that's what that song 335 00:17:40,320 --> 00:17:42,600 Speaker 1: was about. And just to go back, I don't want 336 00:17:42,640 --> 00:17:44,680 Speaker 1: to get through technical But you talked about Duane Eddie. 337 00:17:44,720 --> 00:17:47,080 Speaker 1: There's also Chaed Atkins who was a big influence on me, 338 00:17:47,800 --> 00:17:49,960 Speaker 1: and it was because I had been teaching myself Chad 339 00:17:50,000 --> 00:17:53,000 Speaker 1: Atkins on that song of American Girl at the end, that's 340 00:17:53,000 --> 00:17:55,320 Speaker 1: a fingerpicking thing, didn't literally you have to use your 341 00:17:55,400 --> 00:17:58,000 Speaker 1: you know, a couple of fingers to get that. And 342 00:17:58,080 --> 00:18:01,119 Speaker 1: I got that from Chedd Atkins, that technique, so I 343 00:18:01,160 --> 00:18:04,199 Speaker 1: owe that to him too. But yeah, I like to 344 00:18:04,240 --> 00:18:06,399 Speaker 1: just go off the cuff. Breakdown was an off the cuff. 345 00:18:06,560 --> 00:18:10,080 Speaker 1: That opening riff was something that I did on the 346 00:18:10,119 --> 00:18:13,680 Speaker 1: track mindlessly, stream of consciousness. At the end of the track, 347 00:18:13,760 --> 00:18:17,000 Speaker 1: I played that once or twice as I as it 348 00:18:17,080 --> 00:18:19,760 Speaker 1: was getting to the end of his long jam, and 349 00:18:19,760 --> 00:18:21,240 Speaker 1: then they called me up and said, you know that 350 00:18:21,400 --> 00:18:22,840 Speaker 1: lucky play at the end should be at the beginning 351 00:18:22,880 --> 00:18:24,960 Speaker 1: of the song. It'll be like a catch for the song, 352 00:18:25,160 --> 00:18:27,520 Speaker 1: a hook. So I went back down and learned it 353 00:18:27,560 --> 00:18:29,679 Speaker 1: and played it on the front of the song, so 354 00:18:29,720 --> 00:18:31,359 Speaker 1: that you know. I like to grab things out of 355 00:18:31,400 --> 00:18:34,800 Speaker 1: the air that are unexpected, because I think that listeners 356 00:18:34,800 --> 00:18:37,159 Speaker 1: can consense that you're discovering it when they are. 357 00:18:38,440 --> 00:18:39,200 Speaker 4: It's beautiful. 358 00:18:40,400 --> 00:18:43,040 Speaker 3: Tell me about You Got Lucky, which you remember about 359 00:18:43,359 --> 00:18:47,239 Speaker 3: that whole process and the session and solos and the 360 00:18:47,280 --> 00:18:48,120 Speaker 3: creation of it. 361 00:18:48,840 --> 00:18:53,760 Speaker 1: You Got Lucky was written on a synthesizer. The chords, 362 00:18:55,440 --> 00:18:57,440 Speaker 1: that whole thing I had done with three fingers. I'm 363 00:18:57,440 --> 00:19:00,080 Speaker 1: not much on the keyboards, but I had a I 364 00:19:00,119 --> 00:19:02,439 Speaker 1: made a drum loop, which I was into it at 365 00:19:02,440 --> 00:19:05,840 Speaker 1: the time, and I had that keyboard line and the 366 00:19:05,920 --> 00:19:09,399 Speaker 1: chords and we got I didn't have the sort of 367 00:19:12,359 --> 00:19:15,679 Speaker 1: with a Clint Eastwood movie Italian Western kind of solo, 368 00:19:15,840 --> 00:19:18,480 Speaker 1: eam Rconi thing which is in the middle. That was 369 00:19:18,520 --> 00:19:20,280 Speaker 1: Tom's idea. So wy don't you go play something like 370 00:19:20,560 --> 00:19:23,560 Speaker 1: a James Bond thing on the middle. So I had 371 00:19:23,600 --> 00:19:25,600 Speaker 1: a strate had just come into mail and I went 372 00:19:25,600 --> 00:19:29,800 Speaker 1: out down, down, down, down, So that was I came 373 00:19:29,880 --> 00:19:31,720 Speaker 1: up with the line. Actually, that line was on the 374 00:19:31,800 --> 00:19:34,560 Speaker 1: keyboard line at the beginning of the song, so I 375 00:19:34,680 --> 00:19:36,639 Speaker 1: just copied that on the guitar and did it with 376 00:19:36,720 --> 00:19:40,600 Speaker 1: a vibrato arm that so that Tom suggested that I 377 00:19:40,640 --> 00:19:43,800 Speaker 1: do that there, and I just think he wrote a 378 00:19:43,800 --> 00:19:45,840 Speaker 1: great lyric to that. So I was so happy every 379 00:19:45,840 --> 00:19:47,480 Speaker 1: time I would give him piece of music, if he 380 00:19:47,560 --> 00:19:50,479 Speaker 1: was inspired to write words, it was always great, you know. 381 00:19:51,240 --> 00:19:52,200 Speaker 1: I was lucky that way. 382 00:19:53,960 --> 00:19:56,560 Speaker 3: And then tell me about the Waiting and the creation 383 00:19:56,760 --> 00:19:59,720 Speaker 3: of the Waiting, and in particular, is it true you 384 00:19:59,800 --> 00:20:02,080 Speaker 3: A also played bass on the Waiting? 385 00:20:03,000 --> 00:20:06,840 Speaker 1: I did. Yeah, I played bass, no difference to Ron, 386 00:20:06,840 --> 00:20:09,240 Speaker 1: who's an incredibly a lot better bass player than I am. 387 00:20:09,840 --> 00:20:12,440 Speaker 1: But on the songs of mine that if I had 388 00:20:12,440 --> 00:20:14,320 Speaker 1: a demo, I would put a rough bass on it 389 00:20:14,440 --> 00:20:18,240 Speaker 1: just to find how it should go, and then sometimes 390 00:20:18,280 --> 00:20:20,040 Speaker 1: we would end up I'd have to play it because 391 00:20:20,080 --> 00:20:23,160 Speaker 1: that was the right vibe for the song. On the Waiting, 392 00:20:23,480 --> 00:20:27,240 Speaker 1: for some reason, Ron wasn't there that day or something, 393 00:20:27,280 --> 00:20:30,720 Speaker 1: and so I ended up playing the bass. And what's 394 00:20:30,720 --> 00:20:33,840 Speaker 1: interesting about that song, which I love, one of my 395 00:20:33,840 --> 00:20:37,920 Speaker 1: favorite songs of his, it's very birdsy. At the end 396 00:20:37,960 --> 00:20:40,639 Speaker 1: on the bass, the guitar wasn't I hadn't done my 397 00:20:40,640 --> 00:20:42,840 Speaker 1: guitar part yet. On the end at the bass where 398 00:20:42,840 --> 00:20:44,919 Speaker 1: it breaks down, the bass goes do do Do Do 399 00:20:44,760 --> 00:20:49,040 Speaker 1: Do Do do doo. That was a bass line, and 400 00:20:49,080 --> 00:20:51,800 Speaker 1: so when I went to do the guitar, I found 401 00:20:51,800 --> 00:20:54,200 Speaker 1: that once again the high octaves to sound my guitarl 402 00:20:54,280 --> 00:20:58,760 Speaker 1: say Gang Gang, So that came from the bass part. 403 00:20:59,640 --> 00:21:01,560 Speaker 1: So that was also just a stream of conscious this 404 00:21:01,680 --> 00:21:03,400 Speaker 1: moment where that line came in when I was doing 405 00:21:03,440 --> 00:21:06,919 Speaker 1: the bass. But if you're if you're clever, and you 406 00:21:07,000 --> 00:21:11,240 Speaker 1: listen to what you're doing, you can grab little things 407 00:21:11,240 --> 00:21:13,840 Speaker 1: that you didn't expect to happen, little pieces of magic. 408 00:21:13,880 --> 00:21:16,760 Speaker 1: And if you can catch them and and you know, 409 00:21:17,119 --> 00:21:19,600 Speaker 1: mind them, I think that makes for good music. 410 00:21:20,400 --> 00:21:22,600 Speaker 2: We'll be right back with more of the Taking a 411 00:21:22,600 --> 00:21:30,840 Speaker 2: Walk Podcast. Welcome back to the Taking a Walk Podcast. 412 00:21:31,400 --> 00:21:35,359 Speaker 3: Let's talk about the magic you created on Vagabonds, Virgins 413 00:21:35,400 --> 00:21:41,440 Speaker 3: and Misfits. I just absolutely love this, uh cover to cover, 414 00:21:41,680 --> 00:21:45,080 Speaker 3: as we would say, You've got some great folks that 415 00:21:45,119 --> 00:21:49,560 Speaker 3: are helping you out here, Lucinda Williams and Chris Stapleton, 416 00:21:50,320 --> 00:21:53,800 Speaker 3: Graham Nash of course, and Benmont. 417 00:21:54,080 --> 00:21:56,199 Speaker 4: Talk about how this project came together. 418 00:21:57,200 --> 00:22:00,960 Speaker 1: Well, it was gonna it's a Dirty Knobs album, and 419 00:22:01,119 --> 00:22:03,960 Speaker 1: I started writing songs for the sessions and we came in. 420 00:22:04,600 --> 00:22:06,800 Speaker 1: I like to cut live with the Dirty Knobs, much 421 00:22:06,800 --> 00:22:09,160 Speaker 1: as the Heartbreakers were doing near the end of their 422 00:22:09,160 --> 00:22:11,119 Speaker 1: career and the very beginning of our career. We always 423 00:22:11,119 --> 00:22:14,040 Speaker 1: played live in the studio, and The Dirty Knobs is 424 00:22:14,160 --> 00:22:19,359 Speaker 1: very much spontaneous solos on the fly, you know. I 425 00:22:19,400 --> 00:22:20,919 Speaker 1: tried to get it on tape before they know it 426 00:22:20,920 --> 00:22:23,640 Speaker 1: too well, so it kind of sounds a little rough 427 00:22:23,680 --> 00:22:27,480 Speaker 1: and rowdy. But so I was writing some songs for 428 00:22:27,560 --> 00:22:32,199 Speaker 1: the album and we started recording with our producer, Georgia Coolias. 429 00:22:32,240 --> 00:22:36,000 Speaker 1: We recorded about twenty five songs or more, and then 430 00:22:36,440 --> 00:22:40,040 Speaker 1: I was reassessing all the songs, trying to narrow it 431 00:22:40,080 --> 00:22:42,800 Speaker 1: down to what an album might be. And my wife 432 00:22:42,800 --> 00:22:46,359 Speaker 1: actually suggested you should go back to your tapelocker because 433 00:22:46,359 --> 00:22:50,960 Speaker 1: I've got closets full of two inch tape of demos 434 00:22:50,960 --> 00:22:53,880 Speaker 1: I did back twenty years ago, and I didn't want 435 00:22:53,920 --> 00:22:55,480 Speaker 1: to do that, because I don't like to go back. 436 00:22:55,640 --> 00:22:57,240 Speaker 1: I like to keep moving forward. But she said, no, 437 00:22:57,359 --> 00:22:59,520 Speaker 1: you might have overlooked something. So I went in there 438 00:23:00,040 --> 00:23:01,920 Speaker 1: started listening to those things, and I found four or 439 00:23:01,960 --> 00:23:04,240 Speaker 1: five things that ended up on this record because I 440 00:23:04,280 --> 00:23:06,159 Speaker 1: thought the songs were good and they fit into what 441 00:23:06,200 --> 00:23:08,840 Speaker 1: I was trying to do. And a few of them 442 00:23:08,840 --> 00:23:11,240 Speaker 1: we actually used those tapes and built up from them 443 00:23:11,280 --> 00:23:15,840 Speaker 1: because they had the vibe. And so half the record 444 00:23:15,920 --> 00:23:18,160 Speaker 1: is older songs, and half the record is number songs 445 00:23:18,200 --> 00:23:20,240 Speaker 1: and the other records laying on the floor for the 446 00:23:20,280 --> 00:23:20,760 Speaker 1: next record. 447 00:23:22,240 --> 00:23:23,720 Speaker 4: Let's talk about some of the cuts. 448 00:23:23,760 --> 00:23:26,359 Speaker 3: First of all, the greatest that is the greatest one 449 00:23:26,400 --> 00:23:30,120 Speaker 3: of those that you took off the shelf, and that's. 450 00:23:29,920 --> 00:23:31,639 Speaker 1: A new under It was one of the first songs 451 00:23:31,680 --> 00:23:34,200 Speaker 1: I wrote for the album, and I was we had 452 00:23:34,200 --> 00:23:37,000 Speaker 1: come off a great tour and I wanted to write 453 00:23:37,040 --> 00:23:39,119 Speaker 1: a song that was a thank you to the crowd, 454 00:23:39,440 --> 00:23:42,239 Speaker 1: you know that, And so that song is, you know, 455 00:23:42,359 --> 00:23:44,520 Speaker 1: you are the greatest of the audience, you know. I 456 00:23:44,600 --> 00:23:47,399 Speaker 1: just wanted to give back how much appreciation we have 457 00:23:47,520 --> 00:23:49,800 Speaker 1: for them being there, and so that song kind of 458 00:23:49,840 --> 00:23:51,800 Speaker 1: built out of that, you know, and it just became 459 00:23:51,840 --> 00:23:57,199 Speaker 1: this drone beatlesy harmony kind of I don't know what 460 00:23:57,240 --> 00:23:59,560 Speaker 1: you'd call it, kind of psychedelic in a way. But 461 00:23:59,600 --> 00:24:01,080 Speaker 1: it's again back to the audience. 462 00:24:01,880 --> 00:24:05,280 Speaker 3: I love it, And tell me about Angel of Mercy. 463 00:24:05,600 --> 00:24:06,560 Speaker 4: The creation of that. 464 00:24:07,320 --> 00:24:10,040 Speaker 1: Angela Mercy is an old song that was not in 465 00:24:10,119 --> 00:24:12,000 Speaker 1: the tape blocker. I had tried it on the first 466 00:24:12,040 --> 00:24:14,520 Speaker 1: two albums to cut it because I liked this song 467 00:24:15,400 --> 00:24:18,280 Speaker 1: and it goes back quite away the Dirty Nams when 468 00:24:18,320 --> 00:24:20,480 Speaker 1: we were playing bars when we first got started around 469 00:24:20,640 --> 00:24:25,000 Speaker 1: La we played that song live. So we tried it 470 00:24:25,560 --> 00:24:29,160 Speaker 1: again for the third album and it didn't really measure up, 471 00:24:29,200 --> 00:24:31,679 Speaker 1: and so we basically had finished the record and Georgia 472 00:24:31,760 --> 00:24:33,639 Speaker 1: Trulius came in. He said, you know, I've been listening 473 00:24:33,640 --> 00:24:35,760 Speaker 1: to that song. You guys should cut it again. Let's 474 00:24:35,800 --> 00:24:38,199 Speaker 1: make it sound like a proper record, you know. So 475 00:24:38,280 --> 00:24:42,359 Speaker 1: I said, okay, And so at that point Steve Roni 476 00:24:42,440 --> 00:24:45,120 Speaker 1: came in because I needed a drummer, and he played 477 00:24:45,200 --> 00:24:48,439 Speaker 1: drums on that one song and it made the record. 478 00:24:49,440 --> 00:24:52,520 Speaker 3: We talked about Dare to Dream, which is the single 479 00:24:52,640 --> 00:24:57,040 Speaker 3: with Graham Nash, which is just such a you know, fun, uplifting, 480 00:24:57,359 --> 00:25:01,840 Speaker 3: optimistic song, and I want to talk about hands or 481 00:25:01,960 --> 00:25:04,160 Speaker 3: tied and that. 482 00:25:05,000 --> 00:25:08,040 Speaker 4: Yeah, that guitar, what guitar are. 483 00:25:07,920 --> 00:25:13,160 Speaker 3: You playing on that? That produces such a unique sound there. 484 00:25:13,920 --> 00:25:17,000 Speaker 1: You know, I'm trying to remember. I know it's a 485 00:25:17,160 --> 00:25:20,240 Speaker 1: it's a it's got it by broad up arm. I 486 00:25:20,280 --> 00:25:23,240 Speaker 1: think it was a gretch cranked up through a nap 487 00:25:23,240 --> 00:25:26,120 Speaker 1: because I know it's got like a Neil youngish By 488 00:25:26,200 --> 00:25:29,560 Speaker 1: brought out arm vibe on it. I think it was 489 00:25:29,600 --> 00:25:33,120 Speaker 1: a gritch clipper that I have, same guitar I used 490 00:25:33,160 --> 00:25:35,720 Speaker 1: and I won't back down. And that was an old 491 00:25:35,800 --> 00:25:38,800 Speaker 1: song that I dug up. And that's one of my 492 00:25:38,800 --> 00:25:42,800 Speaker 1: favorite songs. It's a very emotional song and it's it's 493 00:25:42,840 --> 00:25:46,560 Speaker 1: a little dark, but it's one it's you know, it's 494 00:25:46,600 --> 00:25:50,000 Speaker 1: someone's in trouble, the girl or whoever is having a 495 00:25:50,040 --> 00:25:52,119 Speaker 1: really hard time, and you want to help her, you know, 496 00:25:52,320 --> 00:25:54,000 Speaker 1: and it's like whatever it is. It could be drugs, 497 00:25:54,000 --> 00:25:56,760 Speaker 1: it could be illness, whatever it is, and you know, 498 00:25:56,760 --> 00:25:58,879 Speaker 1: I want to help you. My hands are tied, you know, 499 00:25:59,280 --> 00:26:02,239 Speaker 1: I hope what works out, you know kind of thing. So, 500 00:26:02,440 --> 00:26:04,320 Speaker 1: and it's also I like that song. It's got a 501 00:26:04,400 --> 00:26:07,200 Speaker 1: time signature change in it. It goes, which I heard 502 00:26:07,240 --> 00:26:09,240 Speaker 1: I rarely do. I usually write in four four or 503 00:26:09,280 --> 00:26:12,520 Speaker 1: three four. This one has a five four section at 504 00:26:12,520 --> 00:26:16,480 Speaker 1: the top and at the end. And another thing I 505 00:26:16,560 --> 00:26:20,200 Speaker 1: like about that song is my wife is so shy, 506 00:26:20,400 --> 00:26:21,880 Speaker 1: you know, and I've always asked her over the years, 507 00:26:21,880 --> 00:26:23,720 Speaker 1: why don't you come in and sing on something. I'll 508 00:26:23,760 --> 00:26:26,080 Speaker 1: make you sound good, don't worry, you know, And she 509 00:26:26,240 --> 00:26:29,040 Speaker 1: never wanted to. And then one day on this record, 510 00:26:29,119 --> 00:26:31,080 Speaker 1: she came in, I'd like to sing on this record. 511 00:26:31,960 --> 00:26:35,080 Speaker 1: So on that song, she just comes in, ah, And 512 00:26:35,119 --> 00:26:37,240 Speaker 1: we layered her to make this great bed and it 513 00:26:37,280 --> 00:26:40,639 Speaker 1: really gives a song a spiritual quality. So I was 514 00:26:40,680 --> 00:26:43,000 Speaker 1: proud of her for doing that. That's great good. But 515 00:26:43,160 --> 00:26:49,879 Speaker 1: the guitar is is emotional and sweet, and the words 516 00:26:49,880 --> 00:26:52,040 Speaker 1: are you know, spiritual too. 517 00:26:53,359 --> 00:26:57,080 Speaker 3: You know, almost evokes sort of that town without pity 518 00:26:57,320 --> 00:26:59,960 Speaker 3: sort of sound, you know a little bit. 519 00:27:00,640 --> 00:27:03,720 Speaker 1: I also think that I didn't notice this till recently, 520 00:27:03,840 --> 00:27:10,120 Speaker 1: that the guitar, which was a stream of consciousness line, 521 00:27:10,119 --> 00:27:13,960 Speaker 1: it's kind of reminiscent of breakdown a little bit, you know. 522 00:27:14,440 --> 00:27:16,960 Speaker 1: And I think it's that same guy, whoever, that guy 523 00:27:17,000 --> 00:27:20,280 Speaker 1: in me is that placed in that mode. It has 524 00:27:20,320 --> 00:27:22,800 Speaker 1: a little bit of that element in it, and then 525 00:27:22,840 --> 00:27:24,320 Speaker 1: of course at the end it goes into the whole 526 00:27:24,359 --> 00:27:27,760 Speaker 1: Jimmy Hendrix kind of swirly thing. Yeah, thank you for 527 00:27:27,840 --> 00:27:29,840 Speaker 1: mentioning that song. I like that one quite a bit. 528 00:27:30,680 --> 00:27:31,680 Speaker 4: Oh, I love it. 529 00:27:32,280 --> 00:27:34,560 Speaker 3: And then you have a hell or a high water 530 00:27:35,240 --> 00:27:40,840 Speaker 3: where that force of nature Lucinda Williams emerges in that song. 531 00:27:42,520 --> 00:27:46,920 Speaker 3: What a brilliant A brilliant song, brilliant collaboration. 532 00:27:48,119 --> 00:27:50,400 Speaker 4: Talk about how you collaborated with her. 533 00:27:51,400 --> 00:27:53,919 Speaker 1: Yeah, that's a new song that I wrote for the album, 534 00:27:54,640 --> 00:27:57,960 Speaker 1: and I'm very proud of that one because it's a 535 00:27:58,040 --> 00:28:02,080 Speaker 1: lyrical workout. You know, it's a story, there's a character, 536 00:28:02,160 --> 00:28:03,720 Speaker 1: and there's like a little movie, and there's a lot 537 00:28:03,720 --> 00:28:06,640 Speaker 1: of wordplay in it, which I'm starting to really enjoy doing. 538 00:28:07,760 --> 00:28:11,320 Speaker 1: And so we cut it live and I sang it 539 00:28:11,359 --> 00:28:16,080 Speaker 1: most my vocal is live. And then on reflection, I thought, 540 00:28:16,119 --> 00:28:18,280 Speaker 1: you know, there's this character in the song, this girl 541 00:28:18,400 --> 00:28:20,640 Speaker 1: that this guy meets up with and goes into this 542 00:28:21,720 --> 00:28:26,119 Speaker 1: shadowy world for a moment, and I thought, wouldn't it 543 00:28:26,160 --> 00:28:28,000 Speaker 1: be great if we had a female voice in there 544 00:28:28,040 --> 00:28:31,200 Speaker 1: to come in and be that character. And I thought 545 00:28:31,200 --> 00:28:34,800 Speaker 1: of Lucinda once again. She had done my show and 546 00:28:34,840 --> 00:28:37,359 Speaker 1: I said, would you maybe consider singing on the song? 547 00:28:37,440 --> 00:28:40,080 Speaker 1: And she was real shy about it, but she came 548 00:28:40,120 --> 00:28:42,600 Speaker 1: in and she added such a depth of soul to it. 549 00:28:42,680 --> 00:28:45,840 Speaker 1: You know, God bless her. She's so good and she 550 00:28:45,880 --> 00:28:47,160 Speaker 1: really makes the song for me. 551 00:28:47,920 --> 00:28:52,160 Speaker 4: Yeah, it's so memorable, My god. Can you talk about 552 00:28:52,200 --> 00:28:52,600 Speaker 4: the song? 553 00:28:52,760 --> 00:28:58,600 Speaker 3: So alive and in particular just the that grinding, those 554 00:28:58,640 --> 00:29:02,880 Speaker 3: sounds that you get out of guitars there, what is that? 555 00:29:04,520 --> 00:29:08,280 Speaker 1: It's live? It's a I think it's tuned down to D. 556 00:29:08,480 --> 00:29:12,240 Speaker 1: The low string is tuned down for a deep growl, 557 00:29:13,080 --> 00:29:15,400 Speaker 1: and it's just in a burst of adrenaline. You know. 558 00:29:15,480 --> 00:29:17,520 Speaker 1: It's just like I feel so alive every time I 559 00:29:17,560 --> 00:29:20,120 Speaker 1: see you. You know, it's kind of almost corny, but 560 00:29:20,160 --> 00:29:22,920 Speaker 1: the music I think gives it some depth and it's 561 00:29:22,960 --> 00:29:25,400 Speaker 1: just a it's just a you know, dirty Noms at 562 00:29:25,400 --> 00:29:28,560 Speaker 1: their best and the solos live on the floor, you know, 563 00:29:28,760 --> 00:29:31,720 Speaker 1: the mistakes and all, but it's just I just see 564 00:29:31,720 --> 00:29:34,240 Speaker 1: it as a burst of adrenaline. And we got Steve 565 00:29:34,280 --> 00:29:38,520 Speaker 1: and already just seeing oh oh oh there, which is hilarious. 566 00:29:39,480 --> 00:29:40,040 Speaker 4: I love it. 567 00:29:41,640 --> 00:29:46,480 Speaker 3: Don't wait up with Chris Stapleton and Benmont Tench. That 568 00:29:46,680 --> 00:29:51,440 Speaker 3: is another stellar collaboration. And tell me how that came together. 569 00:29:52,280 --> 00:29:54,680 Speaker 1: That was an older song that we had played in 570 00:29:54,720 --> 00:29:59,120 Speaker 1: the bars before and I had a I discovered a 571 00:29:59,120 --> 00:30:02,280 Speaker 1: two inch take analog version of it that was really 572 00:30:02,320 --> 00:30:06,320 Speaker 1: really good, and I tied you it up a little bit, 573 00:30:06,920 --> 00:30:11,120 Speaker 1: and Chris Stapleton was over to write one day or something, 574 00:30:11,800 --> 00:30:14,360 Speaker 1: and I begged him to sing on it, which he did. 575 00:30:14,760 --> 00:30:18,240 Speaker 1: He sang great. And Ben Mot came over one day 576 00:30:18,320 --> 00:30:20,920 Speaker 1: and we said, I have a Steinway in my living room. 577 00:30:20,960 --> 00:30:22,960 Speaker 1: He barely used it. We set up the MIC's in 578 00:30:23,000 --> 00:30:24,960 Speaker 1: there for him and he did one take of Jerry 579 00:30:25,160 --> 00:30:28,960 Speaker 1: Lewis on it. It's tremendous and it's a funny song, 580 00:30:29,000 --> 00:30:32,800 Speaker 1: you know. It's the words are kind of you know, 581 00:30:32,840 --> 00:30:35,360 Speaker 1: I Am the Walrus, a little bit like nonsensic COVID 582 00:30:35,400 --> 00:30:38,400 Speaker 1: and a weird way that kind of make sense. And 583 00:30:38,440 --> 00:30:40,440 Speaker 1: it's just kind of got a sense of humor in it. 584 00:30:40,480 --> 00:30:42,400 Speaker 1: But it's a real burst of adrenaline. You know. The 585 00:30:42,920 --> 00:30:45,600 Speaker 1: guys are really going for especially our bass player Crawdaddy 586 00:30:46,320 --> 00:30:49,160 Speaker 1: Lance Morrison. He just altered the album. He's just pumping it. 587 00:30:49,240 --> 00:30:49,920 Speaker 1: He's so good. 588 00:30:50,840 --> 00:30:54,200 Speaker 3: Yeah, talk about Lance Morrison and how you love playing 589 00:30:54,280 --> 00:30:55,960 Speaker 3: with these guys in the Dirty Knobs. 590 00:30:56,720 --> 00:31:00,520 Speaker 1: Our guitar is a guy named Chris Holt. We call 591 00:31:00,640 --> 00:31:04,480 Speaker 1: him Sidewinder. He's from Texas too, and he's all over 592 00:31:04,560 --> 00:31:07,600 Speaker 1: this new record. He is a real breath of fresh air. 593 00:31:07,680 --> 00:31:09,920 Speaker 1: He's a great singer. He can play piano. A lot 594 00:31:09,960 --> 00:31:12,560 Speaker 1: of the piano you hear is him and the guitar. 595 00:31:13,560 --> 00:31:17,440 Speaker 1: He's just incredible. And his voice sounds real good with 596 00:31:17,480 --> 00:31:18,920 Speaker 1: mine because I need a lot of help, but he 597 00:31:19,000 --> 00:31:22,360 Speaker 1: makes me sound better. And like, there's another song on 598 00:31:22,360 --> 00:31:24,360 Speaker 1: the album called Shake These Blues, which is kind of 599 00:31:24,360 --> 00:31:28,920 Speaker 1: a rave and we cut the track live and I 600 00:31:28,960 --> 00:31:31,360 Speaker 1: said to Chris, I said, when we get to your solo, 601 00:31:31,600 --> 00:31:34,360 Speaker 1: just make something up, you know. He's like, and he did. 602 00:31:34,680 --> 00:31:36,680 Speaker 1: He was right on the money. He nailed it, you know. 603 00:31:37,280 --> 00:31:38,800 Speaker 1: And he's like that. I could just look at him, 604 00:31:38,840 --> 00:31:40,560 Speaker 1: he could do this, and you go, all right, you'll 605 00:31:40,560 --> 00:31:42,640 Speaker 1: do it better than I thought he would. So he's 606 00:31:43,600 --> 00:31:46,720 Speaker 1: Chris Holt is a real fine and so I'm lucky 607 00:31:46,760 --> 00:31:49,040 Speaker 1: to have those guys. And now Steve Feroni on the 608 00:31:49,120 --> 00:31:51,360 Speaker 1: drums is quite a band, I. 609 00:31:51,280 --> 00:31:54,960 Speaker 3: Would say so, speaking a sense of humor too, my 610 00:31:55,080 --> 00:31:55,760 Speaker 3: old friends. 611 00:31:56,120 --> 00:31:58,760 Speaker 4: That one made me smile. 612 00:32:00,840 --> 00:32:04,280 Speaker 1: At this job. Well, you know, that's a I wasn't 613 00:32:04,320 --> 00:32:05,800 Speaker 1: going to put it on the record because I thought 614 00:32:05,840 --> 00:32:09,920 Speaker 1: it was a little, you know, in joke, but Georgie 615 00:32:10,040 --> 00:32:11,760 Speaker 1: Coruleier said no, it would sound great at the end, 616 00:32:11,800 --> 00:32:13,440 Speaker 1: you know, just a little breath of fresh air at 617 00:32:13,440 --> 00:32:16,360 Speaker 1: the end, and the little humor is good. And that's 618 00:32:16,360 --> 00:32:19,520 Speaker 1: obviously just me discovering how to play with words. You know. 619 00:32:19,560 --> 00:32:22,800 Speaker 1: I got this idea that there's all these alcoholic drinks 620 00:32:22,880 --> 00:32:25,560 Speaker 1: that could be people, you know, because they have names 621 00:32:25,640 --> 00:32:29,040 Speaker 1: like Don perry On or Captain Morgan. So I figured 622 00:32:29,080 --> 00:32:31,840 Speaker 1: I'll just make the drinks the characters in the song, 623 00:32:31,960 --> 00:32:34,880 Speaker 1: you know, but say goodbye to them because you can't 624 00:32:34,880 --> 00:32:38,440 Speaker 1: get sucked into that world, you know. So it's a 625 00:32:38,440 --> 00:32:41,520 Speaker 1: tongue in cheeks song, but it is fun and Chris 626 00:32:41,560 --> 00:32:44,360 Speaker 1: Stapleton actually sings harmony on it too, which is good. 627 00:32:45,480 --> 00:32:46,880 Speaker 4: And tell me about Innocent Man. 628 00:32:46,920 --> 00:32:50,440 Speaker 3: Since we've covered I think everything other than Amanda Lynn, 629 00:32:50,480 --> 00:32:52,040 Speaker 3: tell me about Innocent Man as well. 630 00:32:52,840 --> 00:32:54,760 Speaker 1: It's got that droney kind of I don't know what 631 00:32:54,880 --> 00:32:59,920 Speaker 1: to compare it to. It's kind of Appalachian or Irish Alma. 632 00:33:00,280 --> 00:33:02,360 Speaker 1: But it's got that riff in it, and it's got 633 00:33:02,520 --> 00:33:05,680 Speaker 1: another story song which I had these characters, and it's 634 00:33:05,680 --> 00:33:08,240 Speaker 1: also an old song that I used to play back 635 00:33:08,280 --> 00:33:11,040 Speaker 1: in the bars and that I pulled out and refined 636 00:33:11,040 --> 00:33:13,680 Speaker 1: it a bit. But I like it because it's like 637 00:33:13,720 --> 00:33:15,680 Speaker 1: a movie, you know, you could. There's a lot of 638 00:33:15,680 --> 00:33:21,120 Speaker 1: descriptive characters throughout the song, and it's partly autobiographical. There's 639 00:33:21,160 --> 00:33:23,760 Speaker 1: a version there where it talks about the attack training dogs, 640 00:33:23,760 --> 00:33:27,120 Speaker 1: coming on the bus and snipping around for drugs, which 641 00:33:27,160 --> 00:33:29,960 Speaker 1: actually happened to the Heartbreakers. Once it's going into Canada. 642 00:33:30,800 --> 00:33:33,080 Speaker 1: We had stopped and put all our pot and stuff 643 00:33:33,160 --> 00:33:35,960 Speaker 1: and a hotel room on the American side. We'll pick 644 00:33:36,000 --> 00:33:38,120 Speaker 1: it up after we come back, you know. So we're 645 00:33:38,160 --> 00:33:39,880 Speaker 1: going across the border at four in the morning, and 646 00:33:39,920 --> 00:33:42,880 Speaker 1: they stopped the bus. Then the German shepherd came on 647 00:33:42,920 --> 00:33:45,000 Speaker 1: the bus and went straight for our tour manager's coat 648 00:33:45,280 --> 00:33:46,720 Speaker 1: and he had a little half of a joint that 649 00:33:46,760 --> 00:33:49,920 Speaker 1: he forgot about. So they drug us in, you know, 650 00:33:49,960 --> 00:33:52,440 Speaker 1: in the freezing cold, and made a strip search and 651 00:33:52,440 --> 00:33:55,240 Speaker 1: all that shit. So that made its way into the song. 652 00:33:55,360 --> 00:33:57,360 Speaker 1: So there's a little bit of that now the title. 653 00:33:57,920 --> 00:34:00,520 Speaker 1: When I first wrote it, I was calling it immigran man, 654 00:34:01,320 --> 00:34:05,080 Speaker 1: you know. And then George Couleius one day he goes, 655 00:34:05,120 --> 00:34:07,600 Speaker 1: you know, that's that's a cool idea, but you might 656 00:34:07,680 --> 00:34:12,640 Speaker 1: get a little you know, political whatever from that, And 657 00:34:12,680 --> 00:34:14,319 Speaker 1: I said, yeah, maybe, So I said, what if you 658 00:34:14,320 --> 00:34:16,400 Speaker 1: call it innocent man? He said, you know what, that's better. 659 00:34:16,600 --> 00:34:19,240 Speaker 1: It's got a wider palette. So I gave him credit 660 00:34:19,280 --> 00:34:20,319 Speaker 1: for co writing a song. 661 00:34:22,840 --> 00:34:23,920 Speaker 4: Tell me what you have. 662 00:34:25,440 --> 00:34:31,760 Speaker 3: Learned from being around two of the greats besides Tom 663 00:34:31,880 --> 00:34:36,520 Speaker 3: obviously Don Henley and Bob Dylan. 664 00:34:37,520 --> 00:34:40,200 Speaker 1: Well, how lucky am I? You know? My life is 665 00:34:40,320 --> 00:34:42,560 Speaker 1: like that. You know, things have been throughout my life 666 00:34:43,760 --> 00:34:45,960 Speaker 1: just been charmed. Things have dropped in my lap, you know. 667 00:34:46,080 --> 00:34:49,279 Speaker 1: And the thing with Don Henley boys this summer was 668 00:34:49,360 --> 00:34:52,920 Speaker 1: just something that was a chain of events that Jimmy 669 00:34:52,960 --> 00:34:56,839 Speaker 1: Iavin kind of spearheaded that track because Tom didn't hear 670 00:34:56,920 --> 00:34:59,759 Speaker 1: what to do with it at that time. He later 671 00:35:00,200 --> 00:35:01,600 Speaker 1: said to me, Tom said to me, you know, I 672 00:35:01,600 --> 00:35:04,160 Speaker 1: shouldn't have let that one get away. Might have been 673 00:35:04,160 --> 00:35:06,399 Speaker 1: in my presence of mind, I would have kept that one. 674 00:35:06,480 --> 00:35:09,319 Speaker 1: But it ended up but with Don and he did 675 00:35:09,360 --> 00:35:12,560 Speaker 1: an amazing, amazing job, and I'm really proud of that song. 676 00:35:13,600 --> 00:35:15,760 Speaker 1: And Don is just you know, he's one of the greats, 677 00:35:15,840 --> 00:35:19,719 Speaker 1: you know, and he's always been really kind to me 678 00:35:19,840 --> 00:35:23,640 Speaker 1: and very generous with the songs that we've done. And 679 00:35:23,680 --> 00:35:27,520 Speaker 1: of course Bob Dylan showed up in our lives. We 680 00:35:27,560 --> 00:35:31,239 Speaker 1: did a world tour with him with the Heartbreakers, which 681 00:35:31,280 --> 00:35:35,520 Speaker 1: he's very inspirational and eye opening and just being around 682 00:35:35,719 --> 00:35:41,160 Speaker 1: someone who's that special and deep, I hope some of 683 00:35:41,200 --> 00:35:45,120 Speaker 1: it rubbed off, but you know, he was just so 684 00:35:45,239 --> 00:35:47,200 Speaker 1: full of wisdom. He said to me once, when you're 685 00:35:47,200 --> 00:35:51,520 Speaker 1: writing a song, don't just write three verses in a chorus, 686 00:35:51,560 --> 00:35:55,920 Speaker 1: you know, write twenty verses, you know, because you know, 687 00:35:55,960 --> 00:36:00,000 Speaker 1: while you're in that place you're you know, number fourteen 688 00:36:00,120 --> 00:36:02,080 Speaker 1: fifteen might be great that you would never have gotten 689 00:36:02,080 --> 00:36:05,280 Speaker 1: to them. So you know, channel and work for better lyrics, 690 00:36:05,320 --> 00:36:07,839 Speaker 1: you know, And so I try to emulate that. I've 691 00:36:07,920 --> 00:36:09,560 Speaker 1: learned a lot from him just watching them. 692 00:36:10,040 --> 00:36:12,800 Speaker 3: So tell me how much you're looking forward to being 693 00:36:12,840 --> 00:36:13,560 Speaker 3: out on the road. 694 00:36:14,480 --> 00:36:17,480 Speaker 1: Oh, I can't wait the band. You got all these 695 00:36:17,520 --> 00:36:19,239 Speaker 1: new songs to learn, you know, we have a whole 696 00:36:19,239 --> 00:36:21,360 Speaker 1: new set. We'll have to let some of the old songs, 697 00:36:22,480 --> 00:36:24,160 Speaker 1: go by the wayside for a while and work in 698 00:36:24,200 --> 00:36:25,600 Speaker 1: all the I'm going to play most of the songs 699 00:36:25,640 --> 00:36:28,600 Speaker 1: off the new record, and we've got a great opening 700 00:36:28,640 --> 00:36:31,799 Speaker 1: actors girl Shannon McNally is going to open the tour 701 00:36:31,880 --> 00:36:35,719 Speaker 1: for us, and the band is ready to go. You know, 702 00:36:36,080 --> 00:36:39,080 Speaker 1: I missed the crowds, and I missed the whole. I 703 00:36:39,160 --> 00:36:41,319 Speaker 1: like being on the road, you know, and I like 704 00:36:41,400 --> 00:36:43,959 Speaker 1: playing for people. And we've got to the stage where 705 00:36:44,000 --> 00:36:46,560 Speaker 1: we can play theaters now. You know, we're not in 706 00:36:46,640 --> 00:36:51,000 Speaker 1: the biker bars, not that there's anything wrong with biker bars, 707 00:36:51,000 --> 00:36:53,359 Speaker 1: but I like the theaters better because it sounds better 708 00:36:53,400 --> 00:36:56,440 Speaker 1: and they're a little bigger, and so we've worked up 709 00:36:56,440 --> 00:36:58,600 Speaker 1: to that stage. I mean they're small theaters, some of 710 00:36:58,640 --> 00:37:01,960 Speaker 1: them are medium size. But that'll make it a lot 711 00:37:02,040 --> 00:37:05,239 Speaker 1: more fun, you know. We'll have better venues. And Steve 712 00:37:05,320 --> 00:37:07,120 Speaker 1: Feroni on the drums on this tour. He'll be a 713 00:37:07,160 --> 00:37:10,120 Speaker 1: lot of fun to play with, and the crowd loves him, 714 00:37:10,360 --> 00:37:12,200 Speaker 1: and we get to play all these new songs. I'm 715 00:37:12,239 --> 00:37:14,920 Speaker 1: just jazzed, you know. It's that's what I do. I 716 00:37:14,960 --> 00:37:16,280 Speaker 1: write songs and go play them. 717 00:37:16,440 --> 00:37:20,880 Speaker 3: You know, will you be writing on the road, continuously 718 00:37:21,120 --> 00:37:22,000 Speaker 3: moving forward. 719 00:37:22,719 --> 00:37:25,759 Speaker 1: I write all the time I have found typically on 720 00:37:25,840 --> 00:37:30,080 Speaker 1: the road, I'm so drained from the tour the gigs 721 00:37:30,080 --> 00:37:32,319 Speaker 1: that I don't write that much. I tend to write 722 00:37:32,320 --> 00:37:33,920 Speaker 1: more when I'm at home and I have you know, 723 00:37:34,000 --> 00:37:36,600 Speaker 1: free time. But every now and then I might get 724 00:37:36,600 --> 00:37:38,359 Speaker 1: a sketch of an idea and I'll put it down. 725 00:37:38,680 --> 00:37:41,360 Speaker 1: But mostly I'm focused on the gigs when I'm traveling. 726 00:37:42,280 --> 00:37:48,360 Speaker 3: So as someone who is continuously learning in your craft, 727 00:37:48,640 --> 00:37:54,439 Speaker 3: in closing, what haven't you learned that you want to learn? 728 00:37:55,760 --> 00:37:57,440 Speaker 1: Well, I want to learn to be a better singer, 729 00:37:57,719 --> 00:38:01,680 Speaker 1: a better writer, and a better guitar player. I can 730 00:38:01,680 --> 00:38:05,120 Speaker 1: always get better as the beauty of the guitar and 731 00:38:05,280 --> 00:38:07,799 Speaker 1: music in general. You know, the more you learn, the 732 00:38:07,840 --> 00:38:11,480 Speaker 1: more there is to learn. I just want to get 733 00:38:11,480 --> 00:38:14,719 Speaker 1: better mostly though the guitar is kind of I kind 734 00:38:14,760 --> 00:38:17,080 Speaker 1: of just do that instinctively. I don't have to work 735 00:38:17,120 --> 00:38:20,040 Speaker 1: at it too hard as comes to me. But the singing, 736 00:38:20,120 --> 00:38:24,480 Speaker 1: I'm working on finding my own voice and writing my 737 00:38:24,520 --> 00:38:29,520 Speaker 1: own characters and putting songs together that you know, hopefully 738 00:38:29,560 --> 00:38:32,000 Speaker 1: will inspire people. You know, I know I can get 739 00:38:32,000 --> 00:38:34,160 Speaker 1: better at that, So I'm going to keep struggling with 740 00:38:34,200 --> 00:38:35,439 Speaker 1: that to get as good as I can. 741 00:38:36,680 --> 00:38:38,799 Speaker 3: I am so grateful that we got to spend this 742 00:38:38,920 --> 00:38:43,120 Speaker 3: time together. Mike Campbell, Vagabonds, Virgins and Misfits go check 743 00:38:43,160 --> 00:38:43,520 Speaker 3: it out. 744 00:38:43,640 --> 00:38:46,960 Speaker 4: It is an amazing record, and Mike. 745 00:38:46,800 --> 00:38:49,480 Speaker 3: Thank you for the time, but thank you for all 746 00:38:49,920 --> 00:38:52,279 Speaker 3: the great music you continue to give us. 747 00:38:53,000 --> 00:38:55,359 Speaker 1: Well. You're very welcome, and thank you bus for taking 748 00:38:55,400 --> 00:38:56,440 Speaker 1: the time from me today. 749 00:38:58,200 --> 00:39:00,640 Speaker 2: Thanks for listening to this episode of the Taking a 750 00:39:00,680 --> 00:39:04,560 Speaker 2: Walk podcast. Share this and other episodes with your friends 751 00:39:04,680 --> 00:39:08,120 Speaker 2: and follow us so you never miss an episode. Taking 752 00:39:08,200 --> 00:39:12,080 Speaker 2: a Walk is available on the iHeartRadio app, Apple Podcasts, 753 00:39:12,280 --> 00:39:15,280 Speaker 2: and wherever you get your podcasts.