WEBVTT - Eric Johnson

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Lefts That Podcast.

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<v Speaker 1>My guest today is guitarist extraordinary Eric Johnson. Eric, you

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<v Speaker 1>posted instructional videos on YouTube during COVID. Tell me about that.

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<v Speaker 2>Well, it was kind of a crazy time, and so,

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<v Speaker 2>you know, with everybody being kind of insulated, I thought

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<v Speaker 2>what could I do to help? And I just thought

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<v Speaker 2>doing all these lessons and asking people to contribute to

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<v Speaker 2>the food bank because I'm you know, hearing about people

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<v Speaker 2>not being able to eat. I mean, it's just like man,

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<v Speaker 2>you know, so I thought, well, that's a little something

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<v Speaker 2>I can do, and it kind of gives way to like, well,

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<v Speaker 2>what else can you do? You know what? What can

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<v Speaker 2>you keep doing? You know, and because a lot of

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<v Speaker 2>people are struggling, you know, so I just tried to

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<v Speaker 2>do something and it's something that people could get something

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<v Speaker 2>out of, you know.

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<v Speaker 1>Okay, So when you make a lesson, what goes through

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<v Speaker 1>your mind? What do you want to teach?

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<v Speaker 2>Well when I did, I did a series of twenty

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<v Speaker 2>nine lessons for that, and basically I just tried to

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<v Speaker 2>impart the little pieces of the puzzle that helped me

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<v Speaker 2>garner and and create my style. Am I playing or

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<v Speaker 2>my concept of music. And so I tried to keep

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<v Speaker 2>it in little encapsulated pieces. I'm like, oh, you know,

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<v Speaker 2>and they usually were only like two minutes three minutes long,

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<v Speaker 2>and I would show an example, and I would just

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<v Speaker 2>show like a little thing each time, like oh, here's

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<v Speaker 2>how you hold the pick, here's how you touch the string,

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<v Speaker 2>and here's your intention philosophy or you know, all just

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<v Speaker 2>all the different apertures of how to make music. And

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<v Speaker 2>so I just try to leave it in little tiny

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<v Speaker 2>mintory vignette chapters and did twenty nine of them and stuff.

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<v Speaker 1>Yeah, well, for those who haven't seen them, give us

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<v Speaker 1>an example.

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<v Speaker 2>Well, you know, I would do one like on, here's

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<v Speaker 2>how I hold the pick, you know, and here's how

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<v Speaker 2>I strike the string, And then I would play a

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<v Speaker 2>little piece of music showing that. I would sometimes I say, well,

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<v Speaker 2>here's if you don't quite strike it correctly in my opinion,

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<v Speaker 2>and here's when you strike it correctly, and I'd show

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<v Speaker 2>the difference in how it would sound, or how fretting

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<v Speaker 2>the instrument makes it different, the sweet spot of how

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<v Speaker 2>you use your hand to fret the instrument. Like violin players,

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<v Speaker 2>they want to really have a positive intent in their

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<v Speaker 2>contact of the string to help their tone. It comes

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<v Speaker 2>from both the picking and from the fretting. And or

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<v Speaker 2>I do one on muting, which is it's kind of like,

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<v Speaker 2>you know, when you paint, you paint all this stuff,

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<v Speaker 2>but then there's all the stuff you don't paint that

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<v Speaker 2>creates the velocity of stuff you do paint. So when

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<v Speaker 2>you're playing an instrument, you play the instrument, but then

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<v Speaker 2>you have to mute and basically turn off all the

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<v Speaker 2>parts that you're not playing. So that means you have

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<v Speaker 2>to use your hands to mute the strings where you're

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<v Speaker 2>not playing, so that you can provide a purity to

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<v Speaker 2>the notes that you are playing. It's kind of like

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<v Speaker 2>muting the space between the notes, you know, so it's

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<v Speaker 2>cleaner and pure sounding.

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<v Speaker 1>Well, guitar playing, is it nature or nurture?

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<v Speaker 2>Wow, that's a good question. I think that anything people

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<v Speaker 2>do in life, if they have a passion or an

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<v Speaker 2>interest or they a connection with it, then they automatically

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<v Speaker 2>have interest and enthusiasm and more galore to get out

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<v Speaker 2>there and go for it, you know. But I think

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<v Speaker 2>there's a people, maybe a certain talent that's intrinsic in them.

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<v Speaker 2>But I think it's mostly purported by your interest in

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<v Speaker 2>your just dedication because you love doing it, you know.

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<v Speaker 1>So how did you pick up the guitar?

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<v Speaker 2>When I was three years old? My my, this is

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<v Speaker 2>many many years ago. My dad had some you know,

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<v Speaker 2>back in the days before cable TV. He's like, he

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<v Speaker 2>built a fifty foot antenna outside and he had some

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<v Speaker 2>gentleman come over to help him set it in concrete

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<v Speaker 2>and stuff. And at the end of it, one of

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<v Speaker 2>the men named Marris Young, he got out of guitar

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<v Speaker 2>and plugged in outside and we had a little party

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<v Speaker 2>because oh they finished the TV now you know, the

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<v Speaker 2>area or whatever, and he's playing all this Elmore James

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<v Speaker 2>and Jimmy Reid stuff, this distorted tone. I was just like,

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<v Speaker 2>oh my god, that's just an incredible sound. But soon

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<v Speaker 2>after that I started taking piano lists, and so I

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<v Speaker 2>kind of set aside the interest in guitar and just

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<v Speaker 2>studied piano for seven years. But and then I really

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<v Speaker 2>got back into guitar when I was eleven, because that's

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<v Speaker 2>when the you know, my brother had a friend named

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<v Speaker 2>Bobby Spiller that played guitar, and he brought his band

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<v Speaker 2>over and they're doing all these Adventures tunes and really

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<v Speaker 2>early pop tunes like in sixty four sixty five, and

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<v Speaker 2>I just was really enamored with it.

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<v Speaker 1>Okay, piano, to what degree do your skills remain and

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<v Speaker 1>to what degree can you still read music? Well?

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<v Speaker 2>I can read music. I'm a pretty poor reader, mostly

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<v Speaker 2>because I don't keep it up, but I usually kind

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<v Speaker 2>of learned by ear. I still play piano, and I

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<v Speaker 2>play piano a little bit live, especially if I do

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<v Speaker 2>like solo acoustic tours, but I usually play a considerable

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<v Speaker 2>amount of keyboards on my records, and I love piano.

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<v Speaker 2>Piano is kind of like my favorite first instrument, even

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<v Speaker 2>though I'm not a great pianist by any means, but

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<v Speaker 2>I have the potential inside me to kind of understand it.

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<v Speaker 2>So I try to push myself and do it as

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<v Speaker 2>good a job as I can on playing it.

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<v Speaker 1>Okay, Well, at this late date, there's so many different

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<v Speaker 1>kinds of keyboards with different sounds from rolling, there are synthesizers.

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<v Speaker 1>Are you also a fan and do you delve into that?

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<v Speaker 1>Are you more of a purist?

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<v Speaker 2>I like acoustic piano mostly so usually when I if

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<v Speaker 2>I do use it live, I'll try to find a

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<v Speaker 2>really good synth that has a very nice natural acoustic

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<v Speaker 2>grand piano sound, and every once in a while I'll

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<v Speaker 2>use like a Fender road setting, but mostly I just

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<v Speaker 2>go for just a natural sound. And when I do

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<v Speaker 2>the solo acoustic tours, I'll actually use a grand piano.

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<v Speaker 2>We'll just mike it. But I like synthesizers and everything

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<v Speaker 2>to do. It's just not really something I've gotten into.

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<v Speaker 1>Okay, so your brother starts playing, how much was it

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<v Speaker 1>the Ventures? Because if you go back there, there was

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<v Speaker 1>really a line of demarcation between The Ventures, the Four Seasons,

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<v Speaker 1>the Beach Boys, and all of a sudden January sixty four,

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<v Speaker 1>the Beatles come along. So how influential for you was

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<v Speaker 1>the British invasion in the Beatles?

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<v Speaker 2>Oh? It was huge. It was huge. It was just

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<v Speaker 2>like this incredible new entrance of music and people's personas

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<v Speaker 2>and lifestyle and stuff, and it was fascinating. I think

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<v Speaker 2>that no matter what I took in, it was always

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<v Speaker 2>I always was really looking for guitar stuff at that point.

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<v Speaker 2>I was just just had an insatiable desire to learn

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<v Speaker 2>more about guitars. So, you know, originally I think Nooki

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<v Speaker 2>Edwards of The Ventures was a huge hero and somebody

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<v Speaker 2>I learned to play from. I would just pick out

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<v Speaker 2>his records note for note, and then then I got

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<v Speaker 2>into the Yardbirds with Jeff Beck and you know John

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<v Speaker 2>may On, the Blues Breakers with Eric Clapton, and just

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<v Speaker 2>sit and learn learn it note for note, which is

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<v Speaker 2>I think a great ongoing chapter in somebody's evolution, you know,

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<v Speaker 2>to copy. I mean I remember when I was a

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<v Speaker 2>kid playing starting to play shows, and everybody's like, oh,

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<v Speaker 2>you're just playing exactly like you know, Eric Clapton or

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<v Speaker 2>But I think I encourage kids to do that because

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<v Speaker 2>that's how you are able to study that screen of

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<v Speaker 2>expertise of how somebody does what they do, and then

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<v Speaker 2>you you you go from that. You don't want to

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<v Speaker 2>stay there. It's just, you know, you want to be

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<v Speaker 2>your own person, your own own artists. But I think

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<v Speaker 2>it's just a valuable step. So that's what I did.

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<v Speaker 2>Those were the guys that started me. But I liked

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<v Speaker 2>the Beatles, I mean in the Rolling Stones. I loved

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<v Speaker 2>Brian Jones, like the early early early Rolling Stone stuff.

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<v Speaker 1>Okay, back in those days when we all picked up

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<v Speaker 1>the guitar, the big thing we did was we put

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<v Speaker 1>on the record and we kept dropping the needle. We

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<v Speaker 1>might slow the record down. Is that how you learn

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<v Speaker 1>the notes?

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<v Speaker 2>Or Yeah, it's way different than nowadays. If you got

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<v Speaker 2>into a really hard lick a ope, okay, put it

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<v Speaker 2>on sixteen. I can't play that fast, and then you'd

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<v Speaker 2>have to like think in your mind, okay, I'm going

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<v Speaker 2>to transpose that up to octaves or whatever. Yeah, it's

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<v Speaker 2>a way different day than nowadays. It's like that four

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<v Speaker 2>minute mile thing, you know. And as we have more

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<v Speaker 2>and more we go forward. I mean, you know, if

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<v Speaker 2>you look at people and what they do a motocross

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<v Speaker 2>where they jump up in the air and they flip

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<v Speaker 2>the bike and they flip themselves but they're not even

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<v Speaker 2>connected to the bike. Then they come back and they

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<v Speaker 2>joined the bike and do that. I mean like forty

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<v Speaker 2>years ago, fifty years ago, that's not possible, but you

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<v Speaker 2>know it's possible now, you know, with the you know,

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<v Speaker 2>the advent of computers and people being able to slow

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<v Speaker 2>stuff down and just you know, completely dissect something on

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<v Speaker 2>a sonic level. It is really it's a faster learning process.

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<v Speaker 2>I think.

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<v Speaker 1>And did you ever take lessons?

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<v Speaker 2>I took piano lessons for seven years, and I took

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<v Speaker 2>guitar lessons for two or three months and I got

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<v Speaker 2>in trouble for something I did. I don't know exactly

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<v Speaker 2>I can what was it did, but my parents grounded

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<v Speaker 2>me and they said, okay, we're grounding you and we're

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<v Speaker 2>taking away your guitar lessons, which I was like, oh no, God,

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<v Speaker 2>don't do that, you know, because but what i'd and

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<v Speaker 2>so what it forced me to do, said, well, I

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<v Speaker 2>can play piano. So I sat down with the guitar

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<v Speaker 2>and the piano, and I started hitting the notes on

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<v Speaker 2>the piano and I would find him on the guitar

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<v Speaker 2>and I would just one by one find all the

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<v Speaker 2>notes on the guitar on each string as relating to

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<v Speaker 2>the piano. So I and then I realized there was

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<v Speaker 2>a symmetry there, and then I was say, oh, I see,

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<v Speaker 2>so all I got to do is transfer that over

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<v Speaker 2>here and then I can kind of look at the

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<v Speaker 2>guitar from a musical standpoint.

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<v Speaker 1>Okay, but there's some basic things, you know, making a

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<v Speaker 1>g chord, which fingers you use, slide which fingers you used?

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<v Speaker 1>Did you just stumble in or someone say no, this

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<v Speaker 1>is the way to do it.

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<v Speaker 2>Well, I had a friend named Jimmy Shade who was

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<v Speaker 2>ahead of me on guitar, and he would come over.

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<v Speaker 2>He was about three years older than me, and he

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<v Speaker 2>was playing in bands and stuff, and he'd come over

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<v Speaker 2>and show me a lot of stuff, and he had

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<v Speaker 2>a great ear. He could pick anything off a record.

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<v Speaker 2>And so between me just trying on my own and

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<v Speaker 2>him showing me stuff, I was able to kind of

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<v Speaker 2>just keep going forward.

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<v Speaker 1>And at this late date, if I play you a record,

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<v Speaker 1>how long will it take you to learn that record?

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<v Speaker 2>What depends on the piece of music, But it's I'm

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<v Speaker 2>able to do that. Just sit and, you know, work

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<v Speaker 2>on it and learn it.

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<v Speaker 1>Okay, so you're playing guitar. What guitar are you using?

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<v Speaker 2>Well, it's my very first guitar ever played, probably when

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<v Speaker 2>I was just turned eleven. Was went over with my

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<v Speaker 2>dad to a friend of his and they had a

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<v Speaker 2>little stell Acoustic and they let me borrow it for

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<v Speaker 2>a few weeks, and my first song I learned was

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<v Speaker 2>Your Cheating Heart. But then I had to give the

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<v Speaker 2>Stella back. But because I was so enamored with the

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<v Speaker 2>ventures I was, I pleaded with my dad that I

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<v Speaker 2>could get an electric guitar. So we went down to JR.

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<v Speaker 2>Reid Music in downtown Austin and he bought me a

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<v Speaker 2>white Fender. Well he we got on loan a Fender

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<v Speaker 2>music master, took it home and it was I guess

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<v Speaker 2>my dad was playing on the buy it, but it

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<v Speaker 2>was kind of like he was like, I don't know it,

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<v Speaker 2>we'll check it out. And I was. It was sitting

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<v Speaker 2>on the bed and I was jumping up and down

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<v Speaker 2>the bed and the guitar fell over on the ground

0:12:22.320 --> 0:12:25.320
<v Speaker 2>and put a big scratch on it, and my dad said, oh, well,

0:12:25.360 --> 0:12:28.640
<v Speaker 2>I guess we have to buy it now. And that's

0:12:28.640 --> 0:12:30.280
<v Speaker 2>how that I got the guitar. I don't know if

0:12:30.320 --> 0:12:32.040
<v Speaker 2>he was playing, if that was, I don't know how

0:12:32.040 --> 0:12:33.480
<v Speaker 2>that all went. But he was kind of like, hey,

0:12:33.520 --> 0:12:35.720
<v Speaker 2>you put a big scratch on us, and now I

0:12:35.720 --> 0:12:37.160
<v Speaker 2>guess we had to buy it. But that's how I

0:12:37.200 --> 0:12:37.800
<v Speaker 2>got the guitar.

0:12:38.480 --> 0:12:39.920
<v Speaker 1>And what do you do for the amplifier?

0:12:40.880 --> 0:12:43.360
<v Speaker 2>You know what? I did not have an amplifier, but

0:12:43.400 --> 0:12:46.440
<v Speaker 2>we had a voice of music tape recorder, and I

0:12:46.520 --> 0:12:50.080
<v Speaker 2>found out that if you put in record play and

0:12:50.080 --> 0:12:52.880
<v Speaker 2>then you put it in pause, you're putting it into

0:12:52.880 --> 0:12:56.120
<v Speaker 2>a monitor position. Although it's not running the tape, but

0:12:56.240 --> 0:12:58.000
<v Speaker 2>it would monitor whatever he did, and then I would

0:12:58.000 --> 0:12:59.920
<v Speaker 2>plug the It had guitar jacks on its I'd plug

0:13:00.280 --> 0:13:03.040
<v Speaker 2>that and it actually had a killer tone, and I'd

0:13:03.040 --> 0:13:05.720
<v Speaker 2>just crank up the tape recorder and sit there and

0:13:05.720 --> 0:13:08.599
<v Speaker 2>play through it. And I actually blew the speakers in

0:13:08.679 --> 0:13:12.120
<v Speaker 2>the tape recorder, which is kind of crazy. But that

0:13:12.280 --> 0:13:17.920
<v Speaker 2>was my first amplifier thing until my dad and I

0:13:18.000 --> 0:13:22.440
<v Speaker 2>were we were at a shopping center in Austin and

0:13:23.040 --> 0:13:25.080
<v Speaker 2>there was this tiny little music store and right in

0:13:25.080 --> 0:13:29.360
<v Speaker 2>the window they had this huge Fender Deluxe amp for

0:13:29.440 --> 0:13:32.720
<v Speaker 2>seventy five bucks. I remember that, and my dad bought

0:13:32.720 --> 0:13:35.040
<v Speaker 2>that for me, So that was my first I was

0:13:35.040 --> 0:13:37.160
<v Speaker 2>probably about twelve when I got that amp, and I

0:13:37.160 --> 0:13:39.079
<v Speaker 2>finally I finally got an amp.

0:13:39.840 --> 0:13:41.760
<v Speaker 1>And do you still have that guitar in that amp?

0:13:42.320 --> 0:13:44.640
<v Speaker 2>No, that would be so cool to have that. You know,

0:13:44.640 --> 0:13:46.839
<v Speaker 2>it's like your toys from when you're five years old,

0:13:46.880 --> 0:13:48.680
<v Speaker 2>you know, you think about them, Ah, that would be

0:13:49.280 --> 0:13:51.920
<v Speaker 2>You don't realize those little things in life are so big,

0:13:52.040 --> 0:13:54.840
<v Speaker 2>so important, so much more important than all the big

0:13:55.040 --> 0:13:57.560
<v Speaker 2>facade of all this. Ah, that's this and that or

0:13:57.720 --> 0:14:00.400
<v Speaker 2>you know this this is the little things that means something,

0:14:00.559 --> 0:14:01.520
<v Speaker 2>But no, I don't.

0:14:02.679 --> 0:14:05.880
<v Speaker 1>Okay. So you're growing up in the late fifties and sixties,

0:14:06.360 --> 0:14:09.880
<v Speaker 1>you're in Austin. Austin has always been the weird part

0:14:09.920 --> 0:14:12.520
<v Speaker 1>of Texas. What was it like growing up then in Austin.

0:14:13.120 --> 0:14:14.920
<v Speaker 2>Well, I didn't realize at the time, but it was

0:14:14.920 --> 0:14:18.640
<v Speaker 2>a beautiful place because it had an influx of so

0:14:18.679 --> 0:14:24.080
<v Speaker 2>many styles of music, namely country, but there were blues

0:14:24.200 --> 0:14:26.800
<v Speaker 2>artists coming through there, and there was a lot of

0:14:26.800 --> 0:14:30.880
<v Speaker 2>clubs playing rock music. And there was just a lot

0:14:30.920 --> 0:14:35.120
<v Speaker 2>of live music, which proceeded why I got the name

0:14:35.360 --> 0:14:39.000
<v Speaker 2>Live Musical Capital of the World. It was amazing how

0:14:39.080 --> 0:14:41.280
<v Speaker 2>much there was going on there, and it was all different,

0:14:41.280 --> 0:14:45.720
<v Speaker 2>and of course you had the cage and influence, and

0:14:45.920 --> 0:14:48.240
<v Speaker 2>by the time I was getting serious about guitar, there

0:14:48.320 --> 0:14:53.480
<v Speaker 2>was just all sorts of things to you know, people

0:14:53.520 --> 0:14:55.960
<v Speaker 2>to go see. There was I learned to play a

0:14:56.000 --> 0:15:00.400
<v Speaker 2>lot by Johnny Richardson from Georgetown Medical Band. I'd go

0:15:00.440 --> 0:15:03.000
<v Speaker 2>hear him every Tuesday night at the Jade Room because

0:15:03.000 --> 0:15:07.000
<v Speaker 2>he was just a wonderful player, one of the great

0:15:07.200 --> 0:15:09.800
<v Speaker 2>rock players, and him and Jim Mings and John Stahley

0:15:09.880 --> 0:15:12.680
<v Speaker 2>were just the great players of Austin during that time,

0:15:12.720 --> 0:15:15.800
<v Speaker 2>and I'd just like admire these guys and go here

0:15:15.800 --> 0:15:18.120
<v Speaker 2>and play, and you know, they'd kind of let me

0:15:18.160 --> 0:15:20.400
<v Speaker 2>sneak in in the back when I was fourteen and

0:15:20.640 --> 0:15:24.680
<v Speaker 2>hear these people. But it was amazing. I remember the

0:15:24.720 --> 0:15:26.560
<v Speaker 2>first time I went to LA when I was like nineteen,

0:15:26.640 --> 0:15:29.080
<v Speaker 2>I was like, where are all the live clubs? There

0:15:29.160 --> 0:15:32.240
<v Speaker 2>seemed to be less there as far as rock music

0:15:32.280 --> 0:15:34.920
<v Speaker 2>than there was in the central part of Texas, but

0:15:37.200 --> 0:15:38.560
<v Speaker 2>just a lot going on there.

0:15:38.640 --> 0:15:41.240
<v Speaker 1>Yeah. So what did your parents do for a living?

0:15:42.440 --> 0:15:46.040
<v Speaker 2>My dad was a MD. He was an antesthesiologist, and

0:15:46.120 --> 0:15:48.080
<v Speaker 2>my mom was a housewife.

0:15:48.720 --> 0:15:50.120
<v Speaker 1>And how many kids in the family.

0:15:50.600 --> 0:15:54.040
<v Speaker 2>There's five of us, And where are you in the hierarchy?

0:15:54.200 --> 0:15:57.680
<v Speaker 2>I'm the youngest, you're the youngest. Yeah, do you get

0:15:57.680 --> 0:15:58.400
<v Speaker 2>any advantage?

0:15:58.440 --> 0:16:00.920
<v Speaker 1>Usually the youngest. They're very leaning with the young Yah.

0:16:02.000 --> 0:16:04.320
<v Speaker 2>I don't know. I don't know if I got a

0:16:04.320 --> 0:16:08.320
<v Speaker 2>lot of any advantage, but it was you know, my

0:16:08.480 --> 0:16:11.680
<v Speaker 2>mom was very supportive of the music because she was like,

0:16:11.760 --> 0:16:14.320
<v Speaker 2>whatever makes you happy, and my dad, I think initially

0:16:14.600 --> 0:16:16.560
<v Speaker 2>was not because he was worried when he saw I

0:16:16.560 --> 0:16:18.880
<v Speaker 2>got so serious about it. Coming from being a doctor

0:16:19.880 --> 0:16:22.200
<v Speaker 2>and and rightly, so you know, it's like all of

0:16:22.240 --> 0:16:24.880
<v Speaker 2>a sudden, you start growing your hair out and lose

0:16:24.920 --> 0:16:28.120
<v Speaker 2>interest a little bit in pursuing school and want to

0:16:28.160 --> 0:16:31.000
<v Speaker 2>play rock music. I can see how, you know, because

0:16:31.200 --> 0:16:33.520
<v Speaker 2>you know, no parent knows, Oh yeah, it's okay, because

0:16:33.520 --> 0:16:35.480
<v Speaker 2>he's going to do okay, you know, they don't know.

0:16:35.560 --> 0:16:39.720
<v Speaker 2>And but later later when he saw that things were okay,

0:16:39.800 --> 0:16:42.920
<v Speaker 2>I think he became supportive about it.

0:16:43.800 --> 0:16:46.120
<v Speaker 1>And so you get really into music. You go to

0:16:46.120 --> 0:16:47.520
<v Speaker 1>public school or private school.

0:16:48.360 --> 0:16:52.280
<v Speaker 2>I went to public school until tenth grade, and then

0:16:52.320 --> 0:16:57.040
<v Speaker 2>I went to a private school that's no longer here,

0:16:57.080 --> 0:17:00.560
<v Speaker 2>but it was called Holy Cross High School. And one

0:17:00.560 --> 0:17:02.760
<v Speaker 2>of the main reasons is because they would let you

0:17:02.800 --> 0:17:07.320
<v Speaker 2>grow your hair long. You didn't have could you could

0:17:07.359 --> 0:17:09.879
<v Speaker 2>drink cokes and class and it was kind of just

0:17:10.000 --> 0:17:13.960
<v Speaker 2>real liberal kind of school where at that time, I

0:17:13.960 --> 0:17:16.240
<v Speaker 2>guess a lot you know, kids might not understand now,

0:17:16.280 --> 0:17:17.800
<v Speaker 2>but there used to be a dress code and your

0:17:17.840 --> 0:17:20.000
<v Speaker 2>hair couldn't be too long. And I was like, oh man,

0:17:20.040 --> 0:17:21.720
<v Speaker 2>I can't do that. I got to go to I'm

0:17:21.720 --> 0:17:23.400
<v Speaker 2>going to go to this private school so I can

0:17:24.040 --> 0:17:24.800
<v Speaker 2>grow my hair out.

0:17:25.240 --> 0:17:29.280
<v Speaker 1>Meanwhile, you're doing that. What are your four older siblings doing.

0:17:30.240 --> 0:17:37.760
<v Speaker 2>Well, my brother he was he had already started college

0:17:38.600 --> 0:17:41.320
<v Speaker 2>and at one point he went into the Navy for

0:17:41.600 --> 0:17:47.639
<v Speaker 2>ten years and was on nuclear subs and stuff. My

0:17:47.720 --> 0:17:51.479
<v Speaker 2>other sisters, well, one of them got married young and

0:17:51.520 --> 0:17:54.480
<v Speaker 2>moved to Alaska, and the other two went to college.

0:17:54.920 --> 0:17:57.240
<v Speaker 2>One became a CPA and one became a nurse.

0:17:58.720 --> 0:18:01.280
<v Speaker 1>Okay, so you were in school. Are you known as

0:18:01.320 --> 0:18:02.760
<v Speaker 1>the guy who plays the guitar?

0:18:03.840 --> 0:18:08.760
<v Speaker 2>Well, a little bit. Yeah, yeah, I would play a

0:18:08.760 --> 0:18:12.360
<v Speaker 2>little bit at talent shows and stuff. There was in

0:18:12.359 --> 0:18:15.640
<v Speaker 2>in junior high school there were there was a gown

0:18:15.720 --> 0:18:18.639
<v Speaker 2>named Marina Jenkins and me. Uh, we were probably the

0:18:18.680 --> 0:18:22.840
<v Speaker 2>only two people playing guitar at that time in junior

0:18:22.920 --> 0:18:25.960
<v Speaker 2>high And I think I played a little bit at

0:18:26.240 --> 0:18:31.280
<v Speaker 2>talent shows and but yeah.

0:18:30.359 --> 0:18:32.679
<v Speaker 1>Well, were you the type of kid who picked up

0:18:32.720 --> 0:18:36.679
<v Speaker 1>the guitar and then suddenly stopped playing sports and stopped

0:18:36.680 --> 0:18:39.760
<v Speaker 1>hanging with their friends and was practicing for five hours

0:18:39.760 --> 0:18:40.879
<v Speaker 1>a day. What were you like?

0:18:42.720 --> 0:18:47.560
<v Speaker 2>Yeah, that is what happened. I was really I was. Yeah,

0:18:47.680 --> 0:18:50.840
<v Speaker 2>I just never really did sports. I mean I loved

0:18:50.880 --> 0:18:54.440
<v Speaker 2>you know, uh, swimming and water skiing and and and

0:18:54.480 --> 0:18:57.359
<v Speaker 2>stuff on my own outside of school, But I didn't

0:18:57.359 --> 0:19:00.800
<v Speaker 2>really pursue sports in school. By that time, I was

0:19:00.840 --> 0:19:05.359
<v Speaker 2>so immersed in music. I would just I remember in

0:19:05.480 --> 0:19:07.680
<v Speaker 2>ninth grade, I just tried to race home so I

0:19:07.720 --> 0:19:10.959
<v Speaker 2>could see where the action is on TV. You know.

0:19:11.080 --> 0:19:12.520
<v Speaker 2>That was at three point thirty and I got out

0:19:12.520 --> 0:19:14.080
<v Speaker 2>of school like at three fifteen, so I had to

0:19:14.160 --> 0:19:17.560
<v Speaker 2>run home. I wanted to see that. But by that

0:19:17.680 --> 0:19:23.720
<v Speaker 2>point I was so immersed in guitar that you know,

0:19:23.760 --> 0:19:26.000
<v Speaker 2>And there's two sides to everything. I think I missed

0:19:26.000 --> 0:19:28.600
<v Speaker 2>a lot of high school. You know, I don't mean

0:19:29.119 --> 0:19:32.680
<v Speaker 2>physically missed it, just you know, just my heart wasn't

0:19:32.680 --> 0:19:34.000
<v Speaker 2>in it, and you know, your heart can be it

0:19:34.000 --> 0:19:36.320
<v Speaker 2>in different ways. It didn't necessarily mean the subjects, but

0:19:36.359 --> 0:19:40.200
<v Speaker 2>you know, just people and getting to know people and

0:19:40.640 --> 0:19:46.359
<v Speaker 2>just having the experience of that community of even when

0:19:46.400 --> 0:19:49.879
<v Speaker 2>you're a kid. But I think I was so just

0:19:50.359 --> 0:19:53.960
<v Speaker 2>transfixed by music that I would I just kind of

0:19:54.119 --> 0:19:57.200
<v Speaker 2>was a little bit absent as far as I would

0:19:57.200 --> 0:19:58.960
<v Speaker 2>just sit in school waiting for it to be over.

0:19:59.119 --> 0:20:08.639
<v Speaker 1>You know. Okay, so what point did you start playing

0:20:08.720 --> 0:20:13.240
<v Speaker 1>in bands and what did that look like? Well?

0:20:13.320 --> 0:20:16.159
<v Speaker 2>I started when I was I remember when I was

0:20:16.200 --> 0:20:18.719
<v Speaker 2>like twelve, I played in this band called The ID,

0:20:19.000 --> 0:20:21.040
<v Speaker 2>but we and I didn't even know what the name meant.

0:20:21.520 --> 0:20:24.080
<v Speaker 2>The bass player named the ID, but we never really

0:20:24.080 --> 0:20:26.000
<v Speaker 2>played any game. I think we might have played one gig.

0:20:26.440 --> 0:20:28.679
<v Speaker 2>But after that, when I was thirteen, I played in

0:20:28.680 --> 0:20:33.000
<v Speaker 2>a copy band called The Sounds Alive, and you know,

0:20:33.080 --> 0:20:34.840
<v Speaker 2>my parents would come to some of the shows and

0:20:34.840 --> 0:20:37.040
<v Speaker 2>I'd try to not fall asleep because some of the

0:20:37.080 --> 0:20:43.880
<v Speaker 2>gigs went late, but that it was an interesting experience.

0:20:43.960 --> 0:20:49.200
<v Speaker 2>But on vacation, I think I did that till I

0:20:49.280 --> 0:20:53.719
<v Speaker 2>was fourteen. I went on vacation to Alaska with my

0:20:53.760 --> 0:20:56.439
<v Speaker 2>parents for a month, which was really wonderful to go

0:20:56.480 --> 0:20:59.320
<v Speaker 2>to Alaska. And when I came back, the rhythm guitarists

0:20:59.320 --> 0:21:02.080
<v Speaker 2>had gotten better, and while I was gone, they said, well,

0:21:02.160 --> 0:21:04.560
<v Speaker 2>we're firing you because the rhythm guitars has gotten better

0:21:04.600 --> 0:21:06.680
<v Speaker 2>and he's learned how to play Jeff's boogie and we

0:21:06.720 --> 0:21:09.080
<v Speaker 2>don't need two guitars. So I got fired from that group.

0:21:10.000 --> 0:21:13.360
<v Speaker 2>And that's when I started just practicing more on my own,

0:21:13.400 --> 0:21:17.000
<v Speaker 2>and I met a drummer named Vince Marioni and I

0:21:17.160 --> 0:21:19.920
<v Speaker 2>entered a group that he led. When I was about

0:21:21.040 --> 0:21:23.959
<v Speaker 2>late fourteen or fifteen years old, and we started working together.

0:21:25.640 --> 0:21:30.720
<v Speaker 1>Okay, so take me up to graduating from high school. Well, I.

0:21:32.400 --> 0:21:35.080
<v Speaker 2>When I was in tenth and eleventh grade, Vince and

0:21:35.080 --> 0:21:38.480
<v Speaker 2>I played together with Jimmy Bullock and we did this

0:21:39.000 --> 0:21:43.160
<v Speaker 2>and Jay Aaron we played around, opened for some famous

0:21:43.200 --> 0:21:47.760
<v Speaker 2>groups and we're doing quite well. But I guess after

0:21:47.840 --> 0:21:53.680
<v Speaker 2>that kind of that kind of was not. It kind

0:21:53.680 --> 0:21:55.840
<v Speaker 2>of went into kind of an idle thing, and I

0:21:56.480 --> 0:21:58.760
<v Speaker 2>just started kind of working on my own until I

0:21:58.920 --> 0:22:03.280
<v Speaker 2>met Yeah. I was just kind of jamming with people

0:22:03.280 --> 0:22:05.040
<v Speaker 2>and doing all sorts of odds. And I was playing

0:22:05.080 --> 0:22:09.280
<v Speaker 2>in another copy band when I was in twelfth grade,

0:22:09.960 --> 0:22:13.520
<v Speaker 2>but didn't really want to do that too much. I

0:22:13.560 --> 0:22:15.960
<v Speaker 2>didn't really enjoy it that very much. And right after

0:22:16.040 --> 0:22:20.199
<v Speaker 2>twelfth grade is when I met the Electromagnets, which is

0:22:20.880 --> 0:22:24.639
<v Speaker 2>Kyle Brock and Bill Maddox and Steve Barber, and I

0:22:24.720 --> 0:22:28.040
<v Speaker 2>joined their group because they were really inspired by Chick

0:22:28.080 --> 0:22:31.000
<v Speaker 2>coreas him of the Seventh Galaxy Record with Bill Connors,

0:22:31.280 --> 0:22:35.880
<v Speaker 2>and so that's what we started playing jazz fusion stuff

0:22:36.480 --> 0:22:38.480
<v Speaker 2>right after I graduated from high school.

0:22:39.880 --> 0:22:43.680
<v Speaker 1>So you graduate from high school, what's the dream at

0:22:43.680 --> 0:22:45.920
<v Speaker 1>that point and what about college.

0:22:46.800 --> 0:22:51.560
<v Speaker 2>Well, I tried college. I took two classes, embarrassing to admit.

0:22:51.760 --> 0:22:53.800
<v Speaker 2>The first one was calculus. I went to one class

0:22:53.840 --> 0:22:56.800
<v Speaker 2>when I can't do this, And the other one was

0:22:56.880 --> 0:22:59.880
<v Speaker 2>astronomy because I was interested in astronomy, and I did.

0:23:00.080 --> 0:23:02.600
<v Speaker 2>I completed the class and almost made an A. I

0:23:02.600 --> 0:23:05.679
<v Speaker 2>think I made like an eighty nine or something. I

0:23:05.720 --> 0:23:07.840
<v Speaker 2>almost made an A minus in it. But I found

0:23:07.880 --> 0:23:12.159
<v Speaker 2>it very interesting, and I like astronomy. But I don't know.

0:23:12.240 --> 0:23:14.600
<v Speaker 2>I just decided, you know, I just want to I

0:23:14.640 --> 0:23:18.800
<v Speaker 2>think I'm going to learn music. And the guys in

0:23:18.840 --> 0:23:21.439
<v Speaker 2>the Electromagnets had gone to music school and they were

0:23:21.520 --> 0:23:24.159
<v Speaker 2>kind of ahead of me as far as knowing music theory.

0:23:24.240 --> 0:23:27.520
<v Speaker 2>So I was learning from them and I just decided

0:23:27.560 --> 0:23:29.840
<v Speaker 2>that that's the way I wanted to go, you know,

0:23:29.960 --> 0:23:32.359
<v Speaker 2>life experiences. And we just started going on the road

0:23:32.400 --> 0:23:34.200
<v Speaker 2>and playing anywhere we could get a gig.

0:23:35.640 --> 0:23:38.560
<v Speaker 1>Okay, so it's like more than fifteen years before you

0:23:38.600 --> 0:23:42.440
<v Speaker 1>get your first record deal with Warner Repues. You know

0:23:42.640 --> 0:23:44.960
<v Speaker 1>what's happening in that fifteen years.

0:23:45.240 --> 0:23:49.199
<v Speaker 2>Well, we started the Electromagnets, that configuration of it. We

0:23:49.240 --> 0:23:52.479
<v Speaker 2>just started playing and playing playing, you know, our manager,

0:23:52.560 --> 0:23:56.399
<v Speaker 2>Park Street put out Electromagnet record, but we kind of

0:23:56.400 --> 0:23:58.120
<v Speaker 2>put it on our own because we really couldn't get

0:23:58.119 --> 0:24:01.840
<v Speaker 2>anybody else to put it out. And we did fairly

0:24:01.880 --> 0:24:03.880
<v Speaker 2>well with it, and the gigs got better and better.

0:24:04.119 --> 0:24:07.879
<v Speaker 2>At some point we just kind of disbanded started doing

0:24:08.080 --> 0:24:11.719
<v Speaker 2>different things, and I guess that was, like, you know,

0:24:11.880 --> 0:24:15.480
<v Speaker 2>seventy six. I just I said, well, I'll just kind

0:24:15.480 --> 0:24:18.760
<v Speaker 2>of put my own group together. And oddly enough though,

0:24:18.800 --> 0:24:21.560
<v Speaker 2>I'd rehired the drummer and bass player from Lectro Mantis

0:24:21.600 --> 0:24:24.600
<v Speaker 2>to when they were available to just do this trio

0:24:24.760 --> 0:24:28.159
<v Speaker 2>of my own band. And I just started playing around

0:24:28.160 --> 0:24:31.199
<v Speaker 2>and playing these pop tunes and singing and some of

0:24:31.240 --> 0:24:34.080
<v Speaker 2>it was kind of like not great, but some of

0:24:34.119 --> 0:24:37.200
<v Speaker 2>it had was pretty good. But I just started playing

0:24:37.200 --> 0:24:40.520
<v Speaker 2>clubs around Austin and that grew a little bit to

0:24:40.600 --> 0:24:44.879
<v Speaker 2>where we started having people coming out, and it's just

0:24:45.040 --> 0:24:47.960
<v Speaker 2>you know, and then the configuration changed all the time.

0:24:49.040 --> 0:24:54.000
<v Speaker 2>Drummer Steve Meta, bass player Rob Alexander, it just kind

0:24:54.040 --> 0:24:59.399
<v Speaker 2>of different. People would get together and play with me

0:24:59.520 --> 0:25:05.600
<v Speaker 2>and just started trying to grow that audience. And I

0:25:05.640 --> 0:25:09.480
<v Speaker 2>think it's, uh, it just was years and years of

0:25:09.560 --> 0:25:11.359
<v Speaker 2>doing that and trying to get something going, and of

0:25:11.400 --> 0:25:15.800
<v Speaker 2>course I signed with a manager in Texas. I had

0:25:15.840 --> 0:25:17.840
<v Speaker 2>offers to sign with a manager in New York and

0:25:17.880 --> 0:25:23.240
<v Speaker 2>one in Texas, and Nat Weiss was in New York

0:25:23.280 --> 0:25:24.880
<v Speaker 2>and he took me to New York and I got

0:25:24.880 --> 0:25:29.040
<v Speaker 2>to meet all these people like James Taylor and John

0:25:29.080 --> 0:25:32.520
<v Speaker 2>McLauchlin and Lenny White, and that's where I met Kat

0:25:32.560 --> 0:25:36.320
<v Speaker 2>Stevens and where I got to work with Kat on

0:25:37.600 --> 0:25:42.359
<v Speaker 2>his record a couple of records after that. But at

0:25:42.400 --> 0:25:45.280
<v Speaker 2>the manager in Texas was really want me to sign

0:25:45.280 --> 0:25:47.479
<v Speaker 2>with and for some reason I decided, well, I'll come

0:25:47.520 --> 0:25:50.159
<v Speaker 2>back to Texas and sign with this this person, and

0:25:50.960 --> 0:25:52.679
<v Speaker 2>I don't know, you know, that's just kind of the

0:25:52.680 --> 0:25:55.240
<v Speaker 2>way I did that. And then that turned into interesting

0:25:55.400 --> 0:25:59.399
<v Speaker 2>situation where it's all subjective. You know, we made I

0:25:59.440 --> 0:26:05.680
<v Speaker 2>made a record called Seven Worlds, and yeah, it's kind

0:26:05.680 --> 0:26:08.800
<v Speaker 2>of had to go through the gateway of the manager

0:26:08.880 --> 0:26:10.800
<v Speaker 2>to decide what to do and what not to do

0:26:10.960 --> 0:26:12.639
<v Speaker 2>should it come out, should it not come out. So

0:26:12.680 --> 0:26:14.080
<v Speaker 2>I just had it was a kind of a waiting

0:26:14.119 --> 0:26:16.320
<v Speaker 2>game for years until I tried to get out of

0:26:16.359 --> 0:26:16.760
<v Speaker 2>the deal.

0:26:18.480 --> 0:26:19.880
<v Speaker 1>How'd you finally get out of the deal.

0:26:21.400 --> 0:26:27.280
<v Speaker 2>Well, I had a lawyer, and it was I just

0:26:27.280 --> 0:26:32.680
<v Speaker 2>just wanted to, yeah, just to go my own way

0:26:32.720 --> 0:26:37.320
<v Speaker 2>because it didn't seem like things were quite working out,

0:26:37.560 --> 0:26:41.800
<v Speaker 2>you know. But it can get complicated sometimes because it

0:26:41.840 --> 0:26:44.680
<v Speaker 2>is subjected. Somebody puts money into you and they think

0:26:44.720 --> 0:26:46.959
<v Speaker 2>they're doing the right thing, and you're sitting around waiting

0:26:47.000 --> 0:26:49.800
<v Speaker 2>for something to happen. I think there's a lot of

0:26:49.800 --> 0:26:53.080
<v Speaker 2>people in history when you know it's I think it's

0:26:53.119 --> 0:26:56.119
<v Speaker 2>important and for kids to you know, to remember that.

0:26:57.000 --> 0:27:00.440
<v Speaker 2>You know, you start your trajectory of music first off,

0:27:00.480 --> 0:27:02.560
<v Speaker 2>there'll never be something more important than just doing the

0:27:02.640 --> 0:27:04.919
<v Speaker 2>music and turning people on. You know, you get in

0:27:04.960 --> 0:27:06.480
<v Speaker 2>your head, I'll want to get the record deal or

0:27:06.520 --> 0:27:08.439
<v Speaker 2>I want to have more people out there, but no,

0:27:08.560 --> 0:27:10.560
<v Speaker 2>it ends up turned out when you look at it,

0:27:10.600 --> 0:27:12.760
<v Speaker 2>you go, that's not the important stuff. The thing is

0:27:13.800 --> 0:27:17.400
<v Speaker 2>just enjoying playing for other people. But at the time,

0:27:17.520 --> 0:27:19.479
<v Speaker 2>you know, you're, oh, you know, you're so you know,

0:27:19.520 --> 0:27:21.600
<v Speaker 2>you want this, this and that and get that record

0:27:21.600 --> 0:27:25.000
<v Speaker 2>deal whatever. But I think that it's important, you know,

0:27:25.080 --> 0:27:27.280
<v Speaker 2>Like I heard the story of like Loretta Lynn. You know,

0:27:27.359 --> 0:27:29.600
<v Speaker 2>when plan A fails, you go to plan B. If

0:27:29.600 --> 0:27:31.640
<v Speaker 2>plan bevitan't why you go to clans Cee. She sold

0:27:31.680 --> 0:27:34.240
<v Speaker 2>records out of her trunk, you know, because nobody wanted

0:27:34.280 --> 0:27:36.439
<v Speaker 2>to hut, you know what I mean. It's like, so

0:27:37.240 --> 0:27:38.919
<v Speaker 2>I think that's what I ran into. You know, you

0:27:38.960 --> 0:27:40.960
<v Speaker 2>get into a thing where all got to wait for

0:27:41.000 --> 0:27:43.720
<v Speaker 2>this record, especially in that time. It's different now, but

0:27:43.800 --> 0:27:45.480
<v Speaker 2>in that time, oh, you got to get signed to

0:27:46.400 --> 0:27:52.080
<v Speaker 2>you know, Sony Records or whoever. And you can sit

0:27:52.119 --> 0:27:54.879
<v Speaker 2>around on the chair at the soda fountain waiting to

0:27:54.920 --> 0:27:57.200
<v Speaker 2>be discovered to be the next star, you know, and

0:27:57.600 --> 0:27:59.399
<v Speaker 2>your life can pass by. You know. The thing is

0:27:59.400 --> 0:28:01.000
<v Speaker 2>you got to go to plan B and C, which

0:28:01.000 --> 0:28:05.000
<v Speaker 2>means just put out the record yourself, you know, build staircase,

0:28:05.040 --> 0:28:08.760
<v Speaker 2>your thing. And so what I saw that I was

0:28:08.800 --> 0:28:11.399
<v Speaker 2>not getting anything going at the time, and it was

0:28:11.440 --> 0:28:13.399
<v Speaker 2>just not working out. We're getting a lot of rejections,

0:28:13.400 --> 0:28:15.439
<v Speaker 2>and I was like, well, let's just do what we can.

0:28:15.560 --> 0:28:17.160
<v Speaker 2>Let's go to Plan B. But you have to filter

0:28:17.280 --> 0:28:18.840
<v Speaker 2>that through other people going no, no, we got to

0:28:18.880 --> 0:28:21.399
<v Speaker 2>wait for the big pie in the sky or whatever.

0:28:21.440 --> 0:28:23.920
<v Speaker 2>But so it was just a lot of waiting game

0:28:25.359 --> 0:28:31.359
<v Speaker 2>until you just get enough interest to where somebody goes, okay,

0:28:31.400 --> 0:28:33.160
<v Speaker 2>we got to take a look at this person, because

0:28:33.160 --> 0:28:34.720
<v Speaker 2>they've got something going on.

0:28:34.880 --> 0:28:38.240
<v Speaker 1>You know, let's go back. How did that waste find you?

0:28:39.880 --> 0:28:44.640
<v Speaker 2>He saw a video of electro Magnets playing. We did

0:28:44.880 --> 0:28:48.960
<v Speaker 2>a show. There was a studio TV show in Atlanta

0:28:49.120 --> 0:28:52.600
<v Speaker 2>in like nineteen seventy five or six of us just

0:28:52.640 --> 0:28:57.360
<v Speaker 2>playing on It is called maybe Soundstage or something, and

0:28:57.440 --> 0:29:01.680
<v Speaker 2>it was it was a popular video TV show in Atlanta,

0:29:01.720 --> 0:29:03.520
<v Speaker 2>and we were one of the guests on one of

0:29:03.560 --> 0:29:06.160
<v Speaker 2>the TV shows. And he saw it and he called

0:29:06.200 --> 0:29:07.560
<v Speaker 2>me and asked me to come to New York. And

0:29:08.080 --> 0:29:12.480
<v Speaker 2>Nat had worked with Brian Epstein and stuff with the Beatles,

0:29:12.520 --> 0:29:15.920
<v Speaker 2>and he was quite a well known lawyer that had

0:29:16.000 --> 0:29:17.880
<v Speaker 2>kind of branched. He had come up with this record

0:29:18.040 --> 0:29:22.560
<v Speaker 2>label called Nimperor Records, And so I went up there and.

0:29:24.280 --> 0:29:28.680
<v Speaker 1>Yeah, okay, they had Andy Pratt, there were other axity mean,

0:29:28.840 --> 0:29:31.800
<v Speaker 1>yeah that's his label. Yeah, but you go and you

0:29:31.880 --> 0:29:34.400
<v Speaker 1>have this brush with fame, and then you go back

0:29:34.440 --> 0:29:38.280
<v Speaker 1>to Austin and it's like you're in your own world again,

0:29:38.400 --> 0:29:41.000
<v Speaker 1>or you know, is anybody ever calling you in that interim?

0:29:41.560 --> 0:29:47.320
<v Speaker 2>Well, you know, it's interesting. I It's just I guess

0:29:47.320 --> 0:29:48.880
<v Speaker 2>it's you know, it's the way it worked out. But

0:29:49.040 --> 0:29:50.640
<v Speaker 2>the person they wanted to come back to that, I

0:29:50.640 --> 0:29:52.200
<v Speaker 2>don't know. You got to come back to Texas. It's

0:29:52.240 --> 0:29:54.240
<v Speaker 2>going to be great, great, great, great great great, And

0:29:54.280 --> 0:29:56.160
<v Speaker 2>you know, maybe they meant well and maybe they had

0:29:56.720 --> 0:29:59.040
<v Speaker 2>a vision. I don't really know, but I'm the one,

0:29:59.120 --> 0:30:00.840
<v Speaker 2>you know that that's to come back.

0:30:00.880 --> 0:30:01.040
<v Speaker 1>You know.

0:30:01.080 --> 0:30:02.880
<v Speaker 2>I could have said, no, I'll just stay up here

0:30:02.960 --> 0:30:05.840
<v Speaker 2>with see what happens with Nett Whist and stand New York.

0:30:05.920 --> 0:30:09.480
<v Speaker 2>But so when I did come back to Austin, it

0:30:09.600 --> 0:30:13.480
<v Speaker 2>was then and things kind of slowed down, you know,

0:30:13.520 --> 0:30:16.280
<v Speaker 2>because we had that we had some velocity and we

0:30:16.280 --> 0:30:20.080
<v Speaker 2>were playing gigs and drawing hundreds of people and stuff

0:30:20.080 --> 0:30:26.200
<v Speaker 2>and it was going great. But I kind of just waiting,

0:30:26.240 --> 0:30:29.440
<v Speaker 2>you know, for that next move, you know, but that

0:30:29.520 --> 0:30:33.840
<v Speaker 2>move had to be just uh designated by someone else,

0:30:34.080 --> 0:30:37.280
<v Speaker 2>you know, and that then you can get frustrating sometimes.

0:30:38.360 --> 0:30:42.160
<v Speaker 1>Okay, so you're living in Austin, you're making any money,

0:30:42.200 --> 0:30:44.880
<v Speaker 1>you're living at home, you screeping buy what's going on?

0:30:45.840 --> 0:30:51.320
<v Speaker 2>No? I actually I I was able to kind of

0:30:52.360 --> 0:30:54.480
<v Speaker 2>uh yeah, which is kind of irony, I think back.

0:30:54.600 --> 0:30:56.160
<v Speaker 2>I don't know exactly how I did it, because I

0:30:56.200 --> 0:30:58.960
<v Speaker 2>was playing this original music, and I was able to

0:30:58.960 --> 0:31:02.320
<v Speaker 2>make enough money to to make rent and get by.

0:31:02.520 --> 0:31:04.560
<v Speaker 2>I mean, I wasn't making a lot of money by

0:31:04.600 --> 0:31:07.760
<v Speaker 2>a stretch, but I was able to survive, which was

0:31:07.840 --> 0:31:11.680
<v Speaker 2>kind of a blessing in itself when you know you

0:31:11.720 --> 0:31:13.840
<v Speaker 2>don't really have you know, you're not a super high

0:31:13.880 --> 0:31:15.600
<v Speaker 2>statue of artist, but you're able to play your own

0:31:15.640 --> 0:31:17.680
<v Speaker 2>music and go around play gigs. But I was able

0:31:17.680 --> 0:31:18.400
<v Speaker 2>to do.

0:31:18.480 --> 0:31:21.320
<v Speaker 1>Okay, And do you ever think of giving up?

0:31:23.640 --> 0:31:25.479
<v Speaker 2>I never thought about giving up playing.

0:31:25.640 --> 0:31:25.880
<v Speaker 1>Now.

0:31:26.240 --> 0:31:30.720
<v Speaker 2>I guess I got frustrated with what to do or

0:31:30.760 --> 0:31:36.320
<v Speaker 2>how to do things to get things rolling better. But no,

0:31:36.840 --> 0:31:39.560
<v Speaker 2>I just I enjoyed it too much, I think, and

0:31:39.800 --> 0:31:42.600
<v Speaker 2>the enjoyment is what got me through, regardless of what

0:31:42.720 --> 0:31:44.080
<v Speaker 2>happened with the career stuff.

0:31:45.920 --> 0:31:51.560
<v Speaker 1>Okay, So meanwhile, as you're doing varying thing, music itself

0:31:51.640 --> 0:31:54.200
<v Speaker 1>is going through a lot of changes. We have the

0:31:54.240 --> 0:31:57.840
<v Speaker 1>guitar heroes of the late sixties, we have prog rock

0:31:57.880 --> 0:32:01.160
<v Speaker 1>in the seventies. We have corporate rack, we have disco.

0:32:01.760 --> 0:32:04.520
<v Speaker 1>I mean, are you living your own world? Are you saying, well,

0:32:04.520 --> 0:32:07.360
<v Speaker 1>where do I fit in with these other genres?

0:32:07.760 --> 0:32:10.240
<v Speaker 2>Yeah? I think I just did whatever I wanted to do.

0:32:10.320 --> 0:32:14.360
<v Speaker 2>I'm sure it had an influence on me, but I didn't.

0:32:15.040 --> 0:32:17.600
<v Speaker 2>I didn't feel any pressure to try to mimic or

0:32:17.640 --> 0:32:20.120
<v Speaker 2>get with the times or anything. I just wanted to

0:32:20.200 --> 0:32:24.479
<v Speaker 2>just do whatever I felt like doing guitar, you know,

0:32:24.960 --> 0:32:27.720
<v Speaker 2>as far as musically, whatever I felt was the best

0:32:27.760 --> 0:32:28.320
<v Speaker 2>I could do.

0:32:29.360 --> 0:32:31.960
<v Speaker 1>So seventies, you're with the band, you don't get a

0:32:32.000 --> 0:32:35.840
<v Speaker 1>record deal until deep into the eighties. What's going on there?

0:32:37.040 --> 0:32:39.880
<v Speaker 2>Well, it just never kind of came together with the

0:32:39.960 --> 0:32:46.240
<v Speaker 2>management in Texas. So I eventually was able to get

0:32:46.280 --> 0:32:50.000
<v Speaker 2>out of that and I just kept playing. There was

0:32:50.040 --> 0:32:54.160
<v Speaker 2>a period where I couldn't really play live. I just

0:32:54.280 --> 0:32:56.960
<v Speaker 2>did solo acoustic gigs for a year or so. But

0:32:57.040 --> 0:33:01.040
<v Speaker 2>then I met my manager, Joe Preestnitz, wonderful man that

0:33:01.600 --> 0:33:03.960
<v Speaker 2>started manage me and managed me for thirty eight years

0:33:04.040 --> 0:33:08.360
<v Speaker 2>until he passed away a couple of years ago. But

0:33:08.560 --> 0:33:11.080
<v Speaker 2>we just kind of started designing a thing of just playing,

0:33:11.560 --> 0:33:13.920
<v Speaker 2>playing gigs and just trying to get things rolling. And

0:33:14.280 --> 0:33:18.160
<v Speaker 2>really it was another few years of just I was

0:33:18.200 --> 0:33:22.760
<v Speaker 2>fortunate that ever since I was fifteen years old, I

0:33:22.840 --> 0:33:28.080
<v Speaker 2>knew Christopher Cross. We've been friends, and he got signed

0:33:28.120 --> 0:33:34.959
<v Speaker 2>to Warner Brothers Music, and so he told Warner Brothers

0:33:35.000 --> 0:33:37.840
<v Speaker 2>about me, and they were kind of like luke warm interested,

0:33:39.560 --> 0:33:41.760
<v Speaker 2>But I just kept playing and playing and playing until

0:33:42.000 --> 0:33:45.840
<v Speaker 2>finally Austin City Limits asked if I wanted to do

0:33:45.880 --> 0:33:48.160
<v Speaker 2>a show on there in eighty I think it was

0:33:48.240 --> 0:33:50.040
<v Speaker 2>late eighty three, and I did it. In eighty four,

0:33:51.360 --> 0:33:55.880
<v Speaker 2>I did. I had my own show on Austin City Limits,

0:33:55.880 --> 0:33:58.120
<v Speaker 2>and I think, you know, there was a point where

0:33:58.160 --> 0:34:00.880
<v Speaker 2>Warner Brothers decided, well, maybe we'll work with this guy.

0:34:00.960 --> 0:34:04.080
<v Speaker 2>So they brought me to La to live and start

0:34:04.400 --> 0:34:08.680
<v Speaker 2>kind of grooming me. So I spent another from eighty

0:34:08.719 --> 0:34:12.680
<v Speaker 2>four to eighty five just like hanging with record execs

0:34:12.760 --> 0:34:16.000
<v Speaker 2>and producers and arrangers and trying. They were I think

0:34:16.160 --> 0:34:18.040
<v Speaker 2>basically they were trying to figure that. I think they

0:34:18.080 --> 0:34:19.759
<v Speaker 2>were interested in me, but they were like, what do

0:34:19.840 --> 0:34:21.319
<v Speaker 2>we do with this guy? We don't even know what

0:34:21.400 --> 0:34:23.200
<v Speaker 2>to do. We don't know if this you know. But

0:34:23.239 --> 0:34:25.840
<v Speaker 2>they were interested enough to keep things rolling, but not

0:34:26.000 --> 0:34:28.440
<v Speaker 2>enough to really push the button on it and stuff.

0:34:28.480 --> 0:34:32.560
<v Speaker 2>And that was as they were. So I kept doing

0:34:32.600 --> 0:34:37.479
<v Speaker 2>demos and sending them in and and trying to find

0:34:37.480 --> 0:34:40.800
<v Speaker 2>a producer to do my first record with Warners.

0:34:42.600 --> 0:34:47.279
<v Speaker 1>Okay, before you moved to La how far can you work?

0:34:47.320 --> 0:34:50.800
<v Speaker 1>You talked about doing the gig in Atlanta, but generally speaking,

0:34:50.880 --> 0:34:52.920
<v Speaker 1>was it a Texas thing or how far away from

0:34:53.000 --> 0:34:53.839
<v Speaker 1>Texas could you work?

0:34:54.120 --> 0:34:59.279
<v Speaker 2>We started, we started getting gigs Louisiana, Alabama, a little

0:34:59.280 --> 0:35:01.960
<v Speaker 2>bit Oklahoma, but there was a real hotspot for us

0:35:01.960 --> 0:35:05.280
<v Speaker 2>in South Carolina and Charleston. We played Charleston a whole

0:35:05.320 --> 0:35:07.959
<v Speaker 2>lot for some reason. We just got a really good

0:35:08.880 --> 0:35:12.360
<v Speaker 2>crowd going in Charleston, but we played Florida and just

0:35:12.440 --> 0:35:15.319
<v Speaker 2>kind of the Southern states. We just kind of it

0:35:15.400 --> 0:35:17.080
<v Speaker 2>just kept kind of growing slowly.

0:35:18.080 --> 0:35:19.960
<v Speaker 1>So you had an agent who was booking these.

0:35:19.880 --> 0:35:22.600
<v Speaker 2>Days, Well, I did with the manager in Texas. He

0:35:22.640 --> 0:35:26.200
<v Speaker 2>had his own agent that booked me originally, and then

0:35:26.280 --> 0:35:30.400
<v Speaker 2>after that, Joe Priestins would just kind of book me

0:35:30.480 --> 0:35:32.719
<v Speaker 2>on his own. My manager because he had come from

0:35:32.760 --> 0:35:36.719
<v Speaker 2>a booking agency called Rock Arts before before he went

0:35:36.760 --> 0:35:38.840
<v Speaker 2>into management, so he would just book me.

0:35:39.280 --> 0:35:42.520
<v Speaker 1>Okay, you're cutting demos looking for a producer. How do

0:35:42.560 --> 0:35:44.000
<v Speaker 1>you end up making that record?

0:35:47.920 --> 0:35:50.800
<v Speaker 2>Well? I think we just kept doing demos and hopefully

0:35:50.840 --> 0:35:53.040
<v Speaker 2>they just kept getting a little bit better, and I

0:35:53.080 --> 0:35:57.239
<v Speaker 2>think it came down to two people that I was

0:35:57.280 --> 0:35:59.960
<v Speaker 2>going to work with, either Bill Payne from Little Feet,

0:36:00.400 --> 0:36:02.319
<v Speaker 2>which would have been kind of really cool to do,

0:36:02.480 --> 0:36:06.840
<v Speaker 2>our Dave Tickle, who worked with Crowded House, and we

0:36:07.000 --> 0:36:09.480
<v Speaker 2>decided for the moment, you know, to go with Dave Tickle.

0:36:09.520 --> 0:36:16.360
<v Speaker 2>And Dave was He's a very talented producer and engineer

0:36:16.440 --> 0:36:19.160
<v Speaker 2>and pretty well known, and so I think that that

0:36:19.400 --> 0:36:22.080
<v Speaker 2>really made Warners feel a little bit more confident. So

0:36:22.120 --> 0:36:23.719
<v Speaker 2>I think at that point they said, okay, let's make

0:36:23.760 --> 0:36:27.880
<v Speaker 2>this record. So that's when we started making Tones in

0:36:28.120 --> 0:36:28.800
<v Speaker 2>eighty five.

0:36:30.400 --> 0:36:32.440
<v Speaker 1>And were you happy with the final record?

0:36:33.880 --> 0:36:36.480
<v Speaker 2>I was, yeah, I think it was a snapshot of

0:36:36.560 --> 0:36:39.799
<v Speaker 2>where we were. It didn't it didn't encapsulate everything, but

0:36:40.800 --> 0:36:42.840
<v Speaker 2>I think it's an interesting record.

0:36:43.920 --> 0:36:47.480
<v Speaker 1>So how does the record the record comes out and

0:36:47.520 --> 0:36:50.160
<v Speaker 1>then ultimately a relationship with the company ends. Tell me

0:36:50.200 --> 0:36:56.640
<v Speaker 1>about that, Well, yeah, I don't know. I think they

0:36:56.680 --> 0:36:59.080
<v Speaker 1>brought me into the office, you know, because the record

0:36:59.120 --> 0:37:03.319
<v Speaker 1>did okay, not great, but they came they brought me

0:37:03.320 --> 0:37:05.160
<v Speaker 1>into the office and they said, you know, we're not

0:37:05.320 --> 0:37:09.160
<v Speaker 1>really going to drop you yet, but we're not sure

0:37:09.200 --> 0:37:12.959
<v Speaker 1>what to do. So we're going to suggest that rather

0:37:13.040 --> 0:37:15.640
<v Speaker 1>than make you could stay here and make your second record,

0:37:15.640 --> 0:37:18.239
<v Speaker 1>but we don't really have a lot of people that

0:37:18.280 --> 0:37:22.680
<v Speaker 1>are that interested in getting behind it. So we advise

0:37:22.760 --> 0:37:25.759
<v Speaker 1>you to just leave the deal and we'll let you

0:37:26.000 --> 0:37:27.799
<v Speaker 1>let you do it, you know. So they were kind

0:37:27.800 --> 0:37:30.560
<v Speaker 1>of like on the fence. They're like, well, I don't know,

0:37:30.600 --> 0:37:32.279
<v Speaker 1>we don't really let him go, but we'd kind of

0:37:32.360 --> 0:37:34.399
<v Speaker 1>rather for his own sake, just to go somewhere else

0:37:34.400 --> 0:37:36.640
<v Speaker 1>because we don't really we're not really our heart's not

0:37:36.760 --> 0:37:39.440
<v Speaker 1>in it, you know. So I took their advice and

0:37:39.520 --> 0:37:43.760
<v Speaker 1>I just didn't do it. Well. How disillusioning was that.

0:37:44.160 --> 0:37:46.560
<v Speaker 2>Well, it was, it was. It was. It was kind

0:37:46.560 --> 0:37:50.640
<v Speaker 2>of a bummer because I felt like, you know, for

0:37:50.719 --> 0:37:52.600
<v Speaker 2>all the ups and downs, I had some kind of

0:37:52.640 --> 0:37:57.920
<v Speaker 2>family with these people, and they were good people. I mean,

0:37:57.920 --> 0:37:59.560
<v Speaker 2>they're just doing what they think is right. And I

0:37:59.600 --> 0:38:01.920
<v Speaker 2>think they were probably just looking for something to be

0:38:01.920 --> 0:38:03.440
<v Speaker 2>a big hit. You know. I think a lot of

0:38:03.440 --> 0:38:08.160
<v Speaker 2>record companies that it's it's not like Concord Jazz where

0:38:08.160 --> 0:38:10.600
<v Speaker 2>they'll put out stuff, you know, and you know a

0:38:10.640 --> 0:38:12.239
<v Speaker 2>lot of the big labels like, well, we want to

0:38:12.239 --> 0:38:14.200
<v Speaker 2>concentrate on the stuff that's really going to do something

0:38:14.480 --> 0:38:16.640
<v Speaker 2>or at least we think it's going to do something,

0:38:16.680 --> 0:38:19.600
<v Speaker 2>you know, And I think if they didn't know, you know,

0:38:19.640 --> 0:38:23.560
<v Speaker 2>it's like, well, let's put our energy elsewhere. But I

0:38:23.640 --> 0:38:27.279
<v Speaker 2>met two guys, Lee Abrams and Denny Somak, who had

0:38:27.280 --> 0:38:32.680
<v Speaker 2>started Cinema Records and they were distributed by Capitol Records,

0:38:32.680 --> 0:38:34.480
<v Speaker 2>and they said, oh, we'd love to do a record

0:38:34.520 --> 0:38:38.520
<v Speaker 2>with you. And so I signed a deal with Cinema Records.

0:38:38.600 --> 0:38:43.360
<v Speaker 1>And how did you meet those two big radio guys, Lee, Yeah,

0:38:42.920 --> 0:38:45.759
<v Speaker 1>let you I don't know.

0:38:45.840 --> 0:38:51.120
<v Speaker 2>They just those guys. Yeah, but they loved like rock guitar,

0:38:51.200 --> 0:38:54.399
<v Speaker 2>and they loved the Yardbirds, and they liked that kind

0:38:54.400 --> 0:38:57.080
<v Speaker 2>of off the cuff stuff. So they called Joe Preess

0:38:57.080 --> 0:38:58.840
<v Speaker 2>when they say, man, you know, we just really like

0:38:58.920 --> 0:39:01.720
<v Speaker 2>what he does and we we'd like to do something together,

0:39:01.719 --> 0:39:03.360
<v Speaker 2>which is yeah, it was kind of like really, you know,

0:39:03.400 --> 0:39:08.080
<v Speaker 2>because you're already of field, but you know, and they

0:39:08.120 --> 0:39:11.280
<v Speaker 2>were just into it from on this maybe a side

0:39:11.280 --> 0:39:13.440
<v Speaker 2>gig of theirs or something. And so they they had

0:39:13.440 --> 0:39:16.000
<v Speaker 2>started this record company and said let's make this record.

0:39:16.040 --> 0:39:18.440
<v Speaker 2>We really, we really would like to do that. And

0:39:18.520 --> 0:39:22.680
<v Speaker 2>so that's when I started putting together a via music.

0:39:24.040 --> 0:39:28.400
<v Speaker 1>Okay, So did they sign you to Capital first or

0:39:28.400 --> 0:39:30.799
<v Speaker 1>did you make the record and then Capitol decided to

0:39:30.840 --> 0:39:31.480
<v Speaker 1>distribute it.

0:39:32.320 --> 0:39:34.359
<v Speaker 2>Well, you know, it's interesting what happened. I was with

0:39:34.480 --> 0:39:39.200
<v Speaker 2>Cinema and I'd gotten well into the record and Cinema

0:39:39.200 --> 0:39:45.520
<v Speaker 2>dissolved for some reason. I'm not sure why Lee and

0:39:45.719 --> 0:39:49.319
<v Speaker 2>Denny dissolved it, but so there was this there was

0:39:49.400 --> 0:39:54.000
<v Speaker 2>a pivotal point where it defaulted the Capital to at

0:39:54.040 --> 0:39:56.680
<v Speaker 2>which point they could have gone we're not interested, or

0:39:56.880 --> 0:40:00.160
<v Speaker 2>we're interested to pick it up. And what happened, and

0:40:00.280 --> 0:40:03.560
<v Speaker 2>just there was so much money invested in it that

0:40:03.680 --> 0:40:06.360
<v Speaker 2>Captain went, well, there's we got this money invested in it,

0:40:06.400 --> 0:40:08.759
<v Speaker 2>so let's just go ahead and see it through. So

0:40:08.840 --> 0:40:11.319
<v Speaker 2>it was kind of by default that I ended up

0:40:11.360 --> 0:40:14.480
<v Speaker 2>on Capital and they just they said, well, we're going

0:40:14.520 --> 0:40:17.640
<v Speaker 2>to just let's just see this through. So they they

0:40:17.960 --> 0:40:20.360
<v Speaker 2>they did that, and they and I just kind of

0:40:20.440 --> 0:40:22.560
<v Speaker 2>ended up on Capitol and I and I was about

0:40:22.600 --> 0:40:24.719
<v Speaker 2>halfway through the record and I just kept working on it.

0:40:31.880 --> 0:40:35.800
<v Speaker 1>Okay, that was an interesting time at Capitol. Hill Milgrim

0:40:35.880 --> 0:40:40.720
<v Speaker 1>came from Elektra. He really pushed you to what degree

0:40:40.800 --> 0:40:43.200
<v Speaker 1>you did you believe that was fortuitous and to what

0:40:43.280 --> 0:40:45.400
<v Speaker 1>degree did you feel Hale supporting you.

0:40:46.920 --> 0:40:50.680
<v Speaker 2>Well, it was I didn't really know Hale at that point.

0:40:50.719 --> 0:40:55.120
<v Speaker 2>I was working with somebody else. I didn't really have

0:40:55.200 --> 0:40:57.400
<v Speaker 2>much contact with him. They just kind of consented to

0:40:57.480 --> 0:40:59.319
<v Speaker 2>let him do his thing. I was the first time

0:40:59.360 --> 0:41:01.200
<v Speaker 2>I got to produce the record myself, and I was

0:41:01.239 --> 0:41:05.160
<v Speaker 2>just really intent on making a strong guitar record. I

0:41:05.200 --> 0:41:07.600
<v Speaker 2>figured I've got to really make my stamp in this way.

0:41:08.960 --> 0:41:16.400
<v Speaker 2>So that was my main concentration, and that's what I did.

0:41:16.760 --> 0:41:20.959
<v Speaker 2>It was probably the beginning of my just incessant doing

0:41:21.000 --> 0:41:23.520
<v Speaker 2>stuff over and over and over, trying to get it

0:41:23.640 --> 0:41:27.840
<v Speaker 2>just just right, you know, which is that's good in

0:41:27.840 --> 0:41:30.000
<v Speaker 2>a way, but not good in other ways. You know,

0:41:30.080 --> 0:41:32.399
<v Speaker 2>you can it can be a diminishing and return thing.

0:41:32.440 --> 0:41:34.480
<v Speaker 2>But I just kept that until I made the best,

0:41:34.680 --> 0:41:37.399
<v Speaker 2>the best record I could. And I went a little

0:41:37.400 --> 0:41:41.480
<v Speaker 2>over budget for even though you know, maybe at the

0:41:41.520 --> 0:41:44.000
<v Speaker 2>time it wasn't that over budget, but for me it

0:41:44.200 --> 0:41:46.359
<v Speaker 2>was not being a big artist. But and then I

0:41:46.440 --> 0:41:49.720
<v Speaker 2>just turned it into to the record company. They didn't

0:41:49.719 --> 0:41:52.800
<v Speaker 2>really like the I don't think they liked the record

0:41:52.880 --> 0:41:55.520
<v Speaker 2>very much. In fact, I got got kind of chewed

0:41:55.560 --> 0:41:58.640
<v Speaker 2>out at Capital when I turned it in, they were like, oh,

0:41:58.760 --> 0:42:00.720
<v Speaker 2>you know, they chewed me out for going over budget

0:42:00.960 --> 0:42:04.680
<v Speaker 2>and they didn't seem very interested in the record. But

0:42:04.880 --> 0:42:08.920
<v Speaker 2>interestingly enough, it was kind of like a just not

0:42:09.000 --> 0:42:10.839
<v Speaker 2>a very good vibe. And I was like leaving there

0:42:10.880 --> 0:42:12.319
<v Speaker 2>and said, well, at least I did the record. At

0:42:12.360 --> 0:42:13.799
<v Speaker 2>least I'll put it out. I don't know what's going

0:42:13.880 --> 0:42:15.920
<v Speaker 2>to happen, because it didn't feel very good, you know.

0:42:16.040 --> 0:42:18.719
<v Speaker 2>But I met this guy on the way out named

0:42:18.800 --> 0:42:23.000
<v Speaker 2>Jeffrey Shane who was worked in the radio department at

0:42:23.000 --> 0:42:26.319
<v Speaker 2>the time, and he came up to me and he said, man,

0:42:26.360 --> 0:42:28.479
<v Speaker 2>I heard the record, and he said, I just love

0:42:28.600 --> 0:42:31.080
<v Speaker 2>this record. And he says, I don't care what anybody

0:42:31.120 --> 0:42:33.799
<v Speaker 2>thinks here, I'm going to make sure that people hear

0:42:33.880 --> 0:42:35.920
<v Speaker 2>this record. I'm going to make sure it does something

0:42:35.960 --> 0:42:39.160
<v Speaker 2>because I just think it's really nice. And I was like, wow,

0:42:39.239 --> 0:42:42.520
<v Speaker 2>that's cool. And he lived up to his word. I mean,

0:42:42.560 --> 0:42:48.560
<v Speaker 2>that guy, single handily initially a capital turned the wheels around.

0:42:49.200 --> 0:42:54.520
<v Speaker 2>It was, I mean and starting. I think I owe

0:42:54.600 --> 0:42:57.680
<v Speaker 2>a lot of gratitude to him for getting things going

0:42:57.719 --> 0:43:00.400
<v Speaker 2>because he just he was relentless. He just went to

0:43:00.480 --> 0:43:04.839
<v Speaker 2>every radio station in America and tried to get them

0:43:04.920 --> 0:43:07.320
<v Speaker 2>interested in something on the record.

0:43:08.440 --> 0:43:11.080
<v Speaker 1>Okay, Well, the record Clisse of Dover was used in

0:43:11.200 --> 0:43:13.880
<v Speaker 1>many other areas before it actually broke on the radio

0:43:14.560 --> 0:43:17.840
<v Speaker 1>because it was an instrumental uses. You know, the track

0:43:17.960 --> 0:43:21.160
<v Speaker 1>did not break until a period of time after the

0:43:21.239 --> 0:43:26.160
<v Speaker 1>album was out. So what was going through your mind?

0:43:26.200 --> 0:43:28.080
<v Speaker 1>Were you think it was over? And then were you

0:43:28.200 --> 0:43:30.840
<v Speaker 1>surprised or what? You know?

0:43:31.000 --> 0:43:34.080
<v Speaker 2>I didn't. I just went back to playing gigs and

0:43:34.440 --> 0:43:37.920
<v Speaker 2>I I just felt that I did the best I

0:43:37.960 --> 0:43:39.680
<v Speaker 2>could on that record, and I thought it was a

0:43:39.680 --> 0:43:41.480
<v Speaker 2>good record, and I thought, you know what, I did

0:43:41.520 --> 0:43:44.760
<v Speaker 2>the best I could, and I'm just going to go forward,

0:43:44.960 --> 0:43:50.120
<v Speaker 2>you know, and not no put too much emphasis on

0:43:50.880 --> 0:43:54.160
<v Speaker 2>what the reflection is, you know, because people that heard it,

0:43:54.239 --> 0:43:56.160
<v Speaker 2>you know, the fans had heard it seemed well, we

0:43:56.239 --> 0:43:59.440
<v Speaker 2>really like it. So that was that was you know,

0:43:59.520 --> 0:44:02.480
<v Speaker 2>making me feel okay, regardless, So.

0:44:02.520 --> 0:44:05.160
<v Speaker 1>When it becomes a hit, you know what goes through

0:44:05.160 --> 0:44:05.640
<v Speaker 1>your mind.

0:44:05.920 --> 0:44:11.040
<v Speaker 2>Well, I was surprised really in a way. The uh

0:44:11.160 --> 0:44:17.160
<v Speaker 2>it's interesting that we I just didn't expect it really,

0:44:17.200 --> 0:44:20.239
<v Speaker 2>you know, being an instrumental song, and but it just

0:44:20.360 --> 0:44:22.720
<v Speaker 2>kind of fit in a little niche you know, on

0:44:22.880 --> 0:44:25.160
<v Speaker 2>the radio. It was just like perfect timing on the

0:44:25.239 --> 0:44:27.520
<v Speaker 2>radio where they it was able to be used right

0:44:27.560 --> 0:44:31.600
<v Speaker 2>before the news or whatever. But and as you say,

0:44:31.680 --> 0:44:33.919
<v Speaker 2>I think it was used in sports events and other

0:44:33.960 --> 0:44:37.799
<v Speaker 2>stuff that kind of gave it some momentum. But I

0:44:37.840 --> 0:44:41.840
<v Speaker 2>was surprised, and it just kind of kind of kept

0:44:42.160 --> 0:44:44.920
<v Speaker 2>kept getting taking off more and more. But it was

0:44:45.320 --> 0:44:46.600
<v Speaker 2>I wasn't expecting that.

0:44:47.200 --> 0:44:52.160
<v Speaker 1>Okay, but you've been slugging it out for twenty years, right, Okay,

0:44:52.880 --> 0:44:55.160
<v Speaker 1>do you finally feel like you made it? I mean,

0:44:55.239 --> 0:44:58.040
<v Speaker 1>your touring goes up a big step, there's more of

0:44:58.080 --> 0:45:00.760
<v Speaker 1>a profile. What's it like being you at that time?

0:45:01.760 --> 0:45:04.960
<v Speaker 2>Oh? It was great. We were able to play auditoriums

0:45:05.000 --> 0:45:09.640
<v Speaker 2>and theaters and stuff, and gigs were gigs were great

0:45:09.680 --> 0:45:13.480
<v Speaker 2>and we had good attendance, and uh yeah it was

0:45:13.640 --> 0:45:18.000
<v Speaker 2>It was great. And the whole climate at Capital change.

0:45:18.040 --> 0:45:20.200
<v Speaker 2>So you know, we'd walk into Capitol right, Oh yeah,

0:45:20.280 --> 0:45:22.640
<v Speaker 2>how you how's it going? How can I get you something?

0:45:22.680 --> 0:45:26.440
<v Speaker 2>You know, it was kind of funny, you know, that

0:45:26.520 --> 0:45:29.840
<v Speaker 2>way it can change. But uh yeah, it was great.

0:45:30.120 --> 0:45:32.440
<v Speaker 1>So and so why did it take so long for

0:45:32.480 --> 0:45:33.160
<v Speaker 1>the follow up?

0:45:34.640 --> 0:45:37.560
<v Speaker 2>Well, that's a good question. I think it's that sophomore

0:45:37.680 --> 0:45:40.080
<v Speaker 2>edit effort, and I was like, oh, now I got

0:45:40.120 --> 0:45:41.920
<v Speaker 2>to really really make the best record, And you know,

0:45:42.040 --> 0:45:44.920
<v Speaker 2>I would have done things a lot different than I

0:45:45.000 --> 0:45:49.600
<v Speaker 2>did on venus Ayle. I think the record turned out okay.

0:45:50.200 --> 0:45:51.839
<v Speaker 2>There's a couple of songs on it that I'm not

0:45:51.960 --> 0:45:53.920
<v Speaker 2>I'm like, I don't know about that, but a lot

0:45:53.920 --> 0:45:56.239
<v Speaker 2>of it. I actually never really listened to my music

0:45:56.320 --> 0:45:56.640
<v Speaker 2>very much.

0:45:56.680 --> 0:45:57.080
<v Speaker 1>I listened to.

0:45:57.080 --> 0:46:00.600
<v Speaker 2>It a few months agoing, wow, that's really there's some

0:46:01.080 --> 0:46:03.520
<v Speaker 2>there's some that's you know, some people think that that's

0:46:03.680 --> 0:46:07.520
<v Speaker 2>my best record I did, but that's subjective. But I

0:46:07.680 --> 0:46:09.719
<v Speaker 2>just got into this thing of doing it over and

0:46:09.760 --> 0:46:12.040
<v Speaker 2>over and over and over, which I mean really honestly,

0:46:12.080 --> 0:46:15.240
<v Speaker 2>that was the epitome of just going overboard. We recorded

0:46:15.239 --> 0:46:17.880
<v Speaker 2>the whole record in Austin and it actually sounded pretty

0:46:17.920 --> 0:46:23.840
<v Speaker 2>darn good and I should well I don't use it.

0:46:23.960 --> 0:46:25.319
<v Speaker 2>It should, but I mean I could have just gone

0:46:25.320 --> 0:46:27.040
<v Speaker 2>with that, you know, but I don't know. Let's go

0:46:27.040 --> 0:46:29.759
<v Speaker 2>to LA and go to A and M studios and

0:46:29.800 --> 0:46:32.000
<v Speaker 2>spend tons of money and it's going to be great,

0:46:32.040 --> 0:46:34.400
<v Speaker 2>and let's redo it and just go for broke, you know,

0:46:34.480 --> 0:46:38.880
<v Speaker 2>which I don't think is the Obviously, you can get

0:46:39.360 --> 0:46:41.919
<v Speaker 2>lost in the rabbit hole, and you know, if you're

0:46:42.000 --> 0:46:44.279
<v Speaker 2>if you're a huge group, then you have a little

0:46:44.320 --> 0:46:48.920
<v Speaker 2>bit more uh, you know, latitude to do that. Although

0:46:48.920 --> 0:46:51.440
<v Speaker 2>I still don't think it's the way to do it, really,

0:46:51.480 --> 0:46:54.080
<v Speaker 2>but you know, I wasn't that big of a of

0:46:54.120 --> 0:46:56.640
<v Speaker 2>an artist to go do that. I spent a ton

0:46:56.680 --> 0:47:00.239
<v Speaker 2>of money making that record. I mean just ridiculous amount

0:47:00.280 --> 0:47:03.040
<v Speaker 2>of money. And I think you know, you mentioned Hal Milgrum.

0:47:03.040 --> 0:47:05.000
<v Speaker 2>I think he hung in there with me, but I

0:47:05.600 --> 0:47:07.960
<v Speaker 2>think I put a lot of stress on capital, you know,

0:47:08.040 --> 0:47:10.759
<v Speaker 2>just spending taking way too I mean four years. I

0:47:10.800 --> 0:47:13.279
<v Speaker 2>mean I had worked on I didn't spend four years

0:47:13.280 --> 0:47:16.560
<v Speaker 2>making the record. Although that's what the that's what's written.

0:47:16.560 --> 0:47:18.200
<v Speaker 2>Oh he spends four years. I'd spent two and a

0:47:18.200 --> 0:47:21.640
<v Speaker 2>half years making the record, which is crazy enough. You know,

0:47:21.680 --> 0:47:24.200
<v Speaker 2>we spent a couple of years on just touring and

0:47:24.239 --> 0:47:26.440
<v Speaker 2>then I finally started the record again. But yeah, I

0:47:26.520 --> 0:47:30.600
<v Speaker 2>spent over two years making that record. It's like, yeah,

0:47:30.760 --> 0:47:36.200
<v Speaker 2>I don't think that that was the way I could.

0:47:36.280 --> 0:47:37.800
<v Speaker 2>I think I could have done it in other ways

0:47:37.840 --> 0:47:40.640
<v Speaker 2>and been a little bit more efficient without going down

0:47:40.680 --> 0:47:43.040
<v Speaker 2>the rabbit hole. But that's the way I was thinking.

0:47:43.080 --> 0:47:47.080
<v Speaker 1>Then Okay, Hail gets blowed out. You lose your champion,

0:47:48.120 --> 0:47:51.640
<v Speaker 1>the sound of music, rock starts to fall by the wayside,

0:47:51.719 --> 0:47:55.200
<v Speaker 1>hip hop becomes big, and suddenly you're on independent labels.

0:47:55.480 --> 0:47:56.960
<v Speaker 1>Do you feel like you missed your moment?

0:47:58.600 --> 0:48:00.799
<v Speaker 2>Well, And I think I'm responsible for a lot of that.

0:48:01.400 --> 0:48:03.080
<v Speaker 2>I don't know about missed the moment. I mean, because

0:48:03.120 --> 0:48:05.000
<v Speaker 2>it's like, how do you equate all that stuff? But

0:48:05.440 --> 0:48:10.759
<v Speaker 2>to your point, I think I'm responsible that if you

0:48:10.920 --> 0:48:15.080
<v Speaker 2>create momentum, you have a certain obligation to keep that

0:48:15.160 --> 0:48:18.280
<v Speaker 2>momentum going. So you have to look at the whole

0:48:18.600 --> 0:48:20.719
<v Speaker 2>degree of everything. What are you doing, How are you

0:48:20.800 --> 0:48:21.640
<v Speaker 2>handling this stuff?

0:48:21.680 --> 0:48:22.120
<v Speaker 1>How? You know?

0:48:22.200 --> 0:48:25.000
<v Speaker 2>Like, don't just disappear for six years and come out

0:48:25.040 --> 0:48:27.320
<v Speaker 2>with a record and think you're the Beatles and everybody's

0:48:27.320 --> 0:48:32.440
<v Speaker 2>going to remember you. Don't get so lost in experimentation

0:48:32.600 --> 0:48:34.160
<v Speaker 2>that you just got a bunch of you know, Like

0:48:34.200 --> 0:48:36.640
<v Speaker 2>I at that point, I was working on the record

0:48:37.320 --> 0:48:42.440
<v Speaker 2>after Venus Ale was I was turning in tapes to

0:48:42.640 --> 0:48:44.920
<v Speaker 2>Capital and I think they were half baked, and I

0:48:44.920 --> 0:48:47.080
<v Speaker 2>didn't really know what I was doing, and I was

0:48:47.160 --> 0:48:50.880
<v Speaker 2>kind of you know, just fishing. So I think to

0:48:50.920 --> 0:48:54.480
<v Speaker 2>your point, yeah, music was changing, but I think during

0:48:54.600 --> 0:48:58.800
<v Speaker 2>music changing, I wasn't. I could have spent more time

0:48:58.920 --> 0:49:04.400
<v Speaker 2>just being careful of that momentum, you know, And I

0:49:04.400 --> 0:49:08.319
<v Speaker 2>think I was just kind of a little bit not

0:49:08.480 --> 0:49:12.839
<v Speaker 2>quite uh the I wasn't quite on course then, So yeah,

0:49:12.920 --> 0:49:15.200
<v Speaker 2>capitare like, well, he's already spent you know, a ton

0:49:15.239 --> 0:49:18.520
<v Speaker 2>of money and he's just doing demos. So they kind

0:49:18.560 --> 0:49:20.200
<v Speaker 2>of got out of the deal, you know.

0:49:20.560 --> 0:49:24.120
<v Speaker 1>But how depressing is that you reach the pinnacle not

0:49:24.160 --> 0:49:26.600
<v Speaker 1>only do you not continue to have sex, I mean

0:49:26.680 --> 0:49:30.200
<v Speaker 1>success use you might have sex and uh you lose

0:49:30.239 --> 0:49:30.760
<v Speaker 1>your deal.

0:49:32.200 --> 0:49:34.239
<v Speaker 2>Yeah yeah, And at the time I was like, how

0:49:34.320 --> 0:49:37.080
<v Speaker 2>dare they? You know, But then you think they go, well,

0:49:37.120 --> 0:49:42.240
<v Speaker 2>you know this, I'm partially responsible for that too, because

0:49:42.280 --> 0:49:45.120
<v Speaker 2>you you have to you have to bring it, you know,

0:49:45.200 --> 0:49:47.960
<v Speaker 2>and sometimes it's hardball and you have to be real

0:49:48.040 --> 0:49:55.560
<v Speaker 2>careful and maintain that that bulliancy. And I'd just spent

0:49:55.680 --> 0:49:58.239
<v Speaker 2>a lot of time making these half baked demos, and

0:49:58.600 --> 0:50:01.680
<v Speaker 2>they got scared because you know, it's like that all

0:50:01.719 --> 0:50:04.280
<v Speaker 2>this money is going out and he's just turning in demos.

0:50:04.280 --> 0:50:09.080
<v Speaker 2>So I think now it was just a yeah, just

0:50:10.440 --> 0:50:13.000
<v Speaker 2>you have to you have to take responsibility, you know,

0:50:13.080 --> 0:50:17.240
<v Speaker 2>to make a really strong product. You know, you can't

0:50:17.280 --> 0:50:18.759
<v Speaker 2>just rely on your laurels.

0:50:20.560 --> 0:50:26.080
<v Speaker 1>Okay, many people have that peak, pass it and go straight,

0:50:26.440 --> 0:50:29.359
<v Speaker 1>they get a street job. Did you just pick up

0:50:29.440 --> 0:50:30.440
<v Speaker 1>like nothing happened.

0:50:32.239 --> 0:50:35.720
<v Speaker 2>No, Well, I think emotionally it hurt me a lot.

0:50:36.360 --> 0:50:39.080
<v Speaker 2>I just think I just kind of decided to go, well,

0:50:39.120 --> 0:50:42.600
<v Speaker 2>I'm just gonna, you know, keep going forward and keep

0:50:42.640 --> 0:50:46.719
<v Speaker 2>experimenting with music and see what I can do. But

0:50:46.800 --> 0:50:51.560
<v Speaker 2>I think, yeah, I think it was. It was. It

0:50:51.719 --> 0:50:55.759
<v Speaker 2>was a trying time, and at the time, I don't

0:50:55.800 --> 0:50:59.600
<v Speaker 2>think I I think at the at the time, I

0:50:59.640 --> 0:51:01.640
<v Speaker 2>think I was a little bit more in like this

0:51:01.960 --> 0:51:04.839
<v Speaker 2>entitlement place where well, you know, I've gotten there, so

0:51:04.920 --> 0:51:06.839
<v Speaker 2>I should just be able to stay there without any

0:51:07.160 --> 0:51:10.520
<v Speaker 2>any extra energy, which is not true. You have to keep,

0:51:12.120 --> 0:51:14.680
<v Speaker 2>you know, for a better or for words, you have

0:51:14.719 --> 0:51:16.879
<v Speaker 2>to kind of keep earning your keep as you move

0:51:16.960 --> 0:51:23.799
<v Speaker 2>through the evolution. So I think, you know, and that's

0:51:23.880 --> 0:51:25.879
<v Speaker 2>that was one of the lessons I had to learn.

0:51:26.640 --> 0:51:29.520
<v Speaker 1>Well, needle to say, the landscape has worked. Everybody, even

0:51:29.600 --> 0:51:32.680
<v Speaker 1>Nearrick Clapton's on an independent label at this particular point

0:51:32.680 --> 0:51:37.319
<v Speaker 1>in time going back, you mentioned Jeff Beck, So who

0:51:37.400 --> 0:51:39.680
<v Speaker 1>is your favorite? Who do you think is best from

0:51:39.680 --> 0:51:40.160
<v Speaker 1>that era?

0:51:41.360 --> 0:51:45.359
<v Speaker 2>Well, if you're talking about just somebody that's just got

0:51:45.360 --> 0:51:51.279
<v Speaker 2>that hemispheric guitar concept, I really got to say, it's

0:51:51.360 --> 0:51:57.040
<v Speaker 2>Jimmy Hendricks and Jeff Beck. It's really hard. I mean

0:51:57.080 --> 0:52:00.760
<v Speaker 2>there's a lot of great players, Page and Class and

0:52:00.960 --> 0:52:04.239
<v Speaker 2>Peter Green and of course all the blues players, all

0:52:04.280 --> 0:52:07.719
<v Speaker 2>the Kings and God, I mean there's tons of them,

0:52:07.719 --> 0:52:11.480
<v Speaker 2>and that's just in blues and pop and rock. But

0:52:12.719 --> 0:52:19.040
<v Speaker 2>there was something amazing about Hendrix and Beck that I

0:52:19.080 --> 0:52:25.080
<v Speaker 2>don't they're just trailblazers and created a new flame that

0:52:26.120 --> 0:52:29.640
<v Speaker 2>arose out of very few library books. You know, they

0:52:29.640 --> 0:52:31.400
<v Speaker 2>didn't have a lot to work with to create what

0:52:31.440 --> 0:52:34.920
<v Speaker 2>they did. Now we can go look at twenty man

0:52:35.120 --> 0:52:37.920
<v Speaker 2>thirty fifty manuals on playing guitar, but I think at

0:52:37.920 --> 0:52:40.840
<v Speaker 2>the time they had like two paragraphs go oh, okay,

0:52:40.840 --> 0:52:42.560
<v Speaker 2>well then i'm gonna have to I'm gonna have to

0:52:42.640 --> 0:52:46.960
<v Speaker 2>make this up myself. And it's amazing if you look

0:52:47.000 --> 0:52:51.319
<v Speaker 2>at it in that picture of what they did with

0:52:51.360 --> 0:52:53.880
<v Speaker 2>what they had to work with. So I would say them.

0:52:54.760 --> 0:52:58.880
<v Speaker 1>So talking about Beck who ultimately played without a pick,

0:52:59.280 --> 0:53:01.319
<v Speaker 1>What was your take on that as a guitarist.

0:53:02.920 --> 0:53:06.320
<v Speaker 2>I thought it was great. I enjoyed him when he

0:53:06.320 --> 0:53:09.520
<v Speaker 2>played with a pick too, and so I like both

0:53:09.640 --> 0:53:12.720
<v Speaker 2>both effects. I think both effects are great, and really

0:53:12.760 --> 0:53:15.000
<v Speaker 2>you can do certain things with each one that you

0:53:15.040 --> 0:53:15.839
<v Speaker 2>can't do with the other.

0:53:16.440 --> 0:53:19.000
<v Speaker 1>How about yourself, when do you use a pick and

0:53:19.040 --> 0:53:19.360
<v Speaker 1>when not?

0:53:20.000 --> 0:53:21.560
<v Speaker 2>Well, A lot of times when I play acoustic, I

0:53:21.600 --> 0:53:23.880
<v Speaker 2>don't use a pick. When I play electric, I use

0:53:23.920 --> 0:53:26.560
<v Speaker 2>a pick, But sometimes it's hybrid playing where I use

0:53:26.600 --> 0:53:28.800
<v Speaker 2>a pick but I use my fingers at the same time.

0:53:30.120 --> 0:53:32.640
<v Speaker 1>And what about Eddie Van Hill and the leader guitarist

0:53:32.719 --> 0:53:33.680
<v Speaker 1>with tapping, etc.

0:53:34.920 --> 0:53:40.279
<v Speaker 2>Oh, this's amazing. Yeah, he probably was principally one of

0:53:40.280 --> 0:53:44.080
<v Speaker 2>the first people to reinvent guitar after the original guys

0:53:44.080 --> 0:53:47.279
<v Speaker 2>in the sixties, as far as bringing a whole new

0:53:47.320 --> 0:53:48.200
<v Speaker 2>dimension to it.

0:53:49.760 --> 0:53:51.040
<v Speaker 1>So how do you write a song?

0:53:53.360 --> 0:53:56.319
<v Speaker 2>Usually just by jamming, just kind of playing around either

0:53:56.360 --> 0:53:58.960
<v Speaker 2>on piano or guitar and just coming up with something

0:53:59.000 --> 0:54:01.880
<v Speaker 2>and then seeing if a melody arises out of that.

0:54:02.400 --> 0:54:04.640
<v Speaker 2>I kind of let it just do its thing, and

0:54:05.080 --> 0:54:07.560
<v Speaker 2>usually it spells out whether it should be a vocal

0:54:07.640 --> 0:54:08.520
<v Speaker 2>or an instrumental.

0:54:10.480 --> 0:54:14.040
<v Speaker 1>Okay, you know, do you just leave the tape recorder

0:54:14.080 --> 0:54:16.000
<v Speaker 1>on every time you pick up the guitar.

0:54:16.640 --> 0:54:19.120
<v Speaker 2>No, no, I just kind of play around and see

0:54:19.160 --> 0:54:24.560
<v Speaker 2>what's coming up. Sometimes the the ideas just come. I'm

0:54:24.600 --> 0:54:26.360
<v Speaker 2>not sure from where. I don't even know if you

0:54:26.360 --> 0:54:30.279
<v Speaker 2>can take credit for them, but they just kind of come.

0:54:30.320 --> 0:54:33.000
<v Speaker 2>But and then you're left with the custodial work of

0:54:33.040 --> 0:54:37.440
<v Speaker 2>finishing it out, connecting the dots. But sometimes the bigger

0:54:37.520 --> 0:54:39.040
<v Speaker 2>picture just kind of happens.

0:54:40.680 --> 0:54:42.719
<v Speaker 1>And do you pick up the guitar and knowing you

0:54:42.760 --> 0:54:44.959
<v Speaker 1>want to make an album, or you playing every day?

0:54:46.040 --> 0:54:52.120
<v Speaker 2>I usually play every day, Yeah, for how long at

0:54:52.120 --> 0:54:54.719
<v Speaker 2>different times. Some days it's for hours and hours, some

0:54:54.800 --> 0:54:56.240
<v Speaker 2>days just thirty minutes.

0:54:58.160 --> 0:54:59.880
<v Speaker 1>And it never feels like work to you.

0:55:01.680 --> 0:55:03.920
<v Speaker 2>Sometimes I think when I have to get ready for

0:55:03.920 --> 0:55:08.239
<v Speaker 2>a tour, and then I'm really, really I have to

0:55:08.320 --> 0:55:10.080
<v Speaker 2>do Oh, I got to work on these songs and

0:55:10.160 --> 0:55:12.239
<v Speaker 2>this technique, you know, it's not so much the free

0:55:12.239 --> 0:55:15.520
<v Speaker 2>form of just playing for fun. It's working on a

0:55:15.560 --> 0:55:20.640
<v Speaker 2>particular repertoire of music. So you're kind of you're more

0:55:20.760 --> 0:55:22.640
<v Speaker 2>bound of, well, this is what I got to work on.

0:55:22.760 --> 0:55:24.799
<v Speaker 2>That sometimes I don't feel like doing that, but I

0:55:24.840 --> 0:55:25.200
<v Speaker 2>have to.

0:55:26.239 --> 0:55:28.960
<v Speaker 1>And for those who are unfamiliar with your music, how

0:55:28.960 --> 0:55:30.000
<v Speaker 1>would you describe it?

0:55:31.960 --> 0:55:35.680
<v Speaker 2>Well, it's I think it never really landed on any

0:55:36.760 --> 0:55:40.719
<v Speaker 2>one style. It's I never really figured out what I

0:55:40.840 --> 0:55:43.640
<v Speaker 2>like best. And there's so many players that are so great,

0:55:43.719 --> 0:55:46.040
<v Speaker 2>so there's always something to learn, and you can always

0:55:46.080 --> 0:55:49.000
<v Speaker 2>be a student of music. So I kind of just

0:55:50.880 --> 0:55:53.440
<v Speaker 2>anytime I can, you know, learn something like a country

0:55:53.440 --> 0:55:56.120
<v Speaker 2>and flavored thing, or blues or jazz or rock. I

0:55:56.200 --> 0:55:59.399
<v Speaker 2>think it's just kind of all over the map. Maybe

0:55:59.920 --> 0:56:02.080
<v Speaker 2>I have an identity crisis or something.

0:56:02.480 --> 0:56:04.520
<v Speaker 1>Well, you know, there were the people in the eighties

0:56:04.600 --> 0:56:07.279
<v Speaker 1>like Ingville, Moms Stein or whatever, people were known for

0:56:07.280 --> 0:56:12.759
<v Speaker 1>playing incredibly fast. And I've been to see you, and

0:56:12.840 --> 0:56:16.960
<v Speaker 1>I wouldn't say it's incredibly fast, but I can't believe

0:56:17.040 --> 0:56:21.360
<v Speaker 1>you can play all those notes and get that sound out.

0:56:22.400 --> 0:56:26.239
<v Speaker 2>Well, I think that, you know, a lot of what

0:56:26.360 --> 0:56:29.040
<v Speaker 2>I do is I just learned from my heroes, and

0:56:29.080 --> 0:56:32.200
<v Speaker 2>I kind of I took certain things from Jeff Beck,

0:56:32.440 --> 0:56:36.839
<v Speaker 2>certain things from Mark Clapton and Jimmy Hendrix and Keith

0:56:36.920 --> 0:56:41.279
<v Speaker 2>Richards and Brian Jones and Noki Edwards and Wes Montgomery

0:56:41.280 --> 0:56:43.920
<v Speaker 2>and all the people that I like. I would inculcate

0:56:43.960 --> 0:56:48.600
<v Speaker 2>that into one recipe and that's how I kind of

0:56:49.160 --> 0:56:50.360
<v Speaker 2>came up with my style.

0:56:51.320 --> 0:56:53.239
<v Speaker 1>I mean, do you have to talk about learning the

0:56:53.320 --> 0:56:56.839
<v Speaker 1>repertoire but someone's mind would be blown that you can

0:56:56.920 --> 0:56:59.920
<v Speaker 1>hit all the notes and there are no clams. I mean,

0:57:00.120 --> 0:57:02.080
<v Speaker 1>what degree do you have to practice that or if

0:57:02.120 --> 0:57:04.160
<v Speaker 1>you put in so many hours in the past that

0:57:04.680 --> 0:57:05.640
<v Speaker 1>it's just natural.

0:57:06.520 --> 0:57:08.759
<v Speaker 2>Well, there's a there's probably a lot of clams. And

0:57:08.800 --> 0:57:11.920
<v Speaker 2>nowadays with YouTube, you know you you're there's no stone

0:57:12.000 --> 0:57:15.080
<v Speaker 2>left unturned. Everybody can see one of your moments that's

0:57:15.160 --> 0:57:18.959
<v Speaker 2>less than best. And I definitely I'm not the most

0:57:19.000 --> 0:57:24.280
<v Speaker 2>consistent player in the world. But uh uh, it takes practice. Yeah,

0:57:24.400 --> 0:57:31.720
<v Speaker 2>it takes practice. And yeah, just working on the melody,

0:57:31.840 --> 0:57:35.440
<v Speaker 2>the harmony and the rhythm, just working on all the aspects.

0:57:42.200 --> 0:57:46.200
<v Speaker 1>In your personal life. Are you married not now? I'm not.

0:57:46.440 --> 0:57:47.840
<v Speaker 1>Now do you have children?

0:57:48.440 --> 0:57:49.240
<v Speaker 2>I don't.

0:57:49.680 --> 0:57:52.240
<v Speaker 1>To what degree do you believe your dedication to the

0:57:52.320 --> 0:57:55.800
<v Speaker 1>guitar and the career sort of shut those avenues.

0:57:55.360 --> 0:57:58.320
<v Speaker 2>Down more than I wish they had, to be honest,

0:57:59.120 --> 0:58:04.280
<v Speaker 2>I think I'm it's speaking very candidly. I think I

0:58:04.400 --> 0:58:07.760
<v Speaker 2>was so obsessed with music that I kind of lost

0:58:07.800 --> 0:58:10.120
<v Speaker 2>track of life a little bit, you know, just like

0:58:10.280 --> 0:58:15.000
<v Speaker 2>spending every waking moment chasing music. And I think it's

0:58:15.040 --> 0:58:17.760
<v Speaker 2>important to have a balance in life.

0:58:18.120 --> 0:58:19.760
<v Speaker 1>And to what degree are you a gearhead?

0:58:21.240 --> 0:58:25.040
<v Speaker 2>Ah? Less than I used to be. I went through

0:58:25.080 --> 0:58:30.720
<v Speaker 2>a period where I mean, I still like, you know,

0:58:31.000 --> 0:58:33.480
<v Speaker 2>stuff that sounds good, but I don't try to put

0:58:33.480 --> 0:58:36.720
<v Speaker 2>as much emphasis on that now because it's kind of

0:58:36.760 --> 0:58:38.560
<v Speaker 2>another rabbit hole you can get into.

0:58:40.120 --> 0:58:41.560
<v Speaker 1>So how many guitars do you own?

0:58:42.760 --> 0:58:45.960
<v Speaker 2>All right now? I don't own I've sold a lot

0:58:46.000 --> 0:58:48.960
<v Speaker 2>of stuff. I probably owned maybe eighteen or twenty guitars

0:58:48.960 --> 0:58:49.520
<v Speaker 2>at the most.

0:58:50.640 --> 0:58:53.280
<v Speaker 1>And what did you how'd you decide to sell and

0:58:53.320 --> 0:58:54.760
<v Speaker 1>how'd you decide what to keep?

0:58:56.000 --> 0:58:59.280
<v Speaker 2>Really just stuff that feels magical, that makes me want

0:58:59.320 --> 0:59:04.440
<v Speaker 2>to play, that's sounds good, and pieces that are sentimental.

0:59:05.320 --> 0:59:07.040
<v Speaker 1>And so what are your favorites.

0:59:08.800 --> 0:59:12.160
<v Speaker 2>I have a Martin that my father bought me when

0:59:12.160 --> 0:59:15.480
<v Speaker 2>my guitars got stolen in nineteen eighty two, and he

0:59:15.560 --> 0:59:17.840
<v Speaker 2>replaced when he bought me this Martin. That's a very

0:59:17.880 --> 0:59:21.520
<v Speaker 2>cinemal guitar to me. I have another acoustic that chedd

0:59:21.560 --> 0:59:28.680
<v Speaker 2>Atkins gave me any guitars that were gifts, They're kind

0:59:28.680 --> 0:59:34.520
<v Speaker 2>of very special to me. My favorite I just have

0:59:34.720 --> 0:59:37.680
<v Speaker 2>like this. I work with Fender and I have an

0:59:37.680 --> 0:59:40.760
<v Speaker 2>EJ Virginia model that's out on the market now and

0:59:40.800 --> 0:59:43.280
<v Speaker 2>I play one of those. As far as an electric guitar.

0:59:44.120 --> 0:59:46.960
<v Speaker 1>So to what degree did you customize it make it

0:59:47.000 --> 0:59:48.720
<v Speaker 1>different from usual Fender fare?

0:59:49.640 --> 0:59:53.840
<v Speaker 2>It's almost totally stock. On one of them. I put

0:59:53.880 --> 0:59:57.440
<v Speaker 2>a switch where I can have the bridge pickup be

0:59:57.520 --> 1:00:00.360
<v Speaker 2>humbucking or single call, but the some of the are

1:00:00.400 --> 1:00:00.840
<v Speaker 2>just stock.

1:00:02.040 --> 1:00:04.800
<v Speaker 1>And then how do you set up guitar? You like

1:00:05.200 --> 1:00:08.400
<v Speaker 1>heavy gauge, light gauge, how's the action? To what degree

1:00:08.400 --> 1:00:11.600
<v Speaker 1>do you change what comes off the assembly?

1:00:12.120 --> 1:00:13.880
<v Speaker 2>I try to lower the action a little bit and

1:00:13.920 --> 1:00:18.480
<v Speaker 2>I use a medium gauge string. Yeah, just kind of

1:00:18.480 --> 1:00:19.840
<v Speaker 2>set it up as good as I can.

1:00:21.080 --> 1:00:23.720
<v Speaker 1>Well, you're a Fender guy now, but you also have VS.

1:00:23.720 --> 1:00:26.920
<v Speaker 1>Three thirty fives. I mean, giving your take on this

1:00:27.120 --> 1:00:29.600
<v Speaker 1>sound and the playing of different brands.

1:00:31.480 --> 1:00:33.960
<v Speaker 2>Yeah, gifts ins are great. I love using those in

1:00:34.000 --> 1:00:37.440
<v Speaker 2>the studio. They have just an absolute wonderful lead tone

1:00:37.480 --> 1:00:42.560
<v Speaker 2>to them. I sometimes prefer the strat for a rhythm sound.

1:00:42.600 --> 1:00:45.160
<v Speaker 2>It's a little cleaner and clearer sound, and so a

1:00:45.200 --> 1:00:47.840
<v Speaker 2>lot of times live I'll use a strat predominantly because

1:00:47.840 --> 1:00:49.000
<v Speaker 2>it covers more bases.

1:00:50.480 --> 1:00:53.680
<v Speaker 1>And what about effects, I use a.

1:00:53.600 --> 1:00:57.120
<v Speaker 2>Lot of old funky effects because the analog w sound

1:00:57.160 --> 1:01:02.680
<v Speaker 2>better to me. Oh, the old funky ones.

1:01:03.360 --> 1:01:05.800
<v Speaker 1>But how many amste own? And what are you into? Yeah?

1:01:05.800 --> 1:01:08.600
<v Speaker 2>About eighteen or so? I guess eighteen, nineteen twenty. I

1:01:08.680 --> 1:01:11.080
<v Speaker 2>use a lot of old Fenders and Marshalls, but I

1:01:11.120 --> 1:01:15.080
<v Speaker 2>do use this new amp called a two Rock, which

1:01:15.120 --> 1:01:15.880
<v Speaker 2>are really nice.

1:01:16.600 --> 1:01:18.120
<v Speaker 1>What makes it special.

1:01:20.520 --> 1:01:25.080
<v Speaker 2>It's it's a real clean kind of well, it has

1:01:25.120 --> 1:01:28.240
<v Speaker 2>a lot of bravado for like a crunchy rhythm kind

1:01:28.240 --> 1:01:31.240
<v Speaker 2>of tone. It's kind of in between a Marshall and

1:01:31.280 --> 1:01:34.440
<v Speaker 2>a Fender. So I like to use a three way setup.

1:01:34.480 --> 1:01:36.919
<v Speaker 2>I'll use like the Fender for clean and the two

1:01:37.000 --> 1:01:39.840
<v Speaker 2>Rock for kind of a crunchy rhythm, and then the

1:01:39.880 --> 1:01:42.760
<v Speaker 2>Marshall for my lead tone.

1:01:43.360 --> 1:01:46.680
<v Speaker 1>And you're on the road now because you want to be,

1:01:47.200 --> 1:01:51.080
<v Speaker 1>or because you have to be.

1:01:49.680 --> 1:01:53.640
<v Speaker 2>Because I want to be. I guess, Yeah, how much

1:01:53.720 --> 1:01:56.760
<v Speaker 2>you work in these days? Well, we did one long

1:01:56.800 --> 1:01:58.840
<v Speaker 2>tour at the beginning of the year and then I

1:01:58.920 --> 1:02:01.720
<v Speaker 2>have another long tour starting in a few weeks, a

1:02:01.760 --> 1:02:04.919
<v Speaker 2>couple months, and then that'll probably be it for the year.

1:02:04.960 --> 1:02:08.280
<v Speaker 2>I have some sporadic shows after that, and then I'll

1:02:08.320 --> 1:02:11.600
<v Speaker 2>be doing some tours at the first and next year.

1:02:12.520 --> 1:02:14.440
<v Speaker 1>And when acoustic and win with a band?

1:02:15.720 --> 1:02:19.160
<v Speaker 2>Well, I haven't done any acoustic tours lately, but don't

1:02:19.160 --> 1:02:21.160
<v Speaker 2>have any planned right now. But I have some new

1:02:21.240 --> 1:02:23.800
<v Speaker 2>acoustic tunes that i'd like to put on a record.

1:02:24.720 --> 1:02:27.000
<v Speaker 1>And when do you decide to make a record.

1:02:27.880 --> 1:02:31.160
<v Speaker 2>When I feel I've got enough music that's worth recording

1:02:31.200 --> 1:02:34.800
<v Speaker 2>I have right now. But I released a double record

1:02:34.880 --> 1:02:39.040
<v Speaker 2>about a year ago, and now I have twelve new

1:02:39.560 --> 1:02:41.800
<v Speaker 2>basic tracks that I've just completed, but I need to

1:02:41.840 --> 1:02:42.600
<v Speaker 2>finish them off.

1:02:44.120 --> 1:02:46.360
<v Speaker 1>And I see you in a studio now. People can't

1:02:46.400 --> 1:02:49.080
<v Speaker 1>see we're audio only. Is that your studio?

1:02:49.560 --> 1:02:52.400
<v Speaker 2>It is? It is? Yeah, it's a place I started

1:02:52.400 --> 1:02:53.520
<v Speaker 2>building many years ago.

1:02:54.240 --> 1:02:57.800
<v Speaker 1>Yeah, well even you know, I'm only looking at the monitors.

1:02:57.880 --> 1:03:02.400
<v Speaker 1>But that's pretty extensive for a whole studio. Yeah.

1:03:02.480 --> 1:03:03.680
<v Speaker 2>Yeah, I don't know if you can see it, but

1:03:03.720 --> 1:03:07.800
<v Speaker 2>it's got a console back here. There's a console back there.

1:03:08.120 --> 1:03:09.680
<v Speaker 1>Yeah, what kind of console is that?

1:03:10.040 --> 1:03:13.520
<v Speaker 2>It's called tone looks and I have a Neve and

1:03:13.640 --> 1:03:16.280
<v Speaker 2>API stuff in there too.

1:03:17.000 --> 1:03:19.640
<v Speaker 1>And what kind of speakers are you using.

1:03:19.440 --> 1:03:24.360
<v Speaker 2>For modern They're ATC's, yeah, which are really nice speakers.

1:03:24.600 --> 1:03:26.480
<v Speaker 1>You do a lot of covers. How do you decide

1:03:26.480 --> 1:03:27.479
<v Speaker 1>what songs to cover?

1:03:29.200 --> 1:03:32.480
<v Speaker 2>Just songs that I like? I like doing Hendrix songs.

1:03:35.000 --> 1:03:36.960
<v Speaker 2>Sometimes I try to do Stevie Wonder songs and I

1:03:36.960 --> 1:03:39.680
<v Speaker 2>shouldn't really because it's like out of my legue. Really,

1:03:39.720 --> 1:03:42.400
<v Speaker 2>I love Stevie Wonder. He's probably other than the Beatles,

1:03:42.400 --> 1:03:47.640
<v Speaker 2>He's probably my favorite pop artist there ever was. But yeah,

1:03:47.680 --> 1:03:49.360
<v Speaker 2>if it's just a song I like, or if I

1:03:49.400 --> 1:03:53.320
<v Speaker 2>want to like do something crazy, do a song that

1:03:53.960 --> 1:03:56.360
<v Speaker 2>would not make sense for me to do, but I'll

1:03:56.440 --> 1:03:58.120
<v Speaker 2>rearrange it so that it works for me.

1:03:59.600 --> 1:04:04.120
<v Speaker 1>Yeah, And what about singing? You've been criticized in your

1:04:04.280 --> 1:04:08.920
<v Speaker 1>career for some of your vocals, although I think forty

1:04:08.960 --> 1:04:12.400
<v Speaker 1>Mile Town from Avia Music hom is great. So you

1:04:12.440 --> 1:04:15.160
<v Speaker 1>have any self consciousness or you just do what you do?

1:04:16.960 --> 1:04:19.080
<v Speaker 2>I just do what I do. But yeah, it's it.

1:04:20.960 --> 1:04:22.480
<v Speaker 2>I'm no great singer really.

1:04:24.360 --> 1:04:24.560
<v Speaker 1>Yeah.

1:04:24.560 --> 1:04:26.320
<v Speaker 2>I just decided to sing, you know, I could have

1:04:26.480 --> 1:04:28.680
<v Speaker 2>very easily just gone well no, no, don't sing it

1:04:28.760 --> 1:04:31.400
<v Speaker 2>elite singer, but I never I just I don't know.

1:04:31.440 --> 1:04:33.440
<v Speaker 2>It's had to just kind of do it. But I

1:04:33.920 --> 1:04:37.120
<v Speaker 2>wouldn't say I've got a huge handle on singing, per se.

1:04:38.160 --> 1:04:40.760
<v Speaker 1>And how's it worked out economically for you? You had

1:04:40.760 --> 1:04:43.320
<v Speaker 1>a big get, but then you spend money at Capital.

1:04:43.840 --> 1:04:46.160
<v Speaker 1>I don't know if you own your own publishing, do

1:04:46.200 --> 1:04:48.360
<v Speaker 1>you have any royalty income coming in? I do?

1:04:48.680 --> 1:04:53.160
<v Speaker 2>I do, yeah, And then I do you know? I

1:04:53.240 --> 1:04:57.640
<v Speaker 2>work with different artists on different companies for a gear

1:04:58.640 --> 1:05:04.960
<v Speaker 2>you know that's put out my design, and then certain

1:05:05.120 --> 1:05:08.880
<v Speaker 2>video things and stuff like that. Yeah, but it's worked

1:05:08.920 --> 1:05:11.040
<v Speaker 2>out pretty well.

1:05:11.080 --> 1:05:14.200
<v Speaker 1>And what other gear do you make other than guitars?

1:05:15.440 --> 1:05:19.040
<v Speaker 2>Well, I have my own type of Jim Dunlop pick,

1:05:19.760 --> 1:05:23.160
<v Speaker 2>and then I have several different models of guitars with Fender.

1:05:24.400 --> 1:05:27.560
<v Speaker 2>I did have a fuzzy intered out with my name

1:05:27.600 --> 1:05:30.560
<v Speaker 2>on it, but it's been discontinued at this point.

1:05:31.240 --> 1:05:34.280
<v Speaker 1>And what's special about your picks?

1:05:35.080 --> 1:05:39.320
<v Speaker 2>Well, they just a certain material. They're a Jazz three pick,

1:05:39.440 --> 1:05:42.880
<v Speaker 2>which they put out anyhow. But then there's a version

1:05:42.920 --> 1:05:45.720
<v Speaker 2>I have with the plastics a little different.

1:05:48.160 --> 1:05:51.640
<v Speaker 1>And certainly those of us who lived through the nineties

1:05:51.680 --> 1:05:54.680
<v Speaker 1>are aware of you. Are you happy of your with

1:05:54.760 --> 1:05:57.880
<v Speaker 1>your present status, or would you still like to reach

1:05:57.920 --> 1:06:00.960
<v Speaker 1>more people and feel that there's more a runway ahead.

1:06:04.040 --> 1:06:07.160
<v Speaker 2>I think I would like to just do a better

1:06:07.280 --> 1:06:09.479
<v Speaker 2>job at what I do. And that doesn't mean play

1:06:09.600 --> 1:06:13.000
<v Speaker 2>faster or crazier. It just means make music that would

1:06:13.400 --> 1:06:20.760
<v Speaker 2>be is as valid to make as I can make

1:06:22.480 --> 1:06:25.960
<v Speaker 2>and and make people feel good. Because the whole all

1:06:26.000 --> 1:06:29.880
<v Speaker 2>the rest of stuff, I mean, I've done okay, you know,

1:06:29.920 --> 1:06:35.200
<v Speaker 2>I don't. I'm I'm doing all right. If if if

1:06:35.200 --> 1:06:37.560
<v Speaker 2>it was in my destiny to play to more people

1:06:37.720 --> 1:06:40.560
<v Speaker 2>or whatever, it'd be fine. But it's it's not. It's

1:06:40.560 --> 1:06:42.520
<v Speaker 2>not like a it has.

1:06:42.400 --> 1:06:43.160
<v Speaker 1>To be that way.

1:06:43.200 --> 1:06:45.880
<v Speaker 2>It's just it's more just how can I do a

1:06:45.880 --> 1:06:50.959
<v Speaker 2>better job at what I'm I'm doing? Because I think

1:06:51.040 --> 1:06:54.280
<v Speaker 2>things when you get older, it's like you can't really say, well,

1:06:54.400 --> 1:06:57.160
<v Speaker 2>you know, I'm a musician and guitarist and I do

1:06:57.240 --> 1:06:59.960
<v Speaker 2>this thing, and there's all this It's like there's something

1:07:00.240 --> 1:07:03.840
<v Speaker 2>about that. It's like in the movie The Wizard of

1:07:03.840 --> 1:07:06.600
<v Speaker 2>Oz when they pulled the curtain back, you know, and

1:07:06.640 --> 1:07:09.000
<v Speaker 2>when oh, there's you know, he's back there pushing levers

1:07:09.040 --> 1:07:12.320
<v Speaker 2>it's not what you thought it was. And as you

1:07:12.360 --> 1:07:15.080
<v Speaker 2>go through life you realize that this stature or this

1:07:15.280 --> 1:07:18.080
<v Speaker 2>entitlement or this thing and all this stuff you know

1:07:18.280 --> 1:07:23.160
<v Speaker 2>that we put so much prominence on, it's like, that's

1:07:23.200 --> 1:07:28.600
<v Speaker 2>not it, And what's it is just you know, developing

1:07:28.640 --> 1:07:30.680
<v Speaker 2>that thing inside yourself to do the best you can.

1:07:33.120 --> 1:07:34.720
<v Speaker 2>And it's kind of like going to the hub of

1:07:34.760 --> 1:07:36.840
<v Speaker 2>a bicycle wheel and then you take care of all

1:07:36.880 --> 1:07:39.560
<v Speaker 2>the other spokes if you If you can do that,

1:07:39.760 --> 1:07:42.040
<v Speaker 2>you know, and then people enjoy that, you know. And

1:07:42.080 --> 1:07:43.840
<v Speaker 2>I think the biggest turn on for me is if

1:07:43.840 --> 1:07:45.480
<v Speaker 2>I go on the road and I can see that

1:07:45.760 --> 1:07:48.960
<v Speaker 2>people I'm making people feel good, or if I get

1:07:49.400 --> 1:07:51.840
<v Speaker 2>a letter from or email that says, wow, you know,

1:07:51.880 --> 1:07:53.320
<v Speaker 2>you helped me through a tough time. I mean that

1:07:54.040 --> 1:07:57.280
<v Speaker 2>there's nothing to compare with that right now. So that's

1:07:57.360 --> 1:08:01.640
<v Speaker 2>really my bread and butter at this point. And I'm

1:08:01.640 --> 1:08:04.240
<v Speaker 2>not saying the other stuff can't happen or shouldn't happen.

1:08:04.520 --> 1:08:08.640
<v Speaker 2>It's just it's not. It's it's not it's not my

1:08:10.080 --> 1:08:12.400
<v Speaker 2>important currency right now as much.

1:08:13.280 --> 1:08:15.520
<v Speaker 1>And are you just doing your own thing or do

1:08:15.560 --> 1:08:18.639
<v Speaker 1>you know other guitarists, other musicians, and hang and play

1:08:18.680 --> 1:08:20.440
<v Speaker 1>with them.

1:08:20.760 --> 1:08:23.799
<v Speaker 2>Oh yeah, I like to jam with other people and stuff.

1:08:23.880 --> 1:08:27.120
<v Speaker 2>You know, Mike Stern and I made a record together

1:08:27.200 --> 1:08:29.519
<v Speaker 2>and I would love to make another record with him.

1:08:29.800 --> 1:08:31.560
<v Speaker 2>He's a great musician.

1:08:32.920 --> 1:08:35.720
<v Speaker 1>And any other guitarists out there that people should be

1:08:35.760 --> 1:08:36.800
<v Speaker 1>paying attention.

1:08:36.520 --> 1:08:42.280
<v Speaker 2>To, well, everybody, you know. I love Bill Frazelle and

1:08:42.360 --> 1:08:48.360
<v Speaker 2>Julian Lunge. Geez, there's so many. There's a lot of great,

1:08:48.680 --> 1:08:57.280
<v Speaker 2>great players. Josh Smith, that's great. Yeah, there's a there's

1:08:57.320 --> 1:08:59.440
<v Speaker 2>a lot of them.

1:08:59.520 --> 1:09:01.880
<v Speaker 1>Okay, who's coming to your shows at this point?

1:09:04.080 --> 1:09:06.240
<v Speaker 2>It looks like the crowd's gotten older, that's for sure,

1:09:06.720 --> 1:09:10.960
<v Speaker 2>you know, and that's cool. I think we get but

1:09:11.080 --> 1:09:13.679
<v Speaker 2>we do get, you know, we do get kids coming

1:09:13.720 --> 1:09:16.760
<v Speaker 2>out to this, young kids sometimes that are interested in

1:09:16.760 --> 1:09:17.640
<v Speaker 2>playing guitar. I thing.

1:09:20.000 --> 1:09:23.200
<v Speaker 1>So it's mostly fans. People were pretty familiar with your music,

1:09:23.320 --> 1:09:26.920
<v Speaker 1>right right, Yeah, And then you talked about doing videos.

1:09:26.960 --> 1:09:30.280
<v Speaker 1>You made your own personal videos. Are you doing any

1:09:30.320 --> 1:09:32.479
<v Speaker 1>other kind of instructional teaching thing?

1:09:33.360 --> 1:09:36.200
<v Speaker 2>Yeah, I just finished one for a company called Truefire

1:09:36.240 --> 1:09:38.120
<v Speaker 2>and it's coming out in August, and that it was

1:09:38.120 --> 1:09:41.960
<v Speaker 2>a pretty it's a very comprehensive, Like ten song, I

1:09:42.000 --> 1:09:44.760
<v Speaker 2>wrote all these this music for the instructional video to

1:09:44.840 --> 1:09:47.479
<v Speaker 2>kind of show my technique, and that's coming out the

1:09:47.560 --> 1:09:50.040
<v Speaker 2>end of August. It's an interactive thing.

1:09:51.160 --> 1:09:53.759
<v Speaker 1>Sounds good. Eric, I wanted to thank you for taking

1:09:53.800 --> 1:09:56.559
<v Speaker 1>the time to speak with my audience. Gonna lead you

1:09:56.600 --> 1:09:59.960
<v Speaker 1>with time to practice today, so thanks for talking.

1:09:59.640 --> 1:10:02.000
<v Speaker 2>About Thank you, Bob, thanks for doing this.

1:10:02.960 --> 1:10:06.320
<v Speaker 1>You bet. Until next time, it is Bob left stets