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Speaker 1: Welcome, Welcome, Welcome to the Bob Left Sets podcast. My

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Speaker 1: guest this week is a musician extraordinaire, Wadi Wachtell Watty.

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Speaker 1: Good to have you here. How are you you've seen him?

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Speaker 1: He's the guy with the long curly hair, most famously

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Speaker 1: with Linda ron Staff and seemingly with everybody in the

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Speaker 1: southern California seene and even played with Brian Ferry on

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Speaker 1: the Bright Strip Beer, which is one of my favorite Brian.

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Speaker 1: Very well. Okay, you're from Queens right, So what do

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Speaker 1: your parents do for a living. My dad was in

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Speaker 1: the shoe business, ladies shoes. My mom was a mom

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Speaker 1: who unfortunately died when I was pretty young. But really,

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Speaker 1: how how young were you? Six years old? Okay, your

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Speaker 1: father is in what level of the retail? So he

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Speaker 1: owns like a story works in a store, and his

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Speaker 1: brother owned a shoe store. Ye owned one and uh

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Speaker 1: and Jackson Heights. There's one of the creepy things I

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Speaker 1: remember as a kid walking on the main street near

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Speaker 1: where I lived. We going every store, and I went

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Speaker 1: into the shoe store when I wasn't actually buying something.

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Speaker 1: Freaked me out. It's like I only went to the

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Speaker 1: story when they had stride rights exactly, which was kids

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Speaker 1: shooes if I wanted to buy something. So your father

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Speaker 1: on the story your mother died at age six. Did

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Speaker 1: your father get remarried? He yeah, he did once unsuccessfully

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Speaker 1: when I was about sixteen, and then um, then again

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Speaker 1: when I when I first moved to l A right

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Speaker 1: what I was twenty years old. He married a wonderful

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Speaker 1: woman and they were together until he passed. Okay, and

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Speaker 1: how many kids in your family? Just my brother and

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Speaker 1: myself and your brother's Jimmy. Yeah, famous art designer, very

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Speaker 1: famous art Okay, who's older? Jimmy is older. Jimmy's older.

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Speaker 1: So to what degree were you influenced by him? Well,

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Speaker 1: we were to answer that. I don't know. Um, that's

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Speaker 1: a hard one to answer. I've never been asked that question. Well,

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Speaker 1: he taught me a lot about He had a big

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Speaker 1: jazz record collection, and we were both into the heavy heavy,

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Speaker 1: into the rock and roll records, do wop stuff. And

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Speaker 1: he used to bring me to Uh there was a

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Speaker 1: DJ in New York called Jocko. I don't know if

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Speaker 1: you remember the Jocko radio show, and he's my brother.

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Speaker 1: Brought me with him into the city one day, just

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Speaker 1: go to a show, one of those rock and roll shows,

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Speaker 1: which I've never seen before. So my brother was was

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Speaker 1: musically influential actually in my life, even though I was.

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Speaker 1: I saw a guitar on television before my mom died,

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Speaker 1: and it just flipped me out. And I looked at

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Speaker 1: my mother and when I was five years old, and

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Speaker 1: I said, what is that? What's that guy doing? And

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Speaker 1: she said, I said, what is he holding? What is

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Speaker 1: that thing? She says, that's a guitar. And I went, Okay,

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Speaker 1: that's what I want. She just what, what do you

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Speaker 1: mean that's what you want? You're five years old? And

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Speaker 1: I said, that's what I want to do. That's what

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Speaker 1: I'm gonna do. I'm gonna play the guitar. And I

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Speaker 1: was already attracted to music. I was always singing tunes

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Speaker 1: and learning, learning songs and imitating singers stuff like that.

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Speaker 1: But once once I saw that guitar on television, it

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Speaker 1: blew me away. So that was it. From Okay, how

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Speaker 1: old do you act when you when you actually got

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Speaker 1: a guitar? Nine, Okay, let's go back. Your brother is

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Speaker 1: how much older than you are? Three and a half

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Speaker 1: years older than and so your father is essentially a

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Speaker 1: single parent. Yeah, and he's working all the time, so

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Speaker 1: you basically a free reign. I had free reign, and

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Speaker 1: that was all working well until I wound up getting

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Speaker 1: tonsillitis and realized and then I was home for you know,

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Speaker 1: almost two weeks and realized, you know, this is hipper

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Speaker 1: than going to school. I like this better. So I

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Speaker 1: became quite a serious truant from then on, really, and

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Speaker 1: actually wound up being the worst truant on record in

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Speaker 1: New York City at one point. Okay, I have to asked,

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Speaker 1: how much school did you miss? Well? I I didn't

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Speaker 1: miss enough to where I was never set back a grade,

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Speaker 1: you know. But as it went on and on, eventually

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Speaker 1: I had to go to I don't know if you

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Speaker 1: remember a place in New York, a school for young professionals.

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Speaker 1: It was called Quintano's. I don't know that you know

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Speaker 1: it was. It was right near Carnegie Hall. And someone

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Speaker 1: said to me, you know, you should try Quintano's because

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Speaker 1: you know, you're never in school and you're never going

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Speaker 1: to graduate, and probably right, so I went. I talked

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Speaker 1: my father into letting me go there, and and it

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Speaker 1: was a great The first day I was there. I

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Speaker 1: met Mary from the Shangra laws was and sal Mineo

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Speaker 1: had gone there. Patty Duke could go on to this place,

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Speaker 1: and uh so I went there and wound up would

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Speaker 1: up being truan from there too, because at that point

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Speaker 1: my band that I had, we wound up going to Newport,

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Speaker 1: RhoD Island. We got an offer. We were playing in

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Speaker 1: the village when and a guy heard his place and

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Speaker 1: would you like to go to Newport, Ohode Island. Went wow, yeah, sure,

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Speaker 1: let's go. So we went up there and loved it,

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Speaker 1: and we wound up staying up there. We'd go for

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Speaker 1: a weekend that would stretch it into it like a

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Speaker 1: three day week, four day weekend today, and I'll be

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Speaker 1: gonna be up here for the week. You know. It's

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Speaker 1: like what it's about at school. Don't worry, I'll be fine.

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Speaker 1: And so I came back down and eventually did graduate

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Speaker 1: high school. Okay, so your father's single parent, any religious background,

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Speaker 1: any of that Jewish? Did you get up bar mitzvah?

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Speaker 1: Oh yeah, okay, yeah, call that my first professional gig really,

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Speaker 1: because you know, you got paid. You know, I got

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Speaker 1: up there saying my ass off and okay, so Jewish background.

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Speaker 1: In addition to the bar Mitza usually summer camp. Did

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Speaker 1: you go to summer and so? Were you a performer

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Speaker 1: at summer camp? Somewhat? Yeah? Now? And then yeah yeah.

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Speaker 1: I was always a ham you know what I mean.

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Speaker 1: So I would do these embarrassing parts and plays and

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Speaker 1: things like that, you know, stuff like that, and then

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Speaker 1: then when the guitar came along, then I would force

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Speaker 1: that down everybody's throat. Okay, so you're nine when you

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Speaker 1: get your first guitar, yeah, and how does that happen? Well?

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Speaker 1: I just kept bugging my father about it, you know,

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Speaker 1: since that time, you know, before my mom died. I

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Speaker 1: kept saying guitar, guitar, and he kept saying no, no,

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Speaker 1: And finally, by nine years old, he gave in and

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Speaker 1: brought me this little Camiko. It was called this little

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Speaker 1: cry Me a little guitar. But this was a folk guitar,

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Speaker 1: acoustic guitar, it was. It was acoustic guitar, but it

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Speaker 1: wasn't a folk guitar. It wasn't a round hole guitar.

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Speaker 1: It had f holes and stuff. I didn't know what

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Speaker 1: a folk guitar was. I never Okay, well, all I

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Speaker 1: remember is back in the days of the Hootings, before

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Speaker 1: the Beatles, you'd get these folk guitars. They would cross

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Speaker 1: like thirty dollars with really wide necks and nylon strings.

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Speaker 1: Yeah right, right, So what was your mine was? No,

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Speaker 1: mine was steel string and it was meant for guitar players.

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Speaker 1: There wasn't a folk guitar. Like I said, I never

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Speaker 1: even knew what a folk guitar was until I basically

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Speaker 1: moved to l a and everyone said, you gotta get

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Speaker 1: an acoustic guitaro. What what's that? You know? I had Gibson's.

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Speaker 1: I had f hold jazz guitars. What they call him,

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Speaker 1: there's a term for it, but you know, you know,

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Speaker 1: not a folk guitar, right, okay, So yeah, that's what

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Speaker 1: you grew up in New York. You call him folk guitar, right, okay.

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Speaker 1: So you had this guitar, did you take lessons? Yeah? Yeah.

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Speaker 1: He got me of the guitar, and then he got

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Speaker 1: a teacher for me, a great guy named Gene Dale

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Speaker 1: who lived in the Bronx would come to our house

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Speaker 1: once a week. And the first day he came, I

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Speaker 1: was holding it the way I would because I'm left handed,

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Speaker 1: so I'm holding it like this, and he goes, all right,

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Speaker 1: first of all, it goes like this, but but I'm

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Speaker 1: left handed. He goes, not anymore, You're gonna play it

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Speaker 1: this way. Fine. So that happened, and then I started

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Speaker 1: taking my lessons, and shortly after we started, he realized

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Speaker 1: that my ear was really good, you know, very I

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Speaker 1: could learn stuff very quickly by ear. And he said,

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Speaker 1: you're not reading. I said, well, I am reading, but

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Speaker 1: once I get through a piece, I learned it, so,

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Speaker 1: you know, so I said, why don't you start? If

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Speaker 1: you would, why don't you record a song for we

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Speaker 1: had a tape recorder. I said, well, you leave me

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Speaker 1: some songs to learn. So he'd give me like Lulla

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Speaker 1: by a Birdland or September in the Rain. He'd play

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Speaker 1: it and I could listen to it and learn it

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Speaker 1: that way, aside from reading the music as well. So

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Speaker 1: you know, I studied with him for several years. That

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Speaker 1: went on for a while, and i've about when I

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Speaker 1: was fourteen fifteen kind of lost interest in it for

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Speaker 1: a little while. And that's when Dad get married. Uh,

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Speaker 1: and we moved to a place called Jamaica Estates if

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Speaker 1: to this joint and it was it just didn't work. This,

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Speaker 1: this marriage was not meant to be. And what's it

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Speaker 1: like being the son of a guy who gets remarried

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Speaker 1: and it's not gonna work. I mean, what do you thinking?

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Speaker 1: And where does his leave you? Well, you know, it

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Speaker 1: was all kind of bizarre to me, But unfortunately I

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Speaker 1: was so involved in music that it didn't matter to me,

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Speaker 1: you know. And and again when you brought up camp,

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Speaker 1: Jimmy and I would go to campage summer because in

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Speaker 1: New York was so horribly hot, and my dad's dream

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Speaker 1: was to make sure the boys had a good time

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Speaker 1: for the summer. So away we go. And and I

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Speaker 1: remember when we left Jackson Heights and when Harry, my

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Speaker 1: dad came up to get us, we drove to well,

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Speaker 1: we went to Jamaica, excuse me. We we then moved

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Speaker 1: to Jamaica States. Then when we left that summer we

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Speaker 1: came back. We drove right to Forest Hills over it

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Speaker 1: was where was the camp up state New York? At

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Speaker 1: around x Okay, So he brings you back, you leave,

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Speaker 1: find all your friends and everything in your new house. Yeah,

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Speaker 1: I didn't have the many friends anyway. You know, you

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Speaker 1: didn't have any friends because your personality or so deep

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Speaker 1: into the music. Yeah, both, you know, and and we

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Speaker 1: in Jamaica. I didn't know anybody there, and we weren't

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Speaker 1: there that long. So I was commuting every day into

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Speaker 1: I think I was still going to Newtown High School

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Speaker 1: maybe or something on it. It's all a little vague

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Speaker 1: at this point, but but nonetheless we moved to Forest

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Speaker 1: Hills and then went started going to Forest Hills High School. Okay,

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Speaker 1: So going back to the originally Teachered dell Um, you

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Speaker 1: learned how to read music. Do you still read music

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Speaker 1: to this day? So if you play a session and

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Speaker 1: someone lays it out, you can read right off the page.

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Speaker 1: I'm not a great reader at all. I'm I'm okay

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Speaker 1: at it. Uh, Guys that I work with I can

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Speaker 1: read anything. They're incredible at it because of my ear.

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Speaker 1: I started just taking that road with it. So if

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Speaker 1: I hear something once, I learn it. But yeah, I

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Speaker 1: can still read. Okay. So then when you're taking lessons,

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Speaker 1: what he's teaching you, scales, chords what both of those

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Speaker 1: plus we were working out of there's a course called

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Speaker 1: the mel Bay. Of course I had a bell Bay

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Speaker 1: berl right. Well, so I went through all those books

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Speaker 1: I know I have stopped at the first right, Yeah,

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Speaker 1: well I went through one through nine. Well that's why

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Speaker 1: I'm not guitarist. And and then he was teaching me

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Speaker 1: Bach piano etudes. We would play, you know, two part inventions.

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Speaker 1: They're cold, so I would read the top line, he

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Speaker 1: would play the bottom line. It was like the two

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Speaker 1: hands of a piano and it was great. It was

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Speaker 1: really cool. But that was one of the things when

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Speaker 1: he said you're not reading. I went, hey, man, I

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Speaker 1: am reading. I said, you want me to play your part.

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Speaker 1: I know both parts, I said, I get through it

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Speaker 1: and I learned it, so, you know, halfway during the week,

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Speaker 1: I said, oh, well, I might as well learn his

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Speaker 1: part too. So he has switched parts of me. I'll

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Speaker 1: play yours too. He goes out, man, and he realized

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Speaker 1: that my ear was gonna be the ruler of my Look.

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Speaker 1: The big issue when you take guitar lessons is whether

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Speaker 1: you or any music lessons is whether you practice or not. Yeah,

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Speaker 1: did you practice? I practiced. I went through my lessons.

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Speaker 1: You know I didn't. I didn't sit there and grind

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Speaker 1: it out, grind it out, grind it out. I practiced

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Speaker 1: more now as i've been trying to learn a certain

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Speaker 1: type of a playing but n Hawaiian slack key guitar

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Speaker 1: it's called and it's just this beautiful finger picking stuff

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Speaker 1: that that the Hawaiians learned. How much work do you

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Speaker 1: put into that today? Anywhere from an hour a day,

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Speaker 1: a couple of hours a day, or you know. I'm

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Speaker 1: constantly listening to it China, because I grew up again

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Speaker 1: without a folk guitar, you know, so I grew up

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Speaker 1: with a pick in my hand. I was never a

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Speaker 1: finger picker. And I started listening when I realized I'm

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Speaker 1: Beatle Records. These guys are the isn't their fingers a

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Speaker 1: little bit? I gotta try to figure that out. But

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Speaker 1: I never really had to do it much until working

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Speaker 1: with Stevie Nicks and the band that she brought me

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Speaker 1: back into. Um, there was someone else when we do Landslide,

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Speaker 1: someone else would play Landslide, but then they they left

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Speaker 1: the band, so suddenly you were Mr land Slide And

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Speaker 1: I went, um, landslide? How does that go? Because Stevie

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Speaker 1: said to me, do you know how to play landslide?

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Speaker 1: And of course I'm going, yeah, sure, of course, how

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Speaker 1: do you play landslide? You know, how do you play Landslide?

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Speaker 1: I said to my friend Brett Tuggle, who was still

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Speaker 1: in the band, and he would normally play it, How

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Speaker 1: do you play lands side as well? There's a lot

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Speaker 1: to it? And he started to play the song from me,

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Speaker 1: Oh yeah that song? Yeah, I know that song. I

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Speaker 1: didn't know it, you know. So it took a while

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Speaker 1: and I how long did it take you to do

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Speaker 1: it well? To do it? Well? It's I don't know,

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Speaker 1: a couple of months of getting my fingers to do

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Speaker 1: it correctly. And the first time I did it was Stevie.

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Speaker 1: We went away to do these radio spots. She said

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Speaker 1: to me, you know landslide, right? I went yeah, sure,

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Speaker 1: and she goes, well, I gotta go do these radio spots.

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Speaker 1: You want to do it with me? I went, yeah,

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Speaker 1: I'd love to. So we went up to northern California

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Speaker 1: and do these eight am radio bits and play Landslide

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Speaker 1: and I was butchering it, and finally Stevie said to me.

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Speaker 1: We went to dinner that night, she goes, you know what,

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Speaker 1: I gotta tell you that was the absolute worst landslide

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Speaker 1: I've ever in my life. And yeah, I totally agree.

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Speaker 1: I'm sorry and uh. And then it came time to

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Speaker 1: where Brett Tuggle was out of the band and I

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Speaker 1: hadn't learned it. So I sat in my house and

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Speaker 1: just practiced when and went on for a while, and

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Speaker 1: my wife had walked by the room and she's going,

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Speaker 1: that was a good landslide today, and I'm gonna thanks, honey,

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Speaker 1: you know. And I was really nervous about it. And

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Speaker 1: we got down to rehearsal and we're going through the

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Speaker 1: show and all of a sudden, it's time for landslide

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Speaker 1: and I'm sweating and it doesn't really worried. The last

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Speaker 1: thing she ever said to me was that was the

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Speaker 1: worst thing I've ever heard. So we started, we play it.

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Speaker 1: She sings it all the way through. She looks at me,

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Speaker 1: she goes, it's beautiful, all right, my girl. Okay, So

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Speaker 1: when you're playing the guitar and you're a teenager, uh,

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Speaker 1: you know, your teacher is bringing out all this classical stuff,

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Speaker 1: but some you know, mel stuff, But don't you want

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Speaker 1: to play the stuff that's on the radio. Well again, yeah,

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Speaker 1: I did. Well. One of the thing that made me

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Speaker 1: realize I had this ear was I heard tequila, you know,

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Speaker 1: by the Champs you know. And as he's teaching me,

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Speaker 1: there's a thing called a one major chord. And I

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Speaker 1: played the one major chord and then I just because

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Speaker 1: I don't know what was one major chord, Well, it

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Speaker 1: just means it's just a form of a chord, you know,

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Speaker 1: if you know, like a bar chord. Yeah, you bar

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Speaker 1: your bar with the first finger and you and you

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Speaker 1: place these three friends and that's your basic one major chord.

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Speaker 1: So so I was on the fifth fret, say fifth fret,

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Speaker 1: and then I just accidentally went to the third fret

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Speaker 1: and played the same chord and I heard that one

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Speaker 1: and that one. I went, hey, wait a minute, that's

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Speaker 1: that song, Tequila, that's what it is. So that and

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Speaker 1: I went, alright, I'm playing that song, man, this is great,

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Speaker 1: you know. So I from that and then I heard

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Speaker 1: Rebel Rouser Dwayne Eddie, and I started realizing, oh, I

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Speaker 1: can figure these things out, you know, And so one

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Speaker 1: after the other I started just learning to So it's

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Speaker 1: like that. And we you were a record collector, Well,

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Speaker 1: like I said about my brother, my brother had a

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Speaker 1: we we were both had a bunch of rock and

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Speaker 1: roll records, for sure, But this is pre beatles. You

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Speaker 1: know we had, you know, Elvis. I was playing guitar

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Speaker 1: before Elvis came out. You know, when I first started

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Speaker 1: playing guitar, out came Blue Swede Shoes by Carl Perkins,

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Speaker 1: you know, and then then Elvis happened. Okay, since I

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Speaker 1: can look it up on the internet, your how well,

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Speaker 1: what year were you born? Seven? So you were literally

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Speaker 1: playing before Elvis became big. Yeah, so in fifty seven,

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Speaker 1: I think when Elvis came out, I was already had

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Speaker 1: a guitar in my hand for a year, you know.

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Speaker 1: But uh, but aside from the rock and roll records,

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Speaker 1: Jimmy had an enormous jazz collection, and and I loved

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Speaker 1: that too. So I would sit home and just put

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Speaker 1: on a record and learn it, and put on another

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Speaker 1: record and learn let's listen to the stuff. And then

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Speaker 1: there was a guy named Mickey Baker, if you remember

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Speaker 1: Mickey and Sylvia love Change, was a guitar player. He

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Speaker 1: wrote a book about how to improvise, how to play,

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Speaker 1: how to impvise. I'm dying to learn how to do that.

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Speaker 1: And so the full first part of the book was

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Speaker 1: all about chords and this and that. The second second

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Speaker 1: part is about improvisation. And this disclaimer saying, well, nobody

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Speaker 1: can teach you how to improvise, went, well, what the

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Speaker 1: fund did I buy this book for? Then? And but

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Speaker 1: in that page it's said, what I suggest you do

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Speaker 1: is learn every solo you like. Listen to horn players,

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00:17:29,720 --> 00:17:32,800
Speaker 1: listen to jazz players, listen to guys, any solo you like,

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00:17:33,119 --> 00:17:36,520
Speaker 1: learn it and learn everything you like, and eventually you'll

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Speaker 1: start generating your own stuff. So that was it for me.

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00:17:41,080 --> 00:17:43,840
Speaker 1: I just sat home, and that's what you know, reinforce

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Speaker 1: the truancy. I just had a job to do, now,

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Speaker 1: you know. So I would sit there and put on

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Speaker 1: Miles Davis and Lou Donaldson or you know, Donald Bird

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Speaker 1: or anybody and just listen to the solos. Fine one

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Speaker 1: I like learn it, Find another one I like learn it.

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Speaker 1: There was Johnny smith Le's good, great jazz guitar players

345
00:18:00,200 --> 00:18:03,159
Speaker 1: to to emulate. So I did a lot of So

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Speaker 1: when you're when you're doing this is the dream to

347
00:18:06,840 --> 00:18:11,080
Speaker 1: be a professional musician, you know, I did it was

348
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Speaker 1: just to learn. It was just to learn. I knew

349
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Speaker 1: this was all I was gonna do. You know, I

350
00:18:15,760 --> 00:18:18,520
Speaker 1: didn't even know that you could do it as a profession. Really,

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Speaker 1: you know, it didn't even that didn't matter to me.

352
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Speaker 1: I was just driven to to learn music on this instrument,

353
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Speaker 1: and and then singing, and then the vocals and and

354
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Speaker 1: you know, do wop stuff started mattering more and more

355
00:18:31,520 --> 00:18:36,800
Speaker 1: and more. But my basis was a guitar. And like

356
00:18:36,920 --> 00:18:38,359
Speaker 1: I said to my father, he'd say, you know, you

357
00:18:38,600 --> 00:18:41,440
Speaker 1: should do that as a hobby. I'm going this is

358
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Speaker 1: it for me. This is this is my hobby, and

359
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Speaker 1: this is gonna be all I do. I can't you

360
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Speaker 1: know what am I gonna do? Be it? Because you

361
00:18:49,359 --> 00:18:51,600
Speaker 1: should be a doctor. I don't think so, you know

362
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Speaker 1: diff I want to play guitar, you know. Okay, So

363
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Speaker 1: how old were you when you form your first band?

364
00:18:58,640 --> 00:19:02,560
Speaker 1: I was about fourteen or fifteen when a guy that

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Speaker 1: I was going to school and said, Bobby walked, all right, yeah,

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Speaker 1: he goes, you play guitar, right, yeah, he goes, I've

367
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Speaker 1: got a little band. You know you want to work. Yeah,

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00:19:14,600 --> 00:19:17,600
Speaker 1: that's a great idea. I never thought of doing that, sure,

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Speaker 1: And it was just there wasn't even a base in

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Speaker 1: the band. It was just accordion, drums, trumpet, and me.

371
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Speaker 1: And eventually we got the accordion out of there. And

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Speaker 1: we got a vibe player, but still no base and uh,

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Speaker 1: but we did society gigs, you know, weddings and bar

374
00:19:36,320 --> 00:19:39,480
Speaker 1: mitz fills and dances and things like that and who's sang. No,

375
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Speaker 1: it was instrumentals. It was all instrumental. And what kind

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Speaker 1: of money were you making? Twenty bucks a night? Well,

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Speaker 1: twenty bucks a night when you're like fourteen a lot

378
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Speaker 1: of money. Absolutely, yeah, would you spend the money on?

379
00:19:51,119 --> 00:19:55,120
Speaker 1: We'd go we we would uh take the subway into

380
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Speaker 1: New York and you know, go to the arcades and

381
00:19:57,480 --> 00:19:59,320
Speaker 1: just you know, waste the money. You know, you can

382
00:19:59,400 --> 00:20:01,440
Speaker 1: buy a hot dog her two and throw it into

383
00:20:01,520 --> 00:20:04,960
Speaker 1: ski ball or whatever. You know. That's what I remember.

384
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Speaker 1: The first thing. I'm going to my friends into the city.

385
00:20:06,680 --> 00:20:09,480
Speaker 1: When you're fourteen, that's what you do, go to the arcade,

386
00:20:10,080 --> 00:20:14,960
Speaker 1: get a slice. Okay, but you still playing that same guitar. No.

387
00:20:15,160 --> 00:20:18,880
Speaker 1: The great thing was the second year, you know, nine

388
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Speaker 1: years old, he gave me this. My dad gave me

389
00:20:21,520 --> 00:20:24,760
Speaker 1: that Comico guitar. At ten years old, he bought me.

390
00:20:25,840 --> 00:20:29,840
Speaker 1: It's beautiful Gibson L seven. It's called it's a single

391
00:20:29,880 --> 00:20:34,080
Speaker 1: cutaway jazz guitar. Just gorgeous. So I was in heaven.

392
00:20:34,320 --> 00:20:37,560
Speaker 1: I couldn't believe it. And shortly after that I got

393
00:20:37,640 --> 00:20:41,800
Speaker 1: an amp they'll pick up for the guitar, and that's

394
00:20:41,840 --> 00:20:44,440
Speaker 1: what I was playing the band. I had my little

395
00:20:44,520 --> 00:20:48,720
Speaker 1: tiny Fender amp and my big fat Gibson jazz guitar,

396
00:20:48,880 --> 00:20:53,080
Speaker 1: and that's what I was playing. And then I went

397
00:20:53,600 --> 00:20:58,760
Speaker 1: at summer camp. This guy had a less pull and

398
00:20:58,960 --> 00:21:03,480
Speaker 1: I just had a less summer. Yeah, I was. And

399
00:21:03,600 --> 00:21:07,280
Speaker 1: I saw this black just like Niel you was like black,

400
00:21:07,359 --> 00:21:14,879
Speaker 1: three pick up bigs beyond it? What's that? Man? That's great?

401
00:21:15,520 --> 00:21:17,720
Speaker 1: I gotta And this guy couldn't play at all. I

402
00:21:17,760 --> 00:21:19,360
Speaker 1: mean I was. You know, I've been playing with two

403
00:21:19,440 --> 00:21:22,360
Speaker 1: years already, so I can really, you know, play better

404
00:21:22,400 --> 00:21:26,040
Speaker 1: than him. He was a lovely guy. Um. But so

405
00:21:26,480 --> 00:21:28,560
Speaker 1: when I came back from campus summer, that's all I

406
00:21:28,640 --> 00:21:31,040
Speaker 1: wanted was less pool, less pool, less pool, and my

407
00:21:31,160 --> 00:21:35,320
Speaker 1: dad's gonna no, and I can't unafford it. A shoe

408
00:21:35,359 --> 00:21:42,680
Speaker 1: store going here. My grandmother, who was my mom's mother,

409
00:21:44,240 --> 00:21:46,600
Speaker 1: she she had a real attitude. This woman. I think

410
00:21:46,760 --> 00:21:49,240
Speaker 1: I got a lot of her in me and she

411
00:21:49,600 --> 00:21:51,840
Speaker 1: my dad grew up with a friend of his name

412
00:21:51,880 --> 00:21:54,240
Speaker 1: Harry Waxman, who was very turned out to be a

413
00:21:54,359 --> 00:21:58,719
Speaker 1: very wealthy builder in New York, built all these communities

414
00:21:58,800 --> 00:22:01,680
Speaker 1: and stuff like that. Always said he'd take care of

415
00:22:01,760 --> 00:22:05,919
Speaker 1: my father blah blah blah. And my grandmother always had

416
00:22:05,960 --> 00:22:07,960
Speaker 1: this thing. And she goes, why don't you you know, Bobby,

417
00:22:08,040 --> 00:22:10,960
Speaker 1: you can't your dad can't afford this to guitar, and

418
00:22:10,960 --> 00:22:12,520
Speaker 1: you keep talking about so why don't you write to

419
00:22:12,600 --> 00:22:15,240
Speaker 1: your nasty uncle, Harry bunch of right to him and

420
00:22:15,320 --> 00:22:16,639
Speaker 1: ask him to get it for you. We're going to

421
00:22:16,720 --> 00:22:19,760
Speaker 1: really do you think? She goes, yeah, I write him

422
00:22:19,760 --> 00:22:22,960
Speaker 1: a letter. He's got tons of money. Okay, So I

423
00:22:23,000 --> 00:22:28,440
Speaker 1: wrote this letter and that three or four days later.

424
00:22:28,960 --> 00:22:31,040
Speaker 1: It must have been longer than that, but not much longer.

425
00:22:32,520 --> 00:22:35,400
Speaker 1: My dad calls me at home after school. He goes,

426
00:22:35,960 --> 00:22:40,640
Speaker 1: get over here. That means come to the shoes get

427
00:22:40,720 --> 00:22:46,439
Speaker 1: over here. Now. What just get over here right now? Okay?

428
00:22:46,840 --> 00:22:50,080
Speaker 1: What what did I do? And I go to the store.

429
00:22:50,160 --> 00:22:52,880
Speaker 1: He sees he get into the there's in the shoes store.

430
00:22:52,880 --> 00:22:54,640
Speaker 1: There's that they called the die room, in the back

431
00:22:54,760 --> 00:22:56,760
Speaker 1: room where they die the shoes and they you know,

432
00:22:57,000 --> 00:23:01,000
Speaker 1: change things. Get in the die room, alright, alright, take

433
00:23:01,040 --> 00:23:04,320
Speaker 1: it easy. What what? Just get in there? All right?

434
00:23:05,040 --> 00:23:07,320
Speaker 1: He comes up to me and he's I'm sitting there.

435
00:23:07,359 --> 00:23:14,560
Speaker 1: He goes, did you write to your uncle Harry? Um? Well,

436
00:23:14,960 --> 00:23:18,560
Speaker 1: uh yeah, yeah, yeah. He said, you wrote to your

437
00:23:18,640 --> 00:23:21,400
Speaker 1: uncle Harry behind my back and asked him to get

438
00:23:21,480 --> 00:23:23,399
Speaker 1: you a guitar. He says, what is the matter with you?

439
00:23:23,520 --> 00:23:25,360
Speaker 1: What kind of manners do you have? Who do you think?

440
00:23:26,040 --> 00:23:29,600
Speaker 1: And while he's yelling at me, I'm looking around, you know,

441
00:23:29,600 --> 00:23:32,240
Speaker 1: I'm trying to avoid his eyes. So I'm looking around

442
00:23:32,320 --> 00:23:34,560
Speaker 1: this little room, and in the corner of the room

443
00:23:34,680 --> 00:23:38,840
Speaker 1: I see the head of a guitar case and all

444
00:23:38,880 --> 00:23:44,200
Speaker 1: of a sudden, it wait a minute, what's going on here?

445
00:23:45,240 --> 00:23:47,679
Speaker 1: And he's yelling at me, but he's starting to smile

446
00:23:47,760 --> 00:23:52,520
Speaker 1: at it. What's going on here? What is that? Because

447
00:23:52,560 --> 00:23:54,879
Speaker 1: you better go look at that? So I opened it up.

448
00:23:54,960 --> 00:23:58,440
Speaker 1: Then it's this less pool. Uh, not the one I wanted. Unfortunately,

449
00:23:59,040 --> 00:24:01,920
Speaker 1: however there was it was They called it a TV model.

450
00:24:02,119 --> 00:24:07,720
Speaker 1: Let's Paul yellow. Ah, what what was the difference between

451
00:24:07,760 --> 00:24:09,240
Speaker 1: this one and the one you wanted? Well? I saw

452
00:24:09,359 --> 00:24:12,000
Speaker 1: this black, nasty looking one, you know, the three pickups

453
00:24:12,040 --> 00:24:15,240
Speaker 1: with the bigs beyond it. One cut away just like

454
00:24:15,320 --> 00:24:18,000
Speaker 1: Neil Young's right, I understand, but what was I understand

455
00:24:18,040 --> 00:24:20,240
Speaker 1: what that is? I didn't know there was this different Well, yeah,

456
00:24:20,240 --> 00:24:21,960
Speaker 1: there's a lot of this. One was what they called

457
00:24:22,000 --> 00:24:24,960
Speaker 1: the TV model, and it was it had two cutaways.

458
00:24:25,040 --> 00:24:27,960
Speaker 1: It was a lighter guitar. It wasn't as heavy duty

459
00:24:28,040 --> 00:24:31,960
Speaker 1: a job, had less pickups on it, but there it was.

460
00:24:32,320 --> 00:24:36,160
Speaker 1: It was my solid body guitar. So I was in heaven,

461
00:24:36,240 --> 00:24:38,920
Speaker 1: you know, and uh so I loved it. So I

462
00:24:38,960 --> 00:24:41,879
Speaker 1: showed up to my society band gig with this thing

463
00:24:42,040 --> 00:24:46,280
Speaker 1: or what what's that? This only new guitar. Man, It's great, Okay.

464
00:24:46,359 --> 00:24:49,119
Speaker 1: So then you're playing the society gigs at the time,

465
00:24:49,440 --> 00:24:53,399
Speaker 1: in the early sixties or late late thees. Rock and

466
00:24:53,520 --> 00:24:57,840
Speaker 1: roll early sixties is pop tracks and folk and so

467
00:24:58,160 --> 00:25:01,800
Speaker 1: before before the Beatles, you play in the science society

468
00:25:01,840 --> 00:25:04,560
Speaker 1: gig and society being and what else jazz gigs, you know,

469
00:25:04,760 --> 00:25:08,800
Speaker 1: jazz jazz tunes and uh standards, That's that's what it was.

470
00:25:08,880 --> 00:25:10,600
Speaker 1: That's what we did for a living. You know. We

471
00:25:10,640 --> 00:25:13,719
Speaker 1: played almost every weekend with this little band, the Nocturns,

472
00:25:13,920 --> 00:25:16,920
Speaker 1: and you know, you know, that was it. You know,

473
00:25:17,000 --> 00:25:18,480
Speaker 1: had they call a fake book. You know what a

474
00:25:18,480 --> 00:25:21,480
Speaker 1: fake bootree explained to my audience. A fake book is

475
00:25:21,560 --> 00:25:27,520
Speaker 1: this gigantic, loose leaf book that has every every standard

476
00:25:27,600 --> 00:25:30,480
Speaker 1: ever written in it. And uh, it's what you do

477
00:25:30,680 --> 00:25:33,679
Speaker 1: when you're playing society gigs, when you're playing what they

478
00:25:33,720 --> 00:25:36,359
Speaker 1: call casuals or like weddings and bar missas. You have

479
00:25:36,480 --> 00:25:39,119
Speaker 1: this enormous book and someone go go to go to

480
00:25:39,200 --> 00:25:41,879
Speaker 1: to thirty, go to page two thirty and it's you know,

481
00:25:42,080 --> 00:25:45,760
Speaker 1: sat and Doll go to Santiago, to September the rain,

482
00:25:46,080 --> 00:25:48,960
Speaker 1: you know it a million songs in it. So we

483
00:25:49,200 --> 00:25:51,119
Speaker 1: that's what we did with you know everything I remember

484
00:25:51,160 --> 00:25:53,680
Speaker 1: the fake book was away. It gave you the chords

485
00:25:53,760 --> 00:25:57,400
Speaker 1: and the lead without buying the real sheet music, right, yeah,

486
00:25:57,600 --> 00:25:59,320
Speaker 1: that's right. Yeah. It was a collect yeah it was.

487
00:25:59,520 --> 00:26:03,360
Speaker 1: It was a bogus collection these tunes instead of having

488
00:26:03,359 --> 00:26:06,120
Speaker 1: to go going on the internet, like yeah, we're going

489
00:26:06,160 --> 00:26:09,719
Speaker 1: to the sheet music store, right, we're bruying five thousand songs, right,

490
00:26:10,000 --> 00:26:12,040
Speaker 1: and they were like three dollars a piece. There was

491
00:26:12,119 --> 00:26:15,440
Speaker 1: expensive as an album. Yeah. Yeah. So you're playing in

492
00:26:15,480 --> 00:26:18,440
Speaker 1: the society gig and that happens all the way to

493
00:26:18,560 --> 00:26:21,800
Speaker 1: the Beatles. Yeah, pretty much so yeah, and uh, we

494
00:26:21,880 --> 00:26:23,879
Speaker 1: were worn for that, and Beach Boys and Beatles kind

495
00:26:23,920 --> 00:26:28,040
Speaker 1: of happened around the same time earlier, earlier, so I

496
00:26:28,280 --> 00:26:32,680
Speaker 1: was really taken by that. And and again at summer camp,

497
00:26:34,000 --> 00:26:39,160
Speaker 1: I met some guys there who also loved music and saying.

498
00:26:39,280 --> 00:26:42,800
Speaker 1: So we started every night we'd go down. We were

499
00:26:42,880 --> 00:26:44,960
Speaker 1: waiters in this camp at that at that age, and

500
00:26:45,040 --> 00:26:47,760
Speaker 1: we went to this camp long enough, you graduated to

501
00:26:47,840 --> 00:26:51,280
Speaker 1: that level waiters, junior counselors, the whole thing, right, So

502
00:26:51,600 --> 00:26:54,560
Speaker 1: we after clean up, after the dinner meal, we'd go

503
00:26:54,640 --> 00:26:57,119
Speaker 1: down to the baseball diamond and sing do op tunes,

504
00:26:57,640 --> 00:27:00,720
Speaker 1: you know we do remember then by the earls or

505
00:27:01,320 --> 00:27:03,560
Speaker 1: you know, I can't even think of any titles right now,

506
00:27:03,680 --> 00:27:08,080
Speaker 1: but do optunits and just acapella stuff. And really got

507
00:27:08,119 --> 00:27:11,880
Speaker 1: into that, and then Beach Boys songs and and then

508
00:27:11,920 --> 00:27:13,880
Speaker 1: Beatles happened. But and then I'd come back and I'd

509
00:27:13,880 --> 00:27:16,480
Speaker 1: still be with the Society band. But at that point

510
00:27:16,920 --> 00:27:18,920
Speaker 1: we had put together with my friends who lived in

511
00:27:19,000 --> 00:27:22,240
Speaker 1: New Chelle, this other band playing surfing music, you know,

512
00:27:22,760 --> 00:27:26,120
Speaker 1: surfing instrumentals, people from Nero. Well, I met him in camp,

513
00:27:27,400 --> 00:27:30,000
Speaker 1: and uh, so I'd go up to there and we'd

514
00:27:30,119 --> 00:27:33,680
Speaker 1: practice our surfing tunes. We started doing a lot. It

515
00:27:33,760 --> 00:27:36,360
Speaker 1: was all instrumental still, and we started adding some beach

516
00:27:36,400 --> 00:27:39,200
Speaker 1: boy vocals and stuff. But then then Beatles happened and

517
00:27:39,280 --> 00:27:42,000
Speaker 1: everything a little bit slower. The beach. Which are you

518
00:27:42,160 --> 00:27:44,119
Speaker 1: with the band with the friends from New Rochelle? Are

519
00:27:44,160 --> 00:27:47,080
Speaker 1: you playing gigs with them? We started to do some

520
00:27:47,200 --> 00:27:50,919
Speaker 1: gigs up up in New England. Yeah, okay, No England

521
00:27:51,000 --> 00:27:55,679
Speaker 1: and Westchester. So how do you become aware of the Beatles?

522
00:27:57,160 --> 00:28:00,480
Speaker 1: The way? The same way we all did at Sullivan Show. Okay,

523
00:28:01,040 --> 00:28:03,399
Speaker 1: and you're watching on Sunday night and you're thinking, what

524
00:28:04,240 --> 00:28:07,440
Speaker 1: I'm My mind is in a million pieces on the

525
00:28:07,480 --> 00:28:10,200
Speaker 1: floor in front of me. I've never seen anything like this,

526
00:28:10,880 --> 00:28:14,000
Speaker 1: you know, we all we went through Elvis and Everly's.

527
00:28:14,880 --> 00:28:17,600
Speaker 1: Everly's was like the most incredible thing. I said, well,

528
00:28:18,320 --> 00:28:20,560
Speaker 1: it's better than Elvis, two of them and the best

529
00:28:20,640 --> 00:28:22,600
Speaker 1: looking things, the best looking guys I've ever seen, with

530
00:28:22,680 --> 00:28:26,639
Speaker 1: these enormous guitars. So it was Everly's Everly's and all

531
00:28:26,640 --> 00:28:29,640
Speaker 1: of a sudden there's Beetles with their haircuts, in their

532
00:28:29,880 --> 00:28:34,320
Speaker 1: hip suits, and there's playing these tunes. It was all over. Man,

533
00:28:34,400 --> 00:28:37,320
Speaker 1: that was it, and from then on the Society Band

534
00:28:37,359 --> 00:28:40,800
Speaker 1: started doing Beatles songs. Really oh yeah, absolutely, yeah. You're

535
00:28:40,840 --> 00:28:43,400
Speaker 1: still without a base, without a bad yeah, without a base,

536
00:28:45,040 --> 00:28:48,840
Speaker 1: still no base. So the Society Band is doing Beatles.

537
00:28:49,440 --> 00:28:53,120
Speaker 1: But to what degree to the Beatles energize you would say, wow,

538
00:28:53,280 --> 00:28:54,760
Speaker 1: you know, I want to go in this direction or

539
00:28:54,760 --> 00:29:00,560
Speaker 1: anything like that. Completely they at that point. And what

540
00:29:00,720 --> 00:29:04,400
Speaker 1: I have to say. When this happened, we were now

541
00:29:04,560 --> 00:29:08,120
Speaker 1: living in Forest Hills. We had left in Jamaica. It

542
00:29:08,280 --> 00:29:10,840
Speaker 1: was my brother and myself and my dad living in

543
00:29:10,880 --> 00:29:16,200
Speaker 1: this apartment building and Queens and Forest Hills. So Beatles

544
00:29:16,240 --> 00:29:19,680
Speaker 1: have come out. It's all you can think about. And again,

545
00:29:19,880 --> 00:29:23,080
Speaker 1: I'm learning every tune, you know. I'm at home listening

546
00:29:23,120 --> 00:29:26,000
Speaker 1: to every every song and every album, learning every song.

547
00:29:27,960 --> 00:29:33,120
Speaker 1: And then one day I'm hearing we in this place.

548
00:29:33,200 --> 00:29:36,200
Speaker 1: There was a building here, a big awning here, and

549
00:29:36,320 --> 00:29:40,000
Speaker 1: another building here. This is in Forest Hills on Austin Street.

550
00:29:41,800 --> 00:29:44,800
Speaker 1: And I went out one day, left left my place,

551
00:29:45,000 --> 00:29:48,840
Speaker 1: cutting school, of course, and I heard guitar playing coming

552
00:29:48,880 --> 00:29:54,040
Speaker 1: out of one of the apartments. What the hell, what's that?

553
00:29:55,320 --> 00:29:56,880
Speaker 1: So it was in the other building. So I went

554
00:29:56,920 --> 00:30:00,120
Speaker 1: into the other building and went from Florida floor. Uh,

555
00:30:00,920 --> 00:30:05,240
Speaker 1: walking down each hallway until I found the place where

556
00:30:05,280 --> 00:30:10,200
Speaker 1: it was coming out of. Knocked on the door. Big

557
00:30:10,440 --> 00:30:13,080
Speaker 1: big guy answers that this is the door. Have you

558
00:30:13,120 --> 00:30:16,920
Speaker 1: set cat, get a suit and tie on? Ties open?

559
00:30:17,040 --> 00:30:22,200
Speaker 1: But I went, are you uh you playing guitar in here?

560
00:30:23,400 --> 00:30:28,080
Speaker 1: He goes, yeah, oh yeah. I said, well, my name

561
00:30:28,160 --> 00:30:30,560
Speaker 1: is Bobby walked tell and uh, I can help you.

562
00:30:30,880 --> 00:30:33,680
Speaker 1: You need help. And because I can hear what he

563
00:30:33,760 --> 00:30:35,080
Speaker 1: was doing, I said, you need help, but I can

564
00:30:35,160 --> 00:30:38,120
Speaker 1: help you. Man, I play guitar. Because yeah, what's your name?

565
00:30:38,120 --> 00:30:42,760
Speaker 1: He says? Leslie Weinstein? Okay, cool. So Leslie and I

566
00:30:43,000 --> 00:30:47,520
Speaker 1: became brothers and we all lived in the same building,

567
00:30:47,720 --> 00:30:49,760
Speaker 1: you know. So he knew my dad, I knew his

568
00:30:50,160 --> 00:30:53,320
Speaker 1: mom and his dad and his brother, and he knew

569
00:30:53,480 --> 00:30:56,680
Speaker 1: jim my brother Jimmy very well. And and uh I

570
00:30:56,800 --> 00:30:59,720
Speaker 1: taught Leslie how to play. And for those people don't know,

571
00:30:59,840 --> 00:31:02,240
Speaker 1: that's Leslie West. Yeah. I was gonna say. He became

572
00:31:03,000 --> 00:31:05,600
Speaker 1: all of a sudden, I on the radio one day

573
00:31:05,680 --> 00:31:10,640
Speaker 1: here Mississippi Queen by this guy, Leslie West. Run wait

574
00:31:10,680 --> 00:31:15,560
Speaker 1: a minute, and Leslie, this this all relates back to

575
00:31:15,760 --> 00:31:19,200
Speaker 1: the guitar story. Just go on a second. Why is

576
00:31:19,280 --> 00:31:21,640
Speaker 1: he dressed up with a suit Because Leslie worked at

577
00:31:21,640 --> 00:31:26,239
Speaker 1: the jewelry Exchange, you know, because I said, how come

578
00:31:26,280 --> 00:31:30,120
Speaker 1: you all dressed up? Exactly he said, I worked. I

579
00:31:30,240 --> 00:31:36,000
Speaker 1: worked at the diamond Exchange. You know. We'll take a

580
00:31:36,080 --> 00:31:38,360
Speaker 1: quick break and come back with more of my conversation

581
00:31:38,440 --> 00:31:42,640
Speaker 1: with guitar virtuoso Wadi Wachtell, recorded live at the tune

582
00:31:42,680 --> 00:31:50,160
Speaker 1: In Studios in Venice, California. It's so great having musicians

583
00:31:50,200 --> 00:31:53,400
Speaker 1: here on the podcast. I'm sure you enjoyed Shirley Manson

584
00:31:53,440 --> 00:31:56,160
Speaker 1: of Garbage and my interview with Moby at the l

585
00:31:56,240 --> 00:31:59,880
Speaker 1: A Times Festival of Books. This week, Wadi wak Tells

586
00:32:00,000 --> 00:32:03,080
Speaker 1: old some great stories about working in the studio with

587
00:32:03,240 --> 00:32:06,240
Speaker 1: Linda ron Staton the Everly Brothers. Whether you come for

588
00:32:06,320 --> 00:32:10,720
Speaker 1: the music protect business or otherwise, be the first year

589
00:32:10,800 --> 00:32:14,440
Speaker 1: next week's episode of the podcast by subscribing I'm tune

590
00:32:14,480 --> 00:32:19,160
Speaker 1: in Apple Podcast or your podcast player of choice. While

591
00:32:19,160 --> 00:32:23,400
Speaker 1: you're there, please be sure to rate and review. Okay,

592
00:32:23,560 --> 00:32:28,680
Speaker 1: let's get back to my conversation with Wady Wachtell. Okay,

593
00:32:28,720 --> 00:32:31,320
Speaker 1: so you were telling the story, so I had my

594
00:32:31,960 --> 00:32:35,320
Speaker 1: still had my less poll, but I wanted beatle guitars.

595
00:32:35,400 --> 00:32:38,000
Speaker 1: Now you know a country gentlemen. I wanted a Rickenbacker.

596
00:32:38,680 --> 00:32:43,200
Speaker 1: So I got the Rickenbacker somehow, I don't remember even how,

597
00:32:43,440 --> 00:32:48,280
Speaker 1: stealing money from my father probably and soul Leslie gave

598
00:32:48,360 --> 00:32:52,240
Speaker 1: Leslie my less pole and he was most have bought it,

599
00:32:52,280 --> 00:32:54,080
Speaker 1: but I don't think we ever exchanged any money on it.

600
00:32:54,600 --> 00:32:57,000
Speaker 1: And that was the guitar when you first saw Leslie

601
00:32:57,040 --> 00:32:58,880
Speaker 1: West play, and that was my guitar. He was playing,

602
00:32:59,520 --> 00:33:02,400
Speaker 1: you know, the this yellow little double cutaway in that pool.

603
00:33:02,560 --> 00:33:05,200
Speaker 1: I was a huge fan of the first album, which

604
00:33:05,280 --> 00:33:07,680
Speaker 1: was called Mountain with Leslie West. It was the second

605
00:33:07,720 --> 00:33:10,880
Speaker 1: album had the Mississippi Queen had and it had baby

606
00:33:11,000 --> 00:33:14,240
Speaker 1: I'm Down. It was on some Columbia Pictures label. I

607
00:33:14,320 --> 00:33:16,200
Speaker 1: went to see them at the Fillmore in the fall

608
00:33:16,280 --> 00:33:19,880
Speaker 1: sixty and I was big Mountain fan. So okay, then

609
00:33:19,920 --> 00:33:22,840
Speaker 1: we put his first Bandity of the Vagrants was Leslie's

610
00:33:22,880 --> 00:33:25,840
Speaker 1: first band, and it was Larry, his brother Larry a

611
00:33:25,920 --> 00:33:29,720
Speaker 1: great singer in Peter Sabatino, another guy and Jerry I

612
00:33:29,800 --> 00:33:32,440
Speaker 1: just forgot his name. And they needed a drummer, so

613
00:33:32,520 --> 00:33:33,960
Speaker 1: they didn't have a drummer yet. I said when I

614
00:33:34,000 --> 00:33:37,080
Speaker 1: play a little drums. So I played drums until we

615
00:33:37,160 --> 00:33:40,000
Speaker 1: found their drummer, Roger So and we played the scene

616
00:33:40,120 --> 00:33:42,280
Speaker 1: in the in the city, we played some gigs, you

617
00:33:42,360 --> 00:33:44,360
Speaker 1: know as the Vagrants, you know, with me on drums

618
00:33:44,600 --> 00:33:48,880
Speaker 1: was okay, But he's got a band and he's starting

619
00:33:48,920 --> 00:33:51,720
Speaker 1: down the road. What are you doing? Well at that point,

620
00:33:51,760 --> 00:33:56,000
Speaker 1: I was very very uh annoyed that, you know, Leslie's

621
00:33:56,040 --> 00:33:58,880
Speaker 1: got a gig and I can't. I can't even walk

622
00:33:58,960 --> 00:34:02,200
Speaker 1: into Atlantic Record, you know, I can't get arrested, you know,

623
00:34:03,240 --> 00:34:07,239
Speaker 1: uh musically and so well, like I said, I had

624
00:34:07,240 --> 00:34:10,160
Speaker 1: put bands together in Newport. I had had this band

625
00:34:10,200 --> 00:34:14,480
Speaker 1: from New York and I went This was all now

626
00:34:15,440 --> 00:34:20,880
Speaker 1: late sixties, and the draft board was yelling for me.

627
00:34:21,200 --> 00:34:23,480
Speaker 1: You know, it was time to go be drafted and

628
00:34:23,680 --> 00:34:27,600
Speaker 1: I wasn't about to go in the army. So um,

629
00:34:28,960 --> 00:34:30,520
Speaker 1: we had to move. We had to get out of there.

630
00:34:30,560 --> 00:34:34,000
Speaker 1: I kept missing physicals and so we moved to Connecticut

631
00:34:34,080 --> 00:34:36,279
Speaker 1: to go to college to get a deferment. With this.

632
00:34:36,440 --> 00:34:39,279
Speaker 1: I had a band that my my same band from

633
00:34:39,320 --> 00:34:43,040
Speaker 1: New York, the Guy No No, No, this was a band,

634
00:34:43,840 --> 00:34:47,799
Speaker 1: this actually the Society band broke up. I'm getting out

635
00:34:47,840 --> 00:34:50,560
Speaker 1: of context here. And when I was in high school,

636
00:34:50,760 --> 00:34:52,760
Speaker 1: I met some other guys I wanted to put together

637
00:34:52,920 --> 00:34:55,120
Speaker 1: a different band, and I didn't want to keep going

638
00:34:55,120 --> 00:34:59,239
Speaker 1: on New Achelle. So I met a guy who was

639
00:34:59,280 --> 00:35:02,200
Speaker 1: a guitar player, convinced him he should be the bass player.

640
00:35:02,280 --> 00:35:04,520
Speaker 1: We met and we heard a great drummer who was

641
00:35:04,560 --> 00:35:06,440
Speaker 1: in some other band, and we convinced him to come

642
00:35:06,520 --> 00:35:09,960
Speaker 1: play with us. And we found a friend who played Oregon.

643
00:35:10,200 --> 00:35:11,920
Speaker 1: So we had this little four piece band, and that's

644
00:35:11,960 --> 00:35:15,839
Speaker 1: where we went to Newport with originally. And that band

645
00:35:15,920 --> 00:35:19,920
Speaker 1: lasted up until we got to Connecticut avoiding the draft,

646
00:35:20,840 --> 00:35:23,120
Speaker 1: and all of a sudden, one day, they all just

647
00:35:23,400 --> 00:35:26,200
Speaker 1: quit me. They all just said, we're out of this,

648
00:35:26,360 --> 00:35:28,920
Speaker 1: We're leaving, We're done. We're done because we don't want

649
00:35:28,920 --> 00:35:30,680
Speaker 1: to play music anymore. Well they don't want Yeah, they

650
00:35:30,680 --> 00:35:32,440
Speaker 1: don't want to They don't want to be where they are.

651
00:35:32,520 --> 00:35:34,480
Speaker 1: One of them was in love with a girl we

652
00:35:34,560 --> 00:35:36,040
Speaker 1: had met along the way. He wanted to go be

653
00:35:36,160 --> 00:35:40,680
Speaker 1: with her, play with her. Um My friend, my lifelong

654
00:35:40,800 --> 00:35:43,920
Speaker 1: bass player friend, decided he'd had enough. I wanted to quit,

655
00:35:44,960 --> 00:35:50,080
Speaker 1: and so I was just stuck and moved back to

656
00:35:50,160 --> 00:35:55,240
Speaker 1: New York for a while. Eventually put another band together

657
00:35:55,400 --> 00:35:57,920
Speaker 1: with some people I knew from Newport that we had met.

658
00:35:58,320 --> 00:36:01,040
Speaker 1: I took my bass player with me again and we

659
00:36:01,800 --> 00:36:03,960
Speaker 1: managed to put another band together and went back up

660
00:36:04,000 --> 00:36:06,480
Speaker 1: to Newport and played up there for a while. How

661
00:36:06,520 --> 00:36:08,600
Speaker 1: did you get the gigs in Newport? Well, like I said,

662
00:36:09,160 --> 00:36:12,719
Speaker 1: we were playing at a place in the city and

663
00:36:14,000 --> 00:36:16,120
Speaker 1: this man was at the show. He just happened to

664
00:36:16,160 --> 00:36:18,320
Speaker 1: be in this club, the Eighth Wonder. If you remember

665
00:36:18,360 --> 00:36:20,800
Speaker 1: the club on on Eighth Street, and I don't remember,

666
00:36:22,080 --> 00:36:24,560
Speaker 1: we had scene. Well, this is the Hellers, Trudy Heller,

667
00:36:25,520 --> 00:36:28,160
Speaker 1: Joel Heller. We had a club called the Eighth Wonder.

668
00:36:29,120 --> 00:36:32,640
Speaker 1: So we were playing there and this guy came up

669
00:36:32,680 --> 00:36:36,360
Speaker 1: to me and said, Hi, my name is Paul Schnittman actually,

670
00:36:37,000 --> 00:36:39,600
Speaker 1: and I own a club up in Newport, Rhode Island.

671
00:36:40,440 --> 00:36:42,239
Speaker 1: Would you guys like to come up there and play.

672
00:36:42,680 --> 00:36:44,560
Speaker 1: I think you guys are really good. We'd love to

673
00:36:44,600 --> 00:36:48,920
Speaker 1: have you up there. Wow. Okay, So then that started

674
00:36:48,960 --> 00:36:53,920
Speaker 1: the whole Newport faction, which led to that band going

675
00:36:54,000 --> 00:36:57,600
Speaker 1: to Connecticut breaking up, and eventually wound up back in

676
00:36:57,680 --> 00:37:00,600
Speaker 1: Newport with pieces of other band that I had met

677
00:37:00,719 --> 00:37:05,760
Speaker 1: up there, and we were. And the thing about Newport,

678
00:37:06,000 --> 00:37:10,000
Speaker 1: this is where somebody said to me one day, have

679
00:37:10,200 --> 00:37:15,800
Speaker 1: you heard the cow Sills? And I went, what's a

680
00:37:15,880 --> 00:37:20,560
Speaker 1: cow Sill? What kind of word is that? And they said,

681
00:37:20,680 --> 00:37:25,160
Speaker 1: that's that's this group. That's their name. So well, that's

682
00:37:25,200 --> 00:37:28,680
Speaker 1: their name, you know, that's the last name of Cow's Lill. No,

683
00:37:28,880 --> 00:37:30,560
Speaker 1: I've not heard them. What are you talking about? This

684
00:37:30,680 --> 00:37:34,600
Speaker 1: is these four boys. They're really really good, really so

685
00:37:34,680 --> 00:37:36,600
Speaker 1: I went over to this place where they were playing,

686
00:37:37,880 --> 00:37:40,160
Speaker 1: and they were incredible. There was the four only just

687
00:37:40,280 --> 00:37:45,120
Speaker 1: the four of them, Billy, Bobby Barry, and John Barry

688
00:37:45,160 --> 00:37:47,200
Speaker 1: and John must have been like twelve and thirteen years

689
00:37:47,239 --> 00:37:50,360
Speaker 1: old at the most, and and they were doing the

690
00:37:50,480 --> 00:37:53,200
Speaker 1: best beatles you've ever heard. That's what they did. They

691
00:37:53,320 --> 00:37:58,239
Speaker 1: just did beatles songs basically, and they sounded incredible and

692
00:37:59,360 --> 00:38:02,319
Speaker 1: and I loved And then I didn't realize though, when

693
00:38:02,320 --> 00:38:04,719
Speaker 1: I'd go back to this club. I worked in Dorian's

694
00:38:06,760 --> 00:38:11,000
Speaker 1: usually once or twice a weekend. This drunk guy would

695
00:38:11,040 --> 00:38:14,880
Speaker 1: come in, this alcoholic bastard would come in and be

696
00:38:15,040 --> 00:38:18,680
Speaker 1: annoying and be loud and be obnoxious, and I'd have

697
00:38:18,760 --> 00:38:22,319
Speaker 1: him thrown out. And finally the club owner one night

698
00:38:22,360 --> 00:38:25,879
Speaker 1: said to me, you know, Watty, that's a that's Bud

699
00:38:26,040 --> 00:38:31,320
Speaker 1: counsel what so, yeah, that's their father. You gotta be

700
00:38:31,440 --> 00:38:36,759
Speaker 1: kidding me, man, that's their father. So and he would

701
00:38:37,080 --> 00:38:40,080
Speaker 1: he'd still come in and come in. And he said

702
00:38:40,120 --> 00:38:41,960
Speaker 1: to me one night he wanted to want to manage me.

703
00:38:42,000 --> 00:38:45,200
Speaker 1: And I'm gonna get serious, Are you kidding me? I

704
00:38:45,320 --> 00:38:48,960
Speaker 1: can't stand being around you. You know, you're a fucking monster.

705
00:38:49,080 --> 00:38:52,920
Speaker 1: You're drunk all the time. Because well, my kids are

706
00:38:52,920 --> 00:38:56,680
Speaker 1: gonna make it. Well, good luck to them with you

707
00:38:56,800 --> 00:38:59,880
Speaker 1: on board. And he goes, we're gonna get it together.

708
00:39:00,000 --> 00:39:02,360
Speaker 1: I said, oh yeah, well when you get a million

709
00:39:02,440 --> 00:39:08,600
Speaker 1: dollars together, ask me, then okay, it's okay. And so

710
00:39:08,800 --> 00:39:11,600
Speaker 1: we went from playing in Newport wound up going up

711
00:39:11,640 --> 00:39:14,239
Speaker 1: to Vermont. You know, we got an offer to come

712
00:39:14,280 --> 00:39:17,120
Speaker 1: to this club in Vermont. Well, you know, since I

713
00:39:17,160 --> 00:39:19,040
Speaker 1: went to college Vermont, but a lot of time in Vermont.

714
00:39:19,080 --> 00:39:22,400
Speaker 1: We're in Vermont sugar Bush, Okay, you know with a

715
00:39:22,440 --> 00:39:28,040
Speaker 1: bluetooth that's exactly right, with the big bluetooth hanging for

716
00:39:28,120 --> 00:39:31,680
Speaker 1: the ceiling, the bluetooth, that's the club. That was it.

717
00:39:31,960 --> 00:39:33,879
Speaker 1: So you went and played those so we went played

718
00:39:33,960 --> 00:39:36,400
Speaker 1: up there and then they asked us come back for

719
00:39:36,480 --> 00:39:38,759
Speaker 1: like the whole ski season, so we did. Which did

720
00:39:38,840 --> 00:39:42,239
Speaker 1: you ski at all? I don't know. No, no, no, no,

721
00:39:42,640 --> 00:39:48,960
Speaker 1: Warren Vermont exactly. That's so we're up there and we

722
00:39:49,120 --> 00:39:51,440
Speaker 1: were you know, we're running out of options now. I mean,

723
00:39:51,640 --> 00:39:53,680
Speaker 1: you know, the idea was to get a record deal,

724
00:39:54,320 --> 00:39:57,560
Speaker 1: and that didn't wasn't happening, and there was a DJ

725
00:39:57,840 --> 00:40:00,279
Speaker 1: and Providence who was trying to help us, and that

726
00:40:00,360 --> 00:40:03,279
Speaker 1: fell through. And I'm up there going, man, this is

727
00:40:03,320 --> 00:40:04,680
Speaker 1: like the end of the road. We're up here and

728
00:40:05,080 --> 00:40:07,520
Speaker 1: you're not gonna be discovered at the winter in Vermont

729
00:40:07,640 --> 00:40:09,960
Speaker 1: fifty below. I don't think we're gonna you know, Clive

730
00:40:10,040 --> 00:40:14,040
Speaker 1: Davids Saint coming here again. And all of a sudden

731
00:40:14,040 --> 00:40:16,640
Speaker 1: I got a phone call from the guy that used

732
00:40:16,680 --> 00:40:19,640
Speaker 1: to run the club I played in, David Ray, What

733
00:40:19,800 --> 00:40:22,320
Speaker 1: do you called me? What New England accent? Hey? What

734
00:40:22,640 --> 00:40:24,640
Speaker 1: it's Dave? Hey man? What are you doing? He goes,

735
00:40:25,560 --> 00:40:27,239
Speaker 1: what are you? I'm working for Bud now and what

736
00:40:28,600 --> 00:40:30,680
Speaker 1: you gotta be kidding me? He goes, what he's got

737
00:40:30,719 --> 00:40:33,680
Speaker 1: money now? He says, the kids are making it. He's

738
00:40:33,719 --> 00:40:37,239
Speaker 1: got a serious deal with the Dairy Association. And he's so.

739
00:40:37,360 --> 00:40:38,919
Speaker 1: He goes, hold on, I'm gonna put him on the phone.

740
00:40:40,840 --> 00:40:44,120
Speaker 1: How are you doing? He said, I'm okay, Bud. He goes, yeah.

741
00:40:44,160 --> 00:40:47,040
Speaker 1: He says, we're coming up to see you, but you

742
00:40:47,160 --> 00:40:50,680
Speaker 1: are He goes, yeah, we're coming up tomorrow to see you. Okay, fine,

743
00:40:51,520 --> 00:40:56,880
Speaker 1: great blizzard. They drive up, pure fucking blizzard. Took him

744
00:40:56,920 --> 00:41:00,520
Speaker 1: forever to get there. And at this what this band

745
00:41:00,600 --> 00:41:02,720
Speaker 1: is now called. It was used to be called the Orphans,

746
00:41:02,760 --> 00:41:05,080
Speaker 1: now it's called Twice Nicely, it's a different arrange as

747
00:41:05,080 --> 00:41:08,759
Speaker 1: a girl, really talented girl who we moved out here

748
00:41:08,760 --> 00:41:13,239
Speaker 1: together with that band. But so there's Budd and David

749
00:41:13,320 --> 00:41:17,000
Speaker 1: Ray sitting at this club at the Bluetooth watching the band.

750
00:41:17,120 --> 00:41:19,160
Speaker 1: And I get done with the set. He goes, band

751
00:41:19,239 --> 00:41:23,000
Speaker 1: sounds good, wady, band sounds good. I said, yeah, good, thanks.

752
00:41:23,160 --> 00:41:29,759
Speaker 1: He goes, So, I got the million dollars. Now you

753
00:41:29,840 --> 00:41:35,840
Speaker 1: want to come with me? Absolutely, I'm ready. It's fine.

754
00:41:36,520 --> 00:41:38,960
Speaker 1: We're moving into New York with us. You know, we

755
00:41:39,080 --> 00:41:41,600
Speaker 1: got this apartment in New York. We got rooms all

756
00:41:41,640 --> 00:41:44,680
Speaker 1: over the place. You guys can live downstairs. Okay, great.

757
00:41:45,080 --> 00:41:46,680
Speaker 1: So at that point we moved back to the city,

758
00:41:46,880 --> 00:41:48,960
Speaker 1: living with the councils at that point, up and down.

759
00:41:49,120 --> 00:41:51,239
Speaker 1: You know, one of the kids is always hanging out

760
00:41:51,239 --> 00:41:53,040
Speaker 1: with us. I'm always hanging out with Billy Counsel, the

761
00:41:53,080 --> 00:41:56,640
Speaker 1: oldest one. And eventually Bud said, I'm moving my operation

762
00:41:56,760 --> 00:42:00,200
Speaker 1: to Los Angeles. Do you want to go? Definitely? I

763
00:42:00,239 --> 00:42:03,080
Speaker 1: said I can't. And this relates back to you know,

764
00:42:03,200 --> 00:42:05,399
Speaker 1: Leslie has got a career goal, right, I can't get

765
00:42:05,560 --> 00:42:08,319
Speaker 1: a session. I can't No one wants to hear me play.

766
00:42:09,480 --> 00:42:11,960
Speaker 1: So yes, please, man, I want to go to Los Angeles.

767
00:42:13,520 --> 00:42:17,680
Speaker 1: So we moved out with we drove out with our

768
00:42:17,760 --> 00:42:21,160
Speaker 1: manager Dave, and came out here. What year was? This

769
00:42:21,320 --> 00:42:23,719
Speaker 1: is okay, but let's go back. We were talking just

770
00:42:23,760 --> 00:42:26,600
Speaker 1: before we started that you went into Haven College for

771
00:42:27,000 --> 00:42:32,240
Speaker 1: a semester. Yeah, when was that? Well that was sixty seven,

772
00:42:32,320 --> 00:42:34,120
Speaker 1: I guess. So how did you get out of the draft?

773
00:42:34,239 --> 00:42:38,440
Speaker 1: I got out of the draft by Finally I told Bud,

774
00:42:38,560 --> 00:42:42,840
Speaker 1: I said, look, I have this problem. The Jeff board

775
00:42:42,960 --> 00:42:48,720
Speaker 1: is on my tail because I've missed five six physicals already,

776
00:42:49,600 --> 00:42:53,719
Speaker 1: and uh, the last letter I got said you're going

777
00:42:53,840 --> 00:42:57,360
Speaker 1: to Vietnam. You don't even need to take your physical,

778
00:42:57,480 --> 00:43:00,400
Speaker 1: just show just show up at Fort Fort Washington, Brooklyn,

779
00:43:01,280 --> 00:43:03,720
Speaker 1: and you were going to go right from there to Vietnam.

780
00:43:04,760 --> 00:43:09,080
Speaker 1: And so Bud and bless his heart and his the

781
00:43:09,200 --> 00:43:12,360
Speaker 1: one good thing he ever did for anybody probably was

782
00:43:12,480 --> 00:43:16,400
Speaker 1: he goes, We're gonna fix this for you, and I

783
00:43:16,480 --> 00:43:18,120
Speaker 1: want to put you in touch with somebody. And he

784
00:43:18,239 --> 00:43:20,440
Speaker 1: put me in touch with Herbie Cohen. Remember who Herbie?

785
00:43:21,520 --> 00:43:24,480
Speaker 1: His brother was a publisher as a manager of Frank Zappa.

786
00:43:24,880 --> 00:43:28,400
Speaker 1: Herbie was, Yeah, So I meet her one day in

787
00:43:28,480 --> 00:43:31,520
Speaker 1: New York at the Carnegie I think it was, and

788
00:43:31,640 --> 00:43:34,719
Speaker 1: I was sitting He goes, so Bud told me you've

789
00:43:34,719 --> 00:43:37,120
Speaker 1: got a problem with the with the army and stuff,

790
00:43:37,200 --> 00:43:39,200
Speaker 1: and you got a physical coming up. Point. Yeah, I do.

791
00:43:40,719 --> 00:43:44,759
Speaker 1: So he says, well, I'm gonna help you. He says.

792
00:43:45,120 --> 00:43:49,080
Speaker 1: First of all, you gotta believe something. What's that? He goes,

793
00:43:49,400 --> 00:43:53,560
Speaker 1: they don't want you? What because they don't want people

794
00:43:53,640 --> 00:43:58,640
Speaker 1: like you. You're not army material. They can't do anything

795
00:43:58,719 --> 00:44:01,759
Speaker 1: with someone like you. You'll be a waste of their time.

796
00:44:02,520 --> 00:44:05,920
Speaker 1: You won't bend to what they want. They don't need you.

797
00:44:06,719 --> 00:44:09,520
Speaker 1: You got to believe that. You really got to believe it.

798
00:44:09,640 --> 00:44:12,759
Speaker 1: Otherwise you're not going to get out of this. Okay,

799
00:44:12,800 --> 00:44:16,040
Speaker 1: I believe it. I believe it. And so he told me,

800
00:44:17,239 --> 00:44:21,120
Speaker 1: he said, well, when's your physical I said it's two

801
00:44:21,200 --> 00:44:23,400
Speaker 1: and a half weeks or somebody three weeks. He was

802
00:44:23,440 --> 00:44:26,759
Speaker 1: all right, well, go, what is your father think about this?

803
00:44:26,880 --> 00:44:28,919
Speaker 1: I said, my father wants me to go in the army.

804
00:44:28,960 --> 00:44:31,200
Speaker 1: He's so really well, he was just disheartened with my

805
00:44:31,320 --> 00:44:35,480
Speaker 1: whole truant life, you know, the bad thing. And you

806
00:44:35,560 --> 00:44:37,080
Speaker 1: know he didn't want to see me go to the

807
00:44:37,120 --> 00:44:40,680
Speaker 1: front line or anything. But your army would street you, right.

808
00:44:41,120 --> 00:44:45,000
Speaker 1: So ah, he said, well, listen, I think you should

809
00:44:45,680 --> 00:44:48,000
Speaker 1: tell your father you're not going in and tell him

810
00:44:49,040 --> 00:44:51,760
Speaker 1: he's going to help you. Because I want your father

811
00:44:52,400 --> 00:44:55,880
Speaker 1: to drag you into that physical. I want you to

812
00:44:56,040 --> 00:44:59,360
Speaker 1: have your father hand you over to the to the sergeant.

813
00:45:00,480 --> 00:45:02,600
Speaker 1: I want them to see that you don't want to

814
00:45:02,640 --> 00:45:05,279
Speaker 1: be there, and I want them that your father wants

815
00:45:05,320 --> 00:45:07,400
Speaker 1: you in there. And this is all part of what

816
00:45:07,480 --> 00:45:09,120
Speaker 1: you're gonna do this Lucky. He says, you look like

817
00:45:09,160 --> 00:45:13,600
Speaker 1: a nervous guy, man, so just play that up. Be nervous,

818
00:45:14,239 --> 00:45:18,040
Speaker 1: be really nervous. He says, don't, don't do anything they

819
00:45:18,080 --> 00:45:20,640
Speaker 1: want you to do. Don't answer questions on the physical.

820
00:45:21,280 --> 00:45:27,360
Speaker 1: Don't ah, don't take the physical. Refused to take the physical.

821
00:45:27,440 --> 00:45:30,000
Speaker 1: Tell them you can't undress in front of other people.

822
00:45:30,040 --> 00:45:34,400
Speaker 1: You're too shy, you're too scared. Okay, fine, all right,

823
00:45:34,480 --> 00:45:38,320
Speaker 1: yeah I can I can handle this, Okay. So so

824
00:45:38,520 --> 00:45:41,279
Speaker 1: I took his advice and I just played it up

825
00:45:41,320 --> 00:45:46,000
Speaker 1: from there, and I started. I didn't shower for a

826
00:45:46,080 --> 00:45:49,080
Speaker 1: couple of weeks. I didn't shave till the day before.

827
00:45:50,080 --> 00:45:52,000
Speaker 1: I didn't wash my hair, didn't do anything. I just

828
00:45:52,239 --> 00:45:56,120
Speaker 1: I didn't eat. I just ate like fruit fruit. So

829
00:45:56,200 --> 00:45:59,120
Speaker 1: I weighed nothing by the time. By the time that

830
00:45:59,160 --> 00:46:01,880
Speaker 1: physical came, it wasn't sleeping. I was drinking coffee all

831
00:46:01,960 --> 00:46:05,279
Speaker 1: night the only time I drank coffee. Stayed awake for

832
00:46:05,440 --> 00:46:10,080
Speaker 1: days and days. I looked ridiculous. And I shaved that

833
00:46:10,400 --> 00:46:12,360
Speaker 1: without water the day before, and so I was cunsoled

834
00:46:12,400 --> 00:46:15,080
Speaker 1: over me and I prepped, I really prepped for it,

835
00:46:15,760 --> 00:46:19,520
Speaker 1: and played it up and got there, and I was

836
00:46:19,640 --> 00:46:21,520
Speaker 1: did your father drag you? And I made my father

837
00:46:21,600 --> 00:46:23,239
Speaker 1: dragged me. And I said, not only are you gonna

838
00:46:23,320 --> 00:46:25,160
Speaker 1: help me? Not only am I not going in the

839
00:46:25,280 --> 00:46:27,640
Speaker 1: army you're gonna help me because what No, I'm not.

840
00:46:27,719 --> 00:46:30,360
Speaker 1: I said, yes you are. You're gonna drag me in

841
00:46:30,440 --> 00:46:32,680
Speaker 1: there because I'm not gonna be any part of this,

842
00:46:32,800 --> 00:46:36,520
Speaker 1: and yes you are. So he did. He got on

843
00:46:36,640 --> 00:46:41,480
Speaker 1: board and he brought me in, and so I kept

844
00:46:41,520 --> 00:46:44,480
Speaker 1: hearing Herbie's voice. You know, don't don't answer the questions

845
00:46:44,520 --> 00:46:47,480
Speaker 1: on the on the on the paper, on the written part.

846
00:46:48,480 --> 00:46:50,520
Speaker 1: So they'd hand me the thing and I'd sit there

847
00:46:50,560 --> 00:46:52,000
Speaker 1: and I would just take the pencil and just go

848
00:46:54,840 --> 00:46:56,520
Speaker 1: break the point of it. And then I think I

849
00:46:56,560 --> 00:46:59,040
Speaker 1: would come around and see I haven't written anything. I went, well,

850
00:46:59,280 --> 00:47:01,640
Speaker 1: you know, I broke it depends only give me another

851
00:47:01,680 --> 00:47:05,920
Speaker 1: one break it. So I had hardly wrote anything on this.

852
00:47:06,520 --> 00:47:10,319
Speaker 1: And then the physical part came and I just played

853
00:47:10,360 --> 00:47:13,440
Speaker 1: it up, played it up. And when he said the

854
00:47:13,480 --> 00:47:16,800
Speaker 1: thing about refused to take your clothes off, that was

855
00:47:16,840 --> 00:47:18,800
Speaker 1: all well and good in theory, but there was nobody

856
00:47:18,880 --> 00:47:22,120
Speaker 1: to say it too. There was There was nobody there

857
00:47:22,160 --> 00:47:24,719
Speaker 1: except some old guy who all you did was hand

858
00:47:24,800 --> 00:47:27,520
Speaker 1: him your clothes and he handed your receipt for it.

859
00:47:27,680 --> 00:47:30,319
Speaker 1: And I wasn't gonna complain to him. He didn't ship

860
00:47:31,120 --> 00:47:33,120
Speaker 1: so and the only by the way. The only other

861
00:47:33,200 --> 00:47:36,680
Speaker 1: thing I had was I knew everyone else had scores

862
00:47:36,719 --> 00:47:39,360
Speaker 1: and scores of paperwork from psychiatrists and things like that.

863
00:47:39,800 --> 00:47:41,399
Speaker 1: All I had was like a note from my old

864
00:47:41,440 --> 00:47:45,160
Speaker 1: family doctor. It's one little a little square piece of

865
00:47:45,200 --> 00:47:48,560
Speaker 1: paper is saying, Robert walk tell his bad stuffing. He's

866
00:47:48,600 --> 00:47:50,920
Speaker 1: never been the same since his mom died. He's been

867
00:47:50,960 --> 00:47:54,560
Speaker 1: a little off since then, and he has just pepsia.

868
00:47:54,680 --> 00:47:56,600
Speaker 1: He can't eat. I said, what does that mean, he goes,

869
00:47:56,600 --> 00:47:58,400
Speaker 1: I means you can't eat fried food and that's all

870
00:47:58,480 --> 00:48:03,279
Speaker 1: they cook. So okay, okay, good, it's my note. And

871
00:48:03,520 --> 00:48:06,920
Speaker 1: uh so there was nobody to say I'm refusing to

872
00:48:07,000 --> 00:48:09,839
Speaker 1: do this with. And I got really freaked at that point.

873
00:48:10,520 --> 00:48:12,680
Speaker 1: I was really scared. I sat down and just was like,

874
00:48:14,600 --> 00:48:17,200
Speaker 1: I don't know what I'm gonna do now. This is terrifying.

875
00:48:17,840 --> 00:48:19,960
Speaker 1: Here I am alone in here, and everyone on these

876
00:48:20,160 --> 00:48:23,920
Speaker 1: coons are taking their clothes off. And then so finally

877
00:48:23,960 --> 00:48:26,920
Speaker 1: I went, okay, I gotta go through it. I went

878
00:48:27,000 --> 00:48:29,279
Speaker 1: through this stuff. I had my little note in my hand.

879
00:48:29,760 --> 00:48:31,920
Speaker 1: I was too afraid just tell anyone I want to

880
00:48:31,920 --> 00:48:34,600
Speaker 1: see the psychiatrist. I didn't know what to do, so

881
00:48:35,760 --> 00:48:39,440
Speaker 1: and but I was again funky, you know what I mean.

882
00:48:39,600 --> 00:48:42,600
Speaker 1: So when they examined me certain parts of my body,

883
00:48:42,640 --> 00:48:49,480
Speaker 1: they went you, which was kind of fun. And so

884
00:48:49,640 --> 00:48:52,960
Speaker 1: all of a sudden, this guy, as you're walking up

885
00:48:52,960 --> 00:48:57,120
Speaker 1: to this one checkpoint, he's looking at everyone's paperwork and goes,

886
00:48:57,280 --> 00:48:59,920
Speaker 1: you there, you there, this guy in front of me,

887
00:49:00,080 --> 00:49:03,680
Speaker 1: you psychiatrist. You there, you handed my thing? It was

888
00:49:03,719 --> 00:49:08,600
Speaker 1: you psychiatrist. But oh wow, okay, someone's working here. So

889
00:49:09,080 --> 00:49:13,239
Speaker 1: from then on I sat outside the sychatra's office, sat there,

890
00:49:14,200 --> 00:49:16,040
Speaker 1: and there was on the bed there was a guy.

891
00:49:17,160 --> 00:49:20,239
Speaker 1: And Herbie ha said, don't talk to anybody, even if

892
00:49:20,280 --> 00:49:24,840
Speaker 1: you see someone you know, don't talk to anyone. Don't know,

893
00:49:25,200 --> 00:49:29,200
Speaker 1: this is not a social event. Don't communicate with anyone.

894
00:49:30,520 --> 00:49:33,360
Speaker 1: But there was this guy sitting outside the psychiatrist's office

895
00:49:33,840 --> 00:49:37,640
Speaker 1: with like a million necklaces on and and smoking incense

896
00:49:37,719 --> 00:49:41,759
Speaker 1: in a in a roach clip, and it was like wow.

897
00:49:43,040 --> 00:49:44,480
Speaker 1: And I said to this guy, and I know that

898
00:49:44,520 --> 00:49:47,319
Speaker 1: there was no one else around, and you don't really

899
00:49:47,400 --> 00:49:49,000
Speaker 1: think you're gonna get out like that to you man?

900
00:49:49,160 --> 00:49:51,080
Speaker 1: And he goes, man, you kidding. I've been in the

901
00:49:51,160 --> 00:49:55,520
Speaker 1: nuthouse five times. Ain't gonna take me. He went in

902
00:49:55,640 --> 00:49:57,480
Speaker 1: and sure enough he was out of that psychiatrist's office

903
00:49:57,520 --> 00:50:01,080
Speaker 1: in like thirty things. You know, he goes okay. And

904
00:50:01,120 --> 00:50:03,320
Speaker 1: then I went in and talked to the psychiatrist and

905
00:50:05,080 --> 00:50:07,920
Speaker 1: I told him how afraid of life I was, basically,

906
00:50:08,040 --> 00:50:11,640
Speaker 1: and and uh said, you ever take drugs? So I know, yeah,

907
00:50:12,880 --> 00:50:15,440
Speaker 1: LSD a lot of it, because how many times I

908
00:50:15,480 --> 00:50:20,320
Speaker 1: would I don't know, it doesn't know, okay. And and

909
00:50:20,400 --> 00:50:25,279
Speaker 1: there it's funny. They're they're really mean in there. They're

910
00:50:25,360 --> 00:50:27,520
Speaker 1: really tough on you all the way through that whole

911
00:50:27,600 --> 00:50:30,560
Speaker 1: physical yelling at do this, I don't do that. If

912
00:50:30,560 --> 00:50:32,880
Speaker 1: you're blind in one eye, you pass. If you definitely

913
00:50:32,880 --> 00:50:36,120
Speaker 1: want to hear, you pass, you're all going of Vietnam.

914
00:50:37,760 --> 00:50:40,960
Speaker 1: But from the moment I left that psychiatrists office, they

915
00:50:41,000 --> 00:50:45,480
Speaker 1: were really kid gloves with me. Oh hey, Robert, come

916
00:50:45,560 --> 00:50:47,840
Speaker 1: this way, you have a seat over here. Man, it

917
00:50:47,880 --> 00:50:50,200
Speaker 1: will only be a minute, okay. You know, we're gonna

918
00:50:50,239 --> 00:50:51,799
Speaker 1: give you the slip and you're gonna have a one

919
00:50:52,040 --> 00:50:55,000
Speaker 1: ye and just take it easy and you know, everything's fine.

920
00:50:55,120 --> 00:50:58,040
Speaker 1: And they were really gentle with me by that moment.

921
00:50:58,120 --> 00:51:03,279
Speaker 1: On so I left there are I don't even know

922
00:51:04,160 --> 00:51:06,400
Speaker 1: I got home. I was so he later, I couldn't

923
00:51:06,400 --> 00:51:08,680
Speaker 1: believe it. So you found it right then that they

924
00:51:08,719 --> 00:51:10,920
Speaker 1: weren't going to take you. Oh yeah, yeah, I got

925
00:51:11,000 --> 00:51:13,239
Speaker 1: a one why instead of so what did? What did

926
00:51:13,280 --> 00:51:15,960
Speaker 1: the psychiatrist say or do? He just did? He just

927
00:51:16,040 --> 00:51:18,560
Speaker 1: asked me these questions about you know, where you see

928
00:51:18,560 --> 00:51:20,799
Speaker 1: you've been in Vermont? And I said yeah, I said

929
00:51:20,840 --> 00:51:22,520
Speaker 1: what did you do there? I said, I was washing

930
00:51:22,600 --> 00:51:27,320
Speaker 1: dishes in this club the bluetooth. Uh what else do

931
00:51:27,360 --> 00:51:29,520
Speaker 1: you do? I said, I don't too much else. You know,

932
00:51:29,560 --> 00:51:33,000
Speaker 1: if he didn't let on your musician, Okay, why was

933
00:51:33,120 --> 00:51:36,839
Speaker 1: Herbie doing you this? Solid? But asked him to really Yeah,

934
00:51:37,000 --> 00:51:39,080
Speaker 1: he knew Bud and he said one of my guys

935
00:51:39,200 --> 00:51:41,480
Speaker 1: needs help with the draft board, do you And he said, yeah,

936
00:51:41,480 --> 00:51:44,800
Speaker 1: I can help him. People have no idea if you

937
00:51:44,840 --> 00:51:47,120
Speaker 1: didn't live through this. This was like the biggest thing

938
00:51:47,480 --> 00:51:50,160
Speaker 1: they would be conversed about. It was Frank Creez. It

939
00:51:50,280 --> 00:51:52,600
Speaker 1: was frightening. And then and still when we moved to

940
00:51:52,719 --> 00:51:55,000
Speaker 1: l A, I was still waiting and it was only

941
00:51:55,040 --> 00:51:57,799
Speaker 1: a one why. For anyone who doesn't know what that means,

942
00:51:57,840 --> 00:52:00,480
Speaker 1: that means a one year deferment. What you were going

943
00:52:00,560 --> 00:52:04,279
Speaker 1: for was a four F means you're out period, he'll

944
00:52:04,320 --> 00:52:06,560
Speaker 1: never be in the army, but one why means they

945
00:52:06,600 --> 00:52:09,759
Speaker 1: can come calling again, and they started, you know that.

946
00:52:09,960 --> 00:52:11,759
Speaker 1: Then it went to the what do you call it,

947
00:52:11,840 --> 00:52:16,440
Speaker 1: the the wattery? Yeah, lottery, And finally they didn't call

948
00:52:16,560 --> 00:52:19,920
Speaker 1: my numbers, and I was out. Remember what your number was?

949
00:52:21,120 --> 00:52:25,960
Speaker 1: I was to something. Oh, of course, come on, I

950
00:52:26,040 --> 00:52:27,880
Speaker 1: was in college. I was gonna get four years. You

951
00:52:27,960 --> 00:52:32,560
Speaker 1: were still worried. It was frightening, It really was so Uh.

952
00:52:33,360 --> 00:52:35,960
Speaker 1: You moved to l A with Bud. Yeah, your band

953
00:52:36,080 --> 00:52:40,399
Speaker 1: is living in this house. Is Budd doing anything for you? Yeah?

954
00:52:40,480 --> 00:52:46,200
Speaker 1: He's What kind of language barrier have we on here?

955
00:52:46,320 --> 00:52:50,560
Speaker 1: Can I use favorite adjective? Okay, he's fucking up every

956
00:52:50,640 --> 00:52:54,080
Speaker 1: record deal I'm getting. We came out here. We did

957
00:52:55,120 --> 00:52:58,600
Speaker 1: a demo, you know, and it was really pretty good,

958
00:52:58,680 --> 00:53:01,680
Speaker 1: you know, original songs and everyone this band sounded really good.

959
00:53:02,280 --> 00:53:07,440
Speaker 1: Everybody's sang five part harmonies, very good. Songs were musically

960
00:53:07,600 --> 00:53:12,120
Speaker 1: good lyrically okay, and it was a good, good presentation

961
00:53:12,320 --> 00:53:15,719
Speaker 1: and it was good enough to the first deal he

962
00:53:15,760 --> 00:53:20,080
Speaker 1: went to get for us was with Atlantic, and I

963
00:53:20,239 --> 00:53:24,200
Speaker 1: remember one day after Bud Wind saw m it. My

964
00:53:24,360 --> 00:53:27,040
Speaker 1: phone rings and I pick it up and I can

965
00:53:27,120 --> 00:53:29,600
Speaker 1: hear my demo in the background, and it's this voice.

966
00:53:30,120 --> 00:53:33,040
Speaker 1: I want to talk to Watty. Uh. This is what

967
00:53:33,200 --> 00:53:35,400
Speaker 1: he goes. This is I'm on nan because I love

968
00:53:35,480 --> 00:53:38,959
Speaker 1: this fucking record. I love this fucking record. We're gonna

969
00:53:39,080 --> 00:53:41,359
Speaker 1: welcome to Atlantic, man, We're gonna make a great record.

970
00:53:41,440 --> 00:53:46,239
Speaker 1: I love this band. You guys sound beautiful. This is incredible.

971
00:53:46,480 --> 00:53:48,719
Speaker 1: I can't believe it. Hung up the phone. Guys. We

972
00:53:48,800 --> 00:53:54,319
Speaker 1: gotta deal, we gotta deal. First deal, he went. Day later,

973
00:53:54,840 --> 00:53:59,760
Speaker 1: no deal. Bud Cassel would go back to these meetings,

974
00:54:00,160 --> 00:54:05,040
Speaker 1: asked for the moon and want to converge the cow Sils,

975
00:54:05,160 --> 00:54:07,680
Speaker 1: make a bigger deal. Wanted he wanted this for me,

976
00:54:07,800 --> 00:54:10,000
Speaker 1: but he wanted them to do this for the cow

977
00:54:10,120 --> 00:54:12,640
Speaker 1: Sills and all this. He had all these big plans.

978
00:54:14,719 --> 00:54:19,800
Speaker 1: Nomad passed, so then it was on to someone at Columbia.

979
00:54:20,840 --> 00:54:23,360
Speaker 1: Loved it. He went, Bud went in to make the

980
00:54:23,440 --> 00:54:28,360
Speaker 1: deal passed. He ruined at least three record deals that

981
00:54:28,520 --> 00:54:32,080
Speaker 1: we had, and it was it was amazing, you know.

982
00:54:32,280 --> 00:54:35,320
Speaker 1: He was just fucking it up left and right. And

983
00:54:35,560 --> 00:54:39,560
Speaker 1: it's funny. When we first moved here, I really wanted

984
00:54:39,560 --> 00:54:41,840
Speaker 1: to meet Brian Wilson. That was my dream, you know,

985
00:54:42,080 --> 00:54:46,840
Speaker 1: Brian was what year you moved here? The councils have

986
00:54:47,000 --> 00:54:48,880
Speaker 1: their had their head and he hits, yeah, I think

987
00:54:48,920 --> 00:54:50,320
Speaker 1: they ran in the park and the other things was

988
00:54:50,560 --> 00:54:53,759
Speaker 1: a big hit, and uh, what was the second record

989
00:54:53,880 --> 00:54:56,680
Speaker 1: was we Could Fly? We can Fly here? It was later,

990
00:54:58,680 --> 00:55:01,280
Speaker 1: So we came out here and I wanted to meet Brian.

991
00:55:01,440 --> 00:55:03,000
Speaker 1: And the other person I wanted to meet was Dave

992
00:55:03,040 --> 00:55:06,640
Speaker 1: Crosby because at that point David was speaking for our generation.

993
00:55:06,719 --> 00:55:09,719
Speaker 1: He was saying a lot of good, good things. So

994
00:55:09,760 --> 00:55:11,839
Speaker 1: I wanted to meet Dave. And I love the birds,

995
00:55:11,880 --> 00:55:13,400
Speaker 1: you know, you know, just a little stop for once.

996
00:55:13,560 --> 00:55:17,239
Speaker 1: At what point do you go from Robert oh Well

997
00:55:17,480 --> 00:55:22,000
Speaker 1: in the in the newer Schelle band. Actually, uh, there

998
00:55:22,080 --> 00:55:26,360
Speaker 1: was a guy in that band who Jerry Burnback. His

999
00:55:26,480 --> 00:55:29,279
Speaker 1: name is um. He used to funk up a lot.

1000
00:55:29,320 --> 00:55:30,799
Speaker 1: He used to make a lot of mistakes, so I'd

1001
00:55:30,840 --> 00:55:33,160
Speaker 1: be on his on his case all the time, and

1002
00:55:33,320 --> 00:55:35,480
Speaker 1: he got sick of it. So one day, to shut

1003
00:55:35,560 --> 00:55:38,440
Speaker 1: me up out of nowhere, he just went, I'm sorry,

1004
00:55:38,840 --> 00:55:42,399
Speaker 1: whydy like that off of Wachtel. I guess he got

1005
00:55:42,480 --> 00:55:48,239
Speaker 1: it and and I went, what he was, Okay, why

1006
00:55:48,280 --> 00:55:51,040
Speaker 1: don't call me that man? What's the matter? Stopped that

1007
00:55:52,000 --> 00:55:55,440
Speaker 1: it's weird, and then after a while I went, you know,

1008
00:55:56,440 --> 00:55:59,279
Speaker 1: I'm so sick of the word pardon me, Bob. I'm

1009
00:55:59,360 --> 00:56:02,919
Speaker 1: so sick of named Bob. Maybe why he ain't so bad,

1010
00:56:04,040 --> 00:56:06,520
Speaker 1: He's okay. And it's like after I met Leslie, because

1011
00:56:06,520 --> 00:56:10,400
Speaker 1: I know, I introduced myself as Bobby and any Waddy's okay,

1012
00:56:10,520 --> 00:56:12,080
Speaker 1: I gotta go with Watty. I'm sick of but I

1013
00:56:12,120 --> 00:56:14,279
Speaker 1: don't want to hear myself called Bob anymore. My wife

1014
00:56:14,320 --> 00:56:16,840
Speaker 1: still calls me Bob. It says my brother. But you know,

1015
00:56:17,600 --> 00:56:23,759
Speaker 1: and uh so that's when that happened. You're listening to

1016
00:56:23,840 --> 00:56:27,000
Speaker 1: my conversation with Wady walk Tell, recorded live at the

1017
00:56:27,040 --> 00:56:33,160
Speaker 1: tune In Studios in Venice, California. I hope you're enjoying

1018
00:56:33,239 --> 00:56:36,120
Speaker 1: this episode of the Bob Left Sets Podcast. As you know,

1019
00:56:36,239 --> 00:56:38,799
Speaker 1: we shoot a little video and take pictures here at

1020
00:56:38,840 --> 00:56:41,799
Speaker 1: the tune In studios so you can look them up

1021
00:56:41,840 --> 00:56:47,080
Speaker 1: at apt tune in on Twitter, Facebook, and Instagram. Now

1022
00:56:47,280 --> 00:56:50,080
Speaker 1: more of my conversation with Waddy walk Tell. I'm the

1023
00:56:50,160 --> 00:56:54,560
Speaker 1: Bob Left Sets Podcast. Okay, by the seventies eight. You're

1024
00:56:54,640 --> 00:56:58,359
Speaker 1: here style curly here to your shoulders as legendary. When

1025
00:56:58,440 --> 00:57:00,600
Speaker 1: do you We all grew our here were the Beatles,

1026
00:57:00,680 --> 00:57:03,640
Speaker 1: But when did you develop the look you presently have?

1027
00:57:04,280 --> 00:57:07,560
Speaker 1: It just grows this way, so I've had it forever, okay,

1028
00:57:07,600 --> 00:57:10,400
Speaker 1: But people didn't have their here that long, no, fat time, No,

1029
00:57:10,600 --> 00:57:13,680
Speaker 1: but it was it was, you know, every ever since Beatles,

1030
00:57:13,719 --> 00:57:15,920
Speaker 1: everyone's hair started growing and you know, I used to

1031
00:57:15,960 --> 00:57:17,880
Speaker 1: try to straighten this stuff too, and it was it

1032
00:57:18,000 --> 00:57:21,600
Speaker 1: was a nightmare. Uh, But after a while I just

1033
00:57:21,720 --> 00:57:24,280
Speaker 1: went I saw it was funny. I saw Eric Clapton

1034
00:57:24,360 --> 00:57:27,880
Speaker 1: one day and he had like his big frizzy hair do. Well, gee,

1035
00:57:27,920 --> 00:57:31,200
Speaker 1: that's how my hair looks when I wake up. So

1036
00:57:31,680 --> 00:57:36,040
Speaker 1: fuck it, I'm done. Let's stop. Go back to close sideway.

1037
00:57:36,120 --> 00:57:38,640
Speaker 1: Was your brother your brother graduates from high school? Does

1038
00:57:38,680 --> 00:57:41,280
Speaker 1: he continue in school? Yeah? He went to Brooklyn College.

1039
00:57:41,640 --> 00:57:43,720
Speaker 1: He went to n y U and then he was

1040
00:57:44,320 --> 00:57:47,640
Speaker 1: in Brooklyn College studying broadcasting. And then how does he

1041
00:57:47,720 --> 00:57:53,280
Speaker 1: become a designer? Well, he came out here and I

1042
00:57:53,400 --> 00:57:56,720
Speaker 1: lived next to uh this great photographer, and Lorie Sullivan

1043
00:57:57,480 --> 00:58:02,440
Speaker 1: and Jimmy came out and he met Laurie and they

1044
00:58:02,560 --> 00:58:06,080
Speaker 1: just hit it off. And Laurie said, I do photography

1045
00:58:06,080 --> 00:58:08,040
Speaker 1: and you know, thinking to do an album covers, and Jimmy,

1046
00:58:08,080 --> 00:58:10,920
Speaker 1: oh that's great, I could. I could do layouts and

1047
00:58:10,960 --> 00:58:13,120
Speaker 1: stuff for that. And so they became this team and

1048
00:58:13,120 --> 00:58:15,400
Speaker 1: they did a lot of the covers, you know, all

1049
00:58:15,480 --> 00:58:19,280
Speaker 1: a lot of Dawn Patrol. Well even before Dawn Patrol,

1050
00:58:19,320 --> 00:58:21,200
Speaker 1: I think it was just Jimmy and Lloyd did Stevie

1051
00:58:21,480 --> 00:58:25,000
Speaker 1: Buckingham Knicks album covers them. But your brother had me training.

1052
00:58:26,440 --> 00:58:28,840
Speaker 1: You have to ask him, I don't think so, you know,

1053
00:58:28,920 --> 00:58:32,600
Speaker 1: are you still close? Oh? Yeah, okay, So anyway, let's

1054
00:58:32,640 --> 00:58:36,360
Speaker 1: back to you. So budd pocks up all the record deals, Yes,

1055
00:58:36,480 --> 00:58:38,320
Speaker 1: he does. And then where does that leave you? Well,

1056
00:58:38,440 --> 00:58:40,120
Speaker 1: it also leaves me. What I was gonna say was

1057
00:58:40,200 --> 00:58:43,160
Speaker 1: when I met the second night I'm in town, I

1058
00:58:43,200 --> 00:58:45,960
Speaker 1: see Dave Crosby sitting at this restaurant like two tables

1059
00:58:46,000 --> 00:58:49,360
Speaker 1: away from me, and I'm going, this is unbelievable. I can't,

1060
00:58:49,760 --> 00:58:53,160
Speaker 1: this isn't. What do I do do I introduce myself,

1061
00:58:53,600 --> 00:58:56,640
Speaker 1: make a fool of myself? Yep? Get up? Where do

1062
00:58:56,720 --> 00:59:00,360
Speaker 1: I let this opportunity pass by? No? Get up? Went

1063
00:59:00,440 --> 00:59:03,040
Speaker 1: over and interrupted his dinner and said, I'm sorry to

1064
00:59:03,080 --> 00:59:06,960
Speaker 1: bother you, Mr Crosby, but that is Watery walked down.

1065
00:59:07,120 --> 00:59:10,360
Speaker 1: I just came here with my band and he says, well,

1066
00:59:10,400 --> 00:59:12,120
Speaker 1: how did you get here? And I mentioned the counsels.

1067
00:59:12,160 --> 00:59:14,720
Speaker 1: He went, oh god, yeah, I said, I know, I know,

1068
00:59:15,480 --> 00:59:17,160
Speaker 1: I know, but that it has nothing to do with us.

1069
00:59:17,280 --> 00:59:18,960
Speaker 1: We have our own band and I'd love you to

1070
00:59:19,520 --> 00:59:27,560
Speaker 1: come here our band, and he goes, okay, what, okay, well, okay, fine.

1071
00:59:28,080 --> 00:59:32,040
Speaker 1: So he came over and Judy Pulver, who was our

1072
00:59:32,400 --> 00:59:35,480
Speaker 1: our girl in the band, made dinner and we sat

1073
00:59:35,560 --> 00:59:39,040
Speaker 1: around and talking and and then Dave said this thing

1074
00:59:39,160 --> 00:59:43,280
Speaker 1: to me. This is during the the area where budd

1075
00:59:43,360 --> 00:59:45,320
Speaker 1: is screwing up deals and stuff. And I'm starting to

1076
00:59:45,360 --> 00:59:47,120
Speaker 1: get a little worried about it. But I don't know.

1077
00:59:47,680 --> 00:59:50,680
Speaker 1: He's my manager. I think everything's cool. He goes, So

1078
00:59:51,040 --> 00:59:54,160
Speaker 1: David says, who's your publisher? I want, um, my manager,

1079
00:59:54,680 --> 00:59:58,240
Speaker 1: and he just looks at me and he goes asshole,

1080
00:59:59,200 --> 01:00:04,280
Speaker 1: but huh, because nobody should be your publisher. You're your

1081
01:00:04,320 --> 01:00:09,720
Speaker 1: own publisher. Your manager is robbing you. This is what

1082
01:00:09,840 --> 01:00:13,440
Speaker 1: else has he got? I said, well, we signed management

1083
01:00:14,040 --> 01:00:19,400
Speaker 1: Production and Publishing, and he was you idiot? He says,

1084
01:00:19,600 --> 01:00:23,360
Speaker 1: that's robbing you. Nobody should have your publishing. So when

1085
01:00:23,440 --> 01:00:25,080
Speaker 1: he left at night, I called Bud. I said, I

1086
01:00:25,120 --> 01:00:28,160
Speaker 1: want my publishing back. You robbed me and everything. So

1087
01:00:28,360 --> 01:00:33,040
Speaker 1: things started getting a little intense. And as I kept

1088
01:00:33,080 --> 01:00:37,240
Speaker 1: going the band because of Bud screwing us up, we

1089
01:00:37,320 --> 01:00:40,720
Speaker 1: never got anywhere. We never got We finally did a gig.

1090
01:00:40,880 --> 01:00:42,439
Speaker 1: All we did. He says, I just want you guys

1091
01:00:42,480 --> 01:00:45,720
Speaker 1: to write and rehearse right, and rehearse right and rehearse,

1092
01:00:45,760 --> 01:00:47,800
Speaker 1: so he's paying for you to live. We had fifty

1093
01:00:47,840 --> 01:00:51,120
Speaker 1: bucks a week and living in a nice joint and

1094
01:00:53,160 --> 01:00:55,680
Speaker 1: we finally did a gig and and man, I'm it's funny.

1095
01:00:55,720 --> 01:00:58,520
Speaker 1: I met a dear friend of mine there who wound

1096
01:00:58,640 --> 01:01:02,480
Speaker 1: up writing Arwolves in London with Warren and myself. But

1097
01:01:03,120 --> 01:01:07,280
Speaker 1: he saw my band at night. But it kept going on,

1098
01:01:07,440 --> 01:01:10,720
Speaker 1: and David called me after he heard the band and everything,

1099
01:01:10,800 --> 01:01:13,240
Speaker 1: and and there was two phone calls he made to me.

1100
01:01:13,320 --> 01:01:15,880
Speaker 1: One of them was, let me ask you something, what

1101
01:01:15,960 --> 01:01:17,320
Speaker 1: would you think if I was to put a band

1102
01:01:17,360 --> 01:01:19,680
Speaker 1: together with Steven Stills and Graham Nash? And I went,

1103
01:01:22,000 --> 01:01:24,600
Speaker 1: I think I don't have to think it would be

1104
01:01:24,680 --> 01:01:27,439
Speaker 1: the biggest band in the world forever. That's what I think.

1105
01:01:28,200 --> 01:01:30,720
Speaker 1: It was. Okay, well, that's what we're doing. I went, oh, man,

1106
01:01:30,800 --> 01:01:32,920
Speaker 1: that's great. Then he called me a couple of days later.

1107
01:01:32,960 --> 01:01:34,720
Speaker 1: He goes, Whyty, I gotta talk to you about something.

1108
01:01:35,080 --> 01:01:37,360
Speaker 1: What he goes, you know you're the only one in

1109
01:01:37,440 --> 01:01:42,880
Speaker 1: that band, right Oh? No, no, he goes, he said

1110
01:01:42,880 --> 01:01:45,040
Speaker 1: that everybody sings. Okay, but he says, you know you're

1111
01:01:45,080 --> 01:01:50,960
Speaker 1: the only musician in that band, right, Well let me

1112
01:01:51,000 --> 01:01:53,000
Speaker 1: but this way, I hear what you're saying. But you know,

1113
01:01:53,040 --> 01:01:55,080
Speaker 1: I'm gonna try to keep this band together. He goes,

1114
01:01:55,280 --> 01:01:59,200
Speaker 1: it's not gonna happen, man. And and so eventually Budd

1115
01:01:59,320 --> 01:02:01,440
Speaker 1: screwing us up to screen us up, and everybody's starting

1116
01:02:01,480 --> 01:02:05,680
Speaker 1: to rag on me. And finally I said, oh, and

1117
01:02:05,840 --> 01:02:10,480
Speaker 1: we met Keith Olsen, producer. Yeah, and and his partner

1118
01:02:10,640 --> 01:02:12,560
Speaker 1: was a guy of Kurt Betcher. I don't remember Kurt.

1119
01:02:13,320 --> 01:02:17,000
Speaker 1: He died. And but Keith and Kurt we're gonna They

1120
01:02:17,080 --> 01:02:18,920
Speaker 1: heard us and loved our band, wanted to produce us.

1121
01:02:19,840 --> 01:02:23,680
Speaker 1: So we went in the studio with him and it

1122
01:02:23,880 --> 01:02:27,880
Speaker 1: just became a fight. It became a real It wasn't working,

1123
01:02:29,080 --> 01:02:31,760
Speaker 1: and Keith and I became well. I can tell he

1124
01:02:31,840 --> 01:02:34,720
Speaker 1: and I were hitting it off musically, but the band

1125
01:02:34,840 --> 01:02:37,080
Speaker 1: was not having so and I met. I was gonna say,

1126
01:02:37,120 --> 01:02:41,400
Speaker 1: as I met some studio musicians, I'm still a green

1127
01:02:41,520 --> 01:02:44,560
Speaker 1: little radish, you know that just came out here. But

1128
01:02:44,720 --> 01:02:48,640
Speaker 1: I met guys who were studio musicians, and well, and

1129
01:02:48,720 --> 01:02:50,600
Speaker 1: I heard this guy playing. I went, well, I play

1130
01:02:50,680 --> 01:02:53,920
Speaker 1: that good. I play as good as he does. I

1131
01:02:54,000 --> 01:02:55,400
Speaker 1: want that's what I want to do. I want to

1132
01:02:55,440 --> 01:03:00,240
Speaker 1: become a studio musician and U And then I looked around.

1133
01:03:00,320 --> 01:03:02,640
Speaker 1: This band was just been giving me nothing but paint

1134
01:03:02,640 --> 01:03:05,800
Speaker 1: and the neck. But as a matter of fact, that's

1135
01:03:05,880 --> 01:03:09,240
Speaker 1: what I'm gonna do. You're all fired and I'm not quitting.

1136
01:03:09,600 --> 01:03:12,480
Speaker 1: I want you to know there's a difference. You're fired.

1137
01:03:13,360 --> 01:03:16,640
Speaker 1: So this band's done now, and I'm gonna and Judy

1138
01:03:16,720 --> 01:03:18,520
Speaker 1: and I were the songwriters in the band. So she

1139
01:03:18,640 --> 01:03:20,840
Speaker 1: and I kept together and tried to pursue a deal

1140
01:03:20,920 --> 01:03:23,520
Speaker 1: for the two of us, which didn't happen, but she

1141
01:03:23,640 --> 01:03:26,240
Speaker 1: and I went up living together, and then I started working.

1142
01:03:26,400 --> 01:03:29,040
Speaker 1: I started getting sessions. Two questions, This is a romance

1143
01:03:29,120 --> 01:03:31,840
Speaker 1: between you and her? Yeah? OK, yeah, it didn't start

1144
01:03:31,880 --> 01:03:34,600
Speaker 1: that way, but it wound up and then the rest

1145
01:03:34,640 --> 01:03:37,120
Speaker 1: of the band. You tell them they're fired, but they say,

1146
01:03:37,320 --> 01:03:39,600
Speaker 1: they said, okay, fine, Well we were at a point

1147
01:03:39,640 --> 01:03:44,080
Speaker 1: of everything was friction anyway, Okay, Bud say oh Budd.

1148
01:03:44,160 --> 01:03:47,440
Speaker 1: At that point was out, Bud was gone. We were

1149
01:03:47,480 --> 01:03:50,760
Speaker 1: done with Bud. At that point I had taken back

1150
01:03:50,800 --> 01:03:53,320
Speaker 1: my publishing. I didn't want him to manage me anymore.

1151
01:03:53,600 --> 01:03:56,240
Speaker 1: It was over. I said it were done, We're done.

1152
01:03:56,360 --> 01:04:00,080
Speaker 1: And actually his son Bill got a record deal and

1153
01:04:00,280 --> 01:04:04,360
Speaker 1: that was the first session I did. I did. I

1154
01:04:04,400 --> 01:04:07,080
Speaker 1: played a session for Billy. Okay, but one has to ask,

1155
01:04:07,560 --> 01:04:11,120
Speaker 1: late sixties, he made you sign paper, his legendary story,

1156
01:04:11,200 --> 01:04:13,280
Speaker 1: Billy Joel. He makes a deal. They come back later

1157
01:04:13,320 --> 01:04:15,000
Speaker 1: when he's success. You know, he just let it go.

1158
01:04:15,320 --> 01:04:17,919
Speaker 1: He did, he did. He was cool in that level,

1159
01:04:18,600 --> 01:04:20,760
Speaker 1: I say, because he was screwing us and if anybody

1160
01:04:20,840 --> 01:04:23,200
Speaker 1: had taken him to court, they would have said, yeah,

1161
01:04:23,960 --> 01:04:26,880
Speaker 1: you're dead man. So he knew he was in the rule.

1162
01:04:27,000 --> 01:04:29,520
Speaker 1: So you're you're working with Keith. You decided to become

1163
01:04:29,560 --> 01:04:33,280
Speaker 1: a studio musician, Okay, so how do you get your

1164
01:04:33,280 --> 01:04:36,240
Speaker 1: first gig? Is how much later? With counsel. Well, it

1165
01:04:36,360 --> 01:04:38,920
Speaker 1: just it's timing wise. It was kind of around the

1166
01:04:39,000 --> 01:04:42,320
Speaker 1: same period. You know, Billy left the band, left the

1167
01:04:42,560 --> 01:04:45,000
Speaker 1: Family group and got a record deal. So he goes,

1168
01:04:45,000 --> 01:04:47,240
Speaker 1: I gotta record deal. I want you to play on

1169
01:04:47,280 --> 01:04:50,960
Speaker 1: this session with me. Great, and and oh another facet

1170
01:04:51,000 --> 01:04:54,400
Speaker 1: of this is I did meet Brian Wilson. I met

1171
01:04:55,240 --> 01:04:58,720
Speaker 1: a friend of mine who became a lifelong friend, and

1172
01:04:58,920 --> 01:05:02,640
Speaker 1: he was the Brian's right hand man for many years.

1173
01:05:04,000 --> 01:05:06,480
Speaker 1: They weren't he wasn't working with him anymore. But I

1174
01:05:06,600 --> 01:05:08,560
Speaker 1: met this guy. His name was Arne Geller, and he

1175
01:05:08,720 --> 01:05:13,440
Speaker 1: looked he looked just like a Jewish relative. He was

1176
01:05:13,560 --> 01:05:16,120
Speaker 1: so New York looking, and he was an l a guy,

1177
01:05:16,280 --> 01:05:19,280
Speaker 1: but he was so New York. And anyway, he brought

1178
01:05:19,360 --> 01:05:22,000
Speaker 1: me to Bryant's. I met Brian and he said, so

1179
01:05:22,120 --> 01:05:25,600
Speaker 1: you met Brian, and you said and did one? I first, well,

1180
01:05:25,680 --> 01:05:29,360
Speaker 1: I went crazy, but I I just told him what

1181
01:05:29,400 --> 01:05:30,760
Speaker 1: a big fan I was, and I said, as a

1182
01:05:30,840 --> 01:05:33,680
Speaker 1: matter of fact, I am such a fan of yours.

1183
01:05:33,760 --> 01:05:36,480
Speaker 1: I want to show you that there's a song by

1184
01:05:36,520 --> 01:05:39,120
Speaker 1: the Beach Boys called let the Wind Blow. You know

1185
01:05:39,200 --> 01:05:44,480
Speaker 1: that song, beautiful, beautiful piano part really bizarre piano part.

1186
01:05:44,880 --> 01:05:46,800
Speaker 1: And that's one of the things that I made myself

1187
01:05:46,920 --> 01:05:49,480
Speaker 1: learn on piano because I just loved it so much.

1188
01:05:49,560 --> 01:05:52,400
Speaker 1: I said, I'm such a fan of yours that I've learned.

1189
01:05:52,440 --> 01:05:54,160
Speaker 1: I'm a guitar player, but I had to learn let

1190
01:05:54,240 --> 01:05:55,920
Speaker 1: the wind blow. And I sat down at his piano

1191
01:05:55,960 --> 01:06:01,000
Speaker 1: and played it for him, and he's going, wow, that's heavy.

1192
01:06:02,560 --> 01:06:05,360
Speaker 1: You learned that. You're talking yourself that. Yeah, I had to.

1193
01:06:05,520 --> 01:06:08,479
Speaker 1: I said, I just love it. He was, wow, that's cool.

1194
01:06:08,680 --> 01:06:11,240
Speaker 1: So and then we went in his studio and he

1195
01:06:11,280 --> 01:06:13,120
Speaker 1: sat down, he played me some stuff on the on

1196
01:06:13,240 --> 01:06:15,840
Speaker 1: his board. But Brian was he was in a real

1197
01:06:15,880 --> 01:06:19,880
Speaker 1: fragile place then. And uh, but so I got to

1198
01:06:19,920 --> 01:06:22,520
Speaker 1: meet Brian, and Brian put me on a date. That's

1199
01:06:22,560 --> 01:06:24,440
Speaker 1: what I was gonna say. The second record date I

1200
01:06:24,520 --> 01:06:27,439
Speaker 1: did was through Brian Wilson, who was some I don't

1201
01:06:27,440 --> 01:06:29,680
Speaker 1: even know what it was for now, I don't remember. Okay,

1202
01:06:29,920 --> 01:06:33,080
Speaker 1: when you stopped working with Bud, and Bud stopped giving

1203
01:06:33,120 --> 01:06:35,600
Speaker 1: you your fifty dollars a week before you become a

1204
01:06:35,640 --> 01:06:38,560
Speaker 1: studio musician, what are you living on. We're living on

1205
01:06:39,400 --> 01:06:43,120
Speaker 1: a little bit of surplus money we had and Judy

1206
01:06:43,440 --> 01:06:47,240
Speaker 1: had money, had some bread. Family money, Yeah, family money.

1207
01:06:47,280 --> 01:06:49,160
Speaker 1: So we were living off a judy until I started

1208
01:06:49,200 --> 01:06:51,040
Speaker 1: getting working. And then okay, you go to you do

1209
01:06:51,200 --> 01:06:54,720
Speaker 1: the gig with Bill Cowsel. How do you establish your

1210
01:06:54,800 --> 01:06:59,600
Speaker 1: studio career? Well, I did that, I did the other

1211
01:06:59,640 --> 01:07:04,040
Speaker 1: session Brian. And then it's funny when I said I

1212
01:07:04,880 --> 01:07:07,440
Speaker 1: when we did our gig, the one gig we did

1213
01:07:07,520 --> 01:07:11,640
Speaker 1: with my band, my friend Roy Marinell, a guy who

1214
01:07:11,760 --> 01:07:14,640
Speaker 1: I came to meet then, was at that show, was

1215
01:07:14,720 --> 01:07:17,440
Speaker 1: really impressed by this band because we did it. Sounded

1216
01:07:17,480 --> 01:07:21,400
Speaker 1: amazing this band, and yeah, so we got to be

1217
01:07:21,480 --> 01:07:29,120
Speaker 1: friendly and he knew Nick Vnet and Linda Ronstads stone

1218
01:07:29,160 --> 01:07:32,920
Speaker 1: to so he says, you should meet Nick. So he

1219
01:07:33,040 --> 01:07:36,400
Speaker 1: set up a meeting and wanted Nick to hear me play.

1220
01:07:37,320 --> 01:07:39,919
Speaker 1: So Nick put me on a date and he liked

1221
01:07:39,960 --> 01:07:42,640
Speaker 1: what I was doing, so he hired me. So that's

1222
01:07:42,680 --> 01:07:45,840
Speaker 1: how I started working through Nick really and he would

1223
01:07:45,920 --> 01:07:48,200
Speaker 1: hire me over and over for days because he really

1224
01:07:48,240 --> 01:07:50,080
Speaker 1: doug what I was doing. And now you're giving up

1225
01:07:50,120 --> 01:07:53,040
Speaker 1: the dream, how do you feel about that? It was

1226
01:07:53,120 --> 01:07:59,200
Speaker 1: all the dream from the band thing, became studio musician.

1227
01:07:59,360 --> 01:08:01,680
Speaker 1: That's the new d That's what I want just because

1228
01:08:01,720 --> 01:08:04,760
Speaker 1: you and you you slug too hard without success. Yeah,

1229
01:08:05,040 --> 01:08:06,840
Speaker 1: I guess so yeah. Okay, so you were Judie and

1230
01:08:06,840 --> 01:08:09,880
Speaker 1: I were getting nowhere. Okay, so you're working with Nick

1231
01:08:10,800 --> 01:08:13,440
Speaker 1: and you're doing these sessions. What's the next step. The

1232
01:08:13,520 --> 01:08:20,320
Speaker 1: next step is somebody comes to me and says, I'm

1233
01:08:20,439 --> 01:08:22,360
Speaker 1: going to this guy's house to talk with him about

1234
01:08:22,400 --> 01:08:27,280
Speaker 1: some upcoming record sessions. Okay, great, and he says, oh,

1235
01:08:27,360 --> 01:08:30,479
Speaker 1: and by the way, the Everly Brothers need a guitar player.

1236
01:08:32,080 --> 01:08:34,679
Speaker 1: Uh so at that point though, but I've started working

1237
01:08:34,720 --> 01:08:38,040
Speaker 1: for Nick and I'm doing other sessions around town. I'm

1238
01:08:38,080 --> 01:08:40,760
Speaker 1: working with Keith Olsen produced He's producing other people. So

1239
01:08:41,200 --> 01:08:44,479
Speaker 1: while I was doing my own demos with Keith, he

1240
01:08:44,640 --> 01:08:47,599
Speaker 1: was working me on sessions. Okay, two things, Well, One,

1241
01:08:48,600 --> 01:08:51,000
Speaker 1: to what degree you're sitting home waiting for the phone

1242
01:08:51,080 --> 01:08:54,360
Speaker 1: to ring? Into what degree are you working it? Well,

1243
01:08:54,439 --> 01:08:57,160
Speaker 1: you're working the phone? You mean I didn't know how

1244
01:08:57,200 --> 01:08:58,920
Speaker 1: to do that. It was all a matter of that

1245
01:08:59,000 --> 01:09:01,679
Speaker 1: phone ringing. Okay, I didn't know how to. You didn't

1246
01:09:01,720 --> 01:09:03,559
Speaker 1: know how to, I mean the nature of being a musician,

1247
01:09:03,600 --> 01:09:08,160
Speaker 1: though apparently you're your networker. Well, but there was I

1248
01:09:08,200 --> 01:09:11,720
Speaker 1: didn't know what that meant? Okay, there, So, okay, you

1249
01:09:11,800 --> 01:09:15,160
Speaker 1: were playing specific gigs with Nick and with Keith, but

1250
01:09:15,280 --> 01:09:17,880
Speaker 1: there was was there someone who had your job and

1251
01:09:18,000 --> 01:09:19,840
Speaker 1: you said, well, I gotta knock this guy off to

1252
01:09:19,920 --> 01:09:24,080
Speaker 1: get that job. Well, you know, it's funny had that

1253
01:09:24,240 --> 01:09:26,280
Speaker 1: job really, because I'd see all these records with this

1254
01:09:26,479 --> 01:09:29,120
Speaker 1: name on it, and I'm going, why is he working

1255
01:09:29,200 --> 01:09:33,719
Speaker 1: so much? Who's this guy? And so I left Judy

1256
01:09:33,760 --> 01:09:35,960
Speaker 1: and I had our thing together. We split up and

1257
01:09:36,000 --> 01:09:38,800
Speaker 1: I moved in with this guy, Arnie Geller to his

1258
01:09:38,880 --> 01:09:44,799
Speaker 1: little house. Where's Judy to Judy works for Variety Daily Variety.

1259
01:09:45,439 --> 01:09:48,240
Speaker 1: She's a writer for Variety. Yeah, she's great. So she

1260
01:09:48,360 --> 01:09:50,519
Speaker 1: never made it in a music business. She got a record,

1261
01:09:50,640 --> 01:09:53,120
Speaker 1: she did a record, we went and toured it and so,

1262
01:09:53,400 --> 01:09:58,519
Speaker 1: but it never really turned into it. Judy Pulver Pulver

1263
01:09:58,720 --> 01:10:03,200
Speaker 1: Rising was the record. So, okay, you move in with Geller.

1264
01:10:03,680 --> 01:10:06,599
Speaker 1: I'm moving with Artie. And at that point, I'm starting

1265
01:10:06,600 --> 01:10:08,639
Speaker 1: to do sessions. I'm working the sessions here and there.

1266
01:10:08,920 --> 01:10:13,200
Speaker 1: And this meeting that I had about the Everly Brothers,

1267
01:10:13,280 --> 01:10:15,200
Speaker 1: this guy is talking about record dates. So he says

1268
01:10:15,240 --> 01:10:17,559
Speaker 1: to me, the Everly Brothers need a guitar player. I went, oh,

1269
01:10:17,640 --> 01:10:20,760
Speaker 1: wait a minute, are you kidding? I said, that's my

1270
01:10:20,920 --> 01:10:25,479
Speaker 1: gig man. I know every song, I know both vocal parts.

1271
01:10:25,479 --> 01:10:27,360
Speaker 1: I know every guitar part. What do I do? How

1272
01:10:27,400 --> 01:10:31,200
Speaker 1: do I how do I get there? So he goes, well, um,

1273
01:10:32,360 --> 01:10:37,360
Speaker 1: call this guy Sandy Zevon, call Sandy's van and you'll you'll,

1274
01:10:37,720 --> 01:10:42,120
Speaker 1: you'll set up an audition for you. Okay, great, Hi Sandy.

1275
01:10:42,280 --> 01:10:45,519
Speaker 1: This is my name is Waddy waktell be it be

1276
01:10:45,680 --> 01:10:51,519
Speaker 1: down at s i R tomorrow rehearsal hall. Yeah. So

1277
01:10:51,920 --> 01:10:53,880
Speaker 1: I go down there. I'm looking around. I don't know

1278
01:10:53,920 --> 01:10:57,320
Speaker 1: who's who. Are you Sandy? No, my name is Gene.

1279
01:10:57,360 --> 01:11:00,360
Speaker 1: I'm trying out for the band too. I'm the drummer. Okay,

1280
01:11:00,400 --> 01:11:02,920
Speaker 1: are you Sandy? No, I'm Bob Canniggie. I'm the bass

1281
01:11:02,960 --> 01:11:06,320
Speaker 1: player who I built the Everlies for quite a while. Okay,

1282
01:11:06,600 --> 01:11:08,040
Speaker 1: oh you're why do you come on in here? So

1283
01:11:08,080 --> 01:11:10,960
Speaker 1: we're in the room waiting. The door opens and incomes

1284
01:11:11,040 --> 01:11:14,240
Speaker 1: this guy with a fedora, had on a Searus sucker jacket.

1285
01:11:16,400 --> 01:11:18,759
Speaker 1: At that point, I'm walking around, I got a beard,

1286
01:11:19,439 --> 01:11:23,160
Speaker 1: I'm wearing an undershirt. It's a hot summer day. In

1287
01:11:23,360 --> 01:11:29,240
Speaker 1: l A. I'm Sandy zvon Oh. Okay, hey man, how

1288
01:11:29,280 --> 01:11:31,920
Speaker 1: you doing good? All right, So here's what we're gonna do.

1289
01:11:33,120 --> 01:11:37,559
Speaker 1: We'll play this song and then you'll play it. Okay,

1290
01:11:37,640 --> 01:11:39,639
Speaker 1: well you know you could. You can leave out that stick.

1291
01:11:40,439 --> 01:11:42,120
Speaker 1: I know all these tunes. He goes, No, this is

1292
01:11:42,160 --> 01:11:45,760
Speaker 1: how we're gonna do it. Okay, fine. So anyway, that's

1293
01:11:45,760 --> 01:11:48,080
Speaker 1: how I got the job of the Everly Brothers. That's

1294
01:11:48,080 --> 01:11:50,840
Speaker 1: where I met Warren. And uh, when did you go

1295
01:11:51,000 --> 01:11:53,880
Speaker 1: from being Sandy to war Well? Somebody, you know, it's funny.

1296
01:11:53,920 --> 01:11:57,280
Speaker 1: Somebody just mentioned to me why he was calling himself Sandy,

1297
01:11:57,320 --> 01:11:59,600
Speaker 1: and I can't remember, with some cousins name that he

1298
01:12:00,080 --> 01:12:02,080
Speaker 1: he liked or something like that. So he adapted it

1299
01:12:02,120 --> 01:12:04,200
Speaker 1: for a little while. But when we were on the road,

1300
01:12:04,280 --> 01:12:06,320
Speaker 1: he was Warren Zevon right away it was Warren. I

1301
01:12:06,320 --> 01:12:10,400
Speaker 1: thought your name was Sandy Warren. Okay, fine? Um? But

1302
01:12:10,640 --> 01:12:12,680
Speaker 1: so and then okay, did you get close to him

1303
01:12:12,680 --> 01:12:15,360
Speaker 1: like a hear close to Keith Olsen? Yeah, well, in

1304
01:12:15,439 --> 01:12:17,640
Speaker 1: a manner of speaking, a Warren and I had a

1305
01:12:20,360 --> 01:12:24,439
Speaker 1: vinegar and water kind of relationship forever really, but we

1306
01:12:24,560 --> 01:12:27,600
Speaker 1: were we became very very close. But at first, it

1307
01:12:27,760 --> 01:12:31,600
Speaker 1: was sand and gravel next to each other. You know,

1308
01:12:31,720 --> 01:12:34,160
Speaker 1: we were always arguing about music. It was always about

1309
01:12:34,200 --> 01:12:38,080
Speaker 1: music though, you know. And but we we wound up

1310
01:12:38,520 --> 01:12:41,559
Speaker 1: playing music all the time, all night long, every night

1311
01:12:41,800 --> 01:12:44,840
Speaker 1: on the road with the A Relies. And what was

1312
01:12:44,880 --> 01:12:47,559
Speaker 1: wonderful about that was that when I got the job

1313
01:12:47,640 --> 01:12:50,920
Speaker 1: with the Averlies, they said, now listen, don't you try

1314
01:12:51,000 --> 01:12:54,200
Speaker 1: to get them together. I went, huh, what are you

1315
01:12:54,280 --> 01:12:57,120
Speaker 1: talking about? They said, well, you know they don't get along.

1316
01:12:57,240 --> 01:13:01,080
Speaker 1: I went, fine, you know, so don't you be the

1317
01:13:01,160 --> 01:13:03,400
Speaker 1: one that thinks, you know, don't you let yourself think

1318
01:13:03,439 --> 01:13:05,479
Speaker 1: you'll be the one to bring them together? As are

1319
01:13:05,520 --> 01:13:08,439
Speaker 1: you kidding? I'm walking on egg show. I haven't even

1320
01:13:08,479 --> 01:13:10,639
Speaker 1: met them yet. You know. I didn't meet them until

1321
01:13:10,760 --> 01:13:13,760
Speaker 1: we went on stage at not's Bury Farm. It was

1322
01:13:13,840 --> 01:13:16,439
Speaker 1: the first gig, and then we went to Europe right

1323
01:13:16,479 --> 01:13:21,720
Speaker 1: away the next day, two days later. So I wasn't

1324
01:13:21,760 --> 01:13:23,479
Speaker 1: about it and try to meet and you know, I

1325
01:13:23,520 --> 01:13:25,519
Speaker 1: didn't know anything. I was frightened to death. They said,

1326
01:13:25,960 --> 01:13:30,360
Speaker 1: my idols and uh, but one night and so every

1327
01:13:30,439 --> 01:13:32,840
Speaker 1: night we're just playing music all night long and Phil goes,

1328
01:13:32,880 --> 01:13:35,080
Speaker 1: what are you guys doing? I said, we were just

1329
01:13:35,240 --> 01:13:37,479
Speaker 1: we're playing all night, and he goes, I'm want to

1330
01:13:37,520 --> 01:13:40,439
Speaker 1: come by. And then the next day Donald goes, so

1331
01:13:40,560 --> 01:13:42,840
Speaker 1: what are you guys doing. I said, well, we've been

1332
01:13:42,840 --> 01:13:45,560
Speaker 1: playing at night. He goes, funk, I'm coming over. So

1333
01:13:46,560 --> 01:13:48,880
Speaker 1: this was the dream, Bob. You have the Everly brothers

1334
01:13:48,920 --> 01:13:51,880
Speaker 1: sitting in your hotel room, sitting on the floor singing.

1335
01:13:53,200 --> 01:13:56,479
Speaker 1: It was the most magical thing you can You can

1336
01:13:56,560 --> 01:13:59,800
Speaker 1: you brought them together? No, I didn't music, did you know? Me?

1337
01:14:00,040 --> 01:14:03,920
Speaker 1: Warren our our, our addiction to music brought them together,

1338
01:14:04,120 --> 01:14:06,120
Speaker 1: brought their addiction to music into the room with us.

1339
01:14:06,200 --> 01:14:08,519
Speaker 1: I guess. But there's the Everything brothers sitting on the

1340
01:14:08,560 --> 01:14:15,040
Speaker 1: floor in your hotel room singing. It was so beyond reality.

1341
01:14:15,920 --> 01:14:19,000
Speaker 1: And everybody was smoking cigarettes, smoking a little weed, drinking

1342
01:14:20,200 --> 01:14:22,080
Speaker 1: all night long. Every night. This was our life on

1343
01:14:22,120 --> 01:14:24,840
Speaker 1: the road. That was that we do a show. We'd

1344
01:14:24,880 --> 01:14:27,679
Speaker 1: go to the room play music all night. So Warren

1345
01:14:27,800 --> 01:14:30,840
Speaker 1: is and so Warren's playing me Desperadoes under the eaves,

1346
01:14:30,960 --> 01:14:34,320
Speaker 1: playing me Frank and Jesse Carmelita, I'm playing and maybe

1347
01:14:34,360 --> 01:14:38,320
Speaker 1: I'm right, you know a couple of my songs. It's great.

1348
01:14:39,040 --> 01:14:43,360
Speaker 1: It was amazing, and you know, went from that, came

1349
01:14:43,439 --> 01:14:46,280
Speaker 1: back to town. Still sessions are going. I'm getting more

1350
01:14:46,320 --> 01:14:51,360
Speaker 1: and more dates, and I was working with Nick Still

1351
01:14:52,000 --> 01:14:55,280
Speaker 1: and all of a sudden, Nick Manette takes me aside

1352
01:14:55,320 --> 01:14:58,759
Speaker 1: and because it's time for you to move on, Wady,

1353
01:15:00,840 --> 01:15:03,600
Speaker 1: what does that mean, I'm fired? You're firing me? He goes, No,

1354
01:15:03,720 --> 01:15:06,720
Speaker 1: I'm not firing you. It's time for you to move on.

1355
01:15:07,920 --> 01:15:10,760
Speaker 1: You're you're better than what we're doing here. We're doing

1356
01:15:10,840 --> 01:15:13,320
Speaker 1: these folk records a lot of folk artists, and I

1357
01:15:13,400 --> 01:15:17,519
Speaker 1: was playing acoustic all the time. And he goes, there's

1358
01:15:17,520 --> 01:15:20,120
Speaker 1: a new piano player in town, this guy named David Foster.

1359
01:15:20,240 --> 01:15:22,920
Speaker 1: He just moved here and he's the hot shot guy

1360
01:15:22,960 --> 01:15:25,559
Speaker 1: in town. And I've invited him to the session tomorrow

1361
01:15:25,680 --> 01:15:29,560
Speaker 1: night because I want him to hear you play. So

1362
01:15:29,840 --> 01:15:33,639
Speaker 1: bring your amp, bring your less Paul, and you're gonna

1363
01:15:33,640 --> 01:15:38,080
Speaker 1: play electric tomorrow. I wanted to hear you play slide play. Okay,

1364
01:15:39,800 --> 01:15:43,920
Speaker 1: So with the session came, I met Dave played he

1365
01:15:44,040 --> 01:15:47,400
Speaker 1: dug it, apparently, I guess I didn't know. And to

1366
01:15:47,600 --> 01:15:49,679
Speaker 1: three days later, I get a call from Lou Adler's

1367
01:15:49,760 --> 01:15:54,559
Speaker 1: office saying they want me on a session for Lou

1368
01:15:55,439 --> 01:15:58,519
Speaker 1: and I'm overlooking on one aspect of this in this

1369
01:15:58,720 --> 01:16:04,160
Speaker 1: interim time through working with Keith. I first, the first

1370
01:16:04,240 --> 01:16:06,840
Speaker 1: one of my brothers that I met was Leland Lee Clark,

1371
01:16:07,800 --> 01:16:10,360
Speaker 1: and he was we worked on a session for Bobby Womack.

1372
01:16:10,560 --> 01:16:14,639
Speaker 1: Keith was producing. So I meet Lee and I've already

1373
01:16:14,680 --> 01:16:18,639
Speaker 1: met Jim Keltner, but I hadn't met Coach, I hadn't

1374
01:16:18,640 --> 01:16:22,240
Speaker 1: met Russell and yeah, and so all of a sudden,

1375
01:16:22,240 --> 01:16:24,760
Speaker 1: I'm going to s i R one day and I'm

1376
01:16:24,880 --> 01:16:27,800
Speaker 1: I have my car, my fifty seven Chevy Wagon, and

1377
01:16:28,000 --> 01:16:30,719
Speaker 1: out of the driveway comes another fifty seven Chevy Wagon,

1378
01:16:31,080 --> 01:16:34,640
Speaker 1: both primary gray color, and this guy is driving it

1379
01:16:34,920 --> 01:16:38,920
Speaker 1: stops and he looks at me. He goes, are you waddy? Yeah,

1380
01:16:39,760 --> 01:16:42,639
Speaker 1: he goes, I'm Russ. But yeah, all right, man, Hey,

1381
01:16:42,680 --> 01:16:44,519
Speaker 1: how are you doing? He goes. He says, I gotta go,

1382
01:16:44,640 --> 01:16:47,800
Speaker 1: but we're gonna be seeing a lot of each other. Yeah,

1383
01:16:47,880 --> 01:16:50,640
Speaker 1: he says, yeah. And so and then then I got

1384
01:16:50,720 --> 01:16:55,760
Speaker 1: the call to do this session for Lou for I

1385
01:16:55,800 --> 01:16:57,960
Speaker 1: think it was a Tim Curry. Tim Tim was making

1386
01:16:57,960 --> 01:17:01,280
Speaker 1: a record and Couch was on the date. So there

1387
01:17:01,439 --> 01:17:04,719
Speaker 1: was the crux of the brothers. I've grown up playing

1388
01:17:04,760 --> 01:17:09,760
Speaker 1: records with Russell Leland and Danny, and Danny and I

1389
01:17:09,840 --> 01:17:11,720
Speaker 1: had this thing against this guy, coach. I hate this

1390
01:17:11,800 --> 01:17:14,160
Speaker 1: fucking guy. Who is this guy's getting all this work?

1391
01:17:14,840 --> 01:17:16,919
Speaker 1: And I meet him and we loved each other instantly,

1392
01:17:17,040 --> 01:17:19,080
Speaker 1: and we you know, and the first tune was like

1393
01:17:19,160 --> 01:17:22,719
Speaker 1: a reggae tune, which was our my passion and Danny's passion,

1394
01:17:23,200 --> 01:17:25,680
Speaker 1: and Warren and I just craved hard did they come

1395
01:17:25,720 --> 01:17:28,560
Speaker 1: when that came out? We were Warren and I and

1396
01:17:28,720 --> 01:17:32,160
Speaker 1: Jorge Calderone. We saw the movie a million times and

1397
01:17:32,320 --> 01:17:35,920
Speaker 1: we learned yeah, yeah, yeah, you know Johnny too Bad

1398
01:17:36,439 --> 01:17:40,080
Speaker 1: every song, oh seven, all those great tunes, and so

1399
01:17:40,240 --> 01:17:43,080
Speaker 1: we were all reggae freaks. So Danny and I got

1400
01:17:43,120 --> 01:17:48,320
Speaker 1: on famously, and so it went from that too. Carol

1401
01:17:48,439 --> 01:17:52,240
Speaker 1: King and then Peter Peter Ashes saw me playing with

1402
01:17:52,360 --> 01:17:57,160
Speaker 1: Carol and he hired me to play for Lynda. Okay,

1403
01:17:57,280 --> 01:18:00,840
Speaker 1: this was on the road or for records? Who was for? Uh?

1404
01:18:02,280 --> 01:18:05,880
Speaker 1: So hard to say. I think it was for the

1405
01:18:06,000 --> 01:18:10,800
Speaker 1: road because the first session I did for Peter was

1406
01:18:11,120 --> 01:18:15,400
Speaker 1: with JD. Souther on a song called simple Dreams, Simple Man,

1407
01:18:15,479 --> 01:18:19,240
Speaker 1: Simple Dreams. Alum and j D and I were friends

1408
01:18:19,320 --> 01:18:22,240
Speaker 1: because Jimmy. My brother Jimmy did the Southern Hillman Fury

1409
01:18:22,760 --> 01:18:26,519
Speaker 1: album cover. So I met j D then and we

1410
01:18:26,720 --> 01:18:30,400
Speaker 1: liked each other. We spent a night one night getting

1411
01:18:30,840 --> 01:18:34,240
Speaker 1: really drug together, and I wanted to play a little

1412
01:18:34,320 --> 01:18:38,599
Speaker 1: and he wanted to sing Everley's and went Everley's right,

1413
01:18:38,720 --> 01:18:41,960
Speaker 1: now you're talking man. So I had my all I

1414
01:18:42,000 --> 01:18:43,800
Speaker 1: had was my lesson. I don't even have an acoustic guitar,

1415
01:18:43,920 --> 01:18:46,240
Speaker 1: had my less pole and j D had an acoustic

1416
01:18:46,360 --> 01:18:48,720
Speaker 1: So we strummed the little guitars together and played all

1417
01:18:48,800 --> 01:18:52,160
Speaker 1: night and when it was funny when he left. When

1418
01:18:52,160 --> 01:18:53,880
Speaker 1: I woke up the next day, I said to Jimmy,

1419
01:18:53,920 --> 01:18:56,560
Speaker 1: I said, did he like me? Was it? He was?

1420
01:18:57,439 --> 01:19:02,320
Speaker 1: I think he liked it. He said, man, you're brothers funky? Yeah?

1421
01:19:02,760 --> 01:19:04,959
Speaker 1: Is that a compliment? I think I hope that's a compliment.

1422
01:19:05,920 --> 01:19:07,640
Speaker 1: J D and I became the best of friends and

1423
01:19:08,640 --> 01:19:12,240
Speaker 1: spent many years together working on songs and music and records.

1424
01:19:12,280 --> 01:19:18,040
Speaker 1: And Okay, so you're basically doing sessions for these individuals

1425
01:19:18,160 --> 01:19:20,639
Speaker 1: that you gave connections to, as opposed to a guy

1426
01:19:20,960 --> 01:19:23,640
Speaker 1: who's showing up at nine and uh, well I was

1427
01:19:23,680 --> 01:19:26,880
Speaker 1: doing that too. You were doing yeah, all of a sudden,

1428
01:19:26,920 --> 01:19:29,000
Speaker 1: I was working real sessions. I was working like two

1429
01:19:29,040 --> 01:19:31,439
Speaker 1: or three sessions a day, like that's what was happening.

1430
01:19:31,479 --> 01:19:35,400
Speaker 1: And in that period, early seventies, was this incredible musical

1431
01:19:35,439 --> 01:19:38,880
Speaker 1: explosion in Los Angeles, and there was so much There

1432
01:19:38,960 --> 01:19:41,160
Speaker 1: was so many great artists, and there was so much

1433
01:19:41,240 --> 01:19:43,960
Speaker 1: work being done. You know, I was working. I've worked

1434
01:19:44,000 --> 01:19:47,719
Speaker 1: on a movie score with Lionel Newman, or for Jimmy Heskell.

1435
01:19:47,840 --> 01:19:51,000
Speaker 1: I worked with Mike Dacy, with Hal Blane, all these guys,

1436
01:19:51,040 --> 01:19:54,240
Speaker 1: all the guys, you know, working on Jackie's Shannon records,

1437
01:19:54,320 --> 01:19:58,799
Speaker 1: working on Helen Helen Ready records, you know, working on everything.

1438
01:19:58,880 --> 01:20:03,479
Speaker 1: We're read a Coolidgio one day. And then Stevie Linda

1439
01:20:03,520 --> 01:20:06,759
Speaker 1: We made Stevie Lindsay's record with Keith, the Buckingham Knicks record.

1440
01:20:07,439 --> 01:20:13,360
Speaker 1: We did that on Poldoria and and then I didn't

1441
01:20:13,360 --> 01:20:15,679
Speaker 1: see Stevie for a long time. Well before you go there,

1442
01:20:16,320 --> 01:20:19,400
Speaker 1: So you're working all these sessions, You're probably not making

1443
01:20:19,439 --> 01:20:25,040
Speaker 1: good money. So your lifestyle changes, yeah, somewhat, you know, basically,

1444
01:20:25,200 --> 01:20:27,720
Speaker 1: I mean not really. Okay, you know, my last style

1445
01:20:27,800 --> 01:20:30,360
Speaker 1: change didn't change, but I was supporting myself. Okay, how

1446
01:20:30,400 --> 01:20:33,200
Speaker 1: about coke and other drugs. Since you're working so much,

1447
01:20:33,720 --> 01:20:37,320
Speaker 1: there's a lot of that around. Okay. So okay, so

1448
01:20:37,439 --> 01:20:39,479
Speaker 1: you do the Buckingham Knicks record and you said you

1449
01:20:39,520 --> 01:20:42,360
Speaker 1: haven't talked to Stevie for a while. Yeah, you know,

1450
01:20:42,439 --> 01:20:45,200
Speaker 1: it's all of a sudden they were gone. I was

1451
01:20:45,280 --> 01:20:48,000
Speaker 1: I was working for Linda Peter. When Peter saw me

1452
01:20:49,840 --> 01:20:51,280
Speaker 1: cal he said, I want you to come play on

1453
01:20:51,320 --> 01:20:54,760
Speaker 1: the road with with Linda. Just to be clear, I

1454
01:20:54,840 --> 01:20:58,240
Speaker 1: Andrew Gold was a key part of that act. Yeah, okay,

1455
01:20:58,320 --> 01:21:01,320
Speaker 1: So how did you fit in? Well, we played together.

1456
01:21:01,960 --> 01:21:04,960
Speaker 1: You know, like the first session I'd think I did

1457
01:21:05,040 --> 01:21:08,040
Speaker 1: for Linda, I didn't overdub on something pretty for her.

1458
01:21:08,880 --> 01:21:10,760
Speaker 1: But then the first tracking day I did for Linda

1459
01:21:10,840 --> 01:21:13,680
Speaker 1: was the song that will be the Day. And so

1460
01:21:13,920 --> 01:21:15,840
Speaker 1: Andrew and I, you know, I played my solo, he

1461
01:21:15,840 --> 01:21:17,360
Speaker 1: played his, and then we played a little lick at

1462
01:21:17,400 --> 01:21:19,479
Speaker 1: the end together and we got on. Well. I knew Andrew.

1463
01:21:19,479 --> 01:21:23,240
Speaker 1: I admit Andrew again through my friend Roy Marinell and

1464
01:21:24,520 --> 01:21:26,160
Speaker 1: there was there was a whole bunch of guys down

1465
01:21:26,200 --> 01:21:30,040
Speaker 1: in Venice, you know, Roy, Andrew, Kenny Edwards, all these

1466
01:21:30,080 --> 01:21:32,960
Speaker 1: guys had this little musical family going on down there,

1467
01:21:33,080 --> 01:21:36,800
Speaker 1: so I knew Andrew and so there was no competition,

1468
01:21:37,280 --> 01:21:39,920
Speaker 1: not really, no, no, okay, but so when it came

1469
01:21:39,960 --> 01:21:43,200
Speaker 1: to the records, you would both play on the records. Yeah, okay,

1470
01:21:43,280 --> 01:21:45,120
Speaker 1: So okay, you're playing with the Andrew and you're now

1471
01:21:45,160 --> 01:21:48,000
Speaker 1: you're talking about Stevie. Well. Yeah. So it went through

1472
01:21:48,080 --> 01:21:52,360
Speaker 1: the years of Linda and we went through different UH

1473
01:21:53,080 --> 01:21:56,720
Speaker 1: band personnel changes in Linda's band. But I got to

1474
01:21:56,840 --> 01:22:01,479
Speaker 1: a point where was over for me. I just I

1475
01:22:01,560 --> 01:22:04,000
Speaker 1: couldn't do it. The music it's for me. It's some

1476
01:22:04,120 --> 01:22:07,439
Speaker 1: music dictates what I do, and if I'm not musically

1477
01:22:08,000 --> 01:22:10,560
Speaker 1: in a good place with it, I can't last. I

1478
01:22:10,640 --> 01:22:13,400
Speaker 1: just can't do it. You know, I mean you, when

1479
01:22:13,439 --> 01:22:16,479
Speaker 1: you're doing sessions, that's different. You know, you're walking sometimes

1480
01:22:16,479 --> 01:22:19,200
Speaker 1: and there's a song you don't like, but you're gonna

1481
01:22:19,280 --> 01:22:22,040
Speaker 1: do your best. You know you're gonna do your best,

1482
01:22:22,280 --> 01:22:25,160
Speaker 1: make sure you get something good on there, and and

1483
01:22:25,240 --> 01:22:26,880
Speaker 1: that's how it is on session. But when you're doing

1484
01:22:26,920 --> 01:22:30,360
Speaker 1: it live and stuff, it's just different. I get to

1485
01:22:30,439 --> 01:22:33,560
Speaker 1: a point the material of a sudden became stuff I

1486
01:22:33,600 --> 01:22:38,880
Speaker 1: couldn't play. I didn't want to play, So I left

1487
01:22:39,400 --> 01:22:43,400
Speaker 1: and UH and then Stevie and I was still doing sessions,

1488
01:22:43,439 --> 01:22:44,960
Speaker 1: like you know, two three sessions today, and all of

1489
01:22:44,960 --> 01:22:47,280
Speaker 1: a sudden, I got a call from Jimmy Ivean's office saying,

1490
01:22:47,360 --> 01:22:50,559
Speaker 1: we want you to play on stevie next solo record.

1491
01:22:51,439 --> 01:22:53,000
Speaker 1: I don't. Oh wow, okay, I haven't seen her in

1492
01:22:53,040 --> 01:22:56,360
Speaker 1: a while, so I remember, I just thought of the Blue.

1493
01:22:56,400 --> 01:22:59,280
Speaker 1: You haven't seen her in years, and yeah, she told Jimmy,

1494
01:22:59,320 --> 01:23:02,280
Speaker 1: I want to get Wady walked out here, and so

1495
01:23:02,520 --> 01:23:06,960
Speaker 1: we showed up, saw each other and we just got

1496
01:23:07,080 --> 01:23:09,479
Speaker 1: right back into it. You know, we were we were

1497
01:23:09,560 --> 01:23:12,760
Speaker 1: friends a long time ago and we became fast friends again.

1498
01:23:13,520 --> 01:23:16,920
Speaker 1: And musically it was I could I can see what

1499
01:23:17,080 --> 01:23:18,680
Speaker 1: to do on her stuff. I knew what to do

1500
01:23:19,320 --> 01:23:24,280
Speaker 1: and it just worked right away, you know. So that's

1501
01:23:24,320 --> 01:23:31,560
Speaker 1: what happened. Okay, that's I believe. And what else is

1502
01:23:31,600 --> 01:23:35,720
Speaker 1: going on with you? Then? Well, just that sessions and

1503
01:23:35,840 --> 01:23:37,479
Speaker 1: that a lot of it's still a lot of the

1504
01:23:37,560 --> 01:23:41,080
Speaker 1: great record dates and like Brian Bryan Ferry's record went down,

1505
01:23:41,280 --> 01:23:43,320
Speaker 1: and before that, you know that all the seventies was

1506
01:23:43,400 --> 01:23:49,120
Speaker 1: Warren you know Jackson. We did the the the album,

1507
01:23:49,200 --> 01:23:52,280
Speaker 1: the Blue cover album for the Sky, No No Are

1508
01:23:52,280 --> 01:23:56,280
Speaker 1: You talking about first the first Von album on Asylum. Yeah,

1509
01:23:57,360 --> 01:23:59,719
Speaker 1: and uh, I played on that record and Warren, introducing

1510
01:23:59,760 --> 01:24:02,840
Speaker 1: to Jay, brought me in and so we played that

1511
01:24:02,920 --> 01:24:05,400
Speaker 1: record and then Jackson called me and said, I want

1512
01:24:05,439 --> 01:24:11,320
Speaker 1: you to co produce his next record with me. What really? Wow,

1513
01:24:11,720 --> 01:24:14,680
Speaker 1: that's great. And Jackson said, well, he won't listen to

1514
01:24:14,800 --> 01:24:19,200
Speaker 1: me anymore. He will listen to me, and he'll listen

1515
01:24:19,240 --> 01:24:21,320
Speaker 1: to you right now, but he probably won't listen to

1516
01:24:21,360 --> 01:24:24,360
Speaker 1: you either after this one's done. And that's what happened exactly.

1517
01:24:24,960 --> 01:24:28,000
Speaker 1: But so and we went and we did Excitable Boy

1518
01:24:29,320 --> 01:24:32,280
Speaker 1: and that was the breakthrough record. It was it was

1519
01:24:32,560 --> 01:24:36,479
Speaker 1: and you are accredited right around Werewolves of London. So

1520
01:24:36,560 --> 01:24:39,680
Speaker 1: how did that come together? Well again, back to my

1521
01:24:39,720 --> 01:24:45,479
Speaker 1: friend Rouy Marinell. I had known him since maybe sevent

1522
01:24:47,120 --> 01:24:49,320
Speaker 1: and he and I would get together and work on songs,

1523
01:24:49,360 --> 01:24:52,960
Speaker 1: write songs, and one day right he said, I got

1524
01:24:53,000 --> 01:24:56,240
Speaker 1: this lick, and UH, play me this lick. And we

1525
01:24:56,479 --> 01:24:58,360
Speaker 1: tried for about two years to put it to a

1526
01:24:58,479 --> 01:25:02,519
Speaker 1: song and never could. And then what happened was I

1527
01:25:02,600 --> 01:25:06,080
Speaker 1: went to England with Linda, no excuse me, I went

1528
01:25:06,160 --> 01:25:09,240
Speaker 1: to England with my old friend Judy Pulver, which she

1529
01:25:09,360 --> 01:25:14,479
Speaker 1: had her record situation. And there I am in London

1530
01:25:15,120 --> 01:25:21,120
Speaker 1: and I went to a Chinese joint and so called

1531
01:25:21,160 --> 01:25:27,680
Speaker 1: le hop folks. And and when I came back, I

1532
01:25:27,760 --> 01:25:31,160
Speaker 1: stopped by Roy's one day as I was heading into

1533
01:25:31,200 --> 01:25:32,880
Speaker 1: town to work on a session for Linda, I think,

1534
01:25:33,640 --> 01:25:37,160
Speaker 1: and I stopped by Roy's and Warren was there, and

1535
01:25:37,360 --> 01:25:39,719
Speaker 1: he goes, oh, man, I'm glad you're here. He says.

1536
01:25:39,960 --> 01:25:42,320
Speaker 1: Phil called me last night. Phil Everley called me last

1537
01:25:42,400 --> 01:25:44,479
Speaker 1: night and he said, there's a song time. I got

1538
01:25:44,560 --> 01:25:46,160
Speaker 1: a song title for you. You and Watty you got

1539
01:25:46,240 --> 01:25:49,360
Speaker 1: to write a song called Warrells in London. And and

1540
01:25:49,560 --> 01:25:53,320
Speaker 1: I literally just got home from London, so I went, well,

1541
01:25:53,360 --> 01:25:55,400
Speaker 1: that's easy. And the best part was I looked at

1542
01:25:55,520 --> 01:25:58,800
Speaker 1: Roy with this lick that he'd been playing for years.

1543
01:25:58,840 --> 01:26:03,120
Speaker 1: I went, Roy, play that fucking lick and he started

1544
01:26:03,160 --> 01:26:06,760
Speaker 1: that that that, and I just looked at Warren and

1545
01:26:06,880 --> 01:26:09,400
Speaker 1: I said, so we need lyrics. You means something like

1546
01:26:09,920 --> 01:26:12,320
Speaker 1: I saw a werewolf of the Chinese menu in his

1547
01:26:12,439 --> 01:26:15,479
Speaker 1: hand walking down the streets and soho. And then he goes, yeah, yeah,

1548
01:26:15,560 --> 01:26:18,639
Speaker 1: just like that. And I wrote the first verse basically,

1549
01:26:18,680 --> 01:26:21,200
Speaker 1: I just spit out the first verse, recounting it what

1550
01:26:21,360 --> 01:26:23,600
Speaker 1: I just went through in London, and I said, and

1551
01:26:23,680 --> 01:26:26,840
Speaker 1: it's it's it's a war, it's a werewolf, so we

1552
01:26:26,840 --> 01:26:31,360
Speaker 1: should go oh and war. That's great, that's great. I said, yeah, okay,

1553
01:26:31,360 --> 01:26:35,000
Speaker 1: well you finish it. I gotta gonna work, I gotta

1554
01:26:35,120 --> 01:26:37,920
Speaker 1: I gotta leave. But we we we, so we we.

1555
01:26:38,280 --> 01:26:40,240
Speaker 1: They wrote some lyrics down and we got through the

1556
01:26:40,280 --> 01:26:43,360
Speaker 1: first verse. Warren and Royce sketched some more lyrics and

1557
01:26:43,600 --> 01:26:47,200
Speaker 1: we wrote our song and that was basically it. And then, uh,

1558
01:26:48,080 --> 01:26:50,360
Speaker 1: recording that song was the hardest song in the world

1559
01:26:50,479 --> 01:26:54,479
Speaker 1: to get on on tape. It just wouldn't behave so

1560
01:26:54,600 --> 01:26:57,360
Speaker 1: to speak, It wouldn't lay down. Every time we tried

1561
01:26:57,400 --> 01:27:01,840
Speaker 1: it war than I hated it. Uh Um, it just wasn't.

1562
01:27:01,920 --> 01:27:06,799
Speaker 1: It sounded cute, it sounded funny. The band track didn't

1563
01:27:06,840 --> 01:27:10,759
Speaker 1: sound heavy, you know, it didn't sound and we needed

1564
01:27:10,800 --> 01:27:16,200
Speaker 1: it to be. It had to juxtapose serious band track

1565
01:27:16,439 --> 01:27:21,800
Speaker 1: underneath this ridiculous lyric and h and Jorge Calderone, I'm

1566
01:27:21,840 --> 01:27:25,000
Speaker 1: pretty sure it was. George said, you know who could

1567
01:27:25,120 --> 01:27:28,719
Speaker 1: We tried seven bands and all the greatest players in town,

1568
01:27:28,800 --> 01:27:31,720
Speaker 1: you know, Russell and Lee, Lee and Lee and and

1569
01:27:32,000 --> 01:27:37,719
Speaker 1: Rich Losser or Mike Botts or Jeff Procaro, Bob and Russ,

1570
01:27:38,560 --> 01:27:41,960
Speaker 1: Lee and Russ every combination we could try, and we

1571
01:27:42,120 --> 01:27:45,000
Speaker 1: kept failing, and we just said we don't like it.

1572
01:27:45,120 --> 01:27:47,560
Speaker 1: And Jackson's going it's good. We're going, no, it's not.

1573
01:27:47,760 --> 01:27:51,639
Speaker 1: It's not good enough. Doesn't feel like it. And Jorge said,

1574
01:27:51,680 --> 01:27:54,200
Speaker 1: you know who could play this? Mick Fleetwood and John McVie.

1575
01:27:54,280 --> 01:27:58,799
Speaker 1: I bet could play this one. Yeah, that's a heavy,

1576
01:27:58,920 --> 01:28:02,559
Speaker 1: heavy beat. I think you're right, man, I bet that's right.

1577
01:28:02,640 --> 01:28:04,559
Speaker 1: So I called Nick and I said, would you guys

1578
01:28:05,439 --> 01:28:09,040
Speaker 1: consider coming down here to play? Says you want us

1579
01:28:09,120 --> 01:28:13,080
Speaker 1: to play? It was like this mutual admiration society. They

1580
01:28:13,120 --> 01:28:15,479
Speaker 1: were so taken that we would want them, and we

1581
01:28:15,560 --> 01:28:20,160
Speaker 1: were so taken that they would say yes. So it

1582
01:28:20,320 --> 01:28:27,400
Speaker 1: was a magical, crazy, long night of takes and where

1583
01:28:27,560 --> 01:28:32,000
Speaker 1: we finally at six in the morning, I looked at

1584
01:28:32,080 --> 01:28:35,639
Speaker 1: Jackson through the glass and I said, Take two was good,

1585
01:28:35,800 --> 01:28:38,639
Speaker 1: wasn't it? Because yeah, you want to hear it. Yeah,

1586
01:28:38,880 --> 01:28:41,000
Speaker 1: because when we did it, we did take one, we

1587
01:28:41,080 --> 01:28:44,000
Speaker 1: did take two. Jackson went, that was pretty good, man,

1588
01:28:44,120 --> 01:28:45,920
Speaker 1: I think that was good. Mick goes to how let's

1589
01:28:46,000 --> 01:28:47,800
Speaker 1: keep going, let's keep going, and they saying, I know

1590
01:28:47,880 --> 01:28:49,599
Speaker 1: it's like six in the morning, you know, and we're

1591
01:28:49,680 --> 01:28:55,120
Speaker 1: still like flogging away Jackson. Take two was good, right,

1592
01:28:55,200 --> 01:28:58,840
Speaker 1: he goes, yeah, we're gonna go here. Take two And

1593
01:28:59,320 --> 01:29:02,800
Speaker 1: because Mick was enemy, we've never done what we've never done?

1594
01:29:03,640 --> 01:29:07,559
Speaker 1: And I finally looked at mich We've done, we've done.

1595
01:29:07,960 --> 01:29:10,600
Speaker 1: Pack your fucking drums up, man, we'd finished. We got it,

1596
01:29:11,240 --> 01:29:13,640
Speaker 1: and take two was the one and uh, okay, did

1597
01:29:13,680 --> 01:29:15,439
Speaker 1: you have any idea that it would be a hit

1598
01:29:15,600 --> 01:29:19,599
Speaker 1: in a legendary record, No, not a clue. We were

1599
01:29:20,360 --> 01:29:22,920
Speaker 1: Warren and I were taken aback bet of fact when

1600
01:29:23,439 --> 01:29:27,920
Speaker 1: Asylum picked that as the single. We were amazed. We

1601
01:29:28,040 --> 01:29:30,439
Speaker 1: were so wrong, we were we so could not see

1602
01:29:30,960 --> 01:29:32,920
Speaker 1: the forest for the trees, I think is the phrase.

1603
01:29:33,520 --> 01:29:35,479
Speaker 1: We couldn't see it at all. We were we were

1604
01:29:35,600 --> 01:29:38,519
Speaker 1: aghas that they would pick the joke tune out of

1605
01:29:38,560 --> 01:29:41,200
Speaker 1: all these great songs. We thought, what the hell is

1606
01:29:41,280 --> 01:29:43,880
Speaker 1: going on here? And they were so right and we

1607
01:29:44,000 --> 01:29:49,519
Speaker 1: were so wrong. And knock wood it's been supporting me

1608
01:29:50,400 --> 01:29:55,880
Speaker 1: and Warren's family and was now passed away too, but

1609
01:29:56,040 --> 01:29:58,320
Speaker 1: it's supporting all of us. All these years, you know,

1610
01:29:58,680 --> 01:30:00,599
Speaker 1: so there's a good check that still comes in from

1611
01:30:01,080 --> 01:30:05,160
Speaker 1: world hopefully. Yeah, it's been quite a good earner. One

1612
01:30:05,240 --> 01:30:07,799
Speaker 1: other songs have you written that were that my audience

1613
01:30:07,800 --> 01:30:10,479
Speaker 1: would be familiar with? Her town too? Was another? Yeah,

1614
01:30:10,640 --> 01:30:13,760
Speaker 1: the great j D Souther James Taylor song. How did

1615
01:30:13,840 --> 01:30:20,320
Speaker 1: that come together? It came together with Peter suggested that

1616
01:30:20,479 --> 01:30:25,240
Speaker 1: James and j D write a song together, and and Peter, yeah,

1617
01:30:25,600 --> 01:30:28,960
Speaker 1: and so we j D said, look, I don't I

1618
01:30:29,000 --> 01:30:31,000
Speaker 1: don't know James at all. I said, well, I'll come

1619
01:30:31,080 --> 01:30:33,439
Speaker 1: to I'll come over because I was working with James.

1620
01:30:33,520 --> 01:30:37,600
Speaker 1: Then I said, okay, so I'll come over and and

1621
01:30:37,720 --> 01:30:41,479
Speaker 1: we got there and it was a crazy night and

1622
01:30:42,960 --> 01:30:45,599
Speaker 1: we just we're kind of sitting around. I was working

1623
01:30:45,640 --> 01:30:48,720
Speaker 1: on a session and and j D called. He says,

1624
01:30:48,760 --> 01:30:50,840
Speaker 1: where are you? Man? He says, James is here, and

1625
01:30:50,840 --> 01:30:52,200
Speaker 1: I don't don't know what to do with him. I said,

1626
01:30:52,200 --> 01:30:54,640
Speaker 1: we'll just give him. You gotta give a drink and

1627
01:30:55,280 --> 01:30:57,080
Speaker 1: just you know, hang out. Well, I'll be there soon.

1628
01:30:57,120 --> 01:30:58,920
Speaker 1: I'll be there soon. So I get there and we're

1629
01:30:59,040 --> 01:31:02,599
Speaker 1: kind of all. You know, it's a little tenuous when

1630
01:31:02,600 --> 01:31:04,200
Speaker 1: you're when you sit down and write a song with

1631
01:31:04,280 --> 01:31:06,960
Speaker 1: somebody if you're not that familiar with him or havn't

1632
01:31:06,960 --> 01:31:09,360
Speaker 1: written with him, it's how do you start? You know,

1633
01:31:09,600 --> 01:31:12,640
Speaker 1: what's the icebreaker? And and all of a sudden, I

1634
01:31:12,640 --> 01:31:16,240
Speaker 1: don't know where James just started fingerpicking this really lovely

1635
01:31:17,160 --> 01:31:20,120
Speaker 1: chordal thing and I looked at j D. You know,

1636
01:31:21,160 --> 01:31:25,000
Speaker 1: where's your cassette player? Is what cassette player? Get a

1637
01:31:25,040 --> 01:31:28,639
Speaker 1: cassette player, Get a cassette machine. And James is still playing.

1638
01:31:28,680 --> 01:31:30,880
Speaker 1: And finally j D goes and gets it because I played,

1639
01:31:31,360 --> 01:31:36,560
Speaker 1: puts it down. It's a record. James stops and I

1640
01:31:36,640 --> 01:31:40,479
Speaker 1: don't know and he says, oh, Ship, what was I doing?

1641
01:31:40,560 --> 01:31:42,360
Speaker 1: I said, this is what you were doing? And again

1642
01:31:42,479 --> 01:31:44,439
Speaker 1: my ear, so this is what you were doing? He

1643
01:31:44,560 --> 01:31:46,800
Speaker 1: was oh, yeah, right, al right, that's it. And then

1644
01:31:47,760 --> 01:31:50,599
Speaker 1: we dug the changes and we just started working on lyrics,

1645
01:31:50,640 --> 01:31:54,960
Speaker 1: and by six or seven in the morning we had

1646
01:31:55,040 --> 01:32:00,400
Speaker 1: this beautiful song. That best song on that record. Dad

1647
01:32:00,479 --> 01:32:02,200
Speaker 1: loves his work, I think is the album? I think.

1648
01:32:02,240 --> 01:32:06,479
Speaker 1: So yeah, okay, so you work with Stevie and then

1649
01:32:06,479 --> 01:32:08,519
Speaker 1: you end up working with Henley. How does that come

1650
01:32:08,600 --> 01:32:13,320
Speaker 1: to be? Um? Well, i I'd worked with don you

1651
01:32:13,400 --> 01:32:16,519
Speaker 1: know through the years in town. I'd met the guys,

1652
01:32:17,400 --> 01:32:20,880
Speaker 1: so Don and Glenn would be at our at Warren sessions.

1653
01:32:21,720 --> 01:32:23,320
Speaker 1: You know. That's what I mean that that period in

1654
01:32:23,400 --> 01:32:27,000
Speaker 1: Los Angeles was incredible. If you weren't if you weren't

1655
01:32:27,040 --> 01:32:30,000
Speaker 1: on a session working there, chances are you were there

1656
01:32:30,040 --> 01:32:31,960
Speaker 1: hanging out with your friends and helping it. You know,

1657
01:32:32,040 --> 01:32:34,640
Speaker 1: you need an entertainbering part or something, or you just

1658
01:32:34,720 --> 01:32:36,479
Speaker 1: have a drink, sit down, have a have a cigarette,

1659
01:32:36,479 --> 01:32:39,280
Speaker 1: you know whatever, hang out. So that's how it was.

1660
01:32:39,360 --> 01:32:45,520
Speaker 1: It was such an intertwined creative period. It was unbelievable.

1661
01:32:45,560 --> 01:32:49,160
Speaker 1: It was. I equate it to like Liverpool when Beatles

1662
01:32:49,240 --> 01:32:53,280
Speaker 1: explosion happened and everybody knew each other and all these bands,

1663
01:32:54,040 --> 01:32:56,920
Speaker 1: you know, we're collectively working, and that's how it was. Here.

1664
01:32:57,800 --> 01:32:59,880
Speaker 1: You were working. I met Crosby, so I knew day.

1665
01:33:00,000 --> 01:33:02,400
Speaker 1: I met Steve Stills, so I was working with Graham.

1666
01:33:03,040 --> 01:33:07,920
Speaker 1: I've worked on some stuff. Don Henley was producing an artist,

1667
01:33:07,960 --> 01:33:09,519
Speaker 1: so I played. He hired me to play on that,

1668
01:33:10,439 --> 01:33:13,920
Speaker 1: and that's how it was. I mean, you were just

1669
01:33:14,280 --> 01:33:15,920
Speaker 1: in the thick of it. Everybody was in the thick

1670
01:33:15,960 --> 01:33:21,360
Speaker 1: of it together and so um Don at one point

1671
01:33:21,400 --> 01:33:24,519
Speaker 1: decided he was gonna make a solo record, and he

1672
01:33:25,600 --> 01:33:29,040
Speaker 1: asked a few different people about producing, and I spoke

1673
01:33:29,040 --> 01:33:32,320
Speaker 1: to him about it, but he chose Danny. And Danny

1674
01:33:33,439 --> 01:33:35,360
Speaker 1: said to Don, well should get water? He said, yeah,

1675
01:33:35,400 --> 01:33:37,040
Speaker 1: bring Wady in here. So that's how I got on

1676
01:33:37,120 --> 01:33:40,800
Speaker 1: the Don's record. I knew Don and from already all

1677
01:33:41,439 --> 01:33:44,320
Speaker 1: of all these records you've played on. What are you

1678
01:33:44,520 --> 01:33:49,080
Speaker 1: proudest in terms of record? He'd work, that's hard, that's

1679
01:33:49,160 --> 01:33:53,040
Speaker 1: really hard. Or maybe I'll change the word, make it favorite.

1680
01:33:53,320 --> 01:33:56,240
Speaker 1: What are your favorites? Again? That's that's really tough. I

1681
01:33:56,320 --> 01:33:59,479
Speaker 1: mean it. How do you how do you choose between

1682
01:33:59,600 --> 01:34:05,479
Speaker 1: being on the the the live session for Blue by you, uh,

1683
01:34:06,040 --> 01:34:12,760
Speaker 1: the live session for Betty Davis Eyes um, and just

1684
01:34:12,840 --> 01:34:18,920
Speaker 1: seventeen you know, stand back, It's hard, you know, Bob Seeger.

1685
01:34:19,000 --> 01:34:21,960
Speaker 1: I mean, I've been very fortunate and very blessed to

1686
01:34:22,080 --> 01:34:25,240
Speaker 1: be in the studio with these people when all these

1687
01:34:25,400 --> 01:34:28,240
Speaker 1: these incredible records get dead made and you're part of it,

1688
01:34:29,240 --> 01:34:31,200
Speaker 1: you know. I mean Betty Davis Eyes, I just happened

1689
01:34:31,200 --> 01:34:34,120
Speaker 1: to stop by record one. It was my favorite bar,

1690
01:34:34,840 --> 01:34:36,400
Speaker 1: you know, and I was done working for the day

1691
01:34:36,439 --> 01:34:39,360
Speaker 1: and I stopped buying. Val Garay said, I'm glad you're here.

1692
01:34:40,040 --> 01:34:42,080
Speaker 1: Josh Leo can't come. I need you to play on

1693
01:34:42,160 --> 01:34:44,960
Speaker 1: this record. Man, I've been playing all day. I don't

1694
01:34:44,960 --> 01:34:46,920
Speaker 1: want to work now because come here and listen to

1695
01:34:47,000 --> 01:34:51,639
Speaker 1: the song. That's pretty good. And everything was live. Everything

1696
01:34:51,680 --> 01:34:53,920
Speaker 1: you hear on that record is live, you know, everything

1697
01:34:54,000 --> 01:34:57,920
Speaker 1: went down when we cut it. Kim's vocal everything say

1698
01:34:57,960 --> 01:35:00,400
Speaker 1: with blue Boy, then his vocal that's the because she's

1699
01:35:00,400 --> 01:35:04,479
Speaker 1: sang when we cut it. So and then and then uh,

1700
01:35:06,000 --> 01:35:09,040
Speaker 1: then I went with word with Keith, with Keith Richards,

1701
01:35:09,120 --> 01:35:11,160
Speaker 1: and so then I'm in the studio with Keith Richards

1702
01:35:11,479 --> 01:35:13,360
Speaker 1: and before that, I'm in the studio with Joe Walsh.

1703
01:35:14,320 --> 01:35:17,320
Speaker 1: So it's really hard to pick a favorite. Those are

1704
01:35:17,400 --> 01:35:20,160
Speaker 1: guitar players. Well, Keith is more known as a rhythm player.

1705
01:35:20,680 --> 01:35:23,200
Speaker 1: You know, Joe Walsh would seem that he's doing what

1706
01:35:23,320 --> 01:35:26,200
Speaker 1: you're doing. Yeah, but because of that, we got on

1707
01:35:26,360 --> 01:35:29,920
Speaker 1: really well. You know, uh, we got on real well.

1708
01:35:30,240 --> 01:35:32,720
Speaker 1: And I just you know, a couple of two years

1709
01:35:32,720 --> 01:35:34,760
Speaker 1: ago did Joe called me and said would you come

1710
01:35:35,120 --> 01:35:39,320
Speaker 1: too with me? And it was fantastic playing solos with Joe,

1711
01:35:39,920 --> 01:35:41,920
Speaker 1: you know, next to Joe or instead of Joe. And

1712
01:35:42,000 --> 01:35:45,400
Speaker 1: it was wonderful, you know, so and it's great to

1713
01:35:45,800 --> 01:35:47,840
Speaker 1: know that he would trust me enough to say you

1714
01:35:48,120 --> 01:35:50,519
Speaker 1: you take this one. You know, we did his records.

1715
01:35:50,560 --> 01:35:54,240
Speaker 1: There's this stuff where I solo on was this is

1716
01:35:54,360 --> 01:35:58,120
Speaker 1: Soult Beautiful Salt Rosewood Bidders whereas, yeah, that's me on

1717
01:35:58,200 --> 01:36:02,000
Speaker 1: the solo, you know. And uh And it was a funny,

1718
01:36:02,560 --> 01:36:05,040
Speaker 1: funny moment in the studio with Joe. We were so

1719
01:36:05,200 --> 01:36:07,640
Speaker 1: locked into our guitar parts, so we're so excited about it.

1720
01:36:07,720 --> 01:36:11,479
Speaker 1: And I said, well, how about why don't I play

1721
01:36:11,560 --> 01:36:15,400
Speaker 1: that line? We call each other double w W and

1722
01:36:16,120 --> 01:36:18,680
Speaker 1: j W. You know, so I said, hey, man, why

1723
01:36:18,680 --> 01:36:22,080
Speaker 1: don't I I'll play that line. Okay, j W, listen,

1724
01:36:22,120 --> 01:36:23,920
Speaker 1: I should play that line. He goes, yeah, why don't you?

1725
01:36:24,280 --> 01:36:25,960
Speaker 1: Why don't you play that line? And then I'll double

1726
01:36:26,000 --> 01:36:33,080
Speaker 1: you do W. We just looked at each other. Did

1727
01:36:33,160 --> 01:36:37,479
Speaker 1: you really just say that? Then? What? So that, you know,

1728
01:36:39,200 --> 01:36:41,320
Speaker 1: to work on these records and then to get a

1729
01:36:41,360 --> 01:36:44,320
Speaker 1: call from Keith Richards saying I'm putting a band together

1730
01:36:44,439 --> 01:36:46,439
Speaker 1: and you're the other guitar player in it. And you

1731
01:36:46,640 --> 01:36:49,479
Speaker 1: never met him, No, we've met I met him when

1732
01:36:49,520 --> 01:36:52,880
Speaker 1: I was on the road with Linda. Then we fell

1733
01:36:52,960 --> 01:36:54,760
Speaker 1: in love right away. Then we got on, We got

1734
01:36:54,800 --> 01:36:59,040
Speaker 1: on very well, and uh so that was the call.

1735
01:36:59,200 --> 01:37:05,120
Speaker 1: I got the call. We'll plause here for a brief

1736
01:37:05,200 --> 01:37:09,920
Speaker 1: moment and get right back to Waddy Wachtell. First and

1737
01:37:10,000 --> 01:37:12,320
Speaker 1: for most, I'm a writer. I cover everything from music

1738
01:37:12,400 --> 01:37:16,799
Speaker 1: to tech, to my personal life to the zeitgeist at large.

1739
01:37:17,479 --> 01:37:19,439
Speaker 1: Go to left sets dot com and go down the

1740
01:37:19,560 --> 01:37:23,360
Speaker 1: rabbit hole in addition to reading my commentary on music

1741
01:37:23,439 --> 01:37:25,840
Speaker 1: tech in the world at large. Will be the first

1742
01:37:25,920 --> 01:37:29,280
Speaker 1: to find out when we've published a new podcast. Plus,

1743
01:37:29,320 --> 01:37:31,439
Speaker 1: I'd like to give a little bit of behind the scenes,

1744
01:37:31,760 --> 01:37:34,400
Speaker 1: which I hope you find is a nice addition to

1745
01:37:34,520 --> 01:37:37,599
Speaker 1: the podcast. Go to left sets dot com and sign

1746
01:37:37,680 --> 01:37:43,919
Speaker 1: up for the newsletter. Now we're with guitar legend Waddy Wachtell,

1747
01:37:44,000 --> 01:37:49,240
Speaker 1: recorded live at the tune In Studios in Venice, California. Okay,

1748
01:37:49,240 --> 01:37:52,120
Speaker 1: a couple of just questions for those on the outside

1749
01:37:52,200 --> 01:37:56,160
Speaker 1: that always wonder about this. Mick Fleetwood and John mcvieh

1750
01:37:56,200 --> 01:37:59,719
Speaker 1: come to play on Werewolves of London. Do they get paid? Yeah?

1751
01:38:00,439 --> 01:38:03,439
Speaker 1: So you they built just like a session. Okay, so

1752
01:38:03,520 --> 01:38:06,800
Speaker 1: anybody shows up they're getting paid and listen, get away

1753
01:38:06,840 --> 01:38:11,639
Speaker 1: with not paying him. Yeah yeah, okay, but if there's

1754
01:38:11,640 --> 01:38:15,080
Speaker 1: a budget and somebody comes in and they're contributing there,

1755
01:38:15,120 --> 01:38:18,160
Speaker 1: they're going to get a check. Okay, Yeah, they got paid.

1756
01:38:18,840 --> 01:38:22,000
Speaker 1: Scaling right right when you're when you're a studio musician

1757
01:38:22,080 --> 01:38:25,840
Speaker 1: in town, there's a lot of talk that well a

1758
01:38:25,920 --> 01:38:29,320
Speaker 1: lot of the famous musicians or legendary musicians, musicians are

1759
01:38:29,360 --> 01:38:33,280
Speaker 1: afraid to leave town because someone's going to take their gig. Yeah,

1760
01:38:33,640 --> 01:38:39,840
Speaker 1: is that something new experience? Well, you know, not really,

1761
01:38:40,000 --> 01:38:45,120
Speaker 1: but I mean by now yeah, you know, sure, you know,

1762
01:38:45,160 --> 01:38:46,760
Speaker 1: you were, you were. We would go out of town

1763
01:38:46,840 --> 01:38:50,200
Speaker 1: and come bight back to work work. There was enough

1764
01:38:50,240 --> 01:38:53,559
Speaker 1: work done yet, and we were of a certain level

1765
01:38:53,640 --> 01:38:57,080
Speaker 1: in people's minds. They wanted you, they wanted you. You know.

1766
01:38:57,560 --> 01:39:01,080
Speaker 1: I came home from months on road with Linda and

1767
01:39:01,760 --> 01:39:03,519
Speaker 1: I got a call to go work for Richard Perry,

1768
01:39:03,880 --> 01:39:06,439
Speaker 1: who had never met And I was going, I don't

1769
01:39:06,439 --> 01:39:09,560
Speaker 1: want to go to work, but I went. You know,

1770
01:39:09,880 --> 01:39:12,240
Speaker 1: I got paid well for it, and and met Richard

1771
01:39:12,280 --> 01:39:15,519
Speaker 1: and got terrifically with Richard, and I love him dearly,

1772
01:39:15,680 --> 01:39:19,439
Speaker 1: you know. And so years of work with Richard, you

1773
01:39:19,560 --> 01:39:23,919
Speaker 1: know Leo Sayermant played with for Leo and point of Sisters.

1774
01:39:24,600 --> 01:39:26,160
Speaker 1: So what would it take for you to go on

1775
01:39:26,240 --> 01:39:29,080
Speaker 1: the road as opposed to stay in l A. What

1776
01:39:29,080 --> 01:39:31,240
Speaker 1: do you mean back in that era because you're doing

1777
01:39:31,240 --> 01:39:33,679
Speaker 1: a certain amount of touring and also a certain amount

1778
01:39:33,680 --> 01:39:36,479
Speaker 1: of studio work. You know, some people might say, I

1779
01:39:36,520 --> 01:39:39,040
Speaker 1: don't want to go on the road, all right, Well,

1780
01:39:39,560 --> 01:39:41,720
Speaker 1: if you're a ham like me, you know you you

1781
01:39:41,920 --> 01:39:45,120
Speaker 1: love being on that stage. So so that's that's an

1782
01:39:45,160 --> 01:39:49,760
Speaker 1: attractive offer, and monetarily it was. It worked that fine,

1783
01:39:50,479 --> 01:39:55,000
Speaker 1: you know. And and Peter was a class act always,

1784
01:39:55,320 --> 01:39:57,960
Speaker 1: and he said, you know you're going to travel first

1785
01:39:58,000 --> 01:40:00,280
Speaker 1: class with us. That's how we do it. You know,

1786
01:40:00,479 --> 01:40:03,479
Speaker 1: the band is that important to us. And so I

1787
01:40:03,560 --> 01:40:07,400
Speaker 1: got spoiled at a young age and learned that, well,

1788
01:40:08,680 --> 01:40:10,759
Speaker 1: I am more important than just the guy who carries

1789
01:40:10,800 --> 01:40:12,800
Speaker 1: that guitar and knows how to plug it in. You know.

1790
01:40:13,080 --> 01:40:16,200
Speaker 1: So we were treated very well. You know, we've really

1791
01:40:16,280 --> 01:40:18,880
Speaker 1: kind of covered the eighties. What happens now when we

1792
01:40:18,960 --> 01:40:24,320
Speaker 1: get the nineties and beyond, well, nineties and beyond, I'm

1793
01:40:24,360 --> 01:40:28,960
Speaker 1: still doing sessions and I'm still with at that point, uh,

1794
01:40:29,080 --> 01:40:30,640
Speaker 1: Stevie and I had taken a break and I was

1795
01:40:30,720 --> 01:40:38,320
Speaker 1: with Keith from through I think. And that's when Stevie

1796
01:40:38,680 --> 01:40:43,080
Speaker 1: called me and said, please come back, come back. And

1797
01:40:43,200 --> 01:40:48,240
Speaker 1: I was little hesitant, and uh, but I did. I

1798
01:40:48,320 --> 01:40:52,439
Speaker 1: went back and I sat in on our show and

1799
01:40:54,720 --> 01:40:57,240
Speaker 1: and she said, that's great. She said, it's so great

1800
01:40:57,280 --> 01:40:59,120
Speaker 1: to have you back. I need you to do this

1801
01:40:59,240 --> 01:41:01,479
Speaker 1: with me again. I said, will if I'm gonna do

1802
01:41:01,520 --> 01:41:05,040
Speaker 1: it with you again, he can't lead the band. My

1803
01:41:05,120 --> 01:41:07,360
Speaker 1: friend Carlos Rios who still plays with us, and it's

1804
01:41:07,360 --> 01:41:09,680
Speaker 1: a doll, but he was the band leader when I

1805
01:41:09,800 --> 01:41:11,600
Speaker 1: came back, and I said, if I'm going to do this,

1806
01:41:12,640 --> 01:41:15,120
Speaker 1: I lead the band. That's the only way I work.

1807
01:41:15,520 --> 01:41:18,160
Speaker 1: That's one caveat with me is I'm pretty much a

1808
01:41:18,600 --> 01:41:23,000
Speaker 1: loud mouth when it comes to band. So so I said,

1809
01:41:23,000 --> 01:41:26,439
Speaker 1: I have to lead the band. I can't let I

1810
01:41:26,560 --> 01:41:29,439
Speaker 1: can't take do it his way. We gotta do it

1811
01:41:29,560 --> 01:41:31,800
Speaker 1: my way. And I said, okay, So Carlos I'm just

1812
01:41:31,840 --> 01:41:35,400
Speaker 1: stood and graciously stepped aside. And so Steve and I

1813
01:41:35,800 --> 01:41:39,160
Speaker 1: have toured incredibly through the all nineties and into the

1814
01:41:39,280 --> 01:41:42,559
Speaker 1: thousands and into the two thousand's and then, like I said,

1815
01:41:42,600 --> 01:41:46,960
Speaker 1: and all a sudden, Joe called me and next time

1816
01:41:46,960 --> 01:41:48,439
Speaker 1: I knew us on the road with Joe for about

1817
01:41:48,439 --> 01:41:52,479
Speaker 1: almost a year. So you know, it just thank God

1818
01:41:52,640 --> 01:41:55,800
Speaker 1: keeps going. Okay, So at this point in time, how

1819
01:41:55,880 --> 01:42:00,599
Speaker 1: much do you work right now? Right now? It's little slower,

1820
01:42:01,920 --> 01:42:04,000
Speaker 1: which is cool, which is cool, It's all right. But

1821
01:42:04,760 --> 01:42:06,640
Speaker 1: it's like I said, Stevie, and Stevie is going to

1822
01:42:06,720 --> 01:42:10,120
Speaker 1: go with Fleetwood. They're starting on Fleetwood. So so we're

1823
01:42:10,160 --> 01:42:13,439
Speaker 1: having are what I call a trial separation. And when

1824
01:42:13,600 --> 01:42:16,800
Speaker 1: Fleetwood tours over, we'll go back to work, and so

1825
01:42:17,040 --> 01:42:18,880
Speaker 1: record dates will be coming. I don't I don't have

1826
01:42:18,960 --> 01:42:21,960
Speaker 1: anything right now. It's pretty open right now. So but

1827
01:42:22,040 --> 01:42:25,320
Speaker 1: there are still sessions. And I hear from Luca the time,

1828
01:42:25,560 --> 01:42:28,240
Speaker 1: right and he laments that the days you're talking about

1829
01:42:28,680 --> 01:42:32,240
Speaker 1: the seventies and the eighties are over there over, Yeah,

1830
01:42:32,320 --> 01:42:35,400
Speaker 1: there are over but there are calls still get calls

1831
01:42:35,479 --> 01:42:39,320
Speaker 1: to do what kind of work guitar? I mean, record dates,

1832
01:42:39,479 --> 01:42:44,240
Speaker 1: movie dates, TV dates, all of the above, all the above.

1833
01:42:44,280 --> 01:42:47,439
Speaker 1: I mean I was fortunate. At one point I scored

1834
01:42:48,280 --> 01:42:51,560
Speaker 1: I think it was about ten movies and uh, I

1835
01:42:51,720 --> 01:42:54,120
Speaker 1: loved it. And Adam Sander gave me the shot at

1836
01:42:54,160 --> 01:42:59,400
Speaker 1: that and I knew Adam because I worked on a

1837
01:42:59,479 --> 01:43:04,200
Speaker 1: record for him a long time ago. Brooks Arthur, his producer,

1838
01:43:04,360 --> 01:43:07,800
Speaker 1: called me and said, would you consider arranging a couple

1839
01:43:07,840 --> 01:43:11,880
Speaker 1: of songs for Adam Sandler? You know comedy rock? I

1840
01:43:11,960 --> 01:43:15,200
Speaker 1: don't know, man, but I went down and met Adam.

1841
01:43:16,200 --> 01:43:21,360
Speaker 1: The song was great. It's called well it became. It

1842
01:43:21,479 --> 01:43:25,120
Speaker 1: came out called ode to My Car, but they made

1843
01:43:25,200 --> 01:43:28,920
Speaker 1: a piece of ship cars and it's hysterical and it's

1844
01:43:28,960 --> 01:43:31,240
Speaker 1: a reggae and he says, I want to do this reggae.

1845
01:43:31,600 --> 01:43:33,840
Speaker 1: Oh really, Well, let me tell you you called the

1846
01:43:33,920 --> 01:43:36,839
Speaker 1: right person because I can do that for you easily,

1847
01:43:37,560 --> 01:43:40,800
Speaker 1: and and he played me The song was hysterical, and

1848
01:43:40,880 --> 01:43:43,560
Speaker 1: there was another song called Baked, which was hilarious. So

1849
01:43:43,720 --> 01:43:46,600
Speaker 1: we went in the studio and cut these songs and

1850
01:43:46,720 --> 01:43:51,160
Speaker 1: then developed a musical relationship. And next time I know,

1851
01:43:51,200 --> 01:43:53,920
Speaker 1: Adam did a tour. He wanted a tour, so we

1852
01:43:54,040 --> 01:43:56,120
Speaker 1: went out on the road for a summer and it

1853
01:43:56,320 --> 01:44:01,000
Speaker 1: was incredibly funny. And after it, I said, I'm gonna

1854
01:44:01,040 --> 01:44:03,880
Speaker 1: want you to score a movie. I want you to

1855
01:44:03,960 --> 01:44:05,680
Speaker 1: score film. I'm doing movies now and I want you

1856
01:44:05,720 --> 01:44:09,840
Speaker 1: to score movies. So I started to work on Waterboy

1857
01:44:10,439 --> 01:44:13,120
Speaker 1: and I had to stop on that one various reasons.

1858
01:44:13,760 --> 01:44:18,600
Speaker 1: But then he called me on Joe Dirt. It was

1859
01:44:18,680 --> 01:44:20,439
Speaker 1: the next one for me and I that was my

1860
01:44:20,560 --> 01:44:23,640
Speaker 1: first complete score, and so I did that. I did

1861
01:44:23,720 --> 01:44:27,280
Speaker 1: several others for him, and so there's there's movie work.

1862
01:44:27,320 --> 01:44:29,920
Speaker 1: Hopefully he's away right now, maybe I'll get another score.

1863
01:44:30,560 --> 01:44:32,760
Speaker 1: But I did a couple of independent films as well.

1864
01:44:33,400 --> 01:44:35,479
Speaker 1: But yeah, you never can tell, you know, you never know.

1865
01:44:35,920 --> 01:44:38,280
Speaker 1: I came back and well of a sudd I got

1866
01:44:38,360 --> 01:44:41,720
Speaker 1: a call that they were doing Joe Dirt too, you know.

1867
01:44:41,840 --> 01:44:45,920
Speaker 1: I went, oh, well, okay, well and there was budget

1868
01:44:46,000 --> 01:44:48,720
Speaker 1: wasn't big, but I said, well I gotta do it.

1869
01:44:48,760 --> 01:44:51,479
Speaker 1: I don't want anyone else to do it, so I'll

1870
01:44:51,520 --> 01:44:54,960
Speaker 1: do it, you know. So I did that. It just happens,

1871
01:44:55,000 --> 01:44:56,680
Speaker 1: so you never know what's gonna happen. You get a

1872
01:44:56,720 --> 01:45:03,439
Speaker 1: call commercial or a song score, but you still believe

1873
01:45:03,520 --> 01:45:06,120
Speaker 1: the phone will ring. Yeah, you're not sitting at home

1874
01:45:06,200 --> 01:45:10,120
Speaker 1: saying again you always think that. I thought that from

1875
01:45:10,240 --> 01:45:13,280
Speaker 1: day one. And also I'm leaving out a very important

1876
01:45:13,320 --> 01:45:16,599
Speaker 1: part of my musical stuff. Don was. I worked tons

1877
01:45:16,680 --> 01:45:19,040
Speaker 1: with Don at one point during the eighties and nineties,

1878
01:45:19,640 --> 01:45:23,360
Speaker 1: a lot of sessions with Don beautiful. But I mean

1879
01:45:23,520 --> 01:45:27,960
Speaker 1: from day one, you get home staring at that phone,

1880
01:45:28,000 --> 01:45:31,040
Speaker 1: is it ever going to ring again? And it's it's

1881
01:45:31,080 --> 01:45:33,519
Speaker 1: been that way forever, it'll it'll always be that way.

1882
01:45:33,680 --> 01:45:35,519
Speaker 1: And at what point, I mean, once you start to

1883
01:45:35,560 --> 01:45:40,480
Speaker 1: gain a reputation, as I say, are you actively networking?

1884
01:45:40,560 --> 01:45:42,799
Speaker 1: I'm going back back in the day as supposed to today.

1885
01:45:43,120 --> 01:45:45,400
Speaker 1: Are you hunting for jobs or just waiting for them

1886
01:45:45,439 --> 01:45:48,800
Speaker 1: to come to you? You're waiting. I mean I'm waiting.

1887
01:45:48,920 --> 01:45:53,360
Speaker 1: I'm I think I've called a couple of people say hey,

1888
01:45:53,640 --> 01:45:57,280
Speaker 1: you're working, you know, stuff like that. But no, I think,

1889
01:45:58,400 --> 01:46:01,240
Speaker 1: thank god, people call me. And then, of course you're

1890
01:46:01,240 --> 01:46:02,960
Speaker 1: not gonna want to answer this question, but I'll ask

1891
01:46:03,040 --> 01:46:07,559
Speaker 1: it anyway. If they can't get you, who do they call? Well,

1892
01:46:07,840 --> 01:46:10,479
Speaker 1: you know, it's funny, Lucas, there was the new me.

1893
01:46:11,640 --> 01:46:13,880
Speaker 1: You know, when I met Luke, he was his baby.

1894
01:46:13,920 --> 01:46:16,040
Speaker 1: They came on board and came into towns on a

1895
01:46:16,160 --> 01:46:19,040
Speaker 1: Richard Perry date and Luke was the new Wady. You know,

1896
01:46:19,280 --> 01:46:22,479
Speaker 1: so who knows? You know, there's so many guys and

1897
01:46:22,600 --> 01:46:27,559
Speaker 1: now it's it's such a closed scene now. And aside

1898
01:46:27,600 --> 01:46:30,080
Speaker 1: from that, people will record at home now, you know,

1899
01:46:30,240 --> 01:46:32,280
Speaker 1: so a lot of times you get a call and

1900
01:46:32,360 --> 01:46:36,240
Speaker 1: you're sitting Leland says, you know, I don't like sitting

1901
01:46:36,280 --> 01:46:38,519
Speaker 1: in the corner of someone's bed and playing the base

1902
01:46:39,280 --> 01:46:41,599
Speaker 1: you but he's right, you know, you wind up doing

1903
01:46:41,720 --> 01:46:44,280
Speaker 1: some date for somebody in their house. You over. But

1904
01:46:44,840 --> 01:46:51,639
Speaker 1: I was. I was eating lunch somewhere and uh, someone

1905
01:46:51,720 --> 01:46:54,000
Speaker 1: came in and said, are you wady? Yeah, and he says,

1906
01:46:54,080 --> 01:46:57,560
Speaker 1: my name's Jude Cole, and uh, and i'd heard that

1907
01:46:57,720 --> 01:47:00,240
Speaker 1: name and I said, I've heard of you and and

1908
01:47:00,400 --> 01:47:04,960
Speaker 1: he said, I've produced a key for Sutherland and we

1909
01:47:05,320 --> 01:47:08,439
Speaker 1: have no keeper for other and and we're doing a record.

1910
01:47:08,600 --> 01:47:11,360
Speaker 1: And I said, well, like who's playing on it? And

1911
01:47:11,600 --> 01:47:13,760
Speaker 1: he named a few people, and he named Jim Cox,

1912
01:47:13,840 --> 01:47:18,040
Speaker 1: who was my favorite piano player in town. Jim Cox

1913
01:47:18,200 --> 01:47:20,840
Speaker 1: is playing with you. Well, hell, I'll do it too then,

1914
01:47:21,120 --> 01:47:23,320
Speaker 1: you know. So I came. You know, this was like

1915
01:47:23,520 --> 01:47:27,439
Speaker 1: last year, so you never know what's gonna happen now.

1916
01:47:28,320 --> 01:47:30,960
Speaker 1: And and Keifer was a doll, and the songs were

1917
01:47:30,960 --> 01:47:33,800
Speaker 1: great and Jude is great. We had a ball funny

1918
01:47:33,840 --> 01:47:36,920
Speaker 1: thing with Jude. He used to be an artist himself. Right,

1919
01:47:37,400 --> 01:47:41,160
Speaker 1: So uh, now you also play at the bar down

1920
01:47:41,280 --> 01:47:44,040
Speaker 1: here to on Pico. Yeah, well and not we don't

1921
01:47:44,040 --> 01:47:46,679
Speaker 1: play there anymore, but we did like ten years worth

1922
01:47:46,720 --> 01:47:49,479
Speaker 1: of that, almost almost fourteen years, I think, and that

1923
01:47:49,880 --> 01:47:53,400
Speaker 1: was just something to do. Yeah, and why did you

1924
01:47:53,479 --> 01:47:59,680
Speaker 1: stop employment? You know, everyone's schedules started yanking people out

1925
01:47:59,720 --> 01:48:01,400
Speaker 1: of town. Next thing I know, I was on the

1926
01:48:01,439 --> 01:48:04,080
Speaker 1: road with Stevie for months. When I get back. My

1927
01:48:04,160 --> 01:48:08,120
Speaker 1: drummer Phil Jones was working with Peggy Young, Rick my latey,

1928
01:48:08,520 --> 01:48:12,320
Speaker 1: late dear friend, Rick Roses was working for Neil. So

1929
01:48:12,520 --> 01:48:14,960
Speaker 1: you'd come back a lot of times. Everyone's schedule was right,

1930
01:48:15,000 --> 01:48:17,960
Speaker 1: We'd all be here for months at a time, so

1931
01:48:18,120 --> 01:48:21,000
Speaker 1: we could do it. But then it became harder. It's

1932
01:48:22,000 --> 01:48:24,960
Speaker 1: I don't know, we're actually striking it up in August

1933
01:48:25,520 --> 01:48:31,080
Speaker 1: at this place in Ventura Plug Discovery, Ventura August there

1934
01:48:32,000 --> 01:48:34,920
Speaker 1: rock and roll Knight. But and also I've been playing

1935
01:48:35,040 --> 01:48:39,080
Speaker 1: with Danny cor Les Claw and Russ Kunkle and Steve

1936
01:48:39,160 --> 01:48:43,559
Speaker 1: Postela's name is and we did Danny got a record deal.

1937
01:48:43,680 --> 01:48:46,880
Speaker 1: A Japanese label wanted good to do a record, so

1938
01:48:47,160 --> 01:48:51,640
Speaker 1: the you got the old the Brothers together and we

1939
01:48:51,840 --> 01:48:54,240
Speaker 1: did it and Danny said, look, it's gotta be us

1940
01:48:54,400 --> 01:48:57,800
Speaker 1: to go play this stuff. Can't be anyone else. So

1941
01:48:58,880 --> 01:49:00,800
Speaker 1: we said, yeah, how grew right. We finally get to

1942
01:49:00,800 --> 01:49:03,680
Speaker 1: play in a band together. So that's what we've been doing.

1943
01:49:03,800 --> 01:49:05,320
Speaker 1: So we did that too. We just finished. We just

1944
01:49:05,400 --> 01:49:09,000
Speaker 1: went to Japan and did like ten eleven days there

1945
01:49:09,960 --> 01:49:14,200
Speaker 1: and we just played a club. But schedule wise, now

1946
01:49:14,560 --> 01:49:17,600
Speaker 1: again with schedules, it's tougher. With Russell's ad is in

1947
01:49:17,680 --> 01:49:20,640
Speaker 1: France right now, work up with Cat Stevens and then

1948
01:49:20,680 --> 01:49:23,000
Speaker 1: he's gonna be on the road in August, and then

1949
01:49:23,040 --> 01:49:25,519
Speaker 1: I'll lose Leland at some point. But Danny and I

1950
01:49:25,600 --> 01:49:28,439
Speaker 1: are writing and Steve and we're writing songs and getting

1951
01:49:28,479 --> 01:49:30,519
Speaker 1: ready for autumn when we're all back together again. So

1952
01:49:30,640 --> 01:49:32,880
Speaker 1: we'll be doing that. So I have the two bands

1953
01:49:32,960 --> 01:49:37,479
Speaker 1: going okay now. In the seventies, in the eighties, before

1954
01:49:37,680 --> 01:49:42,400
Speaker 1: the days of cameras in phones, I would assume being

1955
01:49:42,439 --> 01:49:46,920
Speaker 1: on the road was, shall we say, a lot of fun. Yeah, okay,

1956
01:49:47,240 --> 01:49:50,560
Speaker 1: but those days, granted you're older and you're married, but

1957
01:49:51,000 --> 01:49:53,960
Speaker 1: generally speaking, those days are done for people on the road.

1958
01:49:54,880 --> 01:49:58,559
Speaker 1: What do you mean? I mean? Uh, the the old

1959
01:49:58,680 --> 01:50:01,879
Speaker 1: dream and this is you know, uh, maybe a sexist

1960
01:50:02,000 --> 01:50:05,559
Speaker 1: dream was the musician has a hard time communicating with people,

1961
01:50:05,600 --> 01:50:08,719
Speaker 1: speaks to his music, goes on the road and meets women,

1962
01:50:08,800 --> 01:50:13,680
Speaker 1: and does drugs. Yeah do you You don't have to

1963
01:50:13,720 --> 01:50:15,880
Speaker 1: do drugs, but you know, but most people did. The

1964
01:50:15,920 --> 01:50:18,200
Speaker 1: reason I say you do drugs is you know, you

1965
01:50:19,000 --> 01:50:21,519
Speaker 1: you play from eight to eleven. It's gonna take you

1966
01:50:21,640 --> 01:50:24,200
Speaker 1: at least if then to three in the morning to

1967
01:50:24,280 --> 01:50:26,879
Speaker 1: calm down. You're in the bus with the same assholes

1968
01:50:26,920 --> 01:50:29,160
Speaker 1: that you knew from like ten years. You know, you

1969
01:50:29,240 --> 01:50:32,000
Speaker 1: do drugs just a cope. I think a lot of people.

1970
01:50:32,640 --> 01:50:37,360
Speaker 1: But have you found that modern technology has affected being

1971
01:50:37,400 --> 01:50:39,759
Speaker 1: on the road. I mean, granted you're older and you're married,

1972
01:50:39,960 --> 01:50:41,880
Speaker 1: I would say I would tell you this. I would

1973
01:50:41,920 --> 01:50:43,880
Speaker 1: bet you a young band I would see it the

1974
01:50:43,920 --> 01:50:46,720
Speaker 1: same way it always was. That's what I would think.

1975
01:50:47,520 --> 01:50:49,720
Speaker 1: I mean, we're older and we're married, but we you know,

1976
01:50:49,840 --> 01:50:51,800
Speaker 1: we go out. We still have a drink, you know,

1977
01:50:52,479 --> 01:50:55,519
Speaker 1: sit around and talk about the old days or talk

1978
01:50:55,560 --> 01:50:58,120
Speaker 1: about the new days, and talk about music. It's still music.

1979
01:50:58,600 --> 01:51:01,000
Speaker 1: Speaking of the speaking the old days, I always say,

1980
01:51:01,040 --> 01:51:03,760
Speaker 1: you know, we look at that period from sixty four

1981
01:51:03,960 --> 01:51:07,559
Speaker 1: to eighty and then even MTV after that. Music really

1982
01:51:07,640 --> 01:51:09,560
Speaker 1: drove the culture. If you want to know what was

1983
01:51:09,600 --> 01:51:13,240
Speaker 1: going on, you listen to a record. Radio stations were

1984
01:51:13,320 --> 01:51:15,960
Speaker 1: not like they were today. The radio the jock was

1985
01:51:16,040 --> 01:51:18,639
Speaker 1: giving you all your news, was really your best friend.

1986
01:51:19,280 --> 01:51:23,559
Speaker 1: How do you feel about the music scene today. It's

1987
01:51:23,600 --> 01:51:26,680
Speaker 1: hard for me. It's hard for me. I wind up.

1988
01:51:27,800 --> 01:51:29,439
Speaker 1: I don't listen to a lot of new music. I

1989
01:51:29,520 --> 01:51:35,120
Speaker 1: hate to sound like an old dinosaur, but I don't

1990
01:51:35,479 --> 01:51:42,439
Speaker 1: hear the kind of melodic music anymore that I grew

1991
01:51:42,560 --> 01:51:45,560
Speaker 1: up knowing that that was how you were supposed to

1992
01:51:45,600 --> 01:51:47,920
Speaker 1: write songs, you know. I mean, it was one thing

1993
01:51:48,000 --> 01:51:52,000
Speaker 1: to go from jazz and standards to all of a

1994
01:51:52,040 --> 01:51:56,680
Speaker 1: sudden there's Beatles and Stones writing great songs, and then

1995
01:51:56,800 --> 01:52:00,559
Speaker 1: everyone else is trying to write great songs. But now

1996
01:52:02,000 --> 01:52:05,680
Speaker 1: the melodic, the melodic approach to songs these days is

1997
01:52:05,920 --> 01:52:12,080
Speaker 1: very nil, very lack lacking. To me, it's either way

1998
01:52:12,120 --> 01:52:15,240
Speaker 1: too repetitive and simple, and repetitive is a great thing

1999
01:52:15,320 --> 01:52:18,840
Speaker 1: to have. You have to have repetition, but not the

2000
01:52:18,920 --> 01:52:24,519
Speaker 1: way it's done today, or it's way overly exaggerated to

2001
01:52:24,760 --> 01:52:32,960
Speaker 1: where people are demonstrating their wonderful vocal range. Well that that,

2002
01:52:33,160 --> 01:52:36,960
Speaker 1: but even just some of the stuff I have a

2003
01:52:37,000 --> 01:52:40,559
Speaker 1: hard time with with with it. I I love Muse.

2004
01:52:40,800 --> 01:52:44,679
Speaker 1: I think that's a great band, you know, but they're

2005
01:52:44,680 --> 01:52:48,320
Speaker 1: not even new anymore, you know what I mean. It's hard.

2006
01:52:48,680 --> 01:52:52,840
Speaker 1: It's hard for me. So I don't hear. I listened

2007
01:52:52,840 --> 01:52:57,639
Speaker 1: to a lot of older stuff and the hip hop.

2008
01:52:57,760 --> 01:53:00,519
Speaker 1: You listen to the hip hop, I don't. I don't.

2009
01:53:00,640 --> 01:53:03,600
Speaker 1: I've heard something really dug, you know. And do you

2010
01:53:03,760 --> 01:53:06,040
Speaker 1: have hope or do you think we live through the

2011
01:53:06,080 --> 01:53:08,920
Speaker 1: renaissance and it's not going to return? One never knows,

2012
01:53:10,000 --> 01:53:12,519
Speaker 1: you know, History repeats itself, right, that's what they say.

2013
01:53:13,680 --> 01:53:15,880
Speaker 1: It's been a long time coming. And I don't even

2014
01:53:15,920 --> 01:53:19,240
Speaker 1: know how that's right, how I could right now? You know,

2015
01:53:19,760 --> 01:53:24,720
Speaker 1: guitars have become almost meaningless and today's records and it's tough,

2016
01:53:24,840 --> 01:53:28,919
Speaker 1: it's it's weird, but it's that it's that song structure

2017
01:53:29,040 --> 01:53:33,200
Speaker 1: that I miss that was so important to us when

2018
01:53:33,240 --> 01:53:36,519
Speaker 1: we were growing up, and that's what it was all about,

2019
01:53:36,640 --> 01:53:38,680
Speaker 1: right in a great tune, you know, someone something that

2020
01:53:38,760 --> 01:53:42,400
Speaker 1: you could sing, you know, instead of some of the

2021
01:53:42,400 --> 01:53:44,800
Speaker 1: stuff that's out there. I don't want to name. I

2022
01:53:44,800 --> 01:53:46,479
Speaker 1: don't want to name anything that's we can fill in

2023
01:53:46,520 --> 01:53:50,360
Speaker 1: the blanks. Yeah, you know, but I I don't like

2024
01:53:50,479 --> 01:53:54,240
Speaker 1: a lot of what I hear and and I have

2025
01:53:54,360 --> 01:53:57,960
Speaker 1: to agree with Couch about something you said about that

2026
01:53:58,360 --> 01:54:04,960
Speaker 1: that Barnum. I don't dig those songs. I don't let

2027
01:54:05,000 --> 01:54:08,080
Speaker 1: me tell you I didn't. It's funny because when we

2028
01:54:08,200 --> 01:54:11,080
Speaker 1: just went to Japan, right person next to me was

2029
01:54:11,120 --> 01:54:13,439
Speaker 1: watching this movie. I went, what the what does that movie?

2030
01:54:13,520 --> 01:54:16,479
Speaker 1: And I saw Hugh Jackman and it Oh, I see

2031
01:54:16,600 --> 01:54:18,400
Speaker 1: And I didn't watch it, but that's when I first

2032
01:54:18,439 --> 01:54:20,920
Speaker 1: became aware of it. And then Danny told me about

2033
01:54:21,680 --> 01:54:23,880
Speaker 1: We had back and forth usually Danny O Danny is,

2034
01:54:24,040 --> 01:54:26,160
Speaker 1: you know him much better than I know him. But

2035
01:54:26,720 --> 01:54:28,920
Speaker 1: he can be I wouldn't say contrary, but he's not

2036
01:54:29,000 --> 01:54:31,280
Speaker 1: afraid to show in a little bit of an edge. Yeah,

2037
01:54:31,520 --> 01:54:34,160
Speaker 1: but he's warm underneath. But he stand me right away.

2038
01:54:34,440 --> 01:54:36,080
Speaker 1: There were two things for those people who may not

2039
01:54:36,160 --> 01:54:38,879
Speaker 1: be aware. There's this, you know, movie with the soundtrack

2040
01:54:38,960 --> 01:54:43,200
Speaker 1: called Greatest Showman. And we are living in a world

2041
01:54:43,400 --> 01:54:46,240
Speaker 1: where if you look at the Spotify top fifty, it's

2042
01:54:46,240 --> 01:54:48,800
Speaker 1: all hip hop. All you read about is hip hop.

2043
01:54:49,280 --> 01:54:54,080
Speaker 1: But this album is unbelievably successful, was number one in

2044
01:54:54,440 --> 01:54:57,640
Speaker 1: UK for twenty one weeks and definitely the best selling

2045
01:54:57,680 --> 01:55:00,839
Speaker 1: album of the year I think in America, even exceeding

2046
01:55:00,920 --> 01:55:05,640
Speaker 1: Drake Now. It is an album, especially the single with

2047
01:55:06,000 --> 01:55:07,960
Speaker 1: the name of which I don't remember they sang on

2048
01:55:08,080 --> 01:55:11,960
Speaker 1: the oscars, I believe has melody in it. It's exactly

2049
01:55:12,040 --> 01:55:16,360
Speaker 1: what you were talking. It's not exactly, but it has melody,

2050
01:55:16,440 --> 01:55:22,200
Speaker 1: but it's overstated, like wait, wait, say it's this is

2051
01:55:22,320 --> 01:55:26,160
Speaker 1: like writing about Greta van Fleet. If you've heard led

2052
01:55:26,320 --> 01:55:29,600
Speaker 1: Zeppelin you say, hey, this is our SATs By the

2053
01:55:29,680 --> 01:55:32,960
Speaker 1: same token. Then wasn't that amount of communication If you

2054
01:55:33,040 --> 01:55:36,520
Speaker 1: were listening to all the British blues bands of the

2055
01:55:36,640 --> 01:55:40,880
Speaker 1: late sixties or early seventies, people heard the originals this

2056
01:55:41,040 --> 01:55:44,120
Speaker 1: year Robert Johnson, this is not the same thing. But

2057
01:55:44,240 --> 01:55:48,280
Speaker 1: what I feel, as I'm busy explaining and justifying myself here,

2058
01:55:49,400 --> 01:55:52,480
Speaker 1: I feel with The Greatest Showman. My main point was

2059
01:55:52,880 --> 01:55:58,560
Speaker 1: there's an alternative to what everybody thinks is the default

2060
01:55:58,720 --> 01:56:02,000
Speaker 1: music of today. The act that Greatest Showman is successful

2061
01:56:02,320 --> 01:56:06,320
Speaker 1: shows that there are opportunities for other things, as opposed

2062
01:56:06,360 --> 01:56:08,520
Speaker 1: to me sitting here and saying oh, Greatest Showman is

2063
01:56:08,600 --> 01:56:11,240
Speaker 1: so great. Yeah, well that's true. I can I can

2064
01:56:11,280 --> 01:56:13,240
Speaker 1: go with you that far. But that's all I meant.

2065
01:56:13,360 --> 01:56:15,640
Speaker 1: You know, as I say, you know you're right. Stuff

2066
01:56:16,000 --> 01:56:18,000
Speaker 1: is one of the problems writing you if you were

2067
01:56:18,000 --> 01:56:21,200
Speaker 1: gonna write I have enough problems with this anyway you're

2068
01:56:21,200 --> 01:56:22,920
Speaker 1: writing it. Oh, this person is gonna have a problem

2069
01:56:23,000 --> 01:56:25,080
Speaker 1: with this, so I gotta add a sentence here, I

2070
01:56:25,160 --> 01:56:28,320
Speaker 1: gotta sence here. It ended up being, you know, everything,

2071
01:56:28,400 --> 01:56:31,960
Speaker 1: where and what. My point was just so to illuminate

2072
01:56:32,040 --> 01:56:35,320
Speaker 1: that there's a world beyond hip hop. And then when

2073
01:56:35,440 --> 01:56:39,280
Speaker 1: someone slams me Danny, you know, I just written it.

2074
01:56:39,400 --> 01:56:41,200
Speaker 1: You hear from Danny, it's like eleven o'clock at the

2075
01:56:41,320 --> 01:56:44,600
Speaker 1: night here. You never it's like come on. I mean,

2076
01:56:44,680 --> 01:56:47,120
Speaker 1: it's like I just wrote it and you know better.

2077
01:56:47,200 --> 01:56:49,840
Speaker 1: We're on the same team here. But it's you know,

2078
01:56:50,080 --> 01:56:54,280
Speaker 1: and it's always funny in email, because you know, arguments

2079
01:56:54,320 --> 01:56:57,840
Speaker 1: can get really you can. You can misinterpret someone's meanings

2080
01:56:57,920 --> 01:57:01,240
Speaker 1: so quickly in a in a written sentence, instead of

2081
01:57:01,280 --> 01:57:07,160
Speaker 1: hearing them say it. He was couch was indignant, and

2082
01:57:07,320 --> 01:57:10,720
Speaker 1: my first is said, you're really indignant about this. I mean,

2083
01:57:10,760 --> 01:57:14,560
Speaker 1: as we're sitting here was I talking Sergeant Pepper. It's like,

2084
01:57:15,080 --> 01:57:17,840
Speaker 1: come on. So he was so indignant. I said, fuck

2085
01:57:17,920 --> 01:57:21,200
Speaker 1: you back that I that I did that. You know

2086
01:57:21,360 --> 01:57:23,920
Speaker 1: that we're gonna get email style. I won't say that

2087
01:57:24,040 --> 01:57:26,800
Speaker 1: to somebody I don't know unless I know there's gonna

2088
01:57:26,800 --> 01:57:28,720
Speaker 1: be consequence. I just did that to make him re

2089
01:57:28,880 --> 01:57:32,040
Speaker 1: evaluate where he was coming from, right, not not to

2090
01:57:32,280 --> 01:57:34,640
Speaker 1: like make him piste off. It's like, come on, but

2091
01:57:34,800 --> 01:57:37,480
Speaker 1: I must say, and I understand what you're saying about.

2092
01:57:38,600 --> 01:57:41,640
Speaker 1: There is a world aside from hipp a grant that

2093
01:57:41,720 --> 01:57:45,280
Speaker 1: that's a very valid observation. But I went and I

2094
01:57:45,360 --> 01:57:48,280
Speaker 1: made a point of it before coming in. I sat

2095
01:57:48,320 --> 01:57:50,600
Speaker 1: down and listened to all those fucking songs in that movie,

2096
01:57:50,640 --> 01:57:54,760
Speaker 1: you know. And like I said, I hate to doubt,

2097
01:57:55,160 --> 01:57:59,920
Speaker 1: doubt or put down anyone's work, any every work. Yeah, well,

2098
01:58:00,000 --> 01:58:04,320
Speaker 1: all good, Well I don't care. I don't care for

2099
01:58:04,520 --> 01:58:06,880
Speaker 1: that music. Okay. First of all, you probably listen to

2100
01:58:06,920 --> 01:58:10,280
Speaker 1: it more than I did. Secondly, have you seen it

2101
01:58:10,360 --> 01:58:15,520
Speaker 1: with the picture would put it in perspective? Songs? Well

2102
01:58:15,560 --> 01:58:18,120
Speaker 1: the movie. I haven't seen the movie other than snippets

2103
01:58:18,120 --> 01:58:19,680
Speaker 1: here and there. No one seems to think the movie

2104
01:58:19,760 --> 01:58:21,600
Speaker 1: is any good. At the same time of this, this

2105
01:58:21,680 --> 01:58:25,320
Speaker 1: movie next Netflix about a kissing booth, which everybody says

2106
01:58:25,440 --> 01:58:29,720
Speaker 1: is shitty, but it's also a phenomenon, so it's you

2107
01:58:29,800 --> 01:58:33,000
Speaker 1: know this this crosses over to news too. You know,

2108
01:58:33,120 --> 01:58:34,960
Speaker 1: I'm on the hand. You have the people who were

2109
01:58:35,040 --> 01:58:37,600
Speaker 1: reading these news sites that people make up in their basement,

2110
01:58:37,880 --> 01:58:40,800
Speaker 1: the theoretical forder pound guy that Trump is talking about,

2111
01:58:41,360 --> 01:58:45,560
Speaker 1: and then you have the the big newspapers, and you say, well,

2112
01:58:45,640 --> 01:58:48,360
Speaker 1: what are they missing? But without going deeper into this

2113
01:58:48,600 --> 01:58:51,080
Speaker 1: rabbit hole, which I'd be willing to, but I'm not

2114
01:58:51,160 --> 01:58:53,240
Speaker 1: sure your audience wants to hear it. Are you a

2115
01:58:53,360 --> 01:58:57,920
Speaker 1: gear freak? No, not at all. How many guitars you owned? Well,

2116
01:58:57,960 --> 01:59:00,040
Speaker 1: the guitars aren't gear. You know what I mean it,

2117
01:59:00,200 --> 01:59:03,160
Speaker 1: I mean, that's what you mean. I I don't own

2118
01:59:03,760 --> 01:59:06,000
Speaker 1: a plethora of guitars like some of my friends do.

2119
01:59:06,600 --> 01:59:10,240
Speaker 1: I have quite a few forty I don't know if

2120
01:59:10,240 --> 01:59:13,840
Speaker 1: I have forty. I have like, I don't know. I

2121
01:59:13,920 --> 01:59:16,440
Speaker 1: have like three J Gibson J two hundreds. I have

2122
01:59:16,520 --> 01:59:20,680
Speaker 1: about four maybe five less Poles. I have a couple

2123
01:59:20,720 --> 01:59:23,960
Speaker 1: of Fender Strats, I have some telecasters. I've got a

2124
01:59:24,000 --> 01:59:28,520
Speaker 1: bunch more acoustic guitars. I've got dough Bro guitar, Hawaiian

2125
01:59:28,600 --> 01:59:30,760
Speaker 1: lap steel guitars. You know what I mean. I don't.

2126
01:59:30,960 --> 01:59:33,920
Speaker 1: I don't have a warehouse full of guitars. Put it

2127
01:59:34,000 --> 01:59:37,120
Speaker 1: that way, but I don't. I just remember when I played,

2128
01:59:37,320 --> 01:59:40,200
Speaker 1: you know, in the sixties, when everybody played every guitar,

2129
01:59:40,400 --> 01:59:43,120
Speaker 1: even if it was the same model, sounded a little different.

2130
01:59:43,960 --> 01:59:47,080
Speaker 1: Still the same today. Yeah, do you have one particular

2131
01:59:47,160 --> 01:59:51,120
Speaker 1: guitar that your go to guitar? Well, I've came up

2132
01:59:51,160 --> 01:59:56,000
Speaker 1: playing my sixty less Paul. I brought it from Steve

2133
01:59:56,080 --> 01:59:58,480
Speaker 1: Stills when we first met. Stuff like that, And why

2134
01:59:58,600 --> 02:00:02,200
Speaker 1: was it just had this room full of guitars and

2135
02:00:02,920 --> 02:00:04,920
Speaker 1: and I at that point, I I was still playing

2136
02:00:04,960 --> 02:00:07,320
Speaker 1: my big jazz guitar and not not the L seven.

2137
02:00:07,360 --> 02:00:09,960
Speaker 1: There's this thing called Super four hundred that Frank's Apple

2138
02:00:10,040 --> 02:00:12,040
Speaker 1: was playing when I saw him in the village. It

2139
02:00:12,200 --> 02:00:14,880
Speaker 1: was this big, old fat Gibson. It was gorgeous. I said,

2140
02:00:14,920 --> 02:00:18,200
Speaker 1: that's what I want someday. And uh so when I

2141
02:00:18,280 --> 02:00:22,120
Speaker 1: moved out to California, I got myself Super four hundred

2142
02:00:23,600 --> 02:00:27,160
Speaker 1: and it was great. But what are we talking about

2143
02:00:27,440 --> 02:00:32,160
Speaker 1: for good? Yeah? So and then we were rehearsing at

2144
02:00:32,280 --> 02:00:34,760
Speaker 1: s I R. And the only people there were Corosi

2145
02:00:34,800 --> 02:00:37,720
Speaker 1: Stills in Nash and my band and I looked in

2146
02:00:37,760 --> 02:00:40,320
Speaker 1: their room and there was like a circle of guitars

2147
02:00:40,360 --> 02:00:43,640
Speaker 1: all around the whole room, and I went, wow, I

2148
02:00:43,720 --> 02:00:45,600
Speaker 1: was thinking less poor again. I was getting sick of

2149
02:00:45,640 --> 02:00:49,360
Speaker 1: the big box. So what, Steve, would you consider selling

2150
02:00:49,440 --> 02:00:51,440
Speaker 1: one of any one of those guitars? He goes, why

2151
02:00:51,480 --> 02:00:54,680
Speaker 1: don't we just trade rooms tonight, you guys rehearsing our room,

2152
02:00:54,920 --> 02:00:57,440
Speaker 1: and we'll use your room and just try pick whichever

2153
02:00:57,520 --> 02:01:02,080
Speaker 1: one you want. Really great, man, fantastic. So we did that,

2154
02:01:02,200 --> 02:01:04,640
Speaker 1: and I went through all these less poles and came

2155
02:01:04,720 --> 02:01:09,200
Speaker 1: up with this Sunburst that was just gorgeous, and and

2156
02:01:09,280 --> 02:01:11,800
Speaker 1: I got that one so that I used that on

2157
02:01:11,880 --> 02:01:15,800
Speaker 1: every record I did forever, you know, and I made

2158
02:01:15,800 --> 02:01:18,760
Speaker 1: I used to do what I called my phony steel guitar,

2159
02:01:19,160 --> 02:01:21,960
Speaker 1: and that's how I did a lot of sessions, just

2160
02:01:22,000 --> 02:01:24,080
Speaker 1: plug right into the board. I'm sorry when you said

2161
02:01:24,080 --> 02:01:26,600
Speaker 1: gear Free made like pedals and things like that, because

2162
02:01:26,640 --> 02:01:30,600
Speaker 1: I don't use any but I using any volume pedal

2163
02:01:30,760 --> 02:01:34,040
Speaker 1: like a steel guitar. But I would plug right into

2164
02:01:34,040 --> 02:01:36,240
Speaker 1: the board and just you know, put some reverb on

2165
02:01:36,320 --> 02:01:39,320
Speaker 1: it and play that way. And uh, that's the first

2166
02:01:39,360 --> 02:01:42,680
Speaker 1: thing I did like on Randy's record, not on short People.

2167
02:01:42,760 --> 02:01:45,600
Speaker 1: That's playing some slide. But there's a single writer in

2168
02:01:45,640 --> 02:01:47,880
Speaker 1: the rain on that great record. And I'm playing my

2169
02:01:47,920 --> 02:01:50,400
Speaker 1: phony pedal steel guitar and it's great. Randy loved it.

2170
02:01:50,480 --> 02:01:55,200
Speaker 1: And but so I used my last pole until it

2171
02:01:55,360 --> 02:01:57,600
Speaker 1: broke too many times and I had to replace it.

2172
02:01:57,680 --> 02:02:01,480
Speaker 1: And now I played this other three less poll it's

2173
02:02:01,600 --> 02:02:03,360
Speaker 1: it's it's I call it a white one, but it's

2174
02:02:03,360 --> 02:02:06,000
Speaker 1: actually a gold top spray painted white that I just

2175
02:02:06,080 --> 02:02:09,120
Speaker 1: found in this shop one day and it's great. And

2176
02:02:10,000 --> 02:02:12,880
Speaker 1: the road, oh yeah, that goes on the road. My my, My,

2177
02:02:13,240 --> 02:02:16,800
Speaker 1: My original less pole stays home. It's ensured for a

2178
02:02:16,840 --> 02:02:20,240
Speaker 1: lot of bread. It's very valuable and it's gorgeous. And

2179
02:02:20,400 --> 02:02:26,560
Speaker 1: but Gibson made a Waddy walktail model I walktail less

2180
02:02:26,560 --> 02:02:30,000
Speaker 1: pool and they copied my guitar exactly, my sixty. It's

2181
02:02:30,040 --> 02:02:32,680
Speaker 1: just sunburst and it's beautiful. They did a great job. Okay,

2182
02:02:32,920 --> 02:02:35,160
Speaker 1: So will you play that guitar? Yeah, I use it. Yeah,

2183
02:02:35,960 --> 02:02:38,240
Speaker 1: I got a white one in that one, okay. And

2184
02:02:38,360 --> 02:02:42,320
Speaker 1: then how about amps amp seven using this company called

2185
02:02:42,320 --> 02:02:45,800
Speaker 1: black Star really sweet sounding amps. I used to play

2186
02:02:46,200 --> 02:02:48,600
Speaker 1: everything and when we did all the records in the

2187
02:02:48,760 --> 02:02:50,920
Speaker 1: in the seventies and stuff, they were music Man was

2188
02:02:51,000 --> 02:02:55,800
Speaker 1: the amp, and that was Leo, that's right, And we

2189
02:02:55,920 --> 02:02:57,800
Speaker 1: had they were small enough to have live in the

2190
02:02:57,840 --> 02:03:01,240
Speaker 1: studio and I'd be here Andrew be here right next

2191
02:03:01,280 --> 02:03:03,080
Speaker 1: to each other, and you have a little baffle in between,

2192
02:03:03,200 --> 02:03:06,200
Speaker 1: and and it was loud enough. But and then I

2193
02:03:06,320 --> 02:03:08,560
Speaker 1: went from those to my marshals and stuff like that.

2194
02:03:08,760 --> 02:03:14,040
Speaker 1: And and then Fender makes a great ample of vibro king,

2195
02:03:15,080 --> 02:03:16,800
Speaker 1: so I was using that for a while. To this

2196
02:03:16,960 --> 02:03:21,200
Speaker 1: is a current or an old model. It's current is

2197
02:03:21,440 --> 02:03:26,160
Speaker 1: meaning right with the last twenty years. So so I

2198
02:03:26,240 --> 02:03:28,320
Speaker 1: was using that. I was using two of those together,

2199
02:03:28,360 --> 02:03:32,320
Speaker 1: which is enough to like, shave you really loud and

2200
02:03:32,560 --> 02:03:36,240
Speaker 1: very brilliant. Is you're hearing? Yeah? My hearing. I don't

2201
02:03:36,280 --> 02:03:38,160
Speaker 1: know why, but it's okay. You don't have to wear

2202
02:03:38,200 --> 02:03:41,400
Speaker 1: the hearing age or anything. And I'm not that good

2203
02:03:41,440 --> 02:03:44,160
Speaker 1: on I do say what a lot, like like my

2204
02:03:44,320 --> 02:03:49,960
Speaker 1: father what. But no, my hearing is surprisingly good. I

2205
02:03:50,040 --> 02:03:53,840
Speaker 1: don't know why that is. But so that these black

2206
02:03:53,880 --> 02:03:56,520
Speaker 1: Star amps are beautiful sounding, so I've been used them lately.

2207
02:03:56,960 --> 02:04:02,320
Speaker 1: And then greatest guitarist of all time? Hard to say

2208
02:04:02,400 --> 02:04:08,640
Speaker 1: that one? Who are your favorites? Well, uh starts to

2209
02:04:08,720 --> 02:04:11,400
Speaker 1: jazz Johnny Smith. If you know Johnny Smith, is you

2210
02:04:11,440 --> 02:04:16,200
Speaker 1: know that Johnny Smith was a jazz player who all

2211
02:04:16,280 --> 02:04:18,400
Speaker 1: the other jazz players said he's too corny and he's

2212
02:04:18,440 --> 02:04:21,840
Speaker 1: too fucking square. But this guy is the most incredible

2213
02:04:22,280 --> 02:04:26,320
Speaker 1: guitar player ever and he wrote And I didn't even

2214
02:04:26,360 --> 02:04:28,240
Speaker 1: know this for years, and it's funny. I just did

2215
02:04:28,360 --> 02:04:31,800
Speaker 1: an interview with the daughter of one of the Ventures

2216
02:04:32,560 --> 02:04:37,800
Speaker 1: and that song walk Don't Run was written by Johnny Smith.

2217
02:04:38,320 --> 02:04:40,520
Speaker 1: And I didn't even I wasn't even aware of it.

2218
02:04:40,640 --> 02:04:43,800
Speaker 1: I had all these Johnny Smith records and one day

2219
02:04:43,960 --> 02:04:48,120
Speaker 1: I was home and and I went, walk Don't Run,

2220
02:04:49,600 --> 02:04:53,000
Speaker 1: And I looked at the Ventures record it says j Smith, Oh,

2221
02:04:53,080 --> 02:04:55,040
Speaker 1: this can't be. And I went and I played it

2222
02:04:55,120 --> 02:05:00,040
Speaker 1: and it's this beautiful shuffles, really gorgeous little lazz and

2223
02:05:01,800 --> 02:05:04,000
Speaker 1: uh so I asked her, I said, how did the

2224
02:05:04,120 --> 02:05:07,720
Speaker 1: Ventures find that song? And she wasn't even sure that

2225
02:05:07,920 --> 02:05:09,760
Speaker 1: someone just found it one day on a record and

2226
02:05:10,920 --> 02:05:13,040
Speaker 1: thought it would make a good roll. So I thought

2227
02:05:13,080 --> 02:05:15,480
Speaker 1: that started with the ventures. I didn't know that well

2228
02:05:15,560 --> 02:05:18,200
Speaker 1: it did, but it came from this guy, Johnny Smith.

2229
02:05:18,240 --> 02:05:21,920
Speaker 1: So anyway, Johnny Smith was my god like idol. He

2230
02:05:22,080 --> 02:05:27,560
Speaker 1: was incredible. But Jimmy Hendricks was unbelievable, you know. Jimmy

2231
02:05:27,600 --> 02:05:32,720
Speaker 1: Page is fantastic, Keith is unreal with the best rhythm

2232
02:05:32,760 --> 02:05:35,600
Speaker 1: playing in the world, and and someone amazing leads too,

2233
02:05:36,240 --> 02:05:38,440
Speaker 1: But Mick was Mick Taylor is great. As there's too

2234
02:05:38,480 --> 02:05:41,520
Speaker 1: many guys, it's just impossible to say a favorite. I

2235
02:05:41,560 --> 02:05:44,320
Speaker 1: always thought of the rock guitars, I thought that Jeff

2236
02:05:44,360 --> 02:05:47,000
Speaker 1: Beck was the best. Jeff is great, but he's but

2237
02:05:47,120 --> 02:05:51,120
Speaker 1: Jimmy Page can do amazing things too, So what he is,

2238
02:05:51,280 --> 02:05:52,880
Speaker 1: you know? Well, the only one there was those these

2239
02:05:53,080 --> 02:05:56,040
Speaker 1: Arms concerts. I don't yeah, you know, let me tell you.

2240
02:05:56,720 --> 02:05:58,880
Speaker 1: It's funny to say that because I had never seen

2241
02:05:59,000 --> 02:06:03,280
Speaker 1: Jeff and I went to that show and there he

2242
02:06:03,480 --> 02:06:06,760
Speaker 1: was planning. He was fantastic and it was great, and

2243
02:06:07,000 --> 02:06:10,640
Speaker 1: I loved that his tone was beautiful. He's doing great.

2244
02:06:11,800 --> 02:06:14,800
Speaker 1: He got a good, good, good applause, you know, And

2245
02:06:14,920 --> 02:06:19,520
Speaker 1: then a few minutes later, Jimmy Page just walked out

2246
02:06:19,640 --> 02:06:22,040
Speaker 1: onto the stage, didn't even have a guitar on. He

2247
02:06:22,200 --> 02:06:25,800
Speaker 1: just kind of came out and Madison Square Garden almost

2248
02:06:25,920 --> 02:06:30,640
Speaker 1: self destructed. It was like, what's happening? Oh my god?

2249
02:06:31,440 --> 02:06:33,760
Speaker 1: And I could see Jeff backstage was just just been

2250
02:06:33,800 --> 02:06:36,120
Speaker 1: killing himself. What the funk do I have to do

2251
02:06:36,760 --> 02:06:38,560
Speaker 1: to get over well? You know, I thought this was

2252
02:06:39,360 --> 02:06:43,640
Speaker 1: Ronnie Lane of the faces about these benefit concerts, multiple roses,

2253
02:06:44,120 --> 02:06:48,440
Speaker 1: and it had all three of them. Clapton played, Beck played,

2254
02:06:49,000 --> 02:06:52,880
Speaker 1: and Paige played with Paul Rodgers, and and that wasn't

2255
02:06:52,920 --> 02:06:54,800
Speaker 1: in good shape that night either. He was a mess

2256
02:06:54,960 --> 02:06:57,240
Speaker 1: right in l A. I thought that Beck blew him

2257
02:06:57,240 --> 02:07:00,680
Speaker 1: off the stage. But you know, we saw a different Well,

2258
02:07:01,000 --> 02:07:06,720
Speaker 1: like I said, Jeff played better. But it was like

2259
02:07:08,160 --> 02:07:11,040
Speaker 1: night and day and it was a big bright day.

2260
02:07:11,160 --> 02:07:12,840
Speaker 1: Let me tell you when Paige when Page, he came

2261
02:07:12,880 --> 02:07:15,400
Speaker 1: out on that stage and he was you know, he

2262
02:07:15,520 --> 02:07:17,480
Speaker 1: was just getting over smacked then and stuff. He was

2263
02:07:17,520 --> 02:07:21,760
Speaker 1: a mess, but he was so cool. It was ridiculous.

2264
02:07:21,840 --> 02:07:25,600
Speaker 1: I mean, Jeff is an incredible player, ridiculous. But at

2265
02:07:25,640 --> 02:07:28,640
Speaker 1: the same time as Jimmy Pages trying to get through

2266
02:07:29,600 --> 02:07:31,840
Speaker 1: she got the double neck on trying to get through

2267
02:07:31,960 --> 02:07:34,280
Speaker 1: stairway to Heaven and it's a mess. And his solos

2268
02:07:34,320 --> 02:07:36,680
Speaker 1: are a mess. His solos on records are a mess.

2269
02:07:37,200 --> 02:07:40,160
Speaker 1: But some of his things that he does are so brilliant.

2270
02:07:40,800 --> 02:07:43,680
Speaker 1: Record but I was gonna say it was at the

2271
02:07:43,880 --> 02:07:51,080
Speaker 1: end of this mess of stairway, all of a sudden

2272
02:07:51,880 --> 02:07:55,600
Speaker 1: the guitar. He just takes the guitar off, and I said,

2273
02:07:55,600 --> 02:07:58,160
Speaker 1: what's he doing? And he just here's the back end

2274
02:07:58,200 --> 02:08:00,320
Speaker 1: of it, and here's the double necks and he picks

2275
02:08:00,320 --> 02:08:02,640
Speaker 1: it up like this. He grabbed it like this at

2276
02:08:03,000 --> 02:08:05,760
Speaker 1: his like like this and held it like that and

2277
02:08:05,800 --> 02:08:07,880
Speaker 1: it's straight up in his hand, held it like that

2278
02:08:07,960 --> 02:08:11,680
Speaker 1: over the audience just going insane, And so was I

2279
02:08:12,360 --> 02:08:15,600
Speaker 1: look at this guy, where did he learned that? That

2280
02:08:15,800 --> 02:08:18,600
Speaker 1: is the coolest thing I've ever seen? You know, he

2281
02:08:18,680 --> 02:08:20,600
Speaker 1: didn't have to do, he didn't have to play great,

2282
02:08:20,680 --> 02:08:23,520
Speaker 1: but Jimmy Page is a brilliant guitar player. Well so

2283
02:08:23,640 --> 02:08:26,120
Speaker 1: also he wrote that stuff for the stuff that he

2284
02:08:26,200 --> 02:08:29,920
Speaker 1: didn't introduced it introduced it, and I mean, you know,

2285
02:08:29,960 --> 02:08:31,880
Speaker 1: it's just some of those things that you know over

2286
02:08:31,920 --> 02:08:34,880
Speaker 1: the hills and far away, like acoustic part, What where's

2287
02:08:34,920 --> 02:08:37,280
Speaker 1: that coming from? You know, that's amazing. You know, nobody

2288
02:08:37,360 --> 02:08:39,760
Speaker 1: can come up with stuff like that. I love. I

2289
02:08:39,760 --> 02:08:42,160
Speaker 1: don't know if you know the song Physical Graffiti ten

2290
02:08:42,280 --> 02:08:47,840
Speaker 1: years gone. Damn dam at the end, especially his licks

2291
02:08:47,880 --> 02:08:54,000
Speaker 1: at the end over that figure, so gorgeous. He's serious, man, Okay,

2292
02:08:54,080 --> 02:08:55,680
Speaker 1: just a couple since we're into deep, I gotta tell

2293
02:08:55,680 --> 02:08:58,440
Speaker 1: you he came to the joint one night. Somebody said,

2294
02:08:59,360 --> 02:09:03,840
Speaker 1: jim just you know what, Come on, you gotta be kidding.

2295
02:09:03,880 --> 02:09:07,600
Speaker 1: He says, no, he's he's outside in the varlt really.

2296
02:09:09,040 --> 02:09:11,240
Speaker 1: So I went out there and I see this white

2297
02:09:11,320 --> 02:09:15,240
Speaker 1: hair and I went, Jimmy, yes, you know he's the

2298
02:09:15,320 --> 02:09:20,880
Speaker 1: gentlest right right exactly. He goes, of course you are?

2299
02:09:22,560 --> 02:09:25,320
Speaker 1: How are you? Man? And I said, oh man, I said,

2300
02:09:25,320 --> 02:09:27,800
Speaker 1: I'm so thrilled that you're here. Do you do you

2301
02:09:27,880 --> 02:09:30,120
Speaker 1: want to come play with? No, he says, I'm just

2302
02:09:30,240 --> 02:09:33,520
Speaker 1: here to watch, man, I'm just here to watch. It

2303
02:09:33,720 --> 02:09:36,000
Speaker 1: was too much, man, it blew me away. Oh yeah,

2304
02:09:36,280 --> 02:09:38,800
Speaker 1: we have those moments. I won't whip out mind. But

2305
02:09:38,880 --> 02:09:41,080
Speaker 1: it's not quite the same thing. But the one night

2306
02:09:41,120 --> 02:09:43,400
Speaker 1: I spent it was after the uh premiere of It

2307
02:09:43,520 --> 02:09:46,520
Speaker 1: Might Get Loud, the guitar movie You Knows Him and

2308
02:09:46,680 --> 02:09:50,160
Speaker 1: Jack White and the Edge was not there the after party,

2309
02:09:50,360 --> 02:09:52,160
Speaker 1: and people want to talk about he's so gentle. You

2310
02:09:52,240 --> 02:09:56,320
Speaker 1: can't imagine the same guy with these legendary stories. What

2311
02:09:56,440 --> 02:09:59,919
Speaker 1: about Eddie van Halen, And he's a great player, amazing

2312
02:10:00,000 --> 02:10:06,280
Speaker 1: guitar player. Of records, Any specific records that stick out

2313
02:10:06,320 --> 02:10:08,880
Speaker 1: with you? You say, Johnny Smith in terms of guitar player,

2314
02:10:09,280 --> 02:10:11,760
Speaker 1: Any great records? You say, Wow, this is just you know,

2315
02:10:11,880 --> 02:10:16,600
Speaker 1: my favorite, I mean just anything? Well, I mean yeah,

2316
02:10:16,680 --> 02:10:19,520
Speaker 1: I mean you can start with quarter to three by

2317
02:10:19,800 --> 02:10:22,560
Speaker 1: Garry us Bonds. I mean New Orleans, I should say

2318
02:10:22,640 --> 02:10:25,760
Speaker 1: not quarter three. Quarter three was great? But remember where

2319
02:10:25,760 --> 02:10:27,520
Speaker 1: you how you how you felt the first time you

2320
02:10:27,600 --> 02:10:31,120
Speaker 1: heard that song, or good vibrations or you know, I

2321
02:10:31,200 --> 02:10:33,760
Speaker 1: want to hold your hand or no. I mean there's

2322
02:10:34,000 --> 02:10:39,080
Speaker 1: countless incredible moments in our lives. We've been so lucky

2323
02:10:39,160 --> 02:10:42,640
Speaker 1: to live and to hear these things. And I don't know,

2324
02:10:42,760 --> 02:10:44,760
Speaker 1: I mean, take it so hard when we put that

2325
02:10:44,880 --> 02:10:47,640
Speaker 1: record out with Keith at first single, Are you kidding me?

2326
02:10:47,800 --> 02:10:51,800
Speaker 1: That's like that's some badass rock and roll right there, man,

2327
02:10:52,120 --> 02:10:54,760
Speaker 1: that's some fucking serious rocket. Okay, So yout home, do

2328
02:10:54,840 --> 02:10:58,320
Speaker 1: you play music at this point? Well, you know somewhat.

2329
02:10:58,480 --> 02:11:01,080
Speaker 1: My wife plays more records than I. You you know,

2330
02:11:01,240 --> 02:11:04,240
Speaker 1: I on the road, I I play music. I bother

2331
02:11:04,320 --> 02:11:07,880
Speaker 1: people all the time. You know. I have this Marshall's thing.

2332
02:11:08,080 --> 02:11:11,400
Speaker 1: Marshall made this boom box. It's great. So I'm backstage

2333
02:11:11,440 --> 02:11:13,640
Speaker 1: before shows, I'm blast in rock and roll all the time.

2334
02:11:14,400 --> 02:11:17,480
Speaker 1: But at home, my wife takes over on the records.

2335
02:11:18,000 --> 02:11:21,360
Speaker 1: I'm usually just trying to learn, you know, some Hawaiian stuff,

2336
02:11:21,440 --> 02:11:23,520
Speaker 1: or playing working in my studio, you know, I do

2337
02:11:23,760 --> 02:11:26,200
Speaker 1: a lot of times now you work at home. You

2338
02:11:26,240 --> 02:11:29,480
Speaker 1: know people you're actually recording on home. People say, yeah,

2339
02:11:30,120 --> 02:11:32,680
Speaker 1: how extensive a studio do you have. I have a

2340
02:11:34,880 --> 02:11:36,880
Speaker 1: You couldn't record a whole band in it, let's put

2341
02:11:36,880 --> 02:11:39,000
Speaker 1: it that way, you know, but you could record a

2342
02:11:39,040 --> 02:11:41,280
Speaker 1: couple of guys playing the guitars together, a guitar and

2343
02:11:41,360 --> 02:11:44,640
Speaker 1: bass singer. You know. I don't have a drum room.

2344
02:11:45,520 --> 02:11:48,320
Speaker 1: It's a workstation where you call it right. And you're

2345
02:11:48,640 --> 02:11:52,160
Speaker 1: pretty savvy with pro tools. I use digital Performer actually,

2346
02:11:52,720 --> 02:11:56,800
Speaker 1: because when I started doing scoring for film pro tools

2347
02:11:56,960 --> 02:11:59,240
Speaker 1: MIDI was not happening at all, and everyone said, no,

2348
02:11:59,320 --> 02:12:02,480
Speaker 1: you gotta use digital Performer, and I didn't know anything

2349
02:12:02,520 --> 02:12:05,320
Speaker 1: about any of it. So performers where I went, and

2350
02:12:05,480 --> 02:12:09,280
Speaker 1: now I'm versed in performers, so I don't feel the

2351
02:12:09,400 --> 02:12:12,960
Speaker 1: need to switch over. And how often will someone just

2352
02:12:13,040 --> 02:12:16,040
Speaker 1: send you something to say put something on it? You know? Often?

2353
02:12:16,600 --> 02:12:20,560
Speaker 1: I mean I just got done doing that with Holly Knights,

2354
02:12:20,600 --> 02:12:24,240
Speaker 1: a great, great songwriter, and uh, it was funny. I

2355
02:12:24,320 --> 02:12:27,000
Speaker 1: did something for Holly a couple but three years ago,

2356
02:12:27,040 --> 02:12:30,240
Speaker 1: I mean four years ago, and then she wrote to

2357
02:12:30,280 --> 02:12:32,040
Speaker 1: me and said, I've got another song working on it

2358
02:12:33,000 --> 02:12:35,760
Speaker 1: and uh, which could you put some guitars on it?

2359
02:12:35,760 --> 02:12:36,920
Speaker 1: And I said sure, I'd love to her, so I

2360
02:12:37,000 --> 02:12:39,240
Speaker 1: did sent them to her. She said, yeah, it's great,

2361
02:12:39,280 --> 02:12:40,960
Speaker 1: but it's not quiet this and not quite that. And

2362
02:12:41,000 --> 02:12:45,160
Speaker 1: finally I said, Holly, and it's great. It's great when

2363
02:12:45,200 --> 02:12:48,440
Speaker 1: someone knows what they want. You know, it's either you

2364
02:12:48,520 --> 02:12:51,960
Speaker 1: know exactly what you want or you let someone you

2365
02:12:52,080 --> 02:12:54,920
Speaker 1: trust give you what they want that what they think

2366
02:12:55,040 --> 02:12:59,400
Speaker 1: is right, and it works out both ways. But Holly

2367
02:12:59,400 --> 02:13:01,240
Speaker 1: said it not quite. I said, Holly, why don't you

2368
02:13:01,320 --> 02:13:05,320
Speaker 1: come here because otherwise I'm gonna be sending you stuff

2369
02:13:05,760 --> 02:13:08,120
Speaker 1: for months? You know, why don't you just come here

2370
02:13:08,160 --> 02:13:09,760
Speaker 1: and we'll just do it together. So she came out

2371
02:13:09,800 --> 02:13:11,880
Speaker 1: to my house and we met. We've we've never met,

2372
02:13:12,000 --> 02:13:13,840
Speaker 1: you know. We we've done it this way, you know.

2373
02:13:13,920 --> 02:13:16,560
Speaker 1: And I worked for Val Garage and several albums for

2374
02:13:16,640 --> 02:13:19,400
Speaker 1: him that way, you know. As a matter of fact,

2375
02:13:20,920 --> 02:13:24,560
Speaker 1: on Keith's last record, I went to New York and

2376
02:13:24,720 --> 02:13:27,040
Speaker 1: played with him on some of it, but on some

2377
02:13:27,160 --> 02:13:29,280
Speaker 1: of it they sent some of the tracks to me

2378
02:13:29,360 --> 02:13:31,640
Speaker 1: and I put stuff on it at my house, you know.

2379
02:13:32,440 --> 02:13:36,160
Speaker 1: So it doesn't matter where you are so at this

2380
02:13:36,360 --> 02:13:38,960
Speaker 1: late date, anything you want to achieve or do before

2381
02:13:39,200 --> 02:13:44,000
Speaker 1: the grim Reaper shows up, well, I just want to

2382
02:13:44,600 --> 02:13:48,600
Speaker 1: continue being valid musically. And like I said, Danny and

2383
02:13:48,720 --> 02:13:52,120
Speaker 1: Russell and Leland and Postel and myself for this band now,

2384
02:13:52,200 --> 02:13:55,960
Speaker 1: and we've been writing, so writing good songs at this

2385
02:13:56,040 --> 02:13:58,360
Speaker 1: point and being able to perform them would be a

2386
02:13:58,400 --> 02:14:04,560
Speaker 1: great thing. And hearing having people agree it would be

2387
02:14:04,640 --> 02:14:07,560
Speaker 1: a great thing. Getting him heard, which is getting harder

2388
02:14:07,600 --> 02:14:10,360
Speaker 1: and harder when you're this old. But it's getting harder

2389
02:14:10,440 --> 02:14:14,280
Speaker 1: and harder without making a whole podcast about it. Even

2390
02:14:14,320 --> 02:14:15,840
Speaker 1: if you used to be in the first part of

2391
02:14:15,880 --> 02:14:18,440
Speaker 1: the centry, you made something greater with surface. Now you

2392
02:14:18,480 --> 02:14:20,919
Speaker 1: can do something great and it and it won't surface.

2393
02:14:21,320 --> 02:14:24,320
Speaker 1: It's hard to break through the noise. So if you're

2394
02:14:24,360 --> 02:14:26,760
Speaker 1: doing something and not only the noise, I'm sorry, but

2395
02:14:27,240 --> 02:14:30,120
Speaker 1: only the amount of output. It's just so much. The

2396
02:14:30,200 --> 02:14:33,040
Speaker 1: barrier to entry is solo, which is why I have

2397
02:14:33,120 --> 02:14:34,760
Speaker 1: a special deal for you to work on The Greatest

2398
02:14:34,800 --> 02:14:40,720
Speaker 1: Showman Too. But send me the contract exactly. It's as

2399
02:14:41,760 --> 02:14:44,680
Speaker 1: I write the songs, we're ready. But it's you know,

2400
02:14:44,760 --> 02:14:48,160
Speaker 1: it's depressing and overwhelming and one of the problems. You know,

2401
02:14:48,240 --> 02:14:50,080
Speaker 1: And there are a lot of people who say, hey,

2402
02:14:50,200 --> 02:14:52,760
Speaker 1: you know all the good stuff, that stuff today as

2403
02:14:52,760 --> 02:14:55,800
Speaker 1: good as it was yesterday ago. No, it wasn't. It's not.

2404
02:14:56,160 --> 02:14:59,800
Speaker 1: It's like we lived through something. It's like just pulling

2405
02:14:59,840 --> 02:15:02,200
Speaker 1: a record out of my ask like walk Away Renee

2406
02:15:02,640 --> 02:15:05,280
Speaker 1: something you have to hear once. It's got that feeling.

2407
02:15:05,880 --> 02:15:10,200
Speaker 1: Even Pretty Ballerweena also by the Left Bank, it's like, Okay,

2408
02:15:10,240 --> 02:15:12,480
Speaker 1: we can talk about tracks forever. But it's been so

2409
02:15:12,640 --> 02:15:15,960
Speaker 1: great hearing your history and talking about this. Waddy, thanks

2410
02:15:16,000 --> 02:15:18,160
Speaker 1: for coming, my pleasure, Bob, thanks for having me man.

2411
02:15:18,200 --> 02:15:19,880
Speaker 1: I was so glad you asked me to come by.

2412
02:15:20,160 --> 02:15:23,520
Speaker 1: Until next time. It's watery walk tell with me here

2413
02:15:23,600 --> 02:15:30,600
Speaker 1: on the Bob Left sets podcast. How great was that?

2414
02:15:31,320 --> 02:15:33,400
Speaker 1: I mean, I only knew Watty from seeing him on

2415
02:15:33,600 --> 02:15:37,600
Speaker 1: stage at the Roxy, in Films, etcetera. Hearing all those

2416
02:15:37,640 --> 02:15:40,400
Speaker 1: stories how he made it from there, in this case

2417
02:15:40,880 --> 02:15:45,000
Speaker 1: Queen's Forest Hills. To hear it is just unbelievable for

2418
02:15:45,080 --> 02:15:47,000
Speaker 1: those you live through the era and those who didn't.

2419
02:15:47,040 --> 02:15:49,920
Speaker 1: I'm just sure it was astounding even hearing the story

2420
02:15:50,080 --> 02:15:53,760
Speaker 1: Werewolves of London. So you can email me tell me

2421
02:15:53,840 --> 02:15:57,320
Speaker 1: what you think. Until next time, It's Bob Left Sets

2422
02:15:57,600 --> 02:16:03,120
Speaker 1: on my podcast, The Bob Left. That's podcast me reas

2423
02:16:03,600 --> 02:16:11,440
Speaker 1: and don't know exactly why must beeds out of the

2424
02:16:11,720 --> 02:16:14,720
Speaker 1: season Dry