WEBVTT - Waddy Wachtel 0:00:04.400 --> 0:00:08.280 Welcome, Welcome, Welcome to the Bob Left Sets podcast. My 0:00:08.440 --> 0:00:13.880 guest this week is a musician extraordinaire, Wadi Wachtell Watty. 0:00:13.920 --> 0:00:16.320 Good to have you here. How are you you've seen him? 0:00:16.360 --> 0:00:20.600 He's the guy with the long curly hair, most famously 0:00:20.680 --> 0:00:24.560 with Linda ron Staff and seemingly with everybody in the 0:00:24.640 --> 0:00:27.160 southern California seene and even played with Brian Ferry on 0:00:27.200 --> 0:00:29.160 the Bright Strip Beer, which is one of my favorite Brian. 0:00:29.280 --> 0:00:34.640 Very well. Okay, you're from Queens right, So what do 0:00:34.760 --> 0:00:37.800 your parents do for a living. My dad was in 0:00:37.880 --> 0:00:41.559 the shoe business, ladies shoes. My mom was a mom 0:00:41.640 --> 0:00:44.440 who unfortunately died when I was pretty young. But really, 0:00:44.560 --> 0:00:47.639 how how young were you? Six years old? Okay, your 0:00:47.720 --> 0:00:50.680 father is in what level of the retail? So he 0:00:50.760 --> 0:00:52.560 owns like a story works in a store, and his 0:00:52.640 --> 0:00:55.760 brother owned a shoe store. Ye owned one and uh 0:00:56.000 --> 0:00:58.120 and Jackson Heights. There's one of the creepy things I 0:00:58.160 --> 0:01:00.800 remember as a kid walking on the main street near 0:01:00.840 --> 0:01:02.920 where I lived. We going every store, and I went 0:01:02.960 --> 0:01:05.440 into the shoe store when I wasn't actually buying something. 0:01:06.040 --> 0:01:08.240 Freaked me out. It's like I only went to the 0:01:08.280 --> 0:01:13.040 story when they had stride rights exactly, which was kids 0:01:13.080 --> 0:01:15.200 shooes if I wanted to buy something. So your father 0:01:15.319 --> 0:01:18.440 on the story your mother died at age six. Did 0:01:18.480 --> 0:01:22.680 your father get remarried? He yeah, he did once unsuccessfully 0:01:22.760 --> 0:01:27.200 when I was about sixteen, and then um, then again 0:01:27.440 --> 0:01:29.720 when I when I first moved to l A right 0:01:29.840 --> 0:01:32.320 what I was twenty years old. He married a wonderful 0:01:32.360 --> 0:01:36.760 woman and they were together until he passed. Okay, and 0:01:36.920 --> 0:01:39.040 how many kids in your family? Just my brother and 0:01:39.120 --> 0:01:43.119 myself and your brother's Jimmy. Yeah, famous art designer, very 0:01:43.160 --> 0:01:47.040 famous art Okay, who's older? Jimmy is older. Jimmy's older. 0:01:47.160 --> 0:01:51.080 So to what degree were you influenced by him? Well, 0:01:51.600 --> 0:01:57.440 we were to answer that. I don't know. Um, that's 0:01:57.440 --> 0:02:00.320 a hard one to answer. I've never been asked that question. Well, 0:02:00.960 --> 0:02:03.640 he taught me a lot about He had a big 0:02:03.720 --> 0:02:07.880 jazz record collection, and we were both into the heavy heavy, 0:02:07.920 --> 0:02:11.079 into the rock and roll records, do wop stuff. And 0:02:11.639 --> 0:02:13.880 he used to bring me to Uh there was a 0:02:14.000 --> 0:02:15.800 DJ in New York called Jocko. I don't know if 0:02:15.800 --> 0:02:19.760 you remember the Jocko radio show, and he's my brother. 0:02:19.840 --> 0:02:21.919 Brought me with him into the city one day, just 0:02:22.200 --> 0:02:24.520 go to a show, one of those rock and roll shows, 0:02:24.560 --> 0:02:27.120 which I've never seen before. So my brother was was 0:02:27.440 --> 0:02:30.079 musically influential actually in my life, even though I was. 0:02:30.840 --> 0:02:34.000 I saw a guitar on television before my mom died, 0:02:34.280 --> 0:02:39.120 and it just flipped me out. And I looked at 0:02:39.160 --> 0:02:41.840 my mother and when I was five years old, and 0:02:41.880 --> 0:02:43.919 I said, what is that? What's that guy doing? And 0:02:44.960 --> 0:02:46.959 she said, I said, what is he holding? What is 0:02:47.000 --> 0:02:50.799 that thing? She says, that's a guitar. And I went, Okay, 0:02:50.840 --> 0:02:53.320 that's what I want. She just what, what do you 0:02:53.360 --> 0:02:55.280 mean that's what you want? You're five years old? And 0:02:55.400 --> 0:02:57.160 I said, that's what I want to do. That's what 0:02:57.160 --> 0:03:00.519 I'm gonna do. I'm gonna play the guitar. And I 0:03:00.680 --> 0:03:03.639 was already attracted to music. I was always singing tunes 0:03:03.760 --> 0:03:08.919 and learning, learning songs and imitating singers stuff like that. 0:03:09.000 --> 0:03:11.919 But once once I saw that guitar on television, it 0:03:12.000 --> 0:03:14.920 blew me away. So that was it. From Okay, how 0:03:15.000 --> 0:03:16.840 old do you act when you when you actually got 0:03:16.880 --> 0:03:19.679 a guitar? Nine, Okay, let's go back. Your brother is 0:03:19.760 --> 0:03:21.120 how much older than you are? Three and a half 0:03:21.200 --> 0:03:24.919 years older than and so your father is essentially a 0:03:25.000 --> 0:03:28.160 single parent. Yeah, and he's working all the time, so 0:03:28.280 --> 0:03:31.679 you basically a free reign. I had free reign, and 0:03:32.360 --> 0:03:36.360 that was all working well until I wound up getting 0:03:36.480 --> 0:03:40.840 tonsillitis and realized and then I was home for you know, 0:03:40.920 --> 0:03:46.040 almost two weeks and realized, you know, this is hipper 0:03:46.080 --> 0:03:49.840 than going to school. I like this better. So I 0:03:50.040 --> 0:03:54.640 became quite a serious truant from then on, really, and 0:03:55.640 --> 0:03:57.840 actually wound up being the worst truant on record in 0:03:57.880 --> 0:04:00.240 New York City at one point. Okay, I have to asked, 0:04:00.240 --> 0:04:05.200 how much school did you miss? Well? I I didn't 0:04:05.240 --> 0:04:08.080 miss enough to where I was never set back a grade, 0:04:08.640 --> 0:04:11.839 you know. But as it went on and on, eventually 0:04:12.280 --> 0:04:14.440 I had to go to I don't know if you 0:04:14.480 --> 0:04:18.240 remember a place in New York, a school for young professionals. 0:04:18.320 --> 0:04:20.840 It was called Quintano's. I don't know that you know 0:04:21.000 --> 0:04:23.240 it was. It was right near Carnegie Hall. And someone 0:04:23.360 --> 0:04:28.200 said to me, you know, you should try Quintano's because 0:04:28.240 --> 0:04:30.280 you know, you're never in school and you're never going 0:04:30.320 --> 0:04:34.320 to graduate, and probably right, so I went. I talked 0:04:34.400 --> 0:04:36.880 my father into letting me go there, and and it 0:04:37.040 --> 0:04:38.360 was a great The first day I was there. I 0:04:38.440 --> 0:04:42.159 met Mary from the Shangra laws was and sal Mineo 0:04:42.240 --> 0:04:44.760 had gone there. Patty Duke could go on to this place, 0:04:45.800 --> 0:04:49.880 and uh so I went there and wound up would 0:04:49.960 --> 0:04:52.920 up being truan from there too, because at that point 0:04:53.080 --> 0:04:56.320 my band that I had, we wound up going to Newport, 0:04:56.360 --> 0:04:59.320 RhoD Island. We got an offer. We were playing in 0:04:59.360 --> 0:05:01.280 the village when and a guy heard his place and 0:05:01.360 --> 0:05:05.680 would you like to go to Newport, Ohode Island. Went wow, yeah, sure, 0:05:06.000 --> 0:05:08.360 let's go. So we went up there and loved it, 0:05:08.440 --> 0:05:10.520 and we wound up staying up there. We'd go for 0:05:10.600 --> 0:05:12.520 a weekend that would stretch it into it like a 0:05:12.600 --> 0:05:15.400 three day week, four day weekend today, and I'll be 0:05:15.480 --> 0:05:17.000 gonna be up here for the week. You know. It's 0:05:17.000 --> 0:05:19.080 like what it's about at school. Don't worry, I'll be fine. 0:05:19.120 --> 0:05:23.200 And so I came back down and eventually did graduate 0:05:23.320 --> 0:05:29.039 high school. Okay, so your father's single parent, any religious background, 0:05:29.160 --> 0:05:31.880 any of that Jewish? Did you get up bar mitzvah? 0:05:31.960 --> 0:05:36.240 Oh yeah, okay, yeah, call that my first professional gig really, 0:05:36.960 --> 0:05:39.640 because you know, you got paid. You know, I got 0:05:39.720 --> 0:05:43.799 up there saying my ass off and okay, so Jewish background. 0:05:43.839 --> 0:05:45.920 In addition to the bar Mitza usually summer camp. Did 0:05:45.960 --> 0:05:49.360 you go to summer and so? Were you a performer 0:05:49.440 --> 0:05:52.680 at summer camp? Somewhat? Yeah? Now? And then yeah yeah. 0:05:52.960 --> 0:05:54.360 I was always a ham you know what I mean. 0:05:54.480 --> 0:05:57.800 So I would do these embarrassing parts and plays and 0:05:57.920 --> 0:06:01.000 things like that, you know, stuff like that, and then 0:06:01.120 --> 0:06:04.400 then when the guitar came along, then I would force 0:06:04.560 --> 0:06:07.760 that down everybody's throat. Okay, so you're nine when you 0:06:08.000 --> 0:06:11.920 get your first guitar, yeah, and how does that happen? Well? 0:06:12.160 --> 0:06:14.440 I just kept bugging my father about it, you know, 0:06:14.680 --> 0:06:17.600 since that time, you know, before my mom died. I 0:06:17.720 --> 0:06:19.920 kept saying guitar, guitar, and he kept saying no, no, 0:06:20.200 --> 0:06:23.480 And finally, by nine years old, he gave in and 0:06:23.839 --> 0:06:27.120 brought me this little Camiko. It was called this little 0:06:28.520 --> 0:06:31.720 cry Me a little guitar. But this was a folk guitar, 0:06:31.760 --> 0:06:34.240 acoustic guitar, it was. It was acoustic guitar, but it 0:06:34.360 --> 0:06:36.920 wasn't a folk guitar. It wasn't a round hole guitar. 0:06:37.000 --> 0:06:38.880 It had f holes and stuff. I didn't know what 0:06:38.960 --> 0:06:41.320 a folk guitar was. I never Okay, well, all I 0:06:41.480 --> 0:06:44.200 remember is back in the days of the Hootings, before 0:06:44.240 --> 0:06:47.080 the Beatles, you'd get these folk guitars. They would cross 0:06:47.120 --> 0:06:50.360 like thirty dollars with really wide necks and nylon strings. 0:06:50.440 --> 0:06:52.880 Yeah right, right, So what was your mine was? No, 0:06:53.000 --> 0:06:56.200 mine was steel string and it was meant for guitar players. 0:06:56.279 --> 0:06:58.520 There wasn't a folk guitar. Like I said, I never 0:06:58.600 --> 0:07:01.239 even knew what a folk guitar was until I basically 0:07:01.320 --> 0:07:03.440 moved to l a and everyone said, you gotta get 0:07:03.440 --> 0:07:07.000 an acoustic guitaro. What what's that? You know? I had Gibson's. 0:07:07.040 --> 0:07:09.760 I had f hold jazz guitars. What they call him, 0:07:11.080 --> 0:07:13.040 there's a term for it, but you know, you know, 0:07:13.760 --> 0:07:16.760 not a folk guitar, right, okay, So yeah, that's what 0:07:16.880 --> 0:07:19.600 you grew up in New York. You call him folk guitar, right, okay. 0:07:19.680 --> 0:07:23.520 So you had this guitar, did you take lessons? Yeah? Yeah. 0:07:23.560 --> 0:07:25.800 He got me of the guitar, and then he got 0:07:25.880 --> 0:07:28.320 a teacher for me, a great guy named Gene Dale 0:07:28.360 --> 0:07:30.200 who lived in the Bronx would come to our house 0:07:30.760 --> 0:07:32.960 once a week. And the first day he came, I 0:07:33.120 --> 0:07:35.560 was holding it the way I would because I'm left handed, 0:07:35.920 --> 0:07:37.880 so I'm holding it like this, and he goes, all right, 0:07:37.960 --> 0:07:42.080 first of all, it goes like this, but but I'm 0:07:42.400 --> 0:07:45.120 left handed. He goes, not anymore, You're gonna play it 0:07:45.240 --> 0:07:49.640 this way. Fine. So that happened, and then I started 0:07:50.000 --> 0:07:54.320 taking my lessons, and shortly after we started, he realized 0:07:54.360 --> 0:07:56.840 that my ear was really good, you know, very I 0:07:56.920 --> 0:08:00.240 could learn stuff very quickly by ear. And he said, 0:08:00.280 --> 0:08:02.200 you're not reading. I said, well, I am reading, but 0:08:03.240 --> 0:08:05.040 once I get through a piece, I learned it, so, 0:08:05.880 --> 0:08:09.680 you know, so I said, why don't you start? If 0:08:09.720 --> 0:08:11.600 you would, why don't you record a song for we 0:08:11.640 --> 0:08:13.520 had a tape recorder. I said, well, you leave me 0:08:13.600 --> 0:08:15.720 some songs to learn. So he'd give me like Lulla 0:08:15.760 --> 0:08:18.120 by a Birdland or September in the Rain. He'd play 0:08:18.160 --> 0:08:20.000 it and I could listen to it and learn it 0:08:20.120 --> 0:08:22.760 that way, aside from reading the music as well. So 0:08:23.800 --> 0:08:26.200 you know, I studied with him for several years. That 0:08:26.280 --> 0:08:29.400 went on for a while, and i've about when I 0:08:29.480 --> 0:08:33.120 was fourteen fifteen kind of lost interest in it for 0:08:33.120 --> 0:08:36.200 a little while. And that's when Dad get married. Uh, 0:08:36.480 --> 0:08:38.920 and we moved to a place called Jamaica Estates if 0:08:39.280 --> 0:08:43.400 to this joint and it was it just didn't work. This, 0:08:43.640 --> 0:08:46.520 this marriage was not meant to be. And what's it 0:08:46.720 --> 0:08:50.040 like being the son of a guy who gets remarried 0:08:50.240 --> 0:08:52.120 and it's not gonna work. I mean, what do you thinking? 0:08:52.160 --> 0:08:54.040 And where does his leave you? Well, you know, it 0:08:54.200 --> 0:08:57.400 was all kind of bizarre to me, But unfortunately I 0:08:57.520 --> 0:09:00.520 was so involved in music that it didn't matter to me, 0:09:00.600 --> 0:09:03.440 you know. And and again when you brought up camp, 0:09:04.200 --> 0:09:06.240 Jimmy and I would go to campage summer because in 0:09:06.240 --> 0:09:09.720 New York was so horribly hot, and my dad's dream 0:09:09.840 --> 0:09:11.400 was to make sure the boys had a good time 0:09:11.480 --> 0:09:15.520 for the summer. So away we go. And and I 0:09:15.600 --> 0:09:20.880 remember when we left Jackson Heights and when Harry, my 0:09:21.040 --> 0:09:25.120 dad came up to get us, we drove to well, 0:09:25.200 --> 0:09:27.240 we went to Jamaica, excuse me. We we then moved 0:09:27.280 --> 0:09:30.679 to Jamaica States. Then when we left that summer we 0:09:30.840 --> 0:09:34.360 came back. We drove right to Forest Hills over it 0:09:34.480 --> 0:09:38.080 was where was the camp up state New York? At 0:09:38.080 --> 0:09:41.559 around x Okay, So he brings you back, you leave, 0:09:41.600 --> 0:09:44.920 find all your friends and everything in your new house. Yeah, 0:09:45.120 --> 0:09:47.400 I didn't have the many friends anyway. You know, you 0:09:47.440 --> 0:09:49.760 didn't have any friends because your personality or so deep 0:09:49.840 --> 0:09:53.160 into the music. Yeah, both, you know, and and we 0:09:53.360 --> 0:09:56.480 in Jamaica. I didn't know anybody there, and we weren't 0:09:56.520 --> 0:09:59.360 there that long. So I was commuting every day into 0:10:00.240 --> 0:10:02.000 I think I was still going to Newtown High School 0:10:02.000 --> 0:10:03.520 maybe or something on it. It's all a little vague 0:10:03.520 --> 0:10:07.240 at this point, but but nonetheless we moved to Forest 0:10:07.320 --> 0:10:10.840 Hills and then went started going to Forest Hills High School. Okay, 0:10:10.960 --> 0:10:14.920 So going back to the originally Teachered dell Um, you 0:10:15.160 --> 0:10:18.120 learned how to read music. Do you still read music 0:10:18.200 --> 0:10:20.760 to this day? So if you play a session and 0:10:20.880 --> 0:10:24.240 someone lays it out, you can read right off the page. 0:10:24.400 --> 0:10:27.440 I'm not a great reader at all. I'm I'm okay 0:10:27.480 --> 0:10:30.400 at it. Uh, Guys that I work with I can 0:10:30.520 --> 0:10:34.040 read anything. They're incredible at it because of my ear. 0:10:34.679 --> 0:10:37.080 I started just taking that road with it. So if 0:10:37.080 --> 0:10:39.719 I hear something once, I learn it. But yeah, I 0:10:39.760 --> 0:10:42.800 can still read. Okay. So then when you're taking lessons, 0:10:43.120 --> 0:10:47.720 what he's teaching you, scales, chords what both of those 0:10:47.800 --> 0:10:51.719 plus we were working out of there's a course called 0:10:51.760 --> 0:10:53.800 the mel Bay. Of course I had a bell Bay 0:10:53.840 --> 0:10:56.280 berl right. Well, so I went through all those books 0:10:56.480 --> 0:11:00.240 I know I have stopped at the first right, Yeah, 0:11:00.240 --> 0:11:02.000 well I went through one through nine. Well that's why 0:11:02.000 --> 0:11:06.400 I'm not guitarist. And and then he was teaching me 0:11:07.120 --> 0:11:11.720 Bach piano etudes. We would play, you know, two part inventions. 0:11:11.720 --> 0:11:13.679 They're cold, so I would read the top line, he 0:11:13.720 --> 0:11:15.400 would play the bottom line. It was like the two 0:11:15.480 --> 0:11:17.679 hands of a piano and it was great. It was 0:11:17.840 --> 0:11:19.480 really cool. But that was one of the things when 0:11:19.520 --> 0:11:22.640 he said you're not reading. I went, hey, man, I 0:11:22.760 --> 0:11:24.640 am reading. I said, you want me to play your part. 0:11:24.679 --> 0:11:26.520 I know both parts, I said, I get through it 0:11:26.559 --> 0:11:29.079 and I learned it, so, you know, halfway during the week, 0:11:29.120 --> 0:11:30.360 I said, oh, well, I might as well learn his 0:11:30.440 --> 0:11:32.880 part too. So he has switched parts of me. I'll 0:11:32.880 --> 0:11:36.720 play yours too. He goes out, man, and he realized 0:11:36.760 --> 0:11:41.760 that my ear was gonna be the ruler of my Look. 0:11:41.960 --> 0:11:44.560 The big issue when you take guitar lessons is whether 0:11:44.600 --> 0:11:48.320 you or any music lessons is whether you practice or not. Yeah, 0:11:48.480 --> 0:11:51.760 did you practice? I practiced. I went through my lessons. 0:11:52.480 --> 0:11:54.560 You know I didn't. I didn't sit there and grind 0:11:54.640 --> 0:11:56.880 it out, grind it out, grind it out. I practiced 0:11:56.960 --> 0:11:59.400 more now as i've been trying to learn a certain 0:11:59.440 --> 0:12:03.400 type of a playing but n Hawaiian slack key guitar 0:12:03.480 --> 0:12:07.640 it's called and it's just this beautiful finger picking stuff 0:12:07.720 --> 0:12:12.480 that that the Hawaiians learned. How much work do you 0:12:12.559 --> 0:12:15.880 put into that today? Anywhere from an hour a day, 0:12:15.880 --> 0:12:17.920 a couple of hours a day, or you know. I'm 0:12:18.000 --> 0:12:21.400 constantly listening to it China, because I grew up again 0:12:21.960 --> 0:12:24.320 without a folk guitar, you know, so I grew up 0:12:24.320 --> 0:12:25.920 with a pick in my hand. I was never a 0:12:26.000 --> 0:12:30.679 finger picker. And I started listening when I realized I'm 0:12:30.679 --> 0:12:33.400 Beatle Records. These guys are the isn't their fingers a 0:12:33.440 --> 0:12:35.160 little bit? I gotta try to figure that out. But 0:12:35.240 --> 0:12:38.720 I never really had to do it much until working 0:12:38.840 --> 0:12:43.319 with Stevie Nicks and the band that she brought me 0:12:43.440 --> 0:12:47.920 back into. Um, there was someone else when we do Landslide, 0:12:48.320 --> 0:12:52.640 someone else would play Landslide, but then they they left 0:12:52.679 --> 0:12:56.719 the band, so suddenly you were Mr land Slide And 0:12:56.800 --> 0:13:01.000 I went, um, landslide? How does that go? Because Stevie 0:13:01.000 --> 0:13:03.040 said to me, do you know how to play landslide? 0:13:03.080 --> 0:13:05.600 And of course I'm going, yeah, sure, of course, how 0:13:05.640 --> 0:13:07.800 do you play landslide? You know, how do you play Landslide? 0:13:07.800 --> 0:13:09.480 I said to my friend Brett Tuggle, who was still 0:13:09.480 --> 0:13:12.560 in the band, and he would normally play it, How 0:13:12.600 --> 0:13:14.080 do you play lands side as well? There's a lot 0:13:14.160 --> 0:13:15.640 to it? And he started to play the song from me, 0:13:15.760 --> 0:13:18.079 Oh yeah that song? Yeah, I know that song. I 0:13:18.200 --> 0:13:20.640 didn't know it, you know. So it took a while 0:13:20.760 --> 0:13:22.319 and I how long did it take you to do 0:13:22.440 --> 0:13:25.520 it well? To do it? Well? It's I don't know, 0:13:25.559 --> 0:13:27.640 a couple of months of getting my fingers to do 0:13:27.760 --> 0:13:30.880 it correctly. And the first time I did it was Stevie. 0:13:30.960 --> 0:13:33.880 We went away to do these radio spots. She said 0:13:33.920 --> 0:13:36.240 to me, you know landslide, right? I went yeah, sure, 0:13:36.960 --> 0:13:39.160 and she goes, well, I gotta go do these radio spots. 0:13:39.920 --> 0:13:41.160 You want to do it with me? I went, yeah, 0:13:41.160 --> 0:13:43.640 I'd love to. So we went up to northern California 0:13:43.720 --> 0:13:47.920 and do these eight am radio bits and play Landslide 0:13:48.000 --> 0:13:52.079 and I was butchering it, and finally Stevie said to me. 0:13:52.120 --> 0:13:53.559 We went to dinner that night, she goes, you know what, 0:13:54.920 --> 0:13:58.600 I gotta tell you that was the absolute worst landslide 0:13:58.640 --> 0:14:02.840 I've ever in my life. And yeah, I totally agree. 0:14:02.880 --> 0:14:05.920 I'm sorry and uh. And then it came time to 0:14:06.040 --> 0:14:10.160 where Brett Tuggle was out of the band and I 0:14:10.280 --> 0:14:12.160 hadn't learned it. So I sat in my house and 0:14:12.280 --> 0:14:15.360 just practiced when and went on for a while, and 0:14:15.440 --> 0:14:17.040 my wife had walked by the room and she's going, 0:14:17.480 --> 0:14:19.640 that was a good landslide today, and I'm gonna thanks, honey, 0:14:19.720 --> 0:14:22.120 you know. And I was really nervous about it. And 0:14:22.760 --> 0:14:26.080 we got down to rehearsal and we're going through the 0:14:26.160 --> 0:14:28.400 show and all of a sudden, it's time for landslide 0:14:28.400 --> 0:14:30.960 and I'm sweating and it doesn't really worried. The last 0:14:31.000 --> 0:14:32.360 thing she ever said to me was that was the 0:14:32.440 --> 0:14:36.720 worst thing I've ever heard. So we started, we play it. 0:14:38.080 --> 0:14:39.800 She sings it all the way through. She looks at me, 0:14:39.840 --> 0:14:43.880 she goes, it's beautiful, all right, my girl. Okay, So 0:14:43.960 --> 0:14:47.720 when you're playing the guitar and you're a teenager, uh, 0:14:48.040 --> 0:14:51.640 you know, your teacher is bringing out all this classical stuff, 0:14:52.200 --> 0:14:55.120 but some you know, mel stuff, But don't you want 0:14:55.120 --> 0:14:57.280 to play the stuff that's on the radio. Well again, yeah, 0:14:57.720 --> 0:15:00.400 I did. Well. One of the thing that made me 0:15:00.520 --> 0:15:04.320 realize I had this ear was I heard tequila, you know, 0:15:04.440 --> 0:15:08.160 by the Champs you know. And as he's teaching me, 0:15:08.520 --> 0:15:11.400 there's a thing called a one major chord. And I 0:15:11.480 --> 0:15:14.240 played the one major chord and then I just because 0:15:14.360 --> 0:15:16.240 I don't know what was one major chord, Well, it 0:15:16.360 --> 0:15:18.760 just means it's just a form of a chord, you know, 0:15:18.960 --> 0:15:21.040 if you know, like a bar chord. Yeah, you bar 0:15:21.240 --> 0:15:23.000 your bar with the first finger and you and you 0:15:23.120 --> 0:15:29.400 place these three friends and that's your basic one major chord. 0:15:32.000 --> 0:15:35.600 So so I was on the fifth fret, say fifth fret, 0:15:35.880 --> 0:15:38.080 and then I just accidentally went to the third fret 0:15:38.120 --> 0:15:40.960 and played the same chord and I heard that one 0:15:41.040 --> 0:15:43.000 and that one. I went, hey, wait a minute, that's 0:15:43.040 --> 0:15:47.560 that song, Tequila, that's what it is. So that and 0:15:47.640 --> 0:15:50.360 I went, alright, I'm playing that song, man, this is great, 0:15:50.480 --> 0:15:52.200 you know. So I from that and then I heard 0:15:52.480 --> 0:15:55.520 Rebel Rouser Dwayne Eddie, and I started realizing, oh, I 0:15:55.560 --> 0:15:58.040 can figure these things out, you know, And so one 0:15:58.080 --> 0:16:01.240 after the other I started just learning to So it's 0:16:01.280 --> 0:16:03.760 like that. And we you were a record collector, Well, 0:16:03.960 --> 0:16:06.240 like I said about my brother, my brother had a 0:16:06.600 --> 0:16:08.000 we we were both had a bunch of rock and 0:16:08.120 --> 0:16:12.000 roll records, for sure, But this is pre beatles. You 0:16:12.040 --> 0:16:14.840 know we had, you know, Elvis. I was playing guitar 0:16:14.920 --> 0:16:17.280 before Elvis came out. You know, when I first started 0:16:17.280 --> 0:16:20.560 playing guitar, out came Blue Swede Shoes by Carl Perkins, 0:16:20.680 --> 0:16:23.480 you know, and then then Elvis happened. Okay, since I 0:16:23.520 --> 0:16:25.200 can look it up on the internet, your how well, 0:16:25.320 --> 0:16:28.760 what year were you born? Seven? So you were literally 0:16:28.920 --> 0:16:31.880 playing before Elvis became big. Yeah, so in fifty seven, 0:16:32.000 --> 0:16:34.360 I think when Elvis came out, I was already had 0:16:34.400 --> 0:16:36.400 a guitar in my hand for a year, you know. 0:16:36.520 --> 0:16:38.680 But uh, but aside from the rock and roll records, 0:16:38.840 --> 0:16:43.680 Jimmy had an enormous jazz collection, and and I loved 0:16:43.720 --> 0:16:46.600 that too. So I would sit home and just put 0:16:46.680 --> 0:16:48.400 on a record and learn it, and put on another 0:16:48.440 --> 0:16:50.400 record and learn let's listen to the stuff. And then 0:16:51.520 --> 0:16:54.400 there was a guy named Mickey Baker, if you remember 0:16:54.480 --> 0:16:58.840 Mickey and Sylvia love Change, was a guitar player. He 0:16:58.920 --> 0:17:03.560 wrote a book about how to improvise, how to play, 0:17:03.640 --> 0:17:06.480 how to impvise. I'm dying to learn how to do that. 0:17:07.600 --> 0:17:10.320 And so the full first part of the book was 0:17:10.359 --> 0:17:12.399 all about chords and this and that. The second second 0:17:12.440 --> 0:17:16.720 part is about improvisation. And this disclaimer saying, well, nobody 0:17:16.760 --> 0:17:18.560 can teach you how to improvise, went, well, what the 0:17:18.720 --> 0:17:21.080 fund did I buy this book for? Then? And but 0:17:21.280 --> 0:17:24.240 in that page it's said, what I suggest you do 0:17:24.560 --> 0:17:29.000 is learn every solo you like. Listen to horn players, 0:17:29.720 --> 0:17:32.800 listen to jazz players, listen to guys, any solo you like, 0:17:33.119 --> 0:17:36.520 learn it and learn everything you like, and eventually you'll 0:17:36.560 --> 0:17:40.920 start generating your own stuff. So that was it for me. 0:17:41.080 --> 0:17:43.840 I just sat home, and that's what you know, reinforce 0:17:43.920 --> 0:17:46.320 the truancy. I just had a job to do, now, 0:17:46.480 --> 0:17:48.359 you know. So I would sit there and put on 0:17:48.560 --> 0:17:51.800 Miles Davis and Lou Donaldson or you know, Donald Bird 0:17:51.920 --> 0:17:54.080 or anybody and just listen to the solos. Fine one 0:17:54.119 --> 0:17:56.960 I like learn it, Find another one I like learn it. 0:17:57.040 --> 0:17:59.879 There was Johnny smith Le's good, great jazz guitar players 0:18:00.200 --> 0:18:03.159 to to emulate. So I did a lot of So 0:18:03.320 --> 0:18:06.720 when you're when you're doing this is the dream to 0:18:06.840 --> 0:18:11.080 be a professional musician, you know, I did it was 0:18:11.200 --> 0:18:13.600 just to learn. It was just to learn. I knew 0:18:13.760 --> 0:18:15.680 this was all I was gonna do. You know, I 0:18:15.760 --> 0:18:18.520 didn't even know that you could do it as a profession. Really, 0:18:18.600 --> 0:18:21.240 you know, it didn't even that didn't matter to me. 0:18:21.320 --> 0:18:24.320 I was just driven to to learn music on this instrument, 0:18:24.960 --> 0:18:28.639 and and then singing, and then the vocals and and 0:18:29.000 --> 0:18:31.479 you know, do wop stuff started mattering more and more 0:18:31.520 --> 0:18:36.800 and more. But my basis was a guitar. And like 0:18:36.920 --> 0:18:38.359 I said to my father, he'd say, you know, you 0:18:38.600 --> 0:18:41.440 should do that as a hobby. I'm going this is 0:18:41.480 --> 0:18:44.760 it for me. This is this is my hobby, and 0:18:44.880 --> 0:18:47.119 this is gonna be all I do. I can't you 0:18:47.160 --> 0:18:49.320 know what am I gonna do? Be it? Because you 0:18:49.359 --> 0:18:51.600 should be a doctor. I don't think so, you know 0:18:53.000 --> 0:18:55.720 diff I want to play guitar, you know. Okay, So 0:18:55.800 --> 0:18:57.679 how old were you when you form your first band? 0:18:58.640 --> 0:19:02.560 I was about fourteen or fifteen when a guy that 0:19:02.680 --> 0:19:06.320 I was going to school and said, Bobby walked, all right, yeah, 0:19:06.320 --> 0:19:09.239 he goes, you play guitar, right, yeah, he goes, I've 0:19:09.280 --> 0:19:14.440 got a little band. You know you want to work. Yeah, 0:19:14.600 --> 0:19:17.600 that's a great idea. I never thought of doing that, sure, 0:19:18.119 --> 0:19:20.600 And it was just there wasn't even a base in 0:19:20.640 --> 0:19:25.720 the band. It was just accordion, drums, trumpet, and me. 0:19:26.480 --> 0:19:30.240 And eventually we got the accordion out of there. And 0:19:30.280 --> 0:19:33.600 we got a vibe player, but still no base and uh, 0:19:34.000 --> 0:19:36.240 but we did society gigs, you know, weddings and bar 0:19:36.320 --> 0:19:39.480 mitz fills and dances and things like that and who's sang. No, 0:19:39.800 --> 0:19:42.720 it was instrumentals. It was all instrumental. And what kind 0:19:42.720 --> 0:19:45.800 of money were you making? Twenty bucks a night? Well, 0:19:45.840 --> 0:19:48.400 twenty bucks a night when you're like fourteen a lot 0:19:48.440 --> 0:19:50.720 of money. Absolutely, yeah, would you spend the money on? 0:19:51.119 --> 0:19:55.120 We'd go we we would uh take the subway into 0:19:55.160 --> 0:19:57.359 New York and you know, go to the arcades and 0:19:57.480 --> 0:19:59.320 just you know, waste the money. You know, you can 0:19:59.400 --> 0:20:01.440 buy a hot dog her two and throw it into 0:20:01.520 --> 0:20:04.960 ski ball or whatever. You know. That's what I remember. 0:20:04.960 --> 0:20:06.640 The first thing. I'm going to my friends into the city. 0:20:06.680 --> 0:20:09.480 When you're fourteen, that's what you do, go to the arcade, 0:20:10.080 --> 0:20:14.960 get a slice. Okay, but you still playing that same guitar. No. 0:20:15.160 --> 0:20:18.880 The great thing was the second year, you know, nine 0:20:18.960 --> 0:20:21.440 years old, he gave me this. My dad gave me 0:20:21.520 --> 0:20:24.760 that Comico guitar. At ten years old, he bought me. 0:20:25.840 --> 0:20:29.840 It's beautiful Gibson L seven. It's called it's a single 0:20:29.880 --> 0:20:34.080 cutaway jazz guitar. Just gorgeous. So I was in heaven. 0:20:34.320 --> 0:20:37.560 I couldn't believe it. And shortly after that I got 0:20:37.640 --> 0:20:41.800 an amp they'll pick up for the guitar, and that's 0:20:41.840 --> 0:20:44.440 what I was playing the band. I had my little 0:20:44.520 --> 0:20:48.720 tiny Fender amp and my big fat Gibson jazz guitar, 0:20:48.880 --> 0:20:53.080 and that's what I was playing. And then I went 0:20:53.600 --> 0:20:58.760 at summer camp. This guy had a less pull and 0:20:58.960 --> 0:21:03.480 I just had a less summer. Yeah, I was. And 0:21:03.600 --> 0:21:07.280 I saw this black just like Niel you was like black, 0:21:07.359 --> 0:21:14.879 three pick up bigs beyond it? What's that? Man? That's great? 0:21:15.520 --> 0:21:17.720 I gotta And this guy couldn't play at all. I 0:21:17.760 --> 0:21:19.360 mean I was. You know, I've been playing with two 0:21:19.440 --> 0:21:22.360 years already, so I can really, you know, play better 0:21:22.400 --> 0:21:26.040 than him. He was a lovely guy. Um. But so 0:21:26.480 --> 0:21:28.560 when I came back from campus summer, that's all I 0:21:28.640 --> 0:21:31.040 wanted was less pool, less pool, less pool, and my 0:21:31.160 --> 0:21:35.320 dad's gonna no, and I can't unafford it. A shoe 0:21:35.359 --> 0:21:42.680 store going here. My grandmother, who was my mom's mother, 0:21:44.240 --> 0:21:46.600 she she had a real attitude. This woman. I think 0:21:46.760 --> 0:21:49.240 I got a lot of her in me and she 0:21:49.600 --> 0:21:51.840 my dad grew up with a friend of his name 0:21:51.880 --> 0:21:54.240 Harry Waxman, who was very turned out to be a 0:21:54.359 --> 0:21:58.719 very wealthy builder in New York, built all these communities 0:21:58.800 --> 0:22:01.680 and stuff like that. Always said he'd take care of 0:22:01.760 --> 0:22:05.919 my father blah blah blah. And my grandmother always had 0:22:05.960 --> 0:22:07.960 this thing. And she goes, why don't you you know, Bobby, 0:22:08.040 --> 0:22:10.960 you can't your dad can't afford this to guitar, and 0:22:10.960 --> 0:22:12.520 you keep talking about so why don't you write to 0:22:12.600 --> 0:22:15.240 your nasty uncle, Harry bunch of right to him and 0:22:15.320 --> 0:22:16.639 ask him to get it for you. We're going to 0:22:16.720 --> 0:22:19.760 really do you think? She goes, yeah, I write him 0:22:19.760 --> 0:22:22.960 a letter. He's got tons of money. Okay, So I 0:22:23.000 --> 0:22:28.440 wrote this letter and that three or four days later. 0:22:28.960 --> 0:22:31.040 It must have been longer than that, but not much longer. 0:22:32.520 --> 0:22:35.400 My dad calls me at home after school. He goes, 0:22:35.960 --> 0:22:40.640 get over here. That means come to the shoes get 0:22:40.720 --> 0:22:46.439 over here. Now. What just get over here right now? Okay? 0:22:46.840 --> 0:22:50.080 What what did I do? And I go to the store. 0:22:50.160 --> 0:22:52.880 He sees he get into the there's in the shoes store. 0:22:52.880 --> 0:22:54.640 There's that they called the die room, in the back 0:22:54.760 --> 0:22:56.760 room where they die the shoes and they you know, 0:22:57.000 --> 0:23:01.000 change things. Get in the die room, alright, alright, take 0:23:01.040 --> 0:23:04.320 it easy. What what? Just get in there? All right? 0:23:05.040 --> 0:23:07.320 He comes up to me and he's I'm sitting there. 0:23:07.359 --> 0:23:14.560 He goes, did you write to your uncle Harry? Um? Well, 0:23:14.960 --> 0:23:18.560 uh yeah, yeah, yeah. He said, you wrote to your 0:23:18.640 --> 0:23:21.400 uncle Harry behind my back and asked him to get 0:23:21.480 --> 0:23:23.399 you a guitar. He says, what is the matter with you? 0:23:23.520 --> 0:23:25.360 What kind of manners do you have? Who do you think? 0:23:26.040 --> 0:23:29.600 And while he's yelling at me, I'm looking around, you know, 0:23:29.600 --> 0:23:32.240 I'm trying to avoid his eyes. So I'm looking around 0:23:32.320 --> 0:23:34.560 this little room, and in the corner of the room 0:23:34.680 --> 0:23:38.840 I see the head of a guitar case and all 0:23:38.880 --> 0:23:44.200 of a sudden, it wait a minute, what's going on here? 0:23:45.240 --> 0:23:47.679 And he's yelling at me, but he's starting to smile 0:23:47.760 --> 0:23:52.520 at it. What's going on here? What is that? Because 0:23:52.560 --> 0:23:54.879 you better go look at that? So I opened it up. 0:23:54.960 --> 0:23:58.440 Then it's this less pool. Uh, not the one I wanted. Unfortunately, 0:23:59.040 --> 0:24:01.920 however there was it was They called it a TV model. 0:24:02.119 --> 0:24:07.720 Let's Paul yellow. Ah, what what was the difference between 0:24:07.760 --> 0:24:09.240 this one and the one you wanted? Well? I saw 0:24:09.359 --> 0:24:12.000 this black, nasty looking one, you know, the three pickups 0:24:12.040 --> 0:24:15.240 with the bigs beyond it. One cut away just like 0:24:15.320 --> 0:24:18.000 Neil Young's right, I understand, but what was I understand 0:24:18.040 --> 0:24:20.240 what that is? I didn't know there was this different Well, yeah, 0:24:20.240 --> 0:24:21.960 there's a lot of this. One was what they called 0:24:22.000 --> 0:24:24.960 the TV model, and it was it had two cutaways. 0:24:25.040 --> 0:24:27.960 It was a lighter guitar. It wasn't as heavy duty 0:24:28.040 --> 0:24:31.960 a job, had less pickups on it, but there it was. 0:24:32.320 --> 0:24:36.160 It was my solid body guitar. So I was in heaven, 0:24:36.240 --> 0:24:38.920 you know, and uh so I loved it. So I 0:24:38.960 --> 0:24:41.879 showed up to my society band gig with this thing 0:24:42.040 --> 0:24:46.280 or what what's that? This only new guitar. Man, It's great, Okay. 0:24:46.359 --> 0:24:49.119 So then you're playing the society gigs at the time, 0:24:49.440 --> 0:24:53.399 in the early sixties or late late thees. Rock and 0:24:53.520 --> 0:24:57.840 roll early sixties is pop tracks and folk and so 0:24:58.160 --> 0:25:01.800 before before the Beatles, you play in the science society 0:25:01.840 --> 0:25:04.560 gig and society being and what else jazz gigs, you know, 0:25:04.760 --> 0:25:08.800 jazz jazz tunes and uh standards, That's that's what it was. 0:25:08.880 --> 0:25:10.600 That's what we did for a living. You know. We 0:25:10.640 --> 0:25:13.719 played almost every weekend with this little band, the Nocturns, 0:25:13.920 --> 0:25:16.920 and you know, you know, that was it. You know, 0:25:17.000 --> 0:25:18.480 had they call a fake book. You know what a 0:25:18.480 --> 0:25:21.480 fake bootree explained to my audience. A fake book is 0:25:21.560 --> 0:25:27.520 this gigantic, loose leaf book that has every every standard 0:25:27.600 --> 0:25:30.480 ever written in it. And uh, it's what you do 0:25:30.680 --> 0:25:33.679 when you're playing society gigs, when you're playing what they 0:25:33.720 --> 0:25:36.359 call casuals or like weddings and bar missas. You have 0:25:36.480 --> 0:25:39.119 this enormous book and someone go go to go to 0:25:39.200 --> 0:25:41.879 to thirty, go to page two thirty and it's you know, 0:25:42.080 --> 0:25:45.760 sat and Doll go to Santiago, to September the rain, 0:25:46.080 --> 0:25:48.960 you know it a million songs in it. So we 0:25:49.200 --> 0:25:51.119 that's what we did with you know everything I remember 0:25:51.160 --> 0:25:53.680 the fake book was away. It gave you the chords 0:25:53.760 --> 0:25:57.400 and the lead without buying the real sheet music, right, yeah, 0:25:57.600 --> 0:25:59.320 that's right. Yeah. It was a collect yeah it was. 0:25:59.520 --> 0:26:03.360 It was a bogus collection these tunes instead of having 0:26:03.359 --> 0:26:06.120 to go going on the internet, like yeah, we're going 0:26:06.160 --> 0:26:09.719 to the sheet music store, right, we're bruying five thousand songs, right, 0:26:10.000 --> 0:26:12.040 and they were like three dollars a piece. There was 0:26:12.119 --> 0:26:15.440 expensive as an album. Yeah. Yeah. So you're playing in 0:26:15.480 --> 0:26:18.440 the society gig and that happens all the way to 0:26:18.560 --> 0:26:21.800 the Beatles. Yeah, pretty much so yeah, and uh, we 0:26:21.880 --> 0:26:23.879 were worn for that, and Beach Boys and Beatles kind 0:26:23.920 --> 0:26:28.040 of happened around the same time earlier, earlier, so I 0:26:28.280 --> 0:26:32.680 was really taken by that. And and again at summer camp, 0:26:34.000 --> 0:26:39.160 I met some guys there who also loved music and saying. 0:26:39.280 --> 0:26:42.800 So we started every night we'd go down. We were 0:26:42.880 --> 0:26:44.960 waiters in this camp at that at that age, and 0:26:45.040 --> 0:26:47.760 we went to this camp long enough, you graduated to 0:26:47.840 --> 0:26:51.280 that level waiters, junior counselors, the whole thing, right, So 0:26:51.600 --> 0:26:54.560 we after clean up, after the dinner meal, we'd go 0:26:54.640 --> 0:26:57.119 down to the baseball diamond and sing do op tunes, 0:26:57.640 --> 0:27:00.720 you know we do remember then by the earls or 0:27:01.320 --> 0:27:03.560 you know, I can't even think of any titles right now, 0:27:03.680 --> 0:27:08.080 but do optunits and just acapella stuff. And really got 0:27:08.119 --> 0:27:11.880 into that, and then Beach Boys songs and and then 0:27:11.920 --> 0:27:13.880 Beatles happened. But and then I'd come back and I'd 0:27:13.880 --> 0:27:16.480 still be with the Society band. But at that point 0:27:16.920 --> 0:27:18.920 we had put together with my friends who lived in 0:27:19.000 --> 0:27:22.240 New Chelle, this other band playing surfing music, you know, 0:27:22.760 --> 0:27:26.120 surfing instrumentals, people from Nero. Well, I met him in camp, 0:27:27.400 --> 0:27:30.000 and uh, so I'd go up to there and we'd 0:27:30.119 --> 0:27:33.680 practice our surfing tunes. We started doing a lot. It 0:27:33.760 --> 0:27:36.360 was all instrumental still, and we started adding some beach 0:27:36.400 --> 0:27:39.200 boy vocals and stuff. But then then Beatles happened and 0:27:39.280 --> 0:27:42.000 everything a little bit slower. The beach. Which are you 0:27:42.160 --> 0:27:44.119 with the band with the friends from New Rochelle? Are 0:27:44.160 --> 0:27:47.080 you playing gigs with them? We started to do some 0:27:47.200 --> 0:27:50.919 gigs up up in New England. Yeah, okay, No England 0:27:51.000 --> 0:27:55.679 and Westchester. So how do you become aware of the Beatles? 0:27:57.160 --> 0:28:00.480 The way? The same way we all did at Sullivan Show. Okay, 0:28:01.040 --> 0:28:03.399 and you're watching on Sunday night and you're thinking, what 0:28:04.240 --> 0:28:07.440 I'm My mind is in a million pieces on the 0:28:07.480 --> 0:28:10.200 floor in front of me. I've never seen anything like this, 0:28:10.880 --> 0:28:14.000 you know, we all we went through Elvis and Everly's. 0:28:14.880 --> 0:28:17.600 Everly's was like the most incredible thing. I said, well, 0:28:18.320 --> 0:28:20.560 it's better than Elvis, two of them and the best 0:28:20.640 --> 0:28:22.600 looking things, the best looking guys I've ever seen, with 0:28:22.680 --> 0:28:26.639 these enormous guitars. So it was Everly's Everly's and all 0:28:26.640 --> 0:28:29.640 of a sudden there's Beetles with their haircuts, in their 0:28:29.880 --> 0:28:34.320 hip suits, and there's playing these tunes. It was all over. Man, 0:28:34.400 --> 0:28:37.320 that was it, and from then on the Society Band 0:28:37.359 --> 0:28:40.800 started doing Beatles songs. Really oh yeah, absolutely, yeah. You're 0:28:40.840 --> 0:28:43.400 still without a base, without a bad yeah, without a base, 0:28:45.040 --> 0:28:48.840 still no base. So the Society Band is doing Beatles. 0:28:49.440 --> 0:28:53.120 But to what degree to the Beatles energize you would say, wow, 0:28:53.280 --> 0:28:54.760 you know, I want to go in this direction or 0:28:54.760 --> 0:29:00.560 anything like that. Completely they at that point. And what 0:29:00.720 --> 0:29:04.400 I have to say. When this happened, we were now 0:29:04.560 --> 0:29:08.120 living in Forest Hills. We had left in Jamaica. It 0:29:08.280 --> 0:29:10.840 was my brother and myself and my dad living in 0:29:10.880 --> 0:29:16.200 this apartment building and Queens and Forest Hills. So Beatles 0:29:16.240 --> 0:29:19.680 have come out. It's all you can think about. And again, 0:29:19.880 --> 0:29:23.080 I'm learning every tune, you know. I'm at home listening 0:29:23.120 --> 0:29:26.000 to every every song and every album, learning every song. 0:29:27.960 --> 0:29:33.120 And then one day I'm hearing we in this place. 0:29:33.200 --> 0:29:36.200 There was a building here, a big awning here, and 0:29:36.320 --> 0:29:40.000 another building here. This is in Forest Hills on Austin Street. 0:29:41.800 --> 0:29:44.800 And I went out one day, left left my place, 0:29:45.000 --> 0:29:48.840 cutting school, of course, and I heard guitar playing coming 0:29:48.880 --> 0:29:54.040 out of one of the apartments. What the hell, what's that? 0:29:55.320 --> 0:29:56.880 So it was in the other building. So I went 0:29:56.920 --> 0:30:00.120 into the other building and went from Florida floor. Uh, 0:30:00.920 --> 0:30:05.240 walking down each hallway until I found the place where 0:30:05.280 --> 0:30:10.200 it was coming out of. Knocked on the door. Big 0:30:10.440 --> 0:30:13.080 big guy answers that this is the door. Have you 0:30:13.120 --> 0:30:16.920 set cat, get a suit and tie on? Ties open? 0:30:17.040 --> 0:30:22.200 But I went, are you uh you playing guitar in here? 0:30:23.400 --> 0:30:28.080 He goes, yeah, oh yeah. I said, well, my name 0:30:28.160 --> 0:30:30.560 is Bobby walked tell and uh, I can help you. 0:30:30.880 --> 0:30:33.680 You need help. And because I can hear what he 0:30:33.760 --> 0:30:35.080 was doing, I said, you need help, but I can 0:30:35.160 --> 0:30:38.120 help you. Man, I play guitar. Because yeah, what's your name? 0:30:38.120 --> 0:30:42.760 He says? Leslie Weinstein? Okay, cool. So Leslie and I 0:30:43.000 --> 0:30:47.520 became brothers and we all lived in the same building, 0:30:47.720 --> 0:30:49.760 you know. So he knew my dad, I knew his 0:30:50.160 --> 0:30:53.320 mom and his dad and his brother, and he knew 0:30:53.480 --> 0:30:56.680 jim my brother Jimmy very well. And and uh I 0:30:56.800 --> 0:30:59.720 taught Leslie how to play. And for those people don't know, 0:30:59.840 --> 0:31:02.240 that's Leslie West. Yeah. I was gonna say. He became 0:31:03.000 --> 0:31:05.600 all of a sudden, I on the radio one day 0:31:05.680 --> 0:31:10.640 here Mississippi Queen by this guy, Leslie West. Run wait 0:31:10.680 --> 0:31:15.560 a minute, and Leslie, this this all relates back to 0:31:15.760 --> 0:31:19.200 the guitar story. Just go on a second. Why is 0:31:19.280 --> 0:31:21.640 he dressed up with a suit Because Leslie worked at 0:31:21.640 --> 0:31:26.239 the jewelry Exchange, you know, because I said, how come 0:31:26.280 --> 0:31:30.120 you all dressed up? Exactly he said, I worked. I 0:31:30.240 --> 0:31:36.000 worked at the diamond Exchange. You know. We'll take a 0:31:36.080 --> 0:31:38.360 quick break and come back with more of my conversation 0:31:38.440 --> 0:31:42.640 with guitar virtuoso Wadi Wachtell, recorded live at the tune 0:31:42.680 --> 0:31:50.160 In Studios in Venice, California. It's so great having musicians 0:31:50.200 --> 0:31:53.400 here on the podcast. I'm sure you enjoyed Shirley Manson 0:31:53.440 --> 0:31:56.160 of Garbage and my interview with Moby at the l 0:31:56.240 --> 0:31:59.880 A Times Festival of Books. This week, Wadi wak Tells 0:32:00.000 --> 0:32:03.080 old some great stories about working in the studio with 0:32:03.240 --> 0:32:06.240 Linda ron Staton the Everly Brothers. Whether you come for 0:32:06.320 --> 0:32:10.720 the music protect business or otherwise, be the first year 0:32:10.800 --> 0:32:14.440 next week's episode of the podcast by subscribing I'm tune 0:32:14.480 --> 0:32:19.160 in Apple Podcast or your podcast player of choice. While 0:32:19.160 --> 0:32:23.400 you're there, please be sure to rate and review. Okay, 0:32:23.560 --> 0:32:28.680 let's get back to my conversation with Wady Wachtell. Okay, 0:32:28.720 --> 0:32:31.320 so you were telling the story, so I had my 0:32:31.960 --> 0:32:35.320 still had my less poll, but I wanted beatle guitars. 0:32:35.400 --> 0:32:38.000 Now you know a country gentlemen. I wanted a Rickenbacker. 0:32:38.680 --> 0:32:43.200 So I got the Rickenbacker somehow, I don't remember even how, 0:32:43.440 --> 0:32:48.280 stealing money from my father probably and soul Leslie gave 0:32:48.360 --> 0:32:52.240 Leslie my less pole and he was most have bought it, 0:32:52.280 --> 0:32:54.080 but I don't think we ever exchanged any money on it. 0:32:54.600 --> 0:32:57.000 And that was the guitar when you first saw Leslie 0:32:57.040 --> 0:32:58.880 West play, and that was my guitar. He was playing, 0:32:59.520 --> 0:33:02.400 you know, the this yellow little double cutaway in that pool. 0:33:02.560 --> 0:33:05.200 I was a huge fan of the first album, which 0:33:05.280 --> 0:33:07.680 was called Mountain with Leslie West. It was the second 0:33:07.720 --> 0:33:10.880 album had the Mississippi Queen had and it had baby 0:33:11.000 --> 0:33:14.240 I'm Down. It was on some Columbia Pictures label. I 0:33:14.320 --> 0:33:16.200 went to see them at the Fillmore in the fall 0:33:16.280 --> 0:33:19.880 sixty and I was big Mountain fan. So okay, then 0:33:19.920 --> 0:33:22.840 we put his first Bandity of the Vagrants was Leslie's 0:33:22.880 --> 0:33:25.840 first band, and it was Larry, his brother Larry a 0:33:25.920 --> 0:33:29.720 great singer in Peter Sabatino, another guy and Jerry I 0:33:29.800 --> 0:33:32.440 just forgot his name. And they needed a drummer, so 0:33:32.520 --> 0:33:33.960 they didn't have a drummer yet. I said when I 0:33:34.000 --> 0:33:37.080 play a little drums. So I played drums until we 0:33:37.160 --> 0:33:40.000 found their drummer, Roger So and we played the scene 0:33:40.120 --> 0:33:42.280 in the in the city, we played some gigs, you 0:33:42.360 --> 0:33:44.360 know as the Vagrants, you know, with me on drums 0:33:44.600 --> 0:33:48.880 was okay, But he's got a band and he's starting 0:33:48.920 --> 0:33:51.720 down the road. What are you doing? Well at that point, 0:33:51.760 --> 0:33:56.000 I was very very uh annoyed that, you know, Leslie's 0:33:56.040 --> 0:33:58.880 got a gig and I can't. I can't even walk 0:33:58.960 --> 0:34:02.200 into Atlantic Record, you know, I can't get arrested, you know, 0:34:03.240 --> 0:34:07.239 uh musically and so well, like I said, I had 0:34:07.240 --> 0:34:10.160 put bands together in Newport. I had had this band 0:34:10.200 --> 0:34:14.480 from New York and I went This was all now 0:34:15.440 --> 0:34:20.880 late sixties, and the draft board was yelling for me. 0:34:21.200 --> 0:34:23.480 You know, it was time to go be drafted and 0:34:23.680 --> 0:34:27.600 I wasn't about to go in the army. So um, 0:34:28.960 --> 0:34:30.520 we had to move. We had to get out of there. 0:34:30.560 --> 0:34:34.000 I kept missing physicals and so we moved to Connecticut 0:34:34.080 --> 0:34:36.279 to go to college to get a deferment. With this. 0:34:36.440 --> 0:34:39.279 I had a band that my my same band from 0:34:39.320 --> 0:34:43.040 New York, the Guy No No, No, this was a band, 0:34:43.840 --> 0:34:47.799 this actually the Society band broke up. I'm getting out 0:34:47.840 --> 0:34:50.560 of context here. And when I was in high school, 0:34:50.760 --> 0:34:52.760 I met some other guys I wanted to put together 0:34:52.920 --> 0:34:55.120 a different band, and I didn't want to keep going 0:34:55.120 --> 0:34:59.239 on New Achelle. So I met a guy who was 0:34:59.280 --> 0:35:02.200 a guitar player, convinced him he should be the bass player. 0:35:02.280 --> 0:35:04.520 We met and we heard a great drummer who was 0:35:04.560 --> 0:35:06.440 in some other band, and we convinced him to come 0:35:06.520 --> 0:35:09.960 play with us. And we found a friend who played Oregon. 0:35:10.200 --> 0:35:11.920 So we had this little four piece band, and that's 0:35:11.960 --> 0:35:15.839 where we went to Newport with originally. And that band 0:35:15.920 --> 0:35:19.920 lasted up until we got to Connecticut avoiding the draft, 0:35:20.840 --> 0:35:23.120 and all of a sudden, one day, they all just 0:35:23.400 --> 0:35:26.200 quit me. They all just said, we're out of this, 0:35:26.360 --> 0:35:28.920 We're leaving, We're done. We're done because we don't want 0:35:28.920 --> 0:35:30.680 to play music anymore. Well they don't want Yeah, they 0:35:30.680 --> 0:35:32.440 don't want to They don't want to be where they are. 0:35:32.520 --> 0:35:34.480 One of them was in love with a girl we 0:35:34.560 --> 0:35:36.040 had met along the way. He wanted to go be 0:35:36.160 --> 0:35:40.680 with her, play with her. Um My friend, my lifelong 0:35:40.800 --> 0:35:43.920 bass player friend, decided he'd had enough. I wanted to quit, 0:35:44.960 --> 0:35:50.080 and so I was just stuck and moved back to 0:35:50.160 --> 0:35:55.240 New York for a while. Eventually put another band together 0:35:55.400 --> 0:35:57.920 with some people I knew from Newport that we had met. 0:35:58.320 --> 0:36:01.040 I took my bass player with me again and we 0:36:01.800 --> 0:36:03.960 managed to put another band together and went back up 0:36:04.000 --> 0:36:06.480 to Newport and played up there for a while. How 0:36:06.520 --> 0:36:08.600 did you get the gigs in Newport? Well, like I said, 0:36:09.160 --> 0:36:12.719 we were playing at a place in the city and 0:36:14.000 --> 0:36:16.120 this man was at the show. He just happened to 0:36:16.160 --> 0:36:18.320 be in this club, the Eighth Wonder. If you remember 0:36:18.360 --> 0:36:20.800 the club on on Eighth Street, and I don't remember, 0:36:22.080 --> 0:36:24.560 we had scene. Well, this is the Hellers, Trudy Heller, 0:36:25.520 --> 0:36:28.160 Joel Heller. We had a club called the Eighth Wonder. 0:36:29.120 --> 0:36:32.640 So we were playing there and this guy came up 0:36:32.680 --> 0:36:36.360 to me and said, Hi, my name is Paul Schnittman actually, 0:36:37.000 --> 0:36:39.600 and I own a club up in Newport, Rhode Island. 0:36:40.440 --> 0:36:42.239 Would you guys like to come up there and play. 0:36:42.680 --> 0:36:44.560 I think you guys are really good. We'd love to 0:36:44.600 --> 0:36:48.920 have you up there. Wow. Okay, So then that started 0:36:48.960 --> 0:36:53.920 the whole Newport faction, which led to that band going 0:36:54.000 --> 0:36:57.600 to Connecticut breaking up, and eventually wound up back in 0:36:57.680 --> 0:37:00.600 Newport with pieces of other band that I had met 0:37:00.719 --> 0:37:05.760 up there, and we were. And the thing about Newport, 0:37:06.000 --> 0:37:10.000 this is where somebody said to me one day, have 0:37:10.200 --> 0:37:15.800 you heard the cow Sills? And I went, what's a 0:37:15.880 --> 0:37:20.560 cow Sill? What kind of word is that? And they said, 0:37:20.680 --> 0:37:25.160 that's that's this group. That's their name. So well, that's 0:37:25.200 --> 0:37:28.680 their name, you know, that's the last name of Cow's Lill. No, 0:37:28.880 --> 0:37:30.560 I've not heard them. What are you talking about? This 0:37:30.680 --> 0:37:34.600 is these four boys. They're really really good, really so 0:37:34.680 --> 0:37:36.600 I went over to this place where they were playing, 0:37:37.880 --> 0:37:40.160 and they were incredible. There was the four only just 0:37:40.280 --> 0:37:45.120 the four of them, Billy, Bobby Barry, and John Barry 0:37:45.160 --> 0:37:47.200 and John must have been like twelve and thirteen years 0:37:47.239 --> 0:37:50.360 old at the most, and and they were doing the 0:37:50.480 --> 0:37:53.200 best beatles you've ever heard. That's what they did. They 0:37:53.320 --> 0:37:58.239 just did beatles songs basically, and they sounded incredible and 0:37:59.360 --> 0:38:02.319 and I loved And then I didn't realize though, when 0:38:02.320 --> 0:38:04.719 I'd go back to this club. I worked in Dorian's 0:38:06.760 --> 0:38:11.000 usually once or twice a weekend. This drunk guy would 0:38:11.040 --> 0:38:14.880 come in, this alcoholic bastard would come in and be 0:38:15.040 --> 0:38:18.680 annoying and be loud and be obnoxious, and I'd have 0:38:18.760 --> 0:38:22.319 him thrown out. And finally the club owner one night 0:38:22.360 --> 0:38:25.879 said to me, you know, Watty, that's a that's Bud 0:38:26.040 --> 0:38:31.320 counsel what so, yeah, that's their father. You gotta be 0:38:31.440 --> 0:38:36.759 kidding me, man, that's their father. So and he would 0:38:37.080 --> 0:38:40.080 he'd still come in and come in. And he said 0:38:40.120 --> 0:38:41.960 to me one night he wanted to want to manage me. 0:38:42.000 --> 0:38:45.200 And I'm gonna get serious, Are you kidding me? I 0:38:45.320 --> 0:38:48.960 can't stand being around you. You know, you're a fucking monster. 0:38:49.080 --> 0:38:52.920 You're drunk all the time. Because well, my kids are 0:38:52.920 --> 0:38:56.680 gonna make it. Well, good luck to them with you 0:38:56.800 --> 0:38:59.880 on board. And he goes, we're gonna get it together. 0:39:00.000 --> 0:39:02.360 I said, oh yeah, well when you get a million 0:39:02.440 --> 0:39:08.600 dollars together, ask me, then okay, it's okay. And so 0:39:08.800 --> 0:39:11.600 we went from playing in Newport wound up going up 0:39:11.640 --> 0:39:14.239 to Vermont. You know, we got an offer to come 0:39:14.280 --> 0:39:17.120 to this club in Vermont. Well, you know, since I 0:39:17.160 --> 0:39:19.040 went to college Vermont, but a lot of time in Vermont. 0:39:19.080 --> 0:39:22.400 We're in Vermont sugar Bush, Okay, you know with a 0:39:22.440 --> 0:39:28.040 bluetooth that's exactly right, with the big bluetooth hanging for 0:39:28.120 --> 0:39:31.680 the ceiling, the bluetooth, that's the club. That was it. 0:39:31.960 --> 0:39:33.879 So you went and played those so we went played 0:39:33.960 --> 0:39:36.400 up there and then they asked us come back for 0:39:36.480 --> 0:39:38.759 like the whole ski season, so we did. Which did 0:39:38.840 --> 0:39:42.239 you ski at all? I don't know. No, no, no, no, 0:39:42.640 --> 0:39:48.960 Warren Vermont exactly. That's so we're up there and we 0:39:49.120 --> 0:39:51.440 were you know, we're running out of options now. I mean, 0:39:51.640 --> 0:39:53.680 you know, the idea was to get a record deal, 0:39:54.320 --> 0:39:57.560 and that didn't wasn't happening, and there was a DJ 0:39:57.840 --> 0:40:00.279 and Providence who was trying to help us, and that 0:40:00.360 --> 0:40:03.279 fell through. And I'm up there going, man, this is 0:40:03.320 --> 0:40:04.680 like the end of the road. We're up here and 0:40:05.080 --> 0:40:07.520 you're not gonna be discovered at the winter in Vermont 0:40:07.640 --> 0:40:09.960 fifty below. I don't think we're gonna you know, Clive 0:40:10.040 --> 0:40:14.040 Davids Saint coming here again. And all of a sudden 0:40:14.040 --> 0:40:16.640 I got a phone call from the guy that used 0:40:16.680 --> 0:40:19.640 to run the club I played in, David Ray, What 0:40:19.800 --> 0:40:22.320 do you called me? What New England accent? Hey? What 0:40:22.640 --> 0:40:24.640 it's Dave? Hey man? What are you doing? He goes, 0:40:25.560 --> 0:40:27.239 what are you? I'm working for Bud now and what 0:40:28.600 --> 0:40:30.680 you gotta be kidding me? He goes, what he's got 0:40:30.719 --> 0:40:33.680 money now? He says, the kids are making it. He's 0:40:33.719 --> 0:40:37.239 got a serious deal with the Dairy Association. And he's so. 0:40:37.360 --> 0:40:38.919 He goes, hold on, I'm gonna put him on the phone. 0:40:40.840 --> 0:40:44.120 How are you doing? He said, I'm okay, Bud. He goes, yeah. 0:40:44.160 --> 0:40:47.040 He says, we're coming up to see you, but you 0:40:47.160 --> 0:40:50.680 are He goes, yeah, we're coming up tomorrow to see you. Okay, fine, 0:40:51.520 --> 0:40:56.880 great blizzard. They drive up, pure fucking blizzard. Took him 0:40:56.920 --> 0:41:00.520 forever to get there. And at this what this band 0:41:00.600 --> 0:41:02.720 is now called. It was used to be called the Orphans, 0:41:02.760 --> 0:41:05.080 now it's called Twice Nicely, it's a different arrange as 0:41:05.080 --> 0:41:08.759 a girl, really talented girl who we moved out here 0:41:08.760 --> 0:41:13.239 together with that band. But so there's Budd and David 0:41:13.320 --> 0:41:17.000 Ray sitting at this club at the Bluetooth watching the band. 0:41:17.120 --> 0:41:19.160 And I get done with the set. He goes, band 0:41:19.239 --> 0:41:23.000 sounds good, wady, band sounds good. I said, yeah, good, thanks. 0:41:23.160 --> 0:41:29.759 He goes, So, I got the million dollars. Now you 0:41:29.840 --> 0:41:35.840 want to come with me? Absolutely, I'm ready. It's fine. 0:41:36.520 --> 0:41:38.960 We're moving into New York with us. You know, we 0:41:39.080 --> 0:41:41.600 got this apartment in New York. We got rooms all 0:41:41.640 --> 0:41:44.680 over the place. You guys can live downstairs. Okay, great. 0:41:45.080 --> 0:41:46.680 So at that point we moved back to the city, 0:41:46.880 --> 0:41:48.960 living with the councils at that point, up and down. 0:41:49.120 --> 0:41:51.239 You know, one of the kids is always hanging out 0:41:51.239 --> 0:41:53.040 with us. I'm always hanging out with Billy Counsel, the 0:41:53.080 --> 0:41:56.640 oldest one. And eventually Bud said, I'm moving my operation 0:41:56.760 --> 0:42:00.200 to Los Angeles. Do you want to go? Definitely? I 0:42:00.239 --> 0:42:03.080 said I can't. And this relates back to you know, 0:42:03.200 --> 0:42:05.399 Leslie has got a career goal, right, I can't get 0:42:05.560 --> 0:42:08.319 a session. I can't No one wants to hear me play. 0:42:09.480 --> 0:42:11.960 So yes, please, man, I want to go to Los Angeles. 0:42:13.520 --> 0:42:17.680 So we moved out with we drove out with our 0:42:17.760 --> 0:42:21.160 manager Dave, and came out here. What year was? This 0:42:21.320 --> 0:42:23.719 is okay, but let's go back. We were talking just 0:42:23.760 --> 0:42:26.600 before we started that you went into Haven College for 0:42:27.000 --> 0:42:32.240 a semester. Yeah, when was that? Well that was sixty seven, 0:42:32.320 --> 0:42:34.120 I guess. So how did you get out of the draft? 0:42:34.239 --> 0:42:38.440 I got out of the draft by Finally I told Bud, 0:42:38.560 --> 0:42:42.840 I said, look, I have this problem. The Jeff board 0:42:42.960 --> 0:42:48.720 is on my tail because I've missed five six physicals already, 0:42:49.600 --> 0:42:53.719 and uh, the last letter I got said you're going 0:42:53.840 --> 0:42:57.360 to Vietnam. You don't even need to take your physical, 0:42:57.480 --> 0:43:00.400 just show just show up at Fort Fort Washington, Brooklyn, 0:43:01.280 --> 0:43:03.720 and you were going to go right from there to Vietnam. 0:43:04.760 --> 0:43:09.080 And so Bud and bless his heart and his the 0:43:09.200 --> 0:43:12.360 one good thing he ever did for anybody probably was 0:43:12.480 --> 0:43:16.400 he goes, We're gonna fix this for you, and I 0:43:16.480 --> 0:43:18.120 want to put you in touch with somebody. And he 0:43:18.239 --> 0:43:20.440 put me in touch with Herbie Cohen. Remember who Herbie? 0:43:21.520 --> 0:43:24.480 His brother was a publisher as a manager of Frank Zappa. 0:43:24.880 --> 0:43:28.400 Herbie was, Yeah, So I meet her one day in 0:43:28.480 --> 0:43:31.520 New York at the Carnegie I think it was, and 0:43:31.640 --> 0:43:34.719 I was sitting He goes, so Bud told me you've 0:43:34.719 --> 0:43:37.120 got a problem with the with the army and stuff, 0:43:37.200 --> 0:43:39.200 and you got a physical coming up. Point. Yeah, I do. 0:43:40.719 --> 0:43:44.759 So he says, well, I'm gonna help you. He says. 0:43:45.120 --> 0:43:49.080 First of all, you gotta believe something. What's that? He goes, 0:43:49.400 --> 0:43:53.560 they don't want you? What because they don't want people 0:43:53.640 --> 0:43:58.640 like you. You're not army material. They can't do anything 0:43:58.719 --> 0:44:01.759 with someone like you. You'll be a waste of their time. 0:44:02.520 --> 0:44:05.920 You won't bend to what they want. They don't need you. 0:44:06.719 --> 0:44:09.520 You got to believe that. You really got to believe it. 0:44:09.640 --> 0:44:12.759 Otherwise you're not going to get out of this. Okay, 0:44:12.800 --> 0:44:16.040 I believe it. I believe it. And so he told me, 0:44:17.239 --> 0:44:21.120 he said, well, when's your physical I said it's two 0:44:21.200 --> 0:44:23.400 and a half weeks or somebody three weeks. He was 0:44:23.440 --> 0:44:26.759 all right, well, go, what is your father think about this? 0:44:26.880 --> 0:44:28.919 I said, my father wants me to go in the army. 0:44:28.960 --> 0:44:31.200 He's so really well, he was just disheartened with my 0:44:31.320 --> 0:44:35.480 whole truant life, you know, the bad thing. And you 0:44:35.560 --> 0:44:37.080 know he didn't want to see me go to the 0:44:37.120 --> 0:44:40.680 front line or anything. But your army would street you, right. 0:44:41.120 --> 0:44:45.000 So ah, he said, well, listen, I think you should 0:44:45.680 --> 0:44:48.000 tell your father you're not going in and tell him 0:44:49.040 --> 0:44:51.760 he's going to help you. Because I want your father 0:44:52.400 --> 0:44:55.880 to drag you into that physical. I want you to 0:44:56.040 --> 0:44:59.360 have your father hand you over to the to the sergeant. 0:45:00.480 --> 0:45:02.600 I want them to see that you don't want to 0:45:02.640 --> 0:45:05.279 be there, and I want them that your father wants 0:45:05.320 --> 0:45:07.400 you in there. And this is all part of what 0:45:07.480 --> 0:45:09.120 you're gonna do this Lucky. He says, you look like 0:45:09.160 --> 0:45:13.600 a nervous guy, man, so just play that up. Be nervous, 0:45:14.239 --> 0:45:18.040 be really nervous. He says, don't, don't do anything they 0:45:18.080 --> 0:45:20.640 want you to do. Don't answer questions on the physical. 0:45:21.280 --> 0:45:27.360 Don't ah, don't take the physical. Refused to take the physical. 0:45:27.440 --> 0:45:30.000 Tell them you can't undress in front of other people. 0:45:30.040 --> 0:45:34.400 You're too shy, you're too scared. Okay, fine, all right, 0:45:34.480 --> 0:45:38.320 yeah I can I can handle this, Okay. So so 0:45:38.520 --> 0:45:41.279 I took his advice and I just played it up 0:45:41.320 --> 0:45:46.000 from there, and I started. I didn't shower for a 0:45:46.080 --> 0:45:49.080 couple of weeks. I didn't shave till the day before. 0:45:50.080 --> 0:45:52.000 I didn't wash my hair, didn't do anything. I just 0:45:52.239 --> 0:45:56.120 I didn't eat. I just ate like fruit fruit. So 0:45:56.200 --> 0:45:59.120 I weighed nothing by the time. By the time that 0:45:59.160 --> 0:46:01.880 physical came, it wasn't sleeping. I was drinking coffee all 0:46:01.960 --> 0:46:05.279 night the only time I drank coffee. Stayed awake for 0:46:05.440 --> 0:46:10.080 days and days. I looked ridiculous. And I shaved that 0:46:10.400 --> 0:46:12.360 without water the day before, and so I was cunsoled 0:46:12.400 --> 0:46:15.080 over me and I prepped, I really prepped for it, 0:46:15.760 --> 0:46:19.520 and played it up and got there, and I was 0:46:19.640 --> 0:46:21.520 did your father drag you? And I made my father 0:46:21.600 --> 0:46:23.239 dragged me. And I said, not only are you gonna 0:46:23.320 --> 0:46:25.160 help me? Not only am I not going in the 0:46:25.280 --> 0:46:27.640 army you're gonna help me because what No, I'm not. 0:46:27.719 --> 0:46:30.360 I said, yes you are. You're gonna drag me in 0:46:30.440 --> 0:46:32.680 there because I'm not gonna be any part of this, 0:46:32.800 --> 0:46:36.520 and yes you are. So he did. He got on 0:46:36.640 --> 0:46:41.480 board and he brought me in, and so I kept 0:46:41.520 --> 0:46:44.480 hearing Herbie's voice. You know, don't don't answer the questions 0:46:44.520 --> 0:46:47.480 on the on the on the paper, on the written part. 0:46:48.480 --> 0:46:50.520 So they'd hand me the thing and I'd sit there 0:46:50.560 --> 0:46:52.000 and I would just take the pencil and just go 0:46:54.840 --> 0:46:56.520 break the point of it. And then I think I 0:46:56.560 --> 0:46:59.040 would come around and see I haven't written anything. I went, well, 0:46:59.280 --> 0:47:01.640 you know, I broke it depends only give me another 0:47:01.680 --> 0:47:05.920 one break it. So I had hardly wrote anything on this. 0:47:06.520 --> 0:47:10.319 And then the physical part came and I just played 0:47:10.360 --> 0:47:13.440 it up, played it up. And when he said the 0:47:13.480 --> 0:47:16.800 thing about refused to take your clothes off, that was 0:47:16.840 --> 0:47:18.800 all well and good in theory, but there was nobody 0:47:18.880 --> 0:47:22.120 to say it too. There was There was nobody there 0:47:22.160 --> 0:47:24.719 except some old guy who all you did was hand 0:47:24.800 --> 0:47:27.520 him your clothes and he handed your receipt for it. 0:47:27.680 --> 0:47:30.319 And I wasn't gonna complain to him. He didn't ship 0:47:31.120 --> 0:47:33.120 so and the only by the way. The only other 0:47:33.200 --> 0:47:36.680 thing I had was I knew everyone else had scores 0:47:36.719 --> 0:47:39.360 and scores of paperwork from psychiatrists and things like that. 0:47:39.800 --> 0:47:41.399 All I had was like a note from my old 0:47:41.440 --> 0:47:45.160 family doctor. It's one little a little square piece of 0:47:45.200 --> 0:47:48.560 paper is saying, Robert walk tell his bad stuffing. He's 0:47:48.600 --> 0:47:50.920 never been the same since his mom died. He's been 0:47:50.960 --> 0:47:54.560 a little off since then, and he has just pepsia. 0:47:54.680 --> 0:47:56.600 He can't eat. I said, what does that mean, he goes, 0:47:56.600 --> 0:47:58.400 I means you can't eat fried food and that's all 0:47:58.480 --> 0:48:03.279 they cook. So okay, okay, good, it's my note. And 0:48:03.520 --> 0:48:06.920 uh so there was nobody to say I'm refusing to 0:48:07.000 --> 0:48:09.839 do this with. And I got really freaked at that point. 0:48:10.520 --> 0:48:12.680 I was really scared. I sat down and just was like, 0:48:14.600 --> 0:48:17.200 I don't know what I'm gonna do now. This is terrifying. 0:48:17.840 --> 0:48:19.960 Here I am alone in here, and everyone on these 0:48:20.160 --> 0:48:23.920 coons are taking their clothes off. And then so finally 0:48:23.960 --> 0:48:26.920 I went, okay, I gotta go through it. I went 0:48:27.000 --> 0:48:29.279 through this stuff. I had my little note in my hand. 0:48:29.760 --> 0:48:31.920 I was too afraid just tell anyone I want to 0:48:31.920 --> 0:48:34.600 see the psychiatrist. I didn't know what to do, so 0:48:35.760 --> 0:48:39.440 and but I was again funky, you know what I mean. 0:48:39.600 --> 0:48:42.600 So when they examined me certain parts of my body, 0:48:42.640 --> 0:48:49.480 they went you, which was kind of fun. And so 0:48:49.640 --> 0:48:52.960 all of a sudden, this guy, as you're walking up 0:48:52.960 --> 0:48:57.120 to this one checkpoint, he's looking at everyone's paperwork and goes, 0:48:57.280 --> 0:48:59.920 you there, you there, this guy in front of me, 0:49:00.080 --> 0:49:03.680 you psychiatrist. You there, you handed my thing? It was 0:49:03.719 --> 0:49:08.600 you psychiatrist. But oh wow, okay, someone's working here. So 0:49:09.080 --> 0:49:13.239 from then on I sat outside the sychatra's office, sat there, 0:49:14.200 --> 0:49:16.040 and there was on the bed there was a guy. 0:49:17.160 --> 0:49:20.239 And Herbie ha said, don't talk to anybody, even if 0:49:20.280 --> 0:49:24.840 you see someone you know, don't talk to anyone. Don't know, 0:49:25.200 --> 0:49:29.200 this is not a social event. Don't communicate with anyone. 0:49:30.520 --> 0:49:33.360 But there was this guy sitting outside the psychiatrist's office 0:49:33.840 --> 0:49:37.640 with like a million necklaces on and and smoking incense 0:49:37.719 --> 0:49:41.759 in a in a roach clip, and it was like wow. 0:49:43.040 --> 0:49:44.480 And I said to this guy, and I know that 0:49:44.520 --> 0:49:47.319 there was no one else around, and you don't really 0:49:47.400 --> 0:49:49.000 think you're gonna get out like that to you man? 0:49:49.160 --> 0:49:51.080 And he goes, man, you kidding. I've been in the 0:49:51.160 --> 0:49:55.520 nuthouse five times. Ain't gonna take me. He went in 0:49:55.640 --> 0:49:57.480 and sure enough he was out of that psychiatrist's office 0:49:57.520 --> 0:50:01.080 in like thirty things. You know, he goes okay. And 0:50:01.120 --> 0:50:03.320 then I went in and talked to the psychiatrist and 0:50:05.080 --> 0:50:07.920 I told him how afraid of life I was, basically, 0:50:08.040 --> 0:50:11.640 and and uh said, you ever take drugs? So I know, yeah, 0:50:12.880 --> 0:50:15.440 LSD a lot of it, because how many times I 0:50:15.480 --> 0:50:20.320 would I don't know, it doesn't know, okay. And and 0:50:20.400 --> 0:50:25.279 there it's funny. They're they're really mean in there. They're 0:50:25.360 --> 0:50:27.520 really tough on you all the way through that whole 0:50:27.600 --> 0:50:30.560 physical yelling at do this, I don't do that. If 0:50:30.560 --> 0:50:32.880 you're blind in one eye, you pass. If you definitely 0:50:32.880 --> 0:50:36.120 want to hear, you pass, you're all going of Vietnam. 0:50:37.760 --> 0:50:40.960 But from the moment I left that psychiatrists office, they 0:50:41.000 --> 0:50:45.480 were really kid gloves with me. Oh hey, Robert, come 0:50:45.560 --> 0:50:47.840 this way, you have a seat over here. Man, it 0:50:47.880 --> 0:50:50.200 will only be a minute, okay. You know, we're gonna 0:50:50.239 --> 0:50:51.799 give you the slip and you're gonna have a one 0:50:52.040 --> 0:50:55.000 ye and just take it easy and you know, everything's fine. 0:50:55.120 --> 0:50:58.040 And they were really gentle with me by that moment. 0:50:58.120 --> 0:51:03.279 On so I left there are I don't even know 0:51:04.160 --> 0:51:06.400 I got home. I was so he later, I couldn't 0:51:06.400 --> 0:51:08.680 believe it. So you found it right then that they 0:51:08.719 --> 0:51:10.920 weren't going to take you. Oh yeah, yeah, I got 0:51:11.000 --> 0:51:13.239 a one why instead of so what did? What did 0:51:13.280 --> 0:51:15.960 the psychiatrist say or do? He just did? He just 0:51:16.040 --> 0:51:18.560 asked me these questions about you know, where you see 0:51:18.560 --> 0:51:20.799 you've been in Vermont? And I said yeah, I said 0:51:20.840 --> 0:51:22.520 what did you do there? I said, I was washing 0:51:22.600 --> 0:51:27.320 dishes in this club the bluetooth. Uh what else do 0:51:27.360 --> 0:51:29.520 you do? I said, I don't too much else. You know, 0:51:29.560 --> 0:51:33.000 if he didn't let on your musician, Okay, why was 0:51:33.120 --> 0:51:36.839 Herbie doing you this? Solid? But asked him to really Yeah, 0:51:37.000 --> 0:51:39.080 he knew Bud and he said one of my guys 0:51:39.200 --> 0:51:41.480 needs help with the draft board, do you And he said, yeah, 0:51:41.480 --> 0:51:44.800 I can help him. People have no idea if you 0:51:44.840 --> 0:51:47.120 didn't live through this. This was like the biggest thing 0:51:47.480 --> 0:51:50.160 they would be conversed about. It was Frank Creez. It 0:51:50.280 --> 0:51:52.600 was frightening. And then and still when we moved to 0:51:52.719 --> 0:51:55.000 l A, I was still waiting and it was only 0:51:55.040 --> 0:51:57.799 a one why. For anyone who doesn't know what that means, 0:51:57.840 --> 0:52:00.480 that means a one year deferment. What you were going 0:52:00.560 --> 0:52:04.279 for was a four F means you're out period, he'll 0:52:04.320 --> 0:52:06.560 never be in the army, but one why means they 0:52:06.600 --> 0:52:09.759 can come calling again, and they started, you know that. 0:52:09.960 --> 0:52:11.759 Then it went to the what do you call it, 0:52:11.840 --> 0:52:16.440 the the wattery? Yeah, lottery, And finally they didn't call 0:52:16.560 --> 0:52:19.920 my numbers, and I was out. Remember what your number was? 0:52:21.120 --> 0:52:25.960 I was to something. Oh, of course, come on, I 0:52:26.040 --> 0:52:27.880 was in college. I was gonna get four years. You 0:52:27.960 --> 0:52:32.560 were still worried. It was frightening, It really was so Uh. 0:52:33.360 --> 0:52:35.960 You moved to l A with Bud. Yeah, your band 0:52:36.080 --> 0:52:40.399 is living in this house. Is Budd doing anything for you? Yeah? 0:52:40.480 --> 0:52:46.200 He's What kind of language barrier have we on here? 0:52:46.320 --> 0:52:50.560 Can I use favorite adjective? Okay, he's fucking up every 0:52:50.640 --> 0:52:54.080 record deal I'm getting. We came out here. We did 0:52:55.120 --> 0:52:58.600 a demo, you know, and it was really pretty good, 0:52:58.680 --> 0:53:01.680 you know, original songs and everyone this band sounded really good. 0:53:02.280 --> 0:53:07.440 Everybody's sang five part harmonies, very good. Songs were musically 0:53:07.600 --> 0:53:12.120 good lyrically okay, and it was a good, good presentation 0:53:12.320 --> 0:53:15.719 and it was good enough to the first deal he 0:53:15.760 --> 0:53:20.080 went to get for us was with Atlantic, and I 0:53:20.239 --> 0:53:24.200 remember one day after Bud Wind saw m it. My 0:53:24.360 --> 0:53:27.040 phone rings and I pick it up and I can 0:53:27.120 --> 0:53:29.600 hear my demo in the background, and it's this voice. 0:53:30.120 --> 0:53:33.040 I want to talk to Watty. Uh. This is what 0:53:33.200 --> 0:53:35.400 he goes. This is I'm on nan because I love 0:53:35.480 --> 0:53:38.959 this fucking record. I love this fucking record. We're gonna 0:53:39.080 --> 0:53:41.359 welcome to Atlantic, man, We're gonna make a great record. 0:53:41.440 --> 0:53:46.239 I love this band. You guys sound beautiful. This is incredible. 0:53:46.480 --> 0:53:48.719 I can't believe it. Hung up the phone. Guys. We 0:53:48.800 --> 0:53:54.319 gotta deal, we gotta deal. First deal, he went. Day later, 0:53:54.840 --> 0:53:59.760 no deal. Bud Cassel would go back to these meetings, 0:54:00.160 --> 0:54:05.040 asked for the moon and want to converge the cow Sils, 0:54:05.160 --> 0:54:07.680 make a bigger deal. Wanted he wanted this for me, 0:54:07.800 --> 0:54:10.000 but he wanted them to do this for the cow 0:54:10.120 --> 0:54:12.640 Sills and all this. He had all these big plans. 0:54:14.719 --> 0:54:19.800 Nomad passed, so then it was on to someone at Columbia. 0:54:20.840 --> 0:54:23.360 Loved it. He went, Bud went in to make the 0:54:23.440 --> 0:54:28.360 deal passed. He ruined at least three record deals that 0:54:28.520 --> 0:54:32.080 we had, and it was it was amazing, you know. 0:54:32.280 --> 0:54:35.320 He was just fucking it up left and right. And 0:54:35.560 --> 0:54:39.560 it's funny. When we first moved here, I really wanted 0:54:39.560 --> 0:54:41.840 to meet Brian Wilson. That was my dream, you know, 0:54:42.080 --> 0:54:46.840 Brian was what year you moved here? The councils have 0:54:47.000 --> 0:54:48.880 their had their head and he hits, yeah, I think 0:54:48.920 --> 0:54:50.320 they ran in the park and the other things was 0:54:50.560 --> 0:54:53.759 a big hit, and uh, what was the second record 0:54:53.880 --> 0:54:56.680 was we Could Fly? We can Fly here? It was later, 0:54:58.680 --> 0:55:01.280 So we came out here and I wanted to meet Brian. 0:55:01.440 --> 0:55:03.000 And the other person I wanted to meet was Dave 0:55:03.040 --> 0:55:06.640 Crosby because at that point David was speaking for our generation. 0:55:06.719 --> 0:55:09.719 He was saying a lot of good, good things. So 0:55:09.760 --> 0:55:11.839 I wanted to meet Dave. And I love the birds, 0:55:11.880 --> 0:55:13.400 you know, you know, just a little stop for once. 0:55:13.560 --> 0:55:17.239 At what point do you go from Robert oh Well 0:55:17.480 --> 0:55:22.000 in the in the newer Schelle band. Actually, uh, there 0:55:22.080 --> 0:55:26.360 was a guy in that band who Jerry Burnback. His 0:55:26.480 --> 0:55:29.279 name is um. He used to funk up a lot. 0:55:29.320 --> 0:55:30.799 He used to make a lot of mistakes, so I'd 0:55:30.840 --> 0:55:33.160 be on his on his case all the time, and 0:55:33.320 --> 0:55:35.480 he got sick of it. So one day, to shut 0:55:35.560 --> 0:55:38.440 me up out of nowhere, he just went, I'm sorry, 0:55:38.840 --> 0:55:42.399 whydy like that off of Wachtel. I guess he got 0:55:42.480 --> 0:55:48.239 it and and I went, what he was, Okay, why 0:55:48.280 --> 0:55:51.040 don't call me that man? What's the matter? Stopped that 0:55:52.000 --> 0:55:55.440 it's weird, and then after a while I went, you know, 0:55:56.440 --> 0:55:59.279 I'm so sick of the word pardon me, Bob. I'm 0:55:59.360 --> 0:56:02.919 so sick of named Bob. Maybe why he ain't so bad, 0:56:04.040 --> 0:56:06.520 He's okay. And it's like after I met Leslie, because 0:56:06.520 --> 0:56:10.400 I know, I introduced myself as Bobby and any Waddy's okay, 0:56:10.520 --> 0:56:12.080 I gotta go with Watty. I'm sick of but I 0:56:12.120 --> 0:56:14.279 don't want to hear myself called Bob anymore. My wife 0:56:14.320 --> 0:56:16.840 still calls me Bob. It says my brother. But you know, 0:56:17.600 --> 0:56:23.759 and uh so that's when that happened. You're listening to 0:56:23.840 --> 0:56:27.000 my conversation with Wady walk Tell, recorded live at the 0:56:27.040 --> 0:56:33.160 tune In Studios in Venice, California. I hope you're enjoying 0:56:33.239 --> 0:56:36.120 this episode of the Bob Left Sets Podcast. As you know, 0:56:36.239 --> 0:56:38.799 we shoot a little video and take pictures here at 0:56:38.840 --> 0:56:41.799 the tune In studios so you can look them up 0:56:41.840 --> 0:56:47.080 at apt tune in on Twitter, Facebook, and Instagram. Now 0:56:47.280 --> 0:56:50.080 more of my conversation with Waddy walk Tell. I'm the 0:56:50.160 --> 0:56:54.560 Bob Left Sets Podcast. Okay, by the seventies eight. You're 0:56:54.640 --> 0:56:58.359 here style curly here to your shoulders as legendary. When 0:56:58.440 --> 0:57:00.600 do you We all grew our here were the Beatles, 0:57:00.680 --> 0:57:03.640 But when did you develop the look you presently have? 0:57:04.280 --> 0:57:07.560 It just grows this way, so I've had it forever, okay, 0:57:07.600 --> 0:57:10.400 But people didn't have their here that long, no, fat time, No, 0:57:10.600 --> 0:57:13.680 but it was it was, you know, every ever since Beatles, 0:57:13.719 --> 0:57:15.920 everyone's hair started growing and you know, I used to 0:57:15.960 --> 0:57:17.880 try to straighten this stuff too, and it was it 0:57:18.000 --> 0:57:21.600 was a nightmare. Uh, But after a while I just 0:57:21.720 --> 0:57:24.280 went I saw it was funny. I saw Eric Clapton 0:57:24.360 --> 0:57:27.880 one day and he had like his big frizzy hair do. Well, gee, 0:57:27.920 --> 0:57:31.200 that's how my hair looks when I wake up. So 0:57:31.680 --> 0:57:36.040 fuck it, I'm done. Let's stop. Go back to close sideway. 0:57:36.120 --> 0:57:38.640 Was your brother your brother graduates from high school? Does 0:57:38.680 --> 0:57:41.280 he continue in school? Yeah? He went to Brooklyn College. 0:57:41.640 --> 0:57:43.720 He went to n y U and then he was 0:57:44.320 --> 0:57:47.640 in Brooklyn College studying broadcasting. And then how does he 0:57:47.720 --> 0:57:53.280 become a designer? Well, he came out here and I 0:57:53.400 --> 0:57:56.720 lived next to uh this great photographer, and Lorie Sullivan 0:57:57.480 --> 0:58:02.440 and Jimmy came out and he met Laurie and they 0:58:02.560 --> 0:58:06.080 just hit it off. And Laurie said, I do photography 0:58:06.080 --> 0:58:08.040 and you know, thinking to do an album covers, and Jimmy, 0:58:08.080 --> 0:58:10.920 oh that's great, I could. I could do layouts and 0:58:10.960 --> 0:58:13.120 stuff for that. And so they became this team and 0:58:13.120 --> 0:58:15.400 they did a lot of the covers, you know, all 0:58:15.480 --> 0:58:19.280 a lot of Dawn Patrol. Well even before Dawn Patrol, 0:58:19.320 --> 0:58:21.200 I think it was just Jimmy and Lloyd did Stevie 0:58:21.480 --> 0:58:25.000 Buckingham Knicks album covers them. But your brother had me training. 0:58:26.440 --> 0:58:28.840 You have to ask him, I don't think so, you know, 0:58:28.920 --> 0:58:32.600 are you still close? Oh? Yeah, okay, So anyway, let's 0:58:32.640 --> 0:58:36.360 back to you. So budd pocks up all the record deals, Yes, 0:58:36.480 --> 0:58:38.320 he does. And then where does that leave you? Well, 0:58:38.440 --> 0:58:40.120 it also leaves me. What I was gonna say was 0:58:40.200 --> 0:58:43.160 when I met the second night I'm in town, I 0:58:43.200 --> 0:58:45.960 see Dave Crosby sitting at this restaurant like two tables 0:58:46.000 --> 0:58:49.360 away from me, and I'm going, this is unbelievable. I can't, 0:58:49.760 --> 0:58:53.160 this isn't. What do I do do I introduce myself, 0:58:53.600 --> 0:58:56.640 make a fool of myself? Yep? Get up? Where do 0:58:56.720 --> 0:59:00.360 I let this opportunity pass by? No? Get up? Went 0:59:00.440 --> 0:59:03.040 over and interrupted his dinner and said, I'm sorry to 0:59:03.080 --> 0:59:06.960 bother you, Mr Crosby, but that is Watery walked down. 0:59:07.120 --> 0:59:10.360 I just came here with my band and he says, well, 0:59:10.400 --> 0:59:12.120 how did you get here? And I mentioned the counsels. 0:59:12.160 --> 0:59:14.720 He went, oh god, yeah, I said, I know, I know, 0:59:15.480 --> 0:59:17.160 I know, but that it has nothing to do with us. 0:59:17.280 --> 0:59:18.960 We have our own band and I'd love you to 0:59:19.520 --> 0:59:27.560 come here our band, and he goes, okay, what, okay, well, okay, fine. 0:59:28.080 --> 0:59:32.040 So he came over and Judy Pulver, who was our 0:59:32.400 --> 0:59:35.480 our girl in the band, made dinner and we sat 0:59:35.560 --> 0:59:39.040 around and talking and and then Dave said this thing 0:59:39.160 --> 0:59:43.280 to me. This is during the the area where budd 0:59:43.360 --> 0:59:45.320 is screwing up deals and stuff. And I'm starting to 0:59:45.360 --> 0:59:47.120 get a little worried about it. But I don't know. 0:59:47.680 --> 0:59:50.680 He's my manager. I think everything's cool. He goes, So 0:59:51.040 --> 0:59:54.160 David says, who's your publisher? I want, um, my manager, 0:59:54.680 --> 0:59:58.240 and he just looks at me and he goes asshole, 0:59:59.200 --> 1:00:04.280 but huh, because nobody should be your publisher. You're your 1:00:04.320 --> 1:00:09.720 own publisher. Your manager is robbing you. This is what 1:00:09.840 --> 1:00:13.440 else has he got? I said, well, we signed management 1:00:14.040 --> 1:00:19.400 Production and Publishing, and he was you idiot? He says, 1:00:19.600 --> 1:00:23.360 that's robbing you. Nobody should have your publishing. So when 1:00:23.440 --> 1:00:25.080 he left at night, I called Bud. I said, I 1:00:25.120 --> 1:00:28.160 want my publishing back. You robbed me and everything. So 1:00:28.360 --> 1:00:33.040 things started getting a little intense. And as I kept 1:00:33.080 --> 1:00:37.240 going the band because of Bud screwing us up, we 1:00:37.320 --> 1:00:40.720 never got anywhere. We never got We finally did a gig. 1:00:40.880 --> 1:00:42.439 All we did. He says, I just want you guys 1:00:42.480 --> 1:00:45.720 to write and rehearse right, and rehearse right and rehearse, 1:00:45.760 --> 1:00:47.800 so he's paying for you to live. We had fifty 1:00:47.840 --> 1:00:51.120 bucks a week and living in a nice joint and 1:00:53.160 --> 1:00:55.680 we finally did a gig and and man, I'm it's funny. 1:00:55.720 --> 1:00:58.520 I met a dear friend of mine there who wound 1:00:58.640 --> 1:01:02.480 up writing Arwolves in London with Warren and myself. But 1:01:03.120 --> 1:01:07.280 he saw my band at night. But it kept going on, 1:01:07.440 --> 1:01:10.720 and David called me after he heard the band and everything, 1:01:10.800 --> 1:01:13.240 and and there was two phone calls he made to me. 1:01:13.320 --> 1:01:15.880 One of them was, let me ask you something, what 1:01:15.960 --> 1:01:17.320 would you think if I was to put a band 1:01:17.360 --> 1:01:19.680 together with Steven Stills and Graham Nash? And I went, 1:01:22.000 --> 1:01:24.600 I think I don't have to think it would be 1:01:24.680 --> 1:01:27.439 the biggest band in the world forever. That's what I think. 1:01:28.200 --> 1:01:30.720 It was. Okay, well, that's what we're doing. I went, oh, man, 1:01:30.800 --> 1:01:32.920 that's great. Then he called me a couple of days later. 1:01:32.960 --> 1:01:34.720 He goes, Whyty, I gotta talk to you about something. 1:01:35.080 --> 1:01:37.360 What he goes, you know you're the only one in 1:01:37.440 --> 1:01:42.880 that band, right Oh? No, no, he goes, he said 1:01:42.880 --> 1:01:45.040 that everybody sings. Okay, but he says, you know you're 1:01:45.080 --> 1:01:50.960 the only musician in that band, right, Well let me 1:01:51.000 --> 1:01:53.000 but this way, I hear what you're saying. But you know, 1:01:53.040 --> 1:01:55.080 I'm gonna try to keep this band together. He goes, 1:01:55.280 --> 1:01:59.200 it's not gonna happen, man. And and so eventually Budd 1:01:59.320 --> 1:02:01.440 screwing us up to screen us up, and everybody's starting 1:02:01.480 --> 1:02:05.680 to rag on me. And finally I said, oh, and 1:02:05.840 --> 1:02:10.480 we met Keith Olsen, producer. Yeah, and and his partner 1:02:10.640 --> 1:02:12.560 was a guy of Kurt Betcher. I don't remember Kurt. 1:02:13.320 --> 1:02:17.000 He died. And but Keith and Kurt we're gonna They 1:02:17.080 --> 1:02:18.920 heard us and loved our band, wanted to produce us. 1:02:19.840 --> 1:02:23.680 So we went in the studio with him and it 1:02:23.880 --> 1:02:27.880 just became a fight. It became a real It wasn't working, 1:02:29.080 --> 1:02:31.760 and Keith and I became well. I can tell he 1:02:31.840 --> 1:02:34.720 and I were hitting it off musically, but the band 1:02:34.840 --> 1:02:37.080 was not having so and I met. I was gonna say, 1:02:37.120 --> 1:02:41.400 as I met some studio musicians, I'm still a green 1:02:41.520 --> 1:02:44.560 little radish, you know that just came out here. But 1:02:44.720 --> 1:02:48.640 I met guys who were studio musicians, and well, and 1:02:48.720 --> 1:02:50.600 I heard this guy playing. I went, well, I play 1:02:50.680 --> 1:02:53.920 that good. I play as good as he does. I 1:02:54.000 --> 1:02:55.400 want that's what I want to do. I want to 1:02:55.440 --> 1:03:00.240 become a studio musician and U And then I looked around. 1:03:00.320 --> 1:03:02.640 This band was just been giving me nothing but paint 1:03:02.640 --> 1:03:05.800 and the neck. But as a matter of fact, that's 1:03:05.880 --> 1:03:09.240 what I'm gonna do. You're all fired and I'm not quitting. 1:03:09.600 --> 1:03:12.480 I want you to know there's a difference. You're fired. 1:03:13.360 --> 1:03:16.640 So this band's done now, and I'm gonna and Judy 1:03:16.720 --> 1:03:18.520 and I were the songwriters in the band. So she 1:03:18.640 --> 1:03:20.840 and I kept together and tried to pursue a deal 1:03:20.920 --> 1:03:23.520 for the two of us, which didn't happen, but she 1:03:23.640 --> 1:03:26.240 and I went up living together, and then I started working. 1:03:26.400 --> 1:03:29.040 I started getting sessions. Two questions, This is a romance 1:03:29.120 --> 1:03:31.840 between you and her? Yeah? OK, yeah, it didn't start 1:03:31.880 --> 1:03:34.600 that way, but it wound up and then the rest 1:03:34.640 --> 1:03:37.120 of the band. You tell them they're fired, but they say, 1:03:37.320 --> 1:03:39.600 they said, okay, fine, Well we were at a point 1:03:39.640 --> 1:03:44.080 of everything was friction anyway, Okay, Bud say oh Budd. 1:03:44.160 --> 1:03:47.440 At that point was out, Bud was gone. We were 1:03:47.480 --> 1:03:50.760 done with Bud. At that point I had taken back 1:03:50.800 --> 1:03:53.320 my publishing. I didn't want him to manage me anymore. 1:03:53.600 --> 1:03:56.240 It was over. I said it were done, We're done. 1:03:56.360 --> 1:04:00.080 And actually his son Bill got a record deal and 1:04:00.280 --> 1:04:04.360 that was the first session I did. I did. I 1:04:04.400 --> 1:04:07.080 played a session for Billy. Okay, but one has to ask, 1:04:07.560 --> 1:04:11.120 late sixties, he made you sign paper, his legendary story, 1:04:11.200 --> 1:04:13.280 Billy Joel. He makes a deal. They come back later 1:04:13.320 --> 1:04:15.000 when he's success. You know, he just let it go. 1:04:15.320 --> 1:04:17.919 He did, he did. He was cool in that level, 1:04:18.600 --> 1:04:20.760 I say, because he was screwing us and if anybody 1:04:20.840 --> 1:04:23.200 had taken him to court, they would have said, yeah, 1:04:23.960 --> 1:04:26.880 you're dead man. So he knew he was in the rule. 1:04:27.000 --> 1:04:29.520 So you're you're working with Keith. You decided to become 1:04:29.560 --> 1:04:33.280 a studio musician, Okay, so how do you get your 1:04:33.280 --> 1:04:36.240 first gig? Is how much later? With counsel. Well, it 1:04:36.360 --> 1:04:38.920 just it's timing wise. It was kind of around the 1:04:39.000 --> 1:04:42.320 same period. You know, Billy left the band, left the 1:04:42.560 --> 1:04:45.000 Family group and got a record deal. So he goes, 1:04:45.000 --> 1:04:47.240 I gotta record deal. I want you to play on 1:04:47.280 --> 1:04:50.960 this session with me. Great, and and oh another facet 1:04:51.000 --> 1:04:54.400 of this is I did meet Brian Wilson. I met 1:04:55.240 --> 1:04:58.720 a friend of mine who became a lifelong friend, and 1:04:58.920 --> 1:05:02.640 he was the Brian's right hand man for many years. 1:05:04.000 --> 1:05:06.480 They weren't he wasn't working with him anymore. But I 1:05:06.600 --> 1:05:08.560 met this guy. His name was Arne Geller, and he 1:05:08.720 --> 1:05:13.440 looked he looked just like a Jewish relative. He was 1:05:13.560 --> 1:05:16.120 so New York looking, and he was an l a guy, 1:05:16.280 --> 1:05:19.280 but he was so New York. And anyway, he brought 1:05:19.360 --> 1:05:22.000 me to Bryant's. I met Brian and he said, so 1:05:22.120 --> 1:05:25.600 you met Brian, and you said and did one? I first, well, 1:05:25.680 --> 1:05:29.360 I went crazy, but I I just told him what 1:05:29.400 --> 1:05:30.760 a big fan I was, and I said, as a 1:05:30.840 --> 1:05:33.680 matter of fact, I am such a fan of yours. 1:05:33.760 --> 1:05:36.480 I want to show you that there's a song by 1:05:36.520 --> 1:05:39.120 the Beach Boys called let the Wind Blow. You know 1:05:39.200 --> 1:05:44.480 that song, beautiful, beautiful piano part really bizarre piano part. 1:05:44.880 --> 1:05:46.800 And that's one of the things that I made myself 1:05:46.920 --> 1:05:49.480 learn on piano because I just loved it so much. 1:05:49.560 --> 1:05:52.400 I said, I'm such a fan of yours that I've learned. 1:05:52.440 --> 1:05:54.160 I'm a guitar player, but I had to learn let 1:05:54.240 --> 1:05:55.920 the wind blow. And I sat down at his piano 1:05:55.960 --> 1:06:01.000 and played it for him, and he's going, wow, that's heavy. 1:06:02.560 --> 1:06:05.360 You learned that. You're talking yourself that. Yeah, I had to. 1:06:05.520 --> 1:06:08.479 I said, I just love it. He was, wow, that's cool. 1:06:08.680 --> 1:06:11.240 So and then we went in his studio and he 1:06:11.280 --> 1:06:13.120 sat down, he played me some stuff on the on 1:06:13.240 --> 1:06:15.840 his board. But Brian was he was in a real 1:06:15.880 --> 1:06:19.880 fragile place then. And uh, but so I got to 1:06:19.920 --> 1:06:22.520 meet Brian, and Brian put me on a date. That's 1:06:22.560 --> 1:06:24.440 what I was gonna say. The second record date I 1:06:24.520 --> 1:06:27.439 did was through Brian Wilson, who was some I don't 1:06:27.440 --> 1:06:29.680 even know what it was for now, I don't remember. Okay, 1:06:29.920 --> 1:06:33.080 when you stopped working with Bud, and Bud stopped giving 1:06:33.120 --> 1:06:35.600 you your fifty dollars a week before you become a 1:06:35.640 --> 1:06:38.560 studio musician, what are you living on. We're living on 1:06:39.400 --> 1:06:43.120 a little bit of surplus money we had and Judy 1:06:43.440 --> 1:06:47.240 had money, had some bread. Family money, Yeah, family money. 1:06:47.280 --> 1:06:49.160 So we were living off a judy until I started 1:06:49.200 --> 1:06:51.040 getting working. And then okay, you go to you do 1:06:51.200 --> 1:06:54.720 the gig with Bill Cowsel. How do you establish your 1:06:54.800 --> 1:06:59.600 studio career? Well, I did that, I did the other 1:06:59.640 --> 1:07:04.040 session Brian. And then it's funny when I said I 1:07:04.880 --> 1:07:07.440 when we did our gig, the one gig we did 1:07:07.520 --> 1:07:11.640 with my band, my friend Roy Marinell, a guy who 1:07:11.760 --> 1:07:14.640 I came to meet then, was at that show, was 1:07:14.720 --> 1:07:17.440 really impressed by this band because we did it. Sounded 1:07:17.480 --> 1:07:21.400 amazing this band, and yeah, so we got to be 1:07:21.480 --> 1:07:29.120 friendly and he knew Nick Vnet and Linda Ronstads stone 1:07:29.160 --> 1:07:32.920 to so he says, you should meet Nick. So he 1:07:33.040 --> 1:07:36.400 set up a meeting and wanted Nick to hear me play. 1:07:37.320 --> 1:07:39.919 So Nick put me on a date and he liked 1:07:39.960 --> 1:07:42.640 what I was doing, so he hired me. So that's 1:07:42.680 --> 1:07:45.840 how I started working through Nick really and he would 1:07:45.920 --> 1:07:48.200 hire me over and over for days because he really 1:07:48.240 --> 1:07:50.080 doug what I was doing. And now you're giving up 1:07:50.120 --> 1:07:53.040 the dream, how do you feel about that? It was 1:07:53.120 --> 1:07:59.200 all the dream from the band thing, became studio musician. 1:07:59.360 --> 1:08:01.680 That's the new d That's what I want just because 1:08:01.720 --> 1:08:04.760 you and you you slug too hard without success. Yeah, 1:08:05.040 --> 1:08:06.840 I guess so yeah. Okay, so you were Judie and 1:08:06.840 --> 1:08:09.880 I were getting nowhere. Okay, so you're working with Nick 1:08:10.800 --> 1:08:13.440 and you're doing these sessions. What's the next step. The 1:08:13.520 --> 1:08:20.320 next step is somebody comes to me and says, I'm 1:08:20.439 --> 1:08:22.360 going to this guy's house to talk with him about 1:08:22.400 --> 1:08:27.280 some upcoming record sessions. Okay, great, and he says, oh, 1:08:27.360 --> 1:08:30.479 and by the way, the Everly Brothers need a guitar player. 1:08:32.080 --> 1:08:34.679 Uh so at that point though, but I've started working 1:08:34.720 --> 1:08:38.040 for Nick and I'm doing other sessions around town. I'm 1:08:38.080 --> 1:08:40.760 working with Keith Olsen produced He's producing other people. So 1:08:41.200 --> 1:08:44.479 while I was doing my own demos with Keith, he 1:08:44.640 --> 1:08:47.599 was working me on sessions. Okay, two things, Well, One, 1:08:48.600 --> 1:08:51.000 to what degree you're sitting home waiting for the phone 1:08:51.080 --> 1:08:54.360 to ring? Into what degree are you working it? Well, 1:08:54.439 --> 1:08:57.160 you're working the phone? You mean I didn't know how 1:08:57.200 --> 1:08:58.920 to do that. It was all a matter of that 1:08:59.000 --> 1:09:01.679 phone ringing. Okay, I didn't know how to. You didn't 1:09:01.720 --> 1:09:03.559 know how to, I mean the nature of being a musician, 1:09:03.600 --> 1:09:08.160 though apparently you're your networker. Well, but there was I 1:09:08.200 --> 1:09:11.720 didn't know what that meant? Okay, there, So, okay, you 1:09:11.800 --> 1:09:15.160 were playing specific gigs with Nick and with Keith, but 1:09:15.280 --> 1:09:17.880 there was was there someone who had your job and 1:09:18.000 --> 1:09:19.840 you said, well, I gotta knock this guy off to 1:09:19.920 --> 1:09:24.080 get that job. Well, you know, it's funny had that 1:09:24.240 --> 1:09:26.280 job really, because I'd see all these records with this 1:09:26.479 --> 1:09:29.120 name on it, and I'm going, why is he working 1:09:29.200 --> 1:09:33.719 so much? Who's this guy? And so I left Judy 1:09:33.760 --> 1:09:35.960 and I had our thing together. We split up and 1:09:36.000 --> 1:09:38.800 I moved in with this guy, Arnie Geller to his 1:09:38.880 --> 1:09:44.799 little house. Where's Judy to Judy works for Variety Daily Variety. 1:09:45.439 --> 1:09:48.240 She's a writer for Variety. Yeah, she's great. So she 1:09:48.360 --> 1:09:50.519 never made it in a music business. She got a record, 1:09:50.640 --> 1:09:53.120 she did a record, we went and toured it and so, 1:09:53.400 --> 1:09:58.519 but it never really turned into it. Judy Pulver Pulver 1:09:58.720 --> 1:10:03.200 Rising was the record. So, okay, you move in with Geller. 1:10:03.680 --> 1:10:06.599 I'm moving with Artie. And at that point, I'm starting 1:10:06.600 --> 1:10:08.639 to do sessions. I'm working the sessions here and there. 1:10:08.920 --> 1:10:13.200 And this meeting that I had about the Everly Brothers, 1:10:13.280 --> 1:10:15.200 this guy is talking about record dates. So he says 1:10:15.240 --> 1:10:17.559 to me, the Everly Brothers need a guitar player. I went, oh, 1:10:17.640 --> 1:10:20.760 wait a minute, are you kidding? I said, that's my 1:10:20.920 --> 1:10:25.479 gig man. I know every song, I know both vocal parts. 1:10:25.479 --> 1:10:27.360 I know every guitar part. What do I do? How 1:10:27.400 --> 1:10:31.200 do I how do I get there? So he goes, well, um, 1:10:32.360 --> 1:10:37.360 call this guy Sandy Zevon, call Sandy's van and you'll you'll, 1:10:37.720 --> 1:10:42.120 you'll set up an audition for you. Okay, great, Hi Sandy. 1:10:42.280 --> 1:10:45.519 This is my name is Waddy waktell be it be 1:10:45.680 --> 1:10:51.519 down at s i R tomorrow rehearsal hall. Yeah. So 1:10:51.920 --> 1:10:53.880 I go down there. I'm looking around. I don't know 1:10:53.920 --> 1:10:57.320 who's who. Are you Sandy? No, my name is Gene. 1:10:57.360 --> 1:11:00.360 I'm trying out for the band too. I'm the drummer. Okay, 1:11:00.400 --> 1:11:02.920 are you Sandy? No, I'm Bob Canniggie. I'm the bass 1:11:02.960 --> 1:11:06.320 player who I built the Everlies for quite a while. Okay, 1:11:06.600 --> 1:11:08.040 oh you're why do you come on in here? So 1:11:08.080 --> 1:11:10.960 we're in the room waiting. The door opens and incomes 1:11:11.040 --> 1:11:14.240 this guy with a fedora, had on a Searus sucker jacket. 1:11:16.400 --> 1:11:18.759 At that point, I'm walking around, I got a beard, 1:11:19.439 --> 1:11:23.160 I'm wearing an undershirt. It's a hot summer day. In 1:11:23.360 --> 1:11:29.240 l A. I'm Sandy zvon Oh. Okay, hey man, how 1:11:29.280 --> 1:11:31.920 you doing good? All right, So here's what we're gonna do. 1:11:33.120 --> 1:11:37.559 We'll play this song and then you'll play it. Okay, 1:11:37.640 --> 1:11:39.639 well you know you could. You can leave out that stick. 1:11:40.439 --> 1:11:42.120 I know all these tunes. He goes, No, this is 1:11:42.160 --> 1:11:45.760 how we're gonna do it. Okay, fine. So anyway, that's 1:11:45.760 --> 1:11:48.080 how I got the job of the Everly Brothers. That's 1:11:48.080 --> 1:11:50.840 where I met Warren. And uh, when did you go 1:11:51.000 --> 1:11:53.880 from being Sandy to war Well? Somebody, you know, it's funny. 1:11:53.920 --> 1:11:57.280 Somebody just mentioned to me why he was calling himself Sandy, 1:11:57.320 --> 1:11:59.600 and I can't remember, with some cousins name that he 1:12:00.080 --> 1:12:02.080 he liked or something like that. So he adapted it 1:12:02.120 --> 1:12:04.200 for a little while. But when we were on the road, 1:12:04.280 --> 1:12:06.320 he was Warren Zevon right away it was Warren. I 1:12:06.320 --> 1:12:10.400 thought your name was Sandy Warren. Okay, fine? Um? But 1:12:10.640 --> 1:12:12.680 so and then okay, did you get close to him 1:12:12.680 --> 1:12:15.360 like a hear close to Keith Olsen? Yeah, well, in 1:12:15.439 --> 1:12:17.640 a manner of speaking, a Warren and I had a 1:12:20.360 --> 1:12:24.439 vinegar and water kind of relationship forever really, but we 1:12:24.560 --> 1:12:27.600 were we became very very close. But at first, it 1:12:27.760 --> 1:12:31.600 was sand and gravel next to each other. You know, 1:12:31.720 --> 1:12:34.160 we were always arguing about music. It was always about 1:12:34.200 --> 1:12:38.080 music though, you know. And but we we wound up 1:12:38.520 --> 1:12:41.559 playing music all the time, all night long, every night 1:12:41.800 --> 1:12:44.840 on the road with the A Relies. And what was 1:12:44.880 --> 1:12:47.559 wonderful about that was that when I got the job 1:12:47.640 --> 1:12:50.920 with the Averlies, they said, now listen, don't you try 1:12:51.000 --> 1:12:54.200 to get them together. I went, huh, what are you 1:12:54.280 --> 1:12:57.120 talking about? They said, well, you know they don't get along. 1:12:57.240 --> 1:13:01.080 I went, fine, you know, so don't you be the 1:13:01.160 --> 1:13:03.400 one that thinks, you know, don't you let yourself think 1:13:03.439 --> 1:13:05.479 you'll be the one to bring them together? As are 1:13:05.520 --> 1:13:08.439 you kidding? I'm walking on egg show. I haven't even 1:13:08.479 --> 1:13:10.639 met them yet. You know. I didn't meet them until 1:13:10.760 --> 1:13:13.760 we went on stage at not's Bury Farm. It was 1:13:13.840 --> 1:13:16.439 the first gig, and then we went to Europe right 1:13:16.479 --> 1:13:21.720 away the next day, two days later. So I wasn't 1:13:21.760 --> 1:13:23.479 about it and try to meet and you know, I 1:13:23.520 --> 1:13:25.519 didn't know anything. I was frightened to death. They said, 1:13:25.960 --> 1:13:30.360 my idols and uh, but one night and so every 1:13:30.439 --> 1:13:32.840 night we're just playing music all night long and Phil goes, 1:13:32.880 --> 1:13:35.080 what are you guys doing? I said, we were just 1:13:35.240 --> 1:13:37.479 we're playing all night, and he goes, I'm want to 1:13:37.520 --> 1:13:40.439 come by. And then the next day Donald goes, so 1:13:40.560 --> 1:13:42.840 what are you guys doing. I said, well, we've been 1:13:42.840 --> 1:13:45.560 playing at night. He goes, funk, I'm coming over. So 1:13:46.560 --> 1:13:48.880 this was the dream, Bob. You have the Everly brothers 1:13:48.920 --> 1:13:51.880 sitting in your hotel room, sitting on the floor singing. 1:13:53.200 --> 1:13:56.479 It was the most magical thing you can You can 1:13:56.560 --> 1:13:59.800 you brought them together? No, I didn't music, did you know? Me? 1:14:00.040 --> 1:14:03.920 Warren our our, our addiction to music brought them together, 1:14:04.120 --> 1:14:06.120 brought their addiction to music into the room with us. 1:14:06.200 --> 1:14:08.519 I guess. But there's the Everything brothers sitting on the 1:14:08.560 --> 1:14:15.040 floor in your hotel room singing. It was so beyond reality. 1:14:15.920 --> 1:14:19.000 And everybody was smoking cigarettes, smoking a little weed, drinking 1:14:20.200 --> 1:14:22.080 all night long. Every night. This was our life on 1:14:22.120 --> 1:14:24.840 the road. That was that we do a show. We'd 1:14:24.880 --> 1:14:27.679 go to the room play music all night. So Warren 1:14:27.800 --> 1:14:30.840 is and so Warren's playing me Desperadoes under the eaves, 1:14:30.960 --> 1:14:34.320 playing me Frank and Jesse Carmelita, I'm playing and maybe 1:14:34.360 --> 1:14:38.320 I'm right, you know a couple of my songs. It's great. 1:14:39.040 --> 1:14:43.360 It was amazing, and you know, went from that, came 1:14:43.439 --> 1:14:46.280 back to town. Still sessions are going. I'm getting more 1:14:46.320 --> 1:14:51.360 and more dates, and I was working with Nick Still 1:14:52.000 --> 1:14:55.280 and all of a sudden, Nick Manette takes me aside 1:14:55.320 --> 1:14:58.759 and because it's time for you to move on, Wady, 1:15:00.840 --> 1:15:03.600 what does that mean, I'm fired? You're firing me? He goes, No, 1:15:03.720 --> 1:15:06.720 I'm not firing you. It's time for you to move on. 1:15:07.920 --> 1:15:10.760 You're you're better than what we're doing here. We're doing 1:15:10.840 --> 1:15:13.320 these folk records a lot of folk artists, and I 1:15:13.400 --> 1:15:17.519 was playing acoustic all the time. And he goes, there's 1:15:17.520 --> 1:15:20.120 a new piano player in town, this guy named David Foster. 1:15:20.240 --> 1:15:22.920 He just moved here and he's the hot shot guy 1:15:22.960 --> 1:15:25.559 in town. And I've invited him to the session tomorrow 1:15:25.680 --> 1:15:29.560 night because I want him to hear you play. So 1:15:29.840 --> 1:15:33.639 bring your amp, bring your less Paul, and you're gonna 1:15:33.640 --> 1:15:38.080 play electric tomorrow. I wanted to hear you play slide play. Okay, 1:15:39.800 --> 1:15:43.920 So with the session came, I met Dave played he 1:15:44.040 --> 1:15:47.400 dug it, apparently, I guess I didn't know. And to 1:15:47.600 --> 1:15:49.679 three days later, I get a call from Lou Adler's 1:15:49.760 --> 1:15:54.559 office saying they want me on a session for Lou 1:15:55.439 --> 1:15:58.519 and I'm overlooking on one aspect of this in this 1:15:58.720 --> 1:16:04.160 interim time through working with Keith. I first, the first 1:16:04.240 --> 1:16:06.840 one of my brothers that I met was Leland Lee Clark, 1:16:07.800 --> 1:16:10.360 and he was we worked on a session for Bobby Womack. 1:16:10.560 --> 1:16:14.639 Keith was producing. So I meet Lee and I've already 1:16:14.680 --> 1:16:18.639 met Jim Keltner, but I hadn't met Coach, I hadn't 1:16:18.640 --> 1:16:22.240 met Russell and yeah, and so all of a sudden, 1:16:22.240 --> 1:16:24.760 I'm going to s i R one day and I'm 1:16:24.880 --> 1:16:27.800 I have my car, my fifty seven Chevy Wagon, and 1:16:28.000 --> 1:16:30.719 out of the driveway comes another fifty seven Chevy Wagon, 1:16:31.080 --> 1:16:34.640 both primary gray color, and this guy is driving it 1:16:34.920 --> 1:16:38.920 stops and he looks at me. He goes, are you waddy? Yeah, 1:16:39.760 --> 1:16:42.639 he goes, I'm Russ. But yeah, all right, man, Hey, 1:16:42.680 --> 1:16:44.519 how are you doing? He goes. He says, I gotta go, 1:16:44.640 --> 1:16:47.800 but we're gonna be seeing a lot of each other. Yeah, 1:16:47.880 --> 1:16:50.640 he says, yeah. And so and then then I got 1:16:50.720 --> 1:16:55.760 the call to do this session for Lou for I 1:16:55.800 --> 1:16:57.960 think it was a Tim Curry. Tim Tim was making 1:16:57.960 --> 1:17:01.280 a record and Couch was on the date. So there 1:17:01.439 --> 1:17:04.719 was the crux of the brothers. I've grown up playing 1:17:04.760 --> 1:17:09.760 records with Russell Leland and Danny, and Danny and I 1:17:09.840 --> 1:17:11.720 had this thing against this guy, coach. I hate this 1:17:11.800 --> 1:17:14.160 fucking guy. Who is this guy's getting all this work? 1:17:14.840 --> 1:17:16.919 And I meet him and we loved each other instantly, 1:17:17.040 --> 1:17:19.080 and we you know, and the first tune was like 1:17:19.160 --> 1:17:22.719 a reggae tune, which was our my passion and Danny's passion, 1:17:23.200 --> 1:17:25.680 and Warren and I just craved hard did they come 1:17:25.720 --> 1:17:28.560 when that came out? We were Warren and I and 1:17:28.720 --> 1:17:32.160 Jorge Calderone. We saw the movie a million times and 1:17:32.320 --> 1:17:35.920 we learned yeah, yeah, yeah, you know Johnny too Bad 1:17:36.439 --> 1:17:40.080 every song, oh seven, all those great tunes, and so 1:17:40.240 --> 1:17:43.080 we were all reggae freaks. So Danny and I got 1:17:43.120 --> 1:17:48.320 on famously, and so it went from that too. Carol 1:17:48.439 --> 1:17:52.240 King and then Peter Peter Ashes saw me playing with 1:17:52.360 --> 1:17:57.160 Carol and he hired me to play for Lynda. Okay, 1:17:57.280 --> 1:18:00.840 this was on the road or for records? Who was for? Uh? 1:18:02.280 --> 1:18:05.880 So hard to say. I think it was for the 1:18:06.000 --> 1:18:10.800 road because the first session I did for Peter was 1:18:11.120 --> 1:18:15.400 with JD. Souther on a song called simple Dreams, Simple Man, 1:18:15.479 --> 1:18:19.240 Simple Dreams. Alum and j D and I were friends 1:18:19.320 --> 1:18:22.240 because Jimmy. My brother Jimmy did the Southern Hillman Fury 1:18:22.760 --> 1:18:26.519 album cover. So I met j D then and we 1:18:26.720 --> 1:18:30.400 liked each other. We spent a night one night getting 1:18:30.840 --> 1:18:34.240 really drug together, and I wanted to play a little 1:18:34.320 --> 1:18:38.599 and he wanted to sing Everley's and went Everley's right, 1:18:38.720 --> 1:18:41.960 now you're talking man. So I had my all I 1:18:42.000 --> 1:18:43.800 had was my lesson. I don't even have an acoustic guitar, 1:18:43.920 --> 1:18:46.240 had my less pole and j D had an acoustic 1:18:46.360 --> 1:18:48.720 So we strummed the little guitars together and played all 1:18:48.800 --> 1:18:52.160 night and when it was funny when he left. When 1:18:52.160 --> 1:18:53.880 I woke up the next day, I said to Jimmy, 1:18:53.920 --> 1:18:56.560 I said, did he like me? Was it? He was? 1:18:57.439 --> 1:19:02.320 I think he liked it. He said, man, you're brothers funky? Yeah? 1:19:02.760 --> 1:19:04.959 Is that a compliment? I think I hope that's a compliment. 1:19:05.920 --> 1:19:07.640 J D and I became the best of friends and 1:19:08.640 --> 1:19:12.240 spent many years together working on songs and music and records. 1:19:12.280 --> 1:19:18.040 And Okay, so you're basically doing sessions for these individuals 1:19:18.160 --> 1:19:20.639 that you gave connections to, as opposed to a guy 1:19:20.960 --> 1:19:23.640 who's showing up at nine and uh, well I was 1:19:23.680 --> 1:19:26.880 doing that too. You were doing yeah, all of a sudden, 1:19:26.920 --> 1:19:29.000 I was working real sessions. I was working like two 1:19:29.040 --> 1:19:31.439 or three sessions a day, like that's what was happening. 1:19:31.479 --> 1:19:35.400 And in that period, early seventies, was this incredible musical 1:19:35.439 --> 1:19:38.880 explosion in Los Angeles, and there was so much There 1:19:38.960 --> 1:19:41.160 was so many great artists, and there was so much 1:19:41.240 --> 1:19:43.960 work being done. You know, I was working. I've worked 1:19:44.000 --> 1:19:47.719 on a movie score with Lionel Newman, or for Jimmy Heskell. 1:19:47.840 --> 1:19:51.000 I worked with Mike Dacy, with Hal Blane, all these guys, 1:19:51.040 --> 1:19:54.240 all the guys, you know, working on Jackie's Shannon records, 1:19:54.320 --> 1:19:58.799 working on Helen Helen Ready records, you know, working on everything. 1:19:58.880 --> 1:20:03.479 We're read a Coolidgio one day. And then Stevie Linda 1:20:03.520 --> 1:20:06.759 We made Stevie Lindsay's record with Keith, the Buckingham Knicks record. 1:20:07.439 --> 1:20:13.360 We did that on Poldoria and and then I didn't 1:20:13.360 --> 1:20:15.679 see Stevie for a long time. Well before you go there, 1:20:16.320 --> 1:20:19.400 So you're working all these sessions, You're probably not making 1:20:19.439 --> 1:20:25.040 good money. So your lifestyle changes, yeah, somewhat, you know, basically, 1:20:25.200 --> 1:20:27.720 I mean not really. Okay, you know, my last style 1:20:27.800 --> 1:20:30.360 change didn't change, but I was supporting myself. Okay, how 1:20:30.400 --> 1:20:33.200 about coke and other drugs. Since you're working so much, 1:20:33.720 --> 1:20:37.320 there's a lot of that around. Okay. So okay, so 1:20:37.439 --> 1:20:39.479 you do the Buckingham Knicks record and you said you 1:20:39.520 --> 1:20:42.360 haven't talked to Stevie for a while. Yeah, you know, 1:20:42.439 --> 1:20:45.200 it's all of a sudden they were gone. I was 1:20:45.280 --> 1:20:48.000 I was working for Linda Peter. When Peter saw me 1:20:49.840 --> 1:20:51.280 cal he said, I want you to come play on 1:20:51.320 --> 1:20:54.760 the road with with Linda. Just to be clear, I 1:20:54.840 --> 1:20:58.240 Andrew Gold was a key part of that act. Yeah, okay, 1:20:58.320 --> 1:21:01.320 So how did you fit in? Well, we played together. 1:21:01.960 --> 1:21:04.960 You know, like the first session I'd think I did 1:21:05.040 --> 1:21:08.040 for Linda, I didn't overdub on something pretty for her. 1:21:08.880 --> 1:21:10.760 But then the first tracking day I did for Linda 1:21:10.840 --> 1:21:13.680 was the song that will be the Day. And so 1:21:13.920 --> 1:21:15.840 Andrew and I, you know, I played my solo, he 1:21:15.840 --> 1:21:17.360 played his, and then we played a little lick at 1:21:17.400 --> 1:21:19.479 the end together and we got on. Well. I knew Andrew. 1:21:19.479 --> 1:21:23.240 I admit Andrew again through my friend Roy Marinell and 1:21:24.520 --> 1:21:26.160 there was there was a whole bunch of guys down 1:21:26.200 --> 1:21:30.040 in Venice, you know, Roy, Andrew, Kenny Edwards, all these 1:21:30.080 --> 1:21:32.960 guys had this little musical family going on down there, 1:21:33.080 --> 1:21:36.800 so I knew Andrew and so there was no competition, 1:21:37.280 --> 1:21:39.920 not really, no, no, okay, but so when it came 1:21:39.960 --> 1:21:43.200 to the records, you would both play on the records. Yeah, okay, 1:21:43.280 --> 1:21:45.120 So okay, you're playing with the Andrew and you're now 1:21:45.160 --> 1:21:48.000 you're talking about Stevie. Well. Yeah. So it went through 1:21:48.080 --> 1:21:52.360 the years of Linda and we went through different UH 1:21:53.080 --> 1:21:56.720 band personnel changes in Linda's band. But I got to 1:21:56.840 --> 1:22:01.479 a point where was over for me. I just I 1:22:01.560 --> 1:22:04.000 couldn't do it. The music it's for me. It's some 1:22:04.120 --> 1:22:07.439 music dictates what I do, and if I'm not musically 1:22:08.000 --> 1:22:10.560 in a good place with it, I can't last. I 1:22:10.640 --> 1:22:13.400 just can't do it. You know, I mean you, when 1:22:13.439 --> 1:22:16.479 you're doing sessions, that's different. You know, you're walking sometimes 1:22:16.479 --> 1:22:19.200 and there's a song you don't like, but you're gonna 1:22:19.280 --> 1:22:22.040 do your best. You know you're gonna do your best, 1:22:22.280 --> 1:22:25.160 make sure you get something good on there, and and 1:22:25.240 --> 1:22:26.880 that's how it is on session. But when you're doing 1:22:26.920 --> 1:22:30.360 it live and stuff, it's just different. I get to 1:22:30.439 --> 1:22:33.560 a point the material of a sudden became stuff I 1:22:33.600 --> 1:22:38.880 couldn't play. I didn't want to play, So I left 1:22:39.400 --> 1:22:43.400 and UH and then Stevie and I was still doing sessions, 1:22:43.439 --> 1:22:44.960 like you know, two three sessions today, and all of 1:22:44.960 --> 1:22:47.280 a sudden, I got a call from Jimmy Ivean's office saying, 1:22:47.360 --> 1:22:50.559 we want you to play on stevie next solo record. 1:22:51.439 --> 1:22:53.000 I don't. Oh wow, okay, I haven't seen her in 1:22:53.040 --> 1:22:56.360 a while, so I remember, I just thought of the Blue. 1:22:56.400 --> 1:22:59.280 You haven't seen her in years, and yeah, she told Jimmy, 1:22:59.320 --> 1:23:02.280 I want to get Wady walked out here, and so 1:23:02.520 --> 1:23:06.960 we showed up, saw each other and we just got 1:23:07.080 --> 1:23:09.479 right back into it. You know, we were we were 1:23:09.560 --> 1:23:12.760 friends a long time ago and we became fast friends again. 1:23:13.520 --> 1:23:16.920 And musically it was I could I can see what 1:23:17.080 --> 1:23:18.680 to do on her stuff. I knew what to do 1:23:19.320 --> 1:23:24.280 and it just worked right away, you know. So that's 1:23:24.320 --> 1:23:31.560 what happened. Okay, that's I believe. And what else is 1:23:31.600 --> 1:23:35.720 going on with you? Then? Well, just that sessions and 1:23:35.840 --> 1:23:37.479 that a lot of it's still a lot of the 1:23:37.560 --> 1:23:41.080 great record dates and like Brian Bryan Ferry's record went down, 1:23:41.280 --> 1:23:43.320 and before that, you know that all the seventies was 1:23:43.400 --> 1:23:49.120 Warren you know Jackson. We did the the the album, 1:23:49.200 --> 1:23:52.280 the Blue cover album for the Sky, No No Are 1:23:52.280 --> 1:23:56.280 You talking about first the first Von album on Asylum. Yeah, 1:23:57.360 --> 1:23:59.719 and uh, I played on that record and Warren, introducing 1:23:59.760 --> 1:24:02.840 to Jay, brought me in and so we played that 1:24:02.920 --> 1:24:05.400 record and then Jackson called me and said, I want 1:24:05.439 --> 1:24:11.320 you to co produce his next record with me. What really? Wow, 1:24:11.720 --> 1:24:14.680 that's great. And Jackson said, well, he won't listen to 1:24:14.800 --> 1:24:19.200 me anymore. He will listen to me, and he'll listen 1:24:19.240 --> 1:24:21.320 to you right now, but he probably won't listen to 1:24:21.360 --> 1:24:24.360 you either after this one's done. And that's what happened exactly. 1:24:24.960 --> 1:24:28.000 But so and we went and we did Excitable Boy 1:24:29.320 --> 1:24:32.280 and that was the breakthrough record. It was it was 1:24:32.560 --> 1:24:36.479 and you are accredited right around Werewolves of London. So 1:24:36.560 --> 1:24:39.680 how did that come together? Well again, back to my 1:24:39.720 --> 1:24:45.479 friend Rouy Marinell. I had known him since maybe sevent 1:24:47.120 --> 1:24:49.320 and he and I would get together and work on songs, 1:24:49.360 --> 1:24:52.960 write songs, and one day right he said, I got 1:24:53.000 --> 1:24:56.240 this lick, and UH, play me this lick. And we 1:24:56.479 --> 1:24:58.360 tried for about two years to put it to a 1:24:58.479 --> 1:25:02.519 song and never could. And then what happened was I 1:25:02.600 --> 1:25:06.080 went to England with Linda, no excuse me, I went 1:25:06.160 --> 1:25:09.240 to England with my old friend Judy Pulver, which she 1:25:09.360 --> 1:25:14.479 had her record situation. And there I am in London 1:25:15.120 --> 1:25:21.120 and I went to a Chinese joint and so called 1:25:21.160 --> 1:25:27.680 le hop folks. And and when I came back, I 1:25:27.760 --> 1:25:31.160 stopped by Roy's one day as I was heading into 1:25:31.200 --> 1:25:32.880 town to work on a session for Linda, I think, 1:25:33.640 --> 1:25:37.160 and I stopped by Roy's and Warren was there, and 1:25:37.360 --> 1:25:39.719 he goes, oh, man, I'm glad you're here. He says. 1:25:39.960 --> 1:25:42.320 Phil called me last night. Phil Everley called me last 1:25:42.400 --> 1:25:44.479 night and he said, there's a song time. I got 1:25:44.560 --> 1:25:46.160 a song title for you. You and Watty you got 1:25:46.240 --> 1:25:49.360 to write a song called Warrells in London. And and 1:25:49.560 --> 1:25:53.320 I literally just got home from London, so I went, well, 1:25:53.360 --> 1:25:55.400 that's easy. And the best part was I looked at 1:25:55.520 --> 1:25:58.800 Roy with this lick that he'd been playing for years. 1:25:58.840 --> 1:26:03.120 I went, Roy, play that fucking lick and he started 1:26:03.160 --> 1:26:06.760 that that that, and I just looked at Warren and 1:26:06.880 --> 1:26:09.400 I said, so we need lyrics. You means something like 1:26:09.920 --> 1:26:12.320 I saw a werewolf of the Chinese menu in his 1:26:12.439 --> 1:26:15.479 hand walking down the streets and soho. And then he goes, yeah, yeah, 1:26:15.560 --> 1:26:18.639 just like that. And I wrote the first verse basically, 1:26:18.680 --> 1:26:21.200 I just spit out the first verse, recounting it what 1:26:21.360 --> 1:26:23.600 I just went through in London, and I said, and 1:26:23.680 --> 1:26:26.840 it's it's it's a war, it's a werewolf, so we 1:26:26.840 --> 1:26:31.360 should go oh and war. That's great, that's great. I said, yeah, okay, 1:26:31.360 --> 1:26:35.000 well you finish it. I gotta gonna work, I gotta 1:26:35.120 --> 1:26:37.920 I gotta leave. But we we we, so we we. 1:26:38.280 --> 1:26:40.240 They wrote some lyrics down and we got through the 1:26:40.280 --> 1:26:43.360 first verse. Warren and Royce sketched some more lyrics and 1:26:43.600 --> 1:26:47.200 we wrote our song and that was basically it. And then, uh, 1:26:48.080 --> 1:26:50.360 recording that song was the hardest song in the world 1:26:50.479 --> 1:26:54.479 to get on on tape. It just wouldn't behave so 1:26:54.600 --> 1:26:57.360 to speak, It wouldn't lay down. Every time we tried 1:26:57.400 --> 1:27:01.840 it war than I hated it. Uh Um, it just wasn't. 1:27:01.920 --> 1:27:06.799 It sounded cute, it sounded funny. The band track didn't 1:27:06.840 --> 1:27:10.759 sound heavy, you know, it didn't sound and we needed 1:27:10.800 --> 1:27:16.200 it to be. It had to juxtapose serious band track 1:27:16.439 --> 1:27:21.800 underneath this ridiculous lyric and h and Jorge Calderone, I'm 1:27:21.840 --> 1:27:25.000 pretty sure it was. George said, you know who could 1:27:25.120 --> 1:27:28.719 We tried seven bands and all the greatest players in town, 1:27:28.800 --> 1:27:31.720 you know, Russell and Lee, Lee and Lee and and 1:27:32.000 --> 1:27:37.719 Rich Losser or Mike Botts or Jeff Procaro, Bob and Russ, 1:27:38.560 --> 1:27:41.960 Lee and Russ every combination we could try, and we 1:27:42.120 --> 1:27:45.000 kept failing, and we just said we don't like it. 1:27:45.120 --> 1:27:47.560 And Jackson's going it's good. We're going, no, it's not. 1:27:47.760 --> 1:27:51.639 It's not good enough. Doesn't feel like it. And Jorge said, 1:27:51.680 --> 1:27:54.200 you know who could play this? Mick Fleetwood and John McVie. 1:27:54.280 --> 1:27:58.799 I bet could play this one. Yeah, that's a heavy, 1:27:58.920 --> 1:28:02.559 heavy beat. I think you're right, man, I bet that's right. 1:28:02.640 --> 1:28:04.559 So I called Nick and I said, would you guys 1:28:05.439 --> 1:28:09.040 consider coming down here to play? Says you want us 1:28:09.120 --> 1:28:13.080 to play? It was like this mutual admiration society. They 1:28:13.120 --> 1:28:15.479 were so taken that we would want them, and we 1:28:15.560 --> 1:28:20.160 were so taken that they would say yes. So it 1:28:20.320 --> 1:28:27.400 was a magical, crazy, long night of takes and where 1:28:27.560 --> 1:28:32.000 we finally at six in the morning, I looked at 1:28:32.080 --> 1:28:35.639 Jackson through the glass and I said, Take two was good, 1:28:35.800 --> 1:28:38.639 wasn't it? Because yeah, you want to hear it. Yeah, 1:28:38.880 --> 1:28:41.000 because when we did it, we did take one, we 1:28:41.080 --> 1:28:44.000 did take two. Jackson went, that was pretty good, man, 1:28:44.120 --> 1:28:45.920 I think that was good. Mick goes to how let's 1:28:46.000 --> 1:28:47.800 keep going, let's keep going, and they saying, I know 1:28:47.880 --> 1:28:49.599 it's like six in the morning, you know, and we're 1:28:49.680 --> 1:28:55.120 still like flogging away Jackson. Take two was good, right, 1:28:55.200 --> 1:28:58.840 he goes, yeah, we're gonna go here. Take two And 1:28:59.320 --> 1:29:02.800 because Mick was enemy, we've never done what we've never done? 1:29:03.640 --> 1:29:07.559 And I finally looked at mich We've done, we've done. 1:29:07.960 --> 1:29:10.600 Pack your fucking drums up, man, we'd finished. We got it, 1:29:11.240 --> 1:29:13.640 and take two was the one and uh, okay, did 1:29:13.680 --> 1:29:15.439 you have any idea that it would be a hit 1:29:15.600 --> 1:29:19.599 in a legendary record, No, not a clue. We were 1:29:20.360 --> 1:29:22.920 Warren and I were taken aback bet of fact when 1:29:23.439 --> 1:29:27.920 Asylum picked that as the single. We were amazed. We 1:29:28.040 --> 1:29:30.439 were so wrong, we were we so could not see 1:29:30.960 --> 1:29:32.920 the forest for the trees, I think is the phrase. 1:29:33.520 --> 1:29:35.479 We couldn't see it at all. We were we were 1:29:35.600 --> 1:29:38.519 aghas that they would pick the joke tune out of 1:29:38.560 --> 1:29:41.200 all these great songs. We thought, what the hell is 1:29:41.280 --> 1:29:43.880 going on here? And they were so right and we 1:29:44.000 --> 1:29:49.519 were so wrong. And knock wood it's been supporting me 1:29:50.400 --> 1:29:55.880 and Warren's family and was now passed away too, but 1:29:56.040 --> 1:29:58.320 it's supporting all of us. All these years, you know, 1:29:58.680 --> 1:30:00.599 so there's a good check that still comes in from 1:30:01.080 --> 1:30:05.160 world hopefully. Yeah, it's been quite a good earner. One 1:30:05.240 --> 1:30:07.799 other songs have you written that were that my audience 1:30:07.800 --> 1:30:10.479 would be familiar with? Her town too? Was another? Yeah, 1:30:10.640 --> 1:30:13.760 the great j D Souther James Taylor song. How did 1:30:13.840 --> 1:30:20.320 that come together? It came together with Peter suggested that 1:30:20.479 --> 1:30:25.240 James and j D write a song together, and and Peter, yeah, 1:30:25.600 --> 1:30:28.960 and so we j D said, look, I don't I 1:30:29.000 --> 1:30:31.000 don't know James at all. I said, well, I'll come 1:30:31.080 --> 1:30:33.439 to I'll come over because I was working with James. 1:30:33.520 --> 1:30:37.600 Then I said, okay, so I'll come over and and 1:30:37.720 --> 1:30:41.479 we got there and it was a crazy night and 1:30:42.960 --> 1:30:45.599 we just we're kind of sitting around. I was working 1:30:45.640 --> 1:30:48.720 on a session and and j D called. He says, 1:30:48.760 --> 1:30:50.840 where are you? Man? He says, James is here, and 1:30:50.840 --> 1:30:52.200 I don't don't know what to do with him. I said, 1:30:52.200 --> 1:30:54.640 we'll just give him. You gotta give a drink and 1:30:55.280 --> 1:30:57.080 just you know, hang out. Well, I'll be there soon. 1:30:57.120 --> 1:30:58.920 I'll be there soon. So I get there and we're 1:30:59.040 --> 1:31:02.599 kind of all. You know, it's a little tenuous when 1:31:02.600 --> 1:31:04.200 you're when you sit down and write a song with 1:31:04.280 --> 1:31:06.960 somebody if you're not that familiar with him or havn't 1:31:06.960 --> 1:31:09.360 written with him, it's how do you start? You know, 1:31:09.600 --> 1:31:12.640 what's the icebreaker? And and all of a sudden, I 1:31:12.640 --> 1:31:16.240 don't know where James just started fingerpicking this really lovely 1:31:17.160 --> 1:31:20.120 chordal thing and I looked at j D. You know, 1:31:21.160 --> 1:31:25.000 where's your cassette player? Is what cassette player? Get a 1:31:25.040 --> 1:31:28.639 cassette player, Get a cassette machine. And James is still playing. 1:31:28.680 --> 1:31:30.880 And finally j D goes and gets it because I played, 1:31:31.360 --> 1:31:36.560 puts it down. It's a record. James stops and I 1:31:36.640 --> 1:31:40.479 don't know and he says, oh, Ship, what was I doing? 1:31:40.560 --> 1:31:42.360 I said, this is what you were doing? And again 1:31:42.479 --> 1:31:44.439 my ear, so this is what you were doing? He 1:31:44.560 --> 1:31:46.800 was oh, yeah, right, al right, that's it. And then 1:31:47.760 --> 1:31:50.599 we dug the changes and we just started working on lyrics, 1:31:50.640 --> 1:31:54.960 and by six or seven in the morning we had 1:31:55.040 --> 1:32:00.400 this beautiful song. That best song on that record. Dad 1:32:00.479 --> 1:32:02.200 loves his work, I think is the album? I think. 1:32:02.240 --> 1:32:06.479 So yeah, okay, so you work with Stevie and then 1:32:06.479 --> 1:32:08.519 you end up working with Henley. How does that come 1:32:08.600 --> 1:32:13.320 to be? Um? Well, i I'd worked with don you 1:32:13.400 --> 1:32:16.519 know through the years in town. I'd met the guys, 1:32:17.400 --> 1:32:20.880 so Don and Glenn would be at our at Warren sessions. 1:32:21.720 --> 1:32:23.320 You know. That's what I mean that that period in 1:32:23.400 --> 1:32:27.000 Los Angeles was incredible. If you weren't if you weren't 1:32:27.040 --> 1:32:30.000 on a session working there, chances are you were there 1:32:30.040 --> 1:32:31.960 hanging out with your friends and helping it. You know, 1:32:32.040 --> 1:32:34.640 you need an entertainbering part or something, or you just 1:32:34.720 --> 1:32:36.479 have a drink, sit down, have a have a cigarette, 1:32:36.479 --> 1:32:39.280 you know whatever, hang out. So that's how it was. 1:32:39.360 --> 1:32:45.520 It was such an intertwined creative period. It was unbelievable. 1:32:45.560 --> 1:32:49.160 It was. I equate it to like Liverpool when Beatles 1:32:49.240 --> 1:32:53.280 explosion happened and everybody knew each other and all these bands, 1:32:54.040 --> 1:32:56.920 you know, we're collectively working, and that's how it was. Here. 1:32:57.800 --> 1:32:59.880 You were working. I met Crosby, so I knew day. 1:33:00.000 --> 1:33:02.400 I met Steve Stills, so I was working with Graham. 1:33:03.040 --> 1:33:07.920 I've worked on some stuff. Don Henley was producing an artist, 1:33:07.960 --> 1:33:09.519 so I played. He hired me to play on that, 1:33:10.439 --> 1:33:13.920 and that's how it was. I mean, you were just 1:33:14.280 --> 1:33:15.920 in the thick of it. Everybody was in the thick 1:33:15.960 --> 1:33:21.360 of it together and so um Don at one point 1:33:21.400 --> 1:33:24.519 decided he was gonna make a solo record, and he 1:33:25.600 --> 1:33:29.040 asked a few different people about producing, and I spoke 1:33:29.040 --> 1:33:32.320 to him about it, but he chose Danny. And Danny 1:33:33.439 --> 1:33:35.360 said to Don, well should get water? He said, yeah, 1:33:35.400 --> 1:33:37.040 bring Wady in here. So that's how I got on 1:33:37.120 --> 1:33:40.800 the Don's record. I knew Don and from already all 1:33:41.439 --> 1:33:44.320 of all these records you've played on. What are you 1:33:44.520 --> 1:33:49.080 proudest in terms of record? He'd work, that's hard, that's 1:33:49.160 --> 1:33:53.040 really hard. Or maybe I'll change the word, make it favorite. 1:33:53.320 --> 1:33:56.240 What are your favorites? Again? That's that's really tough. I 1:33:56.320 --> 1:33:59.479 mean it. How do you how do you choose between 1:33:59.600 --> 1:34:05.479 being on the the the live session for Blue by you, uh, 1:34:06.040 --> 1:34:12.760 the live session for Betty Davis Eyes um, and just 1:34:12.840 --> 1:34:18.920 seventeen you know, stand back, It's hard, you know, Bob Seeger. 1:34:19.000 --> 1:34:21.960 I mean, I've been very fortunate and very blessed to 1:34:22.080 --> 1:34:25.240 be in the studio with these people when all these 1:34:25.400 --> 1:34:28.240 these incredible records get dead made and you're part of it, 1:34:29.240 --> 1:34:31.200 you know. I mean Betty Davis Eyes, I just happened 1:34:31.200 --> 1:34:34.120 to stop by record one. It was my favorite bar, 1:34:34.840 --> 1:34:36.400 you know, and I was done working for the day 1:34:36.439 --> 1:34:39.360 and I stopped buying. Val Garay said, I'm glad you're here. 1:34:40.040 --> 1:34:42.080 Josh Leo can't come. I need you to play on 1:34:42.160 --> 1:34:44.960 this record. Man, I've been playing all day. I don't 1:34:44.960 --> 1:34:46.920 want to work now because come here and listen to 1:34:47.000 --> 1:34:51.639 the song. That's pretty good. And everything was live. Everything 1:34:51.680 --> 1:34:53.920 you hear on that record is live, you know, everything 1:34:54.000 --> 1:34:57.920 went down when we cut it. Kim's vocal everything say 1:34:57.960 --> 1:35:00.400 with blue Boy, then his vocal that's the because she's 1:35:00.400 --> 1:35:04.479 sang when we cut it. So and then and then uh, 1:35:06.000 --> 1:35:09.040 then I went with word with Keith, with Keith Richards, 1:35:09.120 --> 1:35:11.160 and so then I'm in the studio with Keith Richards 1:35:11.479 --> 1:35:13.360 and before that, I'm in the studio with Joe Walsh. 1:35:14.320 --> 1:35:17.320 So it's really hard to pick a favorite. Those are 1:35:17.400 --> 1:35:20.160 guitar players. Well, Keith is more known as a rhythm player. 1:35:20.680 --> 1:35:23.200 You know, Joe Walsh would seem that he's doing what 1:35:23.320 --> 1:35:26.200 you're doing. Yeah, but because of that, we got on 1:35:26.360 --> 1:35:29.920 really well. You know, uh, we got on real well. 1:35:30.240 --> 1:35:32.720 And I just you know, a couple of two years 1:35:32.720 --> 1:35:34.760 ago did Joe called me and said would you come 1:35:35.120 --> 1:35:39.320 too with me? And it was fantastic playing solos with Joe, 1:35:39.920 --> 1:35:41.920 you know, next to Joe or instead of Joe. And 1:35:42.000 --> 1:35:45.400 it was wonderful, you know, so and it's great to 1:35:45.800 --> 1:35:47.840 know that he would trust me enough to say you 1:35:48.120 --> 1:35:50.519 you take this one. You know, we did his records. 1:35:50.560 --> 1:35:54.240 There's this stuff where I solo on was this is 1:35:54.360 --> 1:35:58.120 Soult Beautiful Salt Rosewood Bidders whereas, yeah, that's me on 1:35:58.200 --> 1:36:02.000 the solo, you know. And uh And it was a funny, 1:36:02.560 --> 1:36:05.040 funny moment in the studio with Joe. We were so 1:36:05.200 --> 1:36:07.640 locked into our guitar parts, so we're so excited about it. 1:36:07.720 --> 1:36:11.479 And I said, well, how about why don't I play 1:36:11.560 --> 1:36:15.400 that line? We call each other double w W and 1:36:16.120 --> 1:36:18.680 j W. You know, so I said, hey, man, why 1:36:18.680 --> 1:36:22.080 don't I I'll play that line. Okay, j W, listen, 1:36:22.120 --> 1:36:23.920 I should play that line. He goes, yeah, why don't you? 1:36:24.280 --> 1:36:25.960 Why don't you play that line? And then I'll double 1:36:26.000 --> 1:36:33.080 you do W. We just looked at each other. Did 1:36:33.160 --> 1:36:37.479 you really just say that? Then? What? So that, you know, 1:36:39.200 --> 1:36:41.320 to work on these records and then to get a 1:36:41.360 --> 1:36:44.320 call from Keith Richards saying I'm putting a band together 1:36:44.439 --> 1:36:46.439 and you're the other guitar player in it. And you 1:36:46.640 --> 1:36:49.479 never met him, No, we've met I met him when 1:36:49.520 --> 1:36:52.880 I was on the road with Linda. Then we fell 1:36:52.960 --> 1:36:54.760 in love right away. Then we got on, We got 1:36:54.800 --> 1:36:59.040 on very well, and uh so that was the call. 1:36:59.200 --> 1:37:05.120 I got the call. We'll plause here for a brief 1:37:05.200 --> 1:37:09.920 moment and get right back to Waddy Wachtell. First and 1:37:10.000 --> 1:37:12.320 for most, I'm a writer. I cover everything from music 1:37:12.400 --> 1:37:16.799 to tech, to my personal life to the zeitgeist at large. 1:37:17.479 --> 1:37:19.439 Go to left sets dot com and go down the 1:37:19.560 --> 1:37:23.360 rabbit hole in addition to reading my commentary on music 1:37:23.439 --> 1:37:25.840 tech in the world at large. Will be the first 1:37:25.920 --> 1:37:29.280 to find out when we've published a new podcast. Plus, 1:37:29.320 --> 1:37:31.439 I'd like to give a little bit of behind the scenes, 1:37:31.760 --> 1:37:34.400 which I hope you find is a nice addition to 1:37:34.520 --> 1:37:37.599 the podcast. Go to left sets dot com and sign 1:37:37.680 --> 1:37:43.919 up for the newsletter. Now we're with guitar legend Waddy Wachtell, 1:37:44.000 --> 1:37:49.240 recorded live at the tune In Studios in Venice, California. Okay, 1:37:49.240 --> 1:37:52.120 a couple of just questions for those on the outside 1:37:52.200 --> 1:37:56.160 that always wonder about this. Mick Fleetwood and John mcvieh 1:37:56.200 --> 1:37:59.719 come to play on Werewolves of London. Do they get paid? Yeah? 1:38:00.439 --> 1:38:03.439 So you they built just like a session. Okay, so 1:38:03.520 --> 1:38:06.800 anybody shows up they're getting paid and listen, get away 1:38:06.840 --> 1:38:11.639 with not paying him. Yeah yeah, okay, but if there's 1:38:11.640 --> 1:38:15.080 a budget and somebody comes in and they're contributing there, 1:38:15.120 --> 1:38:18.160 they're going to get a check. Okay, Yeah, they got paid. 1:38:18.840 --> 1:38:22.000 Scaling right right when you're when you're a studio musician 1:38:22.080 --> 1:38:25.840 in town, there's a lot of talk that well a 1:38:25.920 --> 1:38:29.320 lot of the famous musicians or legendary musicians, musicians are 1:38:29.360 --> 1:38:33.280 afraid to leave town because someone's going to take their gig. Yeah, 1:38:33.640 --> 1:38:39.840 is that something new experience? Well, you know, not really, 1:38:40.000 --> 1:38:45.120 but I mean by now yeah, you know, sure, you know, 1:38:45.160 --> 1:38:46.760 you were, you were. We would go out of town 1:38:46.840 --> 1:38:50.200 and come bight back to work work. There was enough 1:38:50.240 --> 1:38:53.559 work done yet, and we were of a certain level 1:38:53.640 --> 1:38:57.080 in people's minds. They wanted you, they wanted you. You know. 1:38:57.560 --> 1:39:01.080 I came home from months on road with Linda and 1:39:01.760 --> 1:39:03.519 I got a call to go work for Richard Perry, 1:39:03.880 --> 1:39:06.439 who had never met And I was going, I don't 1:39:06.439 --> 1:39:09.560 want to go to work, but I went. You know, 1:39:09.880 --> 1:39:12.240 I got paid well for it, and and met Richard 1:39:12.280 --> 1:39:15.519 and got terrifically with Richard, and I love him dearly, 1:39:15.680 --> 1:39:19.439 you know. And so years of work with Richard, you 1:39:19.560 --> 1:39:23.919 know Leo Sayermant played with for Leo and point of Sisters. 1:39:24.600 --> 1:39:26.160 So what would it take for you to go on 1:39:26.240 --> 1:39:29.080 the road as opposed to stay in l A. What 1:39:29.080 --> 1:39:31.240 do you mean back in that era because you're doing 1:39:31.240 --> 1:39:33.679 a certain amount of touring and also a certain amount 1:39:33.680 --> 1:39:36.479 of studio work. You know, some people might say, I 1:39:36.520 --> 1:39:39.040 don't want to go on the road, all right, Well, 1:39:39.560 --> 1:39:41.720 if you're a ham like me, you know you you 1:39:41.920 --> 1:39:45.120 love being on that stage. So so that's that's an 1:39:45.160 --> 1:39:49.760 attractive offer, and monetarily it was. It worked that fine, 1:39:50.479 --> 1:39:55.000 you know. And and Peter was a class act always, 1:39:55.320 --> 1:39:57.960 and he said, you know you're going to travel first 1:39:58.000 --> 1:40:00.280 class with us. That's how we do it. You know, 1:40:00.479 --> 1:40:03.479 the band is that important to us. And so I 1:40:03.560 --> 1:40:07.400 got spoiled at a young age and learned that, well, 1:40:08.680 --> 1:40:10.759 I am more important than just the guy who carries 1:40:10.800 --> 1:40:12.800 that guitar and knows how to plug it in. You know. 1:40:13.080 --> 1:40:16.200 So we were treated very well. You know, we've really 1:40:16.280 --> 1:40:18.880 kind of covered the eighties. What happens now when we 1:40:18.960 --> 1:40:24.320 get the nineties and beyond, well, nineties and beyond, I'm 1:40:24.360 --> 1:40:28.960 still doing sessions and I'm still with at that point, uh, 1:40:29.080 --> 1:40:30.640 Stevie and I had taken a break and I was 1:40:30.720 --> 1:40:38.320 with Keith from through I think. And that's when Stevie 1:40:38.680 --> 1:40:43.080 called me and said, please come back, come back. And 1:40:43.200 --> 1:40:48.240 I was little hesitant, and uh, but I did. I 1:40:48.320 --> 1:40:52.439 went back and I sat in on our show and 1:40:54.720 --> 1:40:57.240 and she said, that's great. She said, it's so great 1:40:57.280 --> 1:40:59.120 to have you back. I need you to do this 1:40:59.240 --> 1:41:01.479 with me again. I said, will if I'm gonna do 1:41:01.520 --> 1:41:05.040 it with you again, he can't lead the band. My 1:41:05.120 --> 1:41:07.360 friend Carlos Rios who still plays with us, and it's 1:41:07.360 --> 1:41:09.680 a doll, but he was the band leader when I 1:41:09.800 --> 1:41:11.600 came back, and I said, if I'm going to do this, 1:41:12.640 --> 1:41:15.120 I lead the band. That's the only way I work. 1:41:15.520 --> 1:41:18.160 That's one caveat with me is I'm pretty much a 1:41:18.600 --> 1:41:23.000 loud mouth when it comes to band. So so I said, 1:41:23.000 --> 1:41:26.439 I have to lead the band. I can't let I 1:41:26.560 --> 1:41:29.439 can't take do it his way. We gotta do it 1:41:29.560 --> 1:41:31.800 my way. And I said, okay, So Carlos I'm just 1:41:31.840 --> 1:41:35.400 stood and graciously stepped aside. And so Steve and I 1:41:35.800 --> 1:41:39.160 have toured incredibly through the all nineties and into the 1:41:39.280 --> 1:41:42.559 thousands and into the two thousand's and then, like I said, 1:41:42.600 --> 1:41:46.960 and all a sudden, Joe called me and next time 1:41:46.960 --> 1:41:48.439 I knew us on the road with Joe for about 1:41:48.439 --> 1:41:52.479 almost a year. So you know, it just thank God 1:41:52.640 --> 1:41:55.800 keeps going. Okay, So at this point in time, how 1:41:55.880 --> 1:42:00.599 much do you work right now? Right now? It's little slower, 1:42:01.920 --> 1:42:04.000 which is cool, which is cool, It's all right. But 1:42:04.760 --> 1:42:06.640 it's like I said, Stevie, and Stevie is going to 1:42:06.720 --> 1:42:10.120 go with Fleetwood. They're starting on Fleetwood. So so we're 1:42:10.160 --> 1:42:13.439 having are what I call a trial separation. And when 1:42:13.600 --> 1:42:16.800 Fleetwood tours over, we'll go back to work, and so 1:42:17.040 --> 1:42:18.880 record dates will be coming. I don't I don't have 1:42:18.960 --> 1:42:21.960 anything right now. It's pretty open right now. So but 1:42:22.040 --> 1:42:25.320 there are still sessions. And I hear from Luca the time, 1:42:25.560 --> 1:42:28.240 right and he laments that the days you're talking about 1:42:28.680 --> 1:42:32.240 the seventies and the eighties are over there over, Yeah, 1:42:32.320 --> 1:42:35.400 there are over but there are calls still get calls 1:42:35.479 --> 1:42:39.320 to do what kind of work guitar? I mean, record dates, 1:42:39.479 --> 1:42:44.240 movie dates, TV dates, all of the above, all the above. 1:42:44.280 --> 1:42:47.439 I mean I was fortunate. At one point I scored 1:42:48.280 --> 1:42:51.560 I think it was about ten movies and uh, I 1:42:51.720 --> 1:42:54.120 loved it. And Adam Sander gave me the shot at 1:42:54.160 --> 1:42:59.400 that and I knew Adam because I worked on a 1:42:59.479 --> 1:43:04.200 record for him a long time ago. Brooks Arthur, his producer, 1:43:04.360 --> 1:43:07.800 called me and said, would you consider arranging a couple 1:43:07.840 --> 1:43:11.880 of songs for Adam Sandler? You know comedy rock? I 1:43:11.960 --> 1:43:15.200 don't know, man, but I went down and met Adam. 1:43:16.200 --> 1:43:21.360 The song was great. It's called well it became. It 1:43:21.479 --> 1:43:25.120 came out called ode to My Car, but they made 1:43:25.200 --> 1:43:28.920 a piece of ship cars and it's hysterical and it's 1:43:28.960 --> 1:43:31.240 a reggae and he says, I want to do this reggae. 1:43:31.600 --> 1:43:33.840 Oh really, Well, let me tell you you called the 1:43:33.920 --> 1:43:36.839 right person because I can do that for you easily, 1:43:37.560 --> 1:43:40.800 and and he played me The song was hysterical, and 1:43:40.880 --> 1:43:43.560 there was another song called Baked, which was hilarious. So 1:43:43.720 --> 1:43:46.600 we went in the studio and cut these songs and 1:43:46.720 --> 1:43:51.160 then developed a musical relationship. And next time I know, 1:43:51.200 --> 1:43:53.920 Adam did a tour. He wanted a tour, so we 1:43:54.040 --> 1:43:56.120 went out on the road for a summer and it 1:43:56.320 --> 1:44:01.000 was incredibly funny. And after it, I said, I'm gonna 1:44:01.040 --> 1:44:03.880 want you to score a movie. I want you to 1:44:03.960 --> 1:44:05.680 score film. I'm doing movies now and I want you 1:44:05.720 --> 1:44:09.840 to score movies. So I started to work on Waterboy 1:44:10.439 --> 1:44:13.120 and I had to stop on that one various reasons. 1:44:13.760 --> 1:44:18.600 But then he called me on Joe Dirt. It was 1:44:18.680 --> 1:44:20.439 the next one for me and I that was my 1:44:20.560 --> 1:44:23.640 first complete score, and so I did that. I did 1:44:23.720 --> 1:44:27.280 several others for him, and so there's there's movie work. 1:44:27.320 --> 1:44:29.920 Hopefully he's away right now, maybe I'll get another score. 1:44:30.560 --> 1:44:32.760 But I did a couple of independent films as well. 1:44:33.400 --> 1:44:35.479 But yeah, you never can tell, you know, you never know. 1:44:35.920 --> 1:44:38.280 I came back and well of a sudd I got 1:44:38.360 --> 1:44:41.720 a call that they were doing Joe Dirt too, you know. 1:44:41.840 --> 1:44:45.920 I went, oh, well, okay, well and there was budget 1:44:46.000 --> 1:44:48.720 wasn't big, but I said, well I gotta do it. 1:44:48.760 --> 1:44:51.479 I don't want anyone else to do it, so I'll 1:44:51.520 --> 1:44:54.960 do it, you know. So I did that. It just happens, 1:44:55.000 --> 1:44:56.680 so you never know what's gonna happen. You get a 1:44:56.720 --> 1:45:03.439 call commercial or a song score, but you still believe 1:45:03.520 --> 1:45:06.120 the phone will ring. Yeah, you're not sitting at home 1:45:06.200 --> 1:45:10.120 saying again you always think that. I thought that from 1:45:10.240 --> 1:45:13.280 day one. And also I'm leaving out a very important 1:45:13.320 --> 1:45:16.599 part of my musical stuff. Don was. I worked tons 1:45:16.680 --> 1:45:19.040 with Don at one point during the eighties and nineties, 1:45:19.640 --> 1:45:23.360 a lot of sessions with Don beautiful. But I mean 1:45:23.520 --> 1:45:27.960 from day one, you get home staring at that phone, 1:45:28.000 --> 1:45:31.040 is it ever going to ring again? And it's it's 1:45:31.080 --> 1:45:33.519 been that way forever, it'll it'll always be that way. 1:45:33.680 --> 1:45:35.519 And at what point, I mean, once you start to 1:45:35.560 --> 1:45:40.480 gain a reputation, as I say, are you actively networking? 1:45:40.560 --> 1:45:42.799 I'm going back back in the day as supposed to today. 1:45:43.120 --> 1:45:45.400 Are you hunting for jobs or just waiting for them 1:45:45.439 --> 1:45:48.800 to come to you? You're waiting. I mean I'm waiting. 1:45:48.920 --> 1:45:53.360 I'm I think I've called a couple of people say hey, 1:45:53.640 --> 1:45:57.280 you're working, you know, stuff like that. But no, I think, 1:45:58.400 --> 1:46:01.240 thank god, people call me. And then, of course you're 1:46:01.240 --> 1:46:02.960 not gonna want to answer this question, but I'll ask 1:46:03.040 --> 1:46:07.559 it anyway. If they can't get you, who do they call? Well, 1:46:07.840 --> 1:46:10.479 you know, it's funny, Lucas, there was the new me. 1:46:11.640 --> 1:46:13.880 You know, when I met Luke, he was his baby. 1:46:13.920 --> 1:46:16.040 They came on board and came into towns on a 1:46:16.160 --> 1:46:19.040 Richard Perry date and Luke was the new Wady. You know, 1:46:19.280 --> 1:46:22.479 so who knows? You know, there's so many guys and 1:46:22.600 --> 1:46:27.559 now it's it's such a closed scene now. And aside 1:46:27.600 --> 1:46:30.080 from that, people will record at home now, you know, 1:46:30.240 --> 1:46:32.280 so a lot of times you get a call and 1:46:32.360 --> 1:46:36.240 you're sitting Leland says, you know, I don't like sitting 1:46:36.280 --> 1:46:38.519 in the corner of someone's bed and playing the base 1:46:39.280 --> 1:46:41.599 you but he's right, you know, you wind up doing 1:46:41.720 --> 1:46:44.280 some date for somebody in their house. You over. But 1:46:44.840 --> 1:46:51.639 I was. I was eating lunch somewhere and uh, someone 1:46:51.720 --> 1:46:54.000 came in and said, are you wady? Yeah, and he says, 1:46:54.080 --> 1:46:57.560 my name's Jude Cole, and uh, and i'd heard that 1:46:57.720 --> 1:47:00.240 name and I said, I've heard of you and and 1:47:00.400 --> 1:47:04.960 he said, I've produced a key for Sutherland and we 1:47:05.320 --> 1:47:08.439 have no keeper for other and and we're doing a record. 1:47:08.600 --> 1:47:11.360 And I said, well, like who's playing on it? And 1:47:11.600 --> 1:47:13.760 he named a few people, and he named Jim Cox, 1:47:13.840 --> 1:47:18.040 who was my favorite piano player in town. Jim Cox 1:47:18.200 --> 1:47:20.840 is playing with you. Well, hell, I'll do it too then, 1:47:21.120 --> 1:47:23.320 you know. So I came. You know, this was like 1:47:23.520 --> 1:47:27.439 last year, so you never know what's gonna happen now. 1:47:28.320 --> 1:47:30.960 And and Keifer was a doll, and the songs were 1:47:30.960 --> 1:47:33.800 great and Jude is great. We had a ball funny 1:47:33.840 --> 1:47:36.920 thing with Jude. He used to be an artist himself. Right, 1:47:37.400 --> 1:47:41.160 So uh, now you also play at the bar down 1:47:41.280 --> 1:47:44.040 here to on Pico. Yeah, well and not we don't 1:47:44.040 --> 1:47:46.679 play there anymore, but we did like ten years worth 1:47:46.720 --> 1:47:49.479 of that, almost almost fourteen years, I think, and that 1:47:49.880 --> 1:47:53.400 was just something to do. Yeah, and why did you 1:47:53.479 --> 1:47:59.680 stop employment? You know, everyone's schedules started yanking people out 1:47:59.720 --> 1:48:01.400 of town. Next thing I know, I was on the 1:48:01.439 --> 1:48:04.080 road with Stevie for months. When I get back. My 1:48:04.160 --> 1:48:08.120 drummer Phil Jones was working with Peggy Young, Rick my latey, 1:48:08.520 --> 1:48:12.320 late dear friend, Rick Roses was working for Neil. So 1:48:12.520 --> 1:48:14.960 you'd come back a lot of times. Everyone's schedule was right, 1:48:15.000 --> 1:48:17.960 We'd all be here for months at a time, so 1:48:18.120 --> 1:48:21.000 we could do it. But then it became harder. It's 1:48:22.000 --> 1:48:24.960 I don't know, we're actually striking it up in August 1:48:25.520 --> 1:48:31.080 at this place in Ventura Plug Discovery, Ventura August there 1:48:32.000 --> 1:48:34.920 rock and roll Knight. But and also I've been playing 1:48:35.040 --> 1:48:39.080 with Danny cor Les Claw and Russ Kunkle and Steve 1:48:39.160 --> 1:48:43.559 Postela's name is and we did Danny got a record deal. 1:48:43.680 --> 1:48:46.880 A Japanese label wanted good to do a record, so 1:48:47.160 --> 1:48:51.640 the you got the old the Brothers together and we 1:48:51.840 --> 1:48:54.240 did it and Danny said, look, it's gotta be us 1:48:54.400 --> 1:48:57.800 to go play this stuff. Can't be anyone else. So 1:48:58.880 --> 1:49:00.800 we said, yeah, how grew right. We finally get to 1:49:00.800 --> 1:49:03.680 play in a band together. So that's what we've been doing. 1:49:03.800 --> 1:49:05.320 So we did that too. We just finished. We just 1:49:05.400 --> 1:49:09.000 went to Japan and did like ten eleven days there 1:49:09.960 --> 1:49:14.200 and we just played a club. But schedule wise, now 1:49:14.560 --> 1:49:17.600 again with schedules, it's tougher. With Russell's ad is in 1:49:17.680 --> 1:49:20.640 France right now, work up with Cat Stevens and then 1:49:20.680 --> 1:49:23.000 he's gonna be on the road in August, and then 1:49:23.040 --> 1:49:25.519 I'll lose Leland at some point. But Danny and I 1:49:25.600 --> 1:49:28.439 are writing and Steve and we're writing songs and getting 1:49:28.479 --> 1:49:30.519 ready for autumn when we're all back together again. So 1:49:30.640 --> 1:49:32.880 we'll be doing that. So I have the two bands 1:49:32.960 --> 1:49:37.479 going okay now. In the seventies, in the eighties, before 1:49:37.680 --> 1:49:42.400 the days of cameras in phones, I would assume being 1:49:42.439 --> 1:49:46.920 on the road was, shall we say, a lot of fun. Yeah, okay, 1:49:47.240 --> 1:49:50.560 but those days, granted you're older and you're married, but 1:49:51.000 --> 1:49:53.960 generally speaking, those days are done for people on the road. 1:49:54.880 --> 1:49:58.559 What do you mean? I mean? Uh, the the old 1:49:58.680 --> 1:50:01.879 dream and this is you know, uh, maybe a sexist 1:50:02.000 --> 1:50:05.559 dream was the musician has a hard time communicating with people, 1:50:05.600 --> 1:50:08.719 speaks to his music, goes on the road and meets women, 1:50:08.800 --> 1:50:13.680 and does drugs. Yeah do you You don't have to 1:50:13.720 --> 1:50:15.880 do drugs, but you know, but most people did. The 1:50:15.920 --> 1:50:18.200 reason I say you do drugs is you know, you 1:50:19.000 --> 1:50:21.519 you play from eight to eleven. It's gonna take you 1:50:21.640 --> 1:50:24.200 at least if then to three in the morning to 1:50:24.280 --> 1:50:26.879 calm down. You're in the bus with the same assholes 1:50:26.920 --> 1:50:29.160 that you knew from like ten years. You know, you 1:50:29.240 --> 1:50:32.000 do drugs just a cope. I think a lot of people. 1:50:32.640 --> 1:50:37.360 But have you found that modern technology has affected being 1:50:37.400 --> 1:50:39.759 on the road. I mean, granted you're older and you're married, 1:50:39.960 --> 1:50:41.880 I would say I would tell you this. I would 1:50:41.920 --> 1:50:43.880 bet you a young band I would see it the 1:50:43.920 --> 1:50:46.720 same way it always was. That's what I would think. 1:50:47.520 --> 1:50:49.720 I mean, we're older and we're married, but we you know, 1:50:49.840 --> 1:50:51.800 we go out. We still have a drink, you know, 1:50:52.479 --> 1:50:55.519 sit around and talk about the old days or talk 1:50:55.560 --> 1:50:58.120 about the new days, and talk about music. It's still music. 1:50:58.600 --> 1:51:01.000 Speaking of the speaking the old days, I always say, 1:51:01.040 --> 1:51:03.760 you know, we look at that period from sixty four 1:51:03.960 --> 1:51:07.559 to eighty and then even MTV after that. Music really 1:51:07.640 --> 1:51:09.560 drove the culture. If you want to know what was 1:51:09.600 --> 1:51:13.240 going on, you listen to a record. Radio stations were 1:51:13.320 --> 1:51:15.960 not like they were today. The radio the jock was 1:51:16.040 --> 1:51:18.639 giving you all your news, was really your best friend. 1:51:19.280 --> 1:51:23.559 How do you feel about the music scene today. It's 1:51:23.600 --> 1:51:26.680 hard for me. It's hard for me. I wind up. 1:51:27.800 --> 1:51:29.439 I don't listen to a lot of new music. I 1:51:29.520 --> 1:51:35.120 hate to sound like an old dinosaur, but I don't 1:51:35.479 --> 1:51:42.439 hear the kind of melodic music anymore that I grew 1:51:42.560 --> 1:51:45.560 up knowing that that was how you were supposed to 1:51:45.600 --> 1:51:47.920 write songs, you know. I mean, it was one thing 1:51:48.000 --> 1:51:52.000 to go from jazz and standards to all of a 1:51:52.040 --> 1:51:56.680 sudden there's Beatles and Stones writing great songs, and then 1:51:56.800 --> 1:52:00.559 everyone else is trying to write great songs. But now 1:52:02.000 --> 1:52:05.680 the melodic, the melodic approach to songs these days is 1:52:05.920 --> 1:52:12.080 very nil, very lack lacking. To me, it's either way 1:52:12.120 --> 1:52:15.240 too repetitive and simple, and repetitive is a great thing 1:52:15.320 --> 1:52:18.840 to have. You have to have repetition, but not the 1:52:18.920 --> 1:52:24.519 way it's done today, or it's way overly exaggerated to 1:52:24.760 --> 1:52:32.960 where people are demonstrating their wonderful vocal range. Well that that, 1:52:33.160 --> 1:52:36.960 but even just some of the stuff I have a 1:52:37.000 --> 1:52:40.559 hard time with with with it. I I love Muse. 1:52:40.800 --> 1:52:44.679 I think that's a great band, you know, but they're 1:52:44.680 --> 1:52:48.320 not even new anymore, you know what I mean. It's hard. 1:52:48.680 --> 1:52:52.840 It's hard for me. So I don't hear. I listened 1:52:52.840 --> 1:52:57.639 to a lot of older stuff and the hip hop. 1:52:57.760 --> 1:53:00.519 You listen to the hip hop, I don't. I don't. 1:53:00.640 --> 1:53:03.600 I've heard something really dug, you know. And do you 1:53:03.760 --> 1:53:06.040 have hope or do you think we live through the 1:53:06.080 --> 1:53:08.920 renaissance and it's not going to return? One never knows, 1:53:10.000 --> 1:53:12.519 you know, History repeats itself, right, that's what they say. 1:53:13.680 --> 1:53:15.880 It's been a long time coming. And I don't even 1:53:15.920 --> 1:53:19.240 know how that's right, how I could right now? You know, 1:53:19.760 --> 1:53:24.720 guitars have become almost meaningless and today's records and it's tough, 1:53:24.840 --> 1:53:28.919 it's it's weird, but it's that it's that song structure 1:53:29.040 --> 1:53:33.200 that I miss that was so important to us when 1:53:33.240 --> 1:53:36.519 we were growing up, and that's what it was all about, 1:53:36.640 --> 1:53:38.680 right in a great tune, you know, someone something that 1:53:38.760 --> 1:53:42.400 you could sing, you know, instead of some of the 1:53:42.400 --> 1:53:44.800 stuff that's out there. I don't want to name. I 1:53:44.800 --> 1:53:46.479 don't want to name anything that's we can fill in 1:53:46.520 --> 1:53:50.360 the blanks. Yeah, you know, but I I don't like 1:53:50.479 --> 1:53:54.240 a lot of what I hear and and I have 1:53:54.360 --> 1:53:57.960 to agree with Couch about something you said about that 1:53:58.360 --> 1:54:04.960 that Barnum. I don't dig those songs. I don't let 1:54:05.000 --> 1:54:08.080 me tell you I didn't. It's funny because when we 1:54:08.200 --> 1:54:11.080 just went to Japan, right person next to me was 1:54:11.120 --> 1:54:13.439 watching this movie. I went, what the what does that movie? 1:54:13.520 --> 1:54:16.479 And I saw Hugh Jackman and it Oh, I see 1:54:16.600 --> 1:54:18.400 And I didn't watch it, but that's when I first 1:54:18.439 --> 1:54:20.920 became aware of it. And then Danny told me about 1:54:21.680 --> 1:54:23.880 We had back and forth usually Danny O Danny is, 1:54:24.040 --> 1:54:26.160 you know him much better than I know him. But 1:54:26.720 --> 1:54:28.920 he can be I wouldn't say contrary, but he's not 1:54:29.000 --> 1:54:31.280 afraid to show in a little bit of an edge. Yeah, 1:54:31.520 --> 1:54:34.160 but he's warm underneath. But he stand me right away. 1:54:34.440 --> 1:54:36.080 There were two things for those people who may not 1:54:36.160 --> 1:54:38.879 be aware. There's this, you know, movie with the soundtrack 1:54:38.960 --> 1:54:43.200 called Greatest Showman. And we are living in a world 1:54:43.400 --> 1:54:46.240 where if you look at the Spotify top fifty, it's 1:54:46.240 --> 1:54:48.800 all hip hop. All you read about is hip hop. 1:54:49.280 --> 1:54:54.080 But this album is unbelievably successful, was number one in 1:54:54.440 --> 1:54:57.640 UK for twenty one weeks and definitely the best selling 1:54:57.680 --> 1:55:00.839 album of the year I think in America, even exceeding 1:55:00.920 --> 1:55:05.640 Drake Now. It is an album, especially the single with 1:55:06.000 --> 1:55:07.960 the name of which I don't remember they sang on 1:55:08.080 --> 1:55:11.960 the oscars, I believe has melody in it. It's exactly 1:55:12.040 --> 1:55:16.360 what you were talking. It's not exactly, but it has melody, 1:55:16.440 --> 1:55:22.200 but it's overstated, like wait, wait, say it's this is 1:55:22.320 --> 1:55:26.160 like writing about Greta van Fleet. If you've heard led 1:55:26.320 --> 1:55:29.600 Zeppelin you say, hey, this is our SATs By the 1:55:29.680 --> 1:55:32.960 same token. Then wasn't that amount of communication If you 1:55:33.040 --> 1:55:36.520 were listening to all the British blues bands of the 1:55:36.640 --> 1:55:40.880 late sixties or early seventies, people heard the originals this 1:55:41.040 --> 1:55:44.120 year Robert Johnson, this is not the same thing. But 1:55:44.240 --> 1:55:48.280 what I feel, as I'm busy explaining and justifying myself here, 1:55:49.400 --> 1:55:52.480 I feel with The Greatest Showman. My main point was 1:55:52.880 --> 1:55:58.560 there's an alternative to what everybody thinks is the default 1:55:58.720 --> 1:56:02.000 music of today. The act that Greatest Showman is successful 1:56:02.320 --> 1:56:06.320 shows that there are opportunities for other things, as opposed 1:56:06.360 --> 1:56:08.520 to me sitting here and saying oh, Greatest Showman is 1:56:08.600 --> 1:56:11.240 so great. Yeah, well that's true. I can I can 1:56:11.280 --> 1:56:13.240 go with you that far. But that's all I meant. 1:56:13.360 --> 1:56:15.640 You know, as I say, you know you're right. Stuff 1:56:16.000 --> 1:56:18.000 is one of the problems writing you if you were 1:56:18.000 --> 1:56:21.200 gonna write I have enough problems with this anyway you're 1:56:21.200 --> 1:56:22.920 writing it. Oh, this person is gonna have a problem 1:56:23.000 --> 1:56:25.080 with this, so I gotta add a sentence here, I 1:56:25.160 --> 1:56:28.320 gotta sence here. It ended up being, you know, everything, 1:56:28.400 --> 1:56:31.960 where and what. My point was just so to illuminate 1:56:32.040 --> 1:56:35.320 that there's a world beyond hip hop. And then when 1:56:35.440 --> 1:56:39.280 someone slams me Danny, you know, I just written it. 1:56:39.400 --> 1:56:41.200 You hear from Danny, it's like eleven o'clock at the 1:56:41.320 --> 1:56:44.600 night here. You never it's like come on. I mean, 1:56:44.680 --> 1:56:47.120 it's like I just wrote it and you know better. 1:56:47.200 --> 1:56:49.840 We're on the same team here. But it's you know, 1:56:50.080 --> 1:56:54.280 and it's always funny in email, because you know, arguments 1:56:54.320 --> 1:56:57.840 can get really you can. You can misinterpret someone's meanings 1:56:57.920 --> 1:57:01.240 so quickly in a in a written sentence, instead of 1:57:01.280 --> 1:57:07.160 hearing them say it. He was couch was indignant, and 1:57:07.320 --> 1:57:10.720 my first is said, you're really indignant about this. I mean, 1:57:10.760 --> 1:57:14.560 as we're sitting here was I talking Sergeant Pepper. It's like, 1:57:15.080 --> 1:57:17.840 come on. So he was so indignant. I said, fuck 1:57:17.920 --> 1:57:21.200 you back that I that I did that. You know 1:57:21.360 --> 1:57:23.920 that we're gonna get email style. I won't say that 1:57:24.040 --> 1:57:26.800 to somebody I don't know unless I know there's gonna 1:57:26.800 --> 1:57:28.720 be consequence. I just did that to make him re 1:57:28.880 --> 1:57:32.040 evaluate where he was coming from, right, not not to 1:57:32.280 --> 1:57:34.640 like make him piste off. It's like, come on, but 1:57:34.800 --> 1:57:37.480 I must say, and I understand what you're saying about. 1:57:38.600 --> 1:57:41.640 There is a world aside from hipp a grant that 1:57:41.720 --> 1:57:45.280 that's a very valid observation. But I went and I 1:57:45.360 --> 1:57:48.280 made a point of it before coming in. I sat 1:57:48.320 --> 1:57:50.600 down and listened to all those fucking songs in that movie, 1:57:50.640 --> 1:57:54.760 you know. And like I said, I hate to doubt, 1:57:55.160 --> 1:57:59.920 doubt or put down anyone's work, any every work. Yeah, well, 1:58:00.000 --> 1:58:04.320 all good, Well I don't care. I don't care for 1:58:04.520 --> 1:58:06.880 that music. Okay. First of all, you probably listen to 1:58:06.920 --> 1:58:10.280 it more than I did. Secondly, have you seen it 1:58:10.360 --> 1:58:15.520 with the picture would put it in perspective? Songs? Well 1:58:15.560 --> 1:58:18.120 the movie. I haven't seen the movie other than snippets 1:58:18.120 --> 1:58:19.680 here and there. No one seems to think the movie 1:58:19.760 --> 1:58:21.600 is any good. At the same time of this, this 1:58:21.680 --> 1:58:25.320 movie next Netflix about a kissing booth, which everybody says 1:58:25.440 --> 1:58:29.720 is shitty, but it's also a phenomenon, so it's you 1:58:29.800 --> 1:58:33.000 know this this crosses over to news too. You know, 1:58:33.120 --> 1:58:34.960 I'm on the hand. You have the people who were 1:58:35.040 --> 1:58:37.600 reading these news sites that people make up in their basement, 1:58:37.880 --> 1:58:40.800 the theoretical forder pound guy that Trump is talking about, 1:58:41.360 --> 1:58:45.560 and then you have the the big newspapers, and you say, well, 1:58:45.640 --> 1:58:48.360 what are they missing? But without going deeper into this 1:58:48.600 --> 1:58:51.080 rabbit hole, which I'd be willing to, but I'm not 1:58:51.160 --> 1:58:53.240 sure your audience wants to hear it. Are you a 1:58:53.360 --> 1:58:57.920 gear freak? No, not at all. How many guitars you owned? Well, 1:58:57.960 --> 1:59:00.040 the guitars aren't gear. You know what I mean it, 1:59:00.200 --> 1:59:03.160 I mean, that's what you mean. I I don't own 1:59:03.760 --> 1:59:06.000 a plethora of guitars like some of my friends do. 1:59:06.600 --> 1:59:10.240 I have quite a few forty I don't know if 1:59:10.240 --> 1:59:13.840 I have forty. I have like, I don't know. I 1:59:13.920 --> 1:59:16.440 have like three J Gibson J two hundreds. I have 1:59:16.520 --> 1:59:20.680 about four maybe five less Poles. I have a couple 1:59:20.720 --> 1:59:23.960 of Fender Strats, I have some telecasters. I've got a 1:59:24.000 --> 1:59:28.520 bunch more acoustic guitars. I've got dough Bro guitar, Hawaiian 1:59:28.600 --> 1:59:30.760 lap steel guitars. You know what I mean. I don't. 1:59:30.960 --> 1:59:33.920 I don't have a warehouse full of guitars. Put it 1:59:34.000 --> 1:59:37.120 that way, but I don't. I just remember when I played, 1:59:37.320 --> 1:59:40.200 you know, in the sixties, when everybody played every guitar, 1:59:40.400 --> 1:59:43.120 even if it was the same model, sounded a little different. 1:59:43.960 --> 1:59:47.080 Still the same today. Yeah, do you have one particular 1:59:47.160 --> 1:59:51.120 guitar that your go to guitar? Well, I've came up 1:59:51.160 --> 1:59:56.000 playing my sixty less Paul. I brought it from Steve 1:59:56.080 --> 1:59:58.480 Stills when we first met. Stuff like that, And why 1:59:58.600 --> 2:00:02.200 was it just had this room full of guitars and 2:00:02.920 --> 2:00:04.920 and I at that point, I I was still playing 2:00:04.960 --> 2:00:07.320 my big jazz guitar and not not the L seven. 2:00:07.360 --> 2:00:09.960 There's this thing called Super four hundred that Frank's Apple 2:00:10.040 --> 2:00:12.040 was playing when I saw him in the village. It 2:00:12.200 --> 2:00:14.880 was this big, old fat Gibson. It was gorgeous. I said, 2:00:14.920 --> 2:00:18.200 that's what I want someday. And uh so when I 2:00:18.280 --> 2:00:22.120 moved out to California, I got myself Super four hundred 2:00:23.600 --> 2:00:27.160 and it was great. But what are we talking about 2:00:27.440 --> 2:00:32.160 for good? Yeah? So and then we were rehearsing at 2:00:32.280 --> 2:00:34.760 s I R. And the only people there were Corosi 2:00:34.800 --> 2:00:37.720 Stills in Nash and my band and I looked in 2:00:37.760 --> 2:00:40.320 their room and there was like a circle of guitars 2:00:40.360 --> 2:00:43.640 all around the whole room, and I went, wow, I 2:00:43.720 --> 2:00:45.600 was thinking less poor again. I was getting sick of 2:00:45.640 --> 2:00:49.360 the big box. So what, Steve, would you consider selling 2:00:49.440 --> 2:00:51.440 one of any one of those guitars? He goes, why 2:00:51.480 --> 2:00:54.680 don't we just trade rooms tonight, you guys rehearsing our room, 2:00:54.920 --> 2:00:57.440 and we'll use your room and just try pick whichever 2:00:57.520 --> 2:01:02.080 one you want. Really great, man, fantastic. So we did that, 2:01:02.200 --> 2:01:04.640 and I went through all these less poles and came 2:01:04.720 --> 2:01:09.200 up with this Sunburst that was just gorgeous, and and 2:01:09.280 --> 2:01:11.800 I got that one so that I used that on 2:01:11.880 --> 2:01:15.800 every record I did forever, you know, and I made 2:01:15.800 --> 2:01:18.760 I used to do what I called my phony steel guitar, 2:01:19.160 --> 2:01:21.960 and that's how I did a lot of sessions, just 2:01:22.000 --> 2:01:24.080 plug right into the board. I'm sorry when you said 2:01:24.080 --> 2:01:26.600 gear Free made like pedals and things like that, because 2:01:26.640 --> 2:01:30.600 I don't use any but I using any volume pedal 2:01:30.760 --> 2:01:34.040 like a steel guitar. But I would plug right into 2:01:34.040 --> 2:01:36.240 the board and just you know, put some reverb on 2:01:36.320 --> 2:01:39.320 it and play that way. And uh, that's the first 2:01:39.360 --> 2:01:42.680 thing I did like on Randy's record, not on short People. 2:01:42.760 --> 2:01:45.600 That's playing some slide. But there's a single writer in 2:01:45.640 --> 2:01:47.880 the rain on that great record. And I'm playing my 2:01:47.920 --> 2:01:50.400 phony pedal steel guitar and it's great. Randy loved it. 2:01:50.480 --> 2:01:55.200 And but so I used my last pole until it 2:01:55.360 --> 2:01:57.600 broke too many times and I had to replace it. 2:01:57.680 --> 2:02:01.480 And now I played this other three less poll it's 2:02:01.600 --> 2:02:03.360 it's it's I call it a white one, but it's 2:02:03.360 --> 2:02:06.000 actually a gold top spray painted white that I just 2:02:06.080 --> 2:02:09.120 found in this shop one day and it's great. And 2:02:10.000 --> 2:02:12.880 the road, oh yeah, that goes on the road. My my, My, 2:02:13.240 --> 2:02:16.800 My original less pole stays home. It's ensured for a 2:02:16.840 --> 2:02:20.240 lot of bread. It's very valuable and it's gorgeous. And 2:02:20.400 --> 2:02:26.560 but Gibson made a Waddy walktail model I walktail less 2:02:26.560 --> 2:02:30.000 pool and they copied my guitar exactly, my sixty. It's 2:02:30.040 --> 2:02:32.680 just sunburst and it's beautiful. They did a great job. Okay, 2:02:32.920 --> 2:02:35.160 So will you play that guitar? Yeah, I use it. Yeah, 2:02:35.960 --> 2:02:38.240 I got a white one in that one, okay. And 2:02:38.360 --> 2:02:42.320 then how about amps amp seven using this company called 2:02:42.320 --> 2:02:45.800 black Star really sweet sounding amps. I used to play 2:02:46.200 --> 2:02:48.600 everything and when we did all the records in the 2:02:48.760 --> 2:02:50.920 in the seventies and stuff, they were music Man was 2:02:51.000 --> 2:02:55.800 the amp, and that was Leo, that's right, And we 2:02:55.920 --> 2:02:57.800 had they were small enough to have live in the 2:02:57.840 --> 2:03:01.240 studio and I'd be here Andrew be here right next 2:03:01.280 --> 2:03:03.080 to each other, and you have a little baffle in between, 2:03:03.200 --> 2:03:06.200 and and it was loud enough. But and then I 2:03:06.320 --> 2:03:08.560 went from those to my marshals and stuff like that. 2:03:08.760 --> 2:03:14.040 And and then Fender makes a great ample of vibro king, 2:03:15.080 --> 2:03:16.800 so I was using that for a while. To this 2:03:16.960 --> 2:03:21.200 is a current or an old model. It's current is 2:03:21.440 --> 2:03:26.160 meaning right with the last twenty years. So so I 2:03:26.240 --> 2:03:28.320 was using that. I was using two of those together, 2:03:28.360 --> 2:03:32.320 which is enough to like, shave you really loud and 2:03:32.560 --> 2:03:36.240 very brilliant. Is you're hearing? Yeah? My hearing. I don't 2:03:36.280 --> 2:03:38.160 know why, but it's okay. You don't have to wear 2:03:38.200 --> 2:03:41.400 the hearing age or anything. And I'm not that good 2:03:41.440 --> 2:03:44.160 on I do say what a lot, like like my 2:03:44.320 --> 2:03:49.960 father what. But no, my hearing is surprisingly good. I 2:03:50.040 --> 2:03:53.840 don't know why that is. But so that these black 2:03:53.880 --> 2:03:56.520 Star amps are beautiful sounding, so I've been used them lately. 2:03:56.960 --> 2:04:02.320 And then greatest guitarist of all time? Hard to say 2:04:02.400 --> 2:04:08.640 that one? Who are your favorites? Well, uh starts to 2:04:08.720 --> 2:04:11.400 jazz Johnny Smith. If you know Johnny Smith, is you 2:04:11.440 --> 2:04:16.200 know that Johnny Smith was a jazz player who all 2:04:16.280 --> 2:04:18.400 the other jazz players said he's too corny and he's 2:04:18.440 --> 2:04:21.840 too fucking square. But this guy is the most incredible 2:04:22.280 --> 2:04:26.320 guitar player ever and he wrote And I didn't even 2:04:26.360 --> 2:04:28.240 know this for years, and it's funny. I just did 2:04:28.360 --> 2:04:31.800 an interview with the daughter of one of the Ventures 2:04:32.560 --> 2:04:37.800 and that song walk Don't Run was written by Johnny Smith. 2:04:38.320 --> 2:04:40.520 And I didn't even I wasn't even aware of it. 2:04:40.640 --> 2:04:43.800 I had all these Johnny Smith records and one day 2:04:43.960 --> 2:04:48.120 I was home and and I went, walk Don't Run, 2:04:49.600 --> 2:04:53.000 And I looked at the Ventures record it says j Smith, Oh, 2:04:53.080 --> 2:04:55.040 this can't be. And I went and I played it 2:04:55.120 --> 2:05:00.040 and it's this beautiful shuffles, really gorgeous little lazz and 2:05:01.800 --> 2:05:04.000 uh so I asked her, I said, how did the 2:05:04.120 --> 2:05:07.720 Ventures find that song? And she wasn't even sure that 2:05:07.920 --> 2:05:09.760 someone just found it one day on a record and 2:05:10.920 --> 2:05:13.040 thought it would make a good roll. So I thought 2:05:13.080 --> 2:05:15.480 that started with the ventures. I didn't know that well 2:05:15.560 --> 2:05:18.200 it did, but it came from this guy, Johnny Smith. 2:05:18.240 --> 2:05:21.920 So anyway, Johnny Smith was my god like idol. He 2:05:22.080 --> 2:05:27.560 was incredible. But Jimmy Hendricks was unbelievable, you know. Jimmy 2:05:27.600 --> 2:05:32.720 Page is fantastic, Keith is unreal with the best rhythm 2:05:32.760 --> 2:05:35.600 playing in the world, and and someone amazing leads too, 2:05:36.240 --> 2:05:38.440 But Mick was Mick Taylor is great. As there's too 2:05:38.480 --> 2:05:41.520 many guys, it's just impossible to say a favorite. I 2:05:41.560 --> 2:05:44.320 always thought of the rock guitars, I thought that Jeff 2:05:44.360 --> 2:05:47.000 Beck was the best. Jeff is great, but he's but 2:05:47.120 --> 2:05:51.120 Jimmy Page can do amazing things too, So what he is, 2:05:51.280 --> 2:05:52.880 you know? Well, the only one there was those these 2:05:53.080 --> 2:05:56.040 Arms concerts. I don't yeah, you know, let me tell you. 2:05:56.720 --> 2:05:58.880 It's funny to say that because I had never seen 2:05:59.000 --> 2:06:03.280 Jeff and I went to that show and there he 2:06:03.480 --> 2:06:06.760 was planning. He was fantastic and it was great, and 2:06:07.000 --> 2:06:10.640 I loved that his tone was beautiful. He's doing great. 2:06:11.800 --> 2:06:14.800 He got a good, good, good applause, you know, And 2:06:14.920 --> 2:06:19.520 then a few minutes later, Jimmy Page just walked out 2:06:19.640 --> 2:06:22.040 onto the stage, didn't even have a guitar on. He 2:06:22.200 --> 2:06:25.800 just kind of came out and Madison Square Garden almost 2:06:25.920 --> 2:06:30.640 self destructed. It was like, what's happening? Oh my god? 2:06:31.440 --> 2:06:33.760 And I could see Jeff backstage was just just been 2:06:33.800 --> 2:06:36.120 killing himself. What the funk do I have to do 2:06:36.760 --> 2:06:38.560 to get over well? You know, I thought this was 2:06:39.360 --> 2:06:43.640 Ronnie Lane of the faces about these benefit concerts, multiple roses, 2:06:44.120 --> 2:06:48.440 and it had all three of them. Clapton played, Beck played, 2:06:49.000 --> 2:06:52.880 and Paige played with Paul Rodgers, and and that wasn't 2:06:52.920 --> 2:06:54.800 in good shape that night either. He was a mess 2:06:54.960 --> 2:06:57.240 right in l A. I thought that Beck blew him 2:06:57.240 --> 2:07:00.680 off the stage. But you know, we saw a different Well, 2:07:01.000 --> 2:07:06.720 like I said, Jeff played better. But it was like 2:07:08.160 --> 2:07:11.040 night and day and it was a big bright day. 2:07:11.160 --> 2:07:12.840 Let me tell you when Paige when Page, he came 2:07:12.880 --> 2:07:15.400 out on that stage and he was you know, he 2:07:15.520 --> 2:07:17.480 was just getting over smacked then and stuff. He was 2:07:17.520 --> 2:07:21.760 a mess, but he was so cool. It was ridiculous. 2:07:21.840 --> 2:07:25.600 I mean, Jeff is an incredible player, ridiculous. But at 2:07:25.640 --> 2:07:28.640 the same time as Jimmy Pages trying to get through 2:07:29.600 --> 2:07:31.840 she got the double neck on trying to get through 2:07:31.960 --> 2:07:34.280 stairway to Heaven and it's a mess. And his solos 2:07:34.320 --> 2:07:36.680 are a mess. His solos on records are a mess. 2:07:37.200 --> 2:07:40.160 But some of his things that he does are so brilliant. 2:07:40.800 --> 2:07:43.680 Record but I was gonna say it was at the 2:07:43.880 --> 2:07:51.080 end of this mess of stairway, all of a sudden 2:07:51.880 --> 2:07:55.600 the guitar. He just takes the guitar off, and I said, 2:07:55.600 --> 2:07:58.160 what's he doing? And he just here's the back end 2:07:58.200 --> 2:08:00.320 of it, and here's the double necks and he picks 2:08:00.320 --> 2:08:02.640 it up like this. He grabbed it like this at 2:08:03.000 --> 2:08:05.760 his like like this and held it like that and 2:08:05.800 --> 2:08:07.880 it's straight up in his hand, held it like that 2:08:07.960 --> 2:08:11.680 over the audience just going insane, And so was I 2:08:12.360 --> 2:08:15.600 look at this guy, where did he learned that? That 2:08:15.800 --> 2:08:18.600 is the coolest thing I've ever seen? You know, he 2:08:18.680 --> 2:08:20.600 didn't have to do, he didn't have to play great, 2:08:20.680 --> 2:08:23.520 but Jimmy Page is a brilliant guitar player. Well so 2:08:23.640 --> 2:08:26.120 also he wrote that stuff for the stuff that he 2:08:26.200 --> 2:08:29.920 didn't introduced it introduced it, and I mean, you know, 2:08:29.960 --> 2:08:31.880 it's just some of those things that you know over 2:08:31.920 --> 2:08:34.880 the hills and far away, like acoustic part, What where's 2:08:34.920 --> 2:08:37.280 that coming from? You know, that's amazing. You know, nobody 2:08:37.360 --> 2:08:39.760 can come up with stuff like that. I love. I 2:08:39.760 --> 2:08:42.160 don't know if you know the song Physical Graffiti ten 2:08:42.280 --> 2:08:47.840 years gone. Damn dam at the end, especially his licks 2:08:47.880 --> 2:08:54.000 at the end over that figure, so gorgeous. He's serious, man, Okay, 2:08:54.080 --> 2:08:55.680 just a couple since we're into deep, I gotta tell 2:08:55.680 --> 2:08:58.440 you he came to the joint one night. Somebody said, 2:08:59.360 --> 2:09:03.840 jim just you know what, Come on, you gotta be kidding. 2:09:03.880 --> 2:09:07.600 He says, no, he's he's outside in the varlt really. 2:09:09.040 --> 2:09:11.240 So I went out there and I see this white 2:09:11.320 --> 2:09:15.240 hair and I went, Jimmy, yes, you know he's the 2:09:15.320 --> 2:09:20.880 gentlest right right exactly. He goes, of course you are? 2:09:22.560 --> 2:09:25.320 How are you? Man? And I said, oh man, I said, 2:09:25.320 --> 2:09:27.800 I'm so thrilled that you're here. Do you do you 2:09:27.880 --> 2:09:30.120 want to come play with? No, he says, I'm just 2:09:30.240 --> 2:09:33.520 here to watch, man, I'm just here to watch. It 2:09:33.720 --> 2:09:36.000 was too much, man, it blew me away. Oh yeah, 2:09:36.280 --> 2:09:38.800 we have those moments. I won't whip out mind. But 2:09:38.880 --> 2:09:41.080 it's not quite the same thing. But the one night 2:09:41.120 --> 2:09:43.400 I spent it was after the uh premiere of It 2:09:43.520 --> 2:09:46.520 Might Get Loud, the guitar movie You Knows Him and 2:09:46.680 --> 2:09:50.160 Jack White and the Edge was not there the after party, 2:09:50.360 --> 2:09:52.160 and people want to talk about he's so gentle. You 2:09:52.240 --> 2:09:56.320 can't imagine the same guy with these legendary stories. What 2:09:56.440 --> 2:09:59.919 about Eddie van Halen, And he's a great player, amazing 2:10:00.000 --> 2:10:06.280 guitar player. Of records, Any specific records that stick out 2:10:06.320 --> 2:10:08.880 with you? You say, Johnny Smith in terms of guitar player, 2:10:09.280 --> 2:10:11.760 Any great records? You say, Wow, this is just you know, 2:10:11.880 --> 2:10:16.600 my favorite, I mean just anything? Well, I mean yeah, 2:10:16.680 --> 2:10:19.520 I mean you can start with quarter to three by 2:10:19.800 --> 2:10:22.560 Garry us Bonds. I mean New Orleans, I should say 2:10:22.640 --> 2:10:25.760 not quarter three. Quarter three was great? But remember where 2:10:25.760 --> 2:10:27.520 you how you how you felt the first time you 2:10:27.600 --> 2:10:31.120 heard that song, or good vibrations or you know, I 2:10:31.200 --> 2:10:33.760 want to hold your hand or no. I mean there's 2:10:34.000 --> 2:10:39.080 countless incredible moments in our lives. We've been so lucky 2:10:39.160 --> 2:10:42.640 to live and to hear these things. And I don't know, 2:10:42.760 --> 2:10:44.760 I mean, take it so hard when we put that 2:10:44.880 --> 2:10:47.640 record out with Keith at first single, Are you kidding me? 2:10:47.800 --> 2:10:51.800 That's like that's some badass rock and roll right there, man, 2:10:52.120 --> 2:10:54.760 that's some fucking serious rocket. Okay, So yout home, do 2:10:54.840 --> 2:10:58.320 you play music at this point? Well, you know somewhat. 2:10:58.480 --> 2:11:01.080 My wife plays more records than I. You you know, 2:11:01.240 --> 2:11:04.240 I on the road, I I play music. I bother 2:11:04.320 --> 2:11:07.880 people all the time. You know. I have this Marshall's thing. 2:11:08.080 --> 2:11:11.400 Marshall made this boom box. It's great. So I'm backstage 2:11:11.440 --> 2:11:13.640 before shows, I'm blast in rock and roll all the time. 2:11:14.400 --> 2:11:17.480 But at home, my wife takes over on the records. 2:11:18.000 --> 2:11:21.360 I'm usually just trying to learn, you know, some Hawaiian stuff, 2:11:21.440 --> 2:11:23.520 or playing working in my studio, you know, I do 2:11:23.760 --> 2:11:26.200 a lot of times now you work at home. You 2:11:26.240 --> 2:11:29.480 know people you're actually recording on home. People say, yeah, 2:11:30.120 --> 2:11:32.680 how extensive a studio do you have. I have a 2:11:34.880 --> 2:11:36.880 You couldn't record a whole band in it, let's put 2:11:36.880 --> 2:11:39.000 it that way, you know, but you could record a 2:11:39.040 --> 2:11:41.280 couple of guys playing the guitars together, a guitar and 2:11:41.360 --> 2:11:44.640 bass singer. You know. I don't have a drum room. 2:11:45.520 --> 2:11:48.320 It's a workstation where you call it right. And you're 2:11:48.640 --> 2:11:52.160 pretty savvy with pro tools. I use digital Performer actually, 2:11:52.720 --> 2:11:56.800 because when I started doing scoring for film pro tools 2:11:56.960 --> 2:11:59.240 MIDI was not happening at all, and everyone said, no, 2:11:59.320 --> 2:12:02.480 you gotta use digital Performer, and I didn't know anything 2:12:02.520 --> 2:12:05.320 about any of it. So performers where I went, and 2:12:05.480 --> 2:12:09.280 now I'm versed in performers, so I don't feel the 2:12:09.400 --> 2:12:12.960 need to switch over. And how often will someone just 2:12:13.040 --> 2:12:16.040 send you something to say put something on it? You know? Often? 2:12:16.600 --> 2:12:20.560 I mean I just got done doing that with Holly Knights, 2:12:20.600 --> 2:12:24.240 a great, great songwriter, and uh, it was funny. I 2:12:24.320 --> 2:12:27.000 did something for Holly a couple but three years ago, 2:12:27.040 --> 2:12:30.240 I mean four years ago, and then she wrote to 2:12:30.280 --> 2:12:32.040 me and said, I've got another song working on it 2:12:33.000 --> 2:12:35.760 and uh, which could you put some guitars on it? 2:12:35.760 --> 2:12:36.920 And I said sure, I'd love to her, so I 2:12:37.000 --> 2:12:39.240 did sent them to her. She said, yeah, it's great, 2:12:39.280 --> 2:12:40.960 but it's not quiet this and not quite that. And 2:12:41.000 --> 2:12:45.160 finally I said, Holly, and it's great. It's great when 2:12:45.200 --> 2:12:48.440 someone knows what they want. You know, it's either you 2:12:48.520 --> 2:12:51.960 know exactly what you want or you let someone you 2:12:52.080 --> 2:12:54.920 trust give you what they want that what they think 2:12:55.040 --> 2:12:59.400 is right, and it works out both ways. But Holly 2:12:59.400 --> 2:13:01.240 said it not quite. I said, Holly, why don't you 2:13:01.320 --> 2:13:05.320 come here because otherwise I'm gonna be sending you stuff 2:13:05.760 --> 2:13:08.120 for months? You know, why don't you just come here 2:13:08.160 --> 2:13:09.760 and we'll just do it together. So she came out 2:13:09.800 --> 2:13:11.880 to my house and we met. We've we've never met, 2:13:12.000 --> 2:13:13.840 you know. We we've done it this way, you know. 2:13:13.920 --> 2:13:16.560 And I worked for Val Garage and several albums for 2:13:16.640 --> 2:13:19.400 him that way, you know. As a matter of fact, 2:13:20.920 --> 2:13:24.560 on Keith's last record, I went to New York and 2:13:24.720 --> 2:13:27.040 played with him on some of it, but on some 2:13:27.160 --> 2:13:29.280 of it they sent some of the tracks to me 2:13:29.360 --> 2:13:31.640 and I put stuff on it at my house, you know. 2:13:32.440 --> 2:13:36.160 So it doesn't matter where you are so at this 2:13:36.360 --> 2:13:38.960 late date, anything you want to achieve or do before 2:13:39.200 --> 2:13:44.000 the grim Reaper shows up, well, I just want to 2:13:44.600 --> 2:13:48.600 continue being valid musically. And like I said, Danny and 2:13:48.720 --> 2:13:52.120 Russell and Leland and Postel and myself for this band now, 2:13:52.200 --> 2:13:55.960 and we've been writing, so writing good songs at this 2:13:56.040 --> 2:13:58.360 point and being able to perform them would be a 2:13:58.400 --> 2:14:04.560 great thing. And hearing having people agree it would be 2:14:04.640 --> 2:14:07.560 a great thing. Getting him heard, which is getting harder 2:14:07.600 --> 2:14:10.360 and harder when you're this old. But it's getting harder 2:14:10.440 --> 2:14:14.280 and harder without making a whole podcast about it. Even 2:14:14.320 --> 2:14:15.840 if you used to be in the first part of 2:14:15.880 --> 2:14:18.440 the centry, you made something greater with surface. Now you 2:14:18.480 --> 2:14:20.919 can do something great and it and it won't surface. 2:14:21.320 --> 2:14:24.320 It's hard to break through the noise. So if you're 2:14:24.360 --> 2:14:26.760 doing something and not only the noise, I'm sorry, but 2:14:27.240 --> 2:14:30.120 only the amount of output. It's just so much. The 2:14:30.200 --> 2:14:33.040 barrier to entry is solo, which is why I have 2:14:33.120 --> 2:14:34.760 a special deal for you to work on The Greatest 2:14:34.800 --> 2:14:40.720 Showman Too. But send me the contract exactly. It's as 2:14:41.760 --> 2:14:44.680 I write the songs, we're ready. But it's you know, 2:14:44.760 --> 2:14:48.160 it's depressing and overwhelming and one of the problems. You know, 2:14:48.240 --> 2:14:50.080 And there are a lot of people who say, hey, 2:14:50.200 --> 2:14:52.760 you know all the good stuff, that stuff today as 2:14:52.760 --> 2:14:55.800 good as it was yesterday ago. No, it wasn't. It's not. 2:14:56.160 --> 2:14:59.800 It's like we lived through something. It's like just pulling 2:14:59.840 --> 2:15:02.200 a record out of my ask like walk Away Renee 2:15:02.640 --> 2:15:05.280 something you have to hear once. It's got that feeling. 2:15:05.880 --> 2:15:10.200 Even Pretty Ballerweena also by the Left Bank, it's like, Okay, 2:15:10.240 --> 2:15:12.480 we can talk about tracks forever. But it's been so 2:15:12.640 --> 2:15:15.960 great hearing your history and talking about this. Waddy, thanks 2:15:16.000 --> 2:15:18.160 for coming, my pleasure, Bob, thanks for having me man. 2:15:18.200 --> 2:15:19.880 I was so glad you asked me to come by. 2:15:20.160 --> 2:15:23.520 Until next time. It's watery walk tell with me here 2:15:23.600 --> 2:15:30.600 on the Bob Left sets podcast. How great was that? 2:15:31.320 --> 2:15:33.400 I mean, I only knew Watty from seeing him on 2:15:33.600 --> 2:15:37.600 stage at the Roxy, in Films, etcetera. Hearing all those 2:15:37.640 --> 2:15:40.400 stories how he made it from there, in this case 2:15:40.880 --> 2:15:45.000 Queen's Forest Hills. To hear it is just unbelievable for 2:15:45.080 --> 2:15:47.000 those you live through the era and those who didn't. 2:15:47.040 --> 2:15:49.920 I'm just sure it was astounding even hearing the story 2:15:50.080 --> 2:15:53.760 Werewolves of London. So you can email me tell me 2:15:53.840 --> 2:15:57.320 what you think. Until next time, It's Bob Left Sets 2:15:57.600 --> 2:16:03.120 on my podcast, The Bob Left. That's podcast me reas 2:16:03.600 --> 2:16:11.440 and don't know exactly why must beeds out of the 2:16:11.720 --> 2:16:14.720 season Dry