1 00:00:00,640 --> 00:00:01,360 Speaker 1: Taking a Walk. 2 00:00:01,400 --> 00:00:04,960 Speaker 2: If you're a guitar player, play guitar. It doesn't have 3 00:00:05,040 --> 00:00:06,760 Speaker 2: to be electric or acoustic. 4 00:00:06,840 --> 00:00:10,840 Speaker 3: Do what you feel. It's all about doing what you 5 00:00:11,039 --> 00:00:13,160 Speaker 3: really want to do and feel. 6 00:00:13,280 --> 00:00:16,520 Speaker 1: Welcome music lovers to another episode of the Taking a 7 00:00:16,560 --> 00:00:20,360 Speaker 1: Walk podcast, the podcast where your host Buzz Night talks 8 00:00:20,360 --> 00:00:22,840 Speaker 1: with some of the most intriguing figures in the world 9 00:00:22,840 --> 00:00:26,759 Speaker 1: of music today. Buzz is joined by a guitar virtuoso 10 00:00:27,120 --> 00:00:30,479 Speaker 1: and a songwriting talent, the one and only Gary Myrik. 11 00:00:31,000 --> 00:00:35,520 Speaker 1: Gary's musical journey is a fascinating one that spans decades 12 00:00:35,560 --> 00:00:38,920 Speaker 1: and genres, from his early days in Texas where he 13 00:00:39,000 --> 00:00:43,080 Speaker 1: replaced none other than Stevie ray Vaughan in the band Crackerjack, 14 00:00:43,560 --> 00:00:46,960 Speaker 1: to his breakthrough success with Gary Myrik and the Figures 15 00:00:47,080 --> 00:00:49,960 Speaker 1: in the nineteen eighties, along with his hit songs she 16 00:00:50,120 --> 00:00:54,600 Speaker 1: talks in stereo. Gary has consistently pushed creative boundaries as 17 00:00:54,640 --> 00:00:58,480 Speaker 1: a guitarist, and we welcome him now on Taking a Walk. 18 00:01:00,080 --> 00:01:02,120 Speaker 4: Well, Gary, thanks for being on Takeing a Walk. 19 00:01:02,160 --> 00:01:04,760 Speaker 3: It's an honor to get to meet you. Well, nice 20 00:01:04,800 --> 00:01:05,480 Speaker 3: to meet you too. 21 00:01:06,959 --> 00:01:11,000 Speaker 4: So you started writing songs at fourteen and you formed 22 00:01:11,040 --> 00:01:15,000 Speaker 4: your first band. I think it was at eighteen, if 23 00:01:15,000 --> 00:01:19,640 Speaker 4: I'm not mistaken. What were the inspirations that led you 24 00:01:19,680 --> 00:01:22,480 Speaker 4: to music so early on in your career. 25 00:01:23,160 --> 00:01:28,960 Speaker 3: Well, my mother actually got me going. 26 00:01:30,440 --> 00:01:36,199 Speaker 2: I was ten years old and I've always been even 27 00:01:36,240 --> 00:01:38,640 Speaker 2: from an early age. I was trying to draw and 28 00:01:38,800 --> 00:01:45,520 Speaker 2: paint and do some kind of artistic things. And my 29 00:01:45,720 --> 00:01:49,920 Speaker 2: mom said to me, you know you're creative. You need 30 00:01:49,960 --> 00:01:55,800 Speaker 2: to play an instrument. And I went okay. I mean 31 00:01:55,920 --> 00:01:58,160 Speaker 2: I was real amenable as a child. I'd go, oh, 32 00:01:58,240 --> 00:02:00,919 Speaker 2: I would do anything, like I don't. I don't know anything. 33 00:02:00,920 --> 00:02:03,400 Speaker 2: I'm ten years old, I know nothing. Tell me what 34 00:02:03,520 --> 00:02:09,760 Speaker 2: to do. So she said, well, you know I love guitar. 35 00:02:10,639 --> 00:02:15,320 Speaker 2: I love like Spanish guitar, and I went okay. She 36 00:02:15,400 --> 00:02:19,280 Speaker 2: said play learn guitar and I went all right. And 37 00:02:19,560 --> 00:02:23,680 Speaker 2: the funny part is my dad had played trombone in 38 00:02:23,760 --> 00:02:27,720 Speaker 2: high school or something. So the first thing I said 39 00:02:27,760 --> 00:02:30,639 Speaker 2: to her, I said, what about trombone? And she went, no, 40 00:02:31,480 --> 00:02:34,760 Speaker 2: not trombone, and I went, oh, okay, Well what do 41 00:02:34,800 --> 00:02:37,520 Speaker 2: you think She said guitar and I went okay. 42 00:02:37,600 --> 00:02:39,960 Speaker 3: And then it became really my life's work. 43 00:02:40,840 --> 00:02:46,399 Speaker 2: So it just shows what parents' influence can be, how 44 00:02:46,440 --> 00:02:49,960 Speaker 2: important it really is, you know, I mean, I and 45 00:02:50,000 --> 00:02:54,720 Speaker 2: then I started writing songs. After I took lessons for 46 00:02:54,760 --> 00:03:00,040 Speaker 2: about two years, she would take me downtown Dallas and 47 00:03:00,320 --> 00:03:05,680 Speaker 2: to a great music store called McCord's Music. And I 48 00:03:05,760 --> 00:03:10,640 Speaker 2: ended up buying guitars there for years. And you could 49 00:03:10,680 --> 00:03:15,880 Speaker 2: back then you could find like a for example, a 50 00:03:16,720 --> 00:03:21,120 Speaker 2: nineteen fifty eight stratocaster and buy it for four or 51 00:03:21,120 --> 00:03:27,400 Speaker 2: five hundred dollars where now it's worth thirty grand. So 52 00:03:28,200 --> 00:03:32,240 Speaker 2: you know, it was a great store for finding some good, 53 00:03:32,440 --> 00:03:37,040 Speaker 2: good instruments. And anyhow, I took lessons there and I 54 00:03:37,160 --> 00:03:40,280 Speaker 2: was I never missed a lesson. Nobody had to tell 55 00:03:40,280 --> 00:03:44,000 Speaker 2: me to practice. No, nobody had, so well, you better practice. 56 00:03:44,040 --> 00:03:47,880 Speaker 2: Nobody said that. I always I was into it. And 57 00:03:48,200 --> 00:03:50,680 Speaker 2: so that's that's how I got started. And then I 58 00:03:50,720 --> 00:03:53,440 Speaker 2: and I wanted to write songs as soon as possible 59 00:03:53,880 --> 00:03:58,520 Speaker 2: for some reason, and so I started, you know, around 60 00:03:58,560 --> 00:04:01,200 Speaker 2: I think, I mean, I I was kind of dabbling 61 00:04:02,000 --> 00:04:06,640 Speaker 2: at songwriting early on, but around fourteen, and I was, 62 00:04:06,720 --> 00:04:09,200 Speaker 2: you know, trying to play in you know, little with 63 00:04:09,240 --> 00:04:13,080 Speaker 2: some other kids in school play you know that that 64 00:04:13,240 --> 00:04:17,760 Speaker 2: might play guitar, bass or drums or something. So my 65 00:04:18,279 --> 00:04:22,560 Speaker 2: earliest bands were around fourteen, but my first all original 66 00:04:22,680 --> 00:04:24,080 Speaker 2: band was at eighteen. 67 00:04:25,160 --> 00:04:29,040 Speaker 4: So you replaced Stevie ray Vaughan in the Austin based 68 00:04:29,480 --> 00:04:34,479 Speaker 4: band called Crackerjack. What was that experience like and did 69 00:04:34,560 --> 00:04:39,000 Speaker 4: you did you know Stevie personally and how did that 70 00:04:39,080 --> 00:04:43,040 Speaker 4: whole experience kind of you know, shape you career wise? 71 00:04:43,440 --> 00:04:48,240 Speaker 2: Well, I was I had a band in Dallas. 72 00:04:49,200 --> 00:04:52,440 Speaker 3: I'm from Dallas. Stevie's from Dallas too, But I. 73 00:04:54,360 --> 00:04:58,560 Speaker 2: Was playing at a club in downtown Dallas. I guess 74 00:04:58,600 --> 00:05:04,560 Speaker 2: I was about when he one, and it was called 75 00:05:04,600 --> 00:05:11,080 Speaker 2: the Cellar and it was just a really dark, odd place, 76 00:05:11,440 --> 00:05:15,200 Speaker 2: totally different. All the walls were painted black. It was 77 00:05:15,279 --> 00:05:19,640 Speaker 2: kind of psychedelic. And I played there five nights a 78 00:05:19,680 --> 00:05:25,560 Speaker 2: week and I was doing completely original, original material and 79 00:05:25,800 --> 00:05:28,200 Speaker 2: we were doing really well. We were like kind of 80 00:05:28,240 --> 00:05:31,080 Speaker 2: the top band there. They had multi bands and it 81 00:05:31,200 --> 00:05:37,279 Speaker 2: was totally weird. There was like a bandstand with amps, 82 00:05:37,680 --> 00:05:41,760 Speaker 2: you know, of course behind the musicians, and everybody would 83 00:05:41,839 --> 00:05:45,640 Speaker 2: use the same amps. Each band would walk on and 84 00:05:45,680 --> 00:05:49,159 Speaker 2: they would use whatever amps were. You know, we're there 85 00:05:49,200 --> 00:05:53,160 Speaker 2: for everyone, and so that was strange. So we didn't 86 00:05:53,160 --> 00:05:55,279 Speaker 2: have our own amps. So that was a little weird, 87 00:05:55,320 --> 00:06:01,840 Speaker 2: but it worked fine. We had auditioned there early on 88 00:06:02,200 --> 00:06:06,719 Speaker 2: and got the gig, and then we really started taking off. 89 00:06:07,839 --> 00:06:12,880 Speaker 2: And another strange thing is there was a runway in 90 00:06:12,960 --> 00:06:17,600 Speaker 2: front of the band, and girls from the audience would 91 00:06:17,680 --> 00:06:20,880 Speaker 2: get on the runway and just kind of dance, kind 92 00:06:20,880 --> 00:06:23,960 Speaker 2: of like strippers, but they're not strippers. They were just 93 00:06:24,120 --> 00:06:27,800 Speaker 2: dancing and it was totally weird. And then in front 94 00:06:27,800 --> 00:06:32,840 Speaker 2: of that were like a million pillows and people were 95 00:06:32,960 --> 00:06:36,560 Speaker 2: laying on pillows like looking up at the band. It 96 00:06:36,760 --> 00:06:42,080 Speaker 2: was very unusual, and most of the bouncers had guns 97 00:06:42,120 --> 00:06:47,679 Speaker 2: on and I know it was crazy. And in fact, 98 00:06:48,320 --> 00:06:50,640 Speaker 2: one of the there was a guy there that had 99 00:06:50,720 --> 00:06:53,960 Speaker 2: hit his gun on a table and it went off 100 00:06:54,000 --> 00:06:58,560 Speaker 2: and shot right over my head. So I said, dude, 101 00:06:58,720 --> 00:07:02,200 Speaker 2: what are you doing. I said, You've got to watch out. 102 00:07:02,440 --> 00:07:06,120 Speaker 2: You know, you can't. Don't be banging your gun around. Look, 103 00:07:06,279 --> 00:07:08,520 Speaker 2: I mean that could have hit somebody, could have hit me, 104 00:07:08,680 --> 00:07:09,840 Speaker 2: but it could have hit anybody. 105 00:07:10,560 --> 00:07:10,960 Speaker 3: Yeah. 106 00:07:11,000 --> 00:07:17,400 Speaker 2: So anyhow, the story about the replacing Stevie was Uncle 107 00:07:17,480 --> 00:07:24,920 Speaker 2: John Turner, great drummer, definitely a blues aficionado, and he 108 00:07:25,120 --> 00:07:28,840 Speaker 2: came into the cellar to see me play, and of 109 00:07:28,880 --> 00:07:31,280 Speaker 2: course they were based out of Austin, but he I 110 00:07:31,320 --> 00:07:33,440 Speaker 2: think he was up there. I don't know what was 111 00:07:33,480 --> 00:07:36,720 Speaker 2: going on, and maybe he was playing, and so he 112 00:07:36,800 --> 00:07:39,920 Speaker 2: came into the cellar, came up and talked to me. 113 00:07:40,800 --> 00:07:41,720 Speaker 3: I knew who he was. 114 00:07:41,840 --> 00:07:44,160 Speaker 2: I think i'd met him earlier on, like when I 115 00:07:44,160 --> 00:07:48,320 Speaker 2: was around eighteen in Austin. He said, I wonder if 116 00:07:48,320 --> 00:07:52,720 Speaker 2: you would come down and play with our band because 117 00:07:52,760 --> 00:07:55,360 Speaker 2: we're gonna we're gonna get rid of this guitarist. 118 00:07:54,800 --> 00:07:55,240 Speaker 3: That we have. 119 00:07:56,880 --> 00:07:59,320 Speaker 2: And I knew that they made the most money and 120 00:07:59,360 --> 00:08:03,200 Speaker 2: they were doing original material and it was all blues rock, 121 00:08:03,240 --> 00:08:06,560 Speaker 2: and I wanted to play with some blues people so 122 00:08:06,600 --> 00:08:10,760 Speaker 2: I could learn more about the blues because I loved it. 123 00:08:11,600 --> 00:08:14,960 Speaker 2: So I thought it was a good opportunity, and so 124 00:08:15,080 --> 00:08:18,520 Speaker 2: I did. So I went down and the band was 125 00:08:19,920 --> 00:08:24,040 Speaker 2: the singer was named Bruce Bolin, a really good singer 126 00:08:24,600 --> 00:08:28,560 Speaker 2: who is now passed on, and uncle John Turner and 127 00:08:28,720 --> 00:08:32,840 Speaker 2: Tommy Shannon who was later on in Double Trouble with 128 00:08:32,880 --> 00:08:37,239 Speaker 2: Stevie the bass player. And then I had another guitarist 129 00:08:37,320 --> 00:08:39,560 Speaker 2: that played rhythm guitar. 130 00:08:40,800 --> 00:08:43,679 Speaker 3: That I brought down too, so there was two guitars. 131 00:08:43,800 --> 00:08:46,400 Speaker 2: So I was the lead guitarist, but this guy also 132 00:08:46,400 --> 00:08:48,640 Speaker 2: played rhythm and his name was Mark Stimpson. 133 00:08:49,160 --> 00:08:52,959 Speaker 3: He also has passed on. So I went down there. 134 00:08:53,960 --> 00:08:57,200 Speaker 2: We all got together one afternoon and jammed and it 135 00:08:57,320 --> 00:09:01,040 Speaker 2: sounded really good. We liked it, and then we were 136 00:09:01,120 --> 00:09:03,959 Speaker 2: hired and we all lived in a band house. 137 00:09:04,720 --> 00:09:05,520 Speaker 3: And I. 138 00:09:07,200 --> 00:09:11,840 Speaker 2: Didn't know why they replaced Stevie or what happened, but 139 00:09:12,000 --> 00:09:16,360 Speaker 2: they did. And you know, Stevie hadn't, you know, done 140 00:09:16,400 --> 00:09:21,400 Speaker 2: anything yet, and I hadn't done anything, and I was 141 00:09:21,480 --> 00:09:26,200 Speaker 2: just kind of happy to be in Austin doing this 142 00:09:26,280 --> 00:09:31,160 Speaker 2: new thing, and they were drawing really big crowds and 143 00:09:31,400 --> 00:09:34,520 Speaker 2: it was great fun. And then later on, when I 144 00:09:34,559 --> 00:09:39,440 Speaker 2: moved to California and got signed by Epic Records, Stevie 145 00:09:39,520 --> 00:09:43,679 Speaker 2: was also on Epic Records, and we did some gigs together, 146 00:09:44,280 --> 00:09:46,720 Speaker 2: so we knew each other, and you know, he was 147 00:09:46,760 --> 00:09:51,040 Speaker 2: a sweetheart of a guy, really sweet, really nice, and 148 00:09:51,320 --> 00:09:54,480 Speaker 2: we got along great, and I remember him coming to 149 00:09:54,559 --> 00:09:57,719 Speaker 2: my hotel room one day and he was just it 150 00:09:57,760 --> 00:10:02,199 Speaker 2: was a kind hearted soul. And you know, we did 151 00:10:02,480 --> 00:10:05,640 Speaker 2: a few things, and i'd known as brother jimmy earlier. 152 00:10:05,840 --> 00:10:08,760 Speaker 2: We ad met too early on too, and I met 153 00:10:08,840 --> 00:10:12,280 Speaker 2: him when I was playing in cracker Jack again, and 154 00:10:12,480 --> 00:10:16,200 Speaker 2: Austin was really great back then because Austin was was 155 00:10:16,440 --> 00:10:21,000 Speaker 2: not so crowded like now Austin is very crowded and 156 00:10:21,720 --> 00:10:25,439 Speaker 2: there's it's too crowded, to be honest. And back then 157 00:10:25,880 --> 00:10:30,880 Speaker 2: it was a hippie blues musician town and it was 158 00:10:30,920 --> 00:10:34,360 Speaker 2: the capital of Texas. It is the capital of Texas, 159 00:10:34,840 --> 00:10:40,560 Speaker 2: so there was a total kind of hippie vibe in 160 00:10:40,600 --> 00:10:44,360 Speaker 2: the town. And it was great. You know, you could 161 00:10:44,520 --> 00:10:47,320 Speaker 2: you could, you could play music, you can make a living. 162 00:10:48,040 --> 00:10:51,520 Speaker 2: You know, we were getting paid pretty well for the times. 163 00:10:52,080 --> 00:10:54,480 Speaker 2: I had a great time, and I learned a lot 164 00:10:54,520 --> 00:10:59,280 Speaker 2: from Uncle John Turner about the blues and it started 165 00:10:59,320 --> 00:11:06,240 Speaker 2: me kind of using that a bit, and which I've 166 00:11:06,320 --> 00:11:11,559 Speaker 2: used on this new album especially, and it's the new 167 00:11:11,640 --> 00:11:15,720 Speaker 2: record is on a lot of blue stations, even though 168 00:11:15,760 --> 00:11:21,280 Speaker 2: you know it's loud and it's it's raucous, but it's 169 00:11:21,520 --> 00:11:27,480 Speaker 2: it's definitely rooted in the blues. And Austin was and 170 00:11:27,559 --> 00:11:31,120 Speaker 2: still is a great blues town. But it was really 171 00:11:31,200 --> 00:11:32,360 Speaker 2: fantastic back then. 172 00:11:33,280 --> 00:11:35,880 Speaker 4: So let's talk about the new project. The Some of 173 00:11:35,960 --> 00:11:40,360 Speaker 4: All My Sins is balled. I love that title, very 174 00:11:40,400 --> 00:11:44,640 Speaker 4: good thank you. Yeah, tell us about the collaborators and 175 00:11:44,880 --> 00:11:46,880 Speaker 4: the whole creation of that project. 176 00:11:47,559 --> 00:11:51,640 Speaker 2: Well, I wanted to make this record, and I had 177 00:11:51,679 --> 00:11:58,320 Speaker 2: been talking to Robert Margoliffe, who I've known since my 178 00:11:58,480 --> 00:12:05,920 Speaker 2: third album. He produced my third album on Epic called Language, 179 00:12:06,040 --> 00:12:09,400 Speaker 2: and that was much more of a full rock record. 180 00:12:09,640 --> 00:12:12,280 Speaker 2: I had keyboards and things, and I wanted to do 181 00:12:12,360 --> 00:12:15,839 Speaker 2: something that was more rooted in the blues but still 182 00:12:15,960 --> 00:12:21,640 Speaker 2: was very very guitar oriented. So and he and I 183 00:12:21,679 --> 00:12:26,840 Speaker 2: wanted to work together again. Robert Margeleff had done all 184 00:12:27,000 --> 00:12:32,520 Speaker 2: the Stevie Wonder records back in the seventies, like he 185 00:12:32,559 --> 00:12:37,320 Speaker 2: did Talking Book. He did the best Stevie Wonder stuff. 186 00:12:38,200 --> 00:12:44,719 Speaker 2: So he's very knowledgeable of making things sound right. I 187 00:12:44,800 --> 00:12:48,760 Speaker 2: mean he knows all the technique and all the numbers 188 00:12:48,920 --> 00:12:52,040 Speaker 2: and all the things that are necessary to make things right. 189 00:12:52,920 --> 00:12:56,640 Speaker 2: And I knew that, and also we were just friends too. 190 00:12:57,640 --> 00:13:01,640 Speaker 2: And so I started a little record I have a 191 00:13:01,679 --> 00:13:05,199 Speaker 2: little record label. I mean, anybody could start a record label. 192 00:13:05,240 --> 00:13:08,520 Speaker 2: It's not a big deal. It sounds like it's a 193 00:13:08,559 --> 00:13:11,400 Speaker 2: big deal, it was not. And I wanted to put 194 00:13:11,400 --> 00:13:14,400 Speaker 2: it out on my own label. So I went in 195 00:13:14,679 --> 00:13:17,680 Speaker 2: and I wanted to play all the instruments except for drums. 196 00:13:18,720 --> 00:13:21,760 Speaker 2: So I hired a really great drummer that I had 197 00:13:21,760 --> 00:13:27,840 Speaker 2: worked with before. His name is Dusty Watson, and he's fantastic. 198 00:13:28,000 --> 00:13:31,840 Speaker 2: He's really really a top top great drummer, very soulful. 199 00:13:32,720 --> 00:13:34,199 Speaker 3: We didn't even really rehearse. 200 00:13:34,320 --> 00:13:36,200 Speaker 2: We just went into the studio and I was going 201 00:13:36,280 --> 00:13:39,240 Speaker 2: to play all the guitars, all the bass, and I 202 00:13:39,320 --> 00:13:44,240 Speaker 2: played also lap steel, slide and background vocals, and I 203 00:13:44,320 --> 00:13:48,640 Speaker 2: was going to do everything except drums. So we started. 204 00:13:49,160 --> 00:13:51,120 Speaker 2: We went in the studio and we cut all the 205 00:13:51,240 --> 00:13:55,600 Speaker 2: basic tracks in one day. It's five songs on the album, 206 00:13:55,640 --> 00:13:59,520 Speaker 2: and I already had another song that was all acoustic. 207 00:13:59,679 --> 00:14:04,560 Speaker 2: Everything was very electric on this record except for one 208 00:14:04,640 --> 00:14:09,440 Speaker 2: song that I did on twelve string acoustic, and it's 209 00:14:09,520 --> 00:14:12,079 Speaker 2: kind of all in the Road Again, which was not 210 00:14:12,760 --> 00:14:14,280 Speaker 2: the Willie Nelson on the Road Again. 211 00:14:14,320 --> 00:14:17,760 Speaker 3: It was the one that Canned Heat did back in the. 212 00:14:17,760 --> 00:14:19,840 Speaker 2: Day, which they had a big hit with, but I 213 00:14:19,880 --> 00:14:24,320 Speaker 2: guess that was at least forty maybe fifty years ago. 214 00:14:24,480 --> 00:14:29,240 Speaker 2: So I always loved the song, and so we added 215 00:14:29,240 --> 00:14:32,280 Speaker 2: that I'd done another record during the pandemic that was 216 00:14:32,400 --> 00:14:37,600 Speaker 2: all twelve string acoustic, and I didn't really promote it. 217 00:14:37,640 --> 00:14:40,280 Speaker 2: And I'm still probably going to put that out at 218 00:14:40,320 --> 00:14:44,120 Speaker 2: some again. I mean, it's out, it's available now, but 219 00:14:44,680 --> 00:14:47,360 Speaker 2: I didn't promote it at all. 220 00:14:47,560 --> 00:14:50,600 Speaker 3: So we recorded. 221 00:14:53,040 --> 00:14:57,000 Speaker 2: I went to another studio that was Bob Margolus Studio 222 00:14:57,200 --> 00:15:01,920 Speaker 2: and did the vocals, and then we started mixing and 223 00:15:02,080 --> 00:15:04,680 Speaker 2: we finished it. And then I did what a record 224 00:15:04,680 --> 00:15:07,840 Speaker 2: company normally would do back in the old days, and 225 00:15:07,920 --> 00:15:12,520 Speaker 2: I hired a promotion team to go to radio, and 226 00:15:12,800 --> 00:15:14,080 Speaker 2: I just did everything that the. 227 00:15:14,040 --> 00:15:15,080 Speaker 3: Record companies did. 228 00:15:16,040 --> 00:15:19,200 Speaker 2: They started going and they were very experienced, these two 229 00:15:19,920 --> 00:15:25,840 Speaker 2: promotion people, and they started going to radio, and it 230 00:15:25,960 --> 00:15:30,920 Speaker 2: was amazing. We've gotten like over three hundred and something 231 00:15:31,000 --> 00:15:36,200 Speaker 2: stations worldwide, and it's in like over eleven countries, and 232 00:15:36,280 --> 00:15:40,320 Speaker 2: we even got a number one song on that acoustic 233 00:15:40,480 --> 00:15:46,520 Speaker 2: song in the UK on about seven stations radio stations. 234 00:15:46,560 --> 00:15:51,000 Speaker 2: So it's been kind of shocking how well it was received. 235 00:15:52,280 --> 00:15:57,080 Speaker 2: And that's and so we're still working on that. That's 236 00:15:57,120 --> 00:15:59,960 Speaker 2: how it all came together. But it was the fun. 237 00:16:00,000 --> 00:16:03,760 Speaker 2: One part was that I did it. I got to 238 00:16:03,800 --> 00:16:05,840 Speaker 2: play all the instruments, and I should have done that 239 00:16:06,240 --> 00:16:10,920 Speaker 2: in other records, frankly, because I could and if you can, 240 00:16:11,160 --> 00:16:11,560 Speaker 2: why not? 241 00:16:12,000 --> 00:16:12,920 Speaker 3: You know, amen? 242 00:16:13,120 --> 00:16:17,600 Speaker 2: And Robert Margleff said, oh, yes, DV did that. Stevie 243 00:16:17,800 --> 00:16:20,680 Speaker 2: Wonder did that during talking Book and some of that. 244 00:16:20,680 --> 00:16:23,880 Speaker 2: He was playing drums and he was playing everything. And 245 00:16:24,600 --> 00:16:27,160 Speaker 2: I said, well, if you can do it, you know, 246 00:16:27,360 --> 00:16:30,360 Speaker 2: it's it's it's sure as fun because you don't have 247 00:16:30,400 --> 00:16:34,000 Speaker 2: to tell anybody anything. You don't tell anybody anything. You 248 00:16:34,120 --> 00:16:37,160 Speaker 2: know what you want to do. So that's how it 249 00:16:37,200 --> 00:16:40,520 Speaker 2: came together. And I was I'm quite pleased with it. 250 00:16:40,520 --> 00:16:44,880 Speaker 4: It's awesome. So your song She Talks in Stereo? I 251 00:16:44,960 --> 00:16:48,120 Speaker 4: played it a few times during my radio days for sure, 252 00:16:48,800 --> 00:16:52,800 Speaker 4: and a great one. And it's interesting to me you 253 00:16:52,840 --> 00:16:56,680 Speaker 4: were touching on this latest release and you know sort 254 00:16:56,720 --> 00:17:01,000 Speaker 4: of the international scope of it and that song, your 255 00:17:01,440 --> 00:17:04,680 Speaker 4: song She Talks in Stereo. If I'm not mistaken, it 256 00:17:05,119 --> 00:17:11,040 Speaker 4: really caught on in Australia among other places. So what 257 00:17:11,240 --> 00:17:14,800 Speaker 4: did that do for your career when you got that 258 00:17:15,040 --> 00:17:17,600 Speaker 4: international recognition on that song? 259 00:17:18,800 --> 00:17:22,679 Speaker 2: Well, I'm still able to use that, you know, like 260 00:17:23,200 --> 00:17:28,920 Speaker 2: when the promotion team for this new record went to radio, everybody, 261 00:17:28,960 --> 00:17:32,639 Speaker 2: you know, many of these stations knew me from my 262 00:17:32,880 --> 00:17:38,200 Speaker 2: past work, and Australia was one of those and they went, oh. 263 00:17:38,080 --> 00:17:40,040 Speaker 3: Yeah, Gary, myrak, what's what's he up to? 264 00:17:40,840 --> 00:17:45,000 Speaker 2: So they were all ready to listen to any new 265 00:17:45,040 --> 00:17:47,320 Speaker 2: record that I put out, and that was really helpful. 266 00:17:47,840 --> 00:17:50,680 Speaker 2: So the thing that was really good about She Talks 267 00:17:50,680 --> 00:17:53,520 Speaker 2: in Stereo, even though it was a long time ago, 268 00:17:53,920 --> 00:17:58,440 Speaker 2: was that people, you know, stationed radio stations and DJs 269 00:17:58,520 --> 00:18:02,200 Speaker 2: know you and and they want to hear what you're doing. 270 00:18:03,240 --> 00:18:06,719 Speaker 2: So that's really all. That's the way I looked at it. 271 00:18:06,800 --> 00:18:08,320 Speaker 2: You know, it's just helpful. 272 00:18:09,600 --> 00:18:13,800 Speaker 4: It just opens you up to future projects, future collaborations, 273 00:18:14,520 --> 00:18:18,760 Speaker 4: featured concerts and all of that as well. Yeah, yeah, 274 00:18:19,440 --> 00:18:22,879 Speaker 4: So tell me what it was like working with Jackson Brown. 275 00:18:24,160 --> 00:18:27,720 Speaker 2: Jackson is a very nice person and a very sweet guy. 276 00:18:28,880 --> 00:18:35,240 Speaker 2: And we had done, by accident, a homeless benefit at 277 00:18:35,240 --> 00:18:39,719 Speaker 2: the Palace in Los Angeles together and there was a 278 00:18:39,800 --> 00:18:44,000 Speaker 2: lot of people that were pretty well known, some of 279 00:18:44,040 --> 00:18:50,000 Speaker 2: the let's see some of Fleetwood. Mac was there, and anyhow, 280 00:18:50,040 --> 00:18:53,119 Speaker 2: everybody was going up and doing like one or two songs, 281 00:18:54,119 --> 00:18:57,879 Speaker 2: and there was a back there was a house band, 282 00:18:57,920 --> 00:19:01,159 Speaker 2: and I was playing guitar for every buddy on that show, 283 00:19:02,119 --> 00:19:05,720 Speaker 2: and Jackson was going to do a song, and so 284 00:19:05,840 --> 00:19:10,320 Speaker 2: I was playing guitar for him on that song. You know, 285 00:19:10,440 --> 00:19:12,600 Speaker 2: I just I thought he was just a great guy. 286 00:19:12,640 --> 00:19:14,680 Speaker 2: And then he asked me to come in the studio 287 00:19:15,359 --> 00:19:19,040 Speaker 2: and play on a song called for America that is 288 00:19:19,160 --> 00:19:24,520 Speaker 2: on his Lives in the Balance album and I was 289 00:19:24,600 --> 00:19:26,960 Speaker 2: happy to do it, and so I went over there. 290 00:19:27,040 --> 00:19:28,040 Speaker 3: We had a great time. 291 00:19:28,960 --> 00:19:31,080 Speaker 2: I'm still to this day, I'm very pleased with the 292 00:19:31,119 --> 00:19:34,440 Speaker 2: way it came out. It was it was also track one, 293 00:19:34,600 --> 00:19:37,679 Speaker 2: side one of his album, and that's when there was 294 00:19:37,720 --> 00:19:44,200 Speaker 2: still vinyl records being put out by record labels and 295 00:19:44,440 --> 00:19:46,960 Speaker 2: I don't even think there was CDs at that point. 296 00:19:47,920 --> 00:19:50,000 Speaker 2: And I just had a great time. 297 00:19:50,240 --> 00:19:52,600 Speaker 3: That's all there is to it. And you know, I 298 00:19:52,720 --> 00:19:53,760 Speaker 3: like him a lot. 299 00:19:54,000 --> 00:19:59,720 Speaker 2: And you know, when you meet people and they're really nice, 300 00:20:00,200 --> 00:20:04,520 Speaker 2: they're really nice, you're not disappointed, they're not like got 301 00:20:04,520 --> 00:20:08,120 Speaker 2: a bad attitude or something, and he's he's the opposite. 302 00:20:08,160 --> 00:20:10,200 Speaker 3: He's just a totally like good guy. 303 00:20:10,840 --> 00:20:13,000 Speaker 1: We'll be right back with more of the Taking a 304 00:20:13,040 --> 00:20:21,280 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 305 00:20:22,560 --> 00:20:26,480 Speaker 4: I'm fascinated by your experience when you formed. 306 00:20:27,840 --> 00:20:30,000 Speaker 3: Havana three am H. 307 00:20:30,960 --> 00:20:35,199 Speaker 4: Can you talk about that, what that whole experience was 308 00:20:35,359 --> 00:20:38,440 Speaker 4: like and how you sort of reflect on. 309 00:20:38,480 --> 00:20:41,760 Speaker 3: That well, I had. 310 00:20:42,240 --> 00:20:45,439 Speaker 2: I think as a kid, I always wanted to play 311 00:20:45,440 --> 00:20:52,200 Speaker 2: in an British band, and so I was playing some 312 00:20:52,280 --> 00:20:54,600 Speaker 2: guitar for uh Well. 313 00:20:54,640 --> 00:20:56,600 Speaker 3: I was gonna work with one of the. 314 00:20:56,560 --> 00:21:00,840 Speaker 2: Sex pistols, Steve Jones, the guitar player. He had a 315 00:21:00,880 --> 00:21:04,720 Speaker 2: solo album called Mercy, and he was going to do 316 00:21:04,840 --> 00:21:07,840 Speaker 2: a tour opening up for the Kinks, and he needed 317 00:21:07,880 --> 00:21:10,960 Speaker 2: a backup guitar player and I told him if he 318 00:21:11,080 --> 00:21:14,119 Speaker 2: wanted me to, I'd like to do it. And so 319 00:21:14,359 --> 00:21:17,480 Speaker 2: I was going to do that. And he also rode 320 00:21:17,520 --> 00:21:22,760 Speaker 2: motorcycles and I rode motorcycles, and so we had that 321 00:21:22,880 --> 00:21:27,680 Speaker 2: in common. And the bass play from The Clash. Paul 322 00:21:27,760 --> 00:21:33,960 Speaker 2: Simonon had come to Texas with Nigel Dixon, who was 323 00:21:34,080 --> 00:21:38,360 Speaker 2: the singer and rhythm guitarist for a band called Whirlwind 324 00:21:38,560 --> 00:21:41,080 Speaker 2: out of England and they used to open up for 325 00:21:41,160 --> 00:21:44,720 Speaker 2: The Clash a lot, and they were a rockabilly band, 326 00:21:44,760 --> 00:21:46,639 Speaker 2: one of the early rockabilly bands of. 327 00:21:48,240 --> 00:21:48,720 Speaker 3: England. 328 00:21:49,680 --> 00:21:52,760 Speaker 2: So they flew over to Texas. They flew to El Paso. 329 00:21:53,600 --> 00:21:56,119 Speaker 2: I guess they were searching for inspiration. They was just 330 00:21:56,240 --> 00:21:59,840 Speaker 2: kind of see what would happen they wanted to start 331 00:21:59,840 --> 00:22:03,640 Speaker 2: a band, I think at that time, and then they 332 00:22:03,680 --> 00:22:10,240 Speaker 2: bought Harley's in El Paso drove them to Los Angeles, 333 00:22:11,320 --> 00:22:16,280 Speaker 2: where I met up with them through Steve Jones, and 334 00:22:16,320 --> 00:22:19,200 Speaker 2: we were all riding motorcycles around. We weren't really talking 335 00:22:19,200 --> 00:22:22,880 Speaker 2: about music, but we we were just kind of riding 336 00:22:22,920 --> 00:22:25,879 Speaker 2: around and you know, having a cup of coffee and 337 00:22:26,200 --> 00:22:26,760 Speaker 2: just talking. 338 00:22:27,600 --> 00:22:31,359 Speaker 3: And one day we were on a. 339 00:22:31,440 --> 00:22:34,520 Speaker 2: Ride we talked a little bit about music and they 340 00:22:34,600 --> 00:22:37,760 Speaker 2: said that they were thinking about starting a band in 341 00:22:37,840 --> 00:22:42,080 Speaker 2: Los Angeles and I said, well, why don't Why don't 342 00:22:42,119 --> 00:22:46,600 Speaker 2: you and you guys and I write write some songs, 343 00:22:47,680 --> 00:22:50,080 Speaker 2: like we could just test it out and see what's 344 00:22:50,280 --> 00:22:52,960 Speaker 2: you know. And I said, I also have a really 345 00:22:52,960 --> 00:22:56,280 Speaker 2: good drummer that we could you know, we could try out. 346 00:22:56,320 --> 00:22:58,639 Speaker 2: Maybe all we tried out with us, write some songs. 347 00:22:58,640 --> 00:23:01,480 Speaker 2: If we like them, maybe we go in and cut 348 00:23:01,480 --> 00:23:04,640 Speaker 2: a demo and see what it sounds like. That's exactly 349 00:23:04,680 --> 00:23:08,480 Speaker 2: what we did. We liked the demo, and then we 350 00:23:08,560 --> 00:23:14,520 Speaker 2: went on a little tour of Texas and California. Now 351 00:23:14,680 --> 00:23:16,640 Speaker 2: we didn't have a record house, so nobody had heard 352 00:23:16,640 --> 00:23:22,000 Speaker 2: our music. But based on the clash connection, we could 353 00:23:22,080 --> 00:23:26,720 Speaker 2: draw a good crowd, and that's exactly what we did. 354 00:23:27,119 --> 00:23:31,040 Speaker 2: And then they wanted to go back to England for 355 00:23:31,080 --> 00:23:34,399 Speaker 2: a while because we hadn't gotten signed, we didn't have 356 00:23:34,440 --> 00:23:37,199 Speaker 2: a record label, so they went back to England. It 357 00:23:37,240 --> 00:23:41,160 Speaker 2: was kind of based on a future wife of Paul's 358 00:23:41,720 --> 00:23:45,520 Speaker 2: that was I think that they got married later, and 359 00:23:45,560 --> 00:23:47,400 Speaker 2: I think she wanted to go back to England. 360 00:23:47,880 --> 00:23:50,320 Speaker 3: I'm not sure exactly why they went back to England, but. 361 00:23:50,320 --> 00:23:54,399 Speaker 2: They went to England and then we just kind of 362 00:23:55,320 --> 00:23:58,840 Speaker 2: just let it slide, let Havano threem slide, and we 363 00:23:58,840 --> 00:24:01,680 Speaker 2: didn't even think about it much. And then they called 364 00:24:01,680 --> 00:24:04,240 Speaker 2: me one day and they said, would you like to 365 00:24:04,280 --> 00:24:07,679 Speaker 2: come over to England. We'll fly you over to write 366 00:24:07,680 --> 00:24:08,600 Speaker 2: some more songs. 367 00:24:09,320 --> 00:24:11,480 Speaker 3: And I said, sure, I'd love to do that. That'd 368 00:24:11,480 --> 00:24:11,879 Speaker 3: be fun. 369 00:24:12,720 --> 00:24:17,360 Speaker 2: They had I've gotten another guitar player and a drummer 370 00:24:17,440 --> 00:24:23,679 Speaker 2: in England because it was more convenient, and tried to 371 00:24:23,840 --> 00:24:27,200 Speaker 2: kind of put it together there and it didn't work. 372 00:24:27,840 --> 00:24:29,840 Speaker 2: Paul and his wife were not nice. 373 00:24:29,560 --> 00:24:31,920 Speaker 3: To these guys. They were not nice to. 374 00:24:31,880 --> 00:24:39,000 Speaker 2: Them, and so that kind of was floundering. And so 375 00:24:39,080 --> 00:24:43,920 Speaker 2: I came over wrote songs and then they said would 376 00:24:43,920 --> 00:24:47,960 Speaker 2: you like to go on tour in Europe, even though 377 00:24:48,000 --> 00:24:50,920 Speaker 2: we still don't have a record out, but we could 378 00:24:51,040 --> 00:24:57,359 Speaker 2: because of that clash connection and Paul's reputation. So we 379 00:24:57,440 --> 00:24:59,800 Speaker 2: went around Europe and then all of a sudden we 380 00:24:59,800 --> 00:25:06,080 Speaker 2: were asked to come over to Tokyo and a record 381 00:25:06,160 --> 00:25:10,200 Speaker 2: label in Japan wanted to sign us to just make 382 00:25:10,480 --> 00:25:15,760 Speaker 2: an album in and for Japan, and they said, and 383 00:25:15,880 --> 00:25:21,399 Speaker 2: you guys can keep the masters and you can license. 384 00:25:20,960 --> 00:25:22,280 Speaker 3: Them wherever you want. 385 00:25:22,320 --> 00:25:25,400 Speaker 2: They're yours, will give you the masters, we just want 386 00:25:25,440 --> 00:25:28,200 Speaker 2: to put it out in Japan, and we went, oh, 387 00:25:28,280 --> 00:25:29,480 Speaker 2: that's a good deal. 388 00:25:30,119 --> 00:25:34,160 Speaker 3: So we flew over there. I think we played a gig. 389 00:25:35,280 --> 00:25:40,000 Speaker 2: In Tokyo and then we were going We went back 390 00:25:40,040 --> 00:25:44,000 Speaker 2: to England and then we flew back again and went 391 00:25:44,040 --> 00:25:49,480 Speaker 2: into the recording studio with a Japanese recording engineer who 392 00:25:49,480 --> 00:25:53,160 Speaker 2: couldn't speak English, and so we had to have an 393 00:25:53,200 --> 00:25:57,080 Speaker 2: interpreter all the time who went with us everywhere, and 394 00:25:57,280 --> 00:26:01,760 Speaker 2: that was really unusual, but we pulled it off and 395 00:26:02,160 --> 00:26:07,639 Speaker 2: we made the record and then i RS Records with 396 00:26:08,320 --> 00:26:14,240 Speaker 2: Miles Copeland was the owner of IRS, wanted to sign 397 00:26:14,320 --> 00:26:19,440 Speaker 2: us and we would use that record that we already 398 00:26:19,520 --> 00:26:22,800 Speaker 2: made that no one had heard really except in Japan 399 00:26:23,760 --> 00:26:26,320 Speaker 2: out on that label, which we did, and then we 400 00:26:26,920 --> 00:26:36,400 Speaker 2: toured around America and Canada and we'd already done Europe before. 401 00:26:37,320 --> 00:26:40,880 Speaker 2: We had a really good time. Thanks for going well, 402 00:26:40,920 --> 00:26:43,879 Speaker 2: we did, like David Letterman, and so we did a 403 00:26:43,880 --> 00:26:44,919 Speaker 2: little TV and. 404 00:26:47,160 --> 00:26:48,440 Speaker 3: It went really well. 405 00:26:48,880 --> 00:26:51,520 Speaker 2: But then the thing that really threw us for a 406 00:26:51,560 --> 00:26:57,959 Speaker 2: loop is our singer Nigel got cancer and it was 407 00:26:59,160 --> 00:27:05,040 Speaker 2: really devastating for all of us, and he he wasn't 408 00:27:05,080 --> 00:27:09,800 Speaker 2: giving a good well the doctors, you know, basically said 409 00:27:10,680 --> 00:27:13,280 Speaker 2: you have about a year to live, and that was 410 00:27:13,560 --> 00:27:17,240 Speaker 2: very I mean that's for anyone. That is the most 411 00:27:17,280 --> 00:27:22,280 Speaker 2: shocking and horrifying thing to hear. That stopped us dead 412 00:27:22,320 --> 00:27:25,679 Speaker 2: in our tracks. And then they went back to England 413 00:27:26,160 --> 00:27:33,560 Speaker 2: and Nigel, you know, I actually had another little tour 414 00:27:33,640 --> 00:27:37,520 Speaker 2: we could have done, and Nigel flew back over even 415 00:27:37,560 --> 00:27:40,720 Speaker 2: though he had cancer because he well, you wouldn't know 416 00:27:40,800 --> 00:27:43,200 Speaker 2: that he had cancer. I mean you wouldn't like look 417 00:27:43,240 --> 00:27:45,040 Speaker 2: at him and go, oh, this guy's got cancer. You 418 00:27:45,080 --> 00:27:50,080 Speaker 2: couldn't tell. But it was we knew it wasn't good. 419 00:27:50,640 --> 00:27:57,280 Speaker 2: And we did one little Texas tour because he needed 420 00:27:57,320 --> 00:28:00,920 Speaker 2: some money. Too, and I, you know, we were able 421 00:28:00,960 --> 00:28:03,320 Speaker 2: to do that and we had a good time. And 422 00:28:03,359 --> 00:28:05,800 Speaker 2: then he went back and I kept kept in touch 423 00:28:05,840 --> 00:28:10,840 Speaker 2: and checking on him, and then he passed away in England. 424 00:28:11,880 --> 00:28:14,440 Speaker 2: So that was that was the end of Havana three M. 425 00:28:14,560 --> 00:28:17,199 Speaker 2: And he and I were going to you know, we 426 00:28:17,240 --> 00:28:21,679 Speaker 2: were working on writing songs for a second album, and 427 00:28:21,720 --> 00:28:26,800 Speaker 2: so I ended up by myself making that second second album. 428 00:28:26,840 --> 00:28:31,840 Speaker 2: It's called Gary Myrick and Havana three AM. And I 429 00:28:31,920 --> 00:28:36,320 Speaker 2: was really pleased with that record. I think in many 430 00:28:36,359 --> 00:28:39,000 Speaker 2: ways I liked it a lot better than the first 431 00:28:39,160 --> 00:28:43,520 Speaker 2: Havana three M record. And that's that record is out 432 00:28:43,520 --> 00:28:48,200 Speaker 2: in the marketplace. It's available, and it was called Texas 433 00:28:48,240 --> 00:28:54,600 Speaker 2: Glitter and Tombstone Tails and anyhow, that's so that that 434 00:28:54,840 --> 00:28:59,280 Speaker 2: exists in the world, and that that was, That was it. 435 00:28:59,600 --> 00:29:04,240 Speaker 3: We did have a great time, but we didn't want 436 00:29:04,240 --> 00:29:05,600 Speaker 3: to keep going without Nigel. 437 00:29:07,080 --> 00:29:11,920 Speaker 4: So you you played guitar on the great song Missing 438 00:29:11,960 --> 00:29:15,240 Speaker 4: You by John Waite. You played on that whole session 439 00:29:15,400 --> 00:29:16,080 Speaker 4: as well. 440 00:29:15,920 --> 00:29:17,640 Speaker 3: The whole album. Yeah. 441 00:29:17,720 --> 00:29:22,240 Speaker 4: Yeah, and that song, you know, to this day gets 442 00:29:22,600 --> 00:29:26,520 Speaker 4: a ton of airplay and all different formats on the 443 00:29:26,600 --> 00:29:27,320 Speaker 4: on the radio. 444 00:29:28,400 --> 00:29:29,760 Speaker 3: Yeah, when you hear it. 445 00:29:29,920 --> 00:29:33,080 Speaker 4: Now, how does it make you feel from you know, 446 00:29:33,080 --> 00:29:37,000 Speaker 4: knowing your work and you know your collaboration with John. 447 00:29:36,800 --> 00:29:41,000 Speaker 2: Waite, Well, no one knows that you're going to get 448 00:29:41,000 --> 00:29:44,719 Speaker 2: a number one song. Nobody knows. The record companies don't know. 449 00:29:45,000 --> 00:29:47,880 Speaker 2: You don't know. You just do stuff that you like 450 00:29:49,280 --> 00:29:54,400 Speaker 2: and see how it goes. And we actually, John and 451 00:29:54,480 --> 00:29:58,840 Speaker 2: I had been put together by a manager to work 452 00:29:58,880 --> 00:30:02,360 Speaker 2: together and we were going to start a band and 453 00:30:02,480 --> 00:30:04,480 Speaker 2: call it a band thing. It wasn't gonna be that 454 00:30:04,520 --> 00:30:07,080 Speaker 2: record was never going to be a John Waite record. 455 00:30:08,120 --> 00:30:09,520 Speaker 3: We made the whole record. 456 00:30:09,880 --> 00:30:14,760 Speaker 2: I wrote about four songs with John, and we went 457 00:30:14,800 --> 00:30:18,120 Speaker 2: and started recording and everything was coming together, and we 458 00:30:19,800 --> 00:30:23,920 Speaker 2: got Missing You from a couple of other writers we 459 00:30:23,960 --> 00:30:27,560 Speaker 2: didn't know. We just thought, oh, it's a good song, 460 00:30:28,360 --> 00:30:30,680 Speaker 2: and we recorded it and it came out good, and 461 00:30:30,800 --> 00:30:35,040 Speaker 2: that's all we knew. And then near the end of 462 00:30:35,080 --> 00:30:40,480 Speaker 2: the album, like an idiot, this is probably the dumbest 463 00:30:40,480 --> 00:30:43,760 Speaker 2: thing I've ever done. I had gotten an offer to 464 00:30:43,800 --> 00:30:48,240 Speaker 2: do another solo album from Geffen Records, and I wanted 465 00:30:48,280 --> 00:30:51,760 Speaker 2: to do it, and for all I knew, the record 466 00:30:51,800 --> 00:30:55,360 Speaker 2: we had just done could have easily gone nowhere. 467 00:30:55,920 --> 00:30:58,960 Speaker 3: I didn't know that we were going to have a 468 00:30:59,040 --> 00:30:59,960 Speaker 3: number one song. 469 00:31:00,080 --> 00:31:04,320 Speaker 2: I was missing you, and so I said, you know, 470 00:31:05,200 --> 00:31:07,960 Speaker 2: John and his manager didn't want me to do that, 471 00:31:09,040 --> 00:31:12,480 Speaker 2: and in retrospect, it was really stupid, but I wanted 472 00:31:12,480 --> 00:31:14,720 Speaker 2: to make that solo record because I didn't know. 473 00:31:14,640 --> 00:31:16,640 Speaker 3: Where we're going to have a big success off of 474 00:31:16,840 --> 00:31:17,840 Speaker 3: Missing You. I didn't know. 475 00:31:18,440 --> 00:31:21,440 Speaker 2: So I said to John, I said, well, you know, 476 00:31:21,560 --> 00:31:24,080 Speaker 2: I know where we're going to do a band and 477 00:31:24,120 --> 00:31:26,040 Speaker 2: you don't. But I really do want to do this 478 00:31:26,160 --> 00:31:30,240 Speaker 2: solo album, so why don't you just call it a 479 00:31:30,360 --> 00:31:35,600 Speaker 2: John Waite record? And I have points on the record, 480 00:31:37,000 --> 00:31:39,479 Speaker 2: so I own a piece of the record anyway, and 481 00:31:39,520 --> 00:31:42,400 Speaker 2: I have songs on the record, so you know, I 482 00:31:42,400 --> 00:31:48,120 Speaker 2: feel like I still own a big chunk of this record, 483 00:31:48,920 --> 00:31:51,760 Speaker 2: so you can just call it a John Waite record. Now, 484 00:31:52,320 --> 00:31:54,800 Speaker 2: of course that's the dumbest thing in the world. I 485 00:31:54,800 --> 00:31:57,560 Speaker 2: shouldn't have done that, but who knew, you know, we 486 00:31:57,640 --> 00:31:58,080 Speaker 2: didn't know. 487 00:31:59,080 --> 00:32:00,720 Speaker 3: The bad news is, you. 488 00:32:00,600 --> 00:32:05,400 Speaker 2: Know, he's been able to tour for many years based 489 00:32:05,440 --> 00:32:08,640 Speaker 2: on that one song, and I could have done that. 490 00:32:10,240 --> 00:32:13,080 Speaker 2: But yeah, but it's okay, it's okay. It was what 491 00:32:13,240 --> 00:32:17,160 Speaker 2: I decided at that moment. And it's okay, and I 492 00:32:17,600 --> 00:32:21,160 Speaker 2: still get paid you know, when it's when it's when 493 00:32:21,280 --> 00:32:24,440 Speaker 2: missing you is on in a movie or TV or something, 494 00:32:24,760 --> 00:32:25,680 Speaker 2: I still get paid. 495 00:32:25,840 --> 00:32:26,680 Speaker 4: Nice. 496 00:32:27,040 --> 00:32:30,120 Speaker 3: So it's okay. Yeah, it's okay, but it's kind of 497 00:32:30,160 --> 00:32:33,200 Speaker 3: stupid on my part. 498 00:32:34,200 --> 00:32:40,560 Speaker 4: So some past guests on this podcast, I want to 499 00:32:40,560 --> 00:32:43,560 Speaker 4: throw those names out to you, some guitar players, and 500 00:32:43,600 --> 00:32:47,680 Speaker 4: get your reflection on them, you know, when you think 501 00:32:47,720 --> 00:32:52,920 Speaker 4: about them as as your your peers. First of all, 502 00:32:54,080 --> 00:32:56,800 Speaker 4: you conjured this up in my mind talking about the 503 00:32:57,160 --> 00:33:00,640 Speaker 4: you know, acoustic nature of some of your work, and 504 00:33:00,680 --> 00:33:03,520 Speaker 4: this guy is able to go back and forth from 505 00:33:03,640 --> 00:33:05,920 Speaker 4: acoustic to electric through his career. 506 00:33:06,640 --> 00:33:11,600 Speaker 2: Yrma Kalkanen, Yes, you know, I played some gigs opening 507 00:33:11,800 --> 00:33:15,320 Speaker 2: for him for him, and uh, what's the name of. 508 00:33:15,280 --> 00:33:18,360 Speaker 3: The band that he had, Hot Tuna? Hot Tuna. 509 00:33:19,360 --> 00:33:22,479 Speaker 2: I had played some gigs with Hot Tuna, And uh, 510 00:33:23,320 --> 00:33:26,640 Speaker 2: I think it's good too. If you're a guitar player, 511 00:33:27,360 --> 00:33:30,960 Speaker 2: play guitar. It doesn't have to be electric or acoustic. 512 00:33:31,040 --> 00:33:34,840 Speaker 2: Do do what you feel. It's all about doing what 513 00:33:34,920 --> 00:33:38,680 Speaker 2: you really want to do and feel. And so I 514 00:33:39,640 --> 00:33:43,440 Speaker 2: respect that. I think it's a good thing, and I 515 00:33:43,600 --> 00:33:47,920 Speaker 2: like playing acoustic guitar and electric guitar, and I get 516 00:33:48,200 --> 00:33:50,880 Speaker 2: different things from from each. 517 00:33:51,480 --> 00:33:53,040 Speaker 3: Like I just did a. 518 00:33:54,600 --> 00:33:59,000 Speaker 2: Solo I did three a little mini tour in California, 519 00:33:59,800 --> 00:34:01,760 Speaker 2: and I did it all electric, and I did it 520 00:34:01,800 --> 00:34:05,760 Speaker 2: completely solo, no band. You know, I have a great 521 00:34:05,800 --> 00:34:08,400 Speaker 2: time doing that, and I can kind of jam with 522 00:34:08,560 --> 00:34:12,839 Speaker 2: myself because I can turn on a dime when I'm 523 00:34:12,880 --> 00:34:15,440 Speaker 2: doing it completely solo, but it's all electric. I'm getting 524 00:34:15,480 --> 00:34:20,560 Speaker 2: feedback and you know, it's kind of wild and crazy. 525 00:34:21,160 --> 00:34:24,520 Speaker 2: And then I've you know, I made like I mentioned, 526 00:34:24,520 --> 00:34:29,520 Speaker 2: I made a completely acoustic twelve string record during the pandemic, 527 00:34:30,280 --> 00:34:36,160 Speaker 2: and that's called Forever Adventures in twelve String. I think 528 00:34:36,200 --> 00:34:41,759 Speaker 2: it's healthy to do what Yorma has done. I think 529 00:34:41,800 --> 00:34:43,640 Speaker 2: it's very artistically healthy. 530 00:34:44,600 --> 00:34:45,359 Speaker 3: So let me ask you. 531 00:34:45,320 --> 00:34:48,600 Speaker 4: About another person who's been on who I know your 532 00:34:49,080 --> 00:34:54,280 Speaker 4: paths have probably crossed with Mike Campbell from Dirty Knobs 533 00:34:54,320 --> 00:34:56,520 Speaker 4: and the Heartbreakers. 534 00:34:56,719 --> 00:35:01,920 Speaker 2: Yes, I know Mike, and I knew the original drummer 535 00:35:02,160 --> 00:35:08,279 Speaker 2: of the Heartbreakers, Stan Lynch, who was on the I 536 00:35:08,320 --> 00:35:10,719 Speaker 2: think he was all the way up to Damn the 537 00:35:10,760 --> 00:35:18,440 Speaker 2: Torpedoes record, was my drummer in Los Angeles for about 538 00:35:18,480 --> 00:35:23,200 Speaker 2: a year or two before he joined Tom Petty and 539 00:35:23,239 --> 00:35:26,879 Speaker 2: so I was kind of around and we come into 540 00:35:26,960 --> 00:35:30,360 Speaker 2: some of their gigs before you know, they had really 541 00:35:30,400 --> 00:35:36,239 Speaker 2: done anything. And so I knew Mike, and you know, 542 00:35:36,640 --> 00:35:42,319 Speaker 2: Mike's an excellent guitar player, and he also is not 543 00:35:43,440 --> 00:35:47,759 Speaker 2: you know, in Texas, we're kind of brought up to 544 00:35:47,920 --> 00:35:52,719 Speaker 2: not think playing super fast is the answer. That's not 545 00:35:52,840 --> 00:35:58,480 Speaker 2: the answer. And that's based probably on the blues history. 546 00:35:58,640 --> 00:36:02,680 Speaker 2: In blues culture, it's not about speed. It's not about going, well, 547 00:36:02,680 --> 00:36:05,879 Speaker 2: I gotta play really fast. It's not about that. It's 548 00:36:05,920 --> 00:36:10,839 Speaker 2: about playing and making every note count. Even if you're 549 00:36:10,880 --> 00:36:15,680 Speaker 2: playing one note, just make that count instead of playing 550 00:36:15,680 --> 00:36:16,440 Speaker 2: a million. 551 00:36:16,160 --> 00:36:19,399 Speaker 3: Notes, you know, as fast as you can. I mean, 552 00:36:19,400 --> 00:36:21,160 Speaker 3: that's that's not really it. 553 00:36:22,320 --> 00:36:27,360 Speaker 2: Mike is of that school also of make the notes count, 554 00:36:28,640 --> 00:36:32,480 Speaker 2: make the sound count, and the notes, not trying to 555 00:36:32,520 --> 00:36:36,920 Speaker 2: be shredder dude, not trying to be that guy be 556 00:36:37,520 --> 00:36:41,239 Speaker 2: you know, make it count. And he's like that, and 557 00:36:41,480 --> 00:36:43,760 Speaker 2: I think he would agree. 558 00:36:43,800 --> 00:36:47,840 Speaker 3: I hope he would. And he's a very nice guy also. 559 00:36:48,960 --> 00:36:51,920 Speaker 4: And then I got to ask you about this guy 560 00:36:52,760 --> 00:36:53,560 Speaker 4: known as Skunk. 561 00:36:53,960 --> 00:36:59,360 Speaker 2: Oh yeah, Jeff Skunk Baxter. Skunk is a sweetheart of 562 00:36:59,360 --> 00:37:04,360 Speaker 2: a guy. Skunk is the wild Man. He is also 563 00:37:04,680 --> 00:37:09,200 Speaker 2: I think a member of the CIA. Did you know that? Yeah, 564 00:37:09,600 --> 00:37:13,080 Speaker 2: I mean that is a trip. That is a wild trip. 565 00:37:13,640 --> 00:37:19,520 Speaker 2: And Skunk and I have we played together on There 566 00:37:19,640 --> 00:37:24,960 Speaker 2: was Spirit, the band Spirit from the sixties. Who I 567 00:37:25,000 --> 00:37:27,880 Speaker 2: thought Spirit was great, you know when I was a 568 00:37:28,000 --> 00:37:33,000 Speaker 2: kid and I had seen them play live and like Fresh. 569 00:37:32,760 --> 00:37:35,560 Speaker 3: Garbage, the song Fresh Garbage, I love that song. 570 00:37:36,280 --> 00:37:42,320 Speaker 2: And I had written some songs with the singer Jay Ferguson. 571 00:37:43,640 --> 00:37:48,280 Speaker 2: Jay Ferguson had played on My third album with Bob 572 00:37:48,360 --> 00:37:52,160 Speaker 2: Margoliffe as the producer. So they were going to do 573 00:37:52,480 --> 00:37:58,720 Speaker 2: a video of the reunion of Spirit, and they asked 574 00:37:58,760 --> 00:38:02,520 Speaker 2: a bunch of guitar players that they liked to come 575 00:38:02,600 --> 00:38:05,360 Speaker 2: in and sit in with Spirit. 576 00:38:06,360 --> 00:38:08,240 Speaker 3: So Randy California. 577 00:38:07,840 --> 00:38:12,279 Speaker 2: Was playing guitar, God bless him and who I was 578 00:38:12,320 --> 00:38:16,319 Speaker 2: a fan of Randy California in Spirit. I thought his 579 00:38:16,440 --> 00:38:23,319 Speaker 2: sound was fantastic. And Skunk was there that day. The 580 00:38:23,360 --> 00:38:27,480 Speaker 2: guitar player from Heart was there. I was there, and 581 00:38:27,520 --> 00:38:31,640 Speaker 2: then there was somebody else I can't quite remember, but anyhow, 582 00:38:31,760 --> 00:38:35,399 Speaker 2: and of course Randy California and the whole band was there. 583 00:38:36,520 --> 00:38:40,399 Speaker 2: The original bass player, original drummer. We had a great 584 00:38:40,400 --> 00:38:46,040 Speaker 2: time that day, and then later on I would accidentally 585 00:38:46,080 --> 00:38:49,800 Speaker 2: see Skunk somewhere or something and we would jam. But 586 00:38:49,880 --> 00:38:53,560 Speaker 2: one time we did a radio interview together. We both 587 00:38:53,640 --> 00:38:56,480 Speaker 2: went on at the same time. And now we have 588 00:38:56,600 --> 00:39:02,000 Speaker 2: the same manager, Mike Grimley, and so that's kind of 589 00:39:02,680 --> 00:39:06,680 Speaker 2: interesting and we may do some shows together. We've been 590 00:39:06,719 --> 00:39:10,720 Speaker 2: talking about it. We're talking about doing a Texas tour together. 591 00:39:11,280 --> 00:39:13,880 Speaker 2: And Scott has never played Texas. 592 00:39:14,280 --> 00:39:15,440 Speaker 3: Can you believe that? Wow? 593 00:39:15,600 --> 00:39:18,520 Speaker 2: I know, it's it's nuts, it's crazy. He should have 594 00:39:18,520 --> 00:39:21,440 Speaker 2: played Texas decades ago. I don't know why he hasn't. 595 00:39:21,680 --> 00:39:24,320 Speaker 3: It's crazy. Yeah, that's crazy. 596 00:39:24,600 --> 00:39:27,920 Speaker 2: With all his history, you know, you would think he 597 00:39:27,960 --> 00:39:30,080 Speaker 2: would have surely played Texas, but he hasn't. 598 00:39:30,960 --> 00:39:33,200 Speaker 3: So we may do that. We'll see what happens. 599 00:39:33,239 --> 00:39:38,759 Speaker 4: I love Skunk Man. He's amazing. So in closing, I 600 00:39:38,840 --> 00:39:41,880 Speaker 4: want to ask you, when you think about your body 601 00:39:41,920 --> 00:39:44,799 Speaker 4: of work and you think about the body of work 602 00:39:44,840 --> 00:39:49,640 Speaker 4: of others, like the guys we just mentioned, Yeah, what 603 00:39:49,719 --> 00:39:54,120 Speaker 4: are that you think the key qualities that make up 604 00:39:54,600 --> 00:39:56,680 Speaker 4: a master guitar player? 605 00:39:57,800 --> 00:40:01,760 Speaker 2: Well, I think not just the guitar player, but any 606 00:40:02,320 --> 00:40:09,960 Speaker 2: musician of any kind, just be true to yourself, do 607 00:40:10,040 --> 00:40:19,120 Speaker 2: what you love and you believe in. Don't follow other musicians. Now, 608 00:40:19,120 --> 00:40:21,719 Speaker 2: of course, you can have other musicians that you like, 609 00:40:21,800 --> 00:40:26,200 Speaker 2: and you appreciate other guitar players or drummers or whoever, 610 00:40:26,360 --> 00:40:32,799 Speaker 2: whatever instrument you play, you can appreciate others. And of 611 00:40:32,840 --> 00:40:36,560 Speaker 2: course you're probably going to to grab things out of 612 00:40:36,600 --> 00:40:40,200 Speaker 2: the air from other musicians and you might hear a 613 00:40:40,239 --> 00:40:43,960 Speaker 2: lick or something that you want to do. But when 614 00:40:44,000 --> 00:40:49,799 Speaker 2: it comes to songwriting and playing, be yourself. I think 615 00:40:49,840 --> 00:40:55,319 Speaker 2: that's always the key. Don't follow lead, be you, and 616 00:40:55,400 --> 00:41:00,120 Speaker 2: it's easy. It's easy to be you. You are you, 617 00:41:00,880 --> 00:41:04,720 Speaker 2: so that's it, so you don't have to figure it out. 618 00:41:06,160 --> 00:41:07,680 Speaker 3: But don't think you have. 619 00:41:07,600 --> 00:41:12,359 Speaker 2: To follow trends or be what others want you to be. 620 00:41:12,840 --> 00:41:14,520 Speaker 3: I think that's a mistake. 621 00:41:15,440 --> 00:41:19,040 Speaker 4: And I think that's so true of so many aspects 622 00:41:19,080 --> 00:41:22,879 Speaker 4: of life. And you know it is various artists and 623 00:41:23,200 --> 00:41:25,360 Speaker 4: you know occupations. 624 00:41:24,560 --> 00:41:30,880 Speaker 2: Right, So absolutely I think that counts for nearly everything. 625 00:41:31,080 --> 00:41:35,040 Speaker 3: Yeah, but in the art world of all kinds. 626 00:41:35,280 --> 00:41:44,680 Speaker 2: If you're a painter, filmmaker, actor, musician, whatever, radio DJ. 627 00:41:45,719 --> 00:41:46,600 Speaker 3: Make it yours. 628 00:41:46,840 --> 00:41:50,760 Speaker 2: Make it your thing that you believe in, as opposed 629 00:41:50,760 --> 00:41:52,200 Speaker 2: to somebody else. 630 00:41:52,440 --> 00:41:55,319 Speaker 3: Oh I want to be like that guy you know. 631 00:41:56,520 --> 00:42:00,919 Speaker 3: Now be you. It'll work out better than Oh. 632 00:42:01,040 --> 00:42:04,319 Speaker 4: Man, Gary, I've had such a blast talking to you. 633 00:42:04,400 --> 00:42:04,600 Speaker 3: Man. 634 00:42:04,680 --> 00:42:07,719 Speaker 4: Thanks for sharing the stories, Thanks for giving us the 635 00:42:07,800 --> 00:42:10,720 Speaker 4: music and continuing to give us the music. I really 636 00:42:10,760 --> 00:42:11,800 Speaker 4: appreciate your time. 637 00:42:12,640 --> 00:42:13,080 Speaker 3: Well. 638 00:42:13,120 --> 00:42:16,680 Speaker 2: Thanks thanks for being so kind and having me on 639 00:42:16,719 --> 00:42:17,440 Speaker 2: your podcast. 640 00:42:17,680 --> 00:42:18,799 Speaker 3: I really appreciate it. 641 00:42:20,680 --> 00:42:23,120 Speaker 1: Thanks for listening to this episode of the Taking a 642 00:42:23,160 --> 00:42:27,080 Speaker 1: Walk podcast. Share this and other episodes with your friends 643 00:42:27,160 --> 00:42:30,640 Speaker 1: and follow us so you never miss an episode. Taking 644 00:42:30,680 --> 00:42:34,560 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 645 00:42:34,760 --> 00:42:37,080 Speaker 1: and wherever you get your podcasts.