1 00:00:00,440 --> 00:00:03,920 Speaker 1: Taking a Walk the Bob Dylan music was where I 2 00:00:03,960 --> 00:00:07,320 Speaker 1: really started recording, and I think that it was just 3 00:00:07,400 --> 00:00:10,080 Speaker 1: more of a passion of my own. I believe the 4 00:00:10,119 --> 00:00:14,480 Speaker 1: influence would come from just putting myself around teachers and 5 00:00:15,720 --> 00:00:18,800 Speaker 1: people that worked at the music store and throwing myself 6 00:00:18,840 --> 00:00:21,200 Speaker 1: into it. And I knew at that time that it 7 00:00:21,280 --> 00:00:24,639 Speaker 1: was a passion of mine and something that I wanted 8 00:00:24,960 --> 00:00:29,160 Speaker 1: to really explore and never stop doing as long as 9 00:00:29,200 --> 00:00:29,560 Speaker 1: I could. 10 00:00:29,640 --> 00:00:33,760 Speaker 2: Welcome to the Taking a Walk Podcast hosted by Buzz Night, 11 00:00:34,360 --> 00:00:38,879 Speaker 2: the podcast with musicians and industry insiders. On this episode, 12 00:00:39,040 --> 00:00:44,440 Speaker 2: joined Buzz with American singer songwriter Christian Parker. Christian reimagines 13 00:00:44,560 --> 00:00:48,519 Speaker 2: the Birds on his latest work on Sweethearts, A Tribute 14 00:00:48,560 --> 00:00:51,919 Speaker 2: to the Birds, Sweetheart of the Rodeo, and his new 15 00:00:52,000 --> 00:00:56,760 Speaker 2: project Changes Now is coming soon. Let's join Buzz Night 16 00:00:57,080 --> 00:00:59,720 Speaker 2: and Christian Parker on Taking a Walk. 17 00:01:01,280 --> 00:01:05,440 Speaker 3: Well, Christian, congrats on all the great work Sweethearts A 18 00:01:05,560 --> 00:01:10,960 Speaker 3: Tribute to the Birds, Sweetheart of the Rodeo and Changes 19 00:01:11,120 --> 00:01:18,920 Speaker 3: Now as well. Beautiful projects. The presentation is beautiful, the 20 00:01:19,040 --> 00:01:20,280 Speaker 3: sound is authentic. 21 00:01:20,640 --> 00:01:22,800 Speaker 4: Congratulations, Well, thank you. 22 00:01:23,480 --> 00:01:27,720 Speaker 3: How did you become so wonderfully enamored with the Birds. 23 00:01:28,200 --> 00:01:32,919 Speaker 1: Well, I was introduced to The Birds by a friend 24 00:01:33,120 --> 00:01:35,600 Speaker 1: that I had met when I was in high school 25 00:01:36,920 --> 00:01:41,560 Speaker 1: back in the I'd say that almost the mid nineteen eighties. 26 00:01:42,280 --> 00:01:46,399 Speaker 1: I was in high school at the time, and I 27 00:01:46,440 --> 00:01:49,440 Speaker 1: had a friend that I worked for in the summertime 28 00:01:50,360 --> 00:01:54,280 Speaker 1: that you was older than me. He was probably I 29 00:01:54,400 --> 00:01:57,080 Speaker 1: think probably thirty years old, and he was a musician 30 00:01:57,880 --> 00:02:01,240 Speaker 1: and I would help him in his shop. He was 31 00:02:01,280 --> 00:02:04,160 Speaker 1: like a luthier and he would build guitars and fix them. 32 00:02:05,280 --> 00:02:08,400 Speaker 1: And he was actually the one that introduced me to 33 00:02:08,760 --> 00:02:13,200 Speaker 1: The Birds. And he had given me The Birds Untitled, 34 00:02:13,520 --> 00:02:16,600 Speaker 1: a double record. I think it was at Christmas time, 35 00:02:17,800 --> 00:02:19,600 Speaker 1: and he told me that I needed to listen to it, 36 00:02:20,600 --> 00:02:24,840 Speaker 1: and I said okay. And I hadn't really heard of 37 00:02:25,040 --> 00:02:26,960 Speaker 1: them at the time. I mean, you know, I was 38 00:02:27,040 --> 00:02:30,480 Speaker 1: familiar with the Beatles, I was familiar with the Rolling Stones, 39 00:02:30,520 --> 00:02:33,520 Speaker 1: and he thought that maybe I might like the Birds, 40 00:02:33,560 --> 00:02:37,480 Speaker 1: and he introduced me to Clarence White and explained to 41 00:02:37,520 --> 00:02:43,200 Speaker 1: me about the bluegrass style that Clarence White had really, 42 00:02:44,000 --> 00:02:46,840 Speaker 1: you know, really brought to the Birds because you know, 43 00:02:46,960 --> 00:02:50,679 Speaker 1: I think his in his generation, you know, he had 44 00:02:50,720 --> 00:02:51,920 Speaker 1: seen him as. 45 00:02:51,720 --> 00:02:52,359 Speaker 4: A young man. 46 00:02:52,440 --> 00:02:56,160 Speaker 1: I believe in the late nineteen sixties or early nineteen seventies, 47 00:02:56,880 --> 00:03:00,520 Speaker 1: so you know, he was real familiar with that the 48 00:03:00,560 --> 00:03:05,680 Speaker 1: Clarence White Birds, and of course knew the earlier rendition 49 00:03:05,760 --> 00:03:08,239 Speaker 1: of the Birds with Dave Crosby and the rest of them, 50 00:03:08,280 --> 00:03:11,920 Speaker 1: So he was the one that introduced me to the birds. 51 00:03:12,880 --> 00:03:17,640 Speaker 3: So besides listening as a fan to their music, what 52 00:03:17,800 --> 00:03:21,600 Speaker 3: other research did you do to prepare you for taking 53 00:03:21,639 --> 00:03:22,560 Speaker 3: these projects on? 54 00:03:23,560 --> 00:03:27,520 Speaker 1: Well, A little bit of it was just looking at 55 00:03:27,560 --> 00:03:30,919 Speaker 1: the songs that were recorded, you know, the songs. I 56 00:03:31,160 --> 00:03:34,880 Speaker 1: knew the catalog inside and out. I had every album, 57 00:03:35,680 --> 00:03:40,120 Speaker 1: and there was certain records that I was a little 58 00:03:40,120 --> 00:03:45,360 Speaker 1: bit more inclined to look at in detail, and there 59 00:03:45,360 --> 00:03:47,920 Speaker 1: were other records that I knew that we're going to 60 00:03:47,960 --> 00:03:53,160 Speaker 1: be maybe slimmer pickings for me to really go after 61 00:03:53,240 --> 00:03:56,440 Speaker 1: something that I felt that would be a good song 62 00:03:56,520 --> 00:04:00,160 Speaker 1: for like a tribute or kind of a compilation of 63 00:04:00,640 --> 00:04:03,040 Speaker 1: songs that I felt that were a little bit more 64 00:04:03,040 --> 00:04:08,600 Speaker 1: off the beaten path. I didn't really gravitate towards songs 65 00:04:08,640 --> 00:04:13,400 Speaker 1: like Mister Tambourine Man and Turn Turn Turn and even 66 00:04:13,440 --> 00:04:16,240 Speaker 1: my back Pages, and I love all those songs and 67 00:04:16,520 --> 00:04:19,760 Speaker 1: would have loved to do them, but I felt that 68 00:04:19,800 --> 00:04:23,520 Speaker 1: they had been done, and I felt that if it 69 00:04:23,600 --> 00:04:26,800 Speaker 1: was going to be a little more unique, maybe focus 70 00:04:26,920 --> 00:04:30,640 Speaker 1: on the tracks that weren't given very much attention or 71 00:04:30,680 --> 00:04:35,000 Speaker 1: were b sides of singles, songs that didn't really see 72 00:04:35,000 --> 00:04:37,640 Speaker 1: their day in the sun. That was kind of my focus, 73 00:04:37,680 --> 00:04:40,679 Speaker 1: and I researched some of that by you know, going 74 00:04:40,720 --> 00:04:45,000 Speaker 1: online and then you know, kind of looking at which 75 00:04:45,040 --> 00:04:48,479 Speaker 1: songs that I felt would be you know, I focused 76 00:04:48,520 --> 00:04:53,000 Speaker 1: on Gene clark songs for the Changes Now record because he, 77 00:04:53,680 --> 00:04:58,440 Speaker 1: in my opinion, was was really a prolific songwriter and 78 00:04:58,560 --> 00:05:01,120 Speaker 1: he was writing all a lot of the songs that 79 00:05:01,480 --> 00:05:04,560 Speaker 1: melodically were right up my alley as far as what 80 00:05:04,920 --> 00:05:07,760 Speaker 1: I liked, and I thought that he would be a 81 00:05:07,760 --> 00:05:11,320 Speaker 1: good place to start, and you know, because he had 82 00:05:11,320 --> 00:05:15,039 Speaker 1: really written songs right from the beginning, and. 83 00:05:16,560 --> 00:05:18,120 Speaker 4: So that's kind of where I started. 84 00:05:19,279 --> 00:05:23,680 Speaker 3: Had you had experiences in your life seeing Bob Dylan, 85 00:05:23,839 --> 00:05:28,359 Speaker 3: seeing McGuinn, or any other offshoot to the Birds or 86 00:05:28,440 --> 00:05:30,679 Speaker 3: the Dylan universe, I did. 87 00:05:30,760 --> 00:05:36,440 Speaker 1: I had first seen Bob Dylan play in nineteen eighty 88 00:05:36,560 --> 00:05:41,920 Speaker 1: eight up in Ottawa in Canada, and he was, you know, 89 00:05:41,960 --> 00:05:45,839 Speaker 1: playing with ge Smith, band g Smith used to, you know, 90 00:05:45,920 --> 00:05:48,880 Speaker 1: be on Saturday Night Live could be seen, you know, 91 00:05:49,160 --> 00:05:53,000 Speaker 1: playing guitar and with his band, and so Dylan took 92 00:05:53,040 --> 00:05:55,360 Speaker 1: them on the road and that was my first time 93 00:05:55,400 --> 00:05:58,200 Speaker 1: that I had seen Dylan, and I was introduced to Dylan, 94 00:05:58,240 --> 00:06:01,960 Speaker 1: I think right around nineteen eighty four, right around the 95 00:06:01,960 --> 00:06:04,600 Speaker 1: same time I probably was introduced to the Birds. It 96 00:06:04,640 --> 00:06:08,200 Speaker 1: would have been great in that same time. And I 97 00:06:08,400 --> 00:06:10,320 Speaker 1: was the first song that I had ever heard by 98 00:06:10,400 --> 00:06:14,520 Speaker 1: Bob Dylan was mister Tambourine Man on Acoustic Guitar. Now, 99 00:06:14,560 --> 00:06:17,080 Speaker 1: I'm sure I probably heard other things on the radio 100 00:06:17,160 --> 00:06:19,440 Speaker 1: and didn't know it as I was growing up, but 101 00:06:20,279 --> 00:06:23,039 Speaker 1: I really liked his voice. I was so different and 102 00:06:23,240 --> 00:06:26,080 Speaker 1: a lot of people, of course, some people are the 103 00:06:26,600 --> 00:06:29,000 Speaker 1: camp that Dylan couldn't sing, and I was not of 104 00:06:29,000 --> 00:06:32,960 Speaker 1: that camp. I thought that he really had wonderful phrasing 105 00:06:33,200 --> 00:06:36,840 Speaker 1: and a unique voice and of course unique lyrics and 106 00:06:37,800 --> 00:06:41,520 Speaker 1: great content, and you know, was obviously very prolific in 107 00:06:41,560 --> 00:06:45,040 Speaker 1: his writing. Pretty much it's you know, knew the Dylan 108 00:06:45,760 --> 00:06:49,520 Speaker 1: catalog inside and out. And then as the eighties and 109 00:06:49,560 --> 00:06:52,240 Speaker 1: then through the nineties. In the eighties, I had met 110 00:06:52,320 --> 00:06:56,839 Speaker 1: Roger mcgwinn when he played up in Autawa. I happened 111 00:06:56,880 --> 00:06:58,480 Speaker 1: to go to a show and I happened to meet him, 112 00:06:58,600 --> 00:07:01,280 Speaker 1: you know, afterwards and talk to him when I was nineteen, 113 00:07:01,320 --> 00:07:04,240 Speaker 1: I think I was eighteen or nineteen years old. And 114 00:07:04,279 --> 00:07:06,920 Speaker 1: then a couple of years later, in nineteen eighty nine, 115 00:07:07,160 --> 00:07:09,640 Speaker 1: I had played in a festival in the Berkshires that 116 00:07:09,760 --> 00:07:14,440 Speaker 1: he was also playing at and I was able to 117 00:07:14,440 --> 00:07:18,160 Speaker 1: meet him again, and it was just I was, you know, 118 00:07:18,240 --> 00:07:23,240 Speaker 1: at that point, performing and so you know, I got 119 00:07:23,240 --> 00:07:26,080 Speaker 1: a chance to meet him a couple of times, but 120 00:07:26,280 --> 00:07:28,000 Speaker 1: you know, of course a lot of people have met him, 121 00:07:28,040 --> 00:07:31,720 Speaker 1: and I was a kid. So and then Dylan I 122 00:07:31,760 --> 00:07:35,640 Speaker 1: saw several times through the through the nineties, and I 123 00:07:35,640 --> 00:07:38,480 Speaker 1: think the last time I saw Bob Dylan I saw 124 00:07:38,560 --> 00:07:41,240 Speaker 1: him with Merle Haggard, and it was back in the 125 00:07:41,280 --> 00:07:44,360 Speaker 1: early two thousands. I might have seen him again, but 126 00:07:44,400 --> 00:07:47,240 Speaker 1: I just I can't remember. But I do remember that 127 00:07:47,280 --> 00:07:51,720 Speaker 1: show in particular because Merle Haggard they came out with 128 00:07:51,040 --> 00:07:54,560 Speaker 1: the cowboy suits and the cowboy hats, and it was 129 00:07:54,640 --> 00:07:57,120 Speaker 1: it was a pretty pretty special show to see Bob 130 00:07:57,200 --> 00:08:01,600 Speaker 1: Dylan playing with Merle Haggard's band and Christian. 131 00:08:01,680 --> 00:08:08,280 Speaker 3: You possessed this interesting blend of being a musician, being 132 00:08:08,360 --> 00:08:13,560 Speaker 3: a fan, kind of being a historian of sorts as well. 133 00:08:15,040 --> 00:08:18,280 Speaker 3: Who shaped you in this sort of unique, sort of 134 00:08:18,400 --> 00:08:20,040 Speaker 3: hybrid of who you are? 135 00:08:21,000 --> 00:08:25,280 Speaker 1: I believe that I think the surroundings I lived and 136 00:08:25,320 --> 00:08:28,280 Speaker 1: I grew up in a small town along the Canadian border. 137 00:08:29,600 --> 00:08:33,800 Speaker 1: It's a town called Canton, New York, and it's thirty 138 00:08:33,840 --> 00:08:37,800 Speaker 1: miles from Canada. And you know, there's not a lot 139 00:08:37,800 --> 00:08:40,080 Speaker 1: of people that live in this town. And the era 140 00:08:40,200 --> 00:08:43,240 Speaker 1: that I grew up, there were music stores. There was 141 00:08:43,280 --> 00:08:47,680 Speaker 1: a music store in Potsdam. We benefited, you know, a 142 00:08:47,679 --> 00:08:51,760 Speaker 1: lot of my friends and I and people in generations 143 00:08:51,760 --> 00:08:54,000 Speaker 1: are a little older than me and a little younger 144 00:08:54,000 --> 00:08:57,120 Speaker 1: than me. It was a store called Northern Music and 145 00:08:57,240 --> 00:09:01,680 Speaker 1: video later on was added on video, but Northern Music, 146 00:09:01,760 --> 00:09:05,240 Speaker 1: and they were here since the mid seventies. And the men, 147 00:09:05,320 --> 00:09:08,600 Speaker 1: the gentlemen that had owned this store were musicians, and 148 00:09:08,640 --> 00:09:12,920 Speaker 1: they had a recording studio. And I had the benefit 149 00:09:12,960 --> 00:09:18,319 Speaker 1: of not only having some really really good guitar players. 150 00:09:18,600 --> 00:09:21,640 Speaker 1: You just happened to live in this area. People that 151 00:09:21,679 --> 00:09:24,840 Speaker 1: went on to do some things in their different worlds. 152 00:09:24,840 --> 00:09:27,400 Speaker 1: I guess where they traveled and I seemed to have 153 00:09:27,640 --> 00:09:30,720 Speaker 1: like three or four or five really good guitar players 154 00:09:30,760 --> 00:09:34,680 Speaker 1: to kind of get kind of educate me in bluegrass music, 155 00:09:34,920 --> 00:09:35,760 Speaker 1: folk music. 156 00:09:35,840 --> 00:09:37,240 Speaker 4: I started. That's where I started. 157 00:09:38,480 --> 00:09:40,960 Speaker 1: Of course, I wanted to learn the Beatles songbook, and 158 00:09:41,000 --> 00:09:45,360 Speaker 1: then once I learned about Dylan and the Birds, I 159 00:09:45,400 --> 00:09:50,479 Speaker 1: was gravitating towards that and the Bob Dylan music was 160 00:09:50,600 --> 00:09:54,480 Speaker 1: where I really started recording. And I think that it 161 00:09:54,559 --> 00:09:57,040 Speaker 1: was just more of a passion of my own. I 162 00:09:57,080 --> 00:10:00,880 Speaker 1: believe the influence would come from just putting myself around 163 00:10:01,240 --> 00:10:04,760 Speaker 1: teachers and the people that worked at the music store 164 00:10:04,920 --> 00:10:07,640 Speaker 1: and throwing myself into it. And I knew at that 165 00:10:07,960 --> 00:10:11,000 Speaker 1: time that I wanted to that it was a passion 166 00:10:11,040 --> 00:10:15,400 Speaker 1: of mine and something that I wanted to really explore 167 00:10:15,480 --> 00:10:18,520 Speaker 1: and and and never stop doing as long as I could. 168 00:10:18,600 --> 00:10:22,680 Speaker 3: So we've had this really cool guy on the previous 169 00:10:22,760 --> 00:10:26,880 Speaker 3: episode of the podcast. I'm not sure if you know him. 170 00:10:27,520 --> 00:10:32,320 Speaker 3: Daniel Cervantes is his name. He is the leader of 171 00:10:32,360 --> 00:10:35,000 Speaker 3: a band called Missus Henry. I'm not sure if you've 172 00:10:35,320 --> 00:10:41,600 Speaker 3: you've heard of them. They are a band tribute band. 173 00:10:42,320 --> 00:10:46,760 Speaker 3: Uh do you know him? And would you ever collaborate 174 00:10:46,800 --> 00:10:47,720 Speaker 3: with somebody like that. 175 00:10:48,760 --> 00:10:53,360 Speaker 1: I honestly don't know them, but I'm learning about new 176 00:10:53,400 --> 00:10:56,920 Speaker 1: people and new There's just there's a lot of musicians 177 00:10:56,920 --> 00:10:59,840 Speaker 1: out there and I haven't but I would absolutely, I 178 00:10:59,840 --> 00:11:02,520 Speaker 1: mean if I learned about them and it seemed like 179 00:11:02,559 --> 00:11:05,320 Speaker 1: a fit. I do a lot of collaborating now, and 180 00:11:05,960 --> 00:11:09,960 Speaker 1: there's a lot of people that have seeked me out, 181 00:11:10,080 --> 00:11:13,040 Speaker 1: you know, since I've done these projects, and it's really 182 00:11:13,080 --> 00:11:16,679 Speaker 1: fun to do that and to work with people that 183 00:11:16,679 --> 00:11:20,000 Speaker 1: I've never worked with. And these days you can do 184 00:11:20,080 --> 00:11:23,000 Speaker 1: it from afar, so you don't have to literally be 185 00:11:23,160 --> 00:11:25,839 Speaker 1: in the same room to do it. Of course, it's 186 00:11:25,920 --> 00:11:28,360 Speaker 1: nice to be in the same room and be together, 187 00:11:28,480 --> 00:11:36,400 Speaker 1: but we can do everything in different studios, you know, Texas, Austin, Nashville, 188 00:11:37,040 --> 00:11:39,200 Speaker 1: and up in New York. Here where I'm at, this 189 00:11:39,320 --> 00:11:42,880 Speaker 1: is where we pretty much most of the recordings take place. 190 00:11:42,920 --> 00:11:44,760 Speaker 1: And in a little bit in Ohio too, there's a 191 00:11:44,800 --> 00:11:48,880 Speaker 1: studio there that we collaborate with a couple of people with. 192 00:11:49,880 --> 00:11:53,240 Speaker 3: Happy to make an introduction, for sure, but you guys 193 00:11:53,280 --> 00:11:59,559 Speaker 3: have the same spirit of like mindedness as fans, as musicians, 194 00:12:00,240 --> 00:12:04,319 Speaker 3: as treating it, you know historically with great respect. So 195 00:12:04,760 --> 00:12:07,600 Speaker 3: happy to make that connection for sure. 196 00:12:08,240 --> 00:12:10,440 Speaker 2: You'll be right back with more of the Taking a 197 00:12:10,480 --> 00:12:18,479 Speaker 2: Walk Podcast. Welcome back to the Taking a Walk Podcast. 198 00:12:19,080 --> 00:12:25,040 Speaker 3: You have this amazing additional collaborators here who truly are 199 00:12:25,720 --> 00:12:30,319 Speaker 3: part of music history. Let's first talk about Earle pool Ball, 200 00:12:30,400 --> 00:12:35,680 Speaker 3: who played piano on the original version of songs like 201 00:12:36,360 --> 00:12:43,280 Speaker 3: Yang Going Nowhere. He's absolutely brilliant and has an amazing history. 202 00:12:44,280 --> 00:12:48,000 Speaker 3: Talk about him, how you connected with him, and how 203 00:12:48,040 --> 00:12:52,200 Speaker 3: special it is considering his amazing history, and talk about 204 00:12:52,200 --> 00:12:55,679 Speaker 3: his history too, Earle. 205 00:12:56,040 --> 00:12:58,600 Speaker 1: I had met Earl through a friend of mine that 206 00:12:59,160 --> 00:13:03,560 Speaker 1: grew up in a town near me called Potsdam, New York. 207 00:13:04,080 --> 00:13:06,320 Speaker 1: And that's where the music store that I had mentioned 208 00:13:06,480 --> 00:13:11,040 Speaker 1: a few minutes ago was located in Potsdam. My friend 209 00:13:11,040 --> 00:13:14,960 Speaker 1: Phil Hurley was part of a band in the late 210 00:13:14,960 --> 00:13:19,120 Speaker 1: eighties early nineties called the jigglow Ants, and they had 211 00:13:19,120 --> 00:13:23,560 Speaker 1: gone on to Boston and went and worked their way 212 00:13:23,600 --> 00:13:27,120 Speaker 1: to a record deal with RCA Records, and they found 213 00:13:27,160 --> 00:13:30,800 Speaker 1: themselves on the Dumb and Dumber soundtrack, which was, you know, 214 00:13:30,920 --> 00:13:33,080 Speaker 1: pretty at the time, was a pretty cool They had 215 00:13:33,080 --> 00:13:37,400 Speaker 1: a hit that was basically on that soundtrack, and they 216 00:13:37,440 --> 00:13:40,000 Speaker 1: had another song I believe that was on the That 217 00:13:40,160 --> 00:13:43,760 Speaker 1: Thing You Do That was a movie about bands in 218 00:13:43,800 --> 00:13:48,480 Speaker 1: the nineteen sixties, and so they were pretty well established. 219 00:13:48,480 --> 00:13:53,600 Speaker 1: And Phil moved down to Austin, I believe fifteen sixteen 220 00:13:53,679 --> 00:13:58,040 Speaker 1: years ago, and through me knowing him since we were 221 00:13:58,120 --> 00:14:03,800 Speaker 1: childhood friends, he had introduced me to Earle. And when 222 00:14:03,800 --> 00:14:07,280 Speaker 1: I thought about doing this project, Earl's name had come 223 00:14:07,360 --> 00:14:10,920 Speaker 1: up again and I wanted to see if Earle might 224 00:14:10,920 --> 00:14:15,719 Speaker 1: be interested. So we connected and we started out by 225 00:14:15,960 --> 00:14:18,920 Speaker 1: Earl had played on and I was not part. I 226 00:14:19,000 --> 00:14:21,720 Speaker 1: wasn't there for the session, but Phil had taken Earl 227 00:14:21,880 --> 00:14:26,200 Speaker 1: for me to play on the song Life in Prison 228 00:14:26,800 --> 00:14:31,520 Speaker 1: on the Sweethearts record. You know, it was definitely magical 229 00:14:31,560 --> 00:14:35,840 Speaker 1: to hear Earl's parts isolated and put them all together 230 00:14:36,000 --> 00:14:38,560 Speaker 1: and blend them into our. 231 00:14:38,480 --> 00:14:42,320 Speaker 4: Tracks up here. A few months had gone by, and so. 232 00:14:43,080 --> 00:14:46,720 Speaker 1: What I did was I was considering, you know, picking 233 00:14:46,760 --> 00:14:50,360 Speaker 1: more songs. Our intention was just to do one Bird's 234 00:14:50,440 --> 00:14:57,040 Speaker 1: Project one album. In late twenty twenty two, I had 235 00:14:57,080 --> 00:14:59,800 Speaker 1: spoken with Earl and I had asked if he would 236 00:14:59,800 --> 00:15:02,960 Speaker 1: play and a couple more songs, and he said, well, 237 00:15:03,440 --> 00:15:05,680 Speaker 1: he would love to play on Why why don't we 238 00:15:05,720 --> 00:15:08,480 Speaker 1: do all of the songs on Sweetheart of the Rodeo, 239 00:15:09,320 --> 00:15:13,080 Speaker 1: and I was thrilled that he would do that, and 240 00:15:13,600 --> 00:15:16,160 Speaker 1: I knew I had a little bit of more homework 241 00:15:16,160 --> 00:15:18,320 Speaker 1: to do. I had to face songs like pretty Boy 242 00:15:18,360 --> 00:15:21,840 Speaker 1: Floyd and songs that I hadn't really ever played, and 243 00:15:22,680 --> 00:15:24,400 Speaker 1: it was familiar with them. But I knew that it 244 00:15:24,400 --> 00:15:25,880 Speaker 1: was going to be bluegrass and it was going to 245 00:15:25,880 --> 00:15:29,080 Speaker 1: be pretty upbeat. So there were things I had some 246 00:15:29,200 --> 00:15:33,800 Speaker 1: work to do to prepare to make that record. And 247 00:15:33,840 --> 00:15:36,720 Speaker 1: I had already started some of the songs that you 248 00:15:36,800 --> 00:15:40,760 Speaker 1: hear on Changes Now, and I just kind of put 249 00:15:40,800 --> 00:15:44,440 Speaker 1: them on the shelf for a couple months and we 250 00:15:44,760 --> 00:15:49,120 Speaker 1: went after making Sweetheart of the Rodeo and doing it 251 00:15:49,560 --> 00:15:52,560 Speaker 1: under the title Sweethearts So Earl. 252 00:15:52,840 --> 00:15:53,880 Speaker 4: He's a long history. 253 00:15:54,800 --> 00:15:59,360 Speaker 1: In the early sixties, he had gone to Houston as 254 00:15:59,400 --> 00:16:02,640 Speaker 1: a young man and went out there and played with 255 00:16:03,200 --> 00:16:06,360 Speaker 1: I believe he said Glenn Campbell was out there performing 256 00:16:06,400 --> 00:16:09,040 Speaker 1: at that time, and he had worked with him. By 257 00:16:09,160 --> 00:16:13,520 Speaker 1: nineteen sixty four, he had his sights on California. I 258 00:16:13,560 --> 00:16:16,840 Speaker 1: believe a lot of musicians were heading in that direction, 259 00:16:17,720 --> 00:16:22,000 Speaker 1: and he was driving out to California and he said 260 00:16:22,040 --> 00:16:25,520 Speaker 1: that he got out there and he was on his 261 00:16:25,560 --> 00:16:27,520 Speaker 1: way out and he was looking for work. I guess 262 00:16:27,560 --> 00:16:32,600 Speaker 1: he had played with John Corneille who was in the 263 00:16:32,600 --> 00:16:37,520 Speaker 1: International Submarine Band. He had worked with him prior I 264 00:16:37,560 --> 00:16:41,360 Speaker 1: Believe in Houston. He said that fate would have it 265 00:16:41,360 --> 00:16:43,960 Speaker 1: that they would meet again. I guess they were doing 266 00:16:43,960 --> 00:16:49,600 Speaker 1: a show that was filmed inside like an old mine 267 00:16:49,680 --> 00:16:51,800 Speaker 1: that they were digging in the ground, that kind of 268 00:16:51,800 --> 00:16:56,720 Speaker 1: a mine. And they were doing a show called some 269 00:16:56,800 --> 00:16:59,920 Speaker 1: country show where they were doing live music, like country 270 00:17:00,280 --> 00:17:03,160 Speaker 1: rama or something. I can't remember the exact name, but 271 00:17:03,200 --> 00:17:05,240 Speaker 1: it was only It was only on for about a month, 272 00:17:05,760 --> 00:17:07,399 Speaker 1: and he said that it got canceled. 273 00:17:07,600 --> 00:17:09,800 Speaker 4: So he was excited when he got that. 274 00:17:09,800 --> 00:17:13,800 Speaker 1: That was his first gig, and then after that he 275 00:17:13,960 --> 00:17:16,399 Speaker 1: was playing I Believe in the clubs, and you know, 276 00:17:16,560 --> 00:17:20,320 Speaker 1: history would have it that a few years later, JD Manus, 277 00:17:20,359 --> 00:17:24,720 Speaker 1: who was also on Our Sweethearts record who played Pedal Steel, 278 00:17:25,560 --> 00:17:28,600 Speaker 1: had asked him if he would want to play piano 279 00:17:29,119 --> 00:17:32,000 Speaker 1: because there was a young man named Graham Parsons that 280 00:17:32,640 --> 00:17:36,680 Speaker 1: was looking to make a record, and so that's how 281 00:17:36,800 --> 00:17:41,520 Speaker 1: Earl and JD were brought into the picture, which then 282 00:17:41,640 --> 00:17:46,840 Speaker 1: later of course was Graham Parsons when he helped the Bird's. 283 00:17:47,160 --> 00:17:49,000 Speaker 4: Vision on Sweetheart of the Rodeo. 284 00:17:49,960 --> 00:17:54,120 Speaker 1: He brought JD and Earl into the picture, and JD 285 00:17:54,280 --> 00:17:59,000 Speaker 1: playing pedal steel on certain songs and Lloyd Green playing 286 00:17:59,320 --> 00:18:02,679 Speaker 1: the other song on pedal steel. But Earl, I believe, 287 00:18:02,720 --> 00:18:05,880 Speaker 1: had played all the piano. Any piano that you hear 288 00:18:05,920 --> 00:18:08,840 Speaker 1: on Sweeteart of the Rodeo, Earl had played that. He 289 00:18:08,920 --> 00:18:13,520 Speaker 1: worked at Capitol Records in the late nineteen sixties pitching 290 00:18:13,600 --> 00:18:16,440 Speaker 1: songs and looking for songs for people like Glenn Campbell, 291 00:18:16,520 --> 00:18:20,280 Speaker 1: and we've worked on some of those songs. Aside from 292 00:18:20,280 --> 00:18:23,520 Speaker 1: the projects that these two Birds Records were still working 293 00:18:23,600 --> 00:18:24,919 Speaker 1: together and making music. 294 00:18:25,840 --> 00:18:27,040 Speaker 4: We're doing stuff. 295 00:18:27,080 --> 00:18:30,919 Speaker 1: I guess you call it a cosmic country, kind of 296 00:18:31,119 --> 00:18:35,840 Speaker 1: a mishmash of songs that have been forgotten and songs 297 00:18:35,840 --> 00:18:38,960 Speaker 1: that Earl might have had a part in. Then, in 298 00:18:39,000 --> 00:18:43,720 Speaker 1: the late nineteen seventies, Earl went on to be Johnny 299 00:18:43,760 --> 00:18:48,920 Speaker 1: Cash's piano player for twenty years until the late nineteen nineties. 300 00:18:49,760 --> 00:18:54,560 Speaker 1: And after that, I believe he moved to Austin and 301 00:18:54,600 --> 00:19:00,560 Speaker 1: has continued to perform and collaborate with people. That's pretty 302 00:19:00,840 --> 00:19:06,440 Speaker 1: generalized history of Earl and in his past incredible. 303 00:19:06,640 --> 00:19:12,040 Speaker 3: And j D's history too, reaches into Graham Parsons and 304 00:19:12,080 --> 00:19:16,560 Speaker 3: the Birds and and and so much cool work. Vince Gill. 305 00:19:18,359 --> 00:19:23,080 Speaker 3: So you literally had Desert Yeah, the Desert Desert Rose Band, right, yep. 306 00:19:23,480 --> 00:19:26,280 Speaker 3: So you literally, not only in terms of the creation 307 00:19:26,440 --> 00:19:31,199 Speaker 3: of these projects, had j D an Earl at your disposal, 308 00:19:31,680 --> 00:19:35,600 Speaker 3: but you really in terms of the historical part, have 309 00:19:35,880 --> 00:19:38,000 Speaker 3: these members of music history. 310 00:19:38,000 --> 00:19:39,120 Speaker 4: How special is that? 311 00:19:39,880 --> 00:19:46,399 Speaker 1: It's it's very it's very special, very humbling. And I 312 00:19:46,440 --> 00:19:48,960 Speaker 1: didn't grow up as a person that was well known, 313 00:19:49,040 --> 00:19:53,040 Speaker 1: and you know, there's certainly that intimidation factor. I'm glad 314 00:19:53,040 --> 00:19:55,560 Speaker 1: that I've have a few years under my belt and 315 00:19:55,920 --> 00:19:57,880 Speaker 1: I'm not a kid anymore, because I think it would 316 00:19:57,920 --> 00:20:01,440 Speaker 1: have been more intimidating if I was younger. But once 317 00:20:01,480 --> 00:20:06,800 Speaker 1: I met these gentlemen, it was really became evident that 318 00:20:07,080 --> 00:20:10,879 Speaker 1: they're really good people and they're no different than you 319 00:20:10,960 --> 00:20:13,600 Speaker 1: and I, and they're just well known for their art, 320 00:20:13,720 --> 00:20:16,760 Speaker 1: and you know, it really kind of really brought it 321 00:20:16,840 --> 00:20:18,199 Speaker 1: down to the music. 322 00:20:18,280 --> 00:20:19,600 Speaker 4: It became about the music. 323 00:20:19,680 --> 00:20:24,600 Speaker 1: And Earl's been pretty incredible with his knowledge of sound, 324 00:20:24,680 --> 00:20:25,320 Speaker 1: and I. 325 00:20:25,240 --> 00:20:26,920 Speaker 4: Would give him mixes. 326 00:20:26,960 --> 00:20:31,040 Speaker 1: I would share the mixes with Earl on Sweetheart Sweethearts, 327 00:20:31,119 --> 00:20:35,480 Speaker 1: especially because he was very familiar with the way things 328 00:20:35,600 --> 00:20:39,119 Speaker 1: should sound and my engineers that we work with, and 329 00:20:39,520 --> 00:20:42,680 Speaker 1: we'd sit there for hours and days working on songs, 330 00:20:42,720 --> 00:20:45,560 Speaker 1: and we'd send him a mix of a couple of 331 00:20:45,640 --> 00:20:48,960 Speaker 1: songs and Earl would always, you know, pick out something 332 00:20:49,040 --> 00:20:51,080 Speaker 1: that was and he was always right about it every 333 00:20:51,119 --> 00:20:54,040 Speaker 1: time he heard things or he said, you know, this 334 00:20:54,119 --> 00:20:56,159 Speaker 1: needs to be this, or this needs to be that, 335 00:20:56,520 --> 00:21:00,119 Speaker 1: or if he heard something that was maybe clashing. I 336 00:21:00,200 --> 00:21:05,720 Speaker 1: learned that pretty early on with working with both jd Anderl, 337 00:21:05,920 --> 00:21:09,720 Speaker 1: that everybody has their place when they play, and it's 338 00:21:09,800 --> 00:21:12,840 Speaker 1: it's not it's not a cool thing to be everybody 339 00:21:12,880 --> 00:21:16,000 Speaker 1: be jamming at the same time they were. They they 340 00:21:16,000 --> 00:21:19,359 Speaker 1: had a little more liberty on The Sweetheart of the Rodeo. 341 00:21:19,480 --> 00:21:21,879 Speaker 1: I think that they were thrown into the studio and 342 00:21:22,359 --> 00:21:24,520 Speaker 1: just told to play. And even though there is a 343 00:21:24,520 --> 00:21:27,680 Speaker 1: lot of that noodling going on, we're all used to it. 344 00:21:28,680 --> 00:21:31,840 Speaker 1: I think as time went on, I believe that basically 345 00:21:31,920 --> 00:21:34,480 Speaker 1: everybody has their time to play and their time to 346 00:21:34,480 --> 00:21:37,480 Speaker 1: step out. So if the piano is doing some trills 347 00:21:37,520 --> 00:21:40,800 Speaker 1: and doing some things, title steel player can't be doing 348 00:21:40,880 --> 00:21:43,359 Speaker 1: a lick at the same time. There's certain things you 349 00:21:43,400 --> 00:21:46,439 Speaker 1: can get away with, but when it comes to doing 350 00:21:46,600 --> 00:21:49,280 Speaker 1: things that would would would clash, they would seem like, well, 351 00:21:49,320 --> 00:21:51,520 Speaker 1: he's playing a solo and he's playing a solo at 352 00:21:51,520 --> 00:21:54,080 Speaker 1: the same time and stepping out. So there was a 353 00:21:54,080 --> 00:21:58,159 Speaker 1: lot of that work that went into Sweetheart O the 354 00:21:58,280 --> 00:22:02,320 Speaker 1: Rodeo projects Sweethearts that our tribute to it, and the 355 00:22:02,359 --> 00:22:05,760 Speaker 1: same thing for change is now it wasn't as much 356 00:22:05,800 --> 00:22:08,120 Speaker 1: because I didn't have as much pedal, steel and piano 357 00:22:08,520 --> 00:22:11,320 Speaker 1: and have to think about those instruments, but you know 358 00:22:11,359 --> 00:22:14,320 Speaker 1: there is there are some songs that do have that 359 00:22:14,920 --> 00:22:19,840 Speaker 1: and Earl was just amazing at guiding me in the 360 00:22:19,880 --> 00:22:23,600 Speaker 1: process and another set of ears basically, and so it's 361 00:22:23,640 --> 00:22:27,840 Speaker 1: been definitely wonderful to get better at the art at 362 00:22:27,880 --> 00:22:29,920 Speaker 1: the same time and have fun doing it. 363 00:22:31,000 --> 00:22:31,200 Speaker 2: Well. 364 00:22:31,240 --> 00:22:34,040 Speaker 3: As I said earlier, it's so beautifully put together. The 365 00:22:34,160 --> 00:22:38,879 Speaker 3: packaging is beautiful. It's just so authentic the work that 366 00:22:38,920 --> 00:22:44,000 Speaker 3: you're doing, and I commend you for being a steward 367 00:22:44,000 --> 00:22:44,960 Speaker 3: of authenticity. 368 00:22:45,520 --> 00:22:45,879 Speaker 4: Thank you. 369 00:22:46,520 --> 00:22:49,720 Speaker 3: So as you look forward past these projects, any other 370 00:22:49,840 --> 00:22:52,879 Speaker 3: things that you are dreaming about that you want to 371 00:22:52,920 --> 00:22:53,800 Speaker 3: give us a hint of. 372 00:22:54,840 --> 00:22:57,720 Speaker 4: Yeah, Actually, we're we're in the process. 373 00:22:57,720 --> 00:22:59,960 Speaker 1: I've been in the middle of August is when I 374 00:23:00,560 --> 00:23:04,679 Speaker 1: finished changes, now, when I finished mixing the album and 375 00:23:05,080 --> 00:23:08,359 Speaker 1: we mastered it. You know, it takes a few months 376 00:23:08,359 --> 00:23:12,720 Speaker 1: to get it into distribution. It's distributed through Sony, which 377 00:23:12,760 --> 00:23:16,359 Speaker 1: is their division, the Orchard. It just takes time and 378 00:23:16,400 --> 00:23:19,359 Speaker 1: then to get the pr and to get all of 379 00:23:19,400 --> 00:23:21,359 Speaker 1: the all of the things, and then of course the 380 00:23:21,440 --> 00:23:24,119 Speaker 1: end of the year. We didn't want to release it 381 00:23:24,160 --> 00:23:27,800 Speaker 1: around the holidays because there's a lot of other things 382 00:23:27,800 --> 00:23:30,480 Speaker 1: that people are doing, and it's it's not really a 383 00:23:30,480 --> 00:23:33,400 Speaker 1: good time of year to release an album if you 384 00:23:33,480 --> 00:23:36,640 Speaker 1: don't want it to fall to the side because there's 385 00:23:36,760 --> 00:23:41,280 Speaker 1: other things happening or people are preoccupied. So I decided 386 00:23:41,320 --> 00:23:45,679 Speaker 1: to wait until January to really look at it. And 387 00:23:45,720 --> 00:23:48,800 Speaker 1: then as I got looking at it, you know, Sweethearts 388 00:23:49,440 --> 00:23:52,040 Speaker 1: was released in August, and I wanted to give that 389 00:23:52,640 --> 00:23:56,000 Speaker 1: its own time to really kind of settle in with 390 00:23:56,119 --> 00:23:59,520 Speaker 1: people and and give it a little space in between, 391 00:24:00,520 --> 00:24:04,200 Speaker 1: because it had turned into a two album project. Initially 392 00:24:04,200 --> 00:24:07,400 Speaker 1: it was going to be One Bird's tribute, and once 393 00:24:07,440 --> 00:24:10,679 Speaker 1: we decided to do Sweetheart of the Rodeo and the 394 00:24:10,800 --> 00:24:14,879 Speaker 1: entire album plus three songs. That was fourteen songs. I 395 00:24:14,920 --> 00:24:18,399 Speaker 1: think we did fourteen songs for that album, and we 396 00:24:18,440 --> 00:24:22,760 Speaker 1: did fifteen songs for Changes Now, so there, you know, 397 00:24:22,840 --> 00:24:27,200 Speaker 1: we recorded over thirty songs total, and I think twenty 398 00:24:27,280 --> 00:24:30,440 Speaker 1: nine of them had made it onto the records. 399 00:24:31,119 --> 00:24:33,159 Speaker 4: Even though all of those things were in the works. 400 00:24:33,440 --> 00:24:36,479 Speaker 1: Still a musician, I still have to wake up and 401 00:24:37,119 --> 00:24:40,680 Speaker 1: you yearn that feeling every day that you want to play, 402 00:24:40,720 --> 00:24:42,480 Speaker 1: you want to you don't want to stop. You know, 403 00:24:42,760 --> 00:24:46,320 Speaker 1: it's not like it just stops. It's still a faucet. 404 00:24:47,440 --> 00:24:49,720 Speaker 1: I tried to figure out, well, do I want to 405 00:24:49,760 --> 00:24:52,280 Speaker 1: go back to my own music, because I had been 406 00:24:52,720 --> 00:24:55,760 Speaker 1: that's what I had done during COVID. When COVID had started, 407 00:24:55,800 --> 00:25:00,600 Speaker 1: I had worked on solo project called Every Power Mile 408 00:25:00,720 --> 00:25:03,119 Speaker 1: and it was pretty much all the songs I had 409 00:25:03,160 --> 00:25:05,840 Speaker 1: written on the album, and we had done one bird 410 00:25:05,920 --> 00:25:10,159 Speaker 1: song on my solo album called Tulsa County that was 411 00:25:10,240 --> 00:25:13,520 Speaker 1: kind of the catalyst of us doing these records. I 412 00:25:13,600 --> 00:25:16,720 Speaker 1: was thinking about it then, and it was just me 413 00:25:16,840 --> 00:25:18,840 Speaker 1: doing a version of a song that I really liked, 414 00:25:18,880 --> 00:25:21,560 Speaker 1: and so I thought about going back to my own writing. 415 00:25:21,680 --> 00:25:25,280 Speaker 1: And then Earle said that he wanted to continue to 416 00:25:25,320 --> 00:25:27,880 Speaker 1: do some work, and I said I would I would 417 00:25:27,880 --> 00:25:31,160 Speaker 1: love to do that too. So we started to talk 418 00:25:31,200 --> 00:25:35,560 Speaker 1: about what could it look like and started looking into 419 00:25:36,160 --> 00:25:38,320 Speaker 1: I'd heard the phrase Earl had said to me that 420 00:25:38,440 --> 00:25:42,560 Speaker 1: when Graham and he would would talk about, you know, 421 00:25:42,600 --> 00:25:45,879 Speaker 1: Graham's vision, and of course this everybody that knows Graham 422 00:25:45,880 --> 00:25:49,720 Speaker 1: Parsons music knows that it's called I always thought it 423 00:25:49,760 --> 00:25:52,719 Speaker 1: was called cosmic country. That's the term that I used, 424 00:25:53,440 --> 00:25:56,320 Speaker 1: but Earle straightened me out on that and said it 425 00:25:56,080 --> 00:26:00,159 Speaker 1: was it was American. Cosmic is the way our is. 426 00:26:00,320 --> 00:26:02,840 Speaker 1: I think he said American and a cosmic American. That's 427 00:26:02,920 --> 00:26:06,520 Speaker 1: I'm sorry. I had it back where it's cosmic American music. 428 00:26:06,840 --> 00:26:10,680 Speaker 1: That's how Graham Parsons would would phrase it when he 429 00:26:10,760 --> 00:26:13,640 Speaker 1: was trying to his vision of music at the time, 430 00:26:13,720 --> 00:26:17,960 Speaker 1: what he saw listening to George Jones and in all 431 00:26:18,040 --> 00:26:21,480 Speaker 1: of the classics of the day of that time and 432 00:26:21,520 --> 00:26:25,840 Speaker 1: the people that were influencing him. And so I kind 433 00:26:25,840 --> 00:26:27,720 Speaker 1: of looked at that and I said, well, I know 434 00:26:27,800 --> 00:26:31,000 Speaker 1: there's there's a song that Graham Parsons had done that 435 00:26:31,080 --> 00:26:34,480 Speaker 1: I heard it on a rare bootleg record that I 436 00:26:34,480 --> 00:26:36,560 Speaker 1: don't even think maybe it is out there, I'm not 437 00:26:36,640 --> 00:26:37,520 Speaker 1: quite sure it could. 438 00:26:37,600 --> 00:26:40,240 Speaker 4: Maybe it's Avalon Ball or something like that. 439 00:26:41,160 --> 00:26:46,560 Speaker 1: And it was a Autrey Enman song called She Once 440 00:26:46,680 --> 00:26:51,680 Speaker 1: Lived Here and it was I mean, Graham did a 441 00:26:51,720 --> 00:26:56,280 Speaker 1: really dreamy kind of country version of that song. And 442 00:26:56,359 --> 00:26:58,560 Speaker 1: so that's where I started, and I said, I don't 443 00:26:58,600 --> 00:27:01,840 Speaker 1: really know what this is yet, but I'm going to 444 00:27:01,920 --> 00:27:06,040 Speaker 1: do this song, and we're going to do it in 445 00:27:06,119 --> 00:27:09,600 Speaker 1: kind of the Graham Parsons way, but I'm going to 446 00:27:09,680 --> 00:27:13,800 Speaker 1: do it my way, but trying to capture the same 447 00:27:14,359 --> 00:27:18,600 Speaker 1: type of spirit that I believe that this was my 448 00:27:18,680 --> 00:27:23,960 Speaker 1: interpretation of what would be cosmic American music. So from there, 449 00:27:24,800 --> 00:27:30,000 Speaker 1: you know, I started looking for songs that were forgotten songs, 450 00:27:30,040 --> 00:27:33,760 Speaker 1: songs that were a little off the beaten path. And 451 00:27:33,840 --> 00:27:37,879 Speaker 1: I stumbled upon a song that Vern Gosden had written, 452 00:27:38,640 --> 00:27:43,560 Speaker 1: and it was called Holding On. And I'd asked Earl 453 00:27:43,600 --> 00:27:46,720 Speaker 1: about it and he said that of course Earl knew 454 00:27:47,160 --> 00:27:50,080 Speaker 1: Vern and had jammed with him up in the California Hills. 455 00:27:50,080 --> 00:27:51,560 Speaker 4: He said, every on the weekend. 456 00:27:52,320 --> 00:27:54,960 Speaker 1: And so you know, you get these little stories that 457 00:27:55,280 --> 00:27:58,920 Speaker 1: you just kind of when you ask Early. He remembers 458 00:27:59,119 --> 00:28:01,240 Speaker 1: there's a lot of history there, and he seemed to 459 00:28:01,280 --> 00:28:02,359 Speaker 1: know all of these people. 460 00:28:02,760 --> 00:28:04,520 Speaker 4: I've worked with him at one time. 461 00:28:05,640 --> 00:28:08,880 Speaker 1: So we did that song, and then I just kept 462 00:28:08,880 --> 00:28:14,679 Speaker 1: going and I'm probably at this point twenty songs in. 463 00:28:15,880 --> 00:28:20,520 Speaker 1: They're not all complete, but we have a very I 464 00:28:20,520 --> 00:28:26,920 Speaker 1: guess you'd say, a diverse, eclectic collection of really beautiful 465 00:28:26,960 --> 00:28:30,280 Speaker 1: songs that are some of them have pedal steel and 466 00:28:30,320 --> 00:28:33,520 Speaker 1: they're in piano on them, some of them are more 467 00:28:33,560 --> 00:28:37,960 Speaker 1: acoustic and guitar oriented. At this point, it's called American 468 00:28:39,040 --> 00:28:43,120 Speaker 1: Cosmic Revival, and so it's kind of the idea is is, 469 00:28:43,600 --> 00:28:46,440 Speaker 1: you know, kind of a revival of music, revival of 470 00:28:46,760 --> 00:28:50,320 Speaker 1: great songs. And I'm looking at doing having a collection 471 00:28:51,000 --> 00:28:55,160 Speaker 1: a couple volumes of it, and it's more of just 472 00:28:55,280 --> 00:28:59,080 Speaker 1: kind of us just having fun making great music and 473 00:28:59,400 --> 00:29:01,840 Speaker 1: collaborating together as a team. We you know, I have 474 00:29:02,640 --> 00:29:06,000 Speaker 1: a lot of really good players now that are all 475 00:29:06,080 --> 00:29:07,840 Speaker 1: kind of they all feel we all kind of feel 476 00:29:07,840 --> 00:29:12,520 Speaker 1: like family, and we love working together, and we've decided 477 00:29:12,560 --> 00:29:14,480 Speaker 1: that we might as well do this as long as 478 00:29:14,480 --> 00:29:16,959 Speaker 1: we can and as long as it's still enjoyable to us. 479 00:29:17,000 --> 00:29:19,440 Speaker 4: So that's that's kind of our thought right now. 480 00:29:20,520 --> 00:29:21,000 Speaker 3: I love it. 481 00:29:21,120 --> 00:29:24,160 Speaker 4: Congratulations on it. It's really a joy to hear it. 482 00:29:24,160 --> 00:29:26,760 Speaker 4: It's a joy to talk to you to hear your joy. 483 00:29:27,280 --> 00:29:31,479 Speaker 3: And thanks for being so true to this great work, 484 00:29:32,240 --> 00:29:32,840 Speaker 3: no problem. 485 00:29:32,880 --> 00:29:36,200 Speaker 1: I appreciate you know, taking the time to let me 486 00:29:36,560 --> 00:29:38,320 Speaker 1: share it with everyone out there. 487 00:29:39,640 --> 00:29:42,080 Speaker 2: Thanks for listening to this episode of the Taking a 488 00:29:42,120 --> 00:29:46,000 Speaker 2: Walk podcast. Share this and other episodes with your friends 489 00:29:46,120 --> 00:29:49,600 Speaker 2: and follow us so you never miss an episode. Taking 490 00:29:49,640 --> 00:29:53,520 Speaker 2: a Walk is available on the iHeartRadio app, Apple Podcasts, 491 00:29:53,760 --> 00:29:56,040 Speaker 2: and wherever you get your podcasts.