1 00:00:00,960 --> 00:00:03,600 Speaker 1: Taking a walk, you know, going to school and coming 2 00:00:03,640 --> 00:00:07,520 Speaker 1: home from school, and rather than like doing what all 3 00:00:07,520 --> 00:00:09,719 Speaker 1: the other kids are doing after school, I would go 4 00:00:09,760 --> 00:00:12,520 Speaker 1: straight to my house and pick up my guitar and 5 00:00:12,600 --> 00:00:15,080 Speaker 1: sit down in the living room or in my bedroom 6 00:00:15,240 --> 00:00:18,480 Speaker 1: for hours and hours and hours every day play the instrument, 7 00:00:18,520 --> 00:00:20,280 Speaker 1: trying to figure out how to make it sound. 8 00:00:20,320 --> 00:00:23,279 Speaker 2: Welcome to the Taking a Walk Podcast, where your host 9 00:00:23,320 --> 00:00:27,360 Speaker 2: Buzz Night talks with musicians about their inspirations, their music, 10 00:00:27,800 --> 00:00:30,080 Speaker 2: and in today's case, what it means to be in 11 00:00:30,120 --> 00:00:34,000 Speaker 2: the music business since he was a teenager. Blues guitarist, 12 00:00:34,240 --> 00:00:38,040 Speaker 2: singer and songwriter Kenny Wayne Shepherd joins Buzz Today for 13 00:00:38,120 --> 00:00:41,960 Speaker 2: a conversation about all things Kenny Wayne. Kenny and Buzz 14 00:00:42,000 --> 00:00:44,280 Speaker 2: will get into everything from what it was like to 15 00:00:44,320 --> 00:00:47,479 Speaker 2: have his first record out at sixteen, to his relationship 16 00:00:47,520 --> 00:00:50,320 Speaker 2: with the late Eddie Van Halen, and to what's going 17 00:00:50,360 --> 00:00:53,560 Speaker 2: on in music today. Kenny's got a new project out 18 00:00:53,680 --> 00:00:57,240 Speaker 2: called Dirt on My Diamonds Volume two. Also chat with 19 00:00:57,240 --> 00:01:01,120 Speaker 2: Buzz about that. Kenny Wayne Sheppard joins Buzz Night now 20 00:01:01,480 --> 00:01:02,520 Speaker 2: on Taking a Walk. 21 00:01:04,160 --> 00:01:07,320 Speaker 3: The Great Kenny Wayne Shepherd on Taking a Walk. Thanks 22 00:01:07,400 --> 00:01:09,000 Speaker 3: Kenny for being on man. 23 00:01:09,040 --> 00:01:09,880 Speaker 1: Thanks for having me. 24 00:01:10,160 --> 00:01:14,119 Speaker 3: So tell me how your father had an influence on 25 00:01:14,160 --> 00:01:17,360 Speaker 3: you as a musician and as a person. 26 00:01:18,200 --> 00:01:20,800 Speaker 1: Well, I mean, my dad was a disc jockey. Well 27 00:01:20,800 --> 00:01:24,040 Speaker 1: he was a jack of many trades. He he's not 28 00:01:24,120 --> 00:01:27,800 Speaker 1: like he's he's still with us, so you know, don't 29 00:01:27,800 --> 00:01:29,800 Speaker 1: want to refer to him in the past tense. But 30 00:01:29,840 --> 00:01:31,959 Speaker 1: back when I was a kid, he was a disc jockey, 31 00:01:32,040 --> 00:01:36,920 Speaker 1: program director, general manager of a variety of different radio 32 00:01:36,920 --> 00:01:39,440 Speaker 1: stations in my whole town over the years. And so 33 00:01:39,520 --> 00:01:42,120 Speaker 1: I grew up around music my whole life. And my 34 00:01:42,200 --> 00:01:44,240 Speaker 1: mom was a big music fan as well, so you know, 35 00:01:44,360 --> 00:01:46,679 Speaker 1: between the two of them, we had music playing around 36 00:01:46,720 --> 00:01:49,160 Speaker 1: the house all the time, in the car everywhere we went, 37 00:01:49,920 --> 00:01:54,240 Speaker 1: and all different kinds of music too. So my dad, 38 00:01:54,320 --> 00:01:56,600 Speaker 1: you know, would play country music and then we listen 39 00:01:56,680 --> 00:02:00,680 Speaker 1: to rock and you know, James Brown and Funk get 40 00:02:00,920 --> 00:02:04,320 Speaker 1: R and b A jazz and just everything under the sun. 41 00:02:05,080 --> 00:02:07,760 Speaker 1: And you know, because he was at the radio station 42 00:02:08,440 --> 00:02:11,720 Speaker 1: that those guys usually get tickets and backstage passes to 43 00:02:11,760 --> 00:02:15,080 Speaker 1: all the hot concerts that come through town. So you know, 44 00:02:15,080 --> 00:02:17,480 Speaker 1: we always got to go see bands play, and I'd 45 00:02:17,680 --> 00:02:20,560 Speaker 1: get to go backstage and kind of see the behind 46 00:02:20,560 --> 00:02:23,280 Speaker 1: the scenes of the touring world and then meet a 47 00:02:23,280 --> 00:02:26,000 Speaker 1: lot of famous musicians when I was a kid, and 48 00:02:26,120 --> 00:02:31,520 Speaker 1: so all of that stuff, the absorption of music and 49 00:02:31,560 --> 00:02:34,960 Speaker 1: the exposure to the touring industry, all of that was 50 00:02:35,400 --> 00:02:38,560 Speaker 1: I was soaking that up and it was all going 51 00:02:38,600 --> 00:02:42,160 Speaker 1: to contribute to who I would eventually be as a 52 00:02:42,160 --> 00:02:45,680 Speaker 1: professional recording and touring artist. But at that eighty age, 53 00:02:45,720 --> 00:02:47,320 Speaker 1: nobody had a clue at that point. 54 00:02:48,200 --> 00:02:51,560 Speaker 3: So the first moment that you were watching a performance 55 00:02:51,680 --> 00:02:56,079 Speaker 3: by somebody that just knocked your socks off, who was it. 56 00:02:56,760 --> 00:03:00,240 Speaker 1: Well, there's a number of different performers, you know, But 57 00:03:00,280 --> 00:03:02,200 Speaker 1: when I was a kid, I saw, like I said, 58 00:03:02,240 --> 00:03:04,639 Speaker 1: I mean, so many different people. I mean I remember 59 00:03:04,680 --> 00:03:07,640 Speaker 1: going to Hank WiM's junior concert Melong Away because he 60 00:03:07,680 --> 00:03:10,239 Speaker 1: was a country guy that rocked, you know. I remember 61 00:03:10,240 --> 00:03:13,320 Speaker 1: seeing James Brown many many times and just I mean, 62 00:03:13,360 --> 00:03:15,560 Speaker 1: he was one of the greatest entertainers on the planet, 63 00:03:15,600 --> 00:03:18,240 Speaker 1: but two completely different types of performers. 64 00:03:18,280 --> 00:03:18,480 Speaker 3: You know. 65 00:03:19,440 --> 00:03:22,119 Speaker 1: A life changing moment for me was getting to meet 66 00:03:22,120 --> 00:03:24,399 Speaker 1: and watch Skeevie rape On play for the first time 67 00:03:24,440 --> 00:03:27,600 Speaker 1: when I was around seven years old. So that's really 68 00:03:27,600 --> 00:03:30,359 Speaker 1: what lit the fire at me and gave me like this, 69 00:03:30,960 --> 00:03:34,240 Speaker 1: you know, relentless determination to learn the instrument because I 70 00:03:34,320 --> 00:03:37,000 Speaker 1: wanted to figure out how it to play with that 71 00:03:37,080 --> 00:03:41,240 Speaker 1: kind of passion and intensity that he played with. So, 72 00:03:41,720 --> 00:03:45,160 Speaker 1: I mean, there was a number of performers that really 73 00:03:45,160 --> 00:03:47,440 Speaker 1: impressed me and had an impact on it. 74 00:03:47,440 --> 00:03:49,240 Speaker 3: It's a pretty impressive list so far. 75 00:03:50,200 --> 00:03:53,280 Speaker 1: I mean, right, yeah, and the list and the list 76 00:03:53,320 --> 00:03:56,000 Speaker 1: goes on. But those are just some of the ones 77 00:03:56,040 --> 00:03:57,960 Speaker 1: off the top of my head that are very very 78 00:03:57,960 --> 00:04:01,880 Speaker 1: different musical genres and different types of performers. But I 79 00:04:01,960 --> 00:04:03,840 Speaker 1: kind of took something away from each one of them. 80 00:04:03,920 --> 00:04:11,240 Speaker 3: So what at the age of sixteen intensely fueled your 81 00:04:11,880 --> 00:04:18,080 Speaker 3: deep emotional, you know, connection with music and how it 82 00:04:18,120 --> 00:04:21,919 Speaker 3: all manifested itself into your brilliance. What was going on 83 00:04:22,000 --> 00:04:24,680 Speaker 3: as a sixteen year old that really, like, you know, 84 00:04:25,240 --> 00:04:29,920 Speaker 3: made you sound like you were way wiser than those years. 85 00:04:30,120 --> 00:04:33,880 Speaker 1: Well, I don't. I'm not exactly sure, you know, because 86 00:04:33,880 --> 00:04:38,280 Speaker 1: I had the child Prodigy label put on me, which 87 00:04:38,360 --> 00:04:42,000 Speaker 1: is like fine, I mean, I'm looking back, I go, yeah, 88 00:04:42,720 --> 00:04:46,640 Speaker 1: it's not normal. It's not typical for a kid that 89 00:04:46,800 --> 00:04:48,960 Speaker 1: young to be playing that kind of music that way. 90 00:04:49,120 --> 00:04:52,200 Speaker 1: So at the time, I really didn't think much of it, 91 00:04:52,279 --> 00:04:54,000 Speaker 1: Like I really didn't have any idea what they were 92 00:04:54,000 --> 00:04:57,000 Speaker 1: talking about because I was just playing guitar and I 93 00:04:57,120 --> 00:04:59,960 Speaker 1: just loved playing the instrument. But I think it's a 94 00:05:00,000 --> 00:05:01,960 Speaker 1: as a teenager, you know, there's so much going on 95 00:05:02,600 --> 00:05:06,520 Speaker 1: in young people's lives. It's more now than ever to 96 00:05:06,560 --> 00:05:08,919 Speaker 1: be honest with you in the world we live in. 97 00:05:09,720 --> 00:05:12,680 Speaker 1: But really, like, as a teenager're going through so many changes, 98 00:05:13,120 --> 00:05:14,960 Speaker 1: trying to figure out who you are, where you fit 99 00:05:15,000 --> 00:05:20,799 Speaker 1: in your first experiences with love and relationships and things 100 00:05:20,839 --> 00:05:23,440 Speaker 1: like that. But like I always found like comfort and 101 00:05:23,440 --> 00:05:27,119 Speaker 1: the instrument, and so that was where I just felt 102 00:05:27,120 --> 00:05:31,080 Speaker 1: completely at home. Was you know, going to school and 103 00:05:31,160 --> 00:05:34,919 Speaker 1: coming home from school and rather than like doing what 104 00:05:35,200 --> 00:05:37,440 Speaker 1: all the other kids were doing after school, I would 105 00:05:37,440 --> 00:05:40,080 Speaker 1: go straight into my house and pick up my guitar 106 00:05:40,240 --> 00:05:42,240 Speaker 1: and sit down in the living room or in my 107 00:05:42,320 --> 00:05:45,320 Speaker 1: bedroom for hours and hours and hours every day play 108 00:05:45,720 --> 00:05:47,640 Speaker 1: the instrument, trying to figure out how to make it 109 00:05:47,680 --> 00:05:51,000 Speaker 1: sound good. And I think there was just great satisfaction 110 00:05:51,080 --> 00:05:53,680 Speaker 1: in that. And it was like my companion. Now I 111 00:05:53,800 --> 00:05:55,960 Speaker 1: was kind of like the uh, you know, the friend 112 00:05:56,000 --> 00:05:59,080 Speaker 1: you could always rely on. And so it ended up 113 00:05:59,120 --> 00:06:05,040 Speaker 1: giving me an identity and a purpose I think at 114 00:06:05,040 --> 00:06:08,160 Speaker 1: a very young age, which is not common. I mean, 115 00:06:08,200 --> 00:06:09,800 Speaker 1: you know, because I signed my record deal when I 116 00:06:09,800 --> 00:06:12,080 Speaker 1: was sixteen, and I started recording my first album when 117 00:06:12,080 --> 00:06:16,680 Speaker 1: I was seventeen, and that's very abnormal. But it gave 118 00:06:16,680 --> 00:06:19,880 Speaker 1: me a lot of things that I think were really 119 00:06:19,920 --> 00:06:22,640 Speaker 1: important to me as a teenager at the time, and 120 00:06:22,760 --> 00:06:25,919 Speaker 1: certainly it served me well through my adult life. 121 00:06:26,600 --> 00:06:29,120 Speaker 3: And I know then you really became a student of 122 00:06:30,080 --> 00:06:34,520 Speaker 3: so much of the genre of blues and so many individuals, 123 00:06:35,800 --> 00:06:39,920 Speaker 3: and you obviously were swept away like we all still are, 124 00:06:40,440 --> 00:06:43,160 Speaker 3: by Jimmy Hendrix. Can you talk about that influence? 125 00:06:44,080 --> 00:06:47,480 Speaker 1: Yeah, Well, Jimmy Hendricks was fascinating to me because you know, 126 00:06:47,560 --> 00:06:53,400 Speaker 1: his musical ideas were incredibly I don't know, it was 127 00:06:53,440 --> 00:06:56,680 Speaker 1: like groundbreaking, especially being considered the time, the era in 128 00:06:56,720 --> 00:06:58,880 Speaker 1: which he was making music, when all that stuff, I mean, 129 00:06:58,960 --> 00:07:02,360 Speaker 1: rock and roll was all it was a relatively new 130 00:07:02,440 --> 00:07:07,039 Speaker 1: genre of music. But if you at the same time 131 00:07:07,120 --> 00:07:11,040 Speaker 1: consider how limited they were with the technology, right there's 132 00:07:12,000 --> 00:07:14,760 Speaker 1: I mean, multi track recording had even been around for 133 00:07:14,880 --> 00:07:17,760 Speaker 1: all that long in the overall scheme of things, and 134 00:07:17,800 --> 00:07:20,760 Speaker 1: you know, the guitar pedals the effects that you could use, 135 00:07:20,840 --> 00:07:23,360 Speaker 1: and in the studio you kind of had like delay 136 00:07:23,400 --> 00:07:26,480 Speaker 1: and reverb and compression, and then you know for pedals, 137 00:07:26,560 --> 00:07:30,040 Speaker 1: I think there's a handful of effects pedals for guitar players, 138 00:07:30,040 --> 00:07:32,640 Speaker 1: and Jimmy probably had all of them, you know. But 139 00:07:32,760 --> 00:07:35,960 Speaker 1: like what he was able to create and the sounds 140 00:07:36,000 --> 00:07:38,200 Speaker 1: he was able to come up with in the studio 141 00:07:38,440 --> 00:07:41,480 Speaker 1: that hadn't necessarily been done before or hadn't been heard 142 00:07:41,640 --> 00:07:44,800 Speaker 1: like that before, it's just really impressive. And also if 143 00:07:44,800 --> 00:07:47,200 Speaker 1: you look back and you go, wow, even to this day, 144 00:07:48,800 --> 00:07:52,960 Speaker 1: I don't know that anybody's I mean, he hasn't really 145 00:07:53,000 --> 00:07:56,200 Speaker 1: been outdone, and his music still sounds groundbreaking, you know, 146 00:07:56,280 --> 00:07:59,000 Speaker 1: even to this day, and it still continues to influence 147 00:07:59,080 --> 00:08:03,240 Speaker 1: new generations musicians. So it's pretty remarkable. But the thing 148 00:08:03,280 --> 00:08:05,760 Speaker 1: that he did most for me was he it's like 149 00:08:05,840 --> 00:08:10,600 Speaker 1: he gave me permission. By listening to his music, you 150 00:08:10,640 --> 00:08:13,480 Speaker 1: could tell that, like he was very lose bass in 151 00:08:13,560 --> 00:08:17,000 Speaker 1: his playing and in his music that he created, but 152 00:08:17,120 --> 00:08:19,520 Speaker 1: he took he didn't just stop right there. He took 153 00:08:19,560 --> 00:08:21,960 Speaker 1: it and ran with it and took it into so 154 00:08:22,000 --> 00:08:26,000 Speaker 1: many different directions, and it kind of gave me permission. 155 00:08:26,040 --> 00:08:27,800 Speaker 1: To do the same thing. You know, it's like to 156 00:08:27,920 --> 00:08:32,320 Speaker 1: not be boxed into one particular category, not have to 157 00:08:32,400 --> 00:08:36,280 Speaker 1: keep my music confined to one particular space, but to 158 00:08:36,480 --> 00:08:39,240 Speaker 1: kind of take elements of all the things that I 159 00:08:39,280 --> 00:08:41,480 Speaker 1: had been exposed to and combine them and try and 160 00:08:42,160 --> 00:08:45,240 Speaker 1: create something that sounds a little bit different. 161 00:08:46,200 --> 00:08:49,720 Speaker 3: I'm not even thinking you've tapped that completely. I know 162 00:08:49,880 --> 00:08:54,440 Speaker 3: you're completely open to different places. Your example, you know, 163 00:08:54,640 --> 00:08:59,440 Speaker 3: collaboration with five Finger Death Punch, And I just have 164 00:08:59,520 --> 00:09:02,120 Speaker 3: a sense with you and the way you think about it, 165 00:09:02,200 --> 00:09:06,520 Speaker 3: and by your comments about Jimmy's influence, we haven't even 166 00:09:06,520 --> 00:09:08,040 Speaker 3: seen the beginning of your work. 167 00:09:09,080 --> 00:09:12,080 Speaker 1: Well, I certainly feel like there's more to be said 168 00:09:12,200 --> 00:09:15,440 Speaker 1: and more music to be created, and more learning to 169 00:09:15,480 --> 00:09:19,600 Speaker 1: be done as far as being a student of the instrument. 170 00:09:20,720 --> 00:09:23,600 Speaker 1: But yeah, I just don't. I just know that, like, 171 00:09:23,679 --> 00:09:28,360 Speaker 1: in order to keep the music genre relevant, you have 172 00:09:28,440 --> 00:09:30,200 Speaker 1: to continue to it of me and you have to 173 00:09:30,240 --> 00:09:33,640 Speaker 1: continue to do things differently, Otherwise it just all becomes 174 00:09:33,679 --> 00:09:36,800 Speaker 1: too predictable. And so I like the idea that, like, 175 00:09:37,280 --> 00:09:40,440 Speaker 1: when you hear that a Kenny Wayne Shepherd album is 176 00:09:40,440 --> 00:09:43,600 Speaker 1: coming out, I would venture to guess that most people 177 00:09:43,679 --> 00:09:46,760 Speaker 1: aren't entirely sure what it's going to sound like before 178 00:09:46,800 --> 00:09:50,000 Speaker 1: they hear it, you know, because they know and I 179 00:09:50,000 --> 00:09:52,640 Speaker 1: think they trust that as aid artists, I'm going to 180 00:09:52,679 --> 00:09:56,680 Speaker 1: pursue whatever inspiration comes up in the moment. And so 181 00:09:57,760 --> 00:10:00,680 Speaker 1: each album, I mean, there's certain common things and there's 182 00:10:00,720 --> 00:10:03,480 Speaker 1: common elements to my music all the way back to 183 00:10:03,559 --> 00:10:05,680 Speaker 1: the first album. But I mean, you listen to some 184 00:10:05,760 --> 00:10:09,360 Speaker 1: of the songs on my newest albums Dirt on My 185 00:10:09,400 --> 00:10:12,280 Speaker 1: Diamonds Volume one and now Volume two that just came out, 186 00:10:12,360 --> 00:10:15,800 Speaker 1: I mean you're hearing things that you've elements and those 187 00:10:15,840 --> 00:10:18,880 Speaker 1: songs that you haven't heard from me ever before. And 188 00:10:18,960 --> 00:10:22,240 Speaker 1: so that's just a sign that I'm continuing to try 189 00:10:22,280 --> 00:10:24,600 Speaker 1: new things and continuing to try and break new ground 190 00:10:24,640 --> 00:10:27,120 Speaker 1: for me and my band. And it's all in an 191 00:10:27,160 --> 00:10:31,200 Speaker 1: effort to keep the music and the genre evolving, you know, 192 00:10:31,360 --> 00:10:32,560 Speaker 1: because that's what's important. 193 00:10:33,840 --> 00:10:39,319 Speaker 3: So on Volume one, I love the collaboration with Davy 194 00:10:39,400 --> 00:10:43,880 Speaker 3: Johnston and on Saturday Nights all right for Fighting, tell 195 00:10:43,920 --> 00:10:47,040 Speaker 3: me about your past relationship with him and what it 196 00:10:47,120 --> 00:10:48,559 Speaker 3: was like collaborating on that. 197 00:10:49,000 --> 00:10:52,680 Speaker 1: Well, we didn't actually collaborate on it, like I had 198 00:10:52,880 --> 00:10:55,920 Speaker 1: a moment, so I texted him because he's a friend 199 00:10:55,920 --> 00:10:57,680 Speaker 1: of mine and he's a great guy and a great 200 00:10:57,679 --> 00:10:59,719 Speaker 1: guitar player. And I just said, I was in the 201 00:10:59,720 --> 00:11:01,720 Speaker 1: student and I say, we're about to cover one of 202 00:11:01,760 --> 00:11:05,280 Speaker 1: your guys songs. And I wasn't sure if I was 203 00:11:05,320 --> 00:11:07,040 Speaker 1: going to be able to really I didn't want to 204 00:11:07,080 --> 00:11:09,640 Speaker 1: mess it up, and it's got some tricky little things 205 00:11:09,640 --> 00:11:12,560 Speaker 1: in there, and so I knew that as it told, 206 00:11:12,720 --> 00:11:14,880 Speaker 1: like a backup plan if I had to, like pull 207 00:11:14,880 --> 00:11:18,040 Speaker 1: of hell Mary, I just let him know that I 208 00:11:18,120 --> 00:11:20,120 Speaker 1: might be calling him and ask him to come down 209 00:11:20,200 --> 00:11:23,520 Speaker 1: and play guitar on it if I didn't feel that 210 00:11:23,600 --> 00:11:26,760 Speaker 1: I was doing it justice. But the end result I 211 00:11:26,840 --> 00:11:29,920 Speaker 1: was happy with. And so you know, he never ended 212 00:11:29,960 --> 00:11:32,440 Speaker 1: up needing to come into the studio as a favor 213 00:11:32,520 --> 00:11:35,120 Speaker 1: for me. So but no, it was great. I mean, 214 00:11:35,320 --> 00:11:38,560 Speaker 1: he's he's one of those guitar players, like you know, 215 00:11:38,640 --> 00:11:42,000 Speaker 1: you just I think you know, musicians are well aware 216 00:11:42,040 --> 00:11:44,199 Speaker 1: of his talents, but you know, you just don't hear 217 00:11:44,240 --> 00:11:46,520 Speaker 1: his name brought up enough in my opinion, you know, 218 00:11:46,559 --> 00:11:50,280 Speaker 1: because he's incredible and played so many iconic guitar parts 219 00:11:50,320 --> 00:11:54,319 Speaker 1: on so many legendary songs over the years, and so, 220 00:11:54,559 --> 00:11:56,640 Speaker 1: but as a human being, he's one of the greatest 221 00:11:56,640 --> 00:11:57,160 Speaker 1: guys I know. 222 00:11:58,040 --> 00:12:02,120 Speaker 3: So what varied, if anything, in the creative process from 223 00:12:02,200 --> 00:12:03,760 Speaker 3: Volume one to Volume two. 224 00:12:05,520 --> 00:12:07,480 Speaker 1: Not much. I mean we record a lot of this stuff. 225 00:12:07,480 --> 00:12:09,760 Speaker 1: It was written and recorded right around the same time. 226 00:12:09,920 --> 00:12:12,040 Speaker 1: So what happened was is like I had all these 227 00:12:12,040 --> 00:12:15,480 Speaker 1: songs that we started recording them, and you know what, Generally, 228 00:12:15,520 --> 00:12:17,360 Speaker 1: for me and I don't go in with a lot 229 00:12:17,360 --> 00:12:20,360 Speaker 1: of preconceived ideas, and my demos are always very basic. 230 00:12:20,440 --> 00:12:22,960 Speaker 1: It's like, CUSI guitar and a vocal and that's it, 231 00:12:23,080 --> 00:12:25,000 Speaker 1: because I can kind of hear in my head what 232 00:12:25,160 --> 00:12:27,400 Speaker 1: I think the song needs to sound like. And I'm 233 00:12:27,520 --> 00:12:31,199 Speaker 1: a real fan of the old school way of making records, 234 00:12:31,280 --> 00:12:33,400 Speaker 1: where I believe, like going into the studios where the 235 00:12:33,440 --> 00:12:36,560 Speaker 1: magic is supposed to happen. So I leave a lot 236 00:12:36,600 --> 00:12:39,440 Speaker 1: of I don't go in with a bunch of tracks 237 00:12:39,440 --> 00:12:41,559 Speaker 1: that I put together at my house and then telling 238 00:12:41,600 --> 00:12:44,880 Speaker 1: everybody what exactly what to play. It's like we we 239 00:12:45,000 --> 00:12:49,839 Speaker 1: create the songs in the studio. But anyways, as you're 240 00:12:49,840 --> 00:12:53,000 Speaker 1: doing that, then you you start to listen back to 241 00:12:53,000 --> 00:12:55,000 Speaker 1: what you've done and I go, oh, how this song's 242 00:12:55,040 --> 00:12:57,560 Speaker 1: really speaking to me and that song's really speaking to me. 243 00:12:57,840 --> 00:13:00,000 Speaker 1: And after you get about three songs you feel very 244 00:13:00,120 --> 00:13:03,040 Speaker 1: sure about, then you see the album start to take 245 00:13:03,120 --> 00:13:05,320 Speaker 1: a direction. And then you look at the rest of 246 00:13:05,360 --> 00:13:07,880 Speaker 1: the material that you have. You wish other songs kind 247 00:13:07,880 --> 00:13:11,680 Speaker 1: of complete that musical statement. And so I did that 248 00:13:11,800 --> 00:13:13,840 Speaker 1: and then I said okay, and then I looked at 249 00:13:13,880 --> 00:13:16,160 Speaker 1: everything else and I was like, well, we have two 250 00:13:16,200 --> 00:13:20,040 Speaker 1: albums worth the material here, and then it just became how, 251 00:13:20,240 --> 00:13:22,080 Speaker 1: you know, a question of how do I want to 252 00:13:22,120 --> 00:13:26,120 Speaker 1: release this stuff? And again I'm always looking for, you know, 253 00:13:26,200 --> 00:13:28,720 Speaker 1: new ways or different ways of doing things. So we 254 00:13:28,800 --> 00:13:32,800 Speaker 1: decided I thought it would be a compelling idea to 255 00:13:33,640 --> 00:13:35,920 Speaker 1: do it, kind of like a double out, but instead 256 00:13:35,920 --> 00:13:39,440 Speaker 1: of releasing together at the same time, Stagger the releases 257 00:13:39,520 --> 00:13:42,800 Speaker 1: make them companion pieces. But it is the first time 258 00:13:42,800 --> 00:13:45,120 Speaker 1: we've ever put out two albums of new material in 259 00:13:45,160 --> 00:13:48,600 Speaker 1: less than twelve months from one another, so and it 260 00:13:48,679 --> 00:13:51,959 Speaker 1: keeps the fans engaged and it gives us new music 261 00:13:52,000 --> 00:13:54,320 Speaker 1: to play. This year we were featuring in the show, 262 00:13:54,880 --> 00:13:58,000 Speaker 1: we were featuring songs from Volley one, and then now 263 00:13:58,000 --> 00:13:59,960 Speaker 1: that Volume two has just come out, then that's set 264 00:14:00,080 --> 00:14:02,920 Speaker 1: the stuff for the tour for next year. And I 265 00:14:02,960 --> 00:14:05,120 Speaker 1: also believe that, like you know, each one of these 266 00:14:05,120 --> 00:14:08,520 Speaker 1: albums is eight songs long. And I started doing some research, 267 00:14:08,640 --> 00:14:12,160 Speaker 1: and you know, some of the most iconic albums ever 268 00:14:12,240 --> 00:14:15,679 Speaker 1: recorded have eight songs on them, because it goes back 269 00:14:15,720 --> 00:14:19,640 Speaker 1: to the days when vinyl albums, like that's the main 270 00:14:19,680 --> 00:14:23,000 Speaker 1: way that people consume music. And if you don't know, 271 00:14:23,160 --> 00:14:26,720 Speaker 1: like you can only put so much music on each 272 00:14:26,800 --> 00:14:29,000 Speaker 1: side of a vinyl record. If you put too much 273 00:14:29,040 --> 00:14:32,280 Speaker 1: on there, it starts degrading the quality of audio. So 274 00:14:32,320 --> 00:14:35,560 Speaker 1: it generally works out to be about four songs per side. 275 00:14:36,040 --> 00:14:38,000 Speaker 1: And so that's why so many albums back in the 276 00:14:38,040 --> 00:14:41,440 Speaker 1: day were eight songs. So and then in today's world, 277 00:14:41,480 --> 00:14:44,320 Speaker 1: where there's so many things that are competing for our 278 00:14:44,360 --> 00:14:52,120 Speaker 1: attention and so many extractions, phones, social media, television, commercials, jobs, everything, 279 00:14:52,160 --> 00:14:55,880 Speaker 1: it's like so many things are coming at us. It's 280 00:14:56,120 --> 00:15:00,080 Speaker 1: it's almost unrealistic, like to expect people to be a 281 00:15:00,280 --> 00:15:03,560 Speaker 1: to sit down and listen to an album that has 282 00:15:04,040 --> 00:15:08,200 Speaker 1: ten or twelve or fourteen or sixteen songs in one city. 283 00:15:08,520 --> 00:15:11,160 Speaker 1: And my goal as an artist is I still like 284 00:15:11,200 --> 00:15:13,720 Speaker 1: to make records, not just songs, because I want to 285 00:15:13,760 --> 00:15:16,760 Speaker 1: take people on a journey, and I want them to 286 00:15:16,800 --> 00:15:21,440 Speaker 1: have an experience. So an eight song record, if you 287 00:15:21,480 --> 00:15:23,400 Speaker 1: live in a major city, you could actually get in 288 00:15:23,400 --> 00:15:25,720 Speaker 1: the car, put the record on on your way to 289 00:15:25,840 --> 00:15:28,560 Speaker 1: work and probably get through the whole thing by the 290 00:15:28,600 --> 00:15:30,840 Speaker 1: time you can get through all the traffic and make 291 00:15:30,880 --> 00:15:32,520 Speaker 1: it to your job. Or if you're going on a 292 00:15:32,600 --> 00:15:35,000 Speaker 1: road trip, you can put the record on and hear 293 00:15:35,040 --> 00:15:36,840 Speaker 1: it from start to finish before you have to pull 294 00:15:36,880 --> 00:15:39,800 Speaker 1: on the over for a bathroom. So it's kind of 295 00:15:39,840 --> 00:15:44,280 Speaker 1: like trying to hedge my bets of you know, a 296 00:15:44,360 --> 00:15:47,720 Speaker 1: quality product. There's no filler, there's no songs on there 297 00:15:48,000 --> 00:15:51,040 Speaker 1: just to fill spaces. Every song that's on there has 298 00:15:51,040 --> 00:15:53,880 Speaker 1: a legitimate purpose, but it also hedged my bets on 299 00:15:54,360 --> 00:15:57,640 Speaker 1: the best possible way to get somebody to be able 300 00:15:57,680 --> 00:16:00,720 Speaker 1: to hear the entire experience for start to finish. 301 00:16:01,960 --> 00:16:05,160 Speaker 3: Can you talk about your process of the way you 302 00:16:05,320 --> 00:16:08,240 Speaker 3: order an album and put you know, put it together, 303 00:16:09,800 --> 00:16:11,920 Speaker 3: you know in terms of track by track, how much 304 00:16:11,960 --> 00:16:15,200 Speaker 3: contemplation goes into that And you're thinking, there. 305 00:16:15,080 --> 00:16:16,680 Speaker 1: Yeah, a lot of it. I mean there's a lot. 306 00:16:16,720 --> 00:16:19,240 Speaker 1: That's another thing. That's why we want people to actually 307 00:16:19,240 --> 00:16:21,280 Speaker 1: listen to the records, because we put a lot of 308 00:16:21,320 --> 00:16:24,840 Speaker 1: effort in the order that the songs are in, and 309 00:16:24,960 --> 00:16:27,400 Speaker 1: you consider, like, first of all, like the first thing 310 00:16:27,400 --> 00:16:29,080 Speaker 1: you need to do is figure out what's your first song, 311 00:16:29,240 --> 00:16:32,160 Speaker 1: what's your opening state, and then you can go from there. 312 00:16:32,280 --> 00:16:35,680 Speaker 1: And then you consider you know, the mood of the songs, 313 00:16:35,920 --> 00:16:39,520 Speaker 1: and you know the emotional journey you want people to take. 314 00:16:39,720 --> 00:16:41,960 Speaker 1: And then you also have to consider the keys that 315 00:16:42,000 --> 00:16:45,200 Speaker 1: the songs are in and the tempos. You know, and 316 00:16:45,320 --> 00:16:47,520 Speaker 1: so you don't want to put a bunch of slow 317 00:16:47,960 --> 00:16:50,480 Speaker 1: to our mid tembo songs all back back. You want 318 00:16:50,520 --> 00:16:52,720 Speaker 1: to break them up with the more up tempo songs, 319 00:16:52,760 --> 00:16:58,240 Speaker 1: and and otherwise, you know, it's all about like what's 320 00:16:58,280 --> 00:17:02,000 Speaker 1: the experience of the listener and all so what keeps 321 00:17:02,040 --> 00:17:05,800 Speaker 1: it interesting and doesn't become waring. And then the keys 322 00:17:05,880 --> 00:17:08,240 Speaker 1: have to work. One song has to flow into the 323 00:17:08,280 --> 00:17:11,280 Speaker 1: next song, and so there's a number of things that 324 00:17:11,320 --> 00:17:14,840 Speaker 1: are considered before we sign off on final tracks. 325 00:17:15,320 --> 00:17:17,560 Speaker 3: All right, so close your eyes for a second. You're 326 00:17:17,640 --> 00:17:21,199 Speaker 3: driving down the road. You're in your let's say the 327 00:17:21,320 --> 00:17:26,320 Speaker 3: nineteen seventy Plymouth Duster, and you've got a long drive 328 00:17:26,359 --> 00:17:30,720 Speaker 3: ahead and you need some good driving songs. What would 329 00:17:30,760 --> 00:17:33,640 Speaker 3: be coming on the radio is you're driving that bad 330 00:17:33,680 --> 00:17:34,520 Speaker 3: boy down the road? 331 00:17:35,480 --> 00:17:39,000 Speaker 1: Well, for I have to be, if I'm being completely honest, 332 00:17:39,040 --> 00:17:40,760 Speaker 1: for a lot of the trip, I would just be 333 00:17:40,880 --> 00:17:44,320 Speaker 1: listening to the sound of that V eight engine that's 334 00:17:44,400 --> 00:17:49,320 Speaker 1: under the hood, because that's music to my ears. But eventually, yeah, 335 00:17:49,400 --> 00:17:51,160 Speaker 1: put some music on. I gotta tell you, like one 336 00:17:51,200 --> 00:17:54,480 Speaker 1: of my go to albums that always puts me in 337 00:17:54,480 --> 00:17:57,840 Speaker 1: a good mood is this is easy top album called Standango, 338 00:17:58,000 --> 00:18:02,160 Speaker 1: which is like a half studio half live album, and 339 00:18:02,960 --> 00:18:07,760 Speaker 1: just some incredible performances on that record, especially the live music, 340 00:18:09,040 --> 00:18:11,160 Speaker 1: and so like I just know, like if I'm kind 341 00:18:11,160 --> 00:18:13,800 Speaker 1: of at a loss of what can I listen to 342 00:18:13,840 --> 00:18:18,679 Speaker 1: you right now? That's going to be perfect. It's you know, 343 00:18:18,760 --> 00:18:21,080 Speaker 1: that's an easy one to pull out, and that just 344 00:18:21,160 --> 00:18:22,359 Speaker 1: kind of gets the ball rolling. 345 00:18:22,520 --> 00:18:25,119 Speaker 3: But I love how the sound of the car is 346 00:18:25,160 --> 00:18:27,240 Speaker 3: such a driving force too. That's beautiful. 347 00:18:27,840 --> 00:18:29,439 Speaker 1: Yeah, absolutely so. 348 00:18:30,520 --> 00:18:34,480 Speaker 3: I love your covers of Dylan A Ballad of a 349 00:18:34,520 --> 00:18:40,720 Speaker 3: Thin Man certainly and Everything is Broken just really wonderful. 350 00:18:42,440 --> 00:18:45,440 Speaker 3: Can you tell me about your time on the road 351 00:18:45,520 --> 00:18:48,720 Speaker 3: with Bob and what you learned from being on the 352 00:18:48,760 --> 00:18:49,760 Speaker 3: road with Bob Dylan. 353 00:18:50,520 --> 00:18:53,760 Speaker 1: Well, yeah, so I did two different tours with Helen. 354 00:18:53,880 --> 00:18:56,600 Speaker 1: My first album came out, I did it entire tour 355 00:18:56,680 --> 00:18:59,080 Speaker 1: opening up for him, and then when the second album 356 00:18:59,119 --> 00:19:03,920 Speaker 1: came out, another tour opening up for him. And besides 357 00:19:03,960 --> 00:19:06,800 Speaker 1: like watching him, because you know, he's. 358 00:19:06,720 --> 00:19:07,880 Speaker 2: That iconic. 359 00:19:09,320 --> 00:19:14,960 Speaker 1: Musician and performer and songwriter. What I really learned about 360 00:19:15,040 --> 00:19:19,399 Speaker 1: him and this is just my experience, but like he 361 00:19:19,600 --> 00:19:22,399 Speaker 1: was like one of the first lessons that I learned 362 00:19:22,400 --> 00:19:28,639 Speaker 1: about not taking on other people's opinions of someone, because 363 00:19:30,040 --> 00:19:33,439 Speaker 1: just because someone had a certain experience with an individual, 364 00:19:34,119 --> 00:19:36,640 Speaker 1: it doesn't mean that that's going to be my experience. 365 00:19:36,800 --> 00:19:39,240 Speaker 1: And so and a lot of times people want to 366 00:19:39,240 --> 00:19:42,800 Speaker 1: tell you, I'm speaking more like a negativity, right, Like 367 00:19:43,320 --> 00:19:45,679 Speaker 1: you know, people are like, oh, you know, Bob, he 368 00:19:45,720 --> 00:19:48,240 Speaker 1: doesn't want people looking at him. You know, he doesn't 369 00:19:48,320 --> 00:19:50,560 Speaker 1: you can't talk to him, you can't look his way 370 00:19:50,600 --> 00:19:53,760 Speaker 1: if he's walking in the room, or you know, all 371 00:19:53,760 --> 00:19:57,919 Speaker 1: these stories that you would hear people say, and I'm like, 372 00:19:58,119 --> 00:20:02,560 Speaker 1: and so what I've been he was the exact opposite. 373 00:20:02,600 --> 00:20:07,000 Speaker 1: Like he was so nice to me. He was so outgoing, 374 00:20:07,119 --> 00:20:10,080 Speaker 1: Like every single day I did a sound check, he 375 00:20:10,200 --> 00:20:12,879 Speaker 1: came out and watched my sound check, and then he 376 00:20:13,000 --> 00:20:15,439 Speaker 1: came up on the stage after I was done, and 377 00:20:15,480 --> 00:20:17,760 Speaker 1: he walked right up to me. He shook my head, 378 00:20:17,760 --> 00:20:20,520 Speaker 1: and he would stand there and talk to me every day, 379 00:20:21,080 --> 00:20:24,800 Speaker 1: and then at one point he told me, he said, hey, man, 380 00:20:24,880 --> 00:20:26,480 Speaker 1: He's like, I don't care if you have a new 381 00:20:26,520 --> 00:20:28,399 Speaker 1: record coming out or if you're just working up some 382 00:20:28,480 --> 00:20:30,200 Speaker 1: new material. You can come out on the road with 383 00:20:30,240 --> 00:20:34,960 Speaker 1: me anytime. And it was just like, not any of 384 00:20:35,000 --> 00:20:38,080 Speaker 1: the things that people had said about him, and a 385 00:20:38,119 --> 00:20:40,359 Speaker 1: lot of time of stories taken on a life of 386 00:20:40,359 --> 00:20:44,399 Speaker 1: their own. But yeah, I was like, wow, you know, 387 00:20:44,520 --> 00:20:46,840 Speaker 1: you can't listen to all that stuff, like you really 388 00:20:46,880 --> 00:20:51,520 Speaker 1: have to treat every individual encounter as a unique situation 389 00:20:51,960 --> 00:20:55,600 Speaker 1: that's between you and that person. Because just because someone 390 00:20:55,600 --> 00:20:58,200 Speaker 1: else might have had an experience and maybe you don't 391 00:20:58,200 --> 00:21:01,439 Speaker 1: even know what they're telling you is entirely accurate, but 392 00:21:01,480 --> 00:21:03,800 Speaker 1: that doesn't mean that's what my experience is going to be. 393 00:21:03,840 --> 00:21:05,320 Speaker 1: And that was a big lesson And I've learned that 394 00:21:05,400 --> 00:21:09,360 Speaker 1: lesson many many times over in the years that I've 395 00:21:09,359 --> 00:21:12,320 Speaker 1: been doing what I do, and you hear all these 396 00:21:12,520 --> 00:21:15,080 Speaker 1: outlandish stories about people and that I meet them, and 397 00:21:15,160 --> 00:21:17,800 Speaker 1: I'm like, this is not the same guy that they're 398 00:21:17,840 --> 00:21:18,960 Speaker 1: trying to make him out to be. 399 00:21:19,200 --> 00:21:19,439 Speaker 2: You know. 400 00:21:19,880 --> 00:21:20,480 Speaker 3: I love that. 401 00:21:20,960 --> 00:21:23,119 Speaker 2: We'll be right back with more of the Taking a 402 00:21:23,160 --> 00:21:31,399 Speaker 2: Walk Podcast. Welcome back to the Taking a Walk Podcast. 403 00:21:32,240 --> 00:21:35,440 Speaker 3: Tell me about playing with bb King. Did you find 404 00:21:35,480 --> 00:21:40,280 Speaker 3: it particularly interesting that he never played chords? 405 00:21:40,920 --> 00:21:43,520 Speaker 1: Oh, he would play chords. He would play a phrase 406 00:21:43,560 --> 00:21:46,320 Speaker 1: and then ended with a chord, you know. But what 407 00:21:46,600 --> 00:21:48,480 Speaker 1: I guess the thing is is that Babe never really 408 00:21:48,480 --> 00:21:52,560 Speaker 1: played rhythm guitar like. He always weaved his guitar playing 409 00:21:52,680 --> 00:21:56,600 Speaker 1: in and out in between him singing. But he always 410 00:21:56,600 --> 00:21:59,640 Speaker 1: had such a big band backing him up that could 411 00:21:59,720 --> 00:22:03,320 Speaker 1: fill and you know the musical gads so well that 412 00:22:03,480 --> 00:22:05,880 Speaker 1: you know it didn't beat it any had a rhyalim 413 00:22:05,920 --> 00:22:08,800 Speaker 1: guitar player as well. So but that was his style. 414 00:22:08,840 --> 00:22:11,199 Speaker 1: That's what really worked for him. And sometimes that's great. 415 00:22:12,400 --> 00:22:15,760 Speaker 1: I wish that I could do that because it frees 416 00:22:15,760 --> 00:22:17,720 Speaker 1: you up to focus more on your singing when you 417 00:22:17,760 --> 00:22:20,800 Speaker 1: have to sing. But a lot of times I struggle 418 00:22:20,880 --> 00:22:23,880 Speaker 1: with like other guitar players and the way they play 419 00:22:23,960 --> 00:22:27,440 Speaker 1: certain parts, and like if I plail the guitar tracks 420 00:22:27,440 --> 00:22:29,560 Speaker 1: on the record, so then when I'm performing, I want 421 00:22:29,600 --> 00:22:33,320 Speaker 1: all those parts to sound exactly like I played them. 422 00:22:33,359 --> 00:22:37,040 Speaker 1: That sometimes it's just not possible, so like it becomes 423 00:22:37,040 --> 00:22:40,760 Speaker 1: a distraction to my ears sometimes if I hand over 424 00:22:40,840 --> 00:22:44,280 Speaker 1: guitar parts somebody else, and so as a result, there's 425 00:22:44,320 --> 00:22:47,520 Speaker 1: just certain songs that I can't necessarily sing and play 426 00:22:47,560 --> 00:22:50,720 Speaker 1: at the same time. So maybe those songs, if I'm 427 00:22:50,720 --> 00:22:52,760 Speaker 1: the one doing the lead vocals, don't make it into 428 00:22:52,800 --> 00:22:53,400 Speaker 1: the live show. 429 00:22:53,520 --> 00:22:58,000 Speaker 3: Sometimes you played a lot of small venues obviously when 430 00:22:58,040 --> 00:23:02,160 Speaker 3: you were starting out, and you're not playing many small venues, 431 00:23:02,200 --> 00:23:03,680 Speaker 3: do you miss those places? 432 00:23:04,680 --> 00:23:04,760 Speaker 2: No? 433 00:23:04,960 --> 00:23:06,680 Speaker 1: I mean, you can go back to any of those 434 00:23:06,720 --> 00:23:09,680 Speaker 1: places anytime. I mean, I'll go sit in with friends 435 00:23:10,440 --> 00:23:13,720 Speaker 1: that are doing gigs and bars and stuff like that 436 00:23:13,800 --> 00:23:17,040 Speaker 1: whenever I have, you know, time to do that. I mean, 437 00:23:17,920 --> 00:23:21,600 Speaker 1: and I don't know. I feel like I've played everything 438 00:23:21,680 --> 00:23:23,480 Speaker 1: from you know, a little hole in the wall gigs 439 00:23:23,520 --> 00:23:26,480 Speaker 1: to you know, opening up for the Eagles and the 440 00:23:26,560 --> 00:23:30,520 Speaker 1: Rolling Stones in frontay eighty thousand people, So every experience 441 00:23:30,680 --> 00:23:33,000 Speaker 1: is pretty cool and it's all right. I mean a 442 00:23:33,000 --> 00:23:35,240 Speaker 1: lot of people like the small places because it feels 443 00:23:35,280 --> 00:23:38,440 Speaker 1: more intimate, But I think the theaters is kind of 444 00:23:38,480 --> 00:23:40,600 Speaker 1: where it's at I think my fan base likes to 445 00:23:40,600 --> 00:23:42,440 Speaker 1: have reserved seating. I don't think they want to be 446 00:23:42,520 --> 00:23:46,840 Speaker 1: on their feet all night. You know, there's not a 447 00:23:46,920 --> 00:23:51,120 Speaker 1: lot of times bar environments can be unpredictable. You throw 448 00:23:51,119 --> 00:23:53,680 Speaker 1: a lot of alcohol in the equation, and you know 449 00:23:53,960 --> 00:23:58,280 Speaker 1: the fireworks can go off. So you know, the theaters 450 00:23:58,280 --> 00:24:01,359 Speaker 1: and amphitheaters is kind of where for sure, I think, 451 00:24:01,440 --> 00:24:04,840 Speaker 1: you know, it's the nice middle ground between small places 452 00:24:04,880 --> 00:24:06,360 Speaker 1: and the super big places. 453 00:24:07,280 --> 00:24:10,879 Speaker 3: Tell me about your evolution ultimately, I think it was 454 00:24:11,040 --> 00:24:16,119 Speaker 3: maybe twenty nineteen of them, not mistaken where horns became 455 00:24:16,240 --> 00:24:19,399 Speaker 3: more part of your presentation. Can you talk about that? 456 00:24:20,240 --> 00:24:23,040 Speaker 1: Yeah, I do use soarings on a few songs here 457 00:24:23,080 --> 00:24:26,639 Speaker 1: and there on different albums over the years, not really 458 00:24:26,760 --> 00:24:31,480 Speaker 1: a lot, but I always liked the idea of horns. 459 00:24:31,760 --> 00:24:34,680 Speaker 1: But I was doing the Traveler record, and a lot 460 00:24:34,720 --> 00:24:39,360 Speaker 1: of that record is pretty rockin right, Like we did 461 00:24:39,359 --> 00:24:43,640 Speaker 1: a Buffalo Springfield song Mister Soul. We did a Joe 462 00:24:43,720 --> 00:24:49,200 Speaker 1: Walsh cover. The opening track Woman Like You is pretty rocking, 463 00:24:49,280 --> 00:24:52,879 Speaker 1: and so there's there's several songs on that record the 464 00:24:53,080 --> 00:24:55,919 Speaker 1: rock pretty hard. And so I heard there was a 465 00:24:55,920 --> 00:24:58,200 Speaker 1: song called I Want you, which is a pretty if 466 00:24:58,240 --> 00:25:01,160 Speaker 1: you asked me, like, what's my finish, what's the Kenny 467 00:25:01,200 --> 00:25:06,040 Speaker 1: Wayne Shephard definition In one song with contemporary blues, I 468 00:25:06,040 --> 00:25:08,280 Speaker 1: would play you that song because like, it has all 469 00:25:08,320 --> 00:25:11,600 Speaker 1: the elements. It was like, I think actual blieves, not 470 00:25:11,680 --> 00:25:15,120 Speaker 1: blues rock, but like modern US music. So I heard 471 00:25:15,119 --> 00:25:17,760 Speaker 1: horns on that song, so I was like, well, let's 472 00:25:18,080 --> 00:25:20,080 Speaker 1: bring these guys in and have to play horns on 473 00:25:20,119 --> 00:25:22,240 Speaker 1: that song. And I was like, well, while we're here, 474 00:25:23,160 --> 00:25:25,119 Speaker 1: let's see what it sounds like gone this song or 475 00:25:25,160 --> 00:25:27,439 Speaker 1: that song. And the next thing, you know, I was like, wow, man, 476 00:25:27,920 --> 00:25:29,760 Speaker 1: let's see what it sounds like. Put them on almost 477 00:25:29,840 --> 00:25:33,359 Speaker 1: every song and it was really interesting, especially with the 478 00:25:33,400 --> 00:25:36,640 Speaker 1: Mister Soul because that thing is really really rocking, and 479 00:25:36,880 --> 00:25:40,200 Speaker 1: you know, you wouldn't think about putting a horn section 480 00:25:40,240 --> 00:25:41,960 Speaker 1: of a song at wrongs like that, but it was 481 00:25:42,000 --> 00:25:45,240 Speaker 1: actually a really cool experiment, sounded great, and so because 482 00:25:45,320 --> 00:25:47,240 Speaker 1: I had used them on so much of the record, 483 00:25:47,280 --> 00:25:49,359 Speaker 1: then I decided I need to bring horns out of 484 00:25:49,400 --> 00:25:52,720 Speaker 1: the road. And so then we took them out and 485 00:25:52,760 --> 00:25:54,119 Speaker 1: we had a horn section out of the road, and 486 00:25:54,160 --> 00:25:56,080 Speaker 1: that was cool for us and for the fans too, 487 00:25:56,119 --> 00:25:57,840 Speaker 1: because there's a lot of fans that have seen us 488 00:25:57,920 --> 00:26:01,119 Speaker 1: many times over the decades, and it gives them a 489 00:26:01,160 --> 00:26:05,760 Speaker 1: new experience in the live setting, and us as well musically. 490 00:26:05,920 --> 00:26:09,200 Speaker 1: So we've kind of continued that. There's horns all over 491 00:26:10,000 --> 00:26:13,200 Speaker 1: the new record Dirt on My Diamonds, both of them 492 00:26:13,240 --> 00:26:16,240 Speaker 1: Volume one and Volume two, and you know, it's cool. 493 00:26:17,280 --> 00:26:20,320 Speaker 1: Like I said, it brings a different vibe to the band, 494 00:26:20,600 --> 00:26:24,480 Speaker 1: and it musically, every time you add or subtract an 495 00:26:24,520 --> 00:26:27,639 Speaker 1: instrument to the band, then it affects every all the 496 00:26:27,680 --> 00:26:30,159 Speaker 1: other players and so then you have to adjust accordingly. 497 00:26:30,200 --> 00:26:32,960 Speaker 1: So it keeps everybody on their toes music as well. 498 00:26:33,840 --> 00:26:36,760 Speaker 3: Do you think sometimes there's too much perfection in the 499 00:26:36,800 --> 00:26:40,320 Speaker 3: way things are produced these days in general? 500 00:26:41,240 --> 00:26:47,680 Speaker 1: No? No, because no, because there's not. I mean, it 501 00:26:47,720 --> 00:26:50,199 Speaker 1: depends on what you're talking about. But like pop music, 502 00:26:50,359 --> 00:26:53,880 Speaker 1: like the really popular stuff nowadays, they're not striving for perfection. 503 00:26:54,520 --> 00:26:58,000 Speaker 1: Those people are like a lot of it. I'm not 504 00:26:58,080 --> 00:27:00,760 Speaker 1: saying anybody in particular, but you know when you hear 505 00:27:00,800 --> 00:27:04,359 Speaker 1: these songs and pop music becomes so saturated that like 506 00:27:04,400 --> 00:27:06,520 Speaker 1: you could hear like you could listen to the radio 507 00:27:06,560 --> 00:27:08,720 Speaker 1: and you can hear like five different songs and they 508 00:27:08,760 --> 00:27:11,000 Speaker 1: all sound like they can be the same artists, yep, 509 00:27:11,119 --> 00:27:15,119 Speaker 1: but different artists. That's the lowest common denominator. That's not 510 00:27:15,160 --> 00:27:19,560 Speaker 1: striving for perfection. That's trying to cash in on what's trending. 511 00:27:20,119 --> 00:27:23,520 Speaker 1: You know, it's not striving to be the best you 512 00:27:23,560 --> 00:27:27,439 Speaker 1: can eat. It's so no. I mean, you know, I 513 00:27:27,480 --> 00:27:30,199 Speaker 1: do think that there are some artists certainly that are 514 00:27:30,240 --> 00:27:36,000 Speaker 1: striving for perfection, and we kind of walk the line 515 00:27:36,080 --> 00:27:40,199 Speaker 1: between you know, being the We strive to be the 516 00:27:40,240 --> 00:27:42,520 Speaker 1: best that we can be on any given day, right, 517 00:27:43,080 --> 00:27:48,000 Speaker 1: But I also know, like the whole that you can 518 00:27:48,000 --> 00:27:51,800 Speaker 1: dig yourself if you start overanalyzing things and going down 519 00:27:51,800 --> 00:27:54,200 Speaker 1: the rabbit hole. It's like, you know, trying to make 520 00:27:54,280 --> 00:27:57,439 Speaker 1: things perfect if you because if you try and make 521 00:27:57,480 --> 00:28:02,600 Speaker 1: things perfect, then it also it can possibly lose the 522 00:28:02,760 --> 00:28:07,720 Speaker 1: realness in the music, you know, because because it's too perfect. 523 00:28:07,840 --> 00:28:11,720 Speaker 1: So I embrace some of the flaws. And my goal 524 00:28:11,920 --> 00:28:15,200 Speaker 1: actually from my band, I feel the best representation of 525 00:28:15,280 --> 00:28:17,800 Speaker 1: what we do is to capture the essence of the 526 00:28:17,880 --> 00:28:21,919 Speaker 1: lot performance in studio. So that means that like sometimes 527 00:28:21,960 --> 00:28:25,320 Speaker 1: you know, there may be a missed lick here and there, 528 00:28:25,480 --> 00:28:30,080 Speaker 1: or something is not perfect but we got the vibe 529 00:28:30,080 --> 00:28:33,040 Speaker 1: and the energy is there and that's what's most important, 530 00:28:33,080 --> 00:28:35,000 Speaker 1: and so that's the track that we're going to use. 531 00:28:36,440 --> 00:28:39,040 Speaker 3: I love how you have the respect for, you know, 532 00:28:39,080 --> 00:28:42,160 Speaker 3: so many of the greats you know before you, and 533 00:28:42,200 --> 00:28:45,720 Speaker 3: how you've never been bashful at shining a light on 534 00:28:46,760 --> 00:28:50,200 Speaker 3: you know. I'll just think of you know, Pinetop Perkins 535 00:28:50,240 --> 00:28:52,880 Speaker 3: as an example, and I think that's so sweet on 536 00:28:52,960 --> 00:28:59,560 Speaker 3: how you've always approached the past and the history. But 537 00:28:59,680 --> 00:29:02,840 Speaker 3: I think as just going back to what we talked 538 00:29:02,840 --> 00:29:06,560 Speaker 3: about earlier, your you know, open mindedness to other things 539 00:29:06,560 --> 00:29:09,280 Speaker 3: that are part of the present as well that you 540 00:29:09,360 --> 00:29:14,200 Speaker 3: really embrace. Is there anybody in the present that you 541 00:29:14,360 --> 00:29:17,640 Speaker 3: embrace that you want to tell us about and shine. 542 00:29:17,360 --> 00:29:17,720 Speaker 2: A light on. 543 00:29:18,680 --> 00:29:21,040 Speaker 1: Well, I think there's a lot of there's a lot 544 00:29:21,040 --> 00:29:24,120 Speaker 1: of good young talent out there, and I don't I'm 545 00:29:24,160 --> 00:29:26,840 Speaker 1: aware of just about all of them because I like 546 00:29:26,920 --> 00:29:31,120 Speaker 1: watching you know, who's coming up next. And it's also 547 00:29:31,200 --> 00:29:33,880 Speaker 1: interesting to be on this side of the equation now 548 00:29:33,960 --> 00:29:36,560 Speaker 1: because at one point I was like, you know, part 549 00:29:36,640 --> 00:29:38,000 Speaker 1: of the generation that we. 550 00:29:37,840 --> 00:29:38,640 Speaker 2: Were the new blood. 551 00:29:38,720 --> 00:29:41,720 Speaker 1: We were the young guns, the up and comers, and 552 00:29:41,760 --> 00:29:44,480 Speaker 1: now I'm transitioning into Like you know, I'm kind of 553 00:29:44,480 --> 00:29:47,160 Speaker 1: becoming part of the older generation. I'm watching the new 554 00:29:47,920 --> 00:29:51,720 Speaker 1: young generation come up. So and it's nice to watch 555 00:29:51,720 --> 00:29:53,400 Speaker 1: that because it brings back a lot of that ps 556 00:29:53,440 --> 00:29:57,880 Speaker 1: and it also helps me to to feel, you know, reassured. 557 00:29:58,000 --> 00:29:59,760 Speaker 1: I think, like a lot of my heroes did that. 558 00:29:59,800 --> 00:30:02,520 Speaker 1: The is going to continue because there's new life being 559 00:30:02,520 --> 00:30:05,600 Speaker 1: brought into it. But so there's a long list, I mean, 560 00:30:05,720 --> 00:30:07,320 Speaker 1: just off the top line head some of the people 561 00:30:07,360 --> 00:30:10,000 Speaker 1: out here on this Hendrix tour that I'm doing. Christine 562 00:30:10,080 --> 00:30:14,560 Speaker 1: kingfish Ingram, I mean, he's already made an incredible name 563 00:30:14,600 --> 00:30:18,040 Speaker 1: for himself, a great player, great singer. It's already I 564 00:30:18,040 --> 00:30:20,240 Speaker 1: think he's already won like two Grammys. I mean, you know, 565 00:30:20,280 --> 00:30:25,400 Speaker 1: the guy's he's an incredible musician. And there's some ladies 566 00:30:25,440 --> 00:30:28,120 Speaker 1: out there that doing a killer job. I mean, Shamika Coupla, 567 00:30:28,200 --> 00:30:30,400 Speaker 1: she's part of my job, but like I think she's 568 00:30:30,440 --> 00:30:34,320 Speaker 1: incredible and uh, and then you have Samantha Fish and 569 00:30:34,400 --> 00:30:39,360 Speaker 1: she's just blazing hot at Ali Benables is blazon intrail 570 00:30:39,400 --> 00:30:41,760 Speaker 1: for herself. And you know, there's the list goes on 571 00:30:41,840 --> 00:30:44,640 Speaker 1: and on. There's a lot of but those are just 572 00:30:44,680 --> 00:30:45,960 Speaker 1: a jew off the top of my head. 573 00:30:47,320 --> 00:30:51,280 Speaker 3: You had some great history with Van Halen, including you know, 574 00:30:51,360 --> 00:30:55,080 Speaker 3: touring obviously with them on the last tour. Can you 575 00:30:55,120 --> 00:30:58,000 Speaker 3: talk about the experience of working with Van Halen. 576 00:30:58,440 --> 00:31:00,440 Speaker 1: Yeah, well, so, I mean, we we have a lot 577 00:31:00,440 --> 00:31:05,560 Speaker 1: of history. It's really interesting how far back our history goes. 578 00:31:05,680 --> 00:31:09,720 Speaker 1: But I toured with Van Halen in the nineties when 579 00:31:09,720 --> 00:31:12,600 Speaker 1: they were Van Halen three and they had Gary Sharon. 580 00:31:12,680 --> 00:31:15,800 Speaker 1: It's elite here. So that was my first tour with Halen, 581 00:31:15,880 --> 00:31:17,640 Speaker 1: did that whole tour with them, and that's when Ed 582 00:31:17,720 --> 00:31:21,720 Speaker 1: and I became friends and maintained a friendship all the 583 00:31:21,720 --> 00:31:24,040 Speaker 1: way up until when he passed away. And so we 584 00:31:24,080 --> 00:31:27,400 Speaker 1: did the nineties tour with them, and then we were 585 00:31:27,480 --> 00:31:30,520 Speaker 1: asked to come back in twenty fifteen and we did 586 00:31:30,760 --> 00:31:33,640 Speaker 1: what was to be the last Van Halen tour ever, 587 00:31:34,120 --> 00:31:37,960 Speaker 1: which nobody knew at the time. Obviously, spent a lot 588 00:31:38,000 --> 00:31:40,960 Speaker 1: of time with him, especially in twenty fifteen on that tour. 589 00:31:41,000 --> 00:31:44,840 Speaker 1: Every day another like Bob Dylan, like every day Ed 590 00:31:44,960 --> 00:31:47,520 Speaker 1: came and found me wherever I was at and we 591 00:31:47,560 --> 00:31:50,760 Speaker 1: sat and talked, and you know, he always went out 592 00:31:50,760 --> 00:31:53,640 Speaker 1: of his way to spend time with me and to 593 00:31:53,640 --> 00:31:57,720 Speaker 1: make me feel important and that was really special. And 594 00:31:57,840 --> 00:31:59,800 Speaker 1: so he's another one of those guys where you can 595 00:31:59,800 --> 00:32:02,320 Speaker 1: hear it just depends on who you're talking to, you know, 596 00:32:02,400 --> 00:32:05,520 Speaker 1: it's like and which side of the story that person 597 00:32:05,680 --> 00:32:09,000 Speaker 1: was on. But like, he had never he could not 598 00:32:09,080 --> 00:32:13,600 Speaker 1: have been nicer to me, and he never presented himself 599 00:32:13,640 --> 00:32:17,440 Speaker 1: as anything other than a very very kind person and 600 00:32:17,600 --> 00:32:21,640 Speaker 1: really outgoing, like in regards to sharing his time and 601 00:32:21,680 --> 00:32:25,120 Speaker 1: his friendship with me. But backing all the way up, 602 00:32:25,240 --> 00:32:29,640 Speaker 1: like our families are kind of linked in an interesting 603 00:32:29,720 --> 00:32:34,240 Speaker 1: way because my dad is the guy that actually brought 604 00:32:34,400 --> 00:32:39,320 Speaker 1: Valerie Bertelli and her brothers to their first Van Halen 605 00:32:39,400 --> 00:32:42,800 Speaker 1: concert back in like the nineteen eighties when I was 606 00:32:42,840 --> 00:32:46,080 Speaker 1: a kid, which is where and he brought he got 607 00:32:46,080 --> 00:32:50,000 Speaker 1: them backstage to meet van Halen and that's the night 608 00:32:50,080 --> 00:32:53,120 Speaker 1: that Valerie met Eddie van Halen and they start and 609 00:32:53,160 --> 00:32:57,360 Speaker 1: they that was the beginning of their relationship. And so 610 00:32:58,360 --> 00:33:02,920 Speaker 1: you know, we actually our paths are linked all the 611 00:33:02,920 --> 00:33:06,000 Speaker 1: way back to when I was hid because of that, 612 00:33:06,160 --> 00:33:08,160 Speaker 1: and it's kind of fascinating if you look at that, 613 00:33:08,280 --> 00:33:12,239 Speaker 1: you go, wow, there's that moment and then you know, 614 00:33:12,880 --> 00:33:15,360 Speaker 1: in the nineteen nineties, I'm out on the road with 615 00:33:15,440 --> 00:33:17,560 Speaker 1: those guys opening up for them and then again in 616 00:33:17,640 --> 00:33:20,760 Speaker 1: twenty fifteen, and you know, got this friendship going with it. 617 00:33:21,600 --> 00:33:25,800 Speaker 1: It's pretty interesting, you know, how intertwined to a certain degree, 618 00:33:26,040 --> 00:33:28,960 Speaker 1: our families are. Where have you. 619 00:33:28,960 --> 00:33:32,160 Speaker 3: Got these amazing guitars that you have as part of 620 00:33:32,160 --> 00:33:37,640 Speaker 3: your collection? The sixty one strat and I think it's 621 00:33:37,680 --> 00:33:40,200 Speaker 3: a Monterey Strat. Where did you pick these up? All 622 00:33:40,280 --> 00:33:41,240 Speaker 3: different places? 623 00:33:41,760 --> 00:33:44,560 Speaker 1: Yeah, it just depends on the guitar. But the sixty 624 00:33:44,560 --> 00:33:48,080 Speaker 1: one I got at the Guitar Center in Hollywood on 625 00:33:48,200 --> 00:33:51,080 Speaker 1: Sunset Boulevard podcast. I was probably eighteen years old when 626 00:33:51,120 --> 00:33:54,800 Speaker 1: I was finally able to buy that guitar. And then 627 00:33:55,160 --> 00:33:57,640 Speaker 1: the the Monterey Strap. My dad gave that to me 628 00:33:57,720 --> 00:33:59,760 Speaker 1: as a birthday present. I want to say when I 629 00:33:59,800 --> 00:34:05,560 Speaker 1: was maybe twenty, but I think nineteen. And I mean 630 00:34:05,640 --> 00:34:07,840 Speaker 1: every guitar had is kind of a different story behind it, 631 00:34:07,880 --> 00:34:11,719 Speaker 1: you know. I got a fifty was a fifty eight Strat. 632 00:34:12,360 --> 00:34:13,880 Speaker 1: I was on the road with Van Halen in the 633 00:34:13,960 --> 00:34:16,440 Speaker 1: nineties and I did an in store autographs signing and 634 00:34:16,480 --> 00:34:19,680 Speaker 1: a guitar center Houston, Texas before the show that night, 635 00:34:19,800 --> 00:34:22,439 Speaker 1: and once I finished signing all the autographs. I looked 636 00:34:22,480 --> 00:34:25,240 Speaker 1: up on the wall and there was just mint condition 637 00:34:25,440 --> 00:34:28,120 Speaker 1: fifty eight strat hanging on the wall. So I left 638 00:34:28,400 --> 00:34:31,640 Speaker 1: Guitar Center with that guitar that night and proceeded to 639 00:34:31,640 --> 00:34:34,520 Speaker 1: play it on the tour for the rest of the 640 00:34:34,560 --> 00:34:37,200 Speaker 1: tour and for many years after that. Still have that guitar. 641 00:34:38,000 --> 00:34:40,920 Speaker 1: So everyone kind of has some little special story. And 642 00:34:41,400 --> 00:34:45,000 Speaker 1: you know, I've never sold any of my gear, so 643 00:34:45,560 --> 00:34:48,719 Speaker 1: I kind of get I don't know, I've become sentimentally 644 00:34:48,800 --> 00:34:51,880 Speaker 1: attached to my instruments and stuff because they all I 645 00:34:51,960 --> 00:34:54,240 Speaker 1: kind of have a certain experience attached. 646 00:34:55,440 --> 00:34:57,080 Speaker 3: I think they're attached to you as well. 647 00:34:57,680 --> 00:34:59,000 Speaker 1: Yeah, maybe, so, you know. 648 00:34:59,640 --> 00:35:05,680 Speaker 3: I think so. In closing, if there was a sixteen 649 00:35:05,760 --> 00:35:09,440 Speaker 3: year old up and coming musician who was just starting 650 00:35:09,520 --> 00:35:13,879 Speaker 3: out maybe who just got signed, what advice from your 651 00:35:13,960 --> 00:35:17,080 Speaker 3: time would you give that individual on how they could 652 00:35:17,200 --> 00:35:20,200 Speaker 3: kind of make it in this awesome business but this 653 00:35:20,280 --> 00:35:21,280 Speaker 3: difficult business. 654 00:35:22,600 --> 00:35:26,359 Speaker 1: Well, the thing is is there's so many things are 655 00:35:26,480 --> 00:35:29,440 Speaker 1: so different today than they were when I was sixteen 656 00:35:30,160 --> 00:35:34,400 Speaker 1: and signed my record. When I was yelling, there was 657 00:35:34,400 --> 00:35:38,080 Speaker 1: no such thing as the internet, so the only way 658 00:35:38,120 --> 00:35:40,360 Speaker 1: you could really get exposure was by getting out and 659 00:35:40,360 --> 00:35:42,439 Speaker 1: putting a band together and playing you know, at least 660 00:35:42,480 --> 00:35:45,880 Speaker 1: dive bars and just trying to build a name for 661 00:35:45,920 --> 00:35:49,960 Speaker 1: yourself and a small fan base and some kind of momentum, 662 00:35:50,080 --> 00:35:54,960 Speaker 1: you know. And so nowadays you have like social media, 663 00:35:55,080 --> 00:35:58,440 Speaker 1: and you know, every and you can record stuff on 664 00:35:58,480 --> 00:36:02,520 Speaker 1: your cell phone. Every computer comes with some kind of 665 00:36:02,600 --> 00:36:07,040 Speaker 1: recording program in it. People are making records in their bedrooms, 666 00:36:07,160 --> 00:36:10,840 Speaker 1: and so there's so many opportunities that are available to 667 00:36:10,920 --> 00:36:13,399 Speaker 1: young artists today that didn't exist when I was a kid. 668 00:36:13,480 --> 00:36:16,399 Speaker 1: But you know, the one thing that the one thing 669 00:36:16,440 --> 00:36:22,239 Speaker 1: that I think is really most important is I never 670 00:36:22,280 --> 00:36:26,160 Speaker 1: got into playing music. I wasn't seeing dollar signs and 671 00:36:27,440 --> 00:36:30,759 Speaker 1: music awards, you know. I was looking at people that 672 00:36:31,239 --> 00:36:35,759 Speaker 1: were heroes to me, that inspired me and motivated me 673 00:36:36,400 --> 00:36:41,959 Speaker 1: to try and make my instrument sound something like them. 674 00:36:42,560 --> 00:36:45,719 Speaker 1: And I just got personal satisfaction out of that, Like 675 00:36:45,840 --> 00:36:50,279 Speaker 1: it genuinely made me happy, you know, putting in the 676 00:36:50,360 --> 00:36:52,319 Speaker 1: work and then seeing it payoff. Where like I was 677 00:36:52,320 --> 00:36:54,960 Speaker 1: trying so hard to play this slick, finally I figured 678 00:36:54,960 --> 00:36:57,320 Speaker 1: out how to do it, you know, and that accomplishment 679 00:36:57,680 --> 00:37:00,800 Speaker 1: and then the next accomplishment just learning how to play 680 00:37:01,400 --> 00:37:05,439 Speaker 1: and so that evolved into a career for me, and 681 00:37:06,320 --> 00:37:07,960 Speaker 1: you know, I've been able to do it now. I've 682 00:37:08,000 --> 00:37:11,840 Speaker 1: gone on three decades and I got a loyal fan base, 683 00:37:12,360 --> 00:37:14,239 Speaker 1: and I'm grateful for all of that. I'm able to 684 00:37:14,280 --> 00:37:16,560 Speaker 1: support my family doing what I love to do. But 685 00:37:16,840 --> 00:37:18,839 Speaker 1: at the end of the day, it's like, especially with 686 00:37:18,880 --> 00:37:22,160 Speaker 1: the social media, and you start looking at the numbers 687 00:37:22,280 --> 00:37:24,440 Speaker 1: and you start going how many people are following me 688 00:37:24,560 --> 00:37:26,600 Speaker 1: and I posted up a clip of some music and 689 00:37:26,640 --> 00:37:30,480 Speaker 1: how many people liked it, And it's like they're good tools, 690 00:37:30,480 --> 00:37:33,319 Speaker 1: but it's also a lot of ambunition to beat yourself up, 691 00:37:33,480 --> 00:37:36,319 Speaker 1: you know, and for a lot of disappointment. And so 692 00:37:36,800 --> 00:37:39,399 Speaker 1: at the end of the day, you know, I don't 693 00:37:39,400 --> 00:37:41,120 Speaker 1: know what life would be like if it took a 694 00:37:41,160 --> 00:37:43,719 Speaker 1: different path for me, because this is the path that 695 00:37:43,760 --> 00:37:47,239 Speaker 1: I'm on. But I know that I just wasn't in 696 00:37:47,280 --> 00:37:50,040 Speaker 1: the beginning. I wasn't concerned about it. I wasn't even 697 00:37:51,280 --> 00:37:53,760 Speaker 1: I was just thrilled to have an opportunity to play 698 00:37:53,880 --> 00:37:57,920 Speaker 1: my instrument. And so if you just play music for 699 00:37:58,000 --> 00:38:02,400 Speaker 1: the love of playing music, and that's your reason for 700 00:38:02,520 --> 00:38:07,239 Speaker 1: doing it, then there won't be all this disappointment attached 701 00:38:07,280 --> 00:38:10,880 Speaker 1: to it, you know, because you can still appreciate playing 702 00:38:10,920 --> 00:38:15,600 Speaker 1: your instrument because of the personal satisfaction, and then if 703 00:38:15,600 --> 00:38:18,560 Speaker 1: all that other stuff comes along with it, then that's 704 00:38:18,640 --> 00:38:20,480 Speaker 1: just icing on the cake. And then you've got to 705 00:38:20,480 --> 00:38:23,480 Speaker 1: figure out how to navigate that when it comes. But 706 00:38:23,600 --> 00:38:25,840 Speaker 1: I just feel like it. There's so many people that 707 00:38:25,880 --> 00:38:30,279 Speaker 1: are like, this is the age of instant gratification, and 708 00:38:31,600 --> 00:38:34,160 Speaker 1: you have to be patient and you have to just 709 00:38:34,320 --> 00:38:38,360 Speaker 1: accept whatever is going to happen is what's going to happen, 710 00:38:38,480 --> 00:38:40,880 Speaker 1: and you just you know, if you're going to pursue it, 711 00:38:40,920 --> 00:38:43,759 Speaker 1: put your best into it, and if it works out, 712 00:38:43,800 --> 00:38:46,280 Speaker 1: then that's fantastic. You have to give it a hundred 713 00:38:46,840 --> 00:38:50,439 Speaker 1: percent minimum. But if it doesn't work out, that's okay too, 714 00:38:50,880 --> 00:38:52,839 Speaker 1: Like that's all right, don't let it take away your 715 00:38:52,960 --> 00:38:54,640 Speaker 1: joy of playing music. 716 00:38:55,640 --> 00:38:59,160 Speaker 3: Keep slinging Virtual high five, Kenny, Wayne Shephard, thanks for 717 00:38:59,200 --> 00:39:01,480 Speaker 3: being on Take It Man. I really appreciate it. 718 00:39:02,320 --> 00:39:02,719 Speaker 1: Thank you. 719 00:39:04,040 --> 00:39:06,520 Speaker 2: Thanks for listening to this episode of the Taking a 720 00:39:06,560 --> 00:39:10,440 Speaker 2: Walk Podcast. Share this and other episodes with your friends 721 00:39:10,520 --> 00:39:14,000 Speaker 2: and follow us so you never miss an episode. Taking 722 00:39:14,080 --> 00:39:17,960 Speaker 2: a Walk is available on the iHeartRadio app, Apple Podcasts, 723 00:39:18,160 --> 00:39:20,400 Speaker 2: and wherever you get your podcasts,