1 00:00:01,000 --> 00:00:01,760 Speaker 1: Taking a Walk. 2 00:00:01,880 --> 00:00:04,480 Speaker 2: The basic connection that I had with someone that was 3 00:00:04,519 --> 00:00:07,960 Speaker 2: great coming out of the whiskey was David Crosby. David 4 00:00:08,080 --> 00:00:11,320 Speaker 2: I met David and Steven and Graham kind of around 5 00:00:11,320 --> 00:00:16,400 Speaker 2: the same time, basically through my wife Leah, who is 6 00:00:16,480 --> 00:00:21,040 Speaker 2: Cass Elliott's sister. So I was privy to being at 7 00:00:21,079 --> 00:00:25,200 Speaker 2: Cass's house and meeting lots of incredible people during that time. 8 00:00:25,360 --> 00:00:29,000 Speaker 1: Welcome to the Taking a Walk Podcast, the podcast where 9 00:00:29,040 --> 00:00:32,440 Speaker 1: Buzz Night talks with musicians and gets the inside story 10 00:00:32,479 --> 00:00:36,400 Speaker 1: on their work and creative process. Today, Buzz speaks with 11 00:00:36,479 --> 00:00:39,960 Speaker 1: one of rock's great drummers. Russ Kunkle, is known for 12 00:00:40,000 --> 00:00:43,640 Speaker 1: his work with an impressive resume of artists including Bob Dylan, 13 00:00:43,960 --> 00:00:47,880 Speaker 1: Joni Mitchell, James Taylor, and Carol King. He's also part 14 00:00:47,920 --> 00:00:52,040 Speaker 1: of the session supergroup The Immediate Family, which includes Waddie Wattell, 15 00:00:52,560 --> 00:00:56,480 Speaker 1: Leland Scar and Danny Korchmark. Russ has appeared on some 16 00:00:56,520 --> 00:00:59,640 Speaker 1: of the most iconic albums of our time, and he 17 00:00:59,720 --> 00:01:02,560 Speaker 1: joined It's Buzz Night next on Taking a Walk. 18 00:01:04,080 --> 00:01:06,720 Speaker 3: Well, the great Russ Kunkle is here on the Taking 19 00:01:06,800 --> 00:01:10,440 Speaker 3: a Walk Podcast. We're gonna take a walk down Memory Lane. 20 00:01:10,520 --> 00:01:14,280 Speaker 3: Russ thanks for being here, My pleasure buzz. Did it 21 00:01:14,319 --> 00:01:17,080 Speaker 3: all start for you with Wipeout? 22 00:01:19,240 --> 00:01:21,840 Speaker 2: No one's ever asked me that question before, but it's 23 00:01:21,880 --> 00:01:27,360 Speaker 2: pretty spot on. I mean, it's certainly a song that 24 00:01:28,920 --> 00:01:32,600 Speaker 2: inspired me early on because it was such a huge hit. 25 00:01:32,720 --> 00:01:35,360 Speaker 2: I think it was a song was recorded by the Safaris, 26 00:01:35,480 --> 00:01:41,600 Speaker 2: Is that correct? Yes, and it featured a very repetitious 27 00:01:41,720 --> 00:01:44,840 Speaker 2: kind of drum part in it that everybody loved and 28 00:01:44,880 --> 00:01:45,679 Speaker 2: gravitated to. 29 00:01:47,520 --> 00:01:48,000 Speaker 4: Probably. 30 00:01:48,360 --> 00:01:50,560 Speaker 2: I guess that must have come out in nineteen sixty 31 00:01:50,560 --> 00:01:53,600 Speaker 2: three or nineteen sixty four, somewhere around then, because I 32 00:01:53,640 --> 00:01:57,360 Speaker 2: think I was in high school at that time. So yeah, 33 00:01:57,400 --> 00:02:00,760 Speaker 2: and the bands, the early bands that I was in 34 00:02:00,760 --> 00:02:04,680 Speaker 2: in Long Beach, California, we certainly played that song when 35 00:02:04,720 --> 00:02:08,080 Speaker 2: we were in our surf music craze, and at the 36 00:02:08,080 --> 00:02:10,800 Speaker 2: same time I was actually surfing. I started surfing then, 37 00:02:10,919 --> 00:02:15,280 Speaker 2: so wipeout has a double meaning for me. It was 38 00:02:15,320 --> 00:02:17,680 Speaker 2: the name of a song and I actually got wiped 39 00:02:17,680 --> 00:02:20,240 Speaker 2: out many times, so I understood it. 40 00:02:21,080 --> 00:02:25,480 Speaker 3: Did you have someone teaching you and mentoring you similar 41 00:02:25,680 --> 00:02:28,560 Speaker 3: to the movie Whiplash? 42 00:02:28,680 --> 00:02:32,080 Speaker 4: No, not at all. For the most part. 43 00:02:32,120 --> 00:02:36,160 Speaker 2: I'm self taught my brother Gilbert Kunkle My oldest brother 44 00:02:36,200 --> 00:02:40,520 Speaker 2: who's passed on now, was a drummer and he sat 45 00:02:40,560 --> 00:02:42,200 Speaker 2: me on his lap and put the sticks in my 46 00:02:42,280 --> 00:02:44,960 Speaker 2: hand when I was probably about six or seven years old, 47 00:02:45,040 --> 00:02:50,440 Speaker 2: and he introduced me to the drums. He had a band, 48 00:02:50,720 --> 00:02:53,520 Speaker 2: and his band rehearsed in our house from time to time, 49 00:02:53,600 --> 00:02:56,320 Speaker 2: and so you know, I kind of grew up with 50 00:02:56,400 --> 00:02:59,959 Speaker 2: a little bit of an inclination of what that meant 51 00:03:00,160 --> 00:03:03,120 Speaker 2: and it was very exciting. So I give him credit 52 00:03:03,160 --> 00:03:05,440 Speaker 2: for certainly setting me off in the right direction. 53 00:03:06,360 --> 00:03:10,560 Speaker 3: And the band that really began things in the big 54 00:03:10,600 --> 00:03:14,639 Speaker 3: way was your band Things to Come that ended up landing. 55 00:03:14,680 --> 00:03:16,480 Speaker 4: That was it? 56 00:03:16,639 --> 00:03:20,960 Speaker 3: Nineteen week run as the house band at the Whiskey? 57 00:03:21,040 --> 00:03:24,480 Speaker 4: Is that right? It was very close to that. 58 00:03:24,520 --> 00:03:27,960 Speaker 2: It was a long period of time and we were 59 00:03:28,000 --> 00:03:33,760 Speaker 2: taken under Mario and Elmer's wing and we were just 60 00:03:33,800 --> 00:03:36,520 Speaker 2: the opening act for lots of bands that came through 61 00:03:36,520 --> 00:03:37,040 Speaker 2: at that time. 62 00:03:37,800 --> 00:03:42,119 Speaker 4: It was an eye opening experience. I'll say that more 63 00:03:42,120 --> 00:03:45,920 Speaker 4: ways than one. I bet, yes, it definitely was. 64 00:03:45,960 --> 00:03:49,320 Speaker 2: We don't have to go into detail, but I wouldn't 65 00:03:49,320 --> 00:03:50,840 Speaker 2: trade that time for anything. 66 00:03:51,960 --> 00:03:56,840 Speaker 3: And you saw a few notorious bands come through during 67 00:03:56,880 --> 00:03:57,440 Speaker 3: that period. 68 00:03:57,480 --> 00:04:02,680 Speaker 4: Care to talk about any of those bands. Well, one 69 00:04:02,680 --> 00:04:04,360 Speaker 4: of the bands that came through was. 70 00:04:06,920 --> 00:04:11,560 Speaker 2: The Hourglass, which became the Almond Brothers, and it was 71 00:04:11,600 --> 00:04:14,640 Speaker 2: interesting to see them in that configuration. It was pretty 72 00:04:14,680 --> 00:04:17,560 Speaker 2: much the I can't be certain of this, but I 73 00:04:17,560 --> 00:04:22,040 Speaker 2: think it was the same personnel and then and of 74 00:04:22,080 --> 00:04:25,680 Speaker 2: course we know they went on to unbelievable greatness. And 75 00:04:27,120 --> 00:04:30,320 Speaker 2: another band that came through there was who had a 76 00:04:30,320 --> 00:04:35,080 Speaker 2: different name. It was DTA, which was the Chicago Transit Authority, 77 00:04:35,120 --> 00:04:38,000 Speaker 2: and I think they had a different name at that 78 00:04:38,080 --> 00:04:40,680 Speaker 2: time before they were called Chicago. Oh, I forget what 79 00:04:40,680 --> 00:04:43,800 Speaker 2: they were called. Anyway, they had a different name at 80 00:04:43,839 --> 00:04:46,200 Speaker 2: that time before they became Chicago. Got to see them, 81 00:04:47,520 --> 00:04:50,520 Speaker 2: got to see the Holly's open for them, opened for Cream, 82 00:04:51,680 --> 00:04:57,600 Speaker 2: opened for the Electric Flag, Paul Butterfield, Jean Clark, the Birds. 83 00:04:59,240 --> 00:05:01,920 Speaker 2: Got to see Jim Hendrick's play there. We didn't open 84 00:05:01,960 --> 00:05:04,080 Speaker 2: for him, but he did a show at the Whiskey 85 00:05:04,200 --> 00:05:07,360 Speaker 2: before going up to the Monterey Pop Festival. Got to 86 00:05:07,400 --> 00:05:11,440 Speaker 2: see that. It was It was definitely eye opening. 87 00:05:13,640 --> 00:05:16,680 Speaker 3: And you were just in this phase certainly that I 88 00:05:16,720 --> 00:05:20,960 Speaker 3: still believe you are in, which is learning and being 89 00:05:21,080 --> 00:05:22,480 Speaker 3: a sponge for everything. 90 00:05:22,480 --> 00:05:25,640 Speaker 4: You were witnessing. Is that fair to say? Yeah, I 91 00:05:25,640 --> 00:05:26,880 Speaker 4: don't think I've given that up. 92 00:05:27,000 --> 00:05:31,400 Speaker 2: I you know, I'm being self taught, you know. I 93 00:05:31,440 --> 00:05:33,919 Speaker 2: taught myself to play the guitar enough to write, and 94 00:05:34,000 --> 00:05:36,280 Speaker 2: a little bit of keyboard enough to write, so and 95 00:05:36,400 --> 00:05:40,359 Speaker 2: you know, kind of reinvented myself into a bit of 96 00:05:40,360 --> 00:05:43,120 Speaker 2: a songwriter and a producer, and I've had some success 97 00:05:43,200 --> 00:05:47,800 Speaker 2: doing both. So I'm I guess you could you could 98 00:05:48,160 --> 00:05:50,360 Speaker 2: liken it to being a sponge. I do like to 99 00:05:50,440 --> 00:05:54,200 Speaker 2: learn new things, and I practiced drumming and guitar every day, 100 00:05:54,279 --> 00:05:59,160 Speaker 2: and you know, so it's a I think it's a 101 00:05:59,200 --> 00:06:01,359 Speaker 2: it's a book that you can never finish reading. 102 00:06:02,400 --> 00:06:08,240 Speaker 3: So can you describe what are the traits that go 103 00:06:08,320 --> 00:06:12,800 Speaker 3: into being such an accomplished drummer as you are. 104 00:06:14,200 --> 00:06:16,000 Speaker 4: When you start out? I don't think you have. 105 00:06:15,960 --> 00:06:18,200 Speaker 2: Any idea what you're going to end up being, so 106 00:06:19,480 --> 00:06:23,880 Speaker 2: to answer a question like that, it's all hindsight, you know. 107 00:06:24,080 --> 00:06:26,039 Speaker 2: And I just never gave up, you know, and I 108 00:06:26,160 --> 00:06:26,640 Speaker 2: wanted to. 109 00:06:27,080 --> 00:06:27,800 Speaker 4: I wanted to. 110 00:06:29,640 --> 00:06:34,720 Speaker 2: Not get fired was the main objective, and to listen 111 00:06:34,839 --> 00:06:38,080 Speaker 2: enough to find out what people wanted from me, you know, 112 00:06:38,240 --> 00:06:43,279 Speaker 2: and not get caught up in doing something other than that, 113 00:06:43,520 --> 00:06:47,760 Speaker 2: and more than anything, I wanted to be appreciated and 114 00:06:47,920 --> 00:06:52,000 Speaker 2: hired back, you know, to repeat, you know, I was. 115 00:06:53,400 --> 00:06:55,880 Speaker 2: I was married at a young age. When I was 116 00:06:55,920 --> 00:06:59,200 Speaker 2: twenty one. I had my son, Nathaniel, was born when 117 00:06:59,279 --> 00:07:01,840 Speaker 2: I was twenty one, and so I had to make 118 00:07:01,880 --> 00:07:02,440 Speaker 2: an income. 119 00:07:03,360 --> 00:07:04,760 Speaker 4: My wife worked at the time too. 120 00:07:04,800 --> 00:07:07,600 Speaker 2: But you know, I had to get serious real quick, 121 00:07:07,640 --> 00:07:09,920 Speaker 2: and I think in a lot of ways that kind 122 00:07:09,960 --> 00:07:12,440 Speaker 2: of kept me on the straight and narrow when a 123 00:07:12,480 --> 00:07:16,600 Speaker 2: lot of other people who didn't have those kinds of responsibilities, 124 00:07:17,000 --> 00:07:21,600 Speaker 2: you know, went down a different road. So but you 125 00:07:21,680 --> 00:07:24,800 Speaker 2: have to listen, I guess that's the word that I'm 126 00:07:24,800 --> 00:07:27,080 Speaker 2: coming around to. You have to be aware of your 127 00:07:27,080 --> 00:07:30,720 Speaker 2: surroundings and be very aware of what's needed from you 128 00:07:31,240 --> 00:07:32,520 Speaker 2: and really try to present it. 129 00:07:33,680 --> 00:07:39,040 Speaker 3: How do you balance the intensity of your job with 130 00:07:39,920 --> 00:07:43,960 Speaker 3: the cool, calmon collected need to be the glue that 131 00:07:44,040 --> 00:07:45,200 Speaker 3: holds everything together. 132 00:07:48,160 --> 00:07:52,200 Speaker 2: When you walk into a situation where you're either recording 133 00:07:52,280 --> 00:07:57,480 Speaker 2: or you're playing live recording in particular, you don't necessarily 134 00:07:57,560 --> 00:08:02,960 Speaker 2: know the song all brand new, so there's an unknown 135 00:08:03,040 --> 00:08:07,000 Speaker 2: factor there which can be scary or it can be exciting. 136 00:08:07,240 --> 00:08:12,360 Speaker 2: You know, I try to approach every session that I 137 00:08:12,400 --> 00:08:15,440 Speaker 2: do in a way that I try to play things 138 00:08:15,480 --> 00:08:17,800 Speaker 2: that I've never played before. At least I make an 139 00:08:17,800 --> 00:08:20,560 Speaker 2: attempt to come up with something that I've never done before, 140 00:08:21,840 --> 00:08:25,200 Speaker 2: and if I'm lucky enough it it suits the song 141 00:08:25,280 --> 00:08:28,920 Speaker 2: and it makes everybody that I'm working for happy. Playing 142 00:08:29,000 --> 00:08:31,920 Speaker 2: live is you know, it's about connecting with an audience 143 00:08:32,400 --> 00:08:35,280 Speaker 2: and really connecting with the people that you're playing with. 144 00:08:35,320 --> 00:08:36,120 Speaker 4: It starts there. 145 00:08:37,280 --> 00:08:39,200 Speaker 2: You know, there has to be a real sympatical with 146 00:08:39,280 --> 00:08:42,400 Speaker 2: the people that you're playing for, and then that magic 147 00:08:43,120 --> 00:08:46,439 Speaker 2: or that feeling or that flow can move on out 148 00:08:46,480 --> 00:08:50,000 Speaker 2: to the audience and you can see it affect an audience. 149 00:08:50,440 --> 00:08:51,360 Speaker 4: One way or the other. 150 00:08:51,480 --> 00:08:53,400 Speaker 2: You can also see it affect an audience if they're 151 00:08:53,440 --> 00:08:55,280 Speaker 2: not happy with. 152 00:08:55,160 --> 00:08:56,040 Speaker 4: What they're hearing. 153 00:08:57,400 --> 00:08:59,840 Speaker 3: One of the things that came out of Things to 154 00:09:00,679 --> 00:09:05,360 Speaker 3: and the Whiskey experience was you got on the radar 155 00:09:06,600 --> 00:09:11,679 Speaker 3: with this great man, Peter Asher. Tell me about that experience. 156 00:09:12,200 --> 00:09:14,840 Speaker 4: Yeah, that's that's true. Actually, the Whiskey. 157 00:09:16,559 --> 00:09:19,120 Speaker 2: The basic connection that I had with someone that was 158 00:09:19,200 --> 00:09:23,080 Speaker 2: great coming out of the Whiskey was David Crosby. David 159 00:09:23,240 --> 00:09:26,440 Speaker 2: I met David and Steven and Graham kind of around 160 00:09:26,440 --> 00:09:31,520 Speaker 2: the same time, basically through my wife Leah, who was 161 00:09:31,600 --> 00:09:36,160 Speaker 2: Cass Elliott's sister. So I was privy to being at 162 00:09:36,240 --> 00:09:40,440 Speaker 2: Cass's house and meeting lots of incredible people during that time. 163 00:09:41,320 --> 00:09:44,400 Speaker 2: Right after the our state at the Whiskey, and David 164 00:09:44,600 --> 00:09:50,600 Speaker 2: took a took notice of me and he produced the 165 00:09:50,640 --> 00:09:53,920 Speaker 2: Things single for the Things to Come, He produced a 166 00:09:53,920 --> 00:09:59,160 Speaker 2: few things and he was a real champion of me 167 00:09:59,240 --> 00:10:02,800 Speaker 2: and my band. At time after that, I was working 168 00:10:02,840 --> 00:10:06,760 Speaker 2: for a man named John Stewart who has replaced Dave 169 00:10:06,880 --> 00:10:10,120 Speaker 2: Guard in the Kingston Trio, and he had just had 170 00:10:10,160 --> 00:10:14,280 Speaker 2: an album put out an ALM on Capitol called California Bloodlines. 171 00:10:14,320 --> 00:10:19,160 Speaker 2: And I had met John through Henry Gilts and he 172 00:10:19,200 --> 00:10:20,760 Speaker 2: asked me to come on the road with him to 173 00:10:20,800 --> 00:10:25,760 Speaker 2: promote his album. And was rehearsing with John for some 174 00:10:25,960 --> 00:10:29,959 Speaker 2: show and Peter Asher came to town and contacted his 175 00:10:30,040 --> 00:10:32,760 Speaker 2: friend Chris Darrow, who was also playing with John as 176 00:10:32,800 --> 00:10:36,360 Speaker 2: a great fiddle player, and he told Chris that he 177 00:10:36,440 --> 00:10:39,760 Speaker 2: was looking for musicians to record with his new artist, 178 00:10:39,880 --> 00:10:43,680 Speaker 2: James Taylor, and he was specifically looking for a drummer, 179 00:10:43,679 --> 00:10:46,160 Speaker 2: and Chris said, come to our rehearsals there's a great 180 00:10:46,200 --> 00:10:47,119 Speaker 2: drummer playing. 181 00:10:46,840 --> 00:10:47,400 Speaker 4: With us now. 182 00:10:47,440 --> 00:10:51,960 Speaker 2: And Peter came to the rehearsal and liked what he heard, 183 00:10:51,760 --> 00:10:55,880 Speaker 2: and like you've seen the documentary, he asked me to 184 00:10:55,880 --> 00:10:58,800 Speaker 2: play on the album. And he doesn't really think that 185 00:10:58,880 --> 00:11:01,320 Speaker 2: John ever forgave him, but I think he kind of 186 00:11:01,360 --> 00:11:01,679 Speaker 2: did it. 187 00:11:01,720 --> 00:11:05,960 Speaker 3: So he is such a treasure, isn't he, Peter, Yes, 188 00:11:06,360 --> 00:11:08,080 Speaker 3: absolutely absolutely he. 189 00:11:08,200 --> 00:11:12,600 Speaker 2: Without Without Peter's kind of intervention in my life and 190 00:11:12,679 --> 00:11:15,679 Speaker 2: my career, just you know, kind of being at the 191 00:11:15,760 --> 00:11:17,480 Speaker 2: right place at the right time and a little bit 192 00:11:17,520 --> 00:11:22,760 Speaker 2: of serendipity, my career wouldn't have been anywhere like it 193 00:11:22,800 --> 00:11:25,800 Speaker 2: is today. So he was a major factor, and so 194 00:11:25,960 --> 00:11:26,600 Speaker 2: was Lou Adler. 195 00:11:27,679 --> 00:11:30,000 Speaker 3: Tell me about Lou as a producer and what you 196 00:11:30,160 --> 00:11:32,320 Speaker 3: learned from him, Well, Lou. 197 00:11:32,240 --> 00:11:34,120 Speaker 4: And Peter are very much the same. 198 00:11:35,640 --> 00:11:37,599 Speaker 2: They they knew to stay out of the way of 199 00:11:37,679 --> 00:11:41,920 Speaker 2: the artist and let the artists do their art. And 200 00:11:41,960 --> 00:11:45,200 Speaker 2: they were great organizers. You know, you have the great 201 00:11:45,240 --> 00:11:49,520 Speaker 2: producers or cheerleaders, you know, Jimmy I been, pauls into 202 00:11:49,559 --> 00:11:53,400 Speaker 2: that category as well, So does Jimmy Bowen. You know, 203 00:11:53,520 --> 00:11:55,679 Speaker 2: Richard Perry, A lot of the great producers that I've 204 00:11:55,720 --> 00:11:59,359 Speaker 2: worked with They all have that same quality. They're cheerleaders 205 00:11:59,400 --> 00:12:02,560 Speaker 2: and they stay out of the way of the art. 206 00:12:03,520 --> 00:12:09,040 Speaker 3: So tell me how you remember the first sessions with 207 00:12:09,160 --> 00:12:13,000 Speaker 3: James Taylor well, because. 208 00:12:12,720 --> 00:12:16,080 Speaker 2: I have to say, you know, that period of time, 209 00:12:16,679 --> 00:12:18,960 Speaker 2: there was a lot of invibing going on, so I 210 00:12:18,960 --> 00:12:23,079 Speaker 2: don't remember every single bit of it, but I remember 211 00:12:23,200 --> 00:12:28,199 Speaker 2: that it was an exhilarating experience to play those songs 212 00:12:28,200 --> 00:12:33,280 Speaker 2: with James and Carol and Danny. I think we recorded 213 00:12:33,520 --> 00:12:37,920 Speaker 2: that album inside of a week. Everything was recorded. We 214 00:12:37,960 --> 00:12:42,320 Speaker 2: recorded at Sunset Sound and it was magical, you know, 215 00:12:42,360 --> 00:12:47,320 Speaker 2: it really really was. But it's hard to recall just 216 00:12:47,640 --> 00:12:52,120 Speaker 2: exactly what you were feeling something that happened over fifty 217 00:12:52,200 --> 00:12:56,040 Speaker 2: years ago, you know. But I know I was there, 218 00:12:56,640 --> 00:13:01,200 Speaker 2: and I know I was thankful. I mean, if there 219 00:13:01,280 --> 00:13:05,240 Speaker 2: was a word that I can use of my dominant emotion, 220 00:13:06,080 --> 00:13:09,840 Speaker 2: it was gratitude, just thankful to be there, you know. 221 00:13:09,920 --> 00:13:13,840 Speaker 2: And not until many, many years later that I realized 222 00:13:13,880 --> 00:13:17,720 Speaker 2: the impact or the significance that that music has had, 223 00:13:17,880 --> 00:13:22,040 Speaker 2: you know, on the world, and I'm eternally grateful for that. 224 00:13:23,679 --> 00:13:27,800 Speaker 3: Then there's the first album that I ever bought and 225 00:13:28,640 --> 00:13:33,760 Speaker 3: wore the grooves off of is this little number called 226 00:13:33,880 --> 00:13:35,520 Speaker 3: Tapestry by Carol King. 227 00:13:36,679 --> 00:13:39,440 Speaker 4: Can you talk about how magical? That was? 228 00:13:41,120 --> 00:13:46,839 Speaker 2: Very similar to recording the Sweet Baby James album. It 229 00:13:46,840 --> 00:13:49,679 Speaker 2: didn't take a long time to record Carol. 230 00:13:49,880 --> 00:13:52,120 Speaker 4: It was very prepared. 231 00:13:52,360 --> 00:13:54,760 Speaker 2: She had gone over the songs with Lou at her 232 00:13:54,840 --> 00:13:57,480 Speaker 2: house and all what Lou wanted to do, like he 233 00:13:57,520 --> 00:14:00,160 Speaker 2: says in the documentary, is just recreate what she was 234 00:14:00,200 --> 00:14:03,240 Speaker 2: doing at her house, you know, playing the piano, just 235 00:14:03,320 --> 00:14:08,080 Speaker 2: adding the instruments that they deemed to be necessary around 236 00:14:08,160 --> 00:14:11,240 Speaker 2: the songs. I didn't play on the whole album. Joe 237 00:14:11,280 --> 00:14:14,199 Speaker 2: Bishop O'Brien played. I think he actually played on more 238 00:14:14,240 --> 00:14:15,720 Speaker 2: songs than I did on Tapestry. 239 00:14:15,760 --> 00:14:20,520 Speaker 4: But but it was again, it. 240 00:14:20,520 --> 00:14:24,640 Speaker 2: Happened very quickly, and this was kind of the same 241 00:14:24,680 --> 00:14:27,360 Speaker 2: group of people. You know, James was there playing on 242 00:14:27,400 --> 00:14:29,680 Speaker 2: some of it. Jonie was there, you know, doing some 243 00:14:29,800 --> 00:14:32,520 Speaker 2: of it. Danny was there, I was there. She used 244 00:14:32,840 --> 00:14:35,520 Speaker 2: She didn't use Leland on that, She used Charlie Larky 245 00:14:35,560 --> 00:14:41,160 Speaker 2: as the bass player, and Ralph Shuckett played some other 246 00:14:41,240 --> 00:14:45,400 Speaker 2: keyboard parts, and lots of lots of other wonderful background 247 00:14:45,440 --> 00:14:50,240 Speaker 2: singers and horn players from LA. But it was very 248 00:14:50,280 --> 00:14:54,760 Speaker 2: similar to Sweet Baby James. It happened quickly, and again, 249 00:14:55,480 --> 00:14:58,720 Speaker 2: you know, in hindsight, when you look back, you kind 250 00:14:58,720 --> 00:15:01,680 Speaker 2: of have an oh my god moment that you know 251 00:15:01,760 --> 00:15:04,920 Speaker 2: that record was so satisfying to so many people. 252 00:15:05,560 --> 00:15:07,760 Speaker 1: We'll be right back with more of the Taking a 253 00:15:07,800 --> 00:15:16,000 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 254 00:15:17,240 --> 00:15:17,760 Speaker 2: Is there a. 255 00:15:19,280 --> 00:15:25,880 Speaker 3: Similar zone like athletes talk about that a musician a 256 00:15:25,960 --> 00:15:29,280 Speaker 3: drummer gets into, either in a session or in a 257 00:15:29,280 --> 00:15:30,200 Speaker 3: live performance. 258 00:15:30,280 --> 00:15:32,520 Speaker 4: Is it the zone? 259 00:15:33,360 --> 00:15:37,960 Speaker 2: I refer to it as a flow, and yeah, of course, yeah, 260 00:15:38,000 --> 00:15:40,400 Speaker 2: But you know I try to get into that thing 261 00:15:40,640 --> 00:15:43,360 Speaker 2: in everything that I do, you know, whether I'm surfing 262 00:15:43,440 --> 00:15:46,760 Speaker 2: or swimming, or working out or writing. 263 00:15:46,400 --> 00:15:48,480 Speaker 4: Or playing an playing an instrument. 264 00:15:48,640 --> 00:15:53,120 Speaker 2: Yeah, you definitely want to find that place and stay 265 00:15:53,120 --> 00:15:54,080 Speaker 2: in it for sure. 266 00:15:55,880 --> 00:15:59,560 Speaker 3: Can you talk about the experience that happened in a 267 00:15:59,600 --> 00:16:03,720 Speaker 3: session in New York City that included the likes of 268 00:16:04,400 --> 00:16:06,200 Speaker 3: George Harrison and Bob Dylan. 269 00:16:08,240 --> 00:16:11,680 Speaker 2: I was in New York with Peter. He took me 270 00:16:11,720 --> 00:16:14,240 Speaker 2: to New York to play drums on a Tony cossen 271 00:16:14,320 --> 00:16:17,560 Speaker 2: Act record, an artist he was producing. This was after 272 00:16:17,640 --> 00:16:22,320 Speaker 2: Sweet Baby James, after the James Taylor albums, and we 273 00:16:22,360 --> 00:16:23,760 Speaker 2: had finished recording. 274 00:16:23,360 --> 00:16:25,280 Speaker 4: And I was in my hotel. 275 00:16:25,360 --> 00:16:28,360 Speaker 2: We were leaving the next day and Peter called me 276 00:16:28,440 --> 00:16:31,680 Speaker 2: and said, put your put your drums in a cab 277 00:16:31,840 --> 00:16:34,720 Speaker 2: and come down two CBS studios. 278 00:16:35,360 --> 00:16:38,160 Speaker 4: And I said, what happened? We were cutting more tracks. 279 00:16:38,160 --> 00:16:41,320 Speaker 2: He said, no, you're gonna play with Bob Dylan and 280 00:16:41,360 --> 00:16:43,960 Speaker 2: George Harrison. They're in the studio and they need a drummer. 281 00:16:44,280 --> 00:16:50,239 Speaker 2: So they called me. So after I composed to myself, 282 00:16:51,440 --> 00:16:56,320 Speaker 2: I got my drums down to the studio and took 283 00:16:56,360 --> 00:17:00,040 Speaker 2: him inside and sat them up, and I'm jamming, I 284 00:17:00,120 --> 00:17:01,760 Speaker 2: mean with Bob Dylan. 285 00:17:01,480 --> 00:17:02,360 Speaker 4: And George Harrison. 286 00:17:03,120 --> 00:17:06,960 Speaker 2: Bob wanted to play Beatles songs and Elvis Presley songs, 287 00:17:07,560 --> 00:17:11,119 Speaker 2: and George wanted to play Dylan songs, and so they 288 00:17:11,200 --> 00:17:13,680 Speaker 2: kind of just traded back and forth. I think Al 289 00:17:13,800 --> 00:17:19,400 Speaker 2: Cooper was there playing Oregon. Charlie Daniels was there, I think, 290 00:17:19,480 --> 00:17:24,200 Speaker 2: playing bass at that time. And then that same configuration 291 00:17:24,320 --> 00:17:29,000 Speaker 2: of people were called back by Bruce Johnston, who is 292 00:17:29,160 --> 00:17:34,199 Speaker 2: not Bruce Bruce Johnson, Bob who produced Bob Johnson exactly, 293 00:17:34,320 --> 00:17:35,720 Speaker 2: Bruce Johnson's and the Beach Boys. 294 00:17:35,840 --> 00:17:39,040 Speaker 4: Is it ruling Bob, remember right exactly? 295 00:17:39,560 --> 00:17:42,040 Speaker 2: He called me two months later to come to New 296 00:17:42,119 --> 00:17:44,679 Speaker 2: York and play on the New Morning album with the 297 00:17:44,680 --> 00:17:50,560 Speaker 2: same group of people. You know, I had the headphones 298 00:17:50,600 --> 00:17:52,399 Speaker 2: on and I have George Harrison in one ear and 299 00:17:52,440 --> 00:17:56,360 Speaker 2: Bob Dylan in the other, and I, you know, if 300 00:17:57,000 --> 00:17:59,080 Speaker 2: I don't know how I kept my head from exploding, 301 00:17:59,280 --> 00:18:03,679 Speaker 2: but it was a magnificent experience, to say the least. 302 00:18:04,320 --> 00:18:06,080 Speaker 2: And I think there's a bootleg of some of that 303 00:18:06,160 --> 00:18:08,800 Speaker 2: stuff that came out at some point. I seem to 304 00:18:08,800 --> 00:18:09,960 Speaker 2: remember hearing some of it. 305 00:18:10,600 --> 00:18:13,080 Speaker 3: I was going to ask you, because over time, Bob 306 00:18:13,200 --> 00:18:18,680 Speaker 3: has continually released you know, treasures that were from sessions 307 00:18:18,720 --> 00:18:19,360 Speaker 3: and whatnot. 308 00:18:19,480 --> 00:18:20,680 Speaker 4: So I have a. 309 00:18:20,640 --> 00:18:24,719 Speaker 3: Feeling some of that keeps popping out as well, and 310 00:18:24,760 --> 00:18:28,359 Speaker 3: it really, you know, of course, it showcases his brilliance 311 00:18:28,640 --> 00:18:30,760 Speaker 3: in so many ways. 312 00:18:30,440 --> 00:18:34,359 Speaker 4: You know, you know, as I as I get older, I. 313 00:18:36,240 --> 00:18:39,080 Speaker 2: Started to realize that I don't like things that are perfect, 314 00:18:40,280 --> 00:18:46,360 Speaker 2: and so much of music today it's perfect. It's absolutely 315 00:18:46,400 --> 00:18:50,320 Speaker 2: in tune, absolutely in time. It's all matched up to 316 00:18:50,400 --> 00:18:54,360 Speaker 2: a grid, and I think there's something lacking in that, 317 00:18:54,560 --> 00:18:58,440 Speaker 2: you know. I think, however far we've gone down that road, 318 00:18:58,480 --> 00:19:01,000 Speaker 2: I hope that jump off of it. 319 00:19:03,840 --> 00:19:05,320 Speaker 4: Bob Dylan was never. 320 00:19:05,160 --> 00:19:09,600 Speaker 2: That way and then, and I think that that is 321 00:19:09,680 --> 00:19:14,439 Speaker 2: part of his greatness is that he didn't want anything 322 00:19:14,480 --> 00:19:15,200 Speaker 2: to be perfect. 323 00:19:15,720 --> 00:19:16,480 Speaker 4: The only thing that. 324 00:19:16,480 --> 00:19:20,560 Speaker 2: I could say that would approach being perfect are the 325 00:19:20,640 --> 00:19:24,399 Speaker 2: amazing lyrics that he's written. You know, what he was 326 00:19:24,480 --> 00:19:27,879 Speaker 2: able to do with putting words together to tell a 327 00:19:27,920 --> 00:19:29,960 Speaker 2: story or create an emotion or a feeling. 328 00:19:30,520 --> 00:19:32,639 Speaker 4: I don't know that anybody's done it any better. 329 00:19:33,920 --> 00:19:37,160 Speaker 2: But doing those sessions with him and playing on New 330 00:19:37,200 --> 00:19:41,240 Speaker 2: Morning and the sessions with Harrison, you only played a 331 00:19:41,280 --> 00:19:45,440 Speaker 2: song one time like he would. He would on the 332 00:19:46,600 --> 00:19:50,560 Speaker 2: New Morning sessions. We would jam something like we would 333 00:19:50,560 --> 00:19:53,520 Speaker 2: be playing a Buddy Holly song or something, and then 334 00:19:53,560 --> 00:19:55,320 Speaker 2: all of a sudden he'd throw in a new song 335 00:19:55,480 --> 00:19:57,520 Speaker 2: like you never saw it coming. 336 00:19:57,720 --> 00:19:59,640 Speaker 4: He would just go over to the. 337 00:19:59,560 --> 00:20:03,440 Speaker 2: Piano and he starts playing you know, uh winter Loo, 338 00:20:04,359 --> 00:20:07,520 Speaker 2: you know, and all of a sudden, you just you 339 00:20:07,600 --> 00:20:10,800 Speaker 2: jump in and hang on. And every time he did that, 340 00:20:10,840 --> 00:20:13,960 Speaker 2: I would just I was going, God, if we could 341 00:20:13,960 --> 00:20:16,919 Speaker 2: just do that one more time? Now, I know what 342 00:20:17,000 --> 00:20:19,040 Speaker 2: I want to play, but he doesn't. He didn't want that, 343 00:20:19,160 --> 00:20:23,280 Speaker 2: And that's I see the genius in that. Now, you know, 344 00:20:23,320 --> 00:20:26,040 Speaker 2: there's so many mistakes that I think are mistakes on 345 00:20:26,680 --> 00:20:29,760 Speaker 2: what I played on those songs on that album, but 346 00:20:30,760 --> 00:20:32,240 Speaker 2: apparently no one else thought they were. 347 00:20:32,320 --> 00:20:36,160 Speaker 3: So did you do work on the soundtrack of Peck 348 00:20:36,240 --> 00:20:37,520 Speaker 3: Garrett and Billy the Kid. 349 00:20:38,640 --> 00:20:38,960 Speaker 4: I did. 350 00:20:39,119 --> 00:20:42,879 Speaker 2: Jim Keltner and I both played on that on a 351 00:20:42,880 --> 00:20:46,080 Speaker 2: few songs of that soundtrack. Yeah, that was pretty amazing 352 00:20:46,160 --> 00:20:46,960 Speaker 2: experience as. 353 00:20:46,880 --> 00:20:51,399 Speaker 4: Well amazing seeing Bob acting too, you know. 354 00:20:52,640 --> 00:20:56,240 Speaker 2: Oh yeah, well he's very good, you know, as his. 355 00:20:56,280 --> 00:21:00,600 Speaker 4: Leve on for sure. Yeah. 356 00:21:01,200 --> 00:21:06,199 Speaker 3: Tell me about the Blue Session with Joni, which you know, 357 00:21:06,280 --> 00:21:09,719 Speaker 3: to this day people talk about that, you know, in 358 00:21:09,840 --> 00:21:15,639 Speaker 3: her of course, in reverence. You know, she's so amazing. 359 00:21:16,080 --> 00:21:18,439 Speaker 3: What do you remember about the Blue Session which you 360 00:21:18,520 --> 00:21:19,000 Speaker 3: played on. 361 00:21:20,560 --> 00:21:25,239 Speaker 2: Well, again, when it was going on, you it was 362 00:21:25,280 --> 00:21:29,040 Speaker 2: just another day, you know. I had been working with James, 363 00:21:29,119 --> 00:21:32,160 Speaker 2: I was friends with Steven and David and Graham and Neil, 364 00:21:32,920 --> 00:21:36,360 Speaker 2: and we were in and out of the same studios. 365 00:21:36,440 --> 00:21:38,080 Speaker 2: And I got a call to come down to A 366 00:21:38,200 --> 00:21:42,680 Speaker 2: and M and and I knew Joan and to come 367 00:21:42,680 --> 00:21:46,080 Speaker 2: down and play on some recordings that she that she 368 00:21:46,160 --> 00:21:48,880 Speaker 2: was doing at the time, and I overdubbed on some 369 00:21:49,080 --> 00:21:51,560 Speaker 2: pre existing things and we played a couple of things 370 00:21:51,600 --> 00:21:55,840 Speaker 2: live and Steven and I overdubbed together. Steve she had 371 00:21:55,840 --> 00:21:59,320 Speaker 2: Stephen playing bass on on on a couple of things, 372 00:21:59,359 --> 00:22:02,520 Speaker 2: and I was playing kunga's and percussion and I play 373 00:22:02,560 --> 00:22:04,840 Speaker 2: I think I played drums on one or two songs. 374 00:22:05,160 --> 00:22:08,480 Speaker 2: But the the percussion and the drum accompaniment on Blue 375 00:22:08,560 --> 00:22:13,040 Speaker 2: is very subtle, you know, it's it's it's mixed exactly. 376 00:22:12,640 --> 00:22:13,359 Speaker 4: In the right way. 377 00:22:13,440 --> 00:22:18,040 Speaker 2: And uh again, when you when you look back on 378 00:22:18,080 --> 00:22:20,920 Speaker 2: that time, I had, I had no idea that those songs. 379 00:22:21,480 --> 00:22:23,119 Speaker 2: I've worked on a little bit of Ladies of the 380 00:22:23,160 --> 00:22:25,320 Speaker 2: Canyon as well, but I had no idea that those 381 00:22:25,359 --> 00:22:28,800 Speaker 2: songs were going to the album Blue is going to 382 00:22:28,840 --> 00:22:31,720 Speaker 2: have the significance that it has, you know, and again, 383 00:22:31,960 --> 00:22:36,080 Speaker 2: just unbelievably grateful that I was there, you know, there 384 00:22:36,080 --> 00:22:37,360 Speaker 2: but for fortune. 385 00:22:38,240 --> 00:22:42,479 Speaker 3: Who are the drummers that have impacted you past and 386 00:22:43,040 --> 00:22:48,359 Speaker 3: present and maybe particular work by them that has impacted you. 387 00:22:49,720 --> 00:22:55,320 Speaker 2: Oh well, it starts with Ringo, Charlie Watz, Jim Calton, 388 00:22:56,320 --> 00:23:02,399 Speaker 2: Jeff Picaro, Levon Helm, huge influence, every every drummer that 389 00:23:02,480 --> 00:23:07,480 Speaker 2: you would think, you know, Philly, Joe Jones, Joe Jones, 390 00:23:08,000 --> 00:23:13,560 Speaker 2: Louis Belson, Buddy Rich, Jing Krupa, you know, for all 391 00:23:13,600 --> 00:23:16,080 Speaker 2: the reasons that you would imagine, you know, the body 392 00:23:16,080 --> 00:23:19,240 Speaker 2: of just a body of work that that Charlie and 393 00:23:19,760 --> 00:23:22,720 Speaker 2: Ringo and Jim Keltner and Jeff Bacaro have played on 394 00:23:22,880 --> 00:23:29,160 Speaker 2: is you know, it is enough. You know, I'm quite 395 00:23:29,200 --> 00:23:31,520 Speaker 2: fond of Dave Grohl as well. But Dave is more 396 00:23:31,560 --> 00:23:35,480 Speaker 2: than just a drummer, you know, He's He's just a 397 00:23:35,560 --> 00:23:37,959 Speaker 2: He's a great human, a great talented individual. 398 00:23:39,119 --> 00:23:45,080 Speaker 3: You obviously observe the brilliance and the tragedy. 399 00:23:44,840 --> 00:23:48,840 Speaker 4: Of Jim Gordon as someone in your profession. 400 00:23:51,040 --> 00:23:53,200 Speaker 2: I should have mentioned him because he was a huge 401 00:23:53,240 --> 00:23:54,000 Speaker 2: influence on me. 402 00:23:54,960 --> 00:24:00,719 Speaker 3: Talk about his work obviously, which is pretty mind blowing. 403 00:24:01,720 --> 00:24:05,440 Speaker 2: Well, the first time I became really aware of Jim 404 00:24:05,480 --> 00:24:07,760 Speaker 2: Gordon was on Dave Mason sung only you know, and 405 00:24:07,840 --> 00:24:11,080 Speaker 2: I know, and that rolling snare drum part that he 406 00:24:11,160 --> 00:24:13,480 Speaker 2: decided to play on that no one ever did that before, 407 00:24:14,119 --> 00:24:14,320 Speaker 2: you know. 408 00:24:14,640 --> 00:24:17,040 Speaker 4: And it was that whole period of time. 409 00:24:16,880 --> 00:24:19,600 Speaker 2: Of Delaney and Bonnie and all the musicians and Leon 410 00:24:19,720 --> 00:24:22,600 Speaker 2: Russell and everybody that came in and out of that 411 00:24:22,640 --> 00:24:25,840 Speaker 2: camp and then Delaney and Bonnie. You know, then that 412 00:24:26,000 --> 00:24:28,440 Speaker 2: kind of gave birth to mad Dogs and Englishmen and 413 00:24:28,560 --> 00:24:32,800 Speaker 2: just that that whole group of musicians were incredible and 414 00:24:32,880 --> 00:24:38,080 Speaker 2: I loved every bit of it. But Jim Gordon's session work, 415 00:24:38,400 --> 00:24:41,080 Speaker 2: I mean, he's well known for his work with Clapton 416 00:24:41,119 --> 00:24:43,199 Speaker 2: and stuff like that, but he he played on so 417 00:24:43,320 --> 00:24:46,760 Speaker 2: many records. I mean, he was in the studio kind 418 00:24:46,760 --> 00:24:49,399 Speaker 2: of at the same time that Howe was in the studio, 419 00:24:49,480 --> 00:24:51,720 Speaker 2: maybe a little bit after that, and a little bit 420 00:24:51,720 --> 00:24:54,719 Speaker 2: before me before I started working a lot in the studio. 421 00:24:54,800 --> 00:24:57,159 Speaker 2: And he had he had a great groove. He had 422 00:24:57,359 --> 00:25:01,840 Speaker 2: just a great pocket, you know. And and it's tragic 423 00:25:01,920 --> 00:25:08,119 Speaker 2: what happened to him. It almost seems like it's like 424 00:25:08,200 --> 00:25:10,760 Speaker 2: it's a movie instead of reality. 425 00:25:10,840 --> 00:25:12,360 Speaker 4: But because he. 426 00:25:12,359 --> 00:25:14,560 Speaker 2: Seemed to be such a nice guy, it's like a 427 00:25:14,560 --> 00:25:19,560 Speaker 2: bad dream. But everyone has a good yeah, everyone potentially 428 00:25:19,600 --> 00:25:21,440 Speaker 2: can have demons, so he's got the. 429 00:25:21,400 --> 00:25:26,280 Speaker 4: Best of them. Man, that was that story just chilling, 430 00:25:26,520 --> 00:25:26,720 Speaker 4: you know. 431 00:25:27,800 --> 00:25:33,600 Speaker 3: Yeah, absolutely, talk about the joy you're experiencing with immediate family. 432 00:25:34,040 --> 00:25:36,800 Speaker 3: I love the documentary also as well, And I love 433 00:25:37,760 --> 00:25:41,479 Speaker 3: what you guys are up to, the camaraderie, the vibe, 434 00:25:41,560 --> 00:25:42,520 Speaker 3: the spirit of it. 435 00:25:43,160 --> 00:25:46,960 Speaker 2: Talk about how you love it well, these are guys 436 00:25:46,960 --> 00:25:49,760 Speaker 2: that I've spent the better part of my musical career 437 00:25:49,800 --> 00:25:53,679 Speaker 2: with in one configuration or another. So for us to 438 00:25:53,720 --> 00:25:57,000 Speaker 2: have a chance to do something of our own, it 439 00:25:57,080 --> 00:26:00,960 Speaker 2: was really it was really great. Kind of started right 440 00:26:01,000 --> 00:26:05,000 Speaker 2: before COVID and having a new band during COVID kind 441 00:26:05,040 --> 00:26:08,280 Speaker 2: of kept us all sane, and we recorded a lot 442 00:26:08,320 --> 00:26:11,000 Speaker 2: of videos, and we did a lot of recording, kind 443 00:26:11,040 --> 00:26:14,080 Speaker 2: of sending each other bits and pieces, and we did 444 00:26:14,080 --> 00:26:17,320 Speaker 2: a lot of writing during that time. And it's it's 445 00:26:17,359 --> 00:26:19,320 Speaker 2: been a fun journey, it really really has. 446 00:26:20,200 --> 00:26:21,560 Speaker 4: Being fortunate enough. 447 00:26:21,400 --> 00:26:26,879 Speaker 2: To have the documentary documentary made about us, it's profound. 448 00:26:27,720 --> 00:26:29,040 Speaker 4: I mean, how lucky are we? 449 00:26:29,440 --> 00:26:32,159 Speaker 2: You know that Denny wanted to do it, that he 450 00:26:32,280 --> 00:26:34,199 Speaker 2: felt that there that was a story that needed to 451 00:26:34,200 --> 00:26:38,359 Speaker 2: be told, and in a lot of ways it's It 452 00:26:38,440 --> 00:26:40,760 Speaker 2: frightened me the first time that I saw it because 453 00:26:40,800 --> 00:26:44,080 Speaker 2: I felt like, not only was I looking at my life, 454 00:26:45,119 --> 00:26:47,080 Speaker 2: and when you look at something that kind of spends 455 00:26:47,119 --> 00:26:50,000 Speaker 2: a period of time, especially when you get to be 456 00:26:50,080 --> 00:26:53,159 Speaker 2: my age, you're kind of you have less time to 457 00:26:53,200 --> 00:26:56,560 Speaker 2: look at than you do than you've lived. And so 458 00:26:56,880 --> 00:27:00,720 Speaker 2: it was a reminder, I guess our of my mortality 459 00:27:00,760 --> 00:27:03,160 Speaker 2: and the mortality of my friends. 460 00:27:03,680 --> 00:27:04,560 Speaker 4: So that's the. 461 00:27:04,560 --> 00:27:07,040 Speaker 2: Thing that hit me about it, you know, like, oh, okay, 462 00:27:07,200 --> 00:27:09,399 Speaker 2: I'm old enough now to where somebody thought we should 463 00:27:09,440 --> 00:27:12,560 Speaker 2: make a documentary about the music that you played on. 464 00:27:13,680 --> 00:27:16,320 Speaker 2: So but yeah, it's every time we get a chance 465 00:27:16,359 --> 00:27:19,639 Speaker 2: to play it's it's really fun. We really have a 466 00:27:19,640 --> 00:27:21,919 Speaker 2: great time doing it, and I hope we get to 467 00:27:21,960 --> 00:27:22,879 Speaker 2: do more in the future. 468 00:27:24,000 --> 00:27:26,880 Speaker 4: Do they all make you a better player? Oh? 469 00:27:26,920 --> 00:27:29,720 Speaker 2: No, you can't get away with anything in this band. No, 470 00:27:30,000 --> 00:27:31,880 Speaker 2: you can't make a mistake. You don't want to make 471 00:27:31,880 --> 00:27:37,640 Speaker 2: a mistake because you're trounced on immediately. So yes, they do. 472 00:27:37,800 --> 00:27:43,760 Speaker 2: They We make each other accountable. Who's the toughest, though, Well, 473 00:27:45,000 --> 00:27:47,000 Speaker 2: Waddie and Danny can be a little tough. 474 00:27:47,080 --> 00:27:49,040 Speaker 4: They're they're particular. 475 00:27:48,720 --> 00:27:51,960 Speaker 2: In the ideas of the things that they want, you know, 476 00:27:52,080 --> 00:27:55,360 Speaker 2: so I let them. I let them rant and rave, 477 00:27:55,520 --> 00:27:56,880 Speaker 2: and then I play what I want to play. 478 00:27:56,880 --> 00:28:05,440 Speaker 5: Anyway, Any particular traits that you have taken on from 479 00:28:06,240 --> 00:28:09,760 Speaker 5: anyone in particular you've worked with in your career. 480 00:28:10,880 --> 00:28:12,240 Speaker 4: That you can highlight. 481 00:28:12,920 --> 00:28:15,440 Speaker 2: Traits, Well, I've learned a lot of stuff from a 482 00:28:15,480 --> 00:28:19,479 Speaker 2: lot of people, you know, learned a lot from Stephen 483 00:28:19,520 --> 00:28:23,199 Speaker 2: Stills learned a lot from David and Graham learned a 484 00:28:23,200 --> 00:28:27,280 Speaker 2: lot from Neil. I've learned a lot from the producers 485 00:28:27,280 --> 00:28:30,479 Speaker 2: that I worked with. I've learned a lot from Jimmy Bowen, 486 00:28:31,040 --> 00:28:36,080 Speaker 2: from Jimmy Ivan, from Peter, from Lou Ladler, and I guess, 487 00:28:37,359 --> 00:28:39,040 Speaker 2: and I've learned a lot. I've learned a lot from 488 00:28:39,080 --> 00:28:42,760 Speaker 2: my friend Danny kortchmore about songwriting, you know. And so 489 00:28:43,360 --> 00:28:45,640 Speaker 2: I guess I've taken bits and pieces of the things 490 00:28:45,680 --> 00:28:48,560 Speaker 2: that I've learned from everyone and kind of tried to 491 00:28:48,680 --> 00:28:50,640 Speaker 2: mold them into how I. 492 00:28:50,760 --> 00:28:52,280 Speaker 4: Do those things, you know. 493 00:28:52,720 --> 00:28:57,480 Speaker 2: And yeah, I definitely picked up stuff along the way. 494 00:28:58,520 --> 00:29:01,800 Speaker 4: What did you learn from Zeeva on what I learned 495 00:29:01,800 --> 00:29:02,680 Speaker 4: from Warren Yvon? 496 00:29:03,480 --> 00:29:03,760 Speaker 3: Wow? 497 00:29:05,920 --> 00:29:08,920 Speaker 2: Genius comes in all different kinds of colors. 498 00:29:11,080 --> 00:29:11,520 Speaker 4: Bravo. 499 00:29:12,440 --> 00:29:15,320 Speaker 3: Yeah, Are you going to show up in the new 500 00:29:15,360 --> 00:29:16,000 Speaker 3: spinal tap? 501 00:29:16,720 --> 00:29:21,400 Speaker 2: I don't believe so, although I did get my One 502 00:29:21,440 --> 00:29:24,560 Speaker 2: of my dear friends is CJ. Vanston, and he's been 503 00:29:24,640 --> 00:29:29,400 Speaker 2: involved with the guys for many, many years, and he 504 00:29:29,480 --> 00:29:31,560 Speaker 2: was just down in New Orleans where they were doing 505 00:29:31,600 --> 00:29:34,600 Speaker 2: some shooting, and he sent me a little video that 506 00:29:34,640 --> 00:29:36,400 Speaker 2: he made of all the guys saying hi to me. 507 00:29:36,680 --> 00:29:38,960 Speaker 2: So that was and they were all in costume, so 508 00:29:39,000 --> 00:29:40,360 Speaker 2: that was a nice thing to get. 509 00:29:41,080 --> 00:29:46,200 Speaker 4: But no, I don't believe so. Was Henry Dilts in 510 00:29:46,200 --> 00:29:47,760 Speaker 4: New Orleans per chance. 511 00:29:49,200 --> 00:29:50,920 Speaker 2: While they were shooting. I'm not sure. 512 00:29:51,960 --> 00:29:52,440 Speaker 4: I don't know. 513 00:29:53,760 --> 00:29:57,240 Speaker 3: I think we interviewed him for an upcoming episode. He 514 00:29:57,280 --> 00:29:59,520 Speaker 3: said he was heading down there. He wasn't quite sure 515 00:29:59,560 --> 00:30:02,880 Speaker 3: what was going to happen, whether he would be on 516 00:30:02,960 --> 00:30:06,000 Speaker 3: the cutting floor or not. But needless to say, he 517 00:30:06,120 --> 00:30:10,120 Speaker 3: was just as Henry is, wild eyed and enthusiastic. 518 00:30:10,200 --> 00:30:11,480 Speaker 4: He was looking forward to it. 519 00:30:11,800 --> 00:30:16,200 Speaker 2: Henry Dilts is beautiful human being and I'm so glad 520 00:30:16,240 --> 00:30:21,760 Speaker 2: to see him getting the recognition that he so deserves. 521 00:30:23,520 --> 00:30:27,080 Speaker 2: Roona Elliott just sent me a signed copy of the C. S. 522 00:30:27,240 --> 00:30:31,360 Speaker 2: N Y the book Love the One You're With, which 523 00:30:31,400 --> 00:30:34,640 Speaker 2: is amazing, amazing stuff. 524 00:30:36,000 --> 00:30:36,719 Speaker 4: He's a treasure. 525 00:30:36,800 --> 00:30:41,520 Speaker 3: What do you think keeps him with that wild eyed enthusiasm? 526 00:30:42,080 --> 00:30:45,520 Speaker 4: You know that he I'm sure started with his spirit. 527 00:30:46,200 --> 00:30:51,160 Speaker 4: He loves life. You know, he's a happy man. You 528 00:30:51,160 --> 00:30:56,360 Speaker 4: know he's he's in a good place. He's a good man, 529 00:30:56,880 --> 00:30:59,400 Speaker 4: and he definitely is in closing. 530 00:30:59,560 --> 00:31:03,280 Speaker 3: What do you want to learn that you haven't necessarily 531 00:31:03,600 --> 00:31:06,480 Speaker 3: learned at this point in career, in. 532 00:31:06,400 --> 00:31:11,560 Speaker 2: Life, to not be afraid of the things you don't know, 533 00:31:13,280 --> 00:31:15,560 Speaker 2: you know, to not fear fear. 534 00:31:16,720 --> 00:31:18,960 Speaker 4: You know, there's no way of there's no way. 535 00:31:18,840 --> 00:31:22,440 Speaker 2: Of knowing what's going to happen the next minute, So 536 00:31:22,960 --> 00:31:25,400 Speaker 2: I just try to concentrate on really enjoying the one 537 00:31:25,400 --> 00:31:25,920 Speaker 2: that I'm in. 538 00:31:27,200 --> 00:31:29,600 Speaker 4: I enjoyed this moment I've been in immensely. 539 00:31:30,400 --> 00:31:32,360 Speaker 2: Well, thank you, boss, thanks for wanting to do this 540 00:31:32,440 --> 00:31:32,720 Speaker 2: with me. 541 00:31:33,880 --> 00:31:38,080 Speaker 4: I'm just grateful that you came on the podcast. It's 542 00:31:38,160 --> 00:31:39,600 Speaker 4: my pleasure, my pleasure. 543 00:31:40,800 --> 00:31:43,280 Speaker 1: Thanks for listening to this episode of the Taking a 544 00:31:43,320 --> 00:31:47,200 Speaker 1: Walk podcast. Share this and other episodes with your friends 545 00:31:47,280 --> 00:31:50,760 Speaker 1: and follow us so you never miss an episode. Taking 546 00:31:50,800 --> 00:31:54,720 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 547 00:31:54,920 --> 00:31:57,200 Speaker 1: and wherever you get your podcasts.